Fantasy fans will wait eagerly for the next instalment in McCartney’s series, enchanted by the complicated love story and the surprising cliffhanger ending.
— Amy Dittmeier
Book Website HERE
Fantasy fans will wait eagerly for the next instalment in McCartney’s series, enchanted by the complicated love story and the surprising cliffhanger ending.
— Amy Dittmeier
Book Website HERE
It’s been a tough month with illness in the family, but at a push, I completed my target of 50k for NaNoWriMo. The story requires further development, editing, etc, but I’m pretty damn pleased with how it grew so much from minor plotting. Yay! Taking a well-deserved break. Catch up with you all real soon. :o)
Nano page HERE
Website page for book HERE
Crossing the veil between worlds…
A light bright
a loud cry in the night
makes way for a soul in the dark
gliding through time
a passage ethereal sublime
a story forgotten renewed
Mingling the past into the future
a haze blinding most
glamour hides a host
the spiritual warrior has eyes to see
but not until he falls to his knees
The figure in shadow feels the heart of the broken
crushing love not forgotten
karma eludes or so it seems
Circles and cycles
something at work
Wuthering Heights is one of the world’s greatest, haunting tales of unrequited love.
Wuthering Heights is Emily Brontë’s only novel. Written between October 1845 and June 1846, Wuthering Heights was published in 1847 under the pseudonym “Ellis Bell”; Brontë died the following year, aged 30. Wuthering Heights and Anne Brontë’s Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte’s novel, Jane Eyre. After Emily’s death, Charlotte edited the manuscript of Wuthering Heights and arranged for the edited version to be published as a posthumous second edition in 1850.
Although Wuthering Heights is now widely regarded as a classic of English literature, contemporary reviews for the novel were deeply polarised; it was considered controversial because its depiction of mental and physical cruelty was unusually stark, and it challenged strict Victorian ideals of the day, including religious hypocrisy, morality, social classes and gender inequality. The English poet and painter Dante Gabriel Rossetti referred to it as “A fiend of a book – an incredible monster […] The action is laid in hell, – only it seems places and people have English names there.”
Catherine And Heathcliff.
In the second half of the 19th century, Charlotte Brontë’s Jane Eyre was considered the best of the Brontë sisters’ works, but following later re-evaluation, critics began to argue that Wuthering Heights was superior. The book has inspired adaptations, including film, radio and television dramatisations, a musical by Bernard J. Taylor, a ballet, operas (by Bernard Herrmann, Carlisle Floyd, and Frédéric Chaslin), a role-playing game, and a 1978 song by Kate Bush.
Kate Bