Writing, Full Time…a Day in the Life.

11:30: Shouldn’t I have a shower today?

6:30:  Wake up, hoping the plot problem’s solved itself overnight. It hasn’t.

6:45:  Make coffee.  Nothing happens without coffee. Feed the cat.

7:00:  Sit at desk. Remove cat from keyboard.

7:15:  Check social media. Attempt to refrain from checking sales stats. Fail. Sigh today. (Cheered yesterday.)

7:45:  Stop procrastinating. Check e-mail for business-related items. Answer 5 emails. Remove cat from in front of computer screen.

8:30:  Look at whiteboard. Realize with horror there are three deadlines looming.

8:45:  Finish community newsletter column.

9:15:  Finish drafting the promotional ‘blurb’ for another author’s book.  More coffee.

9:30: Write and schedule social media promos for the next week.

10:15: Becoming one with desk chair. Go for a walk and think about (a) the book review due and (b) the knotty plot point. Apologize to neighbours whom you’ve ignored because you’re deep in thought.

11:30: Shouldn’t I have a shower today?

12:00:  Food might help. And more coffee.

12:30: Check social media. Type one-handed because cat is insisting on cuddles.

1:00:  Solve some problems for the community newsletter. Apologize to a contributor whose article had a typo.

1:30: Begin the book review.

1:35: Clean up cat’s hairball. Return to book review.

2:30:  Ask writer friends via DMs about the plot point. Much discussion….not all on topic.

3:30:  Break time. Discuss plot point with husband…or whoever this man I live with is.

4:00: Dear gods, is that the time?  Open WIP document.

5:30:  Cat is being very loud. Oh. She’s hungry. Oh. Dinner. Good: it’s husband’s turn to cook. Pour wine.

6:00:  Eat. 

6:30: Clean up. Write a grocery list. Return to desk. Read what I wrote in the WIP. Sigh.

7:30: Couch and tv time. Watch with half an eye. Make hopefully relevant comments to husband about what’s happening on-screen. Write ideas in notebook with the other eye-and-a-half.

10:00: Return to keyboard. Write for a bit.

11:00: Pour scotch. Look at whiteboard of writing/marketing/editorial tasks. Swear. Feed cat.  Pour more scotch to counteract too much coffee. Go to bed, plot point still unsolved.

Hero’s Journeys and Ritual Landscapes #AuthorToolBoxBlogHop

The most effective hero’s journey stories use landscape as an important part of the journey

“Ritual landscape” is a term coined by archaeologists originally to refer to the concentration of ceremonial sites of Neolithic and Bronze Age people in one geographic area. Stonehenge, with expansive earthworks extending out from the central henge for at least 6 km, is probably the best known English example. In recent years the term has been extended to refer to later periods, and I have argued in papers for landscape archaeology courses that it can be used as a basis to examine how even the landscape of a stately home can be structured to create a sense of awe and ceremony, with the house taking the place of the central temple. But here, I’d like to think about the purposes of a ritual landscape, and how they might align with the concept of the hero’s journey in fiction.

Archaeologists argue that ritual landscapes are in part about places of protection and renewal. Francis Pryor writes:

I sometimes wonder whether ritual landscapes are indeed just a prehistoric phenomenon. Indeed, the more I think about it, the more I realise that the need to travel, discover and re-imagine is part of the human condition. In the Middle Ages people from all walks of life regularly went on pilgrimages and of course they were familiar with what the various places they were travelling through signified. Pilgrimages, just like their pre-Roman antecedents, were never about exploration, de novo. Instead the exploration was personal and introspective.

The hero’s journey is also about pilgrimage:

 the common template of a broad category of tales and lore that involves a hero who goes on an adventure, and in a decisive crisis wins a victory, and then comes home changed or transformed.

And at this point, you may well be thinking, OK, but how does this all fit into a blog about tools for writers? Bear with me. Because my point is this: the most effective hero’s journey books, whether they are high fantasy or not, use landscape as an important part of the journey. The ritual landscape becomes infused and integrated into the journey, the pilgrimage, and in is part what helps to transform the ‘hero’. It’s a force in the story, not just a background to the adventure.

The first example that came to mind when as I contemplated this idea is from The Lord of the Rings, as the fellowship travel down the Anduin and pass through the Pillars of the Kings. It is a dangerous place, guarded by the two ancient carved likenesses of two kings:

Awe and fear fell upon Frodo, and he cowered down….even Boromir bowed his head as the boats whirled by, under the enduring shadow of the guardians of Númenor…. “Fear not!” said a strange voice behind him. Frodo turned and saw Strider, and yet not Strider; for the weatherworn Ranger was no longer there. In the stern sat Aragorn son of Arathorn, proud and erect, guiding the boat with skillful strokes; his hood was cast back, and his dark hair was blowing in the wind, a light was in his eyes: a King returning from exile to his own land.

This is a striking and almost obvious example of the power of landscape, but the concept can also be used more subtly (there are many examples in LOTR: Tolkien understood the power of landscape long before the term ‘ritual landscape’ became an archaeological term – nor was he the first.)

In Susan Cooper’s The Dark is Rising series, in the last volume, Silver on the Tree, she uses ritual landscape as a turning point in the story:

Jane said … “What an enormous lot of flat land there is on the other side of the river. Miles of it, miles and miles, before the mountains start again.” … Will stood up and came quietly forward to stand beside [Bran], looking down at the estuary. He tried to keep the excitement from his voice. “Drowned,” he said. “Lost.” The mountain was very quiet. The skylark had finished its song. Very far away once more they heard gulls faintly crying, out over the sea. Bran stood very still, without turning. “Dear God,” he said. The others scrambled to their feet. Simon said, “The Lost Land?

These are only two many many examples. I use the concept in my own books, both consciously and unconsciously. If you are writing a ‘hero’s journey’ structure, I’d encourage you to seriously consider the idea of how landscape can inform the travel and transformation of your characters. It adds another dimension to the story, one that embeds it further into its time and place, strengthening the connection to your world – whether it is real or imagined – and creating a setting that will resonate in the minds of your readers.  

Featured image: Sí an Bhrú (Newgrange), Ireland. Tjp Finn, CC 4.0 license.

Music’s Memory

Write what you know, right? Then why do I write about music?

Why is music so important in my books?  I’m not a musician; I can’t play an instrument, carry a tune, or even keep time.  Write what you know, right? You wouldn’t think I’d write about music.

But one of the themes of my books is language, and what it can and can’t do: in my protagonist Lena’s words, they are in part

about language, and meaning, and if all concepts were universal, and could be translated. About the gap between intent and comprehension, between what was meant and what was understood, and the assumptions and shared experience encompassed—or not—in any exchange.

Empire’s Exile

Music, in my books, is another form of language, a way to communicate that goes beyond words to invoke memory and emotion. I introduce this in the very first book, Empire’s Daughter, when the character Tice teaches Lena a song about exile and lost love (introducing another major theme of the series).  In book 2, Empire’s Hostage, Lena learns that in Linrathe, the country north of the Wall, song is used to teach history – and more than history, in truth – a sense of national identity.

Song weaves its way through the next book, Empire’s Exile, too: its role in entertainment, in ritual, in status among a group of warriors. It communicates regret, love, loss – and is a vehicle to bring two people together.

But it’s in the two books that the musician Sorley narrates: Oraiáphon and Empire’s Reckoning, that music takes centre stage. Its role in Oraiáphon is pivotal to the story – without giving away the plot, I’ll just say that Oraiáphon is my world’s equivalent of classical mythology’s Orpheus.  

Music is central to Sorley’s identity, and as the author I take advantage of that. Music highlights the differences between him and the two men in his life: with pragmatic Druisius, the instruments they play are similar, but the tunings are different, and to Druisius, all Sorley’s songs are sad. With Cillian, whose use of language is precise and subtle, honed by his years as a diplomat, Sorley’s contrasting use of song to influence through emotion reflects their characters:

“Stories told by you, with all your scáeli’s skills?” Cillian asked. “A tale spun to coerce and convince, my lord Sorley?”

Empire’s Reckoning

Of all the books in the series, Empire’s Reckoning focuses most on the influence and limitations of language: of oaths made and broken, of the power of words spoken and unspoken – and the role of music in conveying what words cannot. That’s why I, a weaver of words, write about music.

You can hear Sorley sing his beautiful Paths Untrodden here.

Purchase links for all my books here.

Want to know more about the world of my books, the real history that informs them, or read vignettes and updates on the work in progress, Empire’s Heir? Sign up for my monthly News from the Empire.

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Ancient Warrior Women Part II: Commanders

Some of Rome’s most formidable enemies were women. Here’s a look at five of them.

Last week I wrote about the archaeological evidence of women warriors in the bronze and iron ages. This week, I’ll take a look at a few of those who not only fought, but led forces against the Roman Empire.

Khawlah bint al-Azwar (بنت الأزور)

A 7th C Arab, Khawlah bint al-Azwar fought alongside her brother during the Siege of Damascus, when the army of the Rashidun Caliphatetook Damascus from the Eastern Roman Empire. When her brother, commanding the troops, was taken prisoner during the Battle of Sanita-al-Uqab (معركة ثنية العقاب‎) by the Byzantine Army, Khawlah bint al-Azwar successfully attacked the Byzantine rear guard with a small group of women. In two other battles against Byzantine forces, she again successfully led others – male and female – against their enemy.

Mavia, (ماوية‎,)

Mavia was ruler of the Tanûkhids in southern Syria in the last half of the 4th century. Riding against Roman rule in Phoenicia and Palestine, she defeated the Roman army several times, until they gave up and signed a truce. She was an able tactician: she and her generals had been studying Roman fighting techniques and tactics for over a hundred years. Her troops were nomadic, using guerilla warfare techniques – notably lancers on horseback – against the Romans. Later, after winning favourable peace terms from Rome, she would send mounted troops to support their fight against the Goths.

Amanirenas 

A leader of the Kush in the last century BCE, Amanirenas led her people against Roman forces in Egypt in 25 BCE, capturing several forts. Ongoing fighting saw the Kushites pushed back, but a treaty signed a few years later saw a portion of lands returned to the Kush, and after that, relations between Rome and the Kush were peaceable. (On a side note, Amanirenas was a kandake, the king’s sister whose son would be the heir. Kandake = candace, and is the origin of the woman’s name.)

Boudicca.

Leader of the Iceni rebellion against Roman rule in Britannia in 60/61 CE, after her lands were confiscated and her daughters raped, Boudicca’s forays against Roman towns and troops were so successful that the Emperor Nero considered withdrawing from Britain altogether. She was eventually defeated by the Roman general Suetonius in 61 CE.

Zenobia

A third-century queen of the Palmyrene Empire in Syria, Zenobia was regent for her  son  after the death of his father. Under her leadership, most of the Roman East came under her rule, including Egypt. In 272, Zenobia declared her empire free of Rome, made her son Emperor and herself Empress. After considerable conflict, Zenobia was captured; likely she taken to Rome to be part of the Emperor Aurelian’s triumphal procession, but after that her fate is unclear; contemporary sources differ.

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Empire’s Reckoning by Marian L Thorpe – an Empire on the edge of history Reprised

A lovely and thoughtful review of Empire’s Reckoning.

Northern Reader

A group of countries on the edge of history, this is the story of a new arrangement, a new agreement between states that border each other, overlap and have to find a way to work together. A story which started in the Empire Legacy trilogy, this is a historical fantasy which looks at  a group of people at the heart of a political situation. It features Cillian, unwilling politician, linguist and thinker, his wife Lena, warrior, who narrated the original novels, and, Sorley, a musician who has taken over the narration. In this book he narrates the story of his experiences with the couple, as well as Druisius or Druise his companion, bodyguard and lover in two time lines, fourteen years apart.  It makes for a complex book, but the element that holds it together is the people, four people who appear in both timelines, strong characters that affect all…

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Empire’s Reckoning – Marian L Thorpe

A wonderful review of Empire’s Reckoning from Mai Taylor at Mai’s Musings.

Mai's Musings

When I heard that Marian L Thorpe was writing a follow up trilogy to Empire’s Legacy, I was over the moon, and I am delighted to be able to introduce it to you all today, as I join the blog tour for Empire’s Reckoning, the first book in the new series. Many thanks to Marian, and to Rachel at Rachel’s Random Resources, for inviting me to be a part of the tour, and for providing me with a copy of the book.

BLURB:

How many secrets does your family have?

For 13 years, Sorley has taught music alongside the man he loves, war and betrayal nearly forgotten. But behind their calm and ordered life, there are hidden truths. When a young girl’s question demands an answer, does he break the most important oath he has ever sworn by lying – or tell the truth, risking the destruction of both his…

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#BlogTour #RachelsRandomResources @rararesources / #GuestPost : Empire’s Reckoning – Marian L Thorpe @marianlthorpe

Here’s my guest post from The Magic of Worlds, on a tantalizing idea about sheep bells.

The Magic of Wor(l)ds

– ‘The Magic of Wor(l)ds’ blog is a hobby, reviews and other bookish stuff on this site are done for free. –

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Today I’m on the ‘Empire’s Reckoning’ blogtour, organised by Rachel’s Random Resources.
To promote this book I have a guest post written by its author, but before I let you read it first some ‘basic’ information.

About the Author :

Empires author photoNot content with two careers as a research scientist and an educator, Marian L Thorpe decided to go back to what she’d always wanted to do and be a writer. Author of the alternative world medieval trilogy Empire’s Legacy, Marian also has published short stories and poetry. Her life-long interest in Roman and post-Roman European history informs her novels, while her avocations of landscape archaeology and birding provide background to her settings.

