Hammer of Fate will soon be ready to go to print, ready for my heroine Adelais to be sent out into the world on 1st June.
Publishers Second Sky (an imprint of Bookoutoure/Hachette) sent out ‘Advanced Review Copies’ of Hammer of Fate in February, and the first reviews are coming in. I’m particularly pleased with this one: ‘There is something about a good fantasy book that always grabs me and lures me in, holds me hostage until I can finish it, and then leaves me pining for more. … I can only urge you to pick up this book and thrive in it…’
If you’d like to pre-order an ebook, it’s available here.
The final stages:
Editing is hard work. The finished book will be the end product not only of years of writing but of four cycles of editing:
Firstly my editor makes ‘structural edit’ suggestions, related to plot and characterisation. We then hand the agreed changes to a ‘copy editor’ for more nuanced revision. Line editing follows. Hammer of Fate is now at the final, proofreading stage when we discover infuriating glitches. Like runes, which are important to the plot. Kindle transposes them, turning the rune bjarkan, for example, from a correctly typeset ‘ᛒ’ into ‘B‘. The rune’s esoteric meaning of renewal becomes just ‘buh’. I am so glad I have a publisher to help.
Book 2 in the series has just finished the copy editing phase, and by my count the edits on the first two novels in the series have taken me about 110 full days of work since October. All this editing has left Book 3 on a cliff edge, with a key character facing a very tricky situation and begging me to ‘please please please come back and write me out of this’.
No pressure, then. You’ll find more about Hammer of Fate, including the publisher’s description here. Sign up to my newsletter here to hear announcements about subsequent releases in the Rune Song series.
As anyone who has read Saxon’s Bane knows, I like to write stories where worlds collide. Not, I hasten to add, in the astronomical sense; I don’t write Science Fiction, but I do like the past to echo in the present. Even better, to play on it in a way that has the reader wondering if there is more in today’s world than can be explained by science.
Weaving the past into the present
In a previous post I described how the initial idea for Draca came at anchor in a friend’s boat, watching the ebbing tide reveal the bones of dead ships. What else did the silt’s ancient layers conceal? After all, Guthrum’s Viking army wreaked bloody havoc in that very harbour during their war with Alfred. There’s a contemporary, 9th Century poem by Torbjøn Hornklov which evokes the moment when the dragon ships surged out of the mist:
Ships came from east-way,
All eager for battle,
With grim gaping heads
And rich carved prows.
They carried a host of warriors,
With white shields
And spears from the Westlands
And Celt-wrought swords.
The berserks were roaring
(For this was their battle),
The wolf-coated warriors howling,
And the irons clattering.
But how might such a moment impact the present? Weaving history into a contemporary novel is tricky. In Saxon’s Bane I set whole chapters in the Saxon era. In Draca I took a more subtle approach, revealing the past through the contents of an old man’s bookshelf; his diaries, his obsessive research into his own Danish heritage, and his copies of the ancient sagas. If the tidal scour revealed a Viking artefact, he’d probably keep it. His diaries could reveal his mental disintegration, until he dies raving that he ‘tried to give it back’.
The joys of research
Researching a book can be wonderfully diverting. It sucks time as you wade through bogs of facts. Whole days sink without trace. That old man dies in the first chapter and it’s his legacy that triggers events. Still, just populating his bookshelf mired me very happily in perhaps a month of reading ancient history. I could use almost none of it. All for a book set in the present day.
There are a few exceptions. A dictionary of Old Norse taught me obscure words that became chapter titles; (Chapter 1: Arfræningr, one stripped of his inheritance). Snorri Sturluson’s 13th Century Heimskringla taught me the lilt and vocabulary of Old Norse, even in translation. It taught me enough to ‘book-end’ chapters with short extracts from a Viking saga.
So readers of Draca will find slices of history framing a modern tale; slices that tighten the tension as the ancient and brutal past starts to resonate ever more loudly in the present. Next year, after publication, you’ll be able to tell me if it worked. For now, here’s how that back story begins.
From the saga of King Guthrum, c.875AD
That winter King Guthrum laid down a mighty dragonhead ship for his son Jarl Harald, whom he loved and honoured most of all. Of oak did he build it, cut finely that it might bend with the sea, with benches of pine for twenty oars on the one hand and twenty on the other. The fittings were splendid, as befits a great jarl, and a richly carved strake rose to a wondrous dragonhead at the prow. As was the custom, this could be taken down, like the helm of a warrior, lest it offend the landvættir, the land spirits.
Then Guthrum and Harald made sacrifice in this wise: Harald took a stallion that he loved, and calmed the beast, covering its eyes that it might not see whence the blow would come. Then they took their axes and struck; Harald between the stallion’s eyes, and Guthrum at its neck such that the sound of the blows was one, and none could tell who made the killing wound. So mightily did Guthrum wield his axe that the stallion’s head was wholly struck off, and the wise ones said that the fall of the blood was good, for the dragonhead tasted blood before ever a bowl was brought to its mouth.
Then Harald knew that the gods would sail with them, and would find them even in the furthest reaches of the sea, for the dragonhead was truly consecrated to the Æsir.
Draca is available to pre-order through Unbound here. It’s £10 for an ebook and from £15 for a paperback. The names of all supporters at this pre-publication phase will be included in the book. Half of all royalties will be donated to the veterans’ mental health charity Combat Stress.