Eric Schumacher presents the harrowing flight of young Olaf Tryggvason from the vengeful sons of Erik Bloodaxe in spectacular close-up detail through the eyes of young Torgil. Caught up in the deceptive schemes of Erik Bloodaxe’s sons, the two boys follow Torgil’s father, Torolv Loosebeard, as they flee to safety along with Queen Astrid, Olaf’s mother, and her retinue.
"Eric Schumacher presents the harrowing flight of young Olaf Tryggvason from the vengeful sons of
"In this, he has captured two equally vivid sides of Viking life, the valorous battles fought with
Schumacher shines particularly bright while narrating battles at sea. These conflicts, fought in close quarters and on choppy waters on the far-famed Viking longships, were a defining feature of life in the East Sea in the time of Olaf Tryggvason. Through his retelling the reader feels as if they are aboard the ship in the thick of battle alongside Olaf and Torgil as they dodge deadly arrows and thrust their sharpened seaxes.
"Schumacher also infuses his deep knowledge of Viking history into the narrative with details such as
Any complaints I had were small. Queen Astrid, though stoic, seemed to me to lack both the tenacity and cunning required of Viking queens of the age, particularly in the first section of the novel. Second, though the narrative follows an epic and heart-breaking arc, I felt at times the need for a bit more comic relief between the heavy subjects of the book such as the abuse of slaves and the death of parents. That being said, neither of these issues prevented me from thoroughly enjoying the book.
I highly recommend Schumacher’s Forged by Iron for anyone who has an interest in Viking history, particularly if they enjoyed The Long Ships (Frans G. Bengtsson) or The Half-Drowned King (Linnea Hartsuyker). Forged by Iron can be found on Eric Schumacher’s website and will be available as of April 15th, 2020.
In light of these depictions, you may be surprised to learn the historical source material for dwarves in fantasy, the Norse myths, portray them as unequivocally evil. Though not even the Norse gods enjoy the benefit of the doubt with Odin himself being nicknamed Bolverk (Evil-Doer), dwarves were viewed as particularly vile. At one time they had supposedly been maggots wriggling in the dirt which were given the wits of men; with such repulsive origins they might be viewed as a symbol of the greed, lust, and violence that marked most of the Viking Age. (And if you think that is an ignoble birth then consider the fact that Ymir spawned giants out of congealed sweat in his armpits...)
"At one time they had supposedly been maggots wriggling in the dirt which were given the wits of men..."
"The dwarven brothers tied him to the chair and cut his throat so they could catch his blood in a vat.
"Mighty Fenrir is brought low when the gods call on the dwarves to craft the strongest chain of all;
There she comes to the dank cave of four dwarven smiths who are admiring their latest creation,
In my own writing I have worked to honor the original conception of the dwarves as presented in the Norse Myths while taking care to remain sensitive to the historical contexts in which the myths have been abused. Particularly heinous are the propaganda posters used to instill hatred toward people of Jewish descent during World War II; an honest evaluation of these political weapons will admit some clear lines being suggested between people of Jewish descent and the dwarves from Norse Mythology. Further, some adaptations of Wanger’s ring cycle clearly present Norse dwarves as pseudo-Jewish type characters which is yet another example of the toxic racism that led to one of the darkest chapters of human history.
Instead of abandoning the myths to those who would weaponize them for ill purposes,
Were they metaphors for human lust and greed? Were they archvillians to flesh out a world full of heroic gods?
For more on the history of the Norse Myths and their modern interpretations, Joshua recommends
From Asgard to Valhalla: The Remarkable History of the Norse Myths by Dr Heather O'Donoghue.
Stay up to date on Joshua's latest books by joining the Trollhunters!
What does a productive day of writing look like for you? Do you write in your office at the university or do you prefer to write at home? Do you have a writing schedule or do you write around the rest of your professional commitments?
I ponder my writing practice quite a lot. I have no rigid writing structure, but as many others, I often write best first thing (which is not necessarily very early, as I am a night owl). If I am on a deadline I wake up and immediately start writing in bed (don’t tell my physical therapist). But of course I do have to write around other commitments. I usually do better if I plan writing slots and add them to my calendar, and best if I also specify to myself in some detail what to do in such a slot (e.g. ‘write one paragraph on houses as social technology’).
"If I am on a deadline I wake up and immediately start writing in bed (don’t tell my physical therapist).
I have a daily writing target of 500 words — which is not excessive. I am quite a slow writer and a ‘poor first draft’ sort of writer, meaning that I have to plan for time to revise the text to make the arguments click and, hopefully, make the writing both clear and evocative.
As a non-native speaker publishing mostly in a second language, there’s a separate set of challenges there — but English has been my academic language for such a long time now, that I struggle more to write academic text in Norwegian, to be honest.
A lot of people are really fascinated with the Vikings at the moment, but I think it is important to shed focus on the flip side of the traditional narratives of kings and warriors too — and talk about the lived experiences of the unfree populations, of being a low-status woman in societies with a strong ideology of violence, and uncomfortable topics such as infanticide. We are all fascinated with the past, but we shouldn’t glorify it.
"We are all fascinated with the past, but we shouldn’t glorify it."
As I talk to other writers whose work falls into the category of either historical fiction or non-fiction they often speak of the enormous amount of time they spend researching their areas of interest before sitting down to write. This is obviously a significant addition to the already laborious task of writing a book. Do you have any research tips for aspiring writers of historical fiction or non-fiction to help streamline their process?
I’ve never published fiction, but for my writing practice I often research and write simultaneously. Again, this means having to revisit and rewrite text as my thinking on a certain topic develops, but to me the two processes are entwined — I write to clarify my thinking — and therefore it is too artificial to divide the process into two separate tasks.
"I write to clarify my thinking — and therefore it is too artificial to divide the process into two separate tasks."
In 2015 you took up the role of editor for the publication Viking Worlds: Things, Spaces and Movement, which illuminated a variety of perspectives on exploring Viking history. As a writer of Norse-inspired fiction I am always fascinated by the reverberating effects of Norse culture across the world throughout time. What were a few of the most interesting conversations around current and future research in Viking studies that Viking Worlds raised for you?
Your most recent book, Architecture, Society, and Ritual in Viking Age Scandinavia, explores Viking culture through the lense of architecture with a special focus on the meaning and symbolism of doors. My brother happens to be a practicing architect on the East Coast of Canada and can read far deeper into physical structures than I manage to. How did you approach this study of culture through structural forms and what applications might this have for writers?
Someone once said that architecture is a totalitarian activity. By ordering space you are also controlling how people move, what they see, where they execute different activities, whether their bodies feel small and minuscule (as in vast cathedrals), or trapped and claustrophobic, how they view the world. Social space is social order.
"Someone once said that architecture is a totalitarian activity. By ordering space you are also
While several books and archaeological reports have considered the technical aspects of house building or the resource management of Viking settlements, I wanted to flesh them out as real people specifically through their use of architecture. Through a new compilation of houses in Norway, 750-1050 CE, I considered household size and structure, analysed movement patterns, the landscape placement of houses, their ideas of privacy, and the ritualisation of houses; which can be seen for instance in the practice of covering houses with burial mounds (accepted manuscript version here).
"I wanted to flesh them out as real people specifically through their use of architecture."
The implications of these approaches is to challenge some of our own assumptions of where meaningful social action takes place: it is not only on ships or on battlefields, and what happens in the domestic sphere is connected to, and also driving, larger socio-political structures.
Architecture, Society, and Ritual in Viking Age Scandinavia challenges the often male-focussed lense of Viking history research. How has Viking architecture contributed to our knowledge of the influential role of women in Viking society and what specifically do you think might surprise readers?
I also consider, based on others’ research as well as my own, whether placed deposits of particular artefacts in houses (so-called ‘house offerings’), may be a ritual practice linked with women — which may help explain why it is not recorded in the medieval written sources (which, obviously, were all penned my elite males).
What can readers look forward to next from you and where can they keep track of your latest publications and appearances?
I have some things in the pipeline: a book chapter will be coming out in 2020 about whether people in the Viking Age dreamed of houses (spoiler alert: they did); another entailing a new consideration of Bronze Age houses and households; and I am currently seeking funding for a larger project on the deposition of human remains in settlements in the first millennium CE, a topic on which I also have a journal article under review. Further down the line there are a couple of books under development. I always have (too) many writing projects going.
People are welcome to keep track of my work on my website or follow me on Twitter. (I must admit, I am still really bad at Twitter, but I try — perhaps a New Years’ resolution is in order?)
I mean, the woman got armored all up and marched to the gods’ doorstep to demand compensation
Some authors stick to strict writing schedules while others prefer flexibility when managing where and when they write. How have you managed to maintain productivity as you write short stories and novels? Do you have any tips for writers who feel that ‘there just isn’t enough time’ to write?
My advice to writers who feel there isn’t enough time is to give yourself a deadline and try to plan around it. Find a magazine accepting short story submissions and say to yourself, “This is the deadline for submissions; I need to have the story done by x date to have it ready to submit,” or tell your friends or beta readers you’ll have a story to them by x date and implore them to keep you accountable.
Find a magazine accepting short story submissions and say to yourself,
My other piece of advice—if you hate pressure and deadlines—is to just try staying inspired. Read books in your genre, do research on your subject matter, write your outline, or write drabbles to get to know your characters. If you’re busy, there’s no such thing as “making time.” But if you’re so invested in your story to the point where it won’t leave your brain until you get the words down, you’d be surprised how much you can accomplish even in a short amount of time.
I ended up taking her Norse mythology and Icelandic saga classes too, and co-founded the Icelandic Saga and Scandinavian Clubs with some like-minded geeks.
I think one of the things I love about Norse mythology is that every time I reread the Eddas, I come across something I didn’t realize before and find myself looking for an Old Norse version of the poem or paragraph and reaching for my Old Norse dictionary to look up certain words.
Plus every translation of the Eddas is slightly different, and there are also several different manuscripts that could be used as sources—and if you’ve ever seen pictures of them, you can see that there’s room for error in transcription. The whole thing is like one giant puzzle and you can’t take anything at face value, and I love it.
...every translation of the Eddas is slightly different... The whole thing is like one giant puzzle
You have now had two short stories published in fantasy anthologies: Beneath Yggdrasil’s Shadow and Between the Tides. Will you continue to write short stories now that your debut novel, The Witch’s Heart, has been signed for publication? Also, do you have any tips for writers trying to break into the fantasy publishing scene with a short story?
Even if your first published story isn’t in a huge magazine or famous press,
Signy Ketilsdottir versus the Sea (as featured in Between the Tides) is the story of a Viking woman living in a remote fjord with a grudge against Ran, the Norse goddess of the sea. Was Signy’s inspiration a specific historical figure, a character from the myths, or from somewhere else?
The anthology Beneath Yggdrasil’s Shadow highlights stories about lost or forgotten goddesses in Norse Mythology. Your piece Bright One, They Called Her, as featured in the anthology, tells the tale of wandering witch who offers a young girl named Eydis a chance to avenge her murdered family. Within the story there is a tension in framing the traditionally heroic Aesir (i.e. Norse gods) as far less than admirable. Did you choose this alternative perspective simply as a way to freshen up an old narrative or as a critique of the traditional view of the myths?
That’s a great question! I framed it that way because the wandering witch is Angrboda, who doesn’t necessarily feel the gods are all that great, since they took her kids and all. Her whole message to Eydis is about taking her fate into her own hands and not relying on divine intervention or the support of others for justice. Eydis also appears as the witch Heid (which is more of a title than a name) in Signy vs. the Sea and will appear again in Gudrun’s story, so there’s a bit of continuity in these tales.
Her whole message to Eydis is about taking her fate into her own hands
I am very intrigued by the topic of your upcoming novel, The Witch’s Heart, which sets the character Angrboda at center stage. A somewhat obscure figure in the myths, she is most famously known for her infamous offspring by the trickster god Loki: the world serpent Jormungandr, the ferocious wolf Fenrir, and the chilling half-corpse Hela who is queen of the Norse underworld. What was your approach and process for filling in the gaps of her storyline while writing The Witch’s Heart?
I am so glad you asked! You’re right that Angrboda is super obscure. She’s mentioned once by name in each Edda and both times in relation to Loki and their children together. In most retellings she’s either some sort of creature or just sort of…there. And a lot of people picture her as this fierce warrior women, which is totally cool and also I hope those people aren’t disappointed with me. (I happen to have one such depiction as a poster on my wall because it’s so awesome—just not the way I went in TWH.)
The angle I took with Angrboda was to explore the associations she has in common with or which are echoed in other female figures in the mythology, so I ended up writing them all as the same person. Sounds crazy, right? But Norse mythology abounds with multiple names for the same figure (Odin being the best example of that) so I just sort of took this idea and ran with it.
Sounds crazy, right? But Norse mythology abounds with multiple names for the same figure
Another giantess in the mythology who has associations with wolves, snakes, and death is Hyrrokkin,
And then there are the other seeresses: the Seeress from “The Prophecy of the Seeress,” who mentions Heid, the woman with the “pleasing prophecies,” who was once Gullveig, whom the gods burned three times and who was three times reborn near the beginning of everything.
So I ended up writing Angrboda as all of the above: Gullveig, Heid, Hyndla, Hyrrokkin, the Seeress, etc. and interpreting all their names as one name for the same woman, so the story just kind of flowed from there. My goal was to make this novel slip seamlessly into the background of Norse mythology—which meant not changing the myths themselves, up to and including Ragnarök. But my problem was that I’d given this one woman phenomenal cosmic power… what kind of person would she have to be not to use this power to save her children and alter their fates?
But my problem was that I’d given this one woman phenomenal cosmic power…
With all that said, I definitely took some liberties when writing the story, and I’m the first to admit that. For example, I made Jarnsaxa one of the Jarnvidjur (the giantesses who inhabit Jarnvid) and made Angrboda and Skadi’s relationship central to the story. There isn't any evidence for either of these things—they just sort of happened as I was writing!
Where can readers stay up to date on your latest projects and learn more about the upcoming release of your debut novel?
I’m still in the revising stages of The Witch’s Heart so there isn’t much to update at the moment. I recently got the first peeks at my cover and I am so thrilled because it’s absolutely gorgeous and I can’t wait to share it. Although I’m most active on Twitter, I’ll be updating Facebook and my website as my release date (early 2021) draws closer.
What does your writing schedule look like? Is it highly structured or very flexible? Is there a particular location or type of space you like to write in?
I write primarily in the mornings when my son is in kindergarten. But I often end up writing at night if the words are flowing. I’m not at my best in the evenings, but anything to get the words on the page! I used to love writing in cafes or bookstores, but the last few years I’ve tried really hard to make my desk at home as personal and comfortable as I can. I have a stuffed purple dragon on the upper shelf, and I always light a candle from Folklore Candle Co (their scents are literary- and mythology-inspired.) I also listen to lots of folk metal when I write.
"I used to love writing in cafes or bookstores, but the last few years
When I first started writing I was discouraged from writing fantasy if I wanted to get published. However, both you and I have succeeded in getting our works of fantasy published traditionally. Do you have any advice for fantasy authors who are still trying to land that first publishing contract?
Oh goodness, this question is right in my wheelhouse! I struggled early on with finding my niche, and even today I have certain well-meaning family members tell me what I should and shouldn’t write. I cannot stand that type of pretentiousness in literature. Genre fiction authors must fight against it all the time. My advice to any genre fiction author, whether fantasy, sci-fi, fairy-tales, or any type of speculative fiction - write what you love, and never listen to “shouldn’t.” I promise that others - even the big publishers - also love what you love.
"My advice to any genre fiction author, whether fantasy, sci-fi, fairy-tales,
Your current project, an Urban Fantasy novel called Draugr, is the prequel to a series following the exploits of Leif Halfdan. This sharp-tongued immortal character spends his time working as a historical consultant and local detective. In your novel, he’s called to consult at an archaeological dig in Scotland. What were your sources of inspiration for this quirky, cunning character and the world he inhabits?
Oh, Leif Halfdan is such a special character to me. He carries so much on his shoulders and I feel bad for terrorizing him. But then he goes and pulls a numbskull move, and then I don’t feel as bad. He’s someone who desperately wants to do the right thing, and holds himself - and sometimes everyone else - to an impossible standard. He actually arose as a secondary character in the first novel I ever wrote, which will never ever see the light of day. I ended up falling in love with his rough manners and guilt complex, and thus Draugr took its first breaths. I wrote the first version of the story in six weeks, and knew for certain that this was a story and a character that needed to be shared.
"I tried to go more for a feeling of the mythology and the history, rather than a true retelling.
When I wrote my first full novel, The Gatewatch, it was originally only meant to be an extended backstory for the book concept which I’m now working on. It seems you had a similar experience with your first book Wergild and your current project, Draugr. What led you to make the decision to let Wergild lie idle for a time while you write Draugr?
Funny how side projects can slip past us and become main projects! Wergild was the first novel I ever truly finished. It taught me how to complete a long project. I wrote and rewrote for six straight years, and shed lots of blood and tears over it. But in the end, I knew it just wasn’t the right story to be telling. It broke my heart, but ultimately, setting it aside freed my creativity up to rewrite Draugr. There are elements of Wergild that I will take with me along Leif’s journey, happily. I’ll always be grateful for the lessons it taught me.
"It broke my heart, but ultimately, setting it aside freed my creativity up to rewrite Draugr."
I really enjoyed the excerpt of Draugr that you posted to your blog! Where can we track the release of Draugr and stay up to date on your future writing projects?
Thank you! There are actually a couple of excerpts on my blog, so readers can get a good taste there. I am currently in the revision process, but I hope to be finished and querying agents by autumn. I am very active on Twitter, and I frequently post progress reports there. I also hope to be announcing a new mystery project in the next two months. Stay tuned!
"I’ll be honest and admit that there is something rather lovely about a good whisky!"
If I could, I would love to spend an afternoon with Ernest Hemingway. My uncle introduced me to his work at a young age, Fiesta: The Sun Also Rises was incredible and the first novel he gave me, I’d never read anything quite like it. Hemingway had a wonderful ability to describe human nature, how complicated we are as beings, and how destructive we can be to one another. I also fell in love with his descriptions of each new landscape and location.
"Hemingway had a wonderful ability to describe human nature, how complicated we are as beings,
We have discussed our mutual interest (i.e. obsession) with all things related to vikings on several occasions, but I’d like to know where it all started for you. Were you always drawn to viking history and the Norse myths? Was there a particular author, book, or event that first sparked your interest?
Growing up I was very lucky to have a wonderful grandfather who shared many authors, books and ideas with me from a young age. He encouraged me to read as often as possible and to try many different subjects. He had a love for history and genealogy, Norse myths and sagas were a deep interest he passed on to me, on both sides of my family there are links to the Viking past of Ireland, Scotland and the Scottish islands. I remember sitting as a child and looking at the bookcases filled with leather bound books and the smell that comes with old worn pages, my grandfather introduced me to Tolkien and The Hobbit, to the tales of Erik the Red, and the Saga of the Volsungs, for that I’ll always be grateful.
"I remember sitting as a child and looking at the bookcases filled with leather bound books
Children of Midgard, as told through Liv’s eyes, offers a unique female perspective of the Viking Age world which is so often presented through male-dominated narratives. Recent archeological discoveries have also stoked increased interest in women of the Viking Age and continue to broaden our perspective of the diverse roles they played in that society. What sources would you recommend for readers who want to learn more about women in the Viking Age?
We are currently experiencing a very exciting period regarding the discovery of archaeological evidence, conversation, and theories of women in the Viking age. With Liv, I wanted her to remain a strong individual while observing the fact that she had to make decisions based on the fact she was a woman caring for a child on her own in the Viking era. From reading the sagas and poems of the Norse I knew women were strong characters, they were driven and capable, but I knew I needed to delve a little deeper than that. I read the Gragas, which is an amazing document, if a little heavy at times! I also read a number of books by well known names including Judith Jesch, Johanna Katrin Fridriksdottir, Carolyne Larrington, Hilda Ellis Davidson, Jesse Byock, Anders Winroth, Gwen Jones, and possibly a few more! I have a book addiction!
"From reading the sagas and poems of the Norse I knew women were strong characters,
In our last conversation you mentioned that you had been digging into the research archives to learn how children were raised in the Viking Age. Have you come across any major differences between how children were raised then and how they are raised today? Would you adopt any Viking approaches to child-rearing over today’s culturally accepted wisdom?
