In which I share the cover of The Wolf and His King, update you on the publication date, and share further news...!
Author: Finn Longman
Author of THE BUTTERFLY ASSASSIN (and more!) and medievalist specialising in the Ulster Cycle. #1 fan of Láeg mac Riangabra. They/them.
No Platonic Explanation
It’s Aromantic Spectrum Awareness Week and it’s also LGBTQ+ History Month in the UK, which seemed like a good time to talk about a topic I’ve been thinking about a lot recently: the peculiar tension of caring about queer history as an aroace trans person whose experiences of queerness don’t primarily revolve about romantic relationships. This is a complicated, nuanced topic about which I’m still constantly refining my thoughts and feelings; it’s something I have both personal and academic investment in, and that means I spend a lot of time thinking about it, but also that I regularly backtrack, rework, and elaborate on my opinions.
It’s also something I’ve found myself talking about in more informal contexts online, as well as passively hovering on the edge of wider conversations that are happening. To reflect this more informal context alongside my probably pretentious semi-academic prose, this post will be punctuated by Tumblr posts that I’ve seen recently that have spoken to me, shaped my ideas in some way, or just made me laugh. In general, though, I want to make it clear that this post represents a snapshot of an ongoing process of thought and grappling with methodology and intentions. All of this, too, goes beyond just thinking about historiography and how we approach these topics in, for example, medieval literature — but if I let myself start talking about how these attitudes influence discourse about queer art being produced today, this post would have been even longer than it already is. Perhaps I’ll write another post exploring it from that angle.
(And I’ll note that I’m open to discussion as always, but reserve the right to moderate or close comments if the vibes are off, because this blog is my space and this is, as noted, a deeply personal topic!)

My academic research is focused on friendship in the Ulster Cycle, and my work on friendship is always informed by queer theory and related disciplines. That is to say, I look at friendship from a perspective that doesn’t assume certain relationships can only exist between people of certain genders or that gender and gender difference is always being constructed in a way that is familiar, and that allows the possibility for feelings and behaviours to exist within relationships even when not essential to the formation of that relationship. (For example, many marriages throughout history were not contracted because of romantic or sexual attraction, but that doesn’t preclude the possibility that romantic or sexual attraction existed within them. The same may apply to many other forms of relationship.)
Recently, I’ve been writing an article exploring narrative and emotional parallels in the relationships between Cú Chulainn and Emer (his wife), Láeg (his charioteer), and Fer Diad (his fosterbrother), in a handful of late medieval/early modern texts. Considering the ways in which these relationships with men are constructed and structured in terms that resemble marriage obviously opens the door to exploring the homoerotic dimension of these relationships, and I’m very ready to do that — indeed, I went into this article thinking that was what I was going to be doing. But the more I allowed that openness to lead me to consider how relationships were actually being constructed, rather than just how I expected them to be constructed, I also found myself doing the opposite: considering the ways in which marriage was constructed to resemble these specific kinds of friendship.
To put it frivolously and anachronistically, I had started out looking for evidence that friendship was romantic, and come to the conclusion that marriage was platonic.
These terms are deeply problematic for thinking about historical relationships, and literary relationships of the past. The separation of the terms “platonic friendship” and “romantic love” is a remarkably modern one, even before we start dealing with additional linguistic complications of working with non-English material. My PhD has so far involved a great deal of work on the terminology used to define relationships and express affection, and what I have learned is that there is a huge amount of overlap, with relationships from military alliances to marriage to friendship to casual or illicit sex all being described with many of the same words. That doesn’t mean that these relationships were interchangeable to a late medieval Irish audience, but it does caution us to be aware that the lines between them may not be drawn in the same places that we would draw them, and the defining or distinguishing features of one type of relationship versus another may not be the features we would have focused on.

Of course, these terms aren’t exactly universally defined, concrete, or even helpful in the contemporary world, either. I spent a great many years trying to determine whether I experienced romantic attraction, and how one was meant to recognise it and distinguish it from earnest, passionate platonic friendship, especially if one removed sex from the romantic equation or allowed it into the platonic one. While the split attraction model — separating romantic and sexual attraction and acknowledging that people may feel them differently — is helpful for many asexual and aromantic people in conceptualising their feelings and their identity, I increasingly started to find it made me more confused, because I could not for the life of me pin down what made something “romantic” vs “platonic”. I eventually came to the conclusion that the difference is the label that the person in that relationship puts on it: the same behaviours may mean very different things to different people.
Admittedly, I still think I was possibly born in the wrong century and was destined to be a fourteenth century knight having a Profound Bond with my sworn brother such that we’ll end up buried together, rather than fumbling around in the twenty-first century trying to decide if “queerplatonic” is a term that has any use to me personally. (I also still find the split attraction model doesn’t wholly work for how I understand my own experiences, and as such, my exploration of aromantic approaches to history here largely encompasses asexual approaches without a clear distinction between them, though I’m aware that others experience them more distinctly.)

Nevertheless, this was a useful lesson to learn both in ordinary life (it teaches you to mind your own business about how other people define their relationships, and also frees you from thinking that certain behaviours are automatically expected within certain relationships and proscribed outside of them), and as somebody interested in history and the literature of the past (again, it frees you from thinking that behaviour and labels are automatically and unchangeably linked, such that a relationship that contains A must be B and a relationship that is X cannot contain Y).
It also creates a certain tension in how you talk about the past, and how you talk about queer possibilities in the past.
Once definitions become unstable and contextual, sentences get bogged down in caveats and uncertainties which can seem, especially at first glance, to participate in the erasure of queer history. Warnings not to apply anachronistic labels can become a denial of queer pasts — the truthful statement that an individual wouldn’t have understood themselves as homosexual because the concept of identity formed around sexual attraction was still a few hundred years off is taken as denying the possibility that the individual’s feelings and behaviours may have been more or less indistinguishable from those of somebody who would understand themselves as gay now.
And sentences like “this person expresses what we would probably now consider to be romantic love for another man, although in this time and place its expression does not fall outside normative expectations for close friendship”, while a fairly accurate representation of the tension of balancing contemporary and historical approaches to emotions and relationships, are taken by some as an example of the much-memed homophobic erasure: “Historians Will Say They’re Just Friends”.

The tension arises because it is undeniably true that homophobia has erased erotic and romantic relationships in the historical record, whether at the time — by requiring individuals to conceal the nature of their relationship, destroy evidence, and/or express it in normative terms that obscure specifics — or subsequently in scholarship — by twisting and contorting evidence to explain how it can’t possibly be queer. There is an understandable desire to recover and highlight these pasts, to emphasise that queerness has always existed and to reclaim what has been lost.
But several challenges arise here. There genuinely is ambiguity in many of these relationships, both in terms of the behaviours they might have involved and in the labels that might accurately be applied to them. Even when we have reasonably accurate records of behaviours, we might not have records of feelings that would tell us what those behaviours meant to those people, and when we’re dealing with quite a different taxonomy of relationships, identities, and emotions, that is an issue.
And inevitably, many of these approaches end up falling into the same amatonormative trap.
“These two men described themselves as lifelong friends” Okay! “and it’s clear this relationship was the most important relationship in their lives” Great! “and it was passionate and potentially physical in its intimacy” Sure! “so this was definitely romantic, not friendship” Aaand you lost me.
“He describes the other man as the most important person in his life, there’s no platonic explanation for that” Isn’t there?

You see, once you allow the possibility for friendship to be transformative, physical, lifelong, and passionate, there is no obvious reason to disagree with historical individuals’ characterisation of their relationships as ‘friendship’ — in fact, to do so runs the risk of erasing their self-definition and replacing it with ours, something that is not less of an erasure because the label replacing it is different.
Evidence for homosexuality is often found in the failure to adequately perform heterosexuality, in literature and in history. I’ve lost track of the number of novels I’ve read where a character, having reluctantly come out of the closet to a surprisingly understanding friend or relative, is told that it was their lack of interest in the “opposite” sex that gave them away. Queer readings of medieval narratives like Guigemar assume that the protagonist’s failure to conform to heterosexual expectations must mean that he should be read as potentially homosexual, despite the lack of evidence in that direction either — indeed, within medieval narratives themselves, failure to express socially expected attraction to women is taken as evidence that somebody must only be interested in men (cf. Lanval; actually, he’s neither gay nor aroace, but dating a fairy woman whose existence he is prohibited from revealing). The idea that inadequate heterosexual attraction might constitute a lack of any attraction is rarely countenanced.
We see this in many euphemisms used to describe queer people: “not the marrying kind”, “confirmed bachelor”. These phrases imply that lack of desire for the gender one can legally marry automatically suggests desire for the gender one can’t — and of course, this was often true, which is the challenge of it, because such phrases can’t be ignored as evidence of queer possibilities. Homosexual possibility dominates the subtext for many valid and understandable reasons — but once elevated to text, once that possibility becomes permissible and can be expressed openly, what is left unspoken? What of the confirmed bachelors and lifelong spinsters who still aren’t the marrying type? Whose ‘friendships’ were never a normative cover story; whose ‘lifelong companion’ was genuinely that; whose failure to claim a more legible queer identity was not a closet or a hiding place but a genuine expression of who they were?
As romantic possibilities expand, it can seem that aromantic ones diminish. If all the lifelong friends and passionate brothers-in-arms of the past were “actually gay”, what is left for those seeking models of another way to live, another mode of affection?

This raises the question of what we’re really doing when we seek out queer histories. If our intention is to prove that people outside of a rigid heterosexual binary cisgender model have always existed, then we should take care to represent as many facets of those non-normative experiences as we can. What makes a relationship non-normative? What does it mean to defy expectations? What even are the expectations being defied? Amidst a rigidly heteronormative and patriarchal set of expectations, such as has dominated the past centuries, two women who chose to build their lives together rather than marry men were defying norms whether or not they were also having sex. Sexual activity is far from the only factor (or the most important factor) in claiming those lives as part of queer history, unless our definition of queer history includes only unambiguous sexual activity between people of the same gender (a deeply limited and problematic definition).
If our intention is to dismantle assumptions about what types of relationships are possible, then this is likewise true: not only are other forms of romance possible, but lives outside of that framework exist. If we are seeking people whose experiences resonate with queer people today, then we should take care not to simply narrow our models in a new direction: aro and ace people also deserve to explore those resonances. And if we’re trying to recover the most accurate way that historical individuals might have described their relationship had they been completely free to do so, we need to grapple with the idea that that might not look like any of our options, because our entire model of feelings and social organisation would be alien to them.
At the same time, there are disproportionate efforts to censor, ban, and conceal alternative expressions of sexuality, and explicit sexual content is usually the first to go. Some might argue that aromantic and asexual stories represent less of a threat to these campaigns, and so will be less directly targeted, meaning that there is a need to bolster the visibility of stories where the most concerted effort at erasure is taking place — often through the reframing of queer relationships in ways that obscure their true nature, removing overt sexuality and replacing it with the less immediately challenging ‘friendship’. But while this may be true in some spaces (like historiography), aromantic and asexual people do face much of the same censorship, erasure, violence, and oppression in the public sphere as others do (and that’s before we start getting into granular nuances such as the overlap between aro and ace identities and other forms of queerness, such that aro and ace people may be facing that violence and oppression because of other aspects of identity as well).
Make no mistake: while friendships may not be an obvious target for queerphobia, aromantic and asexual people are. To a worldview that sees heterosexual marriage and reproduction as the only productive/acceptable form of adult sexuality, it remains a “wayward and unproductive” identity (to paraphrase Foucault). It offers a model for a future and a life that does not require conforming to heteronormative models, and it centres alternative forms of kinship, love, and solidarity that threaten a conservative insistence on the nuclear family as the primary site of interpersonal relation. Moreover, the nuanced approach to attraction, behaviour, and identity as all fundamentally separate things, a concept that underpins a lot of aro and ace thinking and indeed the entire split attraction model, really problematises a lot of the assumptions on which hegemonic norms of gender and sexuality rest: it dismantles hierarchies for relationships as well as liberating people from the expectations that certain behaviours require certain labels and certain labels require certain behaviours.

From a historiographical point of view, the issue really lies in black and white thinking that offers only extremes of interpretation. We generally find two models of history dominating popular discourse: a heteronormative model, in which only male/female relationships may be readily accepted as romantic or sexual and so all same-gender relationships must be read as socially normative friendship, or an amatonormative model which, in being open to the possibility of same-gender romance or sex, reads all intimate friendship as actually romance in disguise. The latter is an understandable compensation for the former, which dominated much 19th-20th century scholarship, but is just as essentialising and limited. The reality in the vast majority of cases is going to sit somewhere between the two, and requires explorations of nuance and acceptance of ambiguity.
Many things may be true at once: bed sharing was a conventional form of intimacy for a lot of history, and some of those people were having sex; friendship in many historical societies was conceptualised as more physical and tactile than is typical today, and some kisses still had overtly erotic meanings; language of kinship and affection was complex and often used freely across different types of relationships, and sometimes when a man called another man his husband, he meant exactly what he said — and while conventions of passionate or romantic friendship have sometimes been used to conceal other forms of relationship from a hostile society, others have experienced such friendships as genuine, meaningful, and important forms of interpersonal relationship in exactly the terms in which they were described.
Sometimes, our desire to fit historical relationships into a box that we recognise does a disservice to both romantic and non-romantic experiences in the past. We will never know if something was “really” friendship or “really” romance until we stop projecting our expectations of what either of those things means and start looking — openly and non-judgmentally — at how they are actually being constructed in the sources and societies we’re working with, particularly when that challenges our sense of the divisions between them. To properly understand and appreciate a passionate physical friendship, we need a degree of openness to the possibility of queer sexualities, so that we can see what that friendship is and isn’t doing, and how it sits alongside counterculture and transgression; to properly understand queer sexualities, we need an openness to emotional and behavioural norms that may allow for a degree of physicality and intimacy outside romantic or sexual relationships that the homophobic anxieties of the modern world have largely eliminated.
The danger is that in trying to recover and celebrate queer possibilities in history and literature, queer people often participate in the erasure and exclusion of aro and ace possibilities by privileging romantic and sexual relationships above friendship and creating hierarchies of intimacy based on a modern amatonormative worldview. As a result, in celebrating alternative forms of love and its expression beyond romance and sex, such as friendship and kinship, aro and ace people are seen as erasing the more visibly embattled forms of alternative sexuality to replace them with something more ‘family-friendly’. Friendship-focused readings of literature or historical evidence are understood as an alternative to queer possibilities, rather than a queer possibility in themselves, and so positioned in opposition to gay and bi histories, rather than intrinsically connected to them.
This is an understandable tension with a real grounding in historiography, but it’s a tension that seems to be invisible to many, and so new forms of erasure and exclusion are perpetuated. There is a need to be more aware of this, and to allow aromantic and asexual perspectives to inform and deepen our exploration of these sources. In compensating for homophobic “Just Friends” narratives, we should be wary of reinforcing them by suggesting that there is, indeed, anything “Just” about “Friends”. Maybe friendship can be as transgressive, transformative, countercultural, physical, intense, and, yes, queer, as relationships more easily labelled as romance; maybe it can challenge hierarchies of gender and sexuality, push back against oppressive norms, and represent radical ways of life that should be celebrated as the queer histories that they are.

Maybe, sometimes, when historical figures label their most intimate and significant lifelong relationships as friendship, we should believe them — and see what new opportunities that offers for our understanding of the queer past.
On Tolkien And Drawing Fruit
After several years of constantly moving house, I finally settled long-term in the autumn of 2024, which means my parents are keen for me to sort through and reclaim or dispose of a lot of the stuff they’ve been looking after for the last ten years. Every time I come to stay, I’m invited to “do a bit of sorting”, an activity I approach with dread or avoid if at all possible — decision making isn’t my forte, and I am a deeply sentimental person who has to think seriously hard about whether they need a pile of notes from GCSE History despite the fact that I have been out of school for over a decade and the curriculum has changed significantly enough that nobody would really benefit from revision for an exam that no longer exists.
The need for this process has been accelerated by the fact that there will be a new baby in my family in the coming year, and so my parents are taking in several boxes of items to be kept but not urgently needed to make room for the baby at my sister’s house. As such, a ruthless cull of cupboards and underbed storage has been in progress, and over Christmas and New Year, I was drafted in to do my part.
In the process, I came across the final sketchbook from my GCSE Art exam, and it made me think about some specific writing discourse that’s been going around Bluesky recently. (Stick with me, it’ll make sense eventually.)

My parents, immediately: “Ah, Stravinsky!”
Because of course there is a tracing of Stravinsky in this box. Why wouldn’t there be.
For those unfamiliar with the English school system or who were fortunate enough never to have anybody in their family take GCSE Art, it’s worth providing some context. GCSEs are national exams taken in year 11, usually age 16 (unless you’re very young for your year, and then might be 15). The number of subjects taken varies by school, but is usually around 9-12. The majority of these will be compulsory subjects, sometimes with wiggle room about the details — for example, it might be compulsory to do at least one modern foreign language, but you may be able to choose which one. Once all the compulsory subjects are out of the way, though, you get a couple of choices, usually the more creative subjects like Music, Art, Drama, Design & Technology, etc.
I did not, technically, choose Art. This is partly because I’d seen my older sister go through it, and I knew that it was fairly soul-destroying, requiring more time and effort than half the other subjects put together — and expensive, too, once you start buying materials. Far from an easy option, it was a gruelling commitment that would take over your life and also, if they were kind enough to help you by driving you to galleries, scrapyards, or National Trust properties to take photos and collect ideas/materials, your families’ lives. But I did put Art as my second choice, and when my first choice subject didn’t run due to lack of uptake, I ended up with it. Uh-oh.
I am fundamentally not a visual artist. As well as the chronic pain in my hands that would prevent me from ever spending enough time drawing to get good at it, my brain doesn’t seem to be wired in that way: I’m not great at translating 3D objects into 2D images and vice versa, and I have a very non-visual imagination, so it’s hard to create pictures in my head, even before I think about putting those down on paper. I struggle to recognise people IRL when I’ve only seen them in 2D on Zoom (and also in general; I am terrible at faces); my depth perception is poor and I have been known to open doors into my face; and when, at the end of year 10, we had a Still Life drawing exam, I failed it. I got an E: 37.5%.
I’m providing this as vital context because often when I say to people that I’m no good at drawing, they think I’m being humble, or exaggerating somehow. But no. I am genuinely not good at drawing.
Despite my year 10 grade, I got an A in GCSE Art overall, the result of working incredibly hard in year 11 and during the run-up to the final exam — and figuring out how to do that without ever having to draw an object or something from my own head. I’ve often referred to this self-deprecatingly as “gaming the system”, or dismissively pointed out that the exam mark scheme isn’t measuring artistic ability, just your ability to tick specific boxes, which I worked out how to tick. This isn’t untrue, but I think it’s an uncharitable reading of what I actually did, which is to figure out how to play to my strengths and use the skills I actually had.
A few examples of this:
- We were given a list of themes to choose from for our final project. As a musician and dancer, I chose the prompt “Music & Dance”, so that I would be able to draw on my own interests and experience to shape the piece.
- I chose a theme for my piece that would involve research, because then I could write up my findings, and writing is something I can do. My piece was themed around the Rite of Spring, so I had pages in the sketchbook about Stravinsky, Diaghilev and the Ballet Russes, the original sets and costumes, modern sets and costumes, the history of the production, etc. (Now we understand the Stravinsky.)
- I was better at the crafts side of arts & crafts: mixed media was going to be my friend. Not only did this mean less time struggling with a pencil, but it also gave me easy fodder for the “design development” side of the coursework: I could create the same piece in different media (paint, pastels, cardboard, clay, etc), document the process, write up what worked and didn’t work, and tick a ton of boxes that way.
- Though I have never been any good at drawing from life or my imagination, I do have fairly good fine motor skills — I did a lot of crafts and calligraphy as a child. So I am good at copying pictures, especially with the help of things like the grid technique. We were often expected to do “artist copies” and, since I was pretty good at these, I created a piece that revolved around them: the backgrounds of my final piece were inspired by Roerich’s original set designs for the Rite of Spring, while the human figures in the piece drew on the costumes from the 2012 English National Ballet production (I was creating this piece in spring 2012, and went to see it). I copied pictures of costumes from theatre programmes and the internet, and used these alongside the write-ups to illustrate the development of my ideas.
- I chose artists whose style suited mine. I was never going to be able to replicate a photorealistic style and trying would only have caused me grief, but I had a hope of a halfway convincing copy of Degas — and when you’re theming your piece around a ballet, he’s an obvious choice. I still have one of my Degas copies on the wall of my house. It’s not bad.
And so on, and so forth. Having failed my drawing exam, I identified what skills I didn’t have — still life drawing — and then, rather than continuing to struggle with that, figured out what skills I did have — research, writing, copying flat images, etc. While my final piece was still no masterpiece, I was genuinely impressed as I flicked through that sketchbook, not only because of the sheer amount of work that had gone into it but also how impressive the results had been.
After re-doing a bunch of my year 10 coursework with the skills I’d learned from this, I got a B for that, and an A* for the final project (sketchbook + exam piece), pulling me up to an A overall. Maybe I gamed the system and figured out how to tick boxes, yes — but maybe I learned an important lesson about using the skills I actually had to compensate for the ones I didn’t, and creating something that was not only better than anything I would create using those weaker skills, but also more “me”, because it drew on my interests and my abilities. And in doing so, I developed new skills and used those to improve my other work.
I’m not telling you all this to boast about 16-year-old me’s grades, though. So what does any of this have to do with writing discourse?
Well, while I try to stay out of these kinds of circular discussions and meaningless arguments these days for the sake of my sanity, I constantly see the same conversations circling again and again: does all fantasy fiction need a ton of “worldbuilding”? What is worldbuilding anyway: are we talking about the stuff that makes it onto the page of the book, or are we talking about producing huge amounts of off-page material, fully realising every detail of a world that characters will only see small parts of? Do you have to make up your own language to write secondary world fantasy? Do you have to create endless family trees and histories for all your characters?
Do you, in fact, need to be Tolkien?
These arguments are frequently circular, and the same things come round again. “Worldbuilding is for people who actually wanted to write a manual for a tabletop roleplaying game, not a novel,” one person will argue. “Every story has worldbuilding, even contemporary litfic,” another person will point out, “it’s about understanding how the characters and plot interact with the setting.” Someone else will say, “Maybe you guys are using two different definitions of worldbuilding. Are we talking about what’s in the book itself, or is this about the way some aspiring fantasy authors spent ten years creating a world without ever writing the book?”
