Welcome Hannah! Thanks for taking some time to chat about writing. First, a few quick-fire questions: Tea or coffee? Oceans or Mountains? And if you could choose any forest creature to have as a tame pet then which would it be?
Hey Joshua, thanks so much for having me. Coffee! Mountains! Preferably coffee on top of mountains. As to taming forest creatures, after much deliberation I’ve got to say… a moose. Majestic, unorthodox, and unexpectedly deadly!
"...after much deliberation I’ve got to say… a moose. Majestic, unorthodox, and unexpectedly deadly!"
You and I are both Canadian authors, a bit of a rarity on the global writing scene. How did being a Canadian influence or impact your path toward publication? Do you have any bits of wisdom to share with unpublished Canadian writers who are currently querying?
First of all, I’m so glad we connected! Because you’re totally right, being a Canadian author is a bit of a rarity. That’s likely the biggest impact being Canadian has had on my journey; I had to go it alone for a while before I found friends online who wrote similar things. That sounds a bit sad though. On the flip side, I love how cozy the Canadian author world is!
I’d encourage Canadian writers to get established in the online writing communities on Instagram and Twitter. It’s difficult to establish relationships with other writers in real life in a land of big distances and small towns, but they’re crucial!
Fantasy, Historical Fiction, and Science Fiction are genres that are very distinct in my mind but are often grouped together by readers and reviewers. As a writer of all three, what key elements make these genres unique for you? Would you categorize them separately or as three strands of the same branch of fiction?
I think I have to put myself somewhere in between. They’re separate, as in fantasy is magical and stretches beyond the confines of our daily experiences, sci-fi leans heavily on tech and is probably in space or the future, and historical fiction is set within the confines of the past. But the genres certainly harken to one another, at least in the way that I write and interact with them!
So much of fantasy is rooted in history, in the cultures and customs and impressions of former days. So much of sci-fi requires imagining the fantastical, things beyond the world in which we now inhabit. And I, for one, very much appreciate a historical fiction with subtle elements of the mysterious and glimpses of a world which, again, is beyond my own daily existence.
The setting of your upcoming debut, Hall of Smoke, is inspired by the Canadian wilderness and the ever-scenic European Alps. I love this common connection in that my trilogy is set in a wilderness blended from my time spent hiking the Canadian Rockies and memorable trip to the fjords of Norway. How did you handle blending the real and the mythic elements of nature in your trilogy? What is your approach to the natural environment while world-building and how did this come through in Hall of Smoke?
I love that you’ve blended the Rockies with Norway! When I look back at writing Hall of Smoke, I made very few conscious choices about the setting of the book. I’m very much a discovery writer, and I’ll admit that I do little to no worldbuilding ahead of time. Almost every aspect of the HOS world emerged in scene as I wrote and looked through the character’s eyes, though occasionally I chose to reference my own experiences and harvest them for senses, and that’s where the distinct flavours of my childhood in the bush and my time in the Alps started to come forward. I wrote what felt natural, a place I wanted to experience, and it came together as a new world!
"Almost every aspect of the HOS world emerged in scene as I wrote and looked through the character’s eyes..."
Though Viking culture is often depicted as very masculine and patriarchal, I love to remind people that in the Norse myths only half of the warriors that die in battle go to Odin’s feasting hall of Valhalla - Freya demands and receives the other half as she gathers her own forces for Ragnarok in her hall of Sessrumnir. As the author of a Norse-inspired fantasy with a female protagonist, how did you navigate the often-troubled history of Norse representation in fiction and are there any misconceptions about Viking culture that you’re hoping to challenge in Hall of Smoke?
Since Hall of Smoke is more on the inspired side of Viking-inspired side, I can’t say that I directly set out to challenge any misconceptions. But I do love Norse mythology for the complexity and prominence of female figures, and I was weary of Viking books and series with primarily male protagonists, stereo-typically “male” priorities and content. I enjoy those stories too, but I wanted something more balanced. And I wanted a female lead with all the skill, dignity, and complexity of the women in my life, and the women I see between the lines of the history books.
"I wanted a female lead with all the skill, dignity, and complexity of the women in my life, and the women I see between the lines of the history books."