Social Media Links:
Website
Twitter
Facebook author page

Synopsis :

aCY3hbgMHow many secrets does…

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A Landscape of the Heart: Building the World of my Books, Part 1.

Norfolk has a firm hold on my heart, my imagination, and a place in the construction of my fictional world.

The English county of Norfolk, as those who have been following my blog for some time know, is my second home. When I will see it again, in the wake of COVID-19, is another question, but it has a firm hold on my heart, my imagination, and a solid place in the construction of my fictional world.

Anyone who knows Norfolk – and my books – may now be asking how?  A flat land, for the most part; arable, with little rivers and chalky soils and patches of reedy fen. Not the hilly, sheep-grazed moorland that so much of my world encompasses. No, the influences are more subtle.

Firstly, Norfolk was part of the Danelaw, the part of England under Scandinavian rule. Twenty-nine existing places in Norfolk have ‘thorpe’ as a suffix or prefix, and while this happens to be my last name, its meaning ‘outlying hamlet, small village’ is from the Norse þorp, and from it I take my settlement names in Linrathe and Sorham.  In fact, Ingoldstorp, mentioned several times over the series, is the name of the village (Ingoldisthorpe, pronounced Inglesthorpe) just north of the one where I have spent my winters since retirement.

The next village north from that is Snettisham, and I borrowed Snetti’s name, too, for a minor character. There are more examples, but I won’t belabour this point. But in the last paragraph I wrote ‘twenty-nine existing places’.  There are also thirty-three ‘lost’ villages in Norfolk with ‘thorpe’ in their names, and it is these missing settlements that also inform my world.

Deserted medieval village is the correct term for these abandoned settlements.  In many cases there is nothing but a few lumps and bumps on the ground, and perhaps the ruins of a church. (Or sometimes, a church still in use, but standing in the middle of nowhere, apparently.) The reasons for abandonment are many, including land enclosure and parkland created for manor houses. Others suffered as rivers changed course or land flooded. But in Norfolk, one reason was simply depopulation.

Norfolk is now 40th of the 48 counties of England in population density, the number of people per unit of land. But in the middle ages, it was the most populous county, and its county town, Norwich, the second city of England. Until the plague: first the Black Death in 1349; then, two centuries later, a third of its population died in the  epidemic of 1579, and another third in 1665.  

The land Lena inhabits is like this, a depopulated land, villages scattered and distant, too few men to defend the land against threats from two directions. The reasons for the Empire’s depopulation and that of Norfolk are pretty much the same, although the Eastern Fever isn’t the Black Death.

But while Norfolk – and the Empire – are depopulated lands, they both have long histories. If Lena rides east from her coastal village, she will come to the military road, running north and south, wide and paved. If I walk or drive east from my Norfolk village, about, in my mind, the same distance, I come to a Roman road, running north and south. No longer paved; no longer very wide, but a reminder, every time I walk it, of a time there was a Roman fort on the coast, and villas along the ridge overlooking the Wash, and the coins in use bore the likenesses of emperors far away.

Peddar’s Way Roman Road, Norfolk

Danes and Romans; disease and depopulation; all these are important aspects of my books, influenced – sometimes consciously, sometimes not – by what I know. Not reproduced, but borrowed, moulded and transmuted into a different form, almost recognizable, almost history.

map of Scandinavian place names https://www.mygen.com/users/outlaw/Outlawe_Viking_Origins.htm

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How many hours? Planning research for a historically-based novel: #authortoolboxbloghop

For my first two books, I was lucky – years of immersing myself in the Roman and post-Roman history of Britannia meant I had little actual research to do, except fact-checking. But the third took me into the library.

The books I write are quasi-historical: they are set in a world with strong similarities to northern Europe after the decline of Rome. There are significant differences, but many of the events that shape it are based on real history. For my first two books, I was lucky – years of immersing myself in the Roman and post-Roman history of Britannia meant I had little actual research to do, except fact-checking. But the third took me out of the Britannia analogue – and into the library.

As I prepare to write the fifth full novel in the series, I am expanding into both a geography and a political history I know less about. So it’s time for more research, and in this month’s #authortoolboxbloghop, I look at how I do that.

When I say research, I mean major research, not the quick Google search for ‘how many public bread ovens were there in Rome’. (One for every 350 people, roughly, if you care.) Without giving too much away, the plot of Empire’s Heir, the next book, takes place mostly in Casil, my Rome analogue, and involves the politics of power as they rest in a high ranking, and therefore highly marriageable, young woman.

