ConTribution! Today and Tomorrow – 12th – 13th February 2021

It’s here, and I will be in conversation with Adrian Tchaikovsky and Mihaela Perkovic at 5pm UK time, 6pm Croatian time today. That will be on Zoom, and you’ll be able to see how long my hair is now, after a year without a trim! Plus there are all sorts of other things happening over these two days on Zoom and Discord.

Click here for the Convention website where you will find the timetable as well as full programme details. As well as all sorts of interesting and entertaining things, this offers a great introduction to Croatian fans – hopefully encouraging you to visit European conventions in future, when we can get together again. Meantime, hurrah for technology and the fans who work so hard to put online events together.

A reminder of this particular event’s aims. We’re raising money for earthquake relief in Petrinja and the wider area severely hit in December 2020. The convention is free, so you are invited to donate however much is appropriate to your own situation. You’ll be helping people who have lost their homes in the middle of winter and a global pandemic.

Click here for the Solidarna Foundation page for full details on how to donate.

My first convention of 2021, to support earthquake relief

I have something to put in my diary! Croatians are organising this online event to raise money for earthquake relief after a quake on 29th December hit the small town of Petrinja – around 50 km (31 miles) SE from the Croatian capital Zagreb. Numerous, severe aftershocks followed. Seven people died and a lot of people are now without homes in the middle of winter and a global pandemic. Many buildings (which were old, to begin with) are completely uninhabitable and will have to be torn down and rebuilt.

Do get involved! Croatia is a fabulous country with lovely people – and terrific fandom.

So far there is a Facebook event page here
I’ll post full website info and further details as soon as I have them.
Please boost the signal and share the word as far as as fast as you can.

Farewell to John Le Carré

HIs death is sad news, even given his long life, well-lived. He was not only an author who wrote excellent novels, both in terms of well-crafted plots and superb prose. He was an astute and often merciless commentator on politicians and other powerful people, and on the abuses and temptations of power. At the same time, his fiction was always informed by a profound and sympathetic understanding of human frailty and flaws. This comes through in every interview with that I have seen or read. His own memoir, The Pigeon Tunnel, is a fascinating and illuminating read which I thoroughly recommend. Is it truthful? I think so. Is it the whole truth? I doubt that.

A while ago, I was delighted to learn that the twenty-something son of a friend had recently discovered Tinker, Tailor, Soldier, Spy. Not only was he now reading every Le Carré he could get his hands on, he was recommending them to his friends, who rapidly became fans. Their reading experience is necessarily very different to my own, when I was reading those novels in my teens and twenties. If anything, this new generation is getting even more out of these books than I did. As well as insights into what makes men and women tick (and sometimes go off bang), these novels are period pieces, showing them a divided and suspicious world that passed away before they were born. A world that nevertheless still influences media magnates and politicians whose decisions today can be coloured by old prejudices and preconceptions. My friend’s son finds that highly illuminating.

There is an added personal poignancy to this news in the week of my stepfather’s funeral*. He and I got on well enough when he and my mother married, but with a background in academia and industry, he unsurprisingly found dealing with an adolescent girl baffling. Add to that, we were very different people; he was a scientist and I was determined to study history. We found no common ground in his passions for sport and steam trains or in my enthusiasm for SF and fantasy. Then the BBC broadcast their celebrated adaptation of Tinker, Tailor… Our shared enthusiasm for the programme, and then for Le Carré’s novels, made a connection between us that I value.

* He had been ill for some while, so we could prepare ourselves up to a point. However, the end came more swiftly than expected. So this cruel and difficult year ends on a deeply sad note for me and my family.

A brief update and Kindle UK ‘Green Man’ offers!

So November came and went without any professional news, but with family matters taking up a fair amount of time and focus.

December sees another Kindle UK ebook offer. This month, both The Green Man’s Heir and The Green Man’s Silence are on offer for 99p! So this is an ideal time to recommend the first story to friends, and if book-budget considerations or whatever else have seen you waiting for a bargain, now’s your chance to catch up with the series.

(And if you’re fully up to date with these books, and fancy some historical murder mysteries by way of a change of pace, the ebooks of my crime novels set classical Greece are good value at the moment – take a look at Shadows of Athens by JM Alvey)

A Kickstarter, that novella, and a guest blog from me

They say three things make a post, so here goes.

