Apparently, I’m Getting Better

Apparently, I’m getting a bit better with this whole writing malarkey. Usually, my co-director/partner rolls her eyes when she gets asked to do the initial pre-final draft peer review. Today, she actually demanded the next chapter of LIATH LUACHRA: THE SWALLOWED,

Honestly! That is a good thing.—the-swallowed

New FIONN: Defence of Ráth Bládhma Cover Launched (and associated sale)

Well, it’s taken a while but we’re finally launching the new ebook cover for FIONN: Defence of Ráth Bládhma (first book in the Fionn mac Cumhaill series and SPFBO 2016 finalist).

To celebrate this …. er, momentous occasion we’re setting the price at 99c/99p FOR THE NEXT THREE DAYS (i.e. over the weekend).

Thanks to all those who helped with the launch and for spreading the word.

Go raibh míle maith agaibh!

The Challenge of Cultural Integrity in Writing

When I first started writing the Fionn mac Cumhaill Series over two years ago, I was keen to create a realistic, culturally authentic version of the famous Fenian Cycle that was recognisable to Irish readers but also accessible to non-Irish readers. As part of my overall goal with Irish Imbas Books however, I was also keen to use the series as a way of reintroducing lost Gaelic/Irish concepts (that is words, expressions and – more importantly – ways of thinking) that have been lost from common parlance as a result of colonization but which still have significance at a societal level.

This is why throughout the series, you’ll find a constant smattering of words like ‘fian‘, , draoi, ráth, and some others, words that by themselves mean little, but which in the context of Irish/Gaelic culture have a major resonance.

The word ‘Fianna‘ is a classic example of how much was lost. This word – the basis for the contemporary word ‘Fenian’ – is believed by most people (including many Irish people who’ve never been taught any better) to be the name of Fionn mac Cumhaill’s war band. In fact, ‘Fianna’ was simply nothing more than the plural of the ‘fian‘ (which meant ‘war party’). This means that Fionn’s fian was one of a number of such war parties and that they were a recognised dynamic in the society of the time. It’s a little thing, but when you take the downstream consequences of that new knowledge into account you can see how it changes the interpretation of the story.

Trying to balance those competing goals (the requirements of cultural integrity and the requirement to deliver an accessible and enjoyable story to an international audience) can actually be quite a challenge at times. The truth is that any decision you make with one can have a huge consequence with the other.

One of my earliest decisions, for example, was to retain the original Gaelic spelling for the character names (Fionn, Liath Luachra, Bodhmhall, Fiacail etc.) and place names (Seiscenn Uarbhaoil etc.). This demonstration of cultural accuracy – naturally – clashed bigtime with the accessibility goal. For non-Gaelic speakers, Irish names can be the equivalent of having a broken stick in your mouth – whatever comes out is going to come out mangled! Anyone used to thinking in English – understandably – struggles with the unfamiliar combination of vowels and consonants.

Naturally, the advice I received from everyone was to use an anglicization of the names to make the reader more comfortable. After all, that’s why in the early days Fionn mac Cumhaill’s name was anglicized to the meaningless ‘Finn Mac Cool’. Sure, the latter is easier to say for an English speaker but the English name doesn’t carry the strong cultural associations of the Irish one (Fionn means ‘fair-headed’ but also has related connotations of ‘insightfulness’ etc.). ‘Finn’ is a meaningless term that includes no such depth or resonance (and, here, I’ll have to apologise in advance to those parents who’ve gone and named their kids, Finn!).

If you’ve read any of the Fionn mac Cumhaill Series books, you’ll already know I went with my heart rather than my head on this particular issue (although I did soften the challenge for readers by providing an audio pronunciation guide). In some respects that actually seems to have paid off in that readers predominantly respect what I’m trying to achieve and have demonstrated immense patience and willingness to overcome the temporary pronunciation challenge. At the end of the day, I guess what my experience has really demonstrated is that if you produce something that’s good enough/intriguing enough/interesting enough for people to enjoy, they’ll put up with your whims and even support you.

As an aside, here’s a question I once held up at Irish cultural/heritage class I was running:
How would you pronounce the following?

  • Zach Galifianakis
  • Michelle Pfieffer
  • Arnold Schwarzenegger
  • Nikolaj Coster-Waldau
  • Chiwetel Ejiofor

Everyone in that group of attendees (about 18) was able to pronounce at least four of those names and where they couldn’t they knew exactly what that person had achieved as part of their creative career.

Basically, culture is not a barrier to success unless you let it be.
And, seriously! If an English speaker can manage to pronounce Schwarzenegger, Fionn is never going to be a problem.

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The Warrior Woman

The Woman Warrior

Writing Liath Luachra – The Grey One turned out to be a lot harder than I’d anticipated. Most of it was written over a miserable New Zealand winter (in Wellington, at least), we had a number of other strenuous work contracts on and constant repair work on the house meant it was difficult to focus at times. This slowed down the writing immensely but, to be honest, in some ways I think this was a good thing. When you push yourself to write a pre-determined plot you can end up writing an almost perfect outline that lacks genuine emotional resonance. When the plot’s clear in your head but you take additional time to work through the different scenes in terms of characterisation, motivation, additional twists and so on, the story usually ends up much more powerful and dramatic for that.

Although ‘The Grey One’ is essentially a ‘stand-alone’ prequel to the Fionn series, for me it was an interesting opportunity to explore the dynamics of war-parties and inter-tribal relationships in Iron Age Ireland. There’s a surprising amount of material available on early war-parties – particular on fian – although, as always, you have to take what’s written with a grain of salt. The Church in Ireland hated them with a passion and, hence, wrote very negatively about them but other sources describe them as a pragmatic part of society at the time. Interestingly, the word ‘fian’, eventually disappeared out of common usage and instead, the plural noun ‘Fianna’ was used. This is, of course, what most people mistakenly believe to be the name of the war band led by Fionn mac Cumhaill (as well as the origin of the more modern term ‘Fenian’).

Having a single female protagonist in a male-dominated world (particularly one involving violence) has proven a particularly interesting challenge in that it creates powerful tensions between characters that I normally don’t delve into in great detail. Obviously, the main one is that of sexual harassment/coercion – particularly with more vulnerable younger women – and that’s dealt with pretty bluntly throughout the novel. Most of my previous books have strong female characters but it’ll be interesting to see what people think of the approach I use in this particular one.

When it comes to female warriors in the ancient world, there are of course, occasional snippets available in the historical sources but, again, you really have to take care with these as well. Most of the writers tended to be male and that almost certainly influenced their descriptions and interpretation. It’s also probable that at least some of them sensationalised the topic just as much as in contemporary times. The truth is that, for some very obvious practical reasons, women didn’t tend to engage in physically dangerous and violent combat unless there was a particularly compelling reason to do so. Given that ‘The Grey One’ is a work of fiction with elements of fact, this is something I’ve had to dance around somewhat carefully.

To give people a sense/taste for what the book’s about, I prepared a three-chapter pre-launch teaser in ebook form under the title ‘The Warrior Woman’ which went up on Amazon last week. Being Amazon of course, they insist on charging a minimum of 99 cents however if you want a free copy in mobi. (Kindle) or ePub (Apple, Kobo etc.) you can find one at Smashwords or at Noisetrade. If you read/print off your computer you can get a good, old-fashioned PDF document here under ‘Download sample chapters’.

This book itself becomes available through Amazon on 4 December 2015. Hardcopy versions will also be available in hardcopy through Amazon (sometime in December) and by ordering through other bookshops (from February). If you really, really, absolutely have to get an ePub version just email me though the website and I’ll see what I can do.

Liath Luachra – The Grey One (Initial Draft of Cover)

Liath Luachra 03

2015 has been a bit of a tough year on the work front so far but I’m pleased to say that we’re actually making good progress on the book and website fronts (amongst others).

At this stage, I’m approximately two thirds of the way through Liath Luachra – The Grey One (which is something of a prequel to the Fionn Mac Cumhal Series). I usually find that by the fifth chapter, the plot lines are cohesive but that I need to go back and rewrite/amend some of the earlier sections to ensure the linear flow of the narrative. This tends to delay the completion but it really is the most important part for me in terms of ‘plot quality’ so getting over that ‘hump’ is important. Everything after this feels like “walking downhill” (as one of the Ents in LOTR says).

I know other writers are much more focussed in terms of outlining their plot but I find that when I do that, the emotional resonance of the story tends to falter. Everyone has their own way of doing things, I guess.

Word count with Liath Luachra at this point is 54000 words or thereabout. I realise some people are waiting for Fionn 3: The Adversary but I needed to get this story done first as part of it is relevant to  the plotting in the latter. Fionn 3 is sitting at about 48000 words. Both will definitely be complete in the last quarter of 2015.

The above is an early draft of the cover image for Liath Luachra but the finished version is quite different. I’ll be putting out the back cover blurb (the summary of the plot) next week with an updated version.

Thank you for being patient with the – ahem – creative process!

(My Writing) Update on new Writing Projects

Metaphysical sweat pouring from the brow over the last three weeks due to huge workloads in other – non-writing – areas. Hence, the great silence for such a long time. A brief post this week therefore, just to share some of the background work going on in the covers for Fionn Book 3: The Adversary.

I really like working on book covers. Visual design is a new creative skill for me (and one I’m not particularly good at). Hence, I love to dabble and work with people who are. Here, for your interest, is one of the early proposals for Fionn III.

The Adversary 04