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.

News and Intentions

I’m often asked how I manage to balance a full-time PhD with writing novels (while chronically ill), and the truth is, quite simply, that I don’t. I am horrendously behind on everything at the moment: laundry; The Animals We Became, my next book; the academic article for which edits are due midway through next month; my PhD thesis…

Having pushed those deadlines that can be pushed, I’m now staring down the ones that can’t be, and realising that something needs to change, which is why I’m attempting to take something of a social media break over the next … well, I’m not sure how long. At least the next month, until TAWB has been safely rewritten and that article handed in, but quite probably longer, because my thesis needs more time than it’s been getting, and, quite honestly, social media hasn’t been making me happy for a long time now.

When I say this, people usually assume I mean because of the political doomscrolling. This certainly doesn’t help, but, in truth, it runs deeper than that. I’ve realised I’m simply tired of 24/7 exposure to other people’s opinions, often before I’ve had a chance to form an opinion of my own, or even without having any interest in forming one. I know so much about things I care so little about, and more than that, I know so much about the detailed opinions of strangers on those things I care so little about, and how this relates to their personal identities and traumas and sex lives and moral crises and political leanings and—

Aren’t you tired, too, sometimes, of wading through it all? I think I have too many other people’s thoughts in my head, and sometimes there’s no space for mine. Perhaps that was the idea, a running away from myself, but one can neither write fiction nor a thesis while keeping one’s brain at arm’s length using a ballast of other people’s commentary, so something has to change. We should all know less about each other, I saw someone say on the internet, and I think probably that’s true, though I’ll be the first to confess I don’t always know where my own boundaries should be, nor defend them as I should.

Right now, I think, I’ve hit the point where I need to know less about the world’s opinions on every book I might consider reading, every TV show that exists, every film that is made. I find I lose interest before I ever pick something up, because I’ve already seen it through twenty people’s eyes, without the chance to look through my own. I would like to have more time to look at the world through my own eyes, even if I might then seek out people to talk about it with.

And then there’s the political doomscrolling, which doesn’t help, it’s true. Especially as my nocturnal habits mean I am frequently online in the US timezones, and believe me: I care what’s happening. I care on a moral level, because I think it is wrong; I care on an emotional level, because I have friends there; I care on a personal level, because while I may live in the UK, when America sneezes, the world catches a cold, and we can’t pretend it doesn’t affect us, or hope that our government wouldn’t get right on board with the same tactics if they thought it would help them win elections. (Those they aren’t already utilising, that is.) But there’s a powerlessness that comes with distance, and being bombarded with calls to action that I cannot act on and people I cannot help is not doing great things for my brain, and is drowning out my capacity to pay attention to news and needs in my own communities, where I might actually be able to contribute more.

But, in the end, it comes down to this: the deadlines. They are deadlining. I need to be less online, because I need to be in my word documents, and apparently I do not have the capacity to be on social media in moderation, which means I am deleting the Bluesky and Instagram apps from my phone entirely and restricting my access to them from my computer.

(Frankly, I wish it were easier to just turn my phone off, or leave it in another room, but it’s amazing how often even the most focused work sessions need a one-time password, the authenticator app, a backup code, some kind of distraction to pull me away from my book or screen and back to my phone. Even my e-reader sometimes won’t let me buy a book on the device without confirming the purchase from my phone, which means I’m tethered to the thing. And I think, oh, okay, I’ll turn off all notifications except for my university emails, in case of something important — but the mailing lists! The sheer volume of emails that come through there! The distractions are everywhere, and I’m still filtering them out, but social media is the easiest, so that’s going first.)

Why am I telling you? This isn’t intended to be a navel-gazing exercise or a crusade against social media. I’m telling you because I made this decision at a foolish time, which is to say, three days after The Wolf and His King released in North America, and therefore a time when there is, on some level, a slightly increased amount of interest in me as an author, and completely disappearing from the internet at such a moment would be… unhelpful. If I’m going to make this work, and not find myself forced back to social media before I’m willing to go, I will actually need to use this website as intended, which is to say, keep it up to date and post semi-regularly with book news and events, something I’ve been broadly failing to do. So you might notice more of that happening, and possibly some changes to the website layout as I try to make it better suited to that.