I don't have children myself, so I certainly would not claim to have experience of, or know, what the best method for bringing one up in this day and age might be. That being said I have the joy of children and teenagers within our extended family, and what I have noticed is their curiosity, appreciation for honesty, and wonderful imaginations. I think children are extremely adaptive and in many ways develop strategies and mechanisms to deal with situations that can surprise adults. In some ways I think that applies to children in the Viking era, their childhoods were not what we would consider very long, particularly easy going, or free from labour. From the sagas we have glimpses of situations young girls and boys found themselves in, that violence played a part in their lives which is significant given the world in which they lived, and again the Gragas (medieval Icelandic lawbook) is a marvellous tool giving us an insight into how the law regarded them.
"From the sagas we have glimpses of situations young girls and boys found themselves in,
"I quickly started to realise that even though there might be great distances and cultural differences present in various myths and legends, there were also similar ideas, characters and messages."
If I could suggest any materials for readers and listeners to try it would be the works of Joseph Campbell, Hilda Ellis Davidson, and perhaps podcasts that look at philosophy as well as history, myth and legend, it might give them the sense of discovery it gave me. My goal with the podcast is to share and encourage the tradition of storytelling, to fire an interest or curiosity in our past and provide glimpses into the world in which our ancestors lived.
"My goal with the podcast is to share and encourage the tradition of storytelling,
What can you tell us about your next big project and where can we find more information about your writing and your podcast?
Currently I am editing my next manuscript which is due for release this summer, it's an exciting project that I’ve been developing over the past few years. The art of storytelling is such an important part of my life, and I wanted to create that intimate feeling of being within a circle by the campfire, the magic of hearing tales that perhaps no-one else had ever heard before, and I think this new book is what I had imagined. The podcast is going from strength to strength, my listeners are wonderfully supportive, I’ve really enjoyed discussing so many ideas and stories we all have to share. I’ve been very fortunate to have friends, both new and old, on the show and the community that I’m so very lucky to be a part of is wonderfully talented, encouraging and enthusiastic. Gosh, so in short, a new book and lots more podcasts!
Siobhan Clark's The Children Of Midgard is available in Waterstones, Barnes & Noble, and on Amazon.
She also has a limited number of signed copies!
Follow her on Twitter at Siobhán Clark (@siobhancoda) and at the Myth Legend & Lore Podcast (@LoreMyth)
Find the Myth Legend Lore Podcast on iTunes or Podbean
I recently had the pleasure of being featured as a guest on the Myths, Legends, and Lore Podcast hosted by my good friend Siobhan Clark (also the author of Children of Midgard). Listen in on our conversation about the Norse myths, their influence on our work, and habits that cultivate creativity. The episode also features an original musical arrangement of The Song of the Nidavel from The Gatewatch!
Find more amazing podcasts by Siobhan by following The Myth Legend & Lore Podcast on Twitter.
"My weapon of choice would have to be the double-headed ox-horn axe, a fierce-looking weapon."
What does a typical day of writing look like for you? Do you have any rituals or habits that help you become more productive?
My rituals are nothing special. I make sure I have my coffee and cigars on hand, and sometimes, I like having whiskey in my coffee. My typical day starts out early (4:30 am/5:00 am), and I shut down my computer at 7:30pm to clear my head before going to bed at 9:00pm. Right now at this moment, I am doing rereads and rewrites of my storyline for Thorgil’s third book (The Vultures of Khurasan). Right now, the story stands at 159,000 words with 21 chapters, and 12 illustrated inserts by Pablo Marcos.
If you could travel back in time to converse and drink a horn-full of mead with any viking in history who would it be and why?
It would have to be Harald Fairhair, the first king of Norway (850-932). Harald is responsible for unifying Norway into one kingdom. He was as we say in the military; a warrior’s warrior, a true badass.
"I make sure I have my coffee and cigars on hand, and sometimes, I like having whiskey in my coffee."
In reviews of your books Thorgil Bloodaxe has been compared to such iconic fantasy characters as Conan the Barbarian. However, in a wider social context, characters such as Conan have come under fire recently for portraying masculinity in a certain light. What do you hope to contribute to the wider conversation about masculinity and ‘being a man’ through Thorgil’s epic exploits?
I write to write. I do not worry about all the social norms of today. It seems as if every day, one group or another finds a reason to be upset over something. My main character Thorgil Bloodaxe is all man, a military man who is not politically correct. If you are upset about something he may have done or said, he does not care. I served in the Marine Corps from 1980-1990. In the military, we are all brothers. We have a certain way of talking and joking around. Civilians who never served will never understand a military man. When I write about Thorgil, I rely on my time as a Marine.
"When I write about Thorgil, I rely on my time as a Marine."
There are many incredible pieces of art featuring your character Thorgil Bloodaxe on the Facebook fan page. Do you have any advice for writers who want to get art made for their novel?
Over the years, I have commission many talented artists/illustrators to render Thorgil Bloodaxe in their artistic fashion. In 2012, I commissioned Bart W. Sears to give Thorgil his classic look. Bart owned his own company called Ominous Press, and has worked for Marvel Comics, and DC. Bart is well known for his articles in Wizard Magazine called Brutes and Babes.
From 2012-2014, I commissioned a young talented artist named Savy Lim. Savy liked the character of Thorgil Bloodaxe. He asked for my permission to illustrate the larger-than-life warrior. I liked what he submitted to me and I commissioned him for my second Thorgil book (Shadow of Death). Savy Lim illustrated and colored the 2nd book’s front cover, and illustrated the book’s inserts. Savy’s rendition of Thorgil Bloodaxe is used as a reference for all illustrators that I commission. I tell them I am not looking for a new look for my main character.
From 2014-2017, I was blessed to be able to commission a legendary illustrator who has over 50 years of artistic talent under his belt. Pablo Marcos took an interest in Thorgil Bloodaxe. Pablo way back in the 70s, worked for Marvel Comics on such titles as The Savage Sword of Conan (the black and white magazine), Red Sonja, and the Zombie. I always enjoyed his illustrations in the Conan magazines. I commissioned him to illustrate the 3rd book’s artwork (The Vultures of Khurasan). Oscar Gonzalez who worked with Pablo at the Edgar Rice Burroughs Inc., colored the ink illustration. For the 3rd book, I have 12 illustrations from Pablo. They will be placed at the end of several chapters in the book to fire up the imagination of the reader.
Advice for any writers who would like to commission an artist:
Savy Lim illustrated and colored the 2nd book’s front cover, and illustrated the book’s inserts. Savy’s rendition of Thorgil Bloodaxe is used as a reference for all illustrators that I commission. I tell them I am not looking for a new look for my main character.
"You will get what you pay for. Be professional when dealing with the artists. Show them the respect."
You’ve published two books in the Thorgil Bloodaxe series which are available on Amazon, Enter the White Queen and The Shadow of Death. Is there a third book in the works or are you working on a different project?
Yes, there is a 3rd book. It is titled Thorgil Bloodaxe: the Vultures of Khurasan. It will be released in late 2019, featuring the amazing artwork from Pablo Marcos. Right now, the story stands at 159,000 plus words with 21 chapters. Formatted into a 6x9 book, it will be around 400 pages. Allow me to share the back cover blurb:
In a savage world ruled by the sword, with armies cutting red swaths across the lands, only one man heroically stands above them all. He is the mercenary leader Thorgil Bloodaxe. His name is well known and respected from the far eastern lands to the western lands.
They say that Thorgil has fought in so many conflicts and battles over the span of his lifetime that he cannot name them all. Therefore, when the Caliph of Baghdad called upon him and his warriors to aid him with the conflict in his troubled land, the mercenary leader did not hesitate to accept. One more battle added to the long list did not matter to him.
With his warriors, they join the Caliph's high-commander to trek to the hostile mountains of Khurasan, where they must confront a rebel leader and his fanatic followers known as the Vultures, putting an end to their terror spree against the Abbasid Caliphate.
Find out more from Ralph E. Laitres on the Thorgil Bloodaxe fan Facebook Page.
"as the northern realm of Noros came into clearer view and the main characters delved
The three main characters, Torin, Bryn, and Grimsa, are inspired by the three central figures of Norse Mythology: Odin, Loki, and Thor. Other characters throughout the book reflect familiar Norse personalities in a much looser sense: Freya, Frigg, Heimdal, and the dwarven brothers Brokk & Eitri to name a few. Certain events, such as a drinking contest in an enormous mead hall, are directly based on specific myths, in that case Thor’s Journey to Utgard. Torin’s obsession with riddles (part of his Odin-like nature) culminates in a duel of riddles to the death with a giant king; this is inspired by scenes from The Saga of Hervör and Heidrek and from Vafþrúðnismál in the Poetic Edda. The epic poems recited in the book are structured around some of the poetic rules of drottkvaett, the ancient court meter of viking skalds; further, many treasure and place names are direct or close translations of Old Norse words. And, of course, the entire book centers around defending the human realm against giants and trolls which is a classic heroic task of both Norse gods and Viking heroes.
