This debut in the 'Cunning Folk Mystery' series, set in an alternate version of Lancashire in Medieval times, is an intriguing read and an excellent adventure thriller.
Tuesday, March 12, 2019
Friday, March 8, 2019
I wanted to lend some time and thought to those characters often-used and quickly forgotten within fiction. They are the all-important bit-players who swim in and out of scenes, often perhaps without having received much consideration at the time, but who later prove to have been pivotal. They are the ‘plot proppers’ – those minor roles that can be utilised so neatly to prop-up a scene, play a key role in progressing plot or support the main characters.
They are oft times unsung heroes or heroines the reader does not always recall in great detail. However, without them, our protagonists would not learn important information to progress through the written landscape. The antagonists would fail to learn details of the hero’s/heroine’s next move. So often we talk about our main characters. I wanted to dedicate some space to the plot-proppers and ask you to share some examples of your own.
Two characters, in particular, spring to my mind as I write this. The first is named ‘Hig’ from my first Wolf Spear Saga ‘WULFSUNA’. He appears briefly at the start as a young Angle warrior who is a boy given a man’s task. We never see him again in this novel, but he may one day be resurrected to play a part in my forthcoming sequel, Wolf Spear Saga 2!
Another plot-propper from ‘WULFSUNA’ in Trunhild. He epitomises his entire tribe and is a symbol of all the differences between them and the Germanic Wolf Sons they reunite with. His whole existence during the novel serves as a lesson to my hero Wulfgar, which in turn shapes his character progression.
· Do you have plot-proppers?
· Who are they and how do they affect your storyline?
· Do you feel plot-proppers are necessary?
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Blood, betrayal and brotherhood.
An ancient saga is weaving their destiny.
A treacherous rival threatens their fate.
A Seer's magic may be all that can save them.
Saturday, January 26, 2019
|The Guilt Machine|
It’s been a long time coming, but I’ve finally found the bravery within myself to admit that life is not all about technology. In fact, as a writer of history (albeit fiction) I should have seen the light sooner. We all existed before it was here, and we will all exist after it has died and gone the way of the Dodo. There will remain, however, those who will declare in voices rife with panic, “How can you exist without it?”. How can I exist offline? I’ll tell you…
Because I’ve done it.
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Monday, June 11, 2018
Today's author interview is with debut fantasy author, Louise Ann Knight:
Louise lives in England and loves to read, garden and wander wild places. She writes fantasy, modern and children’s fiction. She is a freelance administration and event volunteer in her local community. After working in business administration, she trained as a meditation teacher. She is currently writing the next novel and producing a children's book for release.
'Sky Drum' is available from Amazon
"Peace. Chaos. Potential. Cosmos. It will take them all to restore the sky drum. Journeys and friendships collide, in this elemental tale of old promises and new hope. Sky Drum is the first in the series about two planets, two suns and the people that unite them."
You can find out more from Louise's website
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- What was the initial inspiration for your current book/series?
A thunderstorm several years ago reminded me of recurring childhood dreams. I’ve always been fascinated in nature and the cosmos. I began thinking about people interacting and working with them directly. Nature provided the inspiration and the dreams a landscape. I began writing characters that connected them.
- What aspect of your genre is the most, a) satisfying and b) annoying?
I love creating names – for people, places and things. I enjoy writing about a race of people that have lived through differences and similarities in history (global equality being a difference, plant medicine being a similarity). Continuity is annoying though necessary. Sky Drum required a lot of threads to weave a story through multiple characters and across two worlds. Now that is done, going forward is simpler.
- Which of your characters is your personal favourite and why?
I enjoy writing all the characters, in different ways. Though the protagonists on each world are my favourites, because they go through the most change in the story. Ora is seeking a lost part of herself. She is willing to dismantle what she believes and thinks, to challenge all she knows. So that she can remember ways of being, that can help others. Illik gives himself in service to a purpose he cannot fully comprehend. He is prepared to be the person that is needed, even though he doubts himself. His trust in the land that shaped him and his love for others, gives him courage in the face of the unknown. And I think everyone can identify with those things, at one time or another.
- Do you love or loathe research? Do you plan it or look it up as you write?
I love research! I do some initially and inspiration is bound to come from the non-fiction reading I enjoy. Some research takes place as I write. For the fantasy series, as one example, I looked at the food and housing of tribes around the world and throughout history. I then created flora and fauna within the landscape that would enable people on the otherworld to create homes, depending on what climate the settles were based in.
- If you were to write in another genre, which would it be and why?
I like modern fiction because it is so broad and children’s fiction, because I love to nurture imagination.
- Describe your ideal writing paradise.
The seasons encourage me to experience writing in different ways. I love writing at a wooden table or in a chair, near a large window. A view of nature. Hills, meadows, beach or barrow. The light, the air, the wind through trees. Or sat on a log or blanket, in amongst it all. Candlelight on dark evenings, a blanket. I write onto a computer though first I draft on paper. I love the tactile experience of ink flowing onto a page. I re-use paper so there's a stack of leftover notebooks people passed me and sheets of printed paper. A jar of pens and pencils. Pukka teas or Lavazza coffee on the hob. Bliss!
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Monday, May 14, 2018
When writing in any era, the end of a life can take on various meanings, depending on the beliefs of the deceased individual. There may be an exotic afterlife to consider or particular funerary rites to adhere to. Tossing history into the mix brings with it layers of archaic ritual, older cultural boundaries and long-extinct practices. Therefore, this can be a complicated yet fascinating aspect of writing historical fiction.