I’m also hoping to do some more substantial website redevelopment, though this might be a slow process. In an ideal world, it won’t really change how you interact with the site on the front end; it may not even change it visually. However, I’m hoping I might be able to switch content management systems to something that suits my needs better behind the scenes, and it’s possible that will completely screw up all the email and WordPress subscriptions. If it looks like that’s going to happen, I will let you know before the move happens, so you’ll have some warning. I don’t imagine it’ll be for a few months yet, if it happens at all.

Finally, I’m telling you this as a preface to a brief round-up of news:

  • The Wolf and His King is now out in both the UK and North America! (As well as various other places that receive the UK edition as an import, such as Ireland, Australia, etc.) All the links can be found on its page. It’s received a number of nice trade reviews, as well as some excellent fan art already.
  • The launch party Q&A about the book with Miranda Griffin is available to watch on YouTube.
  • My most recent academic article came out at the end of December and explored parallels in Cú Chulainn’s relationships with Fer Diad, Láeg, and Emer, through the ‘shared grave’ motif that shows up in some early modern Ulster Cycle tales. It’s open access; abstract and links on the research page.
  • My next planned event will be a short talk in the ASNC department at the Cambridge Festival at the end of March, discussing how my research and writing contribute to each other. More details when I’ve got them.
  • My next book is The Animals We Became, a reworking of Math fab Mathonwy. It’s due to come out in November 2026 in the UK or summer 2027 in the US (which will be rather a tighter schedule than anticipated since I decided I hated it and am now rewriting it). However, I have pushed the third of my medieval retellings to 2028 rather than 2027, because I do actually need to write my thesis at some point (and, frankly, even 2028 feels ambitious).

I think that’s probably everything for now. Blog and news posts will continue to be open/public rather than becoming an email newsletter situation, because frankly, I never read email newsletters and I’m not about to start expecting others to do so for me, but if you would like email notifications when a new post is up, you can subscribe… somewhere? On desktop it’ll be in the sidebar, probably over there ->

And now I shall go and seek some offline ways to procrastinate…

A Handful of Book Thoughts

It’s been a long time since I blogged, mostly because I felt like I had already said everything there was to say about my writing process, about The Wolf and His King, or about the delicate dance of balancing PhD and fiction, and anything else I wrote on the subject would be a repeat. Until something more interesting happened, I was post-less.

But, well, it occurred to me that I could resolve this by simply not talking about myself, so here are a few of the books I’ve been reading recently. I get most of my recommendations via friends at this point, but a couple of these have been things I’ve seen people posting about on social media — even just as a “currently reading” with a one-line summary that I spotted in passing — so this is a regular reminder that if you like a book, you should post about it, so that other people can check it out and read it :)

A couple of these were also impromptu buddy reads with a friend, so some of their opinions probably rubbed off on me, but only because I agreed with them.

[All UK Bookshop.org links in this post are affiliate links, so if you buy these books via those links, I will earn a small commission. But, you know, buy them wherever, or get them from your local library, etc. The self-pub titles in this list aren’t available on Bookshop so I’ve linked elsewhere.]

The genre of “magical academia” (often with a subtheme — or primary theme — of grappling with colonialism and exclusionary hierarchies of knowledge) is an increasingly large one, and I’m both a sucker for it and incredibly fussy. I read Jonathan Strange & Mr Norrell at an impressionable age, and unfortunately it set my standards for nerdy magic to a height that few books can live up to. The trouble is that my interest is really in the academic side of the magic, and so often this is a bit of an afterthought, playing second fiddle to the aesthetics of scholarship. (I’ve also spent far too much of my life living and working in Cambridge, a popular location for many of these books, and frequently bounce off their depictions of this city or am warned off them by equally nitpicky friends before I can get angry about them. It’s a common affliction, if my friend group is anything to go by.)

However, there were a couple of books in this genre that I’ve read recently and which pleasantly exceeded my expectations. First, The Scholar and the Last Faerie Door by H.G. Parry, which had a satisfying amount of actual academia and research, and characters who seemed genuinely interested in the topic they’d dedicated their life to. It also wrangled a clever setting get-out clause by creating a magical university outside of normal space/time that is connected to both Cambridge and Oxford, thus allowing it to borrow aspects of both universities’ vibes and setup without being set at either, saving it from any accusations of inaccuracy by annoying pedants like me. This setting is pretty crucial to the overarching plot and themes, too, so it’s not just a gimmick.

Next, Blood Over Bright Haven by M.L. Wang leans more heavily into the fantastical elements with a fully secondary world rather than a magical one that otherwise resembles ours, and deals with, essentially, a magical postdoc — the first woman to achieve her position, but it’s more of a glass cliff than a groundbreaking step forward, and now that she’s on the inside she’s able to see better the system she’s complicit in. While I didn’t entirely love how this book tackled gender, I thought it did some interesting things with colonialism and power, some of which were effectively achieved by having a deeply unlikable and flawed character: a woman fixated on the gender inequality she’s disadvantaged by, to the point of ignoring the other privilege she experiences and the violent power structures she’s helping to perpetuate, including the power she holds over racially minoritised men. Her flaws and unpleasantness, as much as her gradual improvement, provided a nuanced narrative challenge to her simplistic ‘Girl Power’ narrative, though I still would have liked to see a less cisheteronormative world to further dig into intersectional power structures. The ending surprised me as I’ve grown overly used to books pulling their punches, which this one doesn’t.

On the subject of unlikeable characters, Gifted & Talented by Olivie Blake provides plenty of those, but manages to keep the reader’s attention and investment with a lively and engaged narrative voice that proves not to be quite as objective or omniscient as it claims at the start. I’ve read a few of Blake’s books now; The Atlas Six didn’t entirely win me over, but I enjoyed both Masters of Death and Alone With You In The Ether, and those along with Gifted and Talented have fun approaches to narrative form that luxuriate in the ability of prose to Do Something for the story, rather than function only as the “invisible” glass window type of prose that seems to be fashionable these days. I like a book that knows it’s a piece of writing and is doing something with that, playing with form and style, rather than only trying to represent in sentences what you might see on a screen and thus offering itself as a poor imitation of a camera. (I’m thinking of going back to The Atlas Six, since it might just have caught me on a bad day. I’m also not sure if I read the self-pub version or the revised trad-pub version, but I think it was the former, so perhaps the latter would have resolved the issues that meant I didn’t love it as much. It was certainly enough years ago that my opinions might have changed even if the book hasn’t.)

Ordinary Saints by Niamh Ní Mhaoileoin was a chance Libby read, but one that got me right in the feelings — possibly more than I was entirely prepared for. (It even came in with a hot take about Comrac Fir Diad that made me cry, not that that’s too hard, because everything about Comrac Fir Diad makes me cry and I’ve been thinking about it more than usual recently due to the particular stage I’m at with my PhD.) It’s the kind of book that probably hits particularly hard if you’re (ex-)Catholic, Irish, or both, and I’m notably neither, but I spend enough time around people in those demographics that enough of it has rubbed off not to need to google the references and allusions. I really liked how this one uses Hiberno-English, too; it’s a very Irish-feeling book, an effect exacerbated by having just read something beforehand that was ostensibly set in Ireland but in which all of the dialogue sounded extremely English. But if you’re not mentally in a position to be reading about dead siblings or Feelings About Religion (especially feelings about the power of the Catholic Church in Ireland in the twentieth century, but also about faith itself), then this one might be too much.

I’m exceptionally late to the party with Heresy by S.J. Parris, first published in 2011, but despite the slightly overwhelming sense that the protagonist is the Specialest Guy around whom all great events revolve and in whom everybody is unduly interested, I had a good time with this historical mystery; I liked the sixteenth century setting, and how it engaged quite deeply with the intellectual and material culture of the period without over-explaining every little detail to readers, as some historical novels do. I also find that not enough historical novels actually grapple with religion and philosophy of the period, but that criticism definitely can’t be levelled at this one (as the title suggests). I’ve got the next book waiting for me on Libby.

Over in the more romantic corner, I enjoyed Edge of Nowhere by Felicia Davin for an m/m romance with a bunch of weird and interesting sci-fi worldbuilding along with it: teleportation with a complex twist. I particularly enjoyed the cats named after physicists. I confess that I read this one very late at night when I was failing to go to bed, so my thoughts are less analytical or coherent than they might have been, but I’m very much looking forward to diving into the sequels to this one too.

It was from Felicia Davin’s newsletter that I heard about the ‘Wisconsin Gothic’ series, with the first book being Dionysus in Wisconsin. The blurb mentioned ghosts, which are generally a hard no for me (Creeping Dread is my least favourite reading experience, so haunted houses are right out) but I got the impression they were a sufficiently small aspect of the story that it was worth taking a risk. This paid off — I read the first three books in this series within 24 hours — I actually paused writing this post because I’d started the first one and knew I was going to end up including it — and only in the third one did ghosts really start to pay a significant role, but even there, they weren’t the type that strongly bother me. (The spiders, on the other hand… I didn’t love the spiders!)

The ‘Wisconsin Gothic’ books could probably have come under my ‘magical academia’ heading, though they’re down here in the romantic zone because there’s a central m/m relationship and also because it was a nice segue from Davin. They’re a different subgenre of magical academia than the two above, though: rather than a story about academia that’s actually about colonialism, represented by some kind of magical force, system, power source etc, it’s a story in which academics, some of whom are researching magic, use research (and magic) to deal with magic problems, and also research. This is actually my favourite variety of magical academia, particularly when the characters are intensely knowledgeable about things like rare books and the challenges of translating medieval texts, both of which this series delivers. It’s set in the late 60s/early 70s in (you’ve guessed it) Wisconsin, so there’s some interesting background tension about the Vietnam War and other politics of the period. This is not a setting I know much about, being a 90s-born Brit whose historical knowledge generally skews a few centuries earlier, but it makes for a refreshing setting, as I don’t think I’ve read any other paranormal books set around then. There were a few … not exactly plot twists, but character twists, I guess, that I found strangely predictable and was confused that the characters didn’t seem to be joining those dots, but on the whole I’ve been racing through these and the fourth book is already on my Kindle.

Finally, I started, but bounced off, Looking for Group by Alexis Hall, but I think this was squarely about me and not about the book: it is a book aimed at an extremely specific audience, to which I don’t belong. I’m including it here nonetheless because I have a lot of respect for it as a book that engages with a niche interest (online multiplayer roleplaying games) and does it uncompromisingly and without over-simplifying it for outsiders. I like when I’m out of my depth with a character’s hyperspecific interests, because it makes them feel real; too often characters only seem to have the most surface-level engagement with their ostensible passion. However, I was just a bit too out of my depth with this one, and struggled to keep on top of all the gaming terminology and acronyms. It does make it very clear that it’s a gaming romance, for the record; I figured I’d give it a try because I’ve enjoyed other books by Alexis Hall, but I anticipated potentially not vibing with it. I think I was poorly served by reading it in ebook, where I couldn’t easily consult the glossary at the beginning, and where the annotations/footnotes (authorial commentary on the re-issue) were a distraction rather than an asset. But if you did play these kinds of games in your younger years — or still do — and were not merely, like me, casual Runescape players who only ever fished or mined and never did quests or killed anything larger than a spider, this one might be for you. May we all be able to find the hyperspecific nerdery that corresponds exactly to our own interests.

That’s all for now, I think, but let me know what you’re reading at the moment. Let me know, too, whether you’d like me to do more of these kinds of round-ups in future! I can’t guarantee doing it on any kind of regular schedule, since while I read a lot I am exceptionally fussy and sometimes go a fair while without reading anything I would like enough to include in a post like this, but I’m open to the concept.


The Wolf and His King comes out in under a month in the UK (on 27th November) and under three months in the US (27th January). Have you pre-ordered yet? Now’s a great time.

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!)

A tumblr post by mouse-doubleo100 dated Jan 5th:

'there's no platonic explanation for this' buddy you wouldn't believe what kind of platonic explanations im capable of

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.

A Tumblr post by borgevino, dated January 2nd

there are so many things on gods green earth that are not platonic but are also not romantic. the erotic, the familial, the unconditional, weird codependency, weird codependency (hatred edition), etc. let us all broaden our horizons

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.)

Tumblr post from an-ruraiocht, dated Feb 8:

neither romance nor friendship but a secret third thing (fealty)

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”.

A meme:

Historical figure: *Never gets married, but lived, died, and was buried with same sex partner*
Historians: "I've never seen two friends like them. They were very, very friendly men."

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?

A Tumblr post from kiwimintlime, dated Dec 3 2024:

not aromantic but I believe in their beliefs. "there's no platonic explanation for this" try harder bucko

love is a beautiful wonderful multifaceted nebulous thing that shouldn't be reduced to the strict bounds of Tier One: Romance and Tier Two: Friends. get weird with it. love your friends deeply, wildly, passionately *and* platonically. cowards

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?

