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History of the Werewolf

History of the Werewolf

In my novel, The Inside Story of the British Bureau for the Arcane: The Carolean Codex , I include werewolf-like creatures that originated from Scotland. My research included wider information and a history of these creatures which I've shared here. I find it fascinating that the idea of the "man wolf" goes back four thousand years! Why is the werewolf such a popular, iconic beast? A look at its appearance in history, books and films, as well as psychology, provide the answers. The Werewolf in Ancient History The earliest surviving example of man-to-wolf transformation is found in The Epic of Gilgamesh - the great Babylonian poem that predates Homer's Iliad and Odyssey by 1500 years and, therefore, stands as the oldest piece of epic world literature - from around 2,100 BCE. After that the Greek historian Herodotus, in 425 BCE, described the Neuri, a nomadic tribe of magical men who changed into wolf shapes for several days of the year. The Neuri were from Scythia, land that is now part of Russia. It's likely this tradition arose from men using wolf skins for warmth and is less of what we'd call a transformation. However, the first reference to the creature we would recognise today as a werewolf is from Arcadia in Greece. Here, Zeus was worshipped as Lycaean Zeus (“Wolf Zeus”). In 380 BCE, Greek philosopher Plato told a story in The Republic about the “protector-turned-tyrant” - Lycaean Zeus. “The story goes that he who tastes of the one bit of human entrails minced up with those of other victims is inevitably transformed into a wolf.” Ovid, in his Metamorphoses also wrote about King Lycaon, defining the modern werewolf legends as murder and cannibalism. In Ovid’s tale, Lycaon mutilated, then killed, a prisoner of Zeus. In retaliation, the god turned Lycaon into a wolf. It's where we get the term, lycanthropy. Ovid even included a passage that details the Lycaon’s transformation – one triggered by first being a human monster before turning into an animal one. “He tried to speak, but his voice broke into an echoing howl. His ravening soul infected his jaws; his murderous longings were turned on the cattle; he still was possessed by bloodlust. His garments were changed to a shaggy coat and his arms into legs. He was now transformed into a wolf.” Saint Augustine of Hippo, took the belief in lycanthropy seriously too. In his City of God , he writes, “It is generally believed that, by certain witches’ spells, men may be turned into wolves. Mostly, this and other similar early Christian references were made in order to attribute shape-shifting of any kind to witchcraft." Werewolves also emerged in early Nordic folklore. The Saga of the Volsungs tells the story of a father and son who discovered wolf pelts that had the power to turn people into wolves for ten days. The father-son duo donned the pelts, transformed into wolves and went on a killing rampage in the forest. Their rampage ended when the father attacked his son, causing a lethal wound. The son only survived because a kind raven gave the father a leaf with healing powers. Werewolves in Medieval Europe The word ‘werewolf’ derives from Old English werwulf (man-wolf), a phenomenon that prompted warnings in laws formulated by King Cnut (he of the attempts to turn back the sea!). He wasn't the only one. Gervase of Tilbury, writing in the 13th century, claimed that “in England we have often seen men change into wolves.” Many so-called werewolves were in fact serial killers. In 1521, Frenchmen Pierre Burgot and Michel Verdun allegedly swore allegiance to the devil and claimed to have an ointment that turned them into wolves. After confessing to brutally murdering several children, they were both burned to death at the stake. (Burning was a common means to kill a werewolf.)   Giles Garnier, known as the “Werewolf of Dole,” was a sixteenth-century Frenchman who also claimed to possess an ointment with wolf-morphing abilities. He viciously killed children and ate them, before being burned at the stake.   Peter Stubbe, a wealthy, 16th-century farmer in Bedburg, Germany, turned into a wolf-like creature at night and devoured local people. He was cornered by hunters, who claimed they saw him shape-shift, from wolf to human form. He experienced a grisly execution after confessing (under torture) to savagely killing animals, men, women and children—and eating their remains. He also declared he owned an enchanted belt that gave him the power to transform into a wolf at will. Not surprisingly, the belt was never found. Peter’s guilt is controversial - some people believe he wasn’t a killer but the victim of politically-motivated revenge. (It's worth considering if this story influenced the fairy tale of Red Riding Hood who (along with her grandmother) is eaten by a wolf. The werewolf legend persisted into the twentieth century. Adolf Hitler believed in the creature and wrote about it in his 'Mein Kampf' - “The man born as a wolf always remains a wolf.” The Third Reich were fascinated by the occult and myths persisted of a werewolf army in Nazi circles! In Ireland, the werewolf stories are where we get many of our traditional perceptions. Irish stories tell us the only way to kill a werewolf was with a silver bullet. The person could also transform at will and wasn't reliant on a full moon. Edmund Spenser's 'Faerie Queen' references the werewolf and likely did a lot to establish its existence in Elizabethan England. Werewolves Around the World It's fascinating how the legend of "man-wolf" creatures feature in the majority of cultures. In North America, one example is the Rougarou, a story which likely originated when French settlers settled in North America because the primary source is French, a mispronunciation from the original loup-garou. Good examples are in Cajun communities in Louisiana where the creature hid in swamps. In French-Canadian communities, the loup-garou, was believed to be a cursed man, often guilty of not being a good Christian. For example, people who did not confess during Easter could be cursed to become werewolves. The spell could last for as long as 101 days. It would take hold of the victim every evening. They were then forced to wander the countryside in animal form. The spell might be broken if someone recognized the individual while transformed and could draw blood from the animal . Neither person could speak of this incident, for fear of worse reprisals. Meanwhile, in South America we have the Lobizon, a name that comes from the Portuguese word “lobisomem” meaning werewolf. Lobizon was first described by Spanish explorer Francisco de Orellana as “a huge wolf with a human face.” You can see the Lobizon story in many different countries of South America. One difference to traditional stories is that the Lobizon is born, not created by a bite or similar. Likely a curse, stories include the seventh son of a seventh son. This creature remains on four legs. In Asia, we can begin in Turkey where werewolves were called ‘Kurt Adam’ or ‘Kurtadam’. In Turkish folk tales, a werewolf is a man who turns into a wolf at night. It has a dog’s tail and ears, a thick bear-like fur coat, and sharp claws on its hands and feet. It is powerless against garlic and can be killed with a silver bullet (perhaps they knew some Irish people!) China has its own werewolf but this is a different, tragic story. It begins with a Buddhist priest and his pet wolf, who is so intelligent it can read the sacred texts. It yearns to be human and a mountain god tests it by sending the wolf down the mountain to attack people. It meets a blind man, later a mother and child, but spares them, to go back up the mountain where it starves to death. Werewolves and Possible Causes In the past, (you could argue the same is true now!) anyone who differed from the norm suffered from cultural ignorance. They were treated as freaks, sometimes receiving a degree of fame as a result. A good example is Peter the Wild Boy. In 1725, he was found wandering naked, on all fours, in a German forest. Many thought he was a werewolf, or at least raised by wolves. He ate with his hands and couldn’t speak. His notoriety brought him to the attention of King George I and King George II. He was transported to their courts where he became their “pet”. Research has shown Peter likely had Pitt-Hopkins syndrome , a condition discovered in 1978 that causes lack of speech, seizures, distinct facial features, difficulty breathing and intellectual challenges. A genetic condition called hypertrichosis is another likely cause for people inventing the idea of werewolves. The condition causes thick hair to grow over a person’s face and body. Hypertrichosis can be either congenital or acquired later in life. In earlier times, these people found fame in circus sideshows in Victorian times, when the public became fascinated with anyone deviating from the norm. They were frequently called 'dog people'. My research introduced me to British variant of the werewolf - the wulver. This is the creature I used in my story. I have to confess, it's not real. Here's the story: In the 1890s, the Faroese scholar Jakob Jakobsen collected thousands of place names on the Shetland Isles and in 1901 published a book-length article about them and their meanings. ‘Wol’ names were derived from Old Norse álf, fairy - such as ‘fairy hill’. Jessie Saxby (1842-1940) writing in 1933, in her book Shetland Traditional Lore, described the ‘The Wulver’. She described it as, ‘a creature like a man with a wolf's head. He had short brown hair all over him.' Jessie was the sole creator of the Shetland wulver. No-one before Jessie had ever heard of a Shetland wolf-man, it was purely an imaginative fabrication, one that has entered into British folklore. What is it about werewolves? This mythical creature has existed in stories for over four thousand years. That tells us something significant, doesn't it? For a story to last that long and remain as popular as it is today. Fun fact - there have been over three hundred films made about werewolves! So why is this? In Psychology Today , the cause lies firmly at the feet of psychological empowerment. The wolf is an apex predator, it's powerful, intelligent. It's scary. Its descendants are also familiar to us - dogs. They are the softer, tamed and civilised versions of the same animal. Modern werewolf stories build on this difference. Many of the films adopt the premise of the lowly, shy individual who transforms into a powerful alpha-type once bitten. In the 1994 film 'Wolf', Jack Nicholson plays such a character who not only gets back the job he's been fired from, he gets the girl and his revenge on those who treated him badly. A year later Michael J Fox played a similar character, this time linking his transformation to puberty! (Who knew growing hair could be so dangerous!) The relevance of puberty has been pursued in other stories, interestingly from a female perspective, such as in the 2000 film 'Ginger Snaps' and in Angela Carter's feminist interpretation of the Red Riding Hood story, The Company of Wolves. The psychology of the myth tells us transformation can be exciting, as an animal it allows us to consider life without ethical concerns - killing turns into a predatory act, without consequence. It turns the human into something better, something bigger, stronger, faster. Even so, those moral issues remain. After all, the werewolf must die in the end (unless you're Michael J Fox or Taylor Lautner!) Before the silver bullet is fired, before the full moon is replaced by the morning sun, the character of the werewolf offers authors a chance to explore the dark corners of the human psyche. Robert Louis Stevenson did it by transforming his Jekyll into Hyde but the werewolf takes it further. The beast reminds us those dark corners of the mind are where the animal still resides inside us, ready to be released. Phil Parker writes fantasy stories, click the image to find out more.