Firstly, I’m involved in another Kickstarter, though in a different role this time. Prospective Press is an inclusive, pro-diversity, feminist-friendly, queer-welcoming, and #ownvoices-embracing publishing house. Jason Graves is the series editor of their Off the Beaten Path paranormal anthologies, Tales from the Old Black Ambulance, and the Concrete Dreams series of urban fantasies. Jason has invited me to write a foreword to the next Concrete Dreams anthology – Fiendish and the Divine. These stories will explore the intersections of what we think we know and what is undiscovered, the prejudices of the past and the startling newness of fresh perspectives. In these pages, you will meet gods, real and imagined; dragons of air and earth; beings alien to our world, with indecipherable intent; and monsters, some human, some not…

You can find full details here

Secondly, I’ve mentioned a few times this year that I’ve written a novella for a shared world project. Now all can be revealed! So far Adrian Tchaikovsky and Justina Robson have each written a novel for Rebellion Publishing, set in a fantasy realm that’s recently seen a dark lord overthrown. The series title is After The War, and the novels so far are Redemption’s Blade, and After the Fire. Now there are The Tales of Catt and Fisher, a collection of four novellas by me, Adrian, Freda Warrington and K T Davies, to be published on 3rd December 2020. These two characters from the novels are scholars, shopkeepers, collectors, obtainers of rare antiquities … who can’t resist a lead, even when it takes them into terrible danger. There’s always an opportunity to be found amid the confusion, in the wake of the terrible Kinslayer War. There’s always a deal to be done, a tomb to open, a precious thing to… obtain.

This project was a lot of fun to write for, and I really enjoyed getting back to some epic fantasy. There was plenty of leeway for inventing new aspects and elements to expand on the existing scenario created by Adrian and Justina. Reading the books have already written in this world, I found a handful of lines here and there which added up to something very interesting indeed, when I summoned up my inner GM…

For more details and preorders, click here

Third and last, but by no means least, I’ve written a guest blog post for my good friend and fine writer, Sarah Ash. I’ve been thinking a lot about mythology lately, and our relationships with folklore, old and new. We had a particularly interesting discussion about these things online at this year’s Octocon, so I welcomed the opportunity to explore this in an article.

Click here to read the blog post.

So that’s all the latest from me. Have a good weekend!

An October update in this year of treading water…

I was talking to one of my sons, and I commented that life felt stuck in an endless holding pattern these days. He likened it to treading water, and the more I think about that, the more apt it feels. Repetitive activity that gets tiring without actually moving on, and no sense of solid ground under your feet.

Thank goodness for things to break up the monotony!

First up, the Irish National SF Convention Octocon is happening online this weekend. Participation is free and should be a lot of fun! At 1pm on Saturday, you can join me and other writers discussing the uses of myth in our work and I’ll also be doing a reading at 4.30 pm on Saturday. You can see how much longer my hair is now…

Next week, the 15th October, sees the publication of my alter-ego’s third murder mystery set in classical Athens. Philocles is looking forward to the Great Panathenaia – until one of the poets due to take part in the dramatic performance of Homer’s Iliad is brutally murdered. The authorities want this cleared up quickly and quietly. Philocles finds himself on the trail of a killer once more…

You can find out more here, including preorder links. If you do NetGalley, you can find it there.

In other unsurprising news, publication dates and acquisitions continue to be delayed and pushed back as the book trade continues to try to navigate the current chaos with varying consequences for writers. Those books that do reach the shops – bricks and mortar or online – have to compete in a scrum where the big names and lead titles are getting pretty much all the promotion and shelf space. I think we’re going to see the shift to independent and smaller press publishing accelerate, with greater online engagement direct between writers and readers. I’m seeing more Patreons and Kickstarters appear, alongside a growing realisation from fans that these are an increasingly good way to get the books they want.

As for my own work, The Green Man’s Silence is selling well, and gathering very good ratings and reviews. I’m extremely grateful to everyone who is sharing their enthusiasm for this, and the previous books. Thank you all. I am getting some ideas together for Dan’s next adventure… and I have a couple of short fiction pieces to write, as well as a few other things to do. Then there’s the shared world novella I wrote earlier this year – as soon as I have a release date, I’ll share it.

I’m also amused by a recent review of The Green Man’s Foe, where the reader includes the very minor spoiler that THE DOG DOESN’T DIE. To be clear here, I’m not making fun – when these things matter to a reader, they matter, and it’s not for anyone else to say they should feel different. Thankfully, this reader enjoyed the book, even though they found their concern over the dog’s fate distracting. All I can say is, hand on heart, it never occurred to me to put the dog in danger!

These Green Man books are rooted in British folklore – but what does that actually mean?