So, what major topics did I need to research this time?

Setting: Rome in the 4th C, which is the time in Rome’s history I chose to base my physical city on;

Character background: the education of an heiress to a country’s leadership in early-medieval Europe;

Politics: the politics and practicalities of marriage alliances.

(In other books, it’s been battles, and ship construction, and travel times between Rome and Britannia, and Viking travel into continental Europe and Byzantium…whatever you’re writing about, you need to define what you’ll have to spend time researching.)

Let’s look at those topics one at a time.

Setting:  Part of one of my earlier books takes place in Casil, so I’ve already done a fair bit of research. Three sources have been particularly useful

  1. Video reconstructions
  2. Ancient maps
  3. A research trip to Rome, with a private guide. (I realize this is a luxury out of the reach of many, but good guidebooks to ancient Rome could have been substituted, especially used in conjunction with the video reconstructions.)

What I have now are sources to refer to, and a fair understanding of the geography of Rome. Between watching the videos, taking an on-line course on ancient Rome, studying the maps and actually going to Rome, I’ve spent about two weeks – call it 80 hours – on this prior to beginning to write the book. I need to spend another 10 or so, I think, working with a map and the structures of buildings in conjunction with the plot of my story.  Where are the stairs she’ll need to access? How long did it take to get from the Forum to the Pantheon on foot?  What’s the easiest route for a character who is physically disabled to travel?

Character background: the education of an heiress to a country’s leadership in early-medieval Europe. I’m using a number of sources here, some on-line, more not: several new books on early-medieval women wait to be read. I did both a literature search, and asked some friends whose research area this is, to find the books to read. 40 hours here, for a solid understanding.

Politics: the politics and practicalities of marriage alliances.  Again, more reading; some will be covered in the other books; some will be separate. I estimate 30 hours.

In total, I expect to spend 160 hours in major research prior to writing. Four forty-hour weeks. Some of it’s already done, so now perhaps I have 80 hours to do, or 2 full weeks. But I can’t devote 40 hours a week to research – while I work as a writer & editor full time, that includes all sorts of other writing (like this blog post), my editorial work, and promotion and marketing. Call it 6 weeks, then (providing I don’t find myself going down fascinating rabbit-holes of trivia.)

As fascinating as I find all this, I can’t focus on one subject for too long. So I will divide it up –  a couple of partial days spent on the mapping and logistics (which I love, and can easily hyperfocus on); a couple of partial days spent on reading. The advantage, too, of doing it this way will be the cross-pollination of ideas that will occur – because while I have an overall plot outline, it will be the research that fills it out and provides details and plot twists I won’t necessarily have thought of. But it also means I won’t start the actual novel until September.

Sometimes I envy writers who get to make it all up!

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Release Day for the book that almost wasn’t.

I hadn’t thought about this story at all, so it took a long time to take shape. I scrapped the first draft at 80,000 words and started again.

I had begun to write Empire’s Heir, the book I thought would be the next in my series, set about 18 years after the end of Empire’s Exile. The narrator was Gwenna, daughter to two of the main characters in the previous series. Early on, she was mentally describing another character, Sorley, and in that unfiltered flow that happens sometimes, from subconscious brain to keyboard, she told me something about him that made me stop and say “What? How? When?”

So then I had to tell his story, because it was important.

But because I hadn’t known I was going to, so I hadn’t thought about this story at all, it took a long time to take shape. I scrapped the first draft at 80,000 words and started again. At 130,000 words, I excised 40K to become the novella Oraiáphon. I wrote a bunch more, revised, cut, trimmed….and it still wasn’t right. Then one day I wrote one paragraph…and suddenly it WAS right.

It went out to beta readers and my developmental editor. Beta readers loved it, with some wise suggestions. The developmental editor did not, for both structural and story reasons. I listened, accepted some structural revisions, ignored the story reasons – because what he hated was the thing I hadn’t known, the thing the character Gwenna had told me way back when. (He still doesn’t like it, but we’re agreeing to disagree.)

So today the book that nearly wasn’t is out in the world, and some people will agree with my beta readers, and some with my developmental editor, and some will be in-between. That’s ok, because no book is right for everyone.

A deep breath, a few weeks to relax, and I’ll start (again) on Empire’s Heir.

You can read the first chapter of Empire’s Reckoning  here…and hear Paths Untrodden, Sorley’s song for Cillian.

Available from Amazon in both Kindle and paperback formats.

Also available in e-pub format for Kobo, Nook, and other e-readers