West Kennet Long Barrow
photo: E Moxon
In my ‘Wolf Spear Saga’ series I must consider many factors in relation to the death of my characters. For my Germanic characters, they descend from a warrior line. Kings and tribal leaders would have received the ultimate in ornate burials with plenty of grave goods. If he is an experienced horseman, he may even be buried with his ‘noble steed’. However, in times of danger when there is little time to linger for fear of return attack, they might resort to a funeral pyre. This may be inevitable after battle if they have several dead warriors and limited time. Cremation was for centuries an acceptable form of funerary rite, even when some turned to Christianity. Grave goods have been found in Christian burials, despite not being a religion that encourages the placing of sacred objects with the body or cremation urn.
Religious beliefs come and go, evolving and overlapping throughout history. Forms of burial container exist in hundreds of designs that have beauty or function to carry the dead into whatever future they perceived lay before them. Some expected to be collected by fearless shield maidens who would deliver them to the feasting hall of a one-eyed war-god, in order to battle into eternity. Others would expect to meet other deceased relatives in a summer meadow, able to lead a fruitful, playful existence with their array of grave goods.
Snettisham Great Torc
Deaths of religious figures, such as priests and priestesses also vary depending on cultural and religious differences. Evidence has been found of herbs in Coptic jars and headdresses or pillows made from the leaves of plants considered to have magical powers. Essences in bottles and flower garlands worn as funerary adornments can hint at the importance of incense or plant oils accompanying those who possessed the ability to see the future or read the messages from scented fires. Embalming is a particular ritual that was perfected by the Egyptians, though is not restricted to their ancestral history alone.
photo: E Moxon
Finally, then there are the cultural rituals replete among warrior tribes and the elite among ancient peoples. The Welsh and Irish sagas abound with the ‘rites of passage of kings’, with several tales of fathers being brutally murdered by sons. This has a multitude of connotations, from disgruntled sons eager to remove fathers from thrones to the right of every warrior to die a noble death. To die ungracefully in one’s own bed would be a disgrace to many a brave king, but were a son to ‘send’ his father to a noble death via the sword, then the king’s reputation and warrior-status would remain intact. This act, a ‘rite of passage’ could send the king into his chosen afterlife.
Oseberg Ship Burial
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Do you consider the end of your characters' lives as much as their creation?
How much detail and thought do you employ when creating characters?
Has a character's death affected you when writing/reading it?
Saturday, May 5, 2018
Today I ran a 'Writing Workshop' at a local cake café in my neighbourhood. It was a beautiful blend of creative camaraderie and idea sharing, with cake!
|A gaggle of writers|
|Heads down for the '50 words' round!|
|Me in my Author's Nook|
Monday, April 16, 2018
Following on from 'Autism Awareness Week' I thought it apt to discuss a plot element in my forthcoming second ‘Wolf Spear Saga’. Some time ago I was involved in a discussion online about diversity in historical fiction. You can read the blog post I wrote about it here.
Today, however, I want to focus on one factor from that discussion, which has become entwined in my second saga. When drafting book two, the conversation I had had with other authors about diversity lingered in my mind. I wanted to challenge many historical novels I had read in the past that ignored conditions that have modern names, but would have existed in the past nevertheless. I needed a strategy that would bring such a condition into my novel in a way that would be acceptable to modern readers, but also credible in a 5th Century setting. My portrayal of this character would have to be true to my genre and my contemporary audience.
“Invisible disabilities we experience today, such as elements of the autistic spectrum, would have no name in the 5th Century…”
In choosing to have a character on the Autistic spectrum, I knew I would be unable to label this condition with terms and phrases we use today and that those around the character would also lack this knowledge and vocabulary to describe him and his behaviour. I knew at the outset this would present me with some steep challenges and I was ever conscious of creating something too stereotypical and offensive. I knew other characters in the story would be governed by their spiritual beliefs and fear of things they could not explain or that seemed to be evil or magical. My character began as a complicated being with some undesirable and inherited personality traits, even before I decided he would be autistic. I had to consider these traits carefully and calculate how his autism would effect or enhance these parts of his personality.
“Public responses to these conditions would be ruled by culture and spirituality.”
I drew on experiences from my own life and enrolled the help of someone with daily, personal knowledge to also assist me. After some deep discussions with this individual I began embellishing my character and those around him who would be there to assist or abuse him, because of his outward behaviours and responses. I wanted to provide him with a very small circle who understood him and were there for him. I also wanted to explore those who were scared by him or deemed him dangerous and those who would exploit his behaviour for their own ends. Once I had completed my first draft, I had the specific scenes featuring the character proof-read to ensure the content was acceptable to a modern audience, but that it also contained authentic references and behaviours.
Here is a description by his older brother:
‘His brother was ruled by the Dark Mother. She held sway over the tides of his inner ocean, tossing him on wave after wave and drowning him in his own emotion. Their Queen had been his steer board; …adrift on an unrelenting, storm-ridden voyage, [he] heard no one else, for they were mere morsels of windswept words. Wulfsieg realised he would be wasting his breath. Like land-locked onlookers crying out from the shore through wind and rain, [his brother] would never hear him from his lonely one-man vessel.’
While language used to describe this character is embedded in the 5th Century, as I wrote I became more aware that attitudes to Autism continue to challenge wider society; that there exists even today, those who misunderstand the struggles of being on the spectrum. I found myself writing provocative scenes, displaying others abusing the vulnerability of my autistic character and contrasting, deeply emotional scenes revealing the extreme fragility of my character, despite his roguish outward persona.
I hope my readers will find reading about him as interesting as I found it to create him on the page.
And I hope others will be encouraged to be diverse in their fiction.
Have you tackled a difficult subject in your writing?
How did you decide to include it in your writing?
What were some of the challenges you faced?