Juliet E. McKenna

Reading Kameron Hurley’s guest post earlier this week has set me thinking about the way I’ve created and used religion in my own fantasy writing.

When I wrote The Thief’s Gamble, I didn’t want gods or prophecies or anything similar playing a part in the action. I wanted this to be a story about people risking themselves for other people, for friendship and duty and similar personal motives. So there were definitely going to be no gods on stage, no holy inspiration or edicts from on high. Most especially, and absolutely, magical power, whether that was elemental or aetheric, was not going to stem from divine favour. I also know people of genuine personal faith, who find fantasy fiction with gods playing an active part in the narrative problematic. Given the stories I aim to tell, there’s no need for me to give such offence to folk of sincere belief.

On the other hand, if I was creating a believable fantasy world, I knew there would have to be gods. There have always been gods, and plenty of them, and throughout human history, that’s caused all manner of strife. I find fantasy worlds with a sole religion with everyone believing in it, unquestioning, as problematic as Kameron.

So I sketched out the Einarinn pantheon, drawing on my studies into ancient Greece and Rome and what I’ve picked up here and there about sundry other cultures. Anthropologically speaking, the impulse to create deities seems driven first and foremost by the human desire for explanation and comprehension of the world around us, and then by hope for some sort of control over the unpredictable shocks of nature and whatever terrors might be lurking beyond the circle of light from the fire. So Einarinn has a sky god, Saedrin, a sea god Dastennin, a harvest goddess Drianon, and a god of death, Poldrion, to mention just a few.

But just as I didn’t want to use a single deity and default to a religion that might just as well be Christianity, Judaism or Islam with the serial numbers filed off, I didn’t want these invented deities to default to being Zeus, Poseidon, Demeter or Hades with a shave and a different haircut or new dress. So I invented more deities; Ostrin, god of hospitality and healing, Arimelin goddess of dreams, Halcarion, goddess of luck and love, Raeponin god of justice, Larasion goddess of the weather, Talagrin, god of the hunt and wild places, Misaen the Maker, god of artisans, and Maewelin the Winter Hag. Oh and Trimon the Wanderer which was useful when I came to allocate the different gods and goddesses to the seasons and festivals of the Tormalin calendar and found I had one left over. It seemed fitting that the Traveller’s God wouldn’t be tied down like that.

As I wrote the books, I drew on classical customs with regard to shrines and priests and local cults to create rituals and religious observance that doesn’t rely on any centralised system or hierarchy. I drew on the wide variety of degrees of faith among people I know day to day; to give some characters sincere belief, while others are variously sceptical to a greater or lesser extent while the rest simply adopt unthinking observance without ever really questioning the faiths of their fathers and mothers – and that’s all fine with me. As far as I am concerned, religion should always be a matter of personal exploration and private conviction.

What I found particularly interesting and rewarding as I wrote successive books was reverse-engineering the cultural history of these different gods and goddesses, as the various races of lowlands, uplands and woodlands blended in the Tormalin Empire. As it turned out, Saedrin, Ostrin, Poldrion, Dastennin, Raeponin, Drianon and Arrimelin were originally Old Tormalin deities while Halcarion, Larasion, Talagrin and Trimon were from the Great Forest, one for each season. Maewelin and Misaen are the original Mountain deities and that’s interesting, isn’t it; a dual vision of the divine. Once I had all that clear in my own mind, I could add depth and interest as the Tales of Einarinn unfolded by having different characters’ attitudes to different deities drawn from their varied cultural backgrounds.

But what about the Aldabreshi? They have no gods at all, and that was a conscious decision I made to mark them very firmly as The Other as far as the mainlanders are concerned, to make a central tenet of their lives completely incomprehensible to those who’ve grown up with the Tormalin pantheon.

On the other hand, the Archipelagans would still have that universal desire to find order and as measure of control over the natural world. So I drew on another tradition from my classical studies; belief in omens and portents. Once again, that worked better and better as I developed the concept, most fully in The Aldabreshin Compass. For instance, I wanted the Archipelagans to have some skills and talents well in advance of the mainland, because Other definitely wasn’t going to mean Lesser, not in my world. So as I developed the customs and practise of Aldabreshin stargazing alongside the many, many other systems of fortune telling I discovered, it became plain that the Archipelagans would be the foremost mathematicians of this world, as well as notable craftsmen with lenses, gears and other skills needed to make astrolabes and similar instruments.

As with the Tormalin deities, the effects of what I’d invented on my characters’ everyday lives soon became apparent in unexpected ways. The power of prediction became a significant aspect of the absolute authority of the Aldabreshin warlords. That was a sharp, two-edged sword, open to manipulation and abuse as well as laying obligations for all to see, on these supposed all-powerful rulers. Especially as the cultural imperative of belief in omens and portents offered up similarities with oppressive nature of the worst of medieval Catholicism. Wasn’t that intriguing? So wouldn’t it be fascinating if a central character lost his faith? Especially if he was someone who absolutely couldn’t let that apostasy become known. That added a whole further dimension to that particular series.