How to develop your writer's skill set

How to develop your writer's skill set

Context The Cambridge dictionary defines the term skill set as, 'the combination of different skills that someone has and can use in a particular job' . Skills require practice. Rarely are we born with skills honed to such a degree they are second nature. (You might argue certain sports people are rare exceptions). Even then, some skills may come easily while others still need practice that make that person an all-rounder. As someone who's worked in education for a long time, this issue has always fascinated me. It's led me to investigate the question I've posed in this post. As a writer, what skill set is needed if you are to have any success? My conclusions come from conversations with those authors who I consider friends, those folk who have played a role in my development as an author over the last ten years. It's inevitable such a topic crops up when you meet up at conventions, festivals or via online discussions. I've also read/watched interviews of established writers talking on the subject. Their observations reflect the same conclusions. It was a conversation with someone I met recently, who was relatively new to the world of writing, that prompted me to reflect on my own journey. I asked myself that question that is often used in interviews - what do you wish you'd known when you started out? What advice would you give your younger self? Well, these are the skills that I believe we need as writers. If you develop these skills, I believe you would be well equipped to cope with the role and all the challenges, heartaches, along with the joy and satisfaction, writing can bring. The Writer's Skill Set Observation This is the skill we develop from w atching people’s behaviour and appearances in order to use what we notice to inform characters we create. By observing other people, it enables us to create characters that possess a strong level of credibility. We invent characters our readers can engage in, they find them familiar, they might provoke reactions too. They bring the reader into the world in your story, so that person is more than a name. Speak to most authors and they'll tell you how they like to "people watch". You spot the way someone dresses, a particular mannerism they display, their relationship with another person - the writer imagines the factors that generate these behaviours. They likely store them away (lots of writers have notebooks for this one purpose) for future use. What have others said about the importance of observation in a writer's skill ser? “I was always an outsider, always standing outside, observing and trying to figure things out. Which is exactly what you need to do as a writer, I suppose.”  Monica Ali “ I love Flaubert’s line about observing things very intensely. I think our duty as writers begins not with our own feelings, but with the powers of observing.”  Mary Oliver. Curiosity T he writer needs a real willingness to find out what is not known, in order to achieve credibility or to acquire greater inspiration or expertise. It can take the form of research. Every author I know spends an inordinate amount of time in research (thank goodness for the internet!). But by curiosity, I'm going beyond simple research. The author needs to be open-minded and recognise when they don't possess the quality of knowledge needed to address their need. (See 'Self Awareness later). It might mean watching a YouTube video to improve your knowledge of sword fights or watching an interview of a serving police officer talking about investigating a crime scene. You could read biographies of people with medical conditions, documentaries about drug abuse. Beyond that, what else do you need to find out about being a writer? Social media outlets can help you in this respect, gather a supportive writers' network around yourself to ask questions and engage in discussion. ( Threads has hashtag-led categories that help you target the people you're looking for.) What have others said about the importance of curiosity in a writer's skill set? “ Curiosity is the wick in the candle of learning.”  William Arthur Ward, American writer. “What I have is a malevolent curiosity. That's what drives my need to write and what probably leads me to look at things a little askew. I do tend to take a different perspective from most people.” David Bowie. “Critical thinking and curiosity are the key to creativity.” Amala Akkineni, Indian actress. Enterprise A writer needs to develop commercial insights into the business of selling books. For many people, this is the toughest skill to acquire, we didn't start writing to become some smarmy business person. That said, regardless of whether you are traditionally or self-published, you need a good understanding of the commercial factors that lead to book sales. It means understanding the data from your dashboard, knowing plenty about your readership (who they are, what they like, why they like your work). It involves improving your marketing and promotional activities, knowing which methods work and why. It's getting the right people around you too - the right editor, cover designer, beta readers et al. It also means developing your brand. When people see your name - what does it mean to them? If the answer is a shrug - ouch! Remember, earlier I talked about curiosity? It applies here. Much of this stuff you won't know. So find out. Ignorance won't get you anywhere. What have others said about the importance of enterprise in a writer's skill set? “ Writing is like prostitution. First you do it for love, and then for a few close friends, and then for money.” Moliere. “Mark Twain’s most successful work was sold by traveling salesmen going door to door—at a time when this form of marketing was considered extremely impolite.” Jane Friedman. “I agree with Balzac and 19th-century writers, black and white, who say, 'I write for money.' Yes, I think everybody should be paid handsomely; I insist on it, and I pay people who work for me, or with me, handsomely.” Maya Angelou. Empathy A key skill for any writer is to develop the ability to perceive detailed and personal experiences from another’s perspective, to place yourself in the mind of another person. This is where good characterisation begins, by telling the story from a perspective you appreciate so clearly, others will read and believe in it. The best stories have characters who will split readers in their sympathies - such as the stories where the villain is so well written we understand why they've done what they've done. Or Unreliable Narrators, where the author presents the reader with confusing perspectives that lead them down blind alleys in the belief it will take them somewhere grand. Putting yourself in another person's mind is akin to what actors do. The only difference, the writer needs to play all the characters at the same time! What have others said about the importance of empathy in a writer's skill set? “I think we all have empathy. We may not have enough courage to display it.”  Maya Angelou. “ Stories teach us empathy. They reveal to us ourselves in the skins of others.” Justin Simien, actor & author. Sensitivity The writer must always consider other’s feelings and temper the content of their work with these feelings in mind, to do everything possible to avoid upsetting others unnecessarily. This means giving warnings to readers at the outset if a topic is likely to trigger an emotional reaction that brings hurt or upset. It's applying the right language, qualifying any abusive terms to avoid misunderstanding. It's not the same as empathy. Sensitivity is outward looking, it's being part of the enterprising mindset mentioned earlier, not selling something that is going to annoy, upset or offend others. What have others said about the importance of sensitivity in a writer's skill set? “I'm opposed to censorship of any kind, especially by government. But it's plain common sense that producers should target their product with some kind of sensitivity.” Lee Child. Resilience More than mere determination, the writer must “go with the punches”, acknowledge there will be problems, low points and challenges. They will find ways to avoid and overcome these things in order to succeed. They accept such drawbacks will occur, after all, rejection and criticism is part of the job, dealing with such things requires resilience. Every writer I know suffers from those low, dark moments of self-doubt, regardless of their talent/success. It is part of our creativity. Often, success brings Imposter Syndrome - in that you don't believe you deserve the recognition. Dealing with it on your own rarely leads to resolution. Resilience needs its cheer leading squad! People who are objective enough (so more than your family!) to reassure you. For this to happen you need to be ready to open up about your concerns. Bottling it up is the worst thing to do. Our mental health is valuable and must be monitored at all times. Writing can be a lonely business and I recommend joining groups (in the real world or online) that ensure you have others who will listen to your concerns and help to reassure you, even offer an idea or two. I set up a group made of other writers and we meet online each month. We're currently involved in a writing project which is proving to be lots of fun, we have quizzes and chat about our projects. It's groups like this that not only keep you grounded but allow you to chat things over with people who will not just understand - they will have shared the same experiences. Resilience is crucial. It needs to be developed, it doesn't come naturally. What have others said about the importance of resilience in a writer's skill set? “There will always be obstacles and challenges that stand in your way. Building mental strength will help you develop resilience to those potential hazards so you can continue on your journey to success.” Amy Morin, psychotherapist and best-selling author. “Resilience can only form if we face, and learn how to be better equipped to manage, our problems.” Jo Frost, TV personality and author. Self-awareness A writer needs to know who they are. They recognise their faults, their bad habits and their oversights - the kind of things editors will point out and expect to see addressed in future work! Earlier, I mentioned the importance of empathy and sensitivity - these qualities come from being self-aware. You need to recognise how much of yourself appear in your characters and if this leads to them becoming too 'samey'. Beyond that, it involves knowing what kind of writer you are (or want to become) so you can develop your ‘brand identity’, if you’re lucky, your USP . I've already mentioned this in the Enterprise section. If you're not extrovert enough to shout from the rooftops about your work, how can you address this issue? Or will you always be silent and wonder why your sales are low? Self-awareness isn't just about saying who you are NOW. It's about deciding who you want to become - and how you will achieve that goal. What have others said about the importance of self-awareness in a writer's skill set? “I have tons of regrets, but I think that's one of the reasons that push people to create things. Out of their angst, their regret, comes the best from artists, painters and writers.”  Sylvester Stallone. “I've wanted to be a writer since I was a boy, though it seemed an unlikely outcome since I showed no real talent. But I persevered and eventually found my own row to hoe. Ignorance of other writers' work keeps me from discouragement and I am less well-read than the average bus driver.”  Garrison Keillor. Provocation The writer needs to develop the skill of provoking an emotional responses from their readers. Generating reaction generates readership. Isn't that why we write? To get reactions? Responses that lead to a reader writing a complementary review on Goodreads? Yet it is not an easy skill to acquire, like any skill, it needs practice. I contend it also involves some risk - experimenting with your writing style to see if its provokes an improved response. In that risk-taking comes the scary part of letting others read your experimental work - then asking for honest feedback! That takes real courage. It may start with a degree of self-awareness but to truly provoke reaction, it may lead to stepping out of comfort zones. This is why it pays to enter competitions, it's risky but an experimental short story might offer you insights into your future writing projects. I'd also recommend experimenting with genre. I have writer friends who does this, I've written contemporary fiction and had great fun exploring new ways to write. Finding new and exciting ways to provoke reaction from your readers is a valuable writing skill and can enhance your reputation and expand your readership. What have others said about the importance of provocation in a writer's skill set? “There's a difference between describing and evoking something. You can describe something and be quite clinical about it. To evoke it, you call it up in the reader. That's what writers do when they're good.”  Margaret Atwood. “Good writers are in the business of leaving signposts saying, Tour my world, see and feel it through my eyes; I am your guide.” Larry King. “A movie is really provocation. It's not a message, it's not a statement.” Ang Lee. Conclusion You'll notice I haven't included any reference to creativity in this list. That's deliberate. I began by stating how some people are born with a skill where they are naturally gifted. That is likely to be true for most writers. We are naturally inclined to be creative. (I know dozens of authors who write because it is an innate NEED). This is not a skill we need to spend as much time exercising as the ones I've listed here. Of course, your creativity needs to be challenged. You will continue the search for original, innovative ideas, you'll enjoy the solving of plot problems, you'll extend your imagination by reading and asking the most valuable of questions, "What if?" But you'll do this naturally. The skills listed here may need greater attention. They won't come easily, they may make you feel uncomfortable, even generate a sense of failure in the early stages (Enterprise being the prime example!). But working to develop them will pay off. The crucial thing is to realise how important they are . During my teaching career, when a student expressed difficulty in a skill, I often encouraged them to partner up with someone who (a) already had the skill and could explain/show how to develop it or (b) was also struggling so they could help each other, realising they were not on their own. The same is true for any writer. Connect with others. Seek advice. Share your work and invite honest, constructive feedback. Social media can help identify these people. Get in touch, start small and friendly and build the relationship as you would any friendship. Read writer's blogs, they frequently contain answers you're looking for. They will also contain the same fears! Finally, why not reflect on this list by putting the skills in priority order. Which skill is your strongest? Which is your weakest? Place them in a sequence. Now, make an action plan. What must you do to strengthen your weaker skills? Reinforce your self esteem by celebrating the strengths! If you are naturally curious, build on that skill. Use it to investigate how to improve your enterprise skill by identifying key questions. I hope this post helps you to develop your writer's skill set! Good luck! I mentioned Threads earlier, if you want to get in touch, I'm here: https://www.threads.net/@philparkerfantasyauthor or on BlueSky https://bsky.app/profile/philspeculates.bsky.social I write fantasy fiction, click on the image to find out about my books