Such attempts to clarify discourse are rarely as popular as black and white takes. Accusations will be made, sides will be taken, and people will keep coming back to the same arguments that seem to me to usually come down to talking across each other because nobody set out the definitions of the terms they were arguing with. (Admittedly, my attempts to stay out of this mean I usually see it all secondhand, so I’m sure there’s more going on that I don’t see.)
And when it comes to conlanging… well, there are good points well made on both sides. No, you shouldn’t just take a real, modern, marginalised language spoken by real human beings and declare it a magical fantasy language (as so often happens to Celtic languages in particular); conlanging avoids this kind of appropriation. But no, you also don’t have to create an entire language from scratch with a comprehensive grammar and extensive vocabulary before you’re allowed to think about writing secondary world fantasy; not every story needs this, and not every writer is suited to this.
It’s here that Tolkien’s shadow looms large, being one of the most notable creators of fantastical languages above and beyond what was needed for the story that actually made it onto the page. Yes, of course this adds a depth to his settings that few authors can match in this particular area — but does it matter that they can’t?
As I have seen pointed out, both on Bluesky and on Tumblr, Tolkien didn’t create languages because that was what fantasy authors were “supposed to do”: he did it because he was a philologist, and that was what interested him. He wasn’t forcing himself to muddle through an activity he didn’t enjoy and found difficult in order to meet an arbitrary standard of detail, he was using the skills and interests he already had to create something that interested him.
And, you see… not everybody is a medievalist. (I know, big if true.) Not everybody has academic expertise in linguistics. Not everybody needs to. They have their own skills, their own backgrounds, their own hobbies. But if everybody spends all their time feeling like they need the same skills and knowledge as everybody else in order to create art, what you end up with is worse art that is less original and has less to say. Interesting, detailed art comes from using your skills, knowledge, passion, and/or background to tell a story that only you could tell — not from forcing yourself to jump through a hoop that somebody else had a day job in walking through.
In other words, if you’re the kind of person to get 37.5% in a still life drawing exam, don’t create a final piece that consists of a pencil drawing of three apples and a glass jug. Figure out what skills you do have that will let you create interesting art that says something you, yourself, want to say.
That doesn’t mean never challenging yourself to draw a fruit ever again. If you want to develop a skill, because you love it but you’re just not there yet, then by all means start practising! But — and forgive me if I’m wrong here, because I am, as we have noted, not a visual artist — you don’t learn how to do still life by copying other people’s still life. Otherwise, I would be great at it by now. It’s not just about the mechanical act of pencil on a page: it’s about learning to look at an object, to perceive it, to understand how light and shapes and depth are working. It doesn’t come by only focusing on other people’s finished products: it means breaking it down into the skills involved, and learning how those work, and practising them, and figuring out what they look like for you.
For me, writing The Butterfly Assassin involved drawing several apples, most of them science-related — I haven’t done any science since I was sixteen. I do, however, have research skills, which I applied, and more than that, I have scientifically-minded friends, who helped me. I still didn’t attempt to mirror the scientific detail of a novel like This Mortal Coil, because unlike Emily Suvada, I didn’t study maths and astrophysics at university and I don’t have the kind of brain that lends itself to data science, hacking, and understanding genetic engineering. But despite shifting the focus away from scientific detail for the most part, I still found these elements disproportionately hard to write. I learned from doing it, but I also resolved that I wouldn’t do that again. Everyone in book two, I concluded, was getting stabbed, not poisoned, and if I needed a creative assassination method, I would find one another way — there are enough historical assassinations that I could borrow from that would only require historical research skills, rather than having to understand the science behind it to plan one from the ground up.
I cannot write like a scientist: I can only write like me.
Writing The Wolf and His King, by contrast, draws on my existing skills and knowledge as a medievalist. That doesn’t mean it has been easy, or that it hasn’t involved research. It’s been a challenge in its own way, demanding knowledge of historical details that I, as a literature expert, didn’t have; it’s tested my mastery of the English language and forced me to think hard about imagery and metaphors; it’s seen me in the University Library’s reading rooms consulting maps and non-borrowable books; it’s benefited from another year attending lectures about medieval French literature; it’s been constantly reworked and developed based on my reading and research. But those are skills I have, even if it’s not knowledge I already possessed. I have been able to pursue those questions in more detail than somebody without that background, and I’ve created something that feels like me in a way that gives it depth and layers.
I am no longer trying to figure out how to disguise my wonky apples so that people don’t realise my depth perception was off the whole time: I’m creating a mixed media piece of historical research chasing my own interests and passions to create a piece of art I care about. This is not to say that I think The Butterfly Assassin is bad — it’s no failed still life exam, I’m still plenty proud of it. But it stretched me perhaps in directions that I’m not naturally inclined to go, and I was constantly having to remind myself to write like me, to focus on what I was trying to do with the story, rather than trying to squash myself into an imagined box of Required Talents To Write Dystopian Thrillers.
That’s also not to say I will only ever write medieval fantasies in the future. There are all sorts of stories I want to tell, in different genres and with different emphases. But the older I get, the more I’m learning how to use my existing skills to do that, rather than trying to follow somebody else’s methods and wondering why I can’t perfectly replicate the results. And if one day I sit down and try to do the writing equivalent of still life drawing again — well, it will be because I decided I wanted to, and it would be the best way to tell the story I wanted to tell, not because I thought I had to do it if I wanted to be a good writer.
So, in the end, what I have to say about worldbuilding discourse is this:
- All stories require you to understand their world. They don’t all require you to know the same things about it.
- A book with an incredibly detailed world is not automatically better than a book with a lightly sketched outline of a world. A book that only needs a lightly sketched outline and has a ton of detail might feel bogged down in unnecessary info; a book that needs detail and doesn’t have it will feel inconsistent. It’s about what the story needs. See point 1.
- Not every story that asks the same questions will need the same answers or find them in the same way. You don’t have to follow somebody else’s rules for developing a magic system or whatever if those rules aren’t serving the story you’re telling. It’s your story — see point 1.
- If your goal is to write a book, eventually you need to stop developing background details and write the book. If you keep getting stuck on this, try writing the book first and then answer the questions it raises, rather than trying to predict the answers you need and creating the setting up-front. This will help make sure you spend time on things that are actually relevant, and even if it doesn’t work for you in the long run, it might help you break out of your current loop. But if you’re developing imaginary worlds for fun with no plans to write a book then there are no limits, you don’t have to stop, and I hope you have a good time.
And finally, the most important point, and the one that justifies this tortured artistic metaphor:
- You don’t have to be Tolkien, especially if your skills and interests lie in different areas. Be the best you, not the worst copy. If you’re a natural sculptor, put down the pencil and go get yourself some marble.
The skills and knowledge and background and day job that you have are assets too, even if they don’t look obviously applicable to what you’re trying to write. Learn how to use them, and I’m pretty sure you’ll have more fun and make better art in the process. Which is, in the end, what it’s all about.
You can judge how well I applied my artistic skills by buying or pre-ordering my books! I promise they contain fewer tortured metaphors than this post.
‘Tis The Season
Slightly upsettingly, it is now September.
Not only that, but it’s not even early September. It’s the 19th. Schools have been back for a good couple of weeks. There’s a distinctly autumnal chill to the air. The evenings are getting darker earlier and earlier. Summer, we are constantly reminded, is over.
I’m feeling this particularly acutely because, honestly, I don’t feel like my life has been “business as usual” since about April, if it can have been said to be normal then. From May through to early September was just one thing after another consuming my attention and my time and causing me to neglect… literally everything else in my life. Some of these things were academic commitments (conferences, PhD registration, etc), some were writing-related (Moth to a Flame‘s publication, line- and copyedits for The Wolf and His King) some were Life Events like moving house (again) (last time for a while), some were health related (my second bout of COVID, once again acquired in the Gaeltacht), and some were fun (going to the Gaeltacht, going to North Wales). All were good excuses to neglect my emails and my everyday work.
It’s just… well… when you neglect your emails and your work for four and a half months, you end up with a lot of emails and work to deal with. Tragic how that happens. And the summer is gone, and the months have passed, and the start of the university term fast approaches, and I have so much to do…
Anyway, I’m in the process of getting my life back under control, which might mean posting here slightly more often (another ball I dropped this summer), but first and foremost I am trying to process the fact that it is autumn again already, quite without me knowing how that happened, and that means two things:
One, it’s been a whole year since I began my readalong of The Butterfly Assassin, sharing extra worldbuilding details, insights into my writing process, old drafts, forgotten or abandoned character backstory, etc. Which means:
Two, we are once again in the time of year when The Butterfly Assassin takes place. The opening chapter takes place late at night on the 17th September and into the 18th September, and then we continue onwards from there, through to early December.
Last year’s “real time readalong” turned out to be pretty intense in the amount of work it involved for me, and I wouldn’t say it was entirely successful in luring blog readers and newcomers alike into the comment section to talk to me and each other, freeing ourselves from the shackles of centralised social media and enjoying the benefits of a quieter, ore focused platform. But it did get a few conversations started, and one of the major benefits of posting it all on here rather than on social media is that it’s all still there, and findable.
Which means anyone who wants to do a real-time readalong of The Butterfly Assassin this year can do so! All of the posts are there: you can follow them day by day as though I were posting them this year, you can binge-read the whole lot at once, you can dip in and out when there are chapters you particularly want to know more about, or you can ignore them entirely and focus on the book.
One thing’s for sure, though: this is definitely the most seasonally appropriate time to pick up The Butterfly Assassin, whether reading it for the first time or rereading. After all, who can resist the call of those relatable Back To School moments, like trying to hide the fact that you were raised to be an assassin, and, whoops, might have killed someone last night…
I actually really enjoyed looking back over some of the old readalong posts. There’s a lot there: a lot that I’ve talked about in bits and pieces at other times, but rarely have the chance to discuss at length (another major benefit of doing this on my own site is that nobody can impose a word limit on me and, boy, would I go over it if they tried). I should probably, at some point, sit down and come up with a concordance of topics I discussed in the readalong, so that when they come up in other contexts I can quickly pull a link to my longer discussions.
For example, I often find myself trying to articulate my back-to-front approach to worldbuilding, the way I start with a specific question and wind up looking at much bigger issues, but that’s a lot easier to comprehend with concrete examples, and the very first post contains a great rundown of that approach, as well as a look at a bunch of different opening scenes I tried. Yesterday’s post (18/09) outlines the Esperan education system that I spent so long devising just to make sure some dates matched up. Tomorrow’s post, for 20/09, delves into some of the more political aspects of the worldbuilding. And next week, on 27/09, we get a post exploring some of the context and backstory to Isabel’s health conditions (including the one that’s just me being mad about Age of Ultron), as well as the structure of Comma.
I’m not going to painstakingly share a link to every post on the correct day, both because I am far too disorganised and busy to take on that kind of responsibility, and because I think it would deeply annoy everyone who subscribes to this blog. Nevertheless, I wanted to draw your attention to the fact that they exist, and encourage those who are interest to glance over them. The internet loves to focus on “new content”, but just because these posts are from a year ago, doesn’t mean they’re worthless.
And I want to note that the comments are still open on those posts, and you are still incredibly welcome to discuss them, whether addressing your remarks to me or to others hanging out in the comment section. A big part of the purpose of the readalong was to start conversations, not merely to broadcast my thoughts at youse. I would love to talk.
Mostly, though, I’d just be grateful if you’d consider reading The Butterfly Assassin this autumn or, if you’ve already read it, writing a quick review or recommending it to a friend so it can reach somebody who hasn’t. I realise, however, that there are a great many other autumnal books out there, so this is also an invitation to tell me what seasonally appropriate reads you’re enjoying right now, so that I can check them out too.
The comment section awaits ⤵
A Ten-Year Trilogy
Ten years ago, in May 2014, I was revising vocabulary for my French A-Level exam and came across the phrase papillon de nuit, butterfly of night: the French name for a moth. “That’s so badass,” I posted on Facebook. “It sounds like an assassin’s nickname. And saying that, I’ve got an idea…”
It wasn’t a starting point: it was more like the missing link that pulled together a selection of disparate ideas I’d been toying with for a while already. I’d created a character, Isabel Ryans, in January 2012, but the original novel she’d been part of had failed, and while I knew I wanted to come back to her, I didn’t know what that would look like. I was starting to write in my journal about my ideas for some kind of “alternate universe assassin story”, though, playing around with nonspecific ideas and searching for the final spark that would help me find my way into the book.
Papillon de nuit. The idea took root. I began developing the idea into something like a blurb, which I posted on my blog; a reader pointed out that Comma, the name of Isabel’s guild since her inception, was a type of butterfly, and helped solidify the imagery. I wrote an outline, and asked another friend if she’d critique it for me, which she did, identifying (correctly) that it was actually two books, not one. I split the plot in half at the point she’d suggested, and realised I was writing a trilogy, not a prequel to my original planned standalone.
In July 2014, I wrote the first draft of a book that was subsequently titled Butterfly of Night. I finished it while on holiday in Guernsey with my parents, and gave myself a whole day off before I dived into book two, initially called Bloodied Wings, then Wings of Blood, once I decided that had a better rhythm to it.
I had written books before. Fourteen of them, actually; I wrote sixteen books in the five years between my first novel in November 2009, aged thirteen, and the second of these two, completed in autumn 2014, aged eighteen. Most of them were terrible. This was partially a consequence of my age, partially a consequence of writing an average of three and a bit brand new novels per year, and partially because none of them progressed beyond the stage of ‘rapidly written first draft’. It is possible for teenagers to write good books, and for professional authors to churn out three solid novels per year, and for first drafts to be good, but the combination of all of those factors created novels whose value lay only in the writing of them, and which would never, probably, be worth reading.
The writing of them was valuable. It gave me a chance to try out different genres, styles and voices, so that I could figure out what I liked and what I was good at. It taught me a lot about how not to write. It helped me understand my own weaknesses as a writer, so that I could improve. It gave me the unshakeable confidence that I could, in fact, start and finish a novel, which is something you only learn from doing it, and which has carried me through every first draft crisis point since then. It was, crucially, fun; there’s no way I’d have done it if it wasn’t, and thus it gave me an outlet and a way to enjoy myself. By late 2013 it was, frankly, the one thing keeping me even a little bit mentally stable, even if my rapid and obsessive typing had also been partially responsible for the development of debilitating chronic wrist pain that lost me the use of my hands.
Nevertheless, whatever teenage me might have hoped, I was not producing work on which you could build a career as a writer.
And then I wrote what I called assassin!novel, before titling it Butterfly of Night. I knew it was different. I knew there was something special about it: something more original and interesting than the books I’d already written, and at the same time, something more marketable, despite its unusual characteristics. I’d been told before that YA with no romance would never be published, but I was willing to bet that wasn’t actually true. This book, I thought, had something going for it. The first draft was bad, but it had potential. It could be something.
It took me several years to get that book anywhere near reaching its potential, and that involved writing at least one new draft of it every year. I edited the book alone, and then I applied to Pitch Wars in 2016 and got nowhere with it. I applied again in 2018 with a heavily revised version of the book, with similar results. In 2019, I applied to Author Mentor Match, and was chosen as a mentee by Rory Power. Her edit notes didn’t tell me I needed to burn it and start over, but they gave me the courage to realise that was what I needed to do: an intense restructuring, some large plot changes, combining some characters, and a lot more on-page worldbuilding (much of which I’d known for a while, but hadn’t figured out how to put in the book). You can read more about the actual development of the book in the readalong posts I did last year.
In May 2020, I signed with my agent, Jessica Hare.
In January 2021, we sold Butterfly of Night and its sequel to Simon & Schuster Children’s UK. They wanted to change the title. After some negotiation, it became The Butterfly Assassin.
In May 2022, The Butterfly Assassin was published. Its sequel, originally drafted in summer-autumn 2014 right after the first book, was published in May 2023 under the title The Hummingbird Killer. The third and final book, planned in 2014-15 with a few scenes drafted and then re-planned and drafted properly for the first time in 2020, was published two weeks ago, in May 2024.
Two days ago, I was passing through Guernsey en route from an academic conference in France, and I took a copy of the French translation of The Butterfly Assassin to the same spot where the photo above was taken.
I am twenty-eight years old, and I have been writing Isabel’s story for the entirety of my adult life. I have written at least one draft of one of the books in this trilogy every year since I was eighteen. And now her story is told, and I will never be writing it again.
I thought I’d emotionally processed this when I handed in my last round of edits, but the thing about copyedits and proofreading is that I absolutely hate them, and thus by the time they’re over, I’m at the point where I never want to see the book again and am absolutely not sorry to see the back of it. The real emotions hit on publication day, which fell ten years to the week after my first Facebook post about the term “papillon de nuit”. Ten years. Longer than I’ve spent at any school or university, longer than I’ve known most of my friends. Longer, in fact, than I’ve had my name.
When I took that second picture with the Victor Hugo statue on Guernsey, I’d forgotten that it was the third of June, and thus my ‘fake birthday’: the anniversary of the day I chose the name Finn, before I’d really understood where my complicated feelings about gender and names were leading me. I chose that name on the third of June 2014, a week after I had my revelation about papillon de nuit, less than a month before I started actually writing the first draft of the first book of this trilogy.
I don’t think anybody is the same person at twenty-eight that they were at eighteen, and that’s probably a good thing. It’s a period of great change and growth, of becoming yourself now that you’re freer of the influences of parents and school and other people’s rules. If you went back in time and met your eighteen-year-old self, would they recognise you? Would they be proud of you?
I think eighteen-year-old me would recognise me. (On the most basic level, my face has not changed that much.) I think they would be proud of me, too. I’ve taken the book they had secret, furtive hopes for, and I’ve brought it all the way through to publication, to translation into French, to a full trilogy out on the shelves. I’ve pursued their interest in medieval Irish literature through two degrees and into a handful of academic publications and the first year of a PhD under my belt. I’m not fluent in Irish, but I’m conversational, more or less (it does depend what the conversation is about).
I’m also trans and disabled.
Neither of these would be a huge shock, but both were things that 18-year-old me rather hoped would pass. I was beginning to regain the use of my hands by summer 2014 — Butterfly of Night was typed, not dictated, unlike almost everything earlier that year — and was hoping this trend would continue, and that I might return to playing the violin and the flute. This never really happened, although I would like to reassure my younger self that I did stay involved in music. I took up the bodhrán this year. I’m in the ceilidh band. I wear my wrist supports and I take breaks and I find other ways to be part of it.
But I also walk with a cane, and sometimes I use a wheelchair. I think the wheelchair would scare eighteen-year-old me a lot. It’s only recently it’s stopped scaring me. The wheelchair is symbolic of everything I can’t do these days, yes: it’s a reminder that I can’t dance at the moment, that I might never be able to dance again, even if I hope otherwise. But the wheels are not actually the reason I can’t dance. The pain is. The wheels are what get me to the venue so I can play in the band. The pain is a bad thing, and while the wheelchair may make that pain more visible, it’s not causing it, it’s helping.
Younger me wouldn’t have been ready to hear that, because they would be too focused on that news: that I couldn’t dance. That I lost dance the way I once lost music.
It is a very peculiar grief, this one. The perpetual hope of improvement, the possibility of future change, keeps you from ever really accepting it and moving on. You remain trapped in the crystallised grief of the moment of losing, and you lose over and over again, with every bad day or every new discovery of something you can no longer do. Eighteen-year-old me was crawling out of a dark hole of the most profound version of that grief they had so far known, and what they needed to hear was it will get better and you will be fine, and this news would have devastated them.
Sometimes it still devastates me. Mostly, I’ve learned to hold that grief without letting it consume me. I have rainbow wheels on my chair and friends who will push me up hills and did you know that the big advantage of a wheelchair is that no matter where you are, you’re guaranteed a comfy seat? Does that help? Is that enough? Of course it’s not enough. It’s something, though.
As for being trans, well, in that first week of June 2014 I had written in my journal: does this mean I’m some flavour of nonbinary? Ugh, I don’t have time for this. And ain’t that a mood, baby me. Truly, who among us does have time for this? The admin, the logistics, the constant educating, the battles you have to pick regarding the wrong name being on somebody’s system and whether you care enough to get it updated, the moment of anxious indecision when faced with binary gendered toilets and the certainty that you’ll be challenged or at least side-eyed whichever one you choose — and that’s not even touching on the issue of healthcare and transition.
But eighteen-year-old me wasn’t fully present in their skin. They didn’t know how to be. They’d had a year of their entire sense of self being taken apart by pain, of losing all the certainties of their physical reality: who were they if they weren’t a musician? If they couldn’t hold a pen? If they were in pain every day? If they were too anaemic to have the energy to really be alive anymore? Perhaps being broken down in that way was what helped crack the shell of denial that allowed me to explore my gender, or perhaps if I wasn’t disabled I wouldn’t have been trans, either. I can’t know that. A version of me who isn’t disabled is not me: we are all made of all of our parts, and they can’t be separated out from each other.
Twenty-eight-year-old me exists in a perpetual state of negotiation with my own body. Most of the time it’s a long way from love, but I think that’s okay. Sometimes all we can aim for is neutrality, understanding: my body is trying its best to protect me, and it isn’t very good at it, and a lot of its efforts to protect me actually cause substantially more harm than good. But it doesn’t hate me. And while I have often hated it, I’m settling into something mellower.
I am ten years older, and I am still in pain. I’ve had top surgery, which did wonders for helping me feel less alienated from myself, but I will probably never be free of certain kinds of dysphoria (I would love to be just a little bit taller…). I am an adult, and while I absolutely don’t have it all together, I have a better sense of who I am and what I want and what it means to exist in this world.
I have spent this decade growing into myself, and Isabel Ryans has been alongside me as I did it. I was working on this book when I was denying and then, eventually, accepting that I’d lost my childhood faith. When I found Quakers and began to hope there might be something else out there for me, spiritually. When I intermitted from university. When I returned. When I was figuring out my sexuality and my gender. When I finally quit self harm successfully. When my vague leanings towards pacifism became a stronger conviction. When I had my first job, and my second, and my third, and my fourth. When I lived alone for the best part of eighteen months during lockdowns. When I moved house five times in ten months. When I left the country, and when I came back. When I witnessed far too many unprecedented times, and some precedented ones. When I watched the news with horror, and when I watched it with hope.
It’s not just that the trilogy’s done. It’s that I will never again be in my early 20s, figuring out who I am, developing my moral values and my philosophical understandings of the world, trying to make sense of what it means to be a person who makes their own choices and defines their own identity. I will never again be walking that complicated, unsteady path from adolescence to adulthood.
There are many paths ahead of me, and no doubt some of them will be just as winding and dramatic as this one — but this one is done. And Moth to a Flame is published, and Isabel’s story is told, and that seems a little like waving goodbye to a friend at the train station knowing that you will never see them again.
So, no, I haven’t emotionally processed that. I don’t know as that’s something you do emotionally process all at the time that it’s happening. Maybe you just have to keep growing up and carry that knowledge with you as you go, and eventually you realise it’s been another decade, and another character is living in your head now and accompanying you on your journeys of self-discovery.
But I do know this: whatever eighteen-year-old me would think about my current self, I am so bloody proud of them. They wrote this book. They chose this name. I might have done a hell of a lot of work to get us from there to here, but they laid the foundations. They’d just survived the hardest year of their life and the whole time they were doing it, they were placing stepping stones to everything that came next, and picking their way through the water to survival. And they did it. And we’re here.
Happy tenth fake-birthday, baby Finn. And happy ten years to The Butterfly Assassin, and Isabel Ryans, and everything that made these books what they are and made me the person who wrote them.
The Butterfly Assassin, The Hummingbird Killer, and Moth to a Flame are all available to buy now. The Wolf and His King, coming 2025, is available to pre-order.
Borrowed Words
Let’s talk about epigraphs.
As a writer, I put way too much thought into my epigraphs, although I know that many readers skim straight past them. In fact, I often skim straight past them myself when reading: unless they’re from something I’ve read or know well, in most cases I will immediately forget what they were. (On very rare occasions, however, I’ll go look up the text they’re from.)
That said, if they are from something I know well… well, let’s just say I have high standards for epigraphs, and can get annoyed if other authors aren’t following my secret set of personal rules that at some point my brain decided ought to be universal. 😅
In this post, I figured I’d outline what my secret rules — my Philosophy of Epigraphs, as it were — actually are, and then talk a bit more about the epigraphs for each book in The Butterfly Assassin trilogy. These are, I must acknowledge, my own rules for myself, and despite my annoyance when books fail to meet my arbitrary standards, they’re not actually universal. But maybe they’ll be useful for people trying to figure out why an epigraph is or is not hitting the spot for them.
In my opinion, an epigraph needs to work on three levels. The first level is the surface level: it needs to set the tone of the book, give a sense of its vibes, to the reader, even if they’re completely unfamiliar with the text the epigraph is from and the context of the chosen lines. This is sometimes as far as an epigraph goes, but to be really effective, I think it needs also to work for the reader who is familiar with that text, giving them a more detailed sense of what’s about to follow. This is where many epigraphs fall down, because they’re chosen for the vibes of that particular line, but if you’re familiar with the context, it implies something somewhat different and might mislead you about what kind of story you’re about to read.
Finally, I think an epigraph is an intertextual statement: the author is positioning their book in relation to another work, making a statement about genre, tone, history, vibes… something. Depending on the nature of the work the epigraph is taken from, this can be a simple statement about aesthetics and energies or a complex one about literary history, but it’s always situating the story within a larger cultural network of language and story. Sometimes, what we’re learning from this is what the author’s main inspirations and influences were, whether classic literature or a modern pop song; at other times, we’re learning what out-of-context quotes they’ve seen included in a dozen moodboards on Tumblr. Both are intertextual statements, though some can be more effective than others…
So, we’ve got our surface level vibes, our contextual knowledge, and our intertextual statement. Now let’s look at the epigraph from The Butterfly Assassin, and explore those layers.
(Warning: there’ll be some spoilers here.)
All of the epigraphs in this trilogy are taken from works by Anne Carson, because frankly, she’s great, and because I love a theme. This first is a quote from Agamemnon by Aeschylus:
“For there lives in this house
a certain kind of anger,
a dread devising everrecurring everremembering anger
that longs to exact vengeance for a child.”
What does this epigraph tell us?
On a surface level: this is a story about anger, revenge, and harm done to a child. The reference to this house implies said anger and harm is occurring within a family, although that’s not unambiguous. We know immediately that this is not a happy story, and that we’re dealing with somebody who has been wronged.
With contextual knowledge: this quote is from a Greek tragedy about Agamemnon. Agamemnon is a man who sacrificed his own daughter to achieve his military aims (winds to sail to Troy); eventually, he is killed for this. This is not the start of a cycle of violence, but the continuation of one that plagues the line of Atreus, and which will continue into the next generation: Clytemnestra will kill Agamemnon, Orestes will kill Clytemnestra, the Furies will pursue Orestes. This book is therefore a tragedy about what happens when a man (Ian Ryans) values his military aims (profit from arms dealing) over the life of his daughter (Isabel); he will eventually face retribution and die for his actions, but the cycle of violence will not be broken by this act. It’s a story about violence within a family, and the suffering inflicted on the next generation by the actions of their parents.
Intertextually: this is a tragedy, and therefore it’s probably not going to end with everybody skipping away into the sunset. This is just one story of many (Aeschylus is not the only person to have written about Agamemnon; Anne Carson is not the only person to have translated his work; Isabel is a symptom of a broken city and not its only failure). And Agamemnon is only the first of the three plays that make up the Oresteia: this is act one of a trilogy, and it will get worse from here.
It’s like an onion. It’s got layers.
But what about The Hummingbird Killer?
Once again, we’re back with Anne Carson — this time, her essay ‘Tragedy: A Curious Art Form’, which opens another of her collections of translations, Grief Lessons.
“Why does tragedy exist? Because you are full of rage. Why are you full of rage? Because you are full of grief.”
On a surface level: this is another tragedy, and it’s about anger and grief. Those who remember the first book will know why grief is relevant; they’ll understand what Isabel is angry about; they’ll know to expect destruction.
With contextual knowledge: this is the first line of an essay that then goes on to talk about headhunting and decapitating your enemies, about moments of extreme violence, and about the catharsis of tragedy as a way of safely experiencing the depths of human darkness without having to go there yourself. We might then know to expect that this book’s body count will be high, that we’ll see moments of extreme violence, and that we’ll be going deep down into the human capacity to do awful things in moments of grief, rage, or sheer bloody survival, prompting us to reflect on our own darkness.
Intertextually: this is an essay about tragedy that warns us of the violence to come. This book is, like the first book, a tragedy, but it’s self-aware — we’ve been here before, and we know what to expect. We are, after all, still grieving from the last time around the cycle. The essay is bound in the same book as four plays by Euripides, each of them dealing with lives in crisis and violent destructions of the self; the epigraph stands outside of the tragedy, and heralds it, and says, this anger is born of grief.
And finally, Moth to a Flame.
This epigraph was the hardest to choose. I knew I wanted to use another Anne Carson quote, to complete the set of three, but I wasn’t sure what to chose. It might have been nice to use a poem, or another essay; something that moved us further away from tragedy. But in the end, I realised we needed to complete the cycle we were in. So we’re back with the translations again, this time from Euripides’ Herakles:
“Theseus: Stop. Give me your hand. I am your friend.
Herakles: I fear to stain your clothes with blood.
Theseus: Stain them, I don’t care.”
On a surface level: we know this will be about blood-drenched friendship. About reaching out a hand to somebody who has done something awful despite the risk of being stained by it.
With contextual knowledge: Herakles begins with Herakles in the underworld; he hasn’t yet come back from his journey there. He is dead, his people think, until he shows up again. Maybe this is a story about returning. Maybe it’s about coming up from underground. It’s certainly not a story about finding peace when everything’s over — far from it. Herakles kills his own family, so once again this is a story about what happens when children die, when children are hurt. It’s a story about consequences. But it’s also about a friend who reaches out to help shoulder the burden of those consequences.
“Herakles himself enters gloriously upright but is soon reduced to a huddled and broken form. His task in the last third of the play is to rise from this prostration, which he does with the help of Theseus. Euripides makes clear that Herakles exits at the end leaning on his friend. Herakles’ reputation in myth and legend otherwise had been that of lonehand hero. Here begins a new Heraklean posture.” (Anne Carson, Grief Lessons, p.16)
We are in the last third of this trilogy now. Our huddled and broken heroine is faced with the challenge of rising from this position of defeat and loss; she has been alone for a very long time; she will not be alone this time.
Intertextually: Herakles, Anne Carson writes, is a tragedy about outliving your own myth. Herakles has been to hell — what more is left for him to do? He can’t be a tragic hero unless he can die, and so he brings the genre down around him.
“If you stay you will see Herakles pull the whole house of this play down around himself, tragic conventions and all. Then from inside his berserker furor he has to build something absolutely new. New self, new name for the father, new definition of God. The old ones have stopped. It is as if the world broke off. Why did it break off? Because the myth ended.” (Anne Carson, Grief Lessons, p. 14)
We were, until this point, occupying a very specific narrative world: the city of Espera, with its closed gates and high walls. We had our myths — the inescapable power of the guilds, the Moth, the complete separation from the outside world. And now we are outside of that world, and the story is no longer easily labelled as speculative fiction, because it’s suddenly much closer to home. Isabel is outside of her own myths, and she’ll have to learn how to rebuild herself. This is a tragedy-after-tragedy, aware of the genre conventions and walking away from them. This is changing the now-familiar structure and story, and doing something different. This is breaking the cycle of the first two books, and knowing that the world of that myth can’t survive the breaking.
But perhaps the heart of this epigraph lies in its surface meaning: I am your friend. Despite the blood and despite the violence. Give me your hand. We have seen the taking of hands repeatedly in this trilogy. We’ve seen Emma’s outstretched hand, and we’ve seen Ronan’s, too, and the bloody bargains that come with it. Whose hand will Isabel be taking this time? Who will be pulling her back to her feet?
We return to the context: Herakles, down in Hades, down in his own darkness, brought Theseus out with him when he returned. And it’s Theseus who remains with him when the darkness follows.
“Herakles: You pity me although I killed my children?
Theseus: I weep for your whole changed life.”
What does it mean to be a friend to a monster? To trust in your love to bring them back from the brink of their monstrosity? What does it mean to help a friend once, and be changed by it, and for them to keep faith with you afterwards?
Perhaps, like Herakles, it’s to destroy your own myth and your own tragic genre and make something new out of the pieces.
“Herakles: So I, a man utterly wrecked and utterly shamed,
shall follow Theseus
like a little boat being towed along.
Whoever values wealth or strength
more than friends
is mad.”
These are my epigraphs, then, and this is a glimpse at some of the thought processes that went into choosing them and the effect I was trying to achieve by selecting these specific passages. Perhaps this was a classic case of me overthinking everything; I strongly doubt any readers have spent nearly as long thinking about them as I did! But I hope that even their simplest and most surface-level interpretations added something to the reading experience, even if it was only a clue that these were probably going to be sad (and violent) books.
I’m curious: if you’re a writer, do you use epigraphs? How do you choose the quotes that you use, and what are your Secret Rules and criteria for choosing them? If you’re a reader, how much attention do you pay to epigraphs? Can you think of any that really stood out to you, either for being super effective, or for being all wrong for the book?
Drop your thoughts in the comments! I’d love to hear from you.
The Butterfly Assassin and The Hummingbird Killer are available now; Moth to a Flame will be published on 23rd May 2024, and is available to pre-order.
Cover Reveal: Moth to a Flame
My adult books may have taken centre stage in my social media posts lately, not least because I have been mired in line edits and they have been occupying my thoughts, but it’s time to turn out attention back to YA. The third book in my YA assassin trilogy, The Butterfly Assassin, is coming out in May, and today I get to share with you the cover! (And, officially, the title, although you already knew that part.)