Religion continued to be one of the elements I used to enrich the background of the Chronicles of the Lescari Revolution and The Hadrumal Crisis. One thing that became more and more apparent was that mages are by and large, godless. When I realised that had become so, I had to work out why it might be. Well, the mageborn mostly come from other places as teenagers, sent to Hadrumal to get their dangerous talents well away from ordinary people. Some might bring familiar religious observance from home but I guessed most wouldn’t.

Add to that, when you have real, demonstrable power over the elements that make up the world, when the Cloud Masters and Flood Mistresses can control the weather as they wish, while the Stone Master and Heath Mistress can reshape the very land itself with earthquakes and eruptions, there’s not much room left for wistful wishing for divine intervention. And that becomes interesting of itself, considering the arrogance that can make wizardry so dangerous.

Then there’s another element in Hadrumal’s godlessness which I’ve barely referred to. It’s one of those bits of world-building which an author always knows but since it’s not directly relevant to any particular story, there’s been no great need to mention it. The wizard city of Hadrumal was founded by the first Archmage, Trydek. He was from Mandarkin, a harsh country with a brutal culture that’s never even been seen by anyone reading my stories. It lies to the north of Solura, which is another very different culture to the Tormalin Empire, which has become more familiar, most particularly in the Hadrumal Crisis books. What do readers know about Soluran religion? Very little so far. They don’t have gods or goddesses either, but they do have religious orders, centred on houses founded by notable practitioners of Artifice, the aetheric magic that scholars and rulers in the lands that once made up the Tormalin Empire are keen to rediscover. The aetheric magic that the Sheltya, the guardians of lore in the Mountains dividing Mandarkin and Solura, are determined to control.

What does all that mean? Well, if I get the opportunity to write a series focusing on these as yet unexplored regions and peoples, no doubt we will all find out!

Here’s something new for a new year – the first guest post on my blog. I found it a fascinating read, leaving me thoughtful about my own work as well as casting new light on the other books I’ve read which Kameron references here. By the way, if Kameron’s own ‘God’s War’ (out in the UK this week from Del Rey UK) isn’t already on your radar as a book to look out for, I recommend you follow up the links at the end of this post.

Building Enigmatic Gods in Fictional Worlds

My grandmother was a war bride, a young French Catholic woman who married an American G.I. He threatened to divorce her if their fourth child wasn’t a boy. He already had three girls, and four was just too much to bear.

He told her this while they were wheeling her into the delivery room.

My grandfather was full of ominous contradictions.

Until I was twelve years old, my grandmother watched after me and my siblings while my parents worked. My parents were too exhausted for church and didn’t care much for leisurely Bible reading, so much of my exposure to the conception of God and organized religion was framed by my grandmother’s Catholicism. I cut my teeth on bloody books labeled “Children’s Bible Stories” and was often admonished to take care of my “modesty” instead of flinging off my towel after a bath and dancing naked around the house. My memories of church are mainly of me sitting in the pews working on my coloring books, and standing up and sitting down as directed by my grandmother.

But my grandmother believed fervently and passionately in God. My grandfather dutifully sent the church $100 a month, even if it meant their family of seven sometimes went hungry. My dad and aunts and uncles seemed to be mostly motivated in their beliefs by fear – what was God thinking about them? What did he have planned? God was an unknowable being to be respected, worshipped, loved, and feared.

Belief may never have taken hold of me, but twelve years growing up in the same house as my grandfather taught me fear. It taught me caution. It taught me to step softly around great hulking powers with unknowable motives. It gave me a better understanding of my aunts’ and uncle’s love and fear of God, and how God and his unknowable motives could so thoroughly suffuse one’s life.

My grandfather was, at best, verbally and physically abusive. He worked as a nighttime security guard at a bank, so he’d sleep during the day. All us kids were warned in hushed tones “not to wake grandpa.” Sneaking past his bedroom door on our way to play down in the basement was like sneaking past a bear’s den. I’m not exaggerating when I say this – one afternoon we congregated too long outside his door at the basement door opposite his, arguing about who was going to carry some toy downstairs, and my grandfather burst out of the bedroom, enraged at being woken by our arguing. He threw my cousin down the basement stairs, and grabbed me by the hair and slammed my head into the wall. My grandmother’s response to my grandfather’s outbursts was to throw her own fit of rage, throwing dishes in the kitchen and swearing at my grandfather in French.

Needless to say, it took me many years to figure out how to have disagreements with a loved one that didn’t involve screaming, cursing and throwing things.

My grandfather was, of course, also a father and husband doing the best he could with the bad hand he’d been dealt. When I was older, I learned that much of his job during his tour of Europe in World War II was hauling and burying the bodies of thousands of people killed by the Germans in concentration camps. He grew up during the depression, and when we’d complain about not getting some cereal flavor we wanted, he would rail on about how his family once found a hurt pigeon on the beach, and instead of nurturing it back to health, had eaten it because they were starving.

What made my grandfather my grandfather was a wholly alien experience to me. He became an unpredictable monster – vacillating between affable old man teaching me to plant and nurture seedlings to reeling, rage-filled behemoth set on destroying everything he’d built.

It was my unpredictable, unknowable grandfather that became my mapped-on stand-in for God in some of the old Bible stories I’d read. Only an angry, alien all-knowing, all-seeing being would tell you to kill your own child to prove your love, then say, “Ha ha just kidding.” The contradictions, the freeing people from slavery and then forgetting about them for 40 years – all felt like the actions of a being with inhuman motives.

It’s no wonder I became fascinated with the idea of creating fantastic religions that embraced the alien motivations of an unknowable God.

We tend to personify a lot of gods, so Zeus and Vishnu and the Abrahamic God have love and anger and rage like people. They are often driven by human-like emotions, sometimes propelled by narcissism (worship me above others; worship me instead of the others).

But in setting the actual stories of these gods next to their actions, I couldn’t help but think they looked far less human than we wanted to believe. In my own reading of the fantastic, and in the religions I built, I was drawn to this idea of humans creating religions around beings we truly did not understand; beings driven by some experience or logic or existence so alien to ours that they would be forever unknowable.

Those were the fantastic deities that interested me. Much of our history has us creating mythologies to make sense of things we don’t understand – shouldn’t our fantasy societies do the same?

Tim Akers executes this idea very well in his book Heart of Veridon, where the old gods, the “Celestes” appear to be a race of figures forever caught in stasis. Temples are built around them, yet no one knows where they came from or what they are:

“There are five Celestes, or were the last time I checked. Used to be six, but the Watchman flickered and disappeared, twenty years ago. I barely remember that, my mother crying in a closet, my father drawing heavy curtains across the dining room window and burning secret, heavy candles that smelled like hot sand. My parents followed the old ways, at least in private…

The Dome of the Singer [one of the Celestes] was, at first, a practical matter. She sang, loudly. Or she used to. When I stepped into the cool dark interior of the Dome, all I heard were feet scuffing on stones and the low moan of drafts circulating through the drafty heights. She was silent, and I felt a chill….

She hovered in the air at the center of the opening in the floor, surrounded by an iron railing. Her skin was pale against her bulbous, crimson roes. Her clothes were dark red and shiny, retaining form almost like a chitinous shell. Her eyes were closed. Her lips and the tips of her fingers were blood red and smooth. Light poured off her skin like mist on the river in winter. I had forgotten how beautiful she was, hidden away in this drafty stone building. How had we forgotten this, how had the city gone on to other gods?”

I also see a number of fantasy novels fall into the “singular religion” trap, where everyone believes in the same gods then follows one or the other. This not only erases a lot of potential depth to the world, but eliminates an incredible amount of potential tension. Look at tension and conflicts between those of different faiths across the world (many of which are built on very similar tenets), and throughout history. How do those tensions play out in a fantastic setting?

Akers creates two major religions in this novel, both with very different ways of viewing life, neatly shown in prose via the protagonists’ story of a near-death experience:

“The Celestes teach nothing of an afterlife. Not like the Algorithm, with its infinite pattern, its eternal calculations and the intricacies of their metronomic prophecies. Their lives are a soulless pattern, and their deaths are as well. The holy Wrights of the Algorithm teach of an afterlife of clockwork, the hidden engines of the world swept back to reveal the calculation at the middle, the equation that is God.

I hold to old gods. Imagine my disappointment, then, when the darkness that took me after the Glory of Day shattered against the cold water of the river Reine lingered only for a while. Light came, and noise. I opened my eyes to a world of pattern, of engine. The world of the Algorithm.”

The prophets of such extraordinary religions also make for fascinating stories, as they remake their society’s conception of God (or gods), and their relationship with this higher power, in response to changing times.

Octavia Butler’s Lauren Olamina becomes the interpreter/reimagineer of the abstract, all-powerful or alien being that so many simply call “God.” In her two books, Parable of the Sower and Parable of the Talents, Butler tells the story of an ordinary girl who becomes the prophet of a new religion based around acceptance of change – God is Change. She calls it Earthseed. Butler’s books follow Olamina’s compelling journey from ordinary girl navigating the violence and uncertainty of an apocalyptic world to prophet leading the rebirth of a more vital civilization, which takes a more science fictional approach to religion-building. It shows the importance of how human religions are created, led and sustained by very human people; just people, facing impossible odds, trying to frame events around the existence of a higher power, a greater pattern or purpose. Religions are, at their core, about people trying to come to grips with uncertainty.

Olamina’s religion reimagines people’s relationship with such a higher power:

“God is Change, and in the end, God does prevail. But we have something to say about the whens and the whys of that end.”

And:

“There’s comfort in realizing that everyone and everything yields to God. There’s power in knowing that God can be focused, diverted, shaped by anyone at all.”

In Olamina’s reimagined relationship with God, people are given the power to focus, divert, and shape God’s will. They are not simply pushed along by it. They are not submissive to His will.

Aside from the “one religion” trap, another thing I see many writers fall into when creating fantasy religions is to forget that people actually believe in their gods, and belief in those gods suffuses every part of their daily life. Just as my grandfather’s tempestuous emotions often ruled my days as a child – shaping and changing events based on his moods – God or the gods should play a similarly tangible role in characters’ lives.

As Akers’s hero draws on his beliefs to interpret the events after his near-death, characters will interpret the events of the world according to their own belief systems, and use those beliefs to guide their own behavior.

Saladin Ahmed does a wonderful job incorporating the beliefs of his characters into everyday life for both individuals and communities in his book, Throne of the Crescent Moon, an Arabian Nights-flavored sword and sorcery novel about an aging ghul hunter and his apprentice.

Whereas less attentive writers might have their characters only call on or remember the existence of God or gods for oaths and epithets, Ahmed ensures that the presence of God – and the absolute faith in His existence – suffuses his characters’ lives, from greetings to blessings to prayer to magic. God is never absent.

Fantastic worlds, for me, are richer when they acknowledge that the all-powerful beings that shape their characters lives – whether literal or figurative – are, for many of their protagonists and the societies they live in – as real and tangible and unknowable as our own families, our own histories, our collective pasts.

Those who lean toward the “rational” science fiction end of the spectrum must remember that it’s been shown that our yearning for belief is hard-wired into our genetic makeup. We yearn to believe in something greater and grander than ourselves – whether that’s a common purpose or a higher power. The vast majority of humanity strives to create narrative from random. People who are able to create larger narratives – those who see patterns or larger meaning in this randomness – are more likely to outlive those who don’t.

This is why fictional fantastic societies who’ve survived against all odds, or future people who’ve conquered a galaxy, will be far more believable if they’ve organized themselves around some greater purpose. We are more sated, more powerful, more focused, when driven by a belief in something outside of ourselves.

Whether your god kindly teaches your people to nurture seedlings, flings them down the stairs unexpectedly, or engages randomly in such acts, their presence should be felt, acknowledged, and mythologized. Organized religions help us come to grips with the larger world. These beliefs have a lot to say about how your characters and societies make sense of themselves, their worlds, and the ones they love.

So consider their creation carefully, and fully.

ABOUT Kameron Hurley
Kameron Hurley is an award-winning writer and freelance copywriter who grew up in Washington State. She is the author of the book God’s War, Infidel, and Rapture, and her short fiction has appeared in magazines such Lightspeed, EscapePod, and Strange Horizons, and anthologies such as The Lowest Heaven and Year’s Best SF.

As good friends will know, I’m generally at the trailing edge of new technology rather than the cutting edge. It has been said with some justification that my cosmic role with regard to tech is to balance out the enthusiastic early adopters. But when I find I have a genuine need for some piece of kit, I will get it…

Of late, I’ve been concluding that I really do need an ereader. I’m involved as a writer with a couple of ebook-first projects such as Tales of the Emerald Serpent and Aethernet Magazine and while reading the other writers’ stories on a computer screen at my desk is doable, I’d much rather be sitting on the sofa and enjoying them in ‘reader’ mode rather than in my ‘writer’ environment.

There’s also the undeniable fact that we have run out of physical space for books in this house. Seriously. I have stacks ten and twenty deep on the floor in the study and along the landing upstairs. That’s after we have disposed of over 250 books to friends, the local school and Oxfam’s charity bookshop in recent months.

Thanks to seasonal family generosity I now have a Samsung Galaxy 3 tablet, the 8-inch one, since I really couldn’t convince myself that buying a single-use piece of kit like a basic Kindle or Kobo ereader was my best option. I want something I can use as well as or instead of a laptop when I’m out and about. I’m already finding that’s proving extremely useful.

Yes but what about the book reading? And for pleasure, not just using it as a work tool

I initially found myself extremely reluctant to get started. More so than I expected, so I wondered why that might be. I realised that when I’ve read ebooks on my phone and back in the day, on my palm pilot, I have always found myself being aware of using a piece of tech, rather than losing myself in the story in the same way that I do with a book. I’ve been reading books for 45 years after all. Where I’ve been really engaged in the story, notably with Jo Walton’s Farthing, I found that wasn’t a problem overall. Where it took me a while to get into the story, I found that sensation became a barrier to me, to the extent of me abandoning a couple of reads I found uninspiring. That’s just not something I do with print books, unless they’re really, really failing me…

Okay, that was then, this is now. So what to do? Let’s start with books I’m pretty sure I’m going to enjoy, and see how I get on. Oh and also, ideally ebooks I can pick up cheaply to begin with… because I still found myself reluctant to pay out good money for pixels… I have the same problem with other digital media. When I buy something I expect to have something physically in my hand, a CD, a DVD. Yes, I accept that’s because I’m a product of my generation but that doesn’t make my reluctance to buy something I perceive as ephemeral any less real. Though as an aside, I have already used my tablet to access the digital versions of assorted DVDs we’ve bought recently which have offered that facility bundled with them. Publishing really does need to adopt that model.

So, anyway, I began with Newt’s Emerald by Garth Nix since that looked like a fun entertainment from a skilled writer which I was likely to enjoy. Yes, that’s what it turned out to be and if you like the idea of a light-hearted and at times distinctly tongue-in-cheek Regency Romance with magic in it, I recommend you check it out. Personally I’d love to see him write some more complex tales in this setting. As to the ebook experience, I found I got on pretty well with it. I was still aware that I was using a new piece of tech but I got well into the story regardless. Good.

Then I picked up The Diaries of a Fleet Street Fox when it was on a 99p daily deal which I saw flagged up via Twitter. I’ve been curious about this book for a while, but not curious enough to pay the full price for it, pretty certain it was going to be a ‘read once only’ book and I generally get those out of the library. But 99p? Okay, let’s see how that works as a test. Well, it’s a good read, though I would say it’s much more Divorce of a Fleet Street Fox than an overview of life as a journalist. There is colourful and entertaining detail about the realities of the London news trade but it is primarily the story of a year dominated by domestic upheaval. That’s illuminating of itself, in what it has to say about modern life and behaviour but my interest in such stories is pretty limited. I definitely got my 99p’s worth. I might have felt a bit short-changed if I’d paid the full rate.

So that’s something else I can see me specifically doing with ebooks; keeping an eye open for special deals on books I’ve noted as likely to be interesting but not compelling enough to be a ‘must-buy’. And in this case, I also got to try out the low-light facility, since I woke up early one day over the Christmas break and read it in bed, without having to put on my bedside lamp and disturb my husband who was having a well-earned lie-in. I found that worked very well so that’s another definite tick in the plus column.

Okay but what about a book I would otherwise have bought in hard copy? Because that’s the ultimate aim, isn’t it? So when was I going to do that, and what was I going to buy? Well, Sainsbury’s gave me a push by adding a ‘500 bonus Nectar points if you buy an ebook’ on to the special offer vouchers they print out with their receipts nowadays. So I went looking on their website for Bleed like Me by Cath Staincliffe.This is the second book she’s written featuring the Scott & Bailey characters from TV. I really enjoyed the first one, as an excellent complement to the drama series, set in the gap between the first two TV seasons. So I bought it and yes, I really enjoyed this one too. It’s a fine crime novel in its own right as well as adding depth and breadth to the stories we’ve seen on the screen.

On the ebook aspect, what’s worth noting is I had to download Sainsbury’s own ebook app in order to read it rather than use one of the three other ereader apps I already had loaded and used. I wasn’t overly impressed with the Sainsbury’s own software. I ended up changing the font and background to find something easier on the eye and had to manually dim the app’s settings for reading in bed rather than just being able to tick the ‘auto’ box for the tablet itself. That didn’t diminish my enjoyment of the book in the least but does make me much less likely to buy ebooks from Sainsbury’s unless there’s some kind of bonus or special offer attached.

At the same time, I’ve still been reading actual hard copy books, some re-reads and some new. Now I find I’m aware of reading a paper book in a way I haven’t been before, noting the differences like not being able to adjust the screen-light level or print size… Okay, that’s new…

So I think that the more used I get to reading ebooks, the more use I’m going to be making of them, if that makes sense. I don’t imagine I’ll abandon new print books altogether, not least for the authors I’ve been buying for years and periodically re-read but for authors new to me and read-once things? Yes, I think I’ll be training myself to look for ebooks rather than defaulting to paper from now on.

I’m also going to be looking out for the ebooks of favourite authors’ backlists which have gone out of print and are being made available by the authors themselves.

This is what I’m doing with The Tales of Einarinn, of course, and that’s shown me one last unexpected thing. I’m currently proof-reading The Warrior’s Bond as we prepare the ebook edition. I downloaded the file onto my tablet yesterday and began reading on the sofa. After half a chapter, I had to go back to my laptop and sit at the desk. Because I realised I was already too far into ‘reader’ mode and losing myself in the story, rather than picking up the formatting and word-break typos that I was supposed to be looking out for! Maybe I’m getting used to ebooks more quickly than I realised…

As the centenary year of The Great War opens, I see outrage on Twitter and Facebook at the choice of Lord Kitchener’s in/famous recruiting poster for the UK £2 coins to be minted in this year. Don’t people know what atrocities he was responsible for, the objectors cry, throughout his long military career?

Well, since it’s quite likely that a good few folk don’t know Kitchener’s full story, I’m all in favour of them being better informed, if that can be achieved without descending into pointless arguments. The thing is though, as I look at this image, I wonder how my sons will see it, not least since they’re now both of an age which would have seen them shipped off to the trenches a hundred years ago, to do and die and never question why their elders and betters had ordered it.

But that was then and this is now. My sons have grown up reading Johnny and the Dead by Terry Pratchett, and seeing the stage production of Private Peaceful by Michael Morpurgo, and War Horse at the cinema. They’ve laughed through the DVDs of Blackadder Goes Forth and shivered at the intensity of that final scene. They watched Daniel Radcliffe going well beyond Harry Potter in the TV drama My Boy Jack. They’ve been on school trips to the Flanders cemeteries where they were all individually given the personal history behind a stark white tombstone and stood at the Menin Gate at sunset. Causes and Consequences of The First World War has been a staple of their school History curriculum. They’ve studied the War Poets in English Literature. Since we live in Oxfordshire, they see local traffic halted and diverted as hearses bringing dead soldiers home from Afghanistan go by.

What does Kitchener on a coin mean to them? A symbol of a bygone age when the deference ingrained in a class-ridden society saw men slaughtered by the thousand for the sake of a war they’d had no say in? A warning of the dangers of unthinking acceptance of ‘patriotic’ propaganda, most especially spouted by politicians wrapping themselves in the flag, while staying safely distant from bullets and shells? A reminder to look carefully for the self-interest or outdated thinking behind the words and motives of those who will be soliciting their votes in 2015’s general election?

You know, I don’t think I have a problem with them carrying that in a pocketful of change.

You recall a while back I mentioned I was going a guest post as part of a whole series exploring the much debated topic of names within fantasy fiction?

Well, here’s my post, looking at why fantasy names really need their rough edges knocked off.

So you can read that while I try to cram as much work into this week as possible, since pre-Christmas break stuff really is going to have to happen next week, I can’t put it off any longer…

You’ll recall me mentioning Aethernet Magazine from time to time this past year – the online magazine with my epic fantasy serial story in it?

Well now, here’s something interesting for the holiday season. The 12 Weeks of Aethernet. For £20 you can sign up for all twelve issues, one a week, starting from December 25th. Catch up with the stories by Chris Beckett, Tony Ballantyne. Adrian Tchaikovsky, Philip Palmer, Ian Whates, Eric Brown, Keith Brooke, Harold Gross (and extracts from some of these, along with mine are available on the Aethernet website here)

Or you can buy a SF&F fan among your friends and family a very distinctive and personal present for their ereader.

Full details on the offer here.

The latest Albedo One magazine is now out – and is the first issue to be available in a comprehensive range of ebook formats.

My review column in this issue is ‘Tales from the Unexpected’, where I’m looking at writers doing something different to the books they’re best known for. Specifically, Ian McDonald – Planesrunner (YA SF), Charlie Stross – Merchant Princes series (parallel worlds more fantasy than sfnal), Patricia Briggs – Aralorn (epic fantasy) and Stella Gemmel’s The City – not the Gemmell you were expecting to write this epic fantasy.

Click here to check it out.

Something about names is on just about every writer’s FAQ, regardless of genre. It never fails to surprise me at a convention or literary festival, when someone sticks up their hand and asks the ‘where do you get character names from?’ clearly thinking they’ve just asked something unexpected and original.

The thing is though, as with so much about writing, no writer works in exactly the same way, or thinks the same about something, and names are no exception. As with much else, there are broad similarities across the spectrum but even two writers taking much the same approach can come up with some different and interesting observations or thought provoking comments.

So the “Names: A New Perspective” blogposts gathered together by Abhinav Jain promise some fascinating reading. He’s garnered posts from a goodly number of writers – my own contribution will come along in a few weeks. Meantime, let’s see what other folk have to say, shall we?

You can find the first post by Patty Jansen here

At some point over World Fantasy Con weekend, someone, I think it was @gavreads, tweeted something along the lines of ‘do authors realise they own a little bit of our souls?’ I knew that reminded me of something I once wrote but I couldn’t think what… Aha, rummaging around in the back cupboards of the hard drive yesterday, I came across this! Which flips the idea completely, and isn’t really my usual style of thing. Still, you may find it amusing/creepy, according to taste. And no, I’m really not at all sure what I had in mind when I wrote it.

        Identity Theft

     Dear Miss Enstone,
    You are my favourite writer. I am sick in hospital and read your books a lot. My favourite character is Delly. I hope she finds her grandfather. Mummy says she will by me a signed copy of your next book when my chematherapy is over.
    Love
     Amy

    Rubbing his knuckles, he set the sparkly gel pen down beside his card-index box. This immature rounded script made his hand ache. The spelling mistakes were a good touch but was he really thinking himself into the mind of a terminal ten year old girl?
    He slid the pink notepaper with frolicking puppies, their fluffy ears askew, into the matching envelope. A sponge dampened the flap to avoid leaving saliva. Stamps were handily self-adhesive. A second class stamp. Amy’s mother would save every penny. Copying the address from his file card for Annie Enstone, he tossed the envelope onto the pink pile.
    He glanced at the scarred oak door, securely bolted top and bottom. He’d slept late and hadn’t heard the other students bickering over the bathroom or accusing each other of using up the milk. But everyone should have left by now, for their lectures or their labs. They probably thought he was already in the library, dissecting English Literature.
     He shoved the insecure office chair with its fraying seat backwards over blotched carpet originally the colour of cold tea. Reaching down, he fetched out his portable typewriter, and set it on the mug rings marring the varnish of the once elegant table. He threaded a sheet of paper deftly through the rollers and stripped latex gloves off with relief. Typing didn’t leave fingerprints.
     Tossing the flaccid gloves over to the printer, for the next time the paper tray needed refilling, he sighed. Writing the letters was so much quicker with the computer’s mail merge slotting in names and addresses. He smiled. The appeal from the school librarian keen to inspire reluctant readers and gifted and talented students alike was a good piece of work. Her plan to display signed photographs of famous writers was certain to flatter Mandy Oldsworth’s vanity, and those other media darlings.
    But the typewriter was better for these next letters. He picked up another selection of index cards. Let’s see how Edmund Crawley and other reclusive, eccentric writers would respond.

    Dear Mr Crawley,
    I have long wished to tell you how much pleasure your books have given me over the years. Latterly I have been re-reading your earlier works and find them as much a delight as ever.
    Recent publications are unfortunately beyond my means as I currently reside in a home for retired priests in North Yorkshire. I am writing therefore to ask if you might donate signed copies of ‘Angel’s Breath’ and ‘The Baldock Brewer’ to our small library—

    An angry fist hammered on the door. ‘It was your turn to put the bins out, wanker!’
    ‘Dick.’ A second voice sniggered. ‘Sorry, Richard.’
    He sat silently, shoulders hunched, heart pounding.
    ‘What the fuck’s he doing in there?’
    The voices retreated, boots heavy on the stairs.
    ‘Maybe those fucking books have finally fallen on his head.’
    As the front door slammed, he looked around. The faded, dated wallpaper was invisible behind the countless volumes salvaged from boot sales and charity shops to be ordered by genre, author and date of publication on the shelves he had made from scavenged bricks and plundered planks.
    He returned to his work. By the time he’d typed the final envelope the ribbon was fading to illegibility. He scowled. They weren’t that easy to get. Then he smiled. It gave an authenticity to the penurious priest’s plea. Yawning, he swept all the stamped letters into a stack. Should he go and post them now?
    No. He’d worked hard enough, this morning and last night, making his rounds of the derelict houses and tenantless offices that served as his return addresses. It was time for some reward, and the hardest work of all.
    He dragged a battered rucksack out from under the table. As he upended it, board-backed envelopes and jiffy bags tumbled onto the floor. He sat cross-legged, tearing them open. Photographs made one pile, books another. Virgin compliments slips and polite PA’s responses were tossed into the bin with the envelopes. Notes from authors more generous with their time went with the photographs. He ripped signed front pages from the books, desecrated remnants discarded.     By the time he had dealt with everything, his heart was racing.
Kneeling, he reached for a wooden box in the darkness under the bed. Opening it revealed a small book bound in creased cream calf-skin, two knives, one white-handled, one black, and an empty crystal inkwell. In their midst an octagonal blue candle squatted, part-burnt, in a shallow silver platter. Runes and sigils were carved deep into its facets.
    He gathered up the photographs, autographs and notes before lighting the candle with steel and flint. It burned with a greenish flame, oily smoke curling upwards. No problem. He’d long since taken the battery out of the smoke alarm.
    The book fell readily open at the right page. He barely had to look at the cramped mediaeval script any more. Slow and precise, he recited the arcane Latin as he sliced the inside of his wrist with the black knife’s razor edge. His blood dripped onto the first author’s signature. The candle flared, vapours rising, gouged runes glowing eerily bright as if illuminated from deep within.
    The whole room darkened, though the sun beyond the threadbare curtains shone as bright as ever. Shadows under the table and in the corners thickened and spread. The blackness edged closer, overwhelming the stains on the carpet. Harsh breath rasped, not merely his own. Something was crawling out of the darkness behind him. Its cold presence raised gooseflesh on the back of his neck. Look and all would be lost. He focused on the signed photograph, still reciting. Slowly the writing dissolved, sliding viscous down the blandly smiling portrait. He held a corner carefully over the open mouth of the inkwell. The darkness dripped sullenly down. A satisfied sigh behind him sent a curl of cold breath like smoke over his shoulder. He reached for a friendly note. Blood obliterated the kindly thoughts wishing little Amy well. Magic washed black malice into the inkwell.
    By the time he had finished, the unseen presence behind him was breathing slowly, sated. Drenched with pungent sweat, he felt light-headed. The scars on his arm burned where he’d re-opened successive cuts to keep the sorcery flowing. Hands shaking, he laid down the knife and snapped the silver top of the inkwell shut. Reciting the final verses in a hoarse whisper, he snuffed out the candle. The darkness retreated with a faint hiss of disappointment. Alone again, he drew a trembling breath of heartfelt relief.
    But he’d made the mistake of leaving the ink once before, only to find it dried to a useless sludge. He forced himself to his feet, crystal vial in one hand, scrabbling in the box for an old fashioned steel-nibbed pen in the other. Sitting at the table, he reached for a spiral-bound notebook. The place where he’d stopped before marked with a plaited lock of his own long hair. He opened the inkwell and a hint of shadow swirled inside the neck. Dipping his pen, he sat and waited for the words to come.
    They would come. This time there’d be no rejection slips.

(March 2016 – this post has been updated with new links to press articles on the discovery of some original Jacobean bed hangings in a Scottish castle – scroll to the bottom if you’re checking back)

As regular readers know, I like to embroider. I do canvas work and cross-stitch and thanks to an inspired idea by my sister, I’ve been learning Jacobean crewel work, courtesy of family and friends clubbing together to buy me birthday-gift-certificates for Royal School of Needlework courses at Hampton Court Palace. I’d like to show you what I was working on last weekend, not by way of an ego-trip* but to show you what nine hours of such stitchery looks like.

Yes, nine hours and as you will see, even this smallish design isn’t complete as yet. Granted, I’m still relatively new to this style of work. On the other hand, the tutor did remark I was making good progress.

Now let’s look at this. It’s a printed fabric but in very much the sort of design that crewel work was used for – embroidering with wool on linen twill – making curtains, wall-hangings, fire-screens and other decorative furnishings to brighten up – and insulate – homes in days of yore.

For scale, those humming birds are about the same size as the flower in that first picture. If they’re too small to make out, click on the picture for a larger view. So just imagine how many woman-hours of stitching would be involved in say, making a set of bed curtains, canopy and valances decorated like that. Even assuming a practised needlewoman could work say, twice as fast as me. Even if that flower represented five hours’ effort, the labour involved is considerable.

This is what wealth meant, in the days before Ferraris and Rolexes. A significant measure of wealth was the ability to buy other people’s time and endeavour. You can see this in other day-to-day things historically. Dark fabrics with rich colours required multiple dye processes, so they were more expensive. High-status food like jelly/jello took a lot of time-consuming preparation and skill, starting with boiling up calves’ feet for hours at a time. This premium on personal labour has some consequences we might not expect today. When clockwork roasting spits came in, they were convenient but they weren’t a must-have item for the wealthy. It was more of a mark of status that you could employ a servant to manually turn your spit and roast your meat with personal care and attention.

And let’s not forget that you need good light for doing work like this embroidery; either natural daylight, which means whoever’s doing it needs decent glass windows which are costly, or expensive beeswax candles.

I know I’ll be looking at embroidered textiles in National Trust stately homes and castles with a whole new level of insight now. I’ll also be thinking carefully before blithely decorating any fantasy homes with those richly embroidered wall hangings.

*As a general rule, I am averse posting ‘look at me, aren’t I cool?’ stuff. ‘Read my books, they are cool,’ is an entirely different matter.

March 2016 – I’m updating this post with links to articles on the fantastic discovery of a set of Jacobean bed hangings found tucked away in a linen store in Dunollie House, Oban, during the restoration of a derelict Scottish castle. Yes, really!

The story from The Scotsman and some fantastic pictures

From the Oban Times, with close up photos and information on restoration and display plans