How to write a synopsis for your novel

How to write a synopsis for your novel

Most writers will tell you they find writing the synopsis a chore. It can be. However, I suggest looking at the exercise as being more than that, make it an exercise in summarising and evaluating . After I've completed my first draft of a story, that's when I have a go at writing the synopsis. It's a great exercise in making you consider what is important in your story, and what's not. What stands out and is likely to attract readers, what might lose them. One thing often overlooked, and seldom mentioned by "experts" is the real purpose of the synopsis . It's commercial value . Agents need to know the commercial viability of your novel. Will it sell? Yes, they want to know you can write. Your opening chapters tell them that. The synopsis gives them an overview of the novel too. That's important. However, what they (and you) need to keep in mind is, will it attract an audience? How does it do this? What might make it stand out from the crowd? Think of your synopsis as an advert . Tell the reader why it's going to be something they need to read. This begins by identifying what that commodity is. This is why I suggest working on your synopsis early. Examine your first draft and ask yourself - what are its selling points? Before hitting the main section of this post, one more point. This exercise isn't only for those jumping into the submission trenches either! If you're an #indieauthor this exercise is equally as important because you need to have one eye on your market. Whether you like it or not, an author is in the business of selling books. Apply this commercial mindset after you've worked on the first draft so that subsequent drafts are all about polishing and refining the commodity that is going to make your book sell . The Basics of your Synopsis For this section, I'm using information provided by Anna Davis from the agent-led writing school, Curtis Brown Creative . I recommend Anna's school very highly. I completed their novel writing course in 2016 and the Edit & Pitch course a year later. Consider the cost as an investment. Anna defines the synopsis as, "the complete narrative arc of your plot. It’s not the same thing as a ‘blurb’ (which is the short teaser paragraph that you find on the back of published books)." She goes on to convey a similar message to mine, "it's actually a great way to see if your plot is working properly. If you can't summarise your story in a page, then there's quite probably something wrong with it." Let's define what the synopsis needs to include: Open with the title, the genre and the 'pitch line' - defined as "the key question, dilemma or driving force of the novel – or the heart of the novel, to put it another way. And if you know you have a great hook or a high concept, that should be your pitch line." See what I meant earlier about the commercial value? The 'pitch' requires you putting on your business head. It's the key element in your advert. It's what you tell people when they ask you about your book. It's what you say to your agent or publisher to get them interested. At a book festival, when someone comes up to your stall, it's how you get them hooked and wanting to know more. Get your pitch polished! Simplify the plot to its most basic ingredients, ignore the extraneous . This involves establishing your main character neatly, give them impact. Use them as a hook. Likewise, establish the setting, also in a way that hooks the reader. Ask yourself, how is your protagonist unusual? How will they drive the story (if they don't? Problem!!) What's exciting/unusual about the setting/world building - is there a premise that acts as a hook? Show the tone of the story . This can be done in the previous section with an example, or by the type of character you've defined. The tone can also be a selling point. Tones can be fashionable. I'm not saying to let fashion dictate your story, it's too transient to do that. But it may be something that is 'on trend' at that moment in time and act as a hook to readers/agents. Be concise . Refine, refine, refine. Distillation creates impact and that's what your synopsis needs! Think of the process as making essential oils! The result offers the reader a pungent impact that remains long after the synopsis has been read. Aim for 500 words maximum! Impact remember! Impactful Writing For this next section, I'm starting with the brilliant Jane Friedman . She is well worth reading, her insights and knowledge about the publishing industry are incisive and well-informed. Here are some of her tips: Characterisation drives the synopsis . (It should do the same to your story!) Explain how the protagonist's character arc is apparent in their motivations, emotions, relationships, thereby driving the plot . What challenges are faced that stop them from achieving their goals? This 'cause-and-effect' approach takes you through the plot, driving out the extraneous. (Something happens, the MC gets angry, it causes trouble, affects another person. They respond, situation deteriorates, MC seeks vengeance.) Consider: focus your attention on the commercial viability of this cause-and-effect. Clarify your setting/world building . For speculative fiction writers, world building is a defining ingredient. It's a commercial bonus . The synopsis needs to highlight a premise that makes the book stand out but in a way non-speculative types will appreciate. Avoid specialist language (eg. "muggles"). Here you emphasize how the world impacts on your protagonist, impeding their efforts perhaps, provoking their emotions and motivations. Does the world have an ingredient that makes the story original? A new form of magic? Deadly social protocols? Talking animals? Define a crucial relationship . The poet John Donne said, "No man is an island, Entire of itself, Every man is a piece of the continent, A part of the main." This principle applies to your synopsis. There must be one relationship your protagonist has with another entity in the story that helps to drive the plot. An entity that impacts on the protagonist's character arc. I've used 'entity' because the relationship might be something other than a person; a pet dog, a robot housekeeper, a reflection in the mirror! It could be with the antagonist, their battle is what drives the plot. Eight Plot Points to Consider For this section, I've used a great article by Glen C Strathy . If you're struggling to structure the plot, as a basic framework, here are 8 sections on which to hang your plot. The Protagonist's Goal - that thing the main character needs to achieve for the story to be complete. This goal defines their character arc - the starting point and the end point. The Consequence - the event(s) that prevent the protagonist from achieving their goal. It's the 'cause-and-effect' I mentioned earlier. The Requirements - the ingredients needed to achieve the goal. It might be a magic amulet, a team of friends, a flying horse. It might be social protocols in world building. The Forewarnings - the antithesis of the Requirements, they are the elements which create tension. The features that get in the way, the worries and anxieties that are a key part of the protagonist's character, the hostility of the antagonist. The Costs - these are the sacrifices needed to achieve the goal, or help to avoid the forewarnings. Costs may be someone's life and the consequence it has on the protagonist's arc. Costs may be the impact seen in world building, the loss of a monarch changes society for the worse. The Dividends - the rewards that occur that lead to making the protagonist's goal easier to achieve. They may be the happy result from a cost! (There's a dilemma!) The Prerequisites - items that enable the protagonist to succeed. In a synopsis, it may be a maguffin upon which the plot depends. It's the shield Athena gives Perseus to protect him from Medusa. The Preconditions - these may be found in your setting/worldbuilding. They impede the protagonist; they are orcs in Lord of the Rings that complicate Frodo's journey, it's the duplicitous nature of the wizard from helping Dorothy get back home. There's no need to slavishly stick with this format, you might distil a couple of them as a means to show a major impediment. I've included them purely to help your evaluation of your plot. Does it include these eight points? Which ones are vital to your summary of the plot? Dos and Dont's Here are a few simple tips from the sources I've included, listed so they stand out. (Yes, some sources on the internet will argue some of these tips. This entire process is swamped with subjectivity!) Don't divide the synopsis into sections, it needs to flow. It's another indicator of your ability to write, it's not a shopping list. Do include plot twists and spoilers. They are integral to the plot. They will sell the book, therefore agents/publishers need to know what they are. As an evaluation exercise, YOU need to decide if they work! Don't include praise from other sources. It's subjective and irrelevant. Do include quotes if their impact is greater than any other form of statement. Do examine your synopsis with objectivity. Write and polish it. Put it away for a while then go back with fresh eyes and pull it apart. Does it still work? Do write the synopsis in the third person. (even if the story is in a different form) Do capture your voice in the synopsis. Read it aloud. How does it sound? Does it reflect the voice within your story? Do share your synopsis with other people who are familiar with writing. Then share it with someone who isn't a writer. Compare and contrast! Is your non-writer hooked by the synopsis? Do they understand what happens? (Quiz them?) Conclusion Let me emphasize my opening statement. Synopsis writing shouldn't be a process you undertake AFTER you've finished writing your story. Make it part of the process. It can lead to the final outcome (the story AND the synopsis) being stronger. Secondly, OK - writing is an art form. It is also a commercial venture. You want readers, don't you? People who are going to enjoy your work, who will thrill to the twists and turns of the plot, be engaged by your characters and world building. There is a commercial dimension to these things and highlighting them in your synopsis is vital. Not just because it might snag an agent - you should be happy your story has these ingredients. (Perhaps, if you hadn't conducted your synopsis writing after the first draft, it might not have been so good!) At the start I used two words - summarising and evaluation . Synopsis writing is all about making your plot so concise it defines the highlights of the story with crystal clarity and makes it a saleable commodity. Evaluation requires you examine the story, with an objective, critical eye and be open to making amendments where they are needed. Yes, it is an onerous task. But no different to writing high quality material that will attract readers and help you achieve success. Don't make it a hurdle, a necessary evil. Make it a means of generating quality storytelling. Good luck! I write fantasy stories, click the image to find out more about them:

Writing Competitions 2025

Writing Competitions 2025

It helps a great deal to be able to call yourself an award-winning author. To claim such praise begins by entering competitions. I've curated a bunch of writing competitions, managed by British organisations, for you. I've provided only basic details so make sure you check the Terms & Conditions for each competition - links are in the titles to the competition. Good luck! 🥳 The Page Is Printed Deadline January 13 Entry fee £5 First prize £100 Word limit One side of A4 Theme None just the advice to “dare to be different”   Discoveries Women’s Novel Prize Deadline January 13 Entry fee Free First prize £5,000 + representation via Curtis Brown Literary agency Word limit 10,000 words + synopsis Theme Novel do not need to be finished   Bournemouth Writing Prize Deadline January 15 Entry fee £10 First prize £500 Word limit 3,000 words, 1-2-1 sessions, Open Mic slot Theme None   Future Worlds Prize Deadline January 26 Entry fee Free First prize £4,500 Word limit 10,000 words, synopsis, cover letter Theme Only open to unpublished writers of colour of SFF fiction   New Writers Flash Fiction Competition Deadline January 31 Entry fee £10 First prize £100, published in New Writers Anthology Word limit 300 words (including title) Theme None   Fiction Factory First Chapter & Synopsis Competition Deadline January 31 Entry fee £18 First prize £500 + an appraisal Word limit 5,000 words Theme None   Bristol Short Story Prize Deadline January 31 Entry fee £12 First prize £1,000 Word limit 4,000 words Theme None   Lucy Cavendish Fiction Prize Deadline January 31 Entry fee £12 First prize £1,500 Word limit 10 pages, 1 paragraph pitch, 1 page synopsis Theme None. Only open to women writers   Margery Allingham Short Mystery Competition Deadline February 28 Entry fee £18 First prize £500 Word limit 3,500 words Theme “The Mystery remains box-shaped, at once a prison and a refuge. Its four walls are, roughly, a Crime, a Mystery, an Enquiry and a Conclusion with an Element of Satisfaction in it.”   Exeter Writers Short Story Competition Deadline February 28 Entry fee £11 First prize £3,000 Word limit 2,000 words Theme None   Edinburgh Short Story Award Deadline February 28 Entry fee £7 First prize £700 Word limit 3,000 words Theme None   Weatherglass Novella Prize Deadline March 1 Entry fee £20 First prize £500 and publication Word limit 40,000 words Theme None   Deborah Rogers Foundation Writers Award Deadline March 31 Entry fee Free First prize £10,000   Word limit 20,000 words + synopsis + bio Theme Open to a first-time prose writer whose work shows literary talent and who would benefit from financial support in order to complete their work   Bridport Prize (Peggy Chapman-Andrews First Novel Award Deadline May 31 Entry fee £24 First prize £1,500, publication & manuscript appraisal Word limit 8,000 words Theme Your novel doesn’t have to be finished. We initially need only 5,000 to 8,000 words and a 300 word synopsis. If you’re long listed we’ll ask for a total of 15,000 words, including your original word count. Shortlisted? Then we need a total 30,000 words, again including your original entry and long listed word count.   Bridport Prize – Short Story Deadline May 31 Entry fee £14 First prize £5,000 Word limit 5,000 words Theme None   The Bath Novel Award Deadline May 31 Entry fee £29.99 First prize £5,000 Word limit 5,000 words + 1 page synopsis Theme None   To Hull and Back – Humorous Short Story Competition Deadline June 30 Entry fee £10 First prize £1,000 Word limit 2,500 words Theme None   To find out details about my books, click on the image

ComicCons and Speculative Fiction Festivals 2025

ComicCons and Speculative Fiction Festivals 2025

I've curated some of the events taking place this year for speculative fiction events, which showcase fantasy, science fiction and horror fiction. Many allow trading opportunities if you want to sell your merchandise. (It's not definitive so if you have any additions, let me know - see links at the foot of the page). Month Where Details January     February Worcester Northampton 16 Feb Worcester ComicCon 23 Feb Northampton ComicCon March Great Yarmouth Hemel Hempstead 20-23 March   SciFi Weekender 23rd  Hemel Hempstead ComicCon April Maidenhead Luton Belfast Banbury 6 April, Maidenhead ComicCon 13 April, Luton ComicCon 18-21 April, EasterCon - Reconnect 26 April, Banbury ComicCon   May Melton Mowbray Bedford Sheffield Derbyshire   Daventry Walsall 3 May, Melton Mowbray ComicCon 4 May, BedfordComicCon 17-18 May, HorrorCon UK 17-18 May Steam Trains & Fairy Tales , Butterley Station 24 May, Daventry ComicCon 25 May, Walsall ComicCon June Edinburgh Aylesbury 6-8 June, Cymera   29 June, Aylesbury ComicCon July London Cheltenham 5-6 July, London Film & ComicCon 18-20 July, Fantasy Forest August Newport, Wales Glasgow Blackpool Coventry 9-10 August, Wales ComicCon 16-17 Aug, Film & ComicCon 22-25 Aug, Destination Trek UK , 24 August, Coventry ComicCon September     October Bristol Brighton 25-26 October, BristolCon 30 Oct – 2 November, World Fantasy Con November Buxton Derbyshire Ipswich 7-9 November, Novacon 54 30 November, Ipswich ComicCon December     If you know of any more, let me know on my socials: https://bsky.app/profile/philspeculates.bsky.social https://www.threads.net/@philparkerfantasyauthor https://www.instagram.com/philparkerfantasyauthor/ Click the image to find out more about my books https://linktr.ee/phil_parker