A Tumblr post from an-ruraiocht dated Feb 1st: 


imagine being a guy who has dedicated your life to your platonic soulmate and understood yourself in the tradition of an ancient friendship that transcended all others and it made you feel like there was a pattern for you to follow and a way to exist in the world as yourself, even when everyone around you kept assuming the relationship must be romantic and/or sexual. and then you meet those ancient friends and it turns out it was romance all along and just erased by homophobia. and you are furious about their erasure but giving them back their true story means surrendering the model and the hope and the love you thought could exist for yourself but you owe it to them. you owe them the truth of themselves instead of the Just Friends of erasure but there was never anything Just about Friends for you so now what ???
While this Tumblr post was about a specific (modern) novel, it also speaks more broadly to the experiences of grappling with queer history while caring about aromantic possibilities, hence its inclusion here.

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.

Tumblr post from wereh0gz, dated October 5th 2024

"There's no platonic explanation for this" actually there is you just have an inability to view displays of affection between two characters as anything other than romantic

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.

Bluesky post by Néide (@seneolas.bsky.social):

at all times i am holding in my heart the tension of bringing to light queer histories obscured by hostile cultures and imprecise terminology and also thinking that passionate lifelong friendships are a) just as important as romance and b) just as much a part of queer history

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.)

A tracing of a drawing of the composer Stravinsky.
Me, taking items out of a box: “I’ve found… this?”
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.

A page from my GCSE Art sketchbook titled "Costume Design". On the left are drawings in coloured pencil of Nicholas Roerich's original designs for the Rite of Spring, with written discussion of the costumes. On the right are two pencil drawings of costumes used by the English National Ballet in 2012, one for the Rite of Spring and one for the Firebird.

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.

My GCSE art sketchbook open to a page titled "Experimentation: medium" showing a step-by-step write-up of how I developed a piece with layers of painted cardboard, based on the original set design by Roerich, which features mountains around a lake. I'm holding the cardboard piece in question, which covers half the sketchbook.

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.

Finn Longman at eighteen standing in front the Victor Hugo statue on Guensey. They're wearing a striped t-shirt and skinny jeans, standing with their legs slightly apart and their thumbs hooked in their jeans pockets. They have very short dark hair.
18-year-old me on Guernsey, the week I finished the first draft.

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.

Finn Longman at 28, standing in front of the Victor Hugo statue on Guernsey. They're doing a dramatic pose with a copy of the French edition of The Butterfly Assassin, holding it up towards the statue. They're holding a cane in their other hand, though only using it lightly for balance. They're wearing skinny grey trousers and a white t-shirt with birds flying over rooftops, as well as a green baseball cap and orange-tinted glasses.
28-year-old me on Guernsey, shortly after the final book in the trilogy was published.

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.

Finn Longman sitting in their wheelchair, looking at/talking to their agent Jessica Hare, who is sitting next to them.
At the launch party for Moth to a Flame, May 2024.

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:

The cover of Moth to a Flame by Finn Longman. The cover has a black background, with grey graffiti-style patterns. In the centre is a blue, graffiti-style moth with a pink flame engulfing its left wing. The tagline reads "A city on fire / A killer on the run".

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:

The covers of all three books in the trilogy side by side. The Butterfly Assassin features a bright blue and yellow butterfly; The Hummingbird Killer a bright red and orange hummingbird, and Moth to a Flame a dark blue and bright pink moth on fire. All have a graffiti effect to them, although it's most pronounced with the third cover.

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:

A graphic showing the cover of Moth to a Flame by Finn Longman. Around it are words with arrows pointing to the cover: "unhealthy coping mechanisms", "significantly less murder than books 1 and 2", "murder rehab (aka healing through friendship)", "cake", "revolution", "Leeds?", "gay communist support group", "traumatised ex-assassin learns how to be a person", "grief", "justice", "found family". 23.05.24, pre-order now.

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.

Several rabbits on a hill riddled with their tunnels. A white hunting animal, perhaps a dog, enters one of the tunnels. The two rabbit on top of the hill appear to be having a conversation. Marginal illustration from a psalter.
Medieval rabbitholes:
British Library, Additional MS 42130 (The Lutterell Psalter), folio 176v

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.