Some of my favorite Viking-themed fantasy storylines come from the world of video games. I know that you and I both share a love of Skyrim in particular! What role do you see video games playing in the arena of fantasy and science fiction story-telling, especially as a writer of fantasy in a more traditional sense?
I do love Skyrim! I think video games are a fascinating and undervalued arm of the SFF community. They combine so many artistic avenues into one form - visual art, music and sound, cinematics, general storytelling, etc - and I think game developers do not get half the respect they deserve.
Personally, I find gaming frees up my mind, giving me a chance to break out of the world I’m currently working in and immerse myself completely in something new. They’re both a tool for me and an ultra-addicting hobby!
Right now you have an untitled sequel to Hall of Smoke on the docket, as well as an adult space opera and an adult romantic fantasy. Can you give us any sneak previews or hints about these tales or when they might be forthcoming in print?
Unfortunately, I can’t say much! But the sequel to Hall of Smoke is slated for release early 2022. It’s a stand-alone set in the same world, roughly a decade after the events of book one, and will feature some familiar faces. The romantic fantasy is a bit of a passion project, something I’m keeping relatively quiet to free myself up for creativity. The space opera - I have a feeling this one will be big, in the sense of it may take me a few years to get it right. But I’m so excited to explore that world more! I also have a Gaslamp trilogy floating out in the ether that I’d love to see in print in the next few years.
Last, but certainly not least, where can readers purchase Hall of Smoke and keep track of your upcoming publications?
Hall of Smoke is available wherever books are sold, in paperback, ebook and audiobook formats. All the latest news is available on my main platform, Instagram, as well as my website. Thanks so much for this opportunity, Joshua!
Welcome Bjørn! Thanks for taking some time to chat about writing. First, a few quick-fire questions: What is your favourite kind of cheese? Do you prefer sailing or flying? And if you were to be thrown back in time to the Viking Age what would your weapon of choice be?
Cheers Joshua, thanks for having me!
Brie plays an important role in my life (oh great, just started salivating), but generally whatever it is they put on pizza is my favourite. So I suppose my favourite kind of cheese is “melted”.
I have never had a chance to actually sail. I’ve been on a few moored ships, including Viking ones, but that’s not quite the same. In a few months I’ll have a chance to sail on a real Viking longship for actual research purposes, which is very exciting, but for now I have to go with flying.
I’m immediately tempted to say “a hammer,” because that’s what I’m good with, but I don’t think it would be dangerous enough. Give me two throwing axes.
"In a few months I’ll have a chance to sail on a real Viking longship for actual research purposes, which is very exciting,
You and I have two rather peculiar things in common - one is a love of Viking lore and history and the other is a degree in mathematics! From one mathematical Viking nerd to another, what role do you see numbers playing in Norse mythology and which are the most significant?
Three and nine – three times three. There are the Nine Worlds, three Norns take care of the passing of time, Odin was born with two brothers, and when he hung from Yggdrasil to discover the runes, it took him nine days and nine nights. The twenty-four runes are divided into three eights: Freyr’s aett, Hagal’s aett, Tyr’s aett.
"There are the Nine Worlds, three Norns take care of the passing of time, Odin was born with two brothers, and when he hung from Yggdrasil to discover the runes, it took him nine days and nine nights."
I often like to emphasize that the actual writing of a book is not usually the hardest part; the most difficult thing is actually getting yourself to sit down and write the damn thing. How do you keep yourself accountable and on track when it comes to your writing schedule?
I’m disabled and my illness flares up randomly, which makes it impossible to have a schedule. When things are bad, I do very little – sometimes I can’t even read. Then, once I feel better, I decide that I have been magically cured and can go on working for twelve hours. A day later I am so exhausted that I write nothing. I don’t seem to learn from this, perhaps because I love what I do. So I get better again, reopen Scrivener and start again… then rest… then start again… until the book is ready decades later. Typo! Months. I totally meant months.
Earlier this year your novel Children was released, the first book in the The Ten Worlds universe which draws heavily from the Norse Myths. The two main characters, Magni and Maya, are the offspring of well known Norse deities and must reckon with the many short-comings of their parents. What drew you to this theme of familial conflict and in what way did family culture of the Viking Age play into the narrative?
I read an article about Paris Jackson, who might never get a chance to become more than “the daughter of”. And that was before Finding Neverland showed Michael Jackson in a very different light – now being “the daughter of” carries even more weight. And I thought – how does it feel to be a child of someone so famous that it’s hard to find a person who has never heard about him? When you meet somebody and their eyes light up, and you know it’s never because of you, but your father?
"And I thought – how does it feel to be a child of someone so famous that it’s hard to find a person who has never heard about him?"
Thor gets half the mythology for himself. He is possibly the best known and most amusing out of all the Norse deities. His son, Magni, only gets two mentions – once when he saves his father from a troll, then after Ragnarok, when he inherits Thor’s hammer. How does it feel to be “the son of” a God everyone knows and worships, while hardly anybody knows about your existence? When people only care for you because you can be a useful tool to get closer to your father – who doesn’t seem to even remember you exist?
I didn’t actually try to recreate Viking Age families. I will have to for Land, the next instalment in the series and I’m already dreading it excited.
In discussing your process for writing Children, you mentioned that you rewrote the story 29 times! How do you view the editing process in terms of its purpose and function? Do you have any techniques or strategies to ensure that each draft is better than the previous one?
I don’t revise or edit in the “traditional” way – I rewrite the whole book over and over. I go through what I have written before, read it, then try to write it again, but better. Sometimes I will finish a part, then immediately go back to its beginning and start again. There are a few scenes in Children that I have rewritten 40-50 times, and I am still not happy with one of them.
"It wasn’t until draft 28 that Maya revealed a crucial piece of information to me – she was claustrophobic from the beginning, but it took me 14 months to find out why."
My characters tend to hide things from me for a long time. It wasn’t until draft 28 that Maya revealed a crucial piece of information to me – she was claustrophobic from the beginning, but it took me 14 months to find out why. That last moment scene is one of the strongest parts of the book. The whole story would have made much less sense if I stopped with draft 27.
This is an unusual writing process and I wouldn’t recommend it to anyone.
Any fantasy author would envy your work as a blacksmith. From your time at the forge, what do fantasy writers get wrong about this age-old trade and about weaponcraft in general? Are there any good online resources for those who want to learn more?
People underestimate the amount of time it took to create, for instance, a chain maille vest when each of the tiny rings had to be made by hand, then woven with all the others. That’s why only the richest wore chain maille, while most people put on leather and prayed for luck. It’s similar with swords, especially elaborate ones – those things were worth a fortune, because they took so long to produce. And that’s not including many years of learning the craft before you knew how to do it.
"People underestimate the amount of time it took to create, for instance, a chain maille vest when each of the tiny rings had to be made by hand, then woven with all the others."
Forges are not hot places, unless it’s summer. The fire is not placed on the ground (nobody’s back would survive that), but elevated. In the winter your face will drip with sweat and your feet will be on the brink of frostbite.
That one’s not a book, but I can’t believe none of the many great bladesmiths and blacksmiths who worked on Game of Thrones enlightened Gendry that the forge fire is there for a reason when, twice, he grabbed cold iron and began to hammer it. It took me zero minutes during my first class to understand you don’t do that.
Can you give us any hints or clues about your next project? Are you continuing to write the The Ten Worlds universe or are you taking a break to write something else?
The Norse Gods claimed all my writing time. I’m working on the sequel to Children, called Land, where some deities and their mortal BFFs go to Earth – the tenth world – to discover Iceland. At the same time I’m fiddling with a series of novellas, How to Be a God, humorous retellings of some myths I haven’t worked into The Ten Worlds yet. I’m not a fan of Neil Gaiman’s take on Norse mythology, so I’m writing what I want to read.
Last, but certainly not least, where can readers find your books and keep track of your latest publications?
The e-books are on Amazon and Kindle Unlimited. The dead tree versions, both paperbacks and hardcovers, are available everywhere – if your local bookstore happens to be open, you can order the book there, same as with libraries.
The best way to keep track with what I’m up to is to subscribe to my newsletter. I tried Instagram, but I just ended up following way too many bearded Vikings for, um, research purposes. I spend less and less time on Facebook, because their latest redesign is actively hostile towards the users. Instead I write 1000 words in Scrivener and 5000 words in my tweets.
Tea - I love the smell of coffee, but can’t stand the taste. I process bitter flavors more strongly than most. I also don’t like IPAs.
Dragon from Pern - Flight, fire breath, AND time travel? Yes, please.
