Founded in 2005, the Silmarillion Writers' Guild exists for discussions of and creative fanworks based on J.R.R. Tolkien's The Silmarillion and related texts. We are a positive-focused and open-minded space that welcomes fans from all over the world and with all levels of experience with Tolkien's works. Whether you are picking up Tolkien's books for the first time or have been a fan for decades, we welcome you to join us!
Sign-Up to Hand Out Scavenger Hunt Prompts Our May challenge will be a Matryoshka built around a scavenger hunt. If you'd like to hand out prompts (and receive comments on your work for doing so!), you can sign up to do so.
New Challenge: Everyman Create a fanwork about an ordinary character in the legendarium using a quote about an unnamed character as inspiration.
Cultus Dispatches: Fanworks, AI, and Resistance by Dawn and Grundy The fan studies column Cultus Dispatches returns with a history of how Tolkien fanworks fandom has reacted and resisted generative AI by drawing strong boundaries in a way that is not typical for the fandom.
Inspired by collecting the prompts for the Everyman challenge, this essay considers how ordinary people are subsumed and silenced in The Silmarillion, which begins a three-book arc that ends with the rise of the humble and ordinary.
A Teleri fishing boat captain turns to farming on abandoned Noldor lands after her ship is stolen. A Noldor farmer returns with Finarfin to find that his land belongs to the Teleri now.
In his old age, Isildur's former esquire Ruinamacil, known to later histories only as Ohtar, writes his own account of his escape from the ambush at Gladden Fields and journey to Imladris, and the history of his friend whom Isildur ordered to flee with him.
These were simply flashes, a hint of a wider, greater world. A tantalizing glimpse of more, always at the edge of awareness, never within reach. Míriel would grasp it, if something as intangible as the concept of color could overflow in bounteous wonder over her hands.
By definition, fanworks fandom does not draw a lot of boundaries, but community archives and events have taken a strong stance against AI-generated fanworks due to ethical considerations and member input.
In a book as full of death as the Quenta Silmarillion, grief and mourning are surprisingly absent. The characters who receive grief and mourning—and those who don't—appear to do so due to narrative bias. Grief and mourning (or a lack of them) serve to draw attention toward and away from objectionable actions committed by characters.
This presentation for Mereth Aderthad 2025 discusses the parallels between the concept of abnegation in the scientific work surrounding the atomic bomb and in The Silmarillion. The relinquishment of self-interest in favor of the interests of others, abnegation was identified by Tolkien as a powerful act of spirit and reason. The legendarium has many examples of the complexities of abnegation, which parallel similar discussions held by physicists during and after World War II.
Bilbo, the strange old hobbit with the wandering feet, senses something special in young Frodo the first time he sees the lad; as they become close, they find in each other a cameraderie not well understood by other hobbits. Five poignant moments between Bilbo and Frodo Baggins over the course…
The Silmarillion Writers' Guild is more than just an archive--we are a community! If you enjoy a fanwork or enjoy a creator's work, please consider letting them know in a comment.
I found the imagery striking and very powerful -- the contrast between the flamboyance and flimsy of the costumes as seen from close-up, and their beauty when seen from the audience seats, sets up a nice parallel to the contrast between theatre as seen through the eyes of purely "practical" politicians and the magic of the stage to enthrall and empower. I loved - as bad as that sounds - the political machinations in the background. I loved how the dancers found their courage as soon as they decided to perform anyway - the show must go on - and I love the implications of this (and perhaps every other) performance of Tar-Vanimelde: frivolous and theatrical on the surface, but deeply political underneath.
Poor Vanimelde, and poor Alcarin! But I feel that they both took strength from this performance.
"The show must go on" is definitely a theme here! It makes them stronger, as a group.
I am glad that suggested contrast worked for you.
I had written a short piece before about Tar-Vanimelde and the implications of her dancing ("Vanimelde Dances" in my Numenor anthology). Yes, there was always a political side to it, although in times before these, it was more of a cultural policy rather than political intrigue.
A lot is packed into this gem of a story. I really appreciated how Alcarin’s perception of the situation changes so dramatically (so to speak) as the story progresses. It begins with him feeling embarrassed that his elderly mother with her bent, arthritic hands is planning a dance performance when clearly she’s past her prime. He notices the costumes, meant to look impressive from a distance, but close up, appear tawdry. He wants to beg his mother not to do this. Then her husband, Herucalmo, sends guards to turn away the audience and Vanimelde reveals the real reason she insisted on this performance. She wants to make a plea to her people to put Alcarin in power once she’s gone. Suddenly, Alcarin sees her completely differently. She wasn’t doing this to relive some past glory but rather to try to counter her husband’s machinations. His mother who didn’t care for politics is doing something political, and daring, in an act of love for him. Now that they’ve been discovered, there is fear for the other performers, but they rally and decide to do the performance anyway, without the speech, as if that’s what they meant to do all along. And in a moment of moral clarity, Alcarin decides to sit in the audience to support them all. The performance takes on tremendous meaning for him that he remembers the rest of his life. It seems he matures that night as he comes to a larger understanding about his mother, and himself, and what it means to stand up for each other.
Goodness, are there Herucalmo fans? Certainly not after reading this. lol.
Thank you very much for your wonderful comment! And sorry I've been so slow to reply. There's more I'd like to say, but I thought I shouldn't delay at least thanking you any longer!
Thank you so much for your comments here and during the discussion yesterday!
I realized afterwards I had not answered your question about the relationship between Alcarin and Herucalmo.
I had to think about this a bit to put my thoughts about this into words:
Alcarin (that is, the Alcarin of Himring 'verse) always loved his mother, but was conscious of being in some ways more like his father. Herucalmo was more hands-off, as a parent, but at the same time quite persuasive as a parental authority. At the time before this story starts, Alcarin is really feeling let down by both his parents in different ways, but does not want to admit it. During this story, he realizes that he is less like Herucalmo than he thought and also that values he shares with his mother are a more meaningful bond than any shared character traits with his father. (Hope that makes sense!)
Vanimelde is such a fascinating character, an artist's soul trapped in the body of a ruler. You have captured that tension so well, her love for the performance and the nervousness of the political setting. Likewise, with her aging body (the hands!), fantastic character building.
Alcarin watching the performance alone is such a powerful image in my mind. No doubt, his mother's legacy will live through him.
Thanks for sharing! (I won't be able to join the book club sesh as it takes place during my crack of dawn, but I highly enjoyed this, thank you)
Comments on Send in the Clowns: A story of Numenorean theatre
The Silmarillion Writers' Guild is more than just an archive--we are a community! If you enjoy a fanwork or enjoy a creator's work, please consider letting them know in a comment.