Q. Can you explain to us why you chose the title, The Consecrated Throne?
A. The word consecrated means to be a bestowal of favour or to be purified. The throne represents power. At least two of the higher worlds have greatness attached to this seat of power. A form of divinity exists within light. Some associate it with truth. Illumination is the clarification of the mind, the totality of the whole between the physical and ethereal. The throne can be a temptation or an agent by which favourable rule unlocks prosperity for a world or people. Those that vie for the throne are often considered to have dimmed light or a shadowy constitution. Thus, the mere existence of the throne sets those on their course to show forth whether they are worthy, or whether they connive and commit crimes against innocents in order to achieve their unjust and unlawful ascension to the throne.

Q. What inspired you to create the powerful elite in your novel whom you refer to as Luminaries and Seekers of Light?
A. Every great kingdom has trustworthy advisors, companions or consorts. Some consider the elite as those who wield fear, intimidation and their wealth as a means of pressure and influence against the destitute, the ignorant and the unaware. However, the elite in two of three higher worlds are those who not only focus on their practice of harnessing light from either the sun or the stars, but of those with righteous wisdom. To master the ability of a great alchemy does not grant an individual an instant status of nobility and honour. It is to use their gifts without their ego at the fore and not with the intent to oppress the innocent. They practice in fields, within their homes and in the presence of sages. The most advanced are called nearest to the Crown, those of the other elite who must also balance power and wisdom.

Q. What is one thing you can tell us about The Consecrated Throne that most people would not have guessed?
A. That I consider the science fiction and fantasy genres one of the hardest ones to write. All
Genres require the author to write with their imagination, but to create worlds, creatures and sentient beings native to that world along with unique names that do not appear obviously contrived with a believable yet fantastical storyline is a literary feat that I think only a few could master. It was probably one of the first stories wherein I actually created a chart to hopefully keep names, planets and positions within each world's hierarchy in proper order. Though The Consecrated Throne was not the first sci-fi/fantasy novel that I have ever written, yet I think it was still much different, and in some ways more difficult to create.

Q. Can you share an excerpt from The Consecrated Throne that you have not published before?
A. A Luminary, Dusarīan happened to turn the corner, walking in the opposite direction.
His student, an athletic (X)ūpraethī subject, fierce in her protection of her world, saw Princess Eleyanra first. She immediately took a combat stance as the princess stood adorned in the garb of another world—her world. The luminary took caution for another reasons, the princess had a darkness that a dwarf star quietly intimated to him. Before he could react, his student already had. He still extended his arm to prevent her from her first strike though even a heavenly body warned that the princess was dangerous. Eleyanra turned only to see a thin arm in a sideways motion aim towards the front of her neck. She bent backwards, nearly toppling herself on the back of her head. As soon as she gained equilibrium her opponent’s foot had struck her left shoulder. The young female (X)ūpraethī was strikingly beautiful, wide eyes which inspired awe and if anyone dared—intimidation. The princess backed away from the her, steadying her focus on the weakest aspect of the young woman’s position. Eleyanra knew she could not charge forward as this would be unseemly. Anyone one who became present after the commencement of the fight could charge her with instigating the violence, let alone in the palace of (X)ūpraeth. She had no authority here. The king and queen had only the right to tolerate her presence for as long as they felt comfortable or deemed it necessary. The Luminary decided to step out from between the two. His student, approached the princess without recourse, hurling her body towards her. Eleyanra stepped to the side as she was evading the bull-like strike. She then used both of her elbows and landed them on the (X)ūpraethī’s exposed back. She felt the pain initially. The intruder, who had yet to identify herself laid her hands on one who was to rise in the ranks of the Luminaries. She could not allow herself to be defeated in front of not just her teacher, but one of the most regarded men of (X)ūpraeth.
Yet, Princess Eleyanra was no ordinary inheritor of the throne. As much as she
relished in her regal prestige, only to be elevated once she had the hand of Thauses, she was still practical—more so than King Vhileum or Queen Raī could have ever expected. She observed the Seers even when admonished by her father as a child. For Eleyanra, power was power, whether by birthright, lineage or gift. She possessed the formidable insight to gather as much of it from every credible source she may have access to. Yet, as knowledge of the Seekers of Light, not one of the King’s advisors were present to assist. The princess had to defeat this opponent of her own skill and wit. Her thoughts were fleeting and became a distraction. She felt warmth, a soothing, yet painful trickle descending from the back of her left leg. The (X)ūpraethī struck her again. Eleyanra’s eyes widened with determination, her leg bore witness to her momentary defeat, but this was to be no more. She charged towards her with the adrenaline of the moment
causing her to ignore the possible further damage she may cause herself by placing the additional pressure on her injured limb.