"the entire book centers around defending the human realm against giants and trolls
"any readers who have had the pleasure of bathing in Iceland’s Blue Lagoon will recognize its influence on the underground baths visited by the characters in Gatewatch"
Distinctly lacking in The Gatewatch are Viking longships and the northern sea because the story takes place high up in the mountains. This, of course, will be remedied in future sequels, the first of which is already well underway. For now, find the first three chapters on the website and stay up to date on publication details and future novels by joining The Gatewatch mailing list.
In a viking’s mind the sword lay next to the spoken word. Wielding words with skill was as important as wielding a blade; a clumsy phrase could lead to more bloodshed than a misplaced sword stroke. If injury was intended then every viking knew that a well-crafted insult aimed at an enemy could fly farther and sink deeper than any hand-fletched arrow. Intelligence could be measured by one’s ability to interpret poetic riddles and, for those seeking glory, a deed enshrined in verse would outlast the richest treasure. Therefore, no study of the Viking Age could be complete without considering their poetry.
"a clumsy phrase could lead to more bloodshed than a misplaced sword stroke"
The end-rhyme pairs love/of and day/say in an ABAB scheme satisfy, to the modern ear, what poetry should ‘sound’ like. Each line has either six or seven syllables which demonstrates a fair amount of consistency between lines.
"Modern song lyrics and traditional Western poems are primarily defined by
By contrast, the skaldic poetry enjoyed by vikings centered around internal rhyme and alliteration instead. Both of these were made easier by the fact that Old Norse as a language has less phonetic diversity than modern English. Since there are literally fewer sounds within the language it is much easier to find rhymes and alliteration in Old Norse. Skaldic poetry also featured over one hundred distinctive structured verse forms, each of which had its own strict set of rules. One of the most popular forms was dróttkvætt, also known as ‘court metre’.
"the skaldic poetry enjoyed by vikings centered around internal rhyme and alliteration"
While it is nearly impossible to re-create within the English language I will give an approximation of my own making based on a set of five dróttkvætt-like rules.
With those five rules in mind, here is an example of how they can be applied and what (with a great stretch of the imagination) viking verse might have sounded like.
Attempt to construct a verse of your own with these five rules and you’ll find it a synapse-stretching task. However, a skald would not consider the verse above to be dróttkvætt at all as it does not strictly follow the additional rules of the form. In conversations with doctoral students of Norse literature I have heard these skaldic forms described as ‘hyper-complex’ with ‘draconian rules’; however, Viking Age skalds were famed for being able to improvise such forms on the spot.
“skaldic forms [were] ‘hyper-complex’ with ‘draconian rules’; however,
In addition to these challenging structural complexities skalds were famously known for their use of a unique poetic device known as a kenning. Kennings were metaphorical phrases that alluded to Norse myth and culture. For example, the ‘whale road’ is a kenning for ‘the ocean’; the ‘sea of swords’ is a kenning for ‘battle’; ‘Freya’s tears’ is a kenning for ‘gold’. The best skalds might employ a double kenning, a reference to a reference. A phrase like ‘the venom of the battle snake’ employs the kenning ‘battle snake’ for ‘sword’, presumably making its ‘venom’ a kenning for ‘blood’. Therefore, by saying ‘the venom of the battle snake’ the skald simply means ‘blood’. While triple or even quadruple kennings may have existed, scholars such as Peter Hallberg declare that the intimate knowledge of Norse culture and skaldic traditions needed to decipher these kennings makes them practically inaccessible to the modern reader.
“Therefore, by saying ‘the venom of the battle snake’ the skald simply means ‘blood’”
For more on poetry in the Viking Age Joshua recommends Old Icelandic Poetry: Eddic Lay and Skaldic Verse by Peter Hallberg.