"Boromir - After a solid first scene, Aragorn became a generic character with very little depth.
Describe a successful day of writing. Where are you? What time of day is it? And how do you measure a solid day’s work?
The most successful days, I get at least two hours in before my 6 year old wakes up. I still consider myself to have been successful if I can squeeze in 45 minutes of writing while he’s playing Smash Brothers or watching Pokemon. I have daily goals, to which I hold myself accountable by posting something online almost every day. If my post goes up each day, I was successful in my writing.
You are a writer, teacher, runologist, and host of the website Futhark Village. What does your work entail and what drew you into your study of the runes?
I was 12 when I first found the runes of the Younger Futhark. The writing system of the Vikings was the coolest thing I had ever seen, and I proceeded to write the next half dozen papers I was assigned in school in runes. My teachers, however, did not appreciate having to translate, even though I gave each of them a key. I got a bunch of Fs on papers, and even detentions.
Everything I do through Futhark Village is trying to teach people about the runes. There is a mindset that using runes in magick creates, and I find it easier to talk to witches and heathens who are able to use that structure to their thoughts. Really, I’m just trying to reshape the world in my own image.
"The writing system of the Vikings was the coolest thing I had ever seen, and I proceeded to write the next half dozen papers I was assigned in school in runes. My teachers, however, did not appreciate having to translate, even though I gave each of them a key."
Also, you left out sword-fighting instructor. I teach medieval martial arts (sometimes called HEMA or WMA) to children. When I am writing combat scenes, I get to think back on battles that I have fought at various events and describe that feeling, that motion. I don’t get to use any of the fancy words like Zornhau or Schrankhut, because my readers won’t know them, but I can describe how they work in the same way that I teach a child how to do them.
Fantasy authors love to use runes but I doubt that most have much of an understanding of what they mean. In my limited experience, I believe there are several versions of the runes with different origins, characters, and purposes. What is the history of the runes and why are they still relevant today?
Among the Long Branch family of Younger Futharks, I’m aware of at least a dozen, and then there are the Short-Twig and Staveless families. The Anglo-Saxon runesets add extra runes, including the Frisian and sometimes the Northumbrian mini-Aetts.
"There are three major groups of runes: the Elder Futhark, the Younger Futhark, and the Anglo-Saxon Runes."
I think the word “still” is inaccurate when you ask why they are “still” relevant today. The Runes are relevant “again,” rather than “still,” because modern practitioners of magick have revived their use. We don’t know if they were ever historically used in magick as we currently do, and we can be fairly certain that we are doing at least most of it differently than the ancestors ever did.
"I think the word 'still' is inaccurate when you ask why they are 'still' relevant today.
For me, the Runes are a system which allows me to structure my intention. If I can phrase what I want through the esoteric meanings of the runes, then I can create a spell that will be more effective. I use it the same way that some witches I know make all of their spells rhyme.
Many writers and readers online are fascinated by folklore and participate in social media events such as #FolkloreThursday. However, many may be unaware of some of the more nuanced conversations happening within the folklore community right now. As someone who actively practices your beliefs, can you give us a brief explanation of the origins and implications of Declaration 127?
In order to answer this question, I want to back up and talk about the Skinhead Punk movement. The Skinheads were a very inclusive group, inviting everyone who was dissatisfied with the status quo to come, enjoy the music, and share a beer while talking about changing the world. But that’s not how most people think of them today. The phrase “Skinhead” is almost always associated with “Neo-Nazi” now.
Declaration 127 says that Nazis are not welcome in Heathenry. We are experiencing the same thing that the skinheads did in the 70s and 80s, where they are trying to invade our faith and corrupt it to their own evil ends. I will welcome anyone into my faith, except Nazis. I have seen the damage they have done to other movements, and I will not have it happen to mine.
"Declaration 127 says that Nazis are not welcome in Heathenry."
For a long time I’ve enjoyed snippets of your serialized microfiction series on Twitter. What inspired you to start writing micro-fiction and what advice do you have for a new writer who would like to explore that field?
So I shifted to the idea of writing a novel. To keep myself accountable, I post 400-600 words of the story on Twitter each day. It isn’t a lot by comparison to the 1700 words per day you need to do for a typical NaNoWriMo, but I’m not trying to write a novel in one month. I’ve been writing my current iteration of Futhark Village since November, and I am about 60,000 words in. I expect to finish somewhere around 75,000 words.
As for advice: I have two things. 1.) Find a system that keeps you accountable. And 2.) When you get writer’s block, pull out a divination system, like Runes or Tarot, and ask them what is happening in this scene that you are stuck on.
"I shifted to the idea of writing a novel. To keep myself accountable, I post 400-600 words of the story on Twitter each day. I’ve been writing my current iteration of Futhark Village since November, and I am about 60,000 words in."
Can you give us any hints or clues about your upcoming projects? Any sneak peeks or snippets?
Futhark Village gets posted to Twitter three days per week, so you can see that just by looking at @futharkvillage.
I am reopening my sword school, now that my state is in a safe enough condition to do so. We will all be wearing cloth masks under our fencing masks and wiping all the equipment down both before and after, but the parents and I agree that it is safe to restart. I have also started a dual blog called “Tarot for Rune Lovers” and “Runes for Tarot Lovers” which is coming out twice per week on Tuesdays and Thursdays.
"Futhark Village gets posted to Twitter three days per week, so you can see that just by looking at @futharkvillage."
I am trying to figure out how to get my coven (Wicca) and my kindred (Heathenry) back together safely. Cakes and Ale (Wicca) and Sumbel (Heathenry) don’t work with a mask on, and the social connection is so much more strained when we can’t hug each other or share a meal.
Unfortunately, I don’t really have the energy for more projects right now because my day job, as a math teacher, is back in session for in-person classes. This wouldn’t be so bad if we were allowed to have more than 25% of the students in the building at once, meaning that I still need to teach 75% of my students online while also teaching some of them in person. My 60 hour workweeks in the spring just got even longer.
"Cakes and Ale (Wicca) and Sumbel (Heathenry) don’t work with a mask on, and the social connection
Where can readers keep track of your latest writing and stay up to date on your future publications?
I am most active on Twitter. Writing Twitter and Magickal Twitter and Heathen Twitter are fun happy places, and a liberal use of the mute functions keeps Politics Twitter away from me for the most part. (I am politically active in my own town and region, but the internet is not a place for political activism. It just makes people angry, which I find unhelpful.)
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.
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"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)
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"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.
It is my firm belief that the kinds of stories a culture tells will, in fact, tell you far more about that culture than the stories themselves. What kind of stories do we tell today? I sense futility, anger, hopelessness, selfishness, and defeat in most of them. A sense of embarrassment about the story we are currently telling through how we live is already openly acknowledged: how often have you heard people shudder as they ask what their grandchildren might say of us and how we treated the environment, or nuclear science, or genetics research? But there are other cultures and with them other stories that we might tell instead.
"It is my firm belief that the kinds of stories a culture tells will, in fact,
What sort of people tell that kind of story? What kind of culture lets their heroes lose? Couldn’t the strength of Thor, the cunning of Loki, the beauty of Freya, the keen senses of Heimdal, or the wisdom of Odin divert this terrible disaster? No. The gods are doomed and each must live under the shadow of this impending apocalypse. Does that sound familiar? I think we might have more in common with the ancient Scandinavian story-tellers than most people imagine.
What sort of people tell that kind of story? What kind of culture lets their heroes lose?
So what is the response of Odin and the gods to their plight? Do they give up? Do they lay down their swords and surrender to their inevitable end? Do they drink themselves blind in light of the doom that awaits? No. Odin plots ceaselessly to seek out the bravest and wisest warriors to join him in Valhalla where they constantly prepare for Ragnarok. Thor continues to beat back the frost-giants with his hammer Mjolnir and Heimdal remains ever-watchful at his post atop Bifrost. And, of course, the iconic viking warrior emulates the Norse gods: despite the odds he fights, more concerned about finding a good end than in trying to avoid it.
So I offer this thought: if the stories we are telling today are not the sort we’d like people to remember us by then let’s look back and find stories worth telling. After that, when we are ready, we’ll embrace a new way of looking at the future and learn face the inevitable challenges that lay ahead with courage instead of cowardice. Then we’ll start telling stories worth living.
For more on Ragnarok Joshua recommends Kevin Crossley-Holland’s translation of the Norse Myths.