Q. In The Consecrated Throne, you created three worlds, was there any significance to this?
A. Yes. Initially, I chose three worlds to differentiate between the number I chose in another sci-fi/fantasy series. Then I decided that each planet would represent the nature of the higher being hierarchy between the worlds. Two higher than the third, and a person within one of those believing it was her natural right to subdue the least regarded one.

Q. A special wedding ceremony takes place between the main characters, Thauses and Nuraī. How did you decide to create such a marriage?
A. Nuraī is beautiful and intelligent but does not regard herself as extraordinary. She lived among very ordinary individuals. Most had never demonstrated any great feat. Thauses' visit to her world is a two-fold opening, one in which he accessed it and another in which the prince begins to guide her to realizing her amazing gifts. Prince Thauses traversed the spatial existence to arrive in her world set with an altruistic purpose with the king and queen's permission. It was upon seeing Nuraī that he knew that she was to be his. He did not lose sight of his mission, yet he understood her importance, their near instant bond that had to be consummated. She perhaps could be that world's mercy. I created their ceremony in such a manner in which no ordinary witnesses would be present, nor would they stand before one another in an ordinary venue. They stood within the midst of the ordinary and light, becoming bonded forever. Nuraī had not known much of Thauses and his world, yet it was upon the completion of their marriage that she became the Princess of (X)ūpraeth. Their bond translated into an extraordinary force to be unleashed. This is a recurring theme, that the truest affection between husband wife is the key to unlocking a great power, as I also include this in the Silhouette Lost series.

Q. How did you derive your characters' names in The Consecrated Throne?
A. I used pen and paper writing out syllables and familiar ordinary names. I switched around letters and diacritical marks, pronouncing them. If I liked the way they sounded I would keep it and then look at the spelling. If it seemed too odd or I would think the reader would mispronounce the names, I continued to move the letters around to hopefully have a reasonable melding of spelling and pronunciation.

Q. In classical science fiction, technological advancement and spacecraft are often used as the interweaving agents of epic fantasy. In The Consecrated Throne, you use neither of these elements as part of your story. Do you still consider your novel a part of this genre?
A. Yes. Fiction does not have to be literal. The elements you mentioned can be considered tropes. Fiction is based in creativity and imagination. The technological advancement I use is not through the use of machinery that harnesses special energy or a newly discovered material. Sentient beings, appearing similar to humans are the harness themselves. They are advanced persons whose high intellect allow for them to capture, use and be informed by different forms of light. Just as our understanding of light in the hard sciences as transmission of wavelengths that can provide energy or has an accelerated speed, select members of these populations are able to do so. The one caveat is that through their gifts of light, they are able to use ancient relics that only require the use of light in proper measure, but the appropriate person who is either a master or innately in tuned with the sort of iridescence that would allow them to naturally command or wield the relic. Since light travels at a great or higher speed and the gifted ones have learned the master of an alchemy, they are able to travel through this brilliance without need of tangible armour to navigate or support their presence throughout space and time.

Q. In previous interviews, you have mentioned that you do not spend much time on world-building, do you continue to have the same sentiment regarding The Consecrated Throne?
A. I think I still focus more on characters, their traits and their abilities, rather than their surroundings in general. However, because at least the two highest worlds have a Crown and corresponding throne, I do spend some time describing the outer portion of at least one world. The firmament beyond the heavens with the stars and the translucent nature of some of its existence that it rests upon is part of the world-building. Still, I do not delve into the inner workings of every element within the royal palaces or throughout the worlds themselves.

Q. Do you intend to keep writing novels?
A. Yes. I enjoy writing and hope to write more books in some of the genres I have already delved in. Maybe I write in a genre I have yet to explore as well.


About the Author: Patricia M. Muhammad is a multi-genre fiction author who often incorporates interracial relationships and multi-racial characters as a part of her storylines. She has written 22 novels.

Connect with Patricia:
Social Media: @pmmuhammadbooks
Press: [email protected]