I grew up with folklore as a core element of my reading. I don’t just mean the fairy stories that everyone knows, taken from Hans Christian Anderson and the Brothers Grimm, commodified and sanitised by Disney. My local library and the primary school bookshelves had numerous collections of folk tales alongside other reading – and as I was reminded just last week by Simon Spanton posting this Book of Goblins cover on Twitter, they were often collected by authors who had written other books on those shelves. Then there were the older books; the collections of fairy tales by Andrew Lang, and George Macdonald’s stories. Victorian editors had softened the sharp edges of these tales, but they couldn’t do away with the strangeness, and that was so often reflected by illustrators like Arthur Rackham in books such as Puck of Pook’s Hill.

Some of these collections were themed – goblins, giants, witches – while others were regional – tales from the Orkneys, from Cornwall or Wales, to name but a few that I recall. Either way, these stories belonged in the world where I was living rather than some fantasyland, even if I couldn’t see what was going on in the shadows. As a voracious reader, I saw no division between these traditional stories and the fantasies written by Tolkien, Lewis and Garner. There were the same otherworldly beings in the Hobbit, Narnia and underneath Alderley Edge after all: wizards, goblins, elves. The folklore books also had darker, scarier things, and stories with uneasy endings that didn’t offer the consolation of some of those fictional narratives…

As an adult, I turned to reading scholarly and still very readable analyses of folklore, by writers such as Diane Purkiss. As a fan of local museums, and of National Trust and English Heritage visits, I would pick up books of local tales collected by antiquarians and enthusiasts. I began to see the depth and breadth of the folklore that still endures in rural England. I continue to see the extent of such mythology’s influence, as I recognise these stories from passing mentions in literature from Shakespeare to Kipling and right up to the present day.

At the same time, I come across half-tales and references that make it clear how many stories have faded away for lack of telling, leaving only tantalising traces. I discovered that mystic beings we think of as ancient archetypes have been recreated comparatively recently. The Green Man, the Horned Hunter, the Maiden, the Mother and the Crone. Oh, the images are ancient, but the tales that went with them have all but vanished. Looking at the ways these things have been reimagined, when and by whom, is an ongoing fascination.

All told, these varied aspects of our folklore legacy offer me tremendous scope as a writer. I am able to draw on a familiarity with traditional fairy-tale creatures and themes that readers may not even be aware they have acquired. At the same time, I have a free hand to weave in those stray fragments and the strangeness that I come across to enrich my new story with surprises. As I write these particular books, I become more and more aware that I’m working in an age-old tradition as I do so.

Cover art and design by Ben Baldwin

Why does this novelist like writing short stories for ZNB anthologies?

Hopefully you’ll have noticed that the excellent small press ZNB (Zombies Need Brains) are running a Kickstarter to fund three new anthologies, titled THE MODERN DEITY’S GUIDE TO SURVIVING HUMANITY, DERELICT, and WHEN WORLDS COLLIDE, containing approximately 14 all-original (no reprint) short stories each from established SF&F authors in the field and new voices found through an open call. The fundraising is going well, so we can hope to reach some stretch goals. Do check it out!

Regular readers will know that I’m a regular contributor to these projects, sometimes as an invited author, sometimes through submitting to the open call. The thing is though, I’m really not a natural short story writer…

A great many authors will tell you they have an instinctive length when it comes to writing. That can be novel, novella or short story. It’s the sweet spot for their imagination, where ideas come together most effectively. For me, that’s most definitely the novel. It has been said, with perfect justification, that my early short stories read like excerpts from a longer work.

So that’s the first thing. I want to improve my skills in this particular area. Short stories, in anthologies and as standalones are having a resurgence just at the moment. That’s thanks to the ease of digital downloads, a smartphone in every pocket or bag, and the way short-form fiction is ideal for a commute. That makes the short story an ideal way to introduce readers to my writing, so if they like it, they can look up my novels. But it has to be a good short story, and that’s why I always want feedback from professional editors so I can learn how to create my very best work. I get that advice from ZNB projects, without fear or favour! That advice doesn’t only help my short stories. Learning more about the differences between different forms of fiction hones my novel writing as well.

The second thing? Ask any author where they get their ideas from, and they’ll tell you lack of ideas is never the problem. The challenge is knowing what to do with them. My wide-ranging research reading turns up a whole lot of interesting possibilities which are often nowhere near novel-length material. Short stories offer me the chance to get these intriguing tales onto the page. My story for last year’s Alternate Peace anthology is a case in point. I’d read Bill Bryson’s book on the remarkable summer of 1927, and quite some while later read a much less amusing book on the ‘Spanish Flu’ of 1918-1919. These books had nothing to do with each other at first glance, but that’s not how this works. If I put together that piece of information from one book and a passing footnote from the other, as well as a few more ‘what if?’ possibilities from both, I got an intriguing idea… I wasn’t sure it would make a novel though, and in any case, my other writing commitments would make that impossible. But this idea was ideally suited to this collection’s theme.

Thirdly, you never know where a short story will take you as a writer. Before ZNB was born, Joshua Palmatier and Patricia Bray edited a couple of anthologies for the US publisher DAW. One was The Modern Fae’s Guide to Surviving Humanity where I found I had an entertaining idea about dryads in the English countryside facing a road being built through their oak grove. There’s a passing reference in that story to dryads having sons with mortal fathers. I didn’t think much about it at the time. I did find myself thinking about it later though. Long story short? That did turn into a novel-length idea, and that was The Green Man’s Heir, followed by The Green Man’s Foe. Next month will see The Green Man’s Silence published by Wizard’s Tower Press.

So these are three of the things that writing short stories offers me as a novelist. Why not see what these projects can offer you as a writer – and a reader, obviously.

The Coode Street Podcast – discussion and digression on science fiction and fantasy

Episode 484: Ten Minutes with Cheryl Morgan

Ten minutes with… is a special series presented by Coode Street with Gary K. Wolfe and Jonathan Strahan that sees readers and booklovers from around the world talk about what they’re reading right now and what’s getting them through these difficult times.

Legendary fan, publisher, and critic Cheryl Morgan talks with Gary about some favourite new and forthcoming books; the comfort in watching classic TV and movies; watching Doom Patrol and Black Panther; Sam Jordison and Galley Beggar Press; her own fanzine Salon Futura and Wizard’s Tower Press, and being a sensitivity reader for trans characters and issues.

Books mentioned include:
• The Sunken Land Begins to Rise Again by M. John Harrison
• The Empress of Salt and Fortune by Nghi Vo
• Mordew by Alex Pheby
• The Green Man’s Heir and The Green Man’s Foe by Juliet E McKenna
• The Tales of Einarinn series by Juliet E. McKenna
• The Aldabreshin Compass series by Juliet E. McKenna
• untitled forthcoming collection by Aleksandar Žiljak

The Green Man’s Silence – where did these particular ideas come from?

This story started with some casual information that I didn’t think much about when I added it to The Green Man’s Foe. The folk tale that inspired Finele as a character is from Cambridgeshire, so it made sense to say that’s where her family lives. Afterwards, I found myself wondering what Dan would make of the Fens if he ever visited her there. Like most people who don’t know the region, he would just think it’s a flat place with very few trees. While I was thinking about that, the archaeologist Francis Pryor had a book published looking at this area and its long, complex history – titled unsurprisingly The Fens. That’s a fascinating read which started me on the path to writing the story you have just read.

East Anglia isn’t a part of England that I know well myself, so my husband and I spent a week’s holiday near Ely last November, to see what inspiration I might find. As you will see, that trip was very worthwhile. I definitely recommend visiting the Fens, and the local museums, historic houses and churches. Places like Ely, King’s Lynn and Wisbech are well worth simply walking around, to see their history reflected in their architecture. I found the Seahenge exhibition in King’s Lynn particularly interesting as I looked at it through Dan Mackmain’s eyes. We also found a carved Green Man who doesn’t look to be taking life at all seriously as he pulls a face and sticks his tongue out in St Margaret’s Church.

This book owes a particular debt to the Wisbech and Fenland Museum. The Museum Society was founded in Wisbech in 1835 and there was a Literary Society in the town from 1781 to 1877. If you visit the current handsome building, you will see all sorts of fascinating things, as well as one particular exhibit that would certainly give Dan a nasty surprise – but no spoilers! The National Trust nature reserve at Wicken Fen supplied me with further essential information about the communities that lived and thrived all across the region, cutting reed and sedge, digging peat and catching fish, eels and waterfowl, both before and after the waters were drained. As you might imagine, staff at both places were intrigued when I explained my reasons for buying an armful of books of local history and the distinctive local folklore.

So what’s this story going to be about? Well, here’s what the cover will tell you…

“Daniel Mackmain has always been a loner. As a dryad’s son, he can see the supernatural alongside everyday reality, and that’s not something he can easily share. Perhaps visiting East Anglia to stay with Finele Wicken and her family will be different. They have their own ties to the uncanny.

But something is amiss in the depths of the Fens. Creatures Dan has never encountered outside folk tales are growing uneasy, even hostile. He soon learns they have good reason. Can he help them before they retaliate and disaster strikes the unsuspecting locals? Can the Green Man help Dan in a landscape dominated by water for centuries, where the oaks were cut down aeons ago?”

The Green Man’s Silence will be published on 2nd September 2020 by Wizard’s Tower Press.

For ebook preorders:
UK Amazon
US Amazon
Barnes & Noble
Kobo

Other formats will be available.