So, without further ado, here it is:
Isn’t it great? I love how strongly it leans into the street art theme: I feel like this genuinely looks like something you could see sprayed on a wall. My group chat are also pleased with how bisexual the colour scheme is. Not that it’s a particularly bi book, although I would say that the casual background queerness of Isabel’s world becomes more apparent in this one and her own efforts to understand (or to lose) herself further illuminate it. It’s a good colour scheme, in any case.
We’ve also broken free of the by day / by night tagline schema that we used for the first two books… a controversial choice, I know, but it’s a very different kind of book, one in which Isabel’s no longer able to maintain the separation of a double life but forced to grapple with everything that’s happened to her, away from the masks and the self-deception that let her ignore it. So we needed a new approach.
Still, I think the three books look pretty cool together:
As for the book itself…
It’s difficult to talk too much about Moth to a Flame without significant spoilers for The Hummingbird Killer, and I know that I have quite a few new blog readers and social media followers who might not have had a chance to pick up the first two books yet. But if The Hummingbird Killer was where I broke everything, Moth to a Flame is where I fix it — or at least, start to put the broken pieces back together.
This book has quite a different tone to the first two. Where The Butterfly Assassin sits comfortably in the YA space with its themes of seeking independence, developing identity outside of your parents’ expectations, balancing school with the rest of your life, and the like, The Hummingbird Killer took us a little further into the crossover zone as Isabel started to live a young adult life, dealing with a day job and a flatmate. Moth to a Flame continues that trajectory, since Isabel is firmly a young adult by this point. At the same time, younger characters (like Sam) allow Isabel a chance to reconnect with a childhood/adolescence she never really got to have, stopping us from slipping all the way into the territory of adult fiction. Still definitely upper YA; I think the official recommendation is 14+, but maybe we might be appealing more to the older readers here.
The mood is a little more introspective and character-focused, compared to the more action-heavy earlier installments, and there’s also considerably less murder. To put that into context: when I tried to keep track of the body count of The Hummingbird Killer, I lost track around 50; by contrast, I think there are 3 murders in Moth to a Flame (or at least, three that have on-page significance/directly impact on our characters, though there are some referenced, off-page deaths). So you can see that’s a bit of a shift.
I would be lying if I said I wasn’t worried about this — that the book’s focus on healing, recovery, justice, and breaking cycles of violence would be a disappointment to those looking for a stabby, action-filled thriller. But it was important to me to write it like this, in opposition to my original plans for the book back in 2014-15 (which were just so very depressing). This story is substantially about grappling with harm that can’t be undone and damage that can’t be fixed, and when I say that this is a more hopeful story of healing, I don’t mean to suggest that everything’s going to be all right for everyone. But my original plans for the book were bleak, and I realised I wasn’t interested in telling that story, and that I had to do something different with this one than I’d done with the first two.
I joked on Tumblr that this is the Bucky Barnes Recovery Fic of the series. I have a soft spot for these stories — stories that step outside of the action and breathless plot of canon to focus on the slow process of a traumatised ex-assassin learning how to be a person again, grappling with grief and guilt, trying to make sense of their culpability for the acts they were forced by others to commit. Bucky and Isabel have quite different backstories, and I wouldn’t want to overstate the influence these fics had on me; nevertheless, these are the stories that taught me sometimes the most narratively interesting thing you can do with a character like this is allow them to heal and, through that healing, ask difficult questions about justice and punishment and repairing harm.
And, finally, this is also a book where the underlying themes of the whole series become significantly less subtle. I have always been criticising the military recruitment of teenagers, the arms industry that places profit above lives, and the social and political attitudes that enable these to continue, but this book’s wider geographical scope (no longer limited to the walled city of Espera) means this stops being metaphorical or abstract and starts being overt. Again, this might be an unpopular choice, but there’s no other way I could have written this book that would have felt true to me.
So, basically, this is where it becomes most obvious that this trilogy about assassins was written by a pacifist. Which some people might not like! But, on the other hand, I think in the world we live in right now, there’s a need for stories about grappling with aftermath and recovery — stories where love and found family and cosy scenes with cake don’t exist only in a low-stakes, low-danger environment, but are deliberately built as an act of resistance and a process of recovery. It’s a story about the power of friendship: not the power to prevent violence or harm, necessarily, but to create a life after violence, and rebuild safety from the ground up.
(Once it’s out, I’d love to do a big long thinky post about my epigraph choices for all three books and what they signify for me; the one for Moth to a Flame is very much about friendship in the face of monstrosity and violence.)
Anyway. Those are the vibes of the book. But, truthfully, I am mainly relying on the cliffhanger ending of The Hummingbird Killer to serve as the main pre-order incentive for this one, because if you read that and don’t want to know what happens next, well, I don’t think anything I say is going to change your mind 😅
Just in case, though, here’s a quick graphic showing some of the other things the book contains:
I mean, who could resist that all important trope: “Leeds?”
(Yes, this book is largely set in Leeds. Yes, that’s a spoiler for The Hummingbird Killer. Yes, several of the locations in the book are real. No, none of the people in the book are real. Yes, this is why I went on a research trip to Leeds last year and took a truly disproportionate number of pictures of weird corners of the central library. Now you know!)
I think we’re still tweaking the cover copy and final blurb, but here’s the blurb as it appears on retail sites currently:
Isabel Ryans has fled Espera, leaving behind her identity as teen assassin the Moth. Now she’s trying to adjust to the reality of the outside world. But her grief and trauma are catching up with her, and surrounded by civilians who will never understand what life is like in the walled city, she feels more alone than ever.
When a journalist is murdered nearby, suspicion automatically falls on Isabel. And inside Espera’s walls, the abolitionist movement is gaining strength. When Isabel’s search for the killer leads to an unexpected reunion, she’s forced to decide whether she can really leave the city behind, and what part the Moth might have to play in the uprising.
Is Isabel Ryans the city’s saviour . . . or its scapegoat?
Moth to a Flame will be released on 23rd May, and it’s available to pre-order now.
Word By Word
I’m currently working on line edits for The Wolf and His King, my ‘Bisclavret’ retelling. Line edits, for me, are a multi-faceted process of nitpicking absolutely everything. This includes the grammar and rhythm of sentences, and I’ll read the whole book aloud to check for accidental rhyme, awkward alliteration, and repetition, because the feel of the words in my mouth is at least as important as their literal meanings. It’s also the part of the process when I research a lot of the fine details. Some people prefer to do their research earlier in the process, but for these kinds of details, I find it’s only worth doing them once I know a scene or line is sticking around, and therefore whether it’s worth going down the rabbithole.
But rabbitholes, there are many — and my general interest in medieval literature and the world of its characters means I’m not inclined to read only the bare minimum to grasp a concept, but have a tendency to learn a lot more than is strictly necessary. At one point, I wanted to refine a metaphor but I needed a better understanding of how medieval people understood the universe, so I read an entire book about medieval science for the sake of a handful of words about constellations. Currently, I’m reading a whole book on knightly education and the literate culture of medieval courts to make sure everybody in the book knows the correct amount of Latin for their status and role. You get the idea.
Then there are the briefer queries, like whether a plant is native to the area, which usually prompts a Wikipedia dive. Every time I mention an animal, I check medieval bestiaries to understand better how medieval people would have thought about it, and to give myself the option to include some of those weirder ideas in the book itself. (Weasels can raise the dead? Sure, why not.)
A major part of my nitpicking, however, revolves around language and etymology, and I’ve found myself bookmarking the online OED for faster reference. (The advantage of being both an author and a PhD student is that I get full access via my uni login; truly, the university library has enabled so much of my research.)
I had to set out my own rules before I embarked on this. My characters are not speaking modern English — they live in alternate-universe 12th century Brittany*, and so are probably speaking a mixture of medieval Breton, French, and Latin, depending on the context. As such, there’s no point being too fussy about exactly when a word was first attested in English. But my rule for myself is that I need the concept to exist, and etymology is usually the first step to discovering the answer to that, especially if I can find a solid Latin or Anglo-Norman root for a word or idea.
*It has a king. Brittany was a duchy in this period.
An early casualty of this process was the figurative use of “purgatory” (“the endless purgatory of waiting to be discovered”); turns out even the restricted theological use of purgatory is just ever so slightly too late for me, with our very own Marie de France probably being responsible for its use in Anglo-Norman French, c. 1190. This would probably have been fine, if I meant it in the purely theological sense; I’ve deliberately not pinned this novel to a specific year, even if in my brain it’s somewhere in the 1170s, and I figured a 20-year anachronism was no big deal. The figurative use, though, didn’t seem to enter French until the sixteenth century, and four centuries is an entirely different kettle of fish; after a lot of pondering, I swapped it for the simpler torment, with a flag to come back to the overall sentence to see if I could re-work it.
Then, a more recent challenge: focus. This one tested me. Of course medieval authors and audiences would have had a concept of directing your attention to a specific thing, or concentrating on it, but focus would have meant something quite different to them — its earliest use seems to have been a term for a hearth or fireplace. Its more scientific use as a fixed point at which point light or sound converges is a seventeenth century one, and therefore our modern use of the term was pretty significantly at odds with what it would have meant to a medieval audience.
Did that matter, though, given that the concept of “specific thing you are looking at” must have been around for as long as people were looking at specific things? This was difficult to answer, and it was while I was grumbling about this word and how many times I seemed to have used it (or variants) in one of my writing groups that somebody asked the crucial question, the one that helped me pin down why I was doing this in the first place: “Is there a reason this novel needs to be etymologically accurate?”
Slightly facetiously, I answered, “I want the book to be good and historical detail matters to me.” And this is true. I want it to be good, and historical detail does matter to me. I’m a pedant even when I try not to be, and have been repeatedly jarred out of historical fiction or TV shows by anachronisms.
But although those anachronisms sometimes relate to words, it’s not usually just about the attestation date: it’s usually about the social ideas and concepts that are being expressed by those words, and whether those existed. I got annoyed at Netflix’s Bodies for using the term “homosexual” in 1890, two years before it was coined in English, not primarily because the word was anachronistic but because the entire concept of homosexuality represented a massive shift in queer history and how what was previously ‘behaviour’ started to be understood as ‘identity’. As such, it wasn’t just a word that wasn’t around in English yet, but an understanding of the world and a specific theory of human nature. (They probably would’ve got away with it, except that I was re-reading Halperin’s 100 Years of Homosexuality the same week that I watched Bodies. Bad timing for them/my enjoyment of that strand of the show.)
And when I’ve grown frustrated with other medieval-set novels, it’s rarely the language that’s the problem, but the mindsets: the modern attitudes towards touch and intimacy; the lack of religion in the background (and foreground) of everyday life; the way ‘good’ characters are ‘progressive’ in ways that align with modern values but rarely make sense for their context; the attitude towards clothing — and by extension often to women’s work of weaving and sewing — that speaks to a modern fast fashion mindset and not a world in which every scrap of fabric represented hours of labour…
So I thought about it a little more, and I realised it wasn’t really historical accuracy in terminology that was important to me. What mattered was that the work of weeding out these linguistic anachronisms also served to weed out lazy cliches in figurative language where I’d fallen back on a set phrase that relied on a modern understanding of the world — an understanding my characters wouldn’t have had. What I actually wanted to do wasn’t to write a linguistically correct pastiche of the twelfth century, but to represent the viewpoint of my characters: their perspective of the world, their understanding of the plot, not a modern understanding of those same events.
I doubt I’ll ever fully succeed in this aim, both because I’m a long way removed from the twelfth century and because I hail from suburban London, which means I’ve spent much of my life somewhat distant from nature and the rhythm of the seasons and the land. Nor do I think a wholly medieval mindset would suit the story I’m trying to tell, which is, after all, intended for a modern audience, and is using medieval literature to think about concepts that trouble me as somebody living in the modern world. If it were purely a medieval text, there would be no point me writing it, because that text already exists, and Marie de France wrote it. The whole point of a retelling is that it’s doing something new with a story, and striking different resonances, some of which its original audience might not have heard.
But every time I find a word that relies too heavily on a modern concept, challenge it, and reword every sentence that it’s in, I think I’m untangling some of the assumptions that my characters will see the world the same way that I do, the same way that my readers do, and express it in ways that are familiar to us. I’m forcing myself to consider how my own mindset as a writer is shaped by modern science, as well as by the specific branch of Christianity that I grew up with — although I didn’t have a secular upbringing, it was a very twenty-first century low-church Protestant environment that would be completely alien to a twelfth century Christian, and as such, I keep accidentally being heretical.
(This will be the next stage of the historical nitpicking: the Heresy Read, in which I will consult my friend who works on medieval hagiography and generally knows more about medieval Christianity than I do, to check that any heresy in this book is there on purpose. Heresy, you see, can be present for valid plot or emotional reasons, but only when it’s done secure in the knowledge that it is heretical, and not just because I have to be periodically reminded that saints are a thing.)
And so every time I spot a word that looks a little too scientific, or relies on a modern understanding of emotions or relationships, or which otherwise rings the little bell in my head labelled “possible anachronism?”, I get out the OED, and I look it up, and I start my research journey: Meanings and uses. Etymology. Anglo-Norman and Latin roots. Alternative words that might be older. New ways in which I might get across this concept that are completely detached from this phrasing.
Just as I occasionally stop myself, think, “Is it feasible that people would go to a specific location to drink and socialise when brewing was, as far as I’m aware, more or less a home industry and ‘taverns’ as a concept aren’t really around yet?”, and then make a note to research history of brewing and social drinking for the sake of ensuring one scene takes place in a historically plausible location. Because I know that’s the exact kind of detail that would bug me if somebody else got it wrong, and therefore, in the interests of not being a hypocrite when I bitch to my friends about something I’m reading, I owe it to myself to do as much research as I can.
I will never catch everything. I am relying on my background as a medievalist to have correctly labelled those possible anachronism? bells, and it’s entirely possible some will not sound when they should. But every word I look up brings me a little closer to understanding how my characters might have experienced and expressed things, and that matters — just as every rabbithole I go down on the larger issues, like education, flags new things to include which I hadn’t even thought to look up. (My marginal notes now include several injunctions to ADD MORE MUSICIANS!)
It’s a slow process, but bit by bit, word by word, concept by concept, I am making something of this book that is more medieval, and by doing that, making it more creative, more challenging, and less reliant on cliches and borrowed turns of phrase. It is forcing me to be deliberate about the language I use, and it’s making me a better writer by doing so.
Or at least, I think it is. Eventually, I suppose, we’ll find out if you agree.
The Wolf and His King will be published by Gollancz in 2025, and is available to pre-order now.
Queer Werewolves, Traumatic Shapeshifting, and Doomed Heroes
I have been waiting a very long time to write this post. Months at the very least, but really it feels like the culmination of several years of work and waiting and more work and more waiting, and now — now at last the news is here:

That’s right. I’ve got more books coming. Adult books, specifically, and fantasy, which makes a change! Not just one, not even two, but three medieval retellings being published by Gollancz over the next few years, and I am SO EXCITED to be able to tell you about them at last.
First up is The Wolf and His King, coming in 2025. This is a queer retelling of Bisclavret that, yes, is focused on the homoerotic possibilities of the relationship between Bisclavret and the king, but is also about chronic pain and illness, the mortifying ordeal of being known, and being an exile in your own home. There is a lot of yearning, and some of that yearning is romantic, and some of it is about desperately wanting to be something your body seems determined not to let you become.
I’ve talked before on this blog about how this book uses werewolfism as a metaphor to explore chronic pain, and that’s definitely at the heart of the story — but there’s a lot more than just that in there. It’s about love and feudal interdependence and needing to be understood and trying to build peace. It’s partially in second person and partially in verse; it’s the weird medieval book of my heart, and it felt at times like it would never sell, but it did. And next year, you’ll be able to read it. In fact, you can even pre-order it right now… [edit: or imminently, the links don’t seem to be up yet, but REALLY SOON]
In 2026, I’m bringing you The Animals We Became [working title], which is a queertrans retelling of the Fourth Branch of the Mabinogi, looking at gender, compulsory heterosexuality, and trauma, via nonconsensual shapeshifting. The Fourth Branch is not a nice story, nor a kind one, but it’s been one I’ve been wanting to retell since my first unfinished attempts at doing so back in 2012. It’s a tale that I think has a lot to say about our modern anxieties about gender, autonomy, and category crisis — as well as about the difference between justice and punishment, something I keep finding myself coming back to in my writing.
This book is a newer one, because I sort of sold it on proposal, except that I got carried away writing the sample chapters for Gollancz last year and ended up drafting the entire book. I wrote a post last year about how this process helped me develop new academic ideas about the story as well as new ways of understanding it as a narrative. I’m excited to get back to it and turn that first draft into something more polished and nuanced, but if nothing else, I can promise you that my tagline of “t4t shapeshifting and trauma” remains… very accurate.
And finally, in 2027, I get to share with you To Run With The Hound [working title]. Long-term readers will know that I wrote a book with this title way back in 2018. The book I’ve sold isn’t exactly that book — it’s a proposal for how I intend to completely rewrite that book from the ground up. But yes, this is it: my Cú Chulainn novel, which is sort of a Cú Chulainn/Fer Diad novel with vague Song of Achilles vibes, except it’s also so much more than that. I haven’t written the new version yet, but the plan is to use a nonlinear narrative to explore why Táin Bó Cúailnge is actually a tragedy, and what it means to be doomed by the narrative (but not in the way you thought you were). It will feature a great many feelings about Fer Diad, Láeg, and Cú Chulainn himself.
Obviously, all of these books draw very heavily on my academic background as a medievalist, but TRWTH is the most directly related to my PhD research. Which is just as well, because yes, I am juggling writing and editing these books with a full-time PhD, and I’m not entirely sure I’d recommend that as a state of affairs, but at least the overlap means I can research them both simultaneously.
In the spirit of providing as much information about these books as I can at this point of time, I have anticipated some possible FAQs, and will endeavour to answer them:
How long have you been keeping this secret?
FOREVER. Or, more specifically, since May 19th 2023, which has been killing me. I have not been particularly good at it. I think everyone who knows me IRL has heard the news at this point. But they’ve been strictly instructed to pretend they’re surprised on social media.
When do these books come out?
The Wolf and His King is scheduled for “Spring 2025”, with a holding date of March on the pre-order pages. As soon as that’s actually pinned down, I’ll let you know. The others should follow in 2026 and 2027, as long as there are no hurdles along the way, but I can’t promise there will be no PhD-related delays 🙈
Are these adult books or YA?
Adult. Definitely. I feel this is worth emphasising, especially when we come to Animals, because honestly, Gwydion is awful. I mean, he is the ultimate poor little meow meow, and he is terrible. The Wolf and His King would probably be fine for most teenage readers, but since it’s not aimed at teens, they might not vibe with it so much. The others (especially Animals) are heavier, and deal with darker themes in ways that aren’t particularly suitable for younger readers. (Full content warnings closer to the time, although I recommend googling the Fourth Branch for the general vibes…!) But, you know, I’m not the book police, so use your own discretion.
What genre label would you put on these books?
I think I would describe them as literary fantasy. I don’t know if this is how they would be “officially” labelled. Their fantastical elements — werewolves and shapeshifting and whatever is going on with Cú Chulainn — are crucial parts of the story, but I’m not interested in explaining them, or particularly in developing a magic system for them to exist within. The focus is on the themes and the ways that the stories are told, often with experimental POVs and stylistic choices. Hence the literary part, I guess. But some would probably describe them just as fantasy. That makes sense, too. Historical fantasy almost fits, except that the history we’re dealing with is pseudohistory, and deliberately ambiguous in its exact dates.
Does this mean you’re only going to write adult books now, or will you write more YA?
I don’t have any more YA books contracted once Moth to a Flame comes out in May. That doesn’t mean I’m not going to write any more. I think I’m probably going to take a little break from it, though (juggling these + the full-time PhD is more than enough, honestly), so it might be a couple of years before I have something else lined up on that side of things. I’ve got a couple of ideas I might pursue: a contemporary novel set in a secondary school orchestra, featuring the world’s most codependent string quartet, or a queer pacifist sci-fi Robin Hood retelling that might well be summed up as ‘be gay, do crimes’. Or I might write something else entirely. But we’ll see.
What formats will they be published in?
I believe it’s hardback first, with simultaneous e- and audiobook, and then paperback later. I’ve never had a hardback before, so that will be a novelty.
Will they be available in [x] language?
I have no say over translation rights but I very much hope these books will be picked up and translated into as many languages as possible! If you are a publisher and you want foreign rights, I guess now is the time to talk to Gollancz — hit them up at London Book Fair or something. Especially if you want to translate them into Celtic languages. I would absolutely love to see Animals in Welsh or TRWTH in Irish… listen, I know the market’s small, but it’s worth it. Let’s do it. I believe in us.
How much romance/sex is there in these books?
[ETA: A brief explanatory note, because the response to this book announcement has been fabulous and this post has spread much further than I expected, and therefore beyond my usual readers — The Butterfly Assassin trilogy contains zero romance, and this has been something I’ve been keen to emphasise in my publicity, not least because it’s unusual in YA. So existing readers might be curious whether I’m continuing in the same direction on that front, and that’s why I picked out this question to answer. (Not because I think it is the most important piece of information about any book in general, or anything like that!)]
The Wolf and His King is significantly focused on yearning, although mostly of the unfulfilled variety for the majority of the book. There are some sex scenes, largely poetic rather than explicit. I have told my mum that she’s allowed to read this book, if that helps. I don’t think you could describe it as capital R Romance, or really as romantasy, but it does technically have a HEA, so I guess if you really wanted to stretch your definitions, you could.
The Animals We Became has some sex, and very little romance. It’s a bit more explicit than The Wolf and His King, and I haven’t decided if my mum’s allowed to read it yet. Given the plot of the Fourth Branch, issues surrounding assault, consent, and bodily autonomy are quite central. It’s not what I would call a romantic book.
I really can’t tell you much about To Run With The Hound at this point, because I haven’t written it. I think it will deal a lot with the blurred boundaries of friendship/sworn brotherhood/attraction/enmity. I don’t think romance in the modern sense will be a focus, but it is substantially about complicated relationships between people, and, yeah, also about heroic masculinity and combat/war as a form of intricate ritual.
How much murder is in these books?
Substantially less than is in The Butterfly Assassin trilogy, with the possible exception of To Run With The Hound.
How much am I going to suffer as a reader?
The Wolf and His King is the least angsty, and has a happy ending. The Animals We Became is somewhat more angsty; it has a hopeful but complicated ending. To Run With The Hound is a tragedy, and you’re going to suffer. In other words, it’s a steady run downhill from here to 2027.
How do I get an ARC?
Absolutely no idea, it’s still early days, more edits to do before that’s on the cards, but I imagine you go and ask Gollancz very nicely. When I know more, you will know more.
Do I need to know the original stories to enjoy these books?
No, I have been meticulously testing them on beta readers who are unfamiliar with the original stories, mostly to watch them yell at me when something terrible happens that was absolutely not my idea. However, if you want to do background reading, I’m happy to provide a bibliography.
The Bookseller says it was a 6-figure deal. Does that mean you’re rich now?
Tragically not. There are a lot of misconceptions about how much money authors make, and a lot of assumptions get made based on flashy headlines. Turns out when you spread low six figures over around five years, and pay taxes and agent commissions and things like that, you still end up earning less than minimum wage. On the flip side, though, it’s a very nice supplement to my PhD stipend, and the combination of the two means I can almost afford to have the heating on for more than five hours per day in winter. Almost.
For real, I am extremely grateful for this opportunity and it’s more than I’ve ever earned for my writing before. I don’t want to belittle that fact: I know how it feels to be the writer with a substantially-less-than-six-figure deal watching more financially successful authors complain about how it’s hardly anything and wishing they’d catch themselves on, lol. But writing is still definitely not the business to go into if you want a living wage, so unfortunately I won’t be buying a house any time soon, and I will continue to wince whenever my bike needs yet another pricey repair.
How’s it going, balancing this with the PhD?
It’s going. Sometimes it’s fine. Sometimes I’m very stressed. I think balancing these and also Moth to a Flame was not ideal, but that will all be wrapped up soon, so then I’ll only have two jobs. It helps that these books overlap so much (in content and also thematically) with my PhD research, so everything I learn as part of the PhD helps add depth and colour to the books themselves. The hard part will be holding myself back from adding a bibliography at the back of each book…
Can you tell me more about medieval werewolves?
Yes. Start here.
But what about the accidental vampire novel you were talking about?
The accidental vampire novel is not contracted. Yet. Paranormal romance publishers, hit me up if you’re into incredibly niche romance novels about desperate postgrads and the things they’ll do to a) get PhD funding and b) convince their vampire housemate to suck their blood.
When can I preorder?
For The Wolf and His King: right now! At least in the UK! Still waiting on more retailers, including more who ship internationally, but I highly recommend you go bug them to make it available because I think theoretically they can do that. All the links I’ve got so far are on this page.
For the others, ask me again in a year or so. If that’s too long to wait, remember that Moth to a Flame comes out this May, so you should go grab that in the meantime, and the first two if you haven’t already read them.
I think that is everything, but if I have not answered your question, then please ask it in the comments and I will endeavour to do so!
In general I am just really excited to share this news with you, extremely grateful to my agent Jessica Hare for being willing to take on my weird queer literary adult fantasy novels even though she signed me for The Butterfly Assassin which is really not that, and very glad to have found an editor like Bethan Morgan who is willing to spend three days going back and forth with me about the nuances of words like ‘myth’ and ‘folklore’ when dealing with medieval literature. The future is ahead of us and it is a queer medieval future — and isn’t that glorious?
Breaking The Streak
Last week was a week of endings: projects completed, tethers cut, deadlines met. One friend handed in her PhD; another passed their viva. I handed in pass pages for Moth to a Flame, the last book in a trilogy I started in 2014 with a character I created in January 2012. And I also uninstalled Duolingo and said farewell to my 1850-day streak.
It would be weird to blog about my friends’ PhDs, and I haven’t entirely processed my feelings about coming to the end of the project I’ve been working on for my entire adult life, so today I’m going to talk about the last of these endings: my break-up with the owl.
It wasn’t, I should say, primarily or wholly an act of protest. The team behind Duolingo have made many choices in recent months and years that I have disliked, any one of which would have been reason enough to leave — the restructuring of the “tree” into a path where you can’t choose what topic to focus on and spend all your time stuck repeating the same five things over and over again; the decision to stop supporting and updating certain courses, including the Welsh course; the alleged reliance on AI at the cost of human jobs; the general way that the gamification and microtransactions of the platform have gradually overwhelmed the learning experience…
All of these would have been good reasons to leave. But the Irish course, which has been my primary focus for a long time, has never been a particularly well-constructed course. For a long time it lacked audio for the vast majority of sentences; a year or so ago they changed this with the addition of computer-generated voices that are, at times, so unclear it’s impossible to answer a question correctly. It contains far less vocabulary than many better-supported courses (only around 1700 words), hadn’t been updated in years, always lacked meaningful grammar notes, and was bereft of any of the features like stories and dialogues that appear in the French course and a few others.
They’d been talking about a new Irish “tree” for years, but it never materialised. I held out hope that it would, and continued to use the one that existed, because while deeply, deeply imperfect, it was better than nothing.
And this, I think, characterised my entire relationship with Duolingo. It was better than nothing, and nothing was likely to describe my learning without it. I struggled with motivation but, more than anything, I struggled with continuity — so while I might do ten exercises from a book in two days in a fit of enthusiasm, it would be followed by months of not touching the book at all.
The Duolingo streak is a flawed metric of progress, but it is also very, very useful. Two minutes a day, five minutes a day, ten minutes a day — it’s not a big commitment, and as the numbers rack up on that streak, it becomes harder and harder to say, “Nah, I don’t feel like it.” It forces consistency. And while two minutes a day isn’t enough to teach you a language, it will teach you a lot more than zero minutes a day.
It did teach me a lot more than zero minutes a day would have done. Maybe I don’t recall every single one of those 1700 words, but I can recognise them, and I could probably cobble a sentence together with most of them. There are a lot of jokes about the kinds of vocabulary and phrases that Duolingo teaches, and how useless they are, but multiple times I’ve been in conversations with more fluent speakers and discovered I know a word they’ve forgotten, because I learned it from Duolingo. There are even grammar rules I’ve learned from Duo, through sheer repetition.
1850 days.
I have been learning Irish for a very long time. I’ve tried, in the past, to outline the shape of my learning journey. It hasn’t been a quick one, or a consistent one, or a direct one. It’s been interrupted by life, redirected into Old Irish, disrupted by my sensory processing issues, and delayed by my poor memory. But perhaps that 1850-day streak gives us the best estimate. Five years ago, in early 2019, I decided that this was the year I was going to commit to learning modern Irish. And Duolingo was one of the tools I was going to use to do that.
1850 days is a long time. Five years is a long time, and the past five years have been particularly chaotic for me. I’ve moved house nine times since I started that Duolingo streak. Nine! I’ve moved to Ireland, and then back. I’ve started a job, left a job, done an MA, got top surgery, had another job, started a PhD, published two novels, written a bunch more — in other words, my Duolingo streak has been pretty much the most stable thing in my life since I was 23.
Of course, it would be misleading if I didn’t acknowledge that there were chunks of that time when I was learning Esperanto, or Welsh, or flirting with Latin, or poking around the Scottish Gaelic course. But for the most part, I’ve been doing some kind of Irish learning throughout those five years. Sometimes, it’s been active: taking classes, attending conversation groups, going to the Gaeltacht, doing exercises out of a book. Sometimes, it’s been passive: idly scrolling Twitter and trying to decipher tweets as Gaeilge, putting RnaG on in the background, or — most commonly — doing the bare minimum to keep my Duolingo streak and then checking out for the day.
The bare minimum, it turns out, is still something.
So why have I uninstalled the app?
Not as an act of protest, but as an act of love. Of respect for myself and my progress. Of acknowledgment, because I’ve come a long way. Of appreciation for the Irish language as something more than a daily obligation and a rote exercise.
Duolingo has been useful to me — more useful than you might expect. I notice that words come to mind more quickly when I’m regularly in practice with vocab-matching than when I’m not. Perhaps, if they hadn’t redesigned the learning ‘tree’, it would have continued to be useful, because I could force myself to re-do the verb exercises I struggle with (will I ever remember the forms for the future tense?), but now, denied the opportunity to choose what to work on, I’ve reached a point where it can take me no further. I probably reached this point a while back, but I owe it to myself to finally acknowledge it, and move on.
I am a long way from fluent in Irish. My grammar is bad, and I struggle to put sentences together coherently, making conversation challenging. I understand much more than I speak, but am embarrased about my inability to respond. It sometimes feels like fluency is a completely unobtainable dream, meant only for others more linguistically talented than me; after all, if it were possible, wouldn’t it be closer by now, after all these years?
Maybe. Maybe I am fundamentally bad at languages, and will never be fluent.
But last month, I finished reading six books in Irish — children’s/YA books, for the most part, with simpler language, but I read them. I’m currently reading my first adult novel in Irish, and following it. I attend classes and conversation groups, and despite my poor grammar and tendency to be “ag déanamh” everything rather than risk another verb, I make myself understood. I find myself thinking in Irish, talking to myself in Irish (or in a horrific combination of Irish and English…). I’ll never particularly enjoy radio, because auditory processing isn’t my strong point, but I can pick out the meaning of headlines and news reports, rather than it feeling like a wash of meaningless noise. I watch documentaries on TG4, and draw connections between the Irish words I’m hearing and the English subtitles I’m reading, transcribing the audio in my mind into words I know I’ve seen.
A year ago, I said that I owed it to myself to acknowledge my progress, rather than always making self-deprecating jokes about my inability. Now I think I owe it to myself to stop treating myself like a beginner. I need to stop treating the language like an exercise and start living through it.
What do I mean by that? I don’t live in a Gaeltacht area, or even in Ireland. (I miss seeing the street signs and posters in Irish that I used to see when I lived in Cork.) The majority of people I interact with have no Irish. Conversations are in English, street signs are in English, forms and labels and websites are in English.
But, you see, I can read in it now.
From the outside, this seems like academic progress. “Well done, you can do basic reading comprehension exercises, move to the next TEG level” or whatever. But from the inside, this feels like a breakthrough, even though I’m still slow and stumbling and reliant on getting the gist of a sentence rather than grasping every word. This isn’t just about making progress in class, but about fundamentally moving forward in my relationship with the language.
Because I’m a reader. That’s what I do, almost every day, in English: I read. Hundreds of books a year. I read far more than I watch TV — or socialise, to be honest. It would be fair to say it’s my primary hobby, as well as a crucial part of my work as a PhD student and my life as a writer. A good chunk of every day is reading. Where conversation classes and TG4- or RnaG-assisted immersion felt like an active commitment and an attempt to Learn Irish™, reading is just… what I do. If I can do that in Irish, then Irish can start to be a part of my life, not just homework.
And if it’s part of my life, then I don’t need an app and an alarm and a streak and a threat to make me do a little bit every day, because it’s already there. It’s already in my mind, and in how I’m seeing the world around me, and in the books I’m reading. The consistency will come naturally, and without the sour edge of resentment: “Ugh, hang on, I gotta do my Duolingo now.”
In other words, I can live in it.
I am grateful to Duolingo for everything it has taught me. I’m frustrated with the roadblocks it put in the way of that learning through unhelpful updates. I resent that something as simple as a daily streak could have such a hold over me that deciding to uninstall it felt like a massive life decision. But mostly, I’m ready to move on. The owl got me this far, and now it’s time to fledge and leave the nest myself.
Go raibh maith agat agus slán, a Duo.