A-Z Witches and Witchcraft for Writers

A-Z Witches and Witchcraft for Writers

In preparation for my third novel in my urban fantasy series, The Inside Story of the British Bureau for the Arcane , I've been researching witches and witchcraft. It's a rich source of material for any fantasy writer. The history of witchcraft mirrors our development as a race and dates back to pre-history. For much of that time, witches were persecuted and killed, often for no reason other than they were women in a patriarchal society. This post curates that research, into an alphabet of sources which may help other writers. I've tried to cast my net wide to assemble a diverse range of reference points - from periods of history, from other cultures, from folklore as well as literary and legal considerations. I hope it's helpful! A Apotropaic magic  – protective magic which turns away evil influences, can include good luck charms, amulets etc. This form of magic was largely tolerated in many cultures because it wasn’t seen as linked to the devil. You'll find it in the use of eyes on objects, to ward off evil, to banish “the evil eye”. In Ancient Greece the phallus was used for the same purpose and would appear over doorways. Later horseshoes (turned upright to contain the charm, upside down emptied it). Also hexafoils, 6 petal flowers were used as witch marks (found in Bradford on Avon’s Tithe Barn and Owlpen Manor in Gloucestershire. B Bertha or Befuna  – this female from the western Alps was the embodiment of winter and punished disobedience and rewarded goodness. Portrayed as an old hag, she became the classic image of the witch found in classical literature and children’s tales C Circe  – In Greek legend, the daughter of Helios and the ocean nymph Perse. In his Odyssey, Homer refers to this famous witch who turned men into animals, such as turning Odysseus’ crew into pigs. This character has appeared in books, plays and even opera, notably as a device to examine the behaviour of the human race. She's frequently portrayed as an evil woman though much of her motivation springs from being treated badly by men. “Casting Off”  in a spell, where the witch performs an act of throwing something away or destroying it to send the instruction out into the universe. (Tearing or burning a piece of paper with the instruction, snuffing out a candle, pouring away a potion or drink). Colours  – a means of increasing the power of candle spells. (Red = strength, orange = change, yellow = communication, green – luck, blue = harmony, white = cleansing, black = banishing negativity, grey -= complex decisions. D Divination  – obtaining information to gain insight from external sources from the supernatural realms. Western influences include astrology (calculating the influence of heavenly bodies), bibliomancy (reading from specific texts), Tarot cards or geomancy (making random marks on paper/earth that result in 16 patterns E Essences  – herbs, spices and plants used in spell casting – Acorns are natural amulets for maintaining youthful appearance, Alder aids divination and weather magic, Amber protects from external influences, psychic attack, Birch offers protection from the evil eye, lightning and is purifying, Brimstone destroys an enemy’s power over you, Chicory can be burned as incense to place a hex on an enemy, Garlic summons Hecate, Henbane used to consecrate ceremonial vessels, Marjoram purifies, Nettle dispels darkness and fear, nutmeg breaks hexes, Rowan barriers promote psychic powers, the wood of the trees makes good wands and divining rods, sage is another purifier, cleanses spaces ready for spell-making which is called ‘smudging’, Valerian helps encourage reconciliation F Familiar  – possibly linked to the Norse fylgia or fetch (a person’s double), these beings could shapeshift into animal form. Traditionally a form such as a cat. In Britain the ‘familiar’ is first referenced in the Chelmsford witch trial of 1566. They were a representative of the devil G Grimoire  – a book of spells and magical instruction, it could be used to summon supernatural entities, perform charms and acts of divination. The earliest example found in Mesopotamia (now Iraq) in the form of cuneiform clay tablets between 5th and 4th centuries BCE. They influenced the Egyptian magic system called ‘heka’ under the guidance of Alexander the Great in 332 BCE. H Hopkins (Matthew)  the Witchfinder General had 300 women executed for witchcraft in 1645-6. Details can be found in his book ‘The Discovery of Witches’. It is believed between 30,000-60,000 people were executed for witchcraft in the common era globally, around 500 in Britain. The last trial took place in Leicester in 1717. Hecate  – Greek goddess of witchcraft, the night, moon, ghosts and necromancy. Hecate is often depicted as three women, the Maiden, Mother and Crone to represent womanhood, she frequently appears in art work with twin torches and keys. She is associated with dog familiars. She is the goddess of boundaries of different kinds, such as spaces between worlds (including the underworld). Though some writers, including Shakespeare portrayed her as the classic, evil witch, other sources portray her as benevolent. I Incantation  – a magical formula used to trigger an effect on a person or an object. Emphasis on specific words, the rhythms used and the tone of voice cause differing effects. They can include words imbued with magical meaning – such as Abracadabra and Hocus Pocus. Invocation  – the summoning of a supernatural being, using methods such as ‘devotion’ (love/commitment/loyalty is professed to the being to be invoked) or by ‘calling forth’ (reciting mantras or specific chants to summon the being into the body/mind of the summoner) or by ‘evocation’ where the being is summoned to appear in front of the summoner – rather than in  the summoner J Johannes Hartlieb  (1410-1468) was a physician in Bavaria who wrote the puch aller verpoten kunst, ungelaubens und der zaubrey  or the book on all forbidden arts, superstition and sorcery. His artes magicae  contains the oldest known description of witchcraft – nigromancy (demonic magic of the late Middle Ages), geomancy, hydromancy (magic using water, such as scrying), Aeromancy (divination using air, such as throwing dirt or seeds into the air to obtain meaning), pyromancy (divination using fire), chiromancy (palm reading), scapulimancy (divination using animals’ scapula) K Katares  – Greek curse tablets often used in sporting competitions and legal cases. Left in graves, wells or fountains, where the dead could better work their magic L Legislation   - British laws regarding witchcraft have come and gone. The first was the Witchcraft Act of 1542, punishable by death. It was repealed five years later but restored in 1562. King James I introduced another in 1604 linked to his text Demonology. This law transferred crimes from the church to the law courts. 513 ‘witches’ were put on trial, 112 executed, the last one in Devon in 1685. M The letter M  was used as a ‘witch mark’ to prevent a witch from entering your home. The letter stood for the Virgin Mary and persisted long after Catholicism for forbidden in Britain. Another witch mark was a spiral, in which the entity would get lost N Nine Sisters or Nine Maidens  – nine standing stones going by these names can be found across Britain, from Cornwall to Scotland. There are similar versions in Ireland and Iceland. The importance of the number 9 is significant in the beliefs O Otherworld magic  – some folklore involves belief systems from Celtic sources which bring a wider sense of magic into focus. The ‘otherworld’ is seen as a place slightly “out of step” with our own, science might define such a location as another dimension. Inhabitants of the ‘otherworld’ can be the Sidhe (Celtic fae) but they may also be ancestors. Spells may involve the use of plants, roots, stones and water from mystical locations. Specific locations are: Annwn, Avalon, Tír na nÓg, Mag Mell and Emain Ablach P Pentacle  – a 5 pointed star within a circle, first appeared on the Seal of Solomon, which has mystical traditions found in Judaism, Islamic and Western cultures. In appears in English usage in 1561 and meant ‘talisman’. In 1565 The Fourth Book of Occult Philosophy (author unknown) defined how the pentacle should be used. Pendle Witches  – August 1612 three generations of one family were marched through the streets of Lancaster to be hanged. Unusual because the trial was documented by the clerk of the court, Thomas Potts. Two rival families were at the centre of the story the Demdike and the Chattox families. The money that could be made from claiming powers in witchcraft in the 17th century probably caused the declarations made by the two families. Q Querent   – someone who asks questions of Tarot cards, though this word is disputed by some as the correct name.  They may also be called Astrologers or astrotherapists R Runes  – come in two forms. The Elder Futhark is the German run alphabet of 24 characters used between 200BCE and 800CE. The original meaning of ‘rune’ is secret or mystery. Witch’s runes are simple pictograms that match concepts with symbols S Sigils  – a symbol of purpose, traditionally a pictorial signature of a spirit (angel, demon, deity). The Lesser Key of Solomon includes 72 princes of hell. Sage used for “smudging”, clearing space in readiness for casting a spell T Types of Witch  – practitioners adhere to different categories; the Eclectic Witch and often link back to spiritual sources such as Eastern philosophies, along with practices such as Reiki and Yoga. They may include mediumship and divination. The Elemental Witch focuses on the ancient crafts, folk healing and the use of the elements. The Green of Hedge Witch are deeply connected to the Earth, they understand the use of botanicals and the energies they provide. The Kitchen Witch focuses on the home, making it a sanctuary while being nurturing U Universe  – witchcraft can be defined as a belief system that connects it to the universe and therefore the forces contained within it. The universe, in this sense, is more than conventional space but varying levels of consciousness V Voodoo  – a religion developed by African peoples living in Haiti  between 16th-19th centuries and is linked to Roman Catholicism. The creator, Bondye, controls spirits known as Iwa. Rituals can include ceremonies to encourage a specific Iwa to possess an individual in order aid communication with the supernatural world. W Wet Dreams  – during 12-14th centuries monks who had wet dreams (nocturnal emissions) believed they were the result of witches sitting on them as they sleep. The witch would collect the semen to impregnate themselves with demon children (at least, that's what the monks said! 😉) Wheel of the Year  – the annual Sabbats or celebrations – Yule (Dec 19-23), Imbolc (Feb 1-2), Ostara (March 19-23), Beltane (April 30 -May 1), Litha (June 19-23), Lughnasadh (Aug 1-2) Mabon (Sept 20-24), Samhain (Oct 31-Nov 1) X X  is a placeholder; a magical symbol used in place of an unknown or secretive object Y Yin and Yang  – part of the seven basic principles of magic (in the Hermetic tradition) is polarity and its best represented by this Eastern concept. The idea that two halves make a whole, where duality means everything has a contrasting opposite Z Zodiac  is used by witches to determine the impact of the stars and the universe. These ‘sun signs’ represents a person’s personality and ego. Understanding ‘self’ is important to the witch in order to achieve the clarity needed for spell casting etc. Click the image to find out more about my novels.

What is grimdark noir?

What is grimdark noir?

A review of my book, The Inside Story of the British Bureau for the Arcane , by award-winning author Bjorn Larssen, includes the reference to ' grimdark noir '. He admits this is a new sub-genre of fantasy but goes on to explain why he's defined the story in this way. You can read his review here . I will admit the definition does suit the book - I wish I'd thought of the term myself! I Googled it - there were no answers, yet I've read stories that would fit into this category. So had Bjorn, he references them in his review. This post tries to pinpoint what 'grimdark noir' might mean. Some context Let me begin by explaining my reasons for writing the story with this specific tone. It began when the opening to the story woke me up one night. Arlo Austin (the main character) appeared fully formed in my head, in the circumstances which would define his anger and bitterness. Arlo defined the tone, it was as simple as that. Childhood trauma, unresolved, untreated, turned him into someone dark and menacing. He's divided reviewers. Some find him heartless, unsympathetic. Others (like Bjorn) like this darkness and how it influences Arlo's behaviour. It was a conscious decision on my part to include another main character to "compensate" for Arlo. Enter Tayn, a young man who is nerdy, introverted and innocent. They become a double act, though neither would claim that to be true! I hoped the pair would strike a balance that enabled the story to become a detective story. Somewhere in the back of my mind, I imagined Arlo Austin to be somewhere between Dashiell Hammett's Sam Spade and Raymond Chandler's Phillip Marlowe. Both hard-bitten detectives who are manipulated by others. Some of Hammett's wry tone of voice appealed to me, as did Chandler's darkness. I tried to strike a balance between the two. With these things in mind, let me now explore the factors that define this story as grimdark. Bjorn Larssen comments on the ugliness of the world in this book. He cites the racism Arlo faces, as a German kid in Britain after the second world war, then later as an East German during the Cold War. Beyond that, being a Dark Elf. I think the ugliness of human nature is a good starting point. What is grimdark? In his article, 'Groping the Elephant, Mark Lawrence defines grimdark as 'defiance in the absence of hope'. He goes on, " Grimdark is often called nihilistic, but this misses the idea that you can accept a nihilistic truth and still choose to die for a principle you know is an emotional construct. A grimdark “hero” has a tendency to go all in – to burn their bridges even when they don’t need the warmth. They are, in their way, an allegory for hope, in so much as having been shown there’s no meaning in the world, they still cling to some elements of it. And in those choices they are revealed. The way it’s painted by the disapproving you would think that grimdark fiction was the literature of surrender to the inevitable. When in truth it is the story of the battle against it – sharpened by the knowledge that there’s no ultimate victory to be had. " This definition matches my perception of the genre and the tone I was looking for. Arlo has had a traumatic early life and suffered the ugliness of other people - yet his motives and his actions are driven by hope. He strives to protect people, particularly arcane species for one simple reason. The man who rescued him , belonged to the British Bureau for the Arcane. Arlo views him as a role model. Sure, his bitter rages and inability to relate to other people makes him an unsympathetic hero but shouldn't we look beyond the surface of people before judging them? I was recently on a convention panel with Anna Smith Spark, talking about the nature of grimdark. Her opinions can be summed up in this quote from her article written in 2019. " That thin pathetic line between rage and despair: that’s hope. The voice screaming into the abyss: that’s hope. Hold those you love close to you. Recognise that the world is a cruel place." I appreciate grimdark isn't for everyone. Another reviewer commented in her review that she'd struggled to cope with the tone of the book because of the state of the world at the moment. I get it. We appear to be heading for a truly dystopian future and that is frightening. Reading books that deal with ugliness and cruelty can reinforce that darkness, some people want to avoid it. I've done the same at times. On the other hand, you only have to look at the success of authors like Mark Lawrence, Joe Abercrombie and my good friend, Michael Fletcher, to see the popularity of grimdark. Defining 'noir' Barbara DeMarco-Barrett, in Gotham Writers writes " the main characters want better things for themselves, but try as they might, they just keep making wrong choices and things go from bad to worse." Ms DeMarco-Barrett explains how she uses this definition to explain the noir genre to her mother. Her mother replies, "Oh, like real life then!" I like this. It's the reason for those poor choices that link to grimdark - they're foisted on the character by their traumatic experiences. In Masterclass , noir is defined as "Typically feature gritty urban settings, morally compromised protagonists, dark mysteries, and a bleak outlook on human nature." Once again, I have to ask, how does this differ from grimdark in fantasy? That point about 'morally compromised protagonists' is key here - what is the cause of that compromise? What experiences have marred their character growth? Another reference, A Dark-Adapting Eye "Noir denotes a marked darkness in theme and subject matter, generally featuring a disturbing mixture of sex and violence." The article includes reference to one other ingredient not mentioned so far - institutional corruption. This is another form of human ugliness - that people will compromise organisations for their private gain. This happens in my book and is another cause for my main character's darkness. It brings us back to hope again - when the main character believes they're striving to do good, they're compromised by the corruption of those around them. What is grimdark noir? Having defined the two terms of this sub-genre, it's time to put them together. What is grimdark noir? Both terms cover similar territory, the dark and gritty context of a world filled with human toxicity, in which people are tainted by that same darkness. It's a world filled with corruption, where motives centre on personal gain rather than public benefit. Unsurprisingly, trust and loyalty are uncommon qualities in these people. Such qualities lead to lies and suspicion, where manipulation happens to hide secrets, people are never as they seem. It is within this context investigation takes place to uncover a mystery provoked by these elements. An investigation led by a character with their own faults, as Barbara DeMarco-Barrett explained, faults which cause them to make poor choices that make matters worse. In this respect, they are no different to classic Shakespearian tragic heroes who do the same thing, it is their poor choices that lead to their tragedy. Conclusion Grimdark noir is driven by a need to investigate any mystery caused by secrecy and manipulation, where its main character's flaws exacerbate the situation, darkening it still further. Their motives may be honourable but their methods won't be. Ends don't always justify the means. Like Sam Spade and Phillip Marlowe, the investigation may be solved - the cost however is so great, the investigator is the one who truly suffers. Phil Parker writes fantasy stories, click on the image below to find out more.

What is Science Fantasy?

What is Science Fantasy?

Due to a scheduling mix up at Fantasycon2024, I didn't get chance to answer this question on a panel so I've decided to post my research here. My appearance on the panel was down to the kind of books I write - which qualify as Science Fantasy. So what exactly is it? The historical context The term "science fantasy" was coined in 1935 by critic Forrest J. Ackerman as a synonym for science fiction. In 1948, writer Marion Zimmer Bradley called "science fantasy" a mixture of science fiction and fantasy in Startling Stories magazine. Critic Judith Murry considered science fantasy as works of fantasy in which magic has a natural scientific basis. The label first came into wide use after many science fantasy stories were published in the American pulp magazines, such as Robert A. Heinlein's Magic, Inc., L. Ron Hubbard's Slaves of Sleep, and Fletcher Pratt and L. Sprague de Camp's Harold Shea series. Distinguishing between pure science fiction and pure fantasy, Rod Serling (creator of The Twilight Zone) argued that the former was "the improbable made possible" while the latter was "the impossible made probable". The Star Trek franchise created by Gene Roddenberry is sometimes cited as an example of science fantasy. Writer James F. Broderick describes Star Trek as science fantasy because it includes semi-futuristic as well as supernatural/fantasy elements such as The Q. The status of Star Wars as a science fantasy franchise has also been debated. In 2015, George Lucas stated that "Star Wars isn't a science-fiction film, it's a fantasy film and a space opera." It could be argued that science fantasy came first. Look at Mary Shelley's Frankenstein as an example. A tale of scientific exploration which imagines the impossible, reanimating the dead. That theme must have echoed in the rooms of the Villa Diodati where she, Lord Byron and his doctor John Polidori challenged each other to write stories that matched the dark weather outside. Polidori would pen his own story, Vampyre, BEFORE Bram Stoker set out creating Dracula! That was in 1816. Half a century later, Jules Verne would write about people going to the moon, to the centre of the earth and travelling under the oceans. Another half century and HG Wells would imagine our planet being invaded by Martians, about science making invisibility possible as well as time travel. All these stories include a scientific premise which is developed into a story using fantastical ideas. Definition Carl D Malmgren from the University of New Orleans writes here that, "A science-fantasy world is one in which the characters or settings or events presuppose at least one clear violation of natural law or scientific necessity, but which explicitly provides an organized or scientific explanation for that violation and which grounds its discourse in a scientific episteme." This definition follows on from my earlier point referencing Shelley, Verne and Wells. The science exists but a 'violation' occurs which takes the idea into the realms of the unknown. That said, a better approach might be to list authors who have helped to define this sub-genre, which is what Brian Attebery does in Dictionary of Literary Biography: Volume Eight: Twentieth-Century American Science-Fiction Writers: Part 2: M-Z (1981) edited by David Cowart and Thomas L Wymer. His list includes Marion Zimmer Bradley, Edgar Rice Burroughs, Samuel R Delany, Anne McCaffrey, Andre Norton, Jack Vance, John Varley, Roger Zelazny. This definition resonates for me, as someone who grew up reading these authors. It's only now, seeing their names here, that I begin to wonder if they are the ones who shaped my writing into the form it now takes. This list can be found in the Encyclopaedia of Science Fiction - where it enhances this definition of science fantasy by including typical tropes. They include, interdimensional portals (which may include parallel worlds and alternate dimensions), people with 'enhanced abilities' such as psychic powers and monsters which may have scientific links (you could include Frankenstein here). These tropes define my stories; they all include interdimensional portals for two reasons. Such things offer the writer access to other beings/creatures and worlds. More importantly for me, they feature in so many stories in folklore - see my post referencing this here . Science Fantasy and Writing Stories If you contend a central premise of fantasy includes magical systems, in various forms, then science fantasy must differ in the way that magic is explained. For me, it's not about using runes, spells and wands. I've just mentioned the idea of other worlds and the people that come from them, they are aliens! Not little green men in spaceships, put simply, they are not US! Therefore, we can have them do whatever we want in our stories, they can perform magical feats because it's in their DNA. Let me give you two examples from my own work: Frida in The Valkyrie of Vanaheim is half human, half fae. Her psychic powers and ability to manipulate energy are down to her fae ancestry. In The Bastard from Fairyland , the twins possess similar abilities for the same reason - they are hybrids. In both instances, I make the point that these qualities exist in the natural world, we have animals with these abilities - so what's to stop these qualities transferring to people? In this way you don't need to create complex and restrictive magic systems. I'd add one more factor to this: when these qualities exist in your DNA, how does it change you as a person? All my stories are about broken and damaged people. Invariably, the damage comes from being different. As a hybrid, living among human beings, hiding abilities that make you a freak - you're bound to suffer. How could you not? As kids especially, who need to conform, it is especially traumatic. For me, a story begins with Character (with a capital C!). This precept goes beyond making magic important - by being different - there's your story! The idea of the portal is another science fantasy element that helps make the subgenre unique. For me, it's why Deep Space Nine is the best series in the Star Trek franchise. The portal achieved several goals for the writers of the series. It allowed travel into 'strange new worlds' that could exist in a single episode and involve very little travel. More than that, the wormhole aliens generated a religious significance that defined the culture of Bajor. This cultural reference prompted stories that had not just religious overtones but political and social ones too. They defined characters by their beliefs - look at Kira Nerys, her beliefs place her odds quite often with people like Sisko and other Starfleet personnel. All this because of a wormhole. If we remain in the world of television, the Stargate franchise did the same thing, to an even greater extent in terms of opening up stories to all kinds of species that possessed abilities humans don't possess. Some of them scientific, others mystical. Yet again, the portal facilitates the characters who feature in the stories too, as defined by their individual cultures. To explore literature for portal fiction, you have the Narnia stories by CS Lewis of course. The great thing to remember is that portals can exist anywhere, even in wardrobes. You can argue the case for Lewis Carrol's Alice in Wonderland being a portal fiction too. The same is true for L. Frank Baum's Oz stories. There's a Wrinkle in Time by Madeleine L'Engle too. I'd also have to mention some personal favourites, like Neverwhere by Neil Gaiman, War of the Flowers by Tad Williams, The Summer Tree by Guy Gavriel Kaye, The Magician's Trilogy by Lev Grossman. The Writer's Takeaway For too long, science fantasy appears to have been subsumed into that broad genre of Fantasy, to a lesser extent, science fiction. Yet, I'd contend, it is neither. It is distinct in the way science MUST play a role in the world building AND the impact on characterisation in fantasy stories. All the novels and TV series I've listed here prove this assertion. For anyone who makes the claim that fantasy takes place in worlds other than our own, that is true. Tolkien is fantasy because scientific references don't exist in his stories. My assertion about the impact of portals and people with non-human abilities on a story, defines how science fantasy can generate tales that are noticeably different. Travel between worlds, encountering people from different worlds, dealing with the abilities such people present, is what this genre is all about. I'd like to wind up this post with one more factor which I've not mentioned until now. As evidence, I'm going to highlight Faerie Tale by Raymond Feist. This is portal fiction but it goes beyond that. It takes our folklore and makes it real . Science can bring credibility to a story . This novel provoked my career-long fascination with the idea of encouraging readers to question how possible folklore might be. Feist presents theories that have justification in science, such that it made me start to question what we're meant to believe. I love that idea! I set out to do the same in The Bastard from Fairyland by referencing Glastonbury (in Somerset, England) folklore. A town filled with myth that includes King Arthur and fairies! This is what makes science fantasy different and exciting. The inclusion of science encourages us to ask - could this be real? Phil Parker writes fantasy novels. Click the image to find out more.

Fairies, Folklore and Fantasy

Fairies, Folklore and Fantasy

Fairies appear in most of my novels. I'm intrigued by their history and the many ways in which they manifest in our culture. Manifestations that have transformed over time. Research this race and you'll discover varied identities that often conflict with one another. As part of my research for my latest novel, the second in my British Bureau for the Arcane series, I've pulled these disparate threads together. Let me show you the truth about a race of beings we've always assumed have magical powers - and whose actions have been both good and bad where humans are concerned. All without a fairy wand in sight! Fairy History The term 'fairy' can be traced back to numerous ancient cultures. The 'pari' was a supernatural creature from pre-Islamic Persia, a beautiful creature with wings and frequently linked to Nature. In this period of history, (500 BCE) this empire stretched across the area we now call the Middle East, as far as parts of Greece. It's not surprising the concept of a being with supernatural powers continued across Europe. The name changed but the identity remained similar for people in Brythonic cultures (Brittany, Cornwall & Wales), Celtic cultures (Ireland, Scottish & Manx) and Germanic cultures. The appearance of the fairy travelled across the globe. In Sanskrit there was the gandharva (semidivine celestial musicians), nymphs in Greek mythology and referenced by Homer, along with the jinni in Arabic mythology, and similar folk characters of the Samoans, of the Arctic peoples, and of other indigenous Americans. All these cultures believed in a race of beings with abilities which we'd describe as super human - in that they went beyond what any human being could do. By the Middle Ages, the word 'fairy' comes from Early Modern English, 'faerie' which meant 'realm of the fays'. This word was derived from the Old French word, 'faierie' - a variation from the Latin word 'fata'. The Italians call their fairies 'Fate' - it's where we get our word (meaning destiny) because they believed fairies granted wishes that could change your life if you wished correctly. That said, in the Brythonic cultures, fairy folklore refers to fairies as wee folk, good folk, people of peace, fair folk . The first mention in England, using the word 'fairy' comes from the historian Gervase of Tilbury in the 13th century. By the late Middle Ages, as we entered Elizabethan times especially, the word 'faerie' could also mean a form of enchantment. It became a verb to define what this race might do to humans. Stories existed of faerie knights and the faerie queen - people whose enchanted behaviour was the basis of the plot. You only have to look at what Shakespeare does with his faeries in A Midsummer Night's Dream, where Puck enchants Bottom and the four lovers. It was normal for this enchantment to be cruel. At this point in history, the identity of the fairy changes too, it expands to include goblins (hobgoblins too), gnomes and elves. Puck is described by Shakespeare as a hobgoblin, which was a demonic creature, capable of mild forms of evil. This is in-keeping with stories of fairies abducting human babies - replacing them with Changelings to avoid immediate discovery. If you've ever made a daisy chain and hung it around your neck, this tradition dates back to this time. The belief was fairies could be repelled by daisies, parents hung a daisy chain around the baby's neck to stop it from being abducted! James I even went to the length of writing Daemonologie to warn people of a race that he perceived as being connected to witchcraft and Satanic worship. All this changed once we entered Victorian times when Nature became a cultural focus, to challenge the Industrial Revolution and humanity's fascination with all things mechanical and scientific. Fairies turned into tiny creatures, similar to flowers. By 1922, Arthur Conan Doyle (the creator of Sherlock Holmes) described them as like butterflies and serving a specific purpose - "That growth of a plant which we regard as the customary and inevitable result of associating the three factors of sun, seed, and soil would never take place if the fairy builders were absent." This description flies in the face of another writer of the time. Rudyard Kipling, in his 1906 novel, Puck of Pooks Hill, gives our Elizabethan hobgoblin a makeover. Two children meet him on a Sussex hill where he complains about the way people believe his kind to be "painty-winged" and have an aversion to salt, iron and running water. This brief history shows the extent of the transformation of this race - from their Persian origins as creatures that may have been angelic in appearance, into a variety of European cultures where they turn evil, only to become harmless Nature spirits. By the late nineteenth century they are essential ingredients of children's stories and a major earner for the Disney corporation. Fairies and Folklore Collins dictionary defines folklore as "the traditional stories, customs, and habits of a particular community or nation." Where do these 'traditional stories' come from? The fact is, the motifs underpinning these stories are frequently found in many different cultures. They may differ slightly but the common features remain the same. The provocation for the stories, according to some experts, is that they contain "lessons" that are passed from one generation to another before the advent of education. They were ways to teach children of the dangers in their world, along with ethical and moral guidance - to define what the culture perceived as good and bad. Entertainment was another factor. Without television and games consoles, storytellers would gather their audiences and enthral them with tales that would generate reaction. Storytellers needed to ensure audiences would want more and so stories with magic proved the ideal commodity to this end. Magic would reflect the community's environment, belief systems and even their fears. All features that could provoke reaction. An example of the environmental factor can be found in stories where marsh gas caused flickering flames to hover over marshy ground . The resulting folklore created stories about Jack-o-Lantern or Will-o-the-Wisp, a highly dangerous fairy that haunted marshy ground, luring unwary travellers to their death in the bogs! Fairies and Celtic Folklore For a culture with a proud and strong history of storytelling, it's not surprising Ireland has a powerful connection to fairies. The ancient Celts believe in a race known as the Tuatha Dé Danann, worshippers of the goddess Danu. They likely arrived in Ireland from the Middle East, having inhabited parts of Europe as they spread across the continent. This race were deemed to be highly civilised, influencing Celtic beliefs in the process. Evidence of this race can be found in the Lebor Gabála Érenn - The Book of Invasions - which can be found in the library at Trinity College in Dublin. As Christianity became dominant and Ireland was invaded by other races, the Tuatha Dé Danann went underground, literally. Large mounds showed where they lived, entrances often hidden by trees and large rocks. These underground locations provided another name for this race and the 'otherworld' where they lived. The Sidhe (pronounced 'shee') are named after the mounds 'sí' - which referred to both the mound and the creatures living under it. So 'aos sí'  meant inhabitants of the mounds, the fairies themselves. ' An slua sí ' was the fairy host, the ' ceol sí ' was enchanting fairy music and a ' bean sí ' was a fairy woman - you might recognise this word in its English form - banshee! (A fairy woman whose scream foretold of a death). The story from the mythological cycle that most clearly connects the Tuatha Dé Danann to the Sidhe, is called De Gabail in tSida , translated as ‘The Taking of the Sí’, in which the Sons of Mil (Milesians, or the Gaels) make an alliance with the Dagda, King of the Tuatha Dé Danann, who demands offerings of grain and milk in return for not ruining the harvests of humanity. From these early beginnings we get stories that define specific members of the Sidhe community: The Leprechaun is known for his shoemaking and mending prowess, the classic pot of gold or magically refilling purse, and his ability to make things disappear, while the Clurichaun is known for his magic skills and his ability to turn himself invisible. Both are considered mischievous, and generally solitary beings. Merrow (from Irish murúch) is a mermaid or merman who requires a ‘little magical cap’, the cochaillín draíochta , so they may travel between deep water and dry land. They could fall in love with humans, and even marry, though a husband would have to be careful to hide the cap in order not to lose his sea-wife. The Púca (still the word used in modern Irish for spirit or ghost), whose name can be anglicised as pooka or phouka is considered to be the bringer of either good or bad fortune. They can have dark green/black or white fur or hair. These creatures appear as shapeshifters, to take the form of horses, goats, cats or dogs. They could also appear in human form, but with various animal features, such a tail or long ears. Supernatural beings in Japanese folklore Like I've shown in Ireland, Japanese beings with supernatural qualities also lived underground and in secret places in dense forests. Yosei are fascinating supernatural beings found in Japanese folklore. Influenced by Shinto and Buddhism, these mystical creatures possess magical abilities and are often associated with nature. Popular examples include Kitsune, the shape-shifting fox spirits, and Tengu, powerful beings connected to Japanese religion and culture. Other intriguing Yosei include Jorogumo, spider yokai known for their seductive transformations, and Tsukumogami, everyday objects brought to life. Kitsune are foxes that possess paranormal abilities that increase as they get older and wiser. They can bewitch people, and shapeshift into human or other forms to trick human beings. While some folktales speak of kitsune employing this ability to trick others, some stories portray them as faithful guardians, and friends. Folktales from China tell of fox spirits called húli jīng - the nine-tailed fox. These fox spirits were adopted into Japanese culture through merchants as ' kyūbi no kitsune '. The earliest references to tengu can be traced back to the 6th century, where they were depicted as malevolent spirits dwelling in deep mountain forests. Over the centuries, the tengu myth evolved and diversified, influenced by various religious and cultural currents, including Shintoism, Buddhism, and folk tales. Physically, tengu are typically portrayed as humanoid beings with exaggerated features, such as long noses that resemble a bird's beak and sharp claws. Their skin can vary in colour from red to black, and they often wear traditional Japanese clothing, such as robes or loincloths. Tengu are known for their supernatural abilities, including the power of flight, telekinesis, and shapeshifting. They can control the elements, create illusions, and possess humans or animals. Tengu are closely associated with the mountains and forests of Japan. They are believed to be the protectors of these natural environments and to punish those who disrespect or harm them. Tengu are also said to possess the power to control the weather and to summon storms and lightning. Tengu have a complex relationship with humans. On the one hand, they are feared as powerful and potentially dangerous creatures. On the other hand, they are also respected as wise and knowledgeable beings. Tengu are often depicted as tricksters, playing pranks on humans and leading them astray. (Notice the similarity to characters like Puck?) Norse Folklore and the Älvor The beings called “älvor” in Swedish are often translated as “fairies” or “elves” but they’re not quite what you would conceive the fairies and elves of the Anglo-Saxon world to be. They’re also not the same thing as the Light and Dark Elves of Norse mythology. Älvor are essentially nature spirits of the Norse folklore. Älvorna are invisible, but can be glimpsed dancing in the fog over wetlands at dawn and dusk. They’re said to look like small and delicate. Sometimes, they appear as small animals, like insects, frogs, or mice. They live in mounds or hills. When älvor have danced in a meadow, an älv-ring may appear. It consists of mushrooms (or dense grass) growing in a bow or circle formation. Both älvmounds and älvrings are thought to be a portal to älvornas home on “the Other Side”. (You can't help but notice the similarities to Celtic lore here!) This folklore remains powerful today in Scandinavian nations. Enormous respect is paid to these beings, showing scorn and acts of disrespect can provoke enormous anger from local people. Visit Iceland and you will even find road signs warning you that you're entering the territory of these people. Roads have even been redirected to avoid offending the älvor. Thanks to Marvel comics and the Marvel Cinematic Universe, there is a common misconception about the link between fairies and characters like Thor and Loki. Even to the extent of Light and Dark Elves. These peoples are entirely separate. The deities from Asgard were a mixture of the Aesir and Vanir. Elves are distant relations. They should not be lumped together with the älvor. Fairies and Popular Culture Any exploration of folklore has to include the present day and examine the way these stories manifest for a new audience. I said earlier that folklore is all about storytelling and keeping the audience engaged. The basic premise hasn't changed, the medium has. Small children now will be familiar with fairies, unaware of the race's history. They will likely imagine a fairy in the same way as their Victorian ancestors, tiny, winged and magical. We have the likes of Disney to thank for this. That said, the stories still serve the same purpose, to teach lessons linked to morality and growing up as a responsible adult. The difference now is that stories about fairies have entered the adult world of entertainment. Even some children's stories are darker than you might expect - I'm thinking of books like The Spiderwick Chronicles and those by Holly Black . There is also Eoin Culfer's Artemis Fowl stories too. As for adults, my personal recommendation would be Jim Butcher's brilliant Dresden Files series. These are fairies you definitely don't want to meet! There is also the wonderful Faerie Tale by Raymond Feist which takes the folklore and places it firmly into the modern world! (Highly recommended!) There is The Infinite Concerto by Greg Bear which uses much of the folklore mentioned here in frightening ways. Don't overlook Rosemary and Rue by Seanan Maguire too. The Fantasy Author's Takeaway Fairies (however you want to spell the word) have been a staple ingredient for storytellers for millennia. They offer the magical qualities that require us to suspend belief so we can be entertained - perhaps even frightened. A race often linked to Nature too - thereby ensuring we value the world in which we live. This race have been used to teach us lessons. Humans suffer when we show disrespect or display ignorance of other cultures - a phenomenon which has particular relevance in today's world. All these elements have a relevance to fantasy authors now. Fairies may have magical capabilities in folklore - but this isn't essential. They are merely different to us. I like to remember Arthur C Clarke's comment about magic being any form of technology we don't understand. This may be true for fairies - a large part of the plot of the novels listed above is just that - a lack of understanding that may lead to punishment. For me, I continue to be fascinated by fairies in folklore because I wonder exactly what events triggered these stories in the first place. While on my research trip to Glastonbury for The Bastard from Fairyland , local people offered numerous tales about encounters with the fae. One example is when Saint Collen, the Abbot of Glastonbury met two fae on the Tor, to be escorted to the fae king, Gwynn ap Nudd where he would have dinner. The legends of fairy doorways on the Tor and in the Abbey are plentiful. Why do these stories persist and what started them? Perhaps we should just be glad they exist and they stimulate our imaginations so we can write more stories! Phil Parker writes fantasy stories, click on the image below to find out more.

Review: Land by Bjorn Larssen

Review: Land by Bjorn Larssen

Land, by Bjorn Larssen, is his follow-up novel to his highly acclaimed Children. It is no less amazing, indeed, I’d say it is even better. I’ll explain shortly. It is also an intensely emotional, even traumatic, story. I had to read it in stages, engaging for too long felt like watching one of those films where you need a box of tissues handy. I’m not going to lie, there were occasions (sometimes it was a single sentence) that brought a lump to my throat. The story is complex but, in short, Maya and Magni are its two protagonists who are hampered by their own ignorance and must deflect the endless pressures that demand answers from them. It relies on a great deal of Norse mythology but has given it new meaning quite often, mythical characters are seen in a modern context. They remain equally as powerful, unpleasant and hurtful but their reasoning and actions has a modern edge we can see in others now. Their goal is to conquer a new version of Asgard but you’re never too sure if their personal challenges may be even greater and get in the way. Maya’s immense power is amorphous, uncertain and unpredictable. Magni, Thor's powerful son, is trapped in a love spell with a slave, Thorolf. Both are too traumatised by their experiences to be able to express and sustain their love. It's Magni’s story that had me blubbing. After everything he goes through, you just want him to be happy. Yet events, other people and his own trauma constantly create road blocks. All this sounds like a story that is depressing to read. It could be, very easily. Yet, not in the hands of Bjorn Larssen. Sure, this story is visceral in the mental and physical pain inflicted on its characters. At the same time, the humour that defines the author’s voice, is there. It’s wry, touching, ironic. It complements the heartache perfectly. The classic, one-minute-you’re-crying, the-next-minute-you’re-laughing tone. There’s a “throwaway” quality to his humour that I love, a touch so light you might miss it. Subtle word play. In addition, the prose is exquisite. I rarely use that word. It applies here. As a writer, I found myself re-reading certain sentences to appreciate the quality. Places where you think, that is gorgeous. More often, where I decide I bloody hate Bjorn Larssen for writing something so beautiful. The guy has achieve all kinds of plaudits for Children – Land will be the same and rightly so. Land is a story with emotional arcs so large, so wide-ranging, so varied and colourful, it is a multi-hued rainbow. One that can sometimes contain shadows and darkness through which you must travel to reach the light. Bjorn Larssen's website is here : Buy the book from Amazon here : Phil Parker writes fantasy stories. Click on the image to find out more about them.

Folklore Magic for Fantasy Authors

Folklore Magic for Fantasy Authors

In recent book festivals and cons, I've talked about how fantasy authors use magic in their stories. In order to speak with a small degree of authority, I researched the topic and found a history of such cataloguing, thanks to American folklorist, Stith Thompson . His motifs are defined as, "A motif is the smallest element in a tale having a power to persist in tradition. In order to have this power it must have something unusual and striking about it." He breaks down the way magic is used in tales from folklore, where many fantasy authors build on these traditions. I've tried to summarise and simplify these motifs for anyone looking to use magic in their fantasy stories. TRANSFORMATION Magic can turn one thing into something else. Transformation is provoked by a variety of stimuli, which may possess their own magic. For instance, the transformation of human to animal form exists in numerous folklore tales - the werewolf perhaps being the most obvious. Lycanthropy may be triggered by the moon but also by magical curses. In late 15th century Switzerland, people were placed on trial for being werewolves. German farmer, Peter Stummp, was executed for being a serial killer and werewolf in 1589. However, these stories began life as romances! Such as Guillaume de Palerme in 1200 France. The gothic horror genre only arrived in the 20th century. Another trope arises out of human transformation - into a swan . Swan maidens are often cursed or may transform by will, or be dependent on daylight. Folklore varies hugely but a common theme is another romantic twist - a man falls in love with a swan maiden but the course of true love runs anything but smooth and feathers fly. Tales also include men spying on women bathing, who have taken off their swan-feathered garments. Tchaikovsky used the idea in Swan Lake don't forget! The ' loathly lady ' trope is another transformation, where an ugly woman changes after a man declares his love for her. Chaucer used the idea in his Wife of Bath. Celtic myth has several such stories - The Adventures of the Sons of Eochaid Mugmedon and Diarmuid of the Love Spot . French novelist, Gabrielle-Suzanne Barbot de Villeneuve wrote Beauty and the Beast in 1740, using the idea that transformations caused by curses could be cured by love . A variation on the previous trope, only the protagonist is male this time. Author's Takeaway Notice how important romance is in all of these transformations. This magical motif builds on the idea that romance involves looking beyond the superficial. Beauty is not skin deep. Love and loyalty need to be tested, only then can they truly be real. Abuse, manipulation and force are frequently punished but, as is common in so many medieval stories, the role of the woman is often one filled with hardship, cruelty and manipulation. Transformation means fooling the reader too. Magic brings about the transformation - and de-transformation too. Obtaining the means to this end is a great way of enhancing the hero's journey . (Such as we see in the first Shrek film!) MAGICAL OBJECTS Objects with magical properties, talismans included, are a traditional motif in so much folklore and fantasy novels. So much so, the trope is tired and cliched. New approaches, subverting the original motifs are needed. Rings are popular, as JRRR Tolkien has shown. That said, the great man got the idea from Plato and his Ring of Gyges . After that, magical rings appear in numerous cultures. In the Bible Solomon uses a ring to impede demons from taking over people. In One Thousand and One Nights , Aladdin isn't the only one with a magical ring, there are two more stories with the same idea. There are tales from Norse myth and Arthurian legend. L Frank Baum uses magical rings in his Oz stories too. They're a popular motif - as jewellery they have value, they are easily worn (and not easily taken from the wearer) and small enough to be hidden. In medieval times, the ring represented security, keeping the soul of the wearer safe from demons. Magical weapons are another popular means of harnessing magic. In medieval times, when warfare and fighting battles was commonplace, it's not surprising weapons took on magical qualities. In Beowulf there the the magic swords , Hrunting and Nægling. I use the Welsh flaming sword called Dyrnwyn in my novel, The Inside Story of the British Bureau for the Arcane . There is Excalibur and Caliburn in Arthurian legend that belong to the 'once and future king'. Those stories include Gawain's sword, Galatine - which makes its owner invulnerable when in sunlight. Chinese legend has the Green Dragon Crescent Blade which was made using the blood of a green dragon. If you're talking about useful weapons, perhaps none more so than Fragarach, from Celtic folklore that no armour could withstand. Or you might choose Claíomh Solais , a sword which glowed like the sun and could cut enemies in half. Meanwhile, in Norse culture, Angurvadal (Stream of Anguish) – A magical sword of Viking, and later Frithiof. The sword was inscribed with Runic letters, which blazed in time of war, but gleamed with a dim light in time of peace. Any of these take your fancy when it comes to writing a story about a wonderful sword? The folklore of the Indian subcontinent is filled with amazing weaponry - bows and arrows, maces, clubs as well as astra - divine weapons with enormous power, activated by the use of mantras and hand signs. Irish myth went in for spears in a big way while Viking myth liked hammers - Thor's hammer Mjölnir , most notably. Author's Takeaway Weapons require conflict and the means to imbue them with magical properties. Wizardry can be used to do this. So much folklore surrounds weapons that are found and belong to divine beings. It's worth keeping in mind that any weapon should be a reflection of the person wielding it. A weapon is an extension of their character. It shouldn't be all powerful, rendering them unbeatable. Gawain fighting in a battle that begins in the sunlight but takes him into darkness, away from the sun, would mean Galatine would be no different to any other sword. What would he do then? Some stories include details of the weapon taking over the mind, body or soul of its user - not only does it lead to fighting enemies, it can lead to fighting yourself! Cool, eh? CHARACTERISTICS OF MAGICAL ITEMS For the fantasy author, these items and their characteristics are really no more than maguffins - plot devices that drive the story. That said, there are cliches to avoid here. But I'm looking at how folklore informs the author so here are some examples. Some artefacts featured in folklore are obvious: wands, potions, flying carpets. But lesser known examples offer uses that others may not recognise. Items in Warfare Beowulf uses armour made by the fairy blacksmith, Wayland the Smith. More armour? Then try Babr-e Bayan in the Persian epic tale, Shahnameh where it withstood fire, water and all weapons. The Helm of Hades renders the wearer invisible in Greek myth where it's used by Athena, Hermes and Perseus. Another example is tarnhelm , from German myth and used in Wagner's Ring Cycle - it can also help the wearer transform their appearance too. Obviously, there are other artefacts (like cloaks) that render the wearer invisible too. Unseen in the Marvel films franchise, did you know Thor wears gauntlets to hold his hammer? Called Járngreipr, it is Old Norse for 'iron gripper' and protects the god's hands from the magical forces held in the weapon. Author's Takeaway If your story has a medieval timeframe, armour may offer the means to turn your warrior(s) into powerful fighting machines. Imagine the impact of entire battalions of soldiers with any of these items. Take it further, like in any arms race, how might this idea lead to grander and more outlandish uses of magical armour? The thing to remember here - these items do more than protect, they project power and empower the wearer. Clothing Belts - staying with Thor, Megingjörð is his belt! It literally means 'strength and power belt'. Returning to Peter Stummp (the Germans farmer/werewolf), he wore a belt which he maintained turned him into a lycanthrope. His claimed it was given him by the devil. Girdles - this female item of clothing is worn by Hippolyta, queen of the Amazons and her source of power, given her by Ares, Hercules' 9th Labour was to retrieve it. (When she wasn't wearing it, we hope.) The same is true of the girdle belonging to Brynhildr in Norse mythology. In Gawain and the Green Knight, Lady Bertilak, gives Gawain her girdle as a magical means of protection. Here are a few more, slightly more unusual garments that might offer ideas for a story: Nábrók or the Death Underpants come from Icelandic folklore. Made from the skin of a dead man, they bring unlimited amount of money to the wearer. Don't know about you, but I'm not that desperate for cash! China has the story of the Robe of the Fire-Rat , which protects the wearer from... yeah, fire. The Shirt of Nessus , this poisoned chemise killed Heracles in Greek myth. The seven-league boots in European folklore allowed the wearer to travel seven leagues in each step, so not things you'd use for tap dancing. Author's Takeaway The old saying, 'clothes maketh the man' is true here (for men and women). Clothes define us, they display elements of our character to the reader, they can counter preconceptions too. The green girdle in Gawain and the Green Knight is a good example, worn by a woman who uses her femininity to test Gawain, the item protects him when it comes to the prospect of being beheaded. Look at the issues here - an items of women's clothing used to protect a man! The modern-day parallels are well worth exploring surely! Also to keep in mind, notice how most of these items (underpants not withstanding) are decorative - belts, robes, etc. They are displays of status, of character, they are products featured in your world building. GEMSTONES Precious, in various ways, human beings covet gemstones - not only for their beauty but for the perceived advantages they convey on their owner. Beyond that, certain gemstones and minerals in general, reputedly possess magical qualities that offer ideas for stories. Here are a few: Draconite is mythical. A shining black stone of pyramidal shape that is obtained from the head of a dragon, cut off while the animal is still panting. It subdues poison and endows its possessor with invincible courage. The kings of the East were said to have esteemed it a great treasure. Mermaid Tears are weathered and eroded pieces of sea glass found on beaches. The story goes they are the tears of a mermaid Neptune banished to the depths of the ocean after she calmed a storm that threatened the ship containing the man she loved. Fine Coloured Jewel from a Dragon's Neck sums up what this gem is - part of a dragon, so mythical obviously. It is part of a story from Japanese legend. Cintamani is the name of a gemstone in eastern cultures that we, in the west, call the Philosopher's Stone. It's magical qualities allowed it to grant wishes. Within Hinduism, it is connected with the gods Vishnu and Ganesha. In Buddhism, it is held by the Bodhisattvas (divine beings with great compassion, wisdom and power) Avalokiteshvara and Ksitigarbha. It is also seen carried upon the back of the Lung Ta (wind horse) which is depicted on Tibetan prayer flags. The philosopher's stone is a mythic alchemical substance capable of turning base metals such as mercury into gold or silver; it was also known as "the tincture" and "the powder". Alchemists additionally believed that it could be used to make an elixir of life which made possible rejuvenation and immortality. Sessho-seki is real - this Japanese mineral is found in a volcanic spring and its name means 'killing stone'. The stone is linked to the legend of Tamamo-no-Mae and the nine-tailed fox. Its toxicity, linked to the volcanic source, is very real. However, I've included it here because of how it might be used in a story, perhaps by an assassin. Imagine it being used as a weapon, leaving little or no trace, ideal for removing threats to the throne or those already on the throne! The Stone of Giramphiel can be found in Arthurian legend, specifically a 13th century poem from Germany about Gawain winning the stone from the knight, Fimbeus. It protects the wearer against dragon fire. This could be a powerful gemstone in any story involving dragons! What might others do to obtain such a thing? Rubies are mentioned in the Christian Bible as one of the 12 gems made by God. In Burma, soldiers believed rubies made them invulnerable and wore them on their armour - or even inserted into their flesh! Pearls feature in the folklore of many cultures. Persians believed they were formed when rainbows touched the ground (as in Britain and Ireland we talk of pots of gold being found there). The pearl's shimmering quality came from the amalgamation of the rainbow's colours. In Japan, pearls were the tears of mystical beings, such as mermaids and angels. In China, black pearls were found in the bodies of dragons, which you needed to kill to get your hands on them. Peridot in medieval times drove away evil spirits and offered protection against magical charms and spells. Its bright yellow colour made it the gem of choice to bring light into darkness, thereby banishing the evil that hid there. When set in gold, it also dispelled fever. Sapphire - in Persian culture people believed the Earth rested on a giant sapphire, giving the sky and the sea its blue colour. The Greeks believed it was Apollo's preferred gem and wore it when seeking guidance from him in oracles. There are stories that when God handed Moses the Ten Commandments, the tablets contained sapphires because the gem represents wisdom. Turquoise in the traditions of the Navajo talk of a female goddess Estsanatlehi who appeared to humankind as a drop of turquoise or a turquoise woman. This woman, also known as The Changing Woman, represents both self-renewal and rejuvenation, by birthing the land and sky. In other native American cultures, turquoise formed from the tears of people after rain fell after a particularly long drought. Author's Takeaway Talismans, charms, bracelets, rings, amulets and the like appear in fantasy stories and invariably contain gemstones. It's the magical quality of the gemstone that matters here. While legends exist around specific stones, they offer up stories that contain some of that legend. I love the idea of Gawain's protection from fire-breathing dragons - imagine what adventures might evolve from that artefact! In more general terms, previous stones and minerals offer the author a means to use magic that has a distinct and original source. A hero who must enter a world of demons, or a world of darkness and mystery, might spend half the story searching for a mystical object containing peridot so it protects him/her from danger. In the same way, turquoise and its history of regeneration might be useful for an aging character seeking to remain young. Perhaps the Philosopher's Stone was made from peridot! Conclusion Folklore offers ideas and solutions to the author that bring additional validity. I believe l egends and myths are based on a genuine historical event or person which, over time, gets exaggerated, twisted and changed with its subsequent retelling. These are stories that have stood the test of time because, as I referenced at the start, for them to persist they ' must have something unusual and striking about it'. The writer can take this quality and enhance it to fit into their own story. For some authors - and I include myself in this category - fantasy is about convincing the reader of the possibility the story might be based in reality in some way. Research is crucial to achieve this goal. The author needs to know what they're talking about but the research should also inspire. Quite often, when stuck for an idea (usually after I've written myself into a corner!) I find solutions in research like the material I've included here. Somewhere there is a piece of folklore that fits those precise needs of the story. I hope, somewhere on this page, is information which inspires or validates your stories! Phil Parker is the fantasy author of the books shown below: (click on the image)

Self-publishing statistics for 2024

Self-publishing statistics for 2024

If, like me, you're an #indieauthor, you'll be interested to know how the publishing industry and readers generally, are reacting to us. This article includes data from several current sources. The good news? Self-publishing is on the increase and generating more income than our colleagues in the traditional market (on average). Quoted widely, the report from The Alliance of Independent Authors , accrues data from a range of sources to compile its findings. Here's a bullet pointed summary: Average incomes of self-published authors are rising. There was a 53% increase from 2022. The average that year for #indieauthors was US$12,749. The average for authors with third-party publishers was US$8,600. Younger authors are making self-publishing their first choice: ‘Less than half of authors under 45 years old would prefer to have their next book traditionally published.’ (Source: Author’s Guild, 2023) Self-published authors make up over 50% of Kindle’s Top 400 Books for 2023 (Source: K-Lytics, 2024) More than 2,000 self-published authors have surpassed $100,000 in royalties. (Source: Amazon, 2022) Self-publishing has a reverse gender pay gap, LGBTQIA+ authors earn more than heterosexuals. Gen Z maintains strong and regular reading habits with nearly 40% reading daily or a few days each week, and 55% still reading once a week or more. 79% say they are looking for better diversity in the stories they read. ‘More than four out of five (83%) Gen Z readers (aged 18 - 25) (are) turning to online sources like webnovels, e-books, and webcomics for diverse stories.’ (Source: Wattpad, 2023) Research from Nielsen BookData highlights that it is print books that Gen Z favour, accounting for 80% of purchases from November 2021 to 2022. Libraries are also reporting an uptick in Gen Z users who favour their quiet over noisy coffee shops. In the UK in-person visits are up 71%.’ (Source: Guardian, 9th Feb 2024) Success for #indieauthors , according to Written Word Media, meant generating a minimum of EIGHT books before you could begin to see success. Their December 2023 survey showed these authors spent an average of 15 hours per week writing. 27% sold their books from their own websites, the rest from BookFunnel (40%), Shopify (25%), PayHip and WooCommerce (20%). Kingston University surveyed 800 self-published authors, they were asked if they would recommend the experience to other writers. 86% said they would, 14% said maybe and under 1% said no. 58% said they liked retaining control over their material, 50% wanted higher royalties and 42% had chosen self-publishing after hearing good things about it #IndieAuthors have increased their use of Kindle Unlimited. Whilst Amazon has reduced the payments, the use has doubled from KU's introduction in 2014 (ten years ago). Alex Newton, from K-Lytics, found that KU drives the sales of eBooks quite considerably. In terms of genres on KU, the most popular is Romance (58%), followed by Suspense/Crime/Thriller (16%). Speculative fiction only accrued 1%. The best markets, according to Draft2Digital, are USA (58%), Canada (9%), Australia (7%), Germany (6%) and Great Britain (5%) Kindlepreneur surveyed 876 authors who were selling direct and found that 40% had only been doing so for under a year. 1-2 years = 22%, 3-4 years = 14% and over 5 years = 22%. Two factors emerged from this survey: 44% had written 10+ books (and therefore had a body of work that readers could engage in) and the successful author had an email reader list of 15,000+ which generated over $6,000 in revenue Successful self-published authors don’t have ‘agreeable’ personalities! (Source: Kingston University, 2023) According to Bookstats, which collects online sales data in real time from Amazon, Apple, and Barnes & Noble across the print book, e-book, and digital audiobook formats, self-published authors captured 51% of overall e-book unit sales last year and more than 34% of e-book retail revenue, compared to 31% in 2021. Those numbers translate into e-book sales of $874 million in 2022 for self-published authors. Three "takeaways" from this data: You only have to look at the breadth and diversity of speculative fiction to see the impact of self-publishing. Its characters, settings, themes and topic are significantly wider than (say) fifteen years ago, thanks to the work of neurodiverse and LGBTQ+ authors. Self-publishing brings freedom and readers now look to this market to provide it. (It might be argued the traditional market is so risk-averse, unwilling to challenge certain cultures, they still do not engage). The self-published author must be an entrepreneur. Apart from needing a creative mind, they need a business head. It means curating and analysing sales data to identify commercial strategies. It involves exploring a range of marketing options - and not being afraid to promote their work. Not always easy for those authors who see themselves as introverts. To achieve success as a self-published author takes time. This data suggests an author needs a solid body of work (between 8 - 10 books) before they can consider themselves established. I've read the same from authors who fit this category. It takes years. Success is unlikely to happen overnight so be patient. I hope you find these post helpful. If you share it, please credit me. To respond you can find me on Threads https://www.threads.net/@philparkerfantasyauthor or on Facebook https://www.facebook.com/philparkerfantasywriter or on Twitter https://x.com/PhilSpeculates Phil Parker is a fantasy author. Click on the image below to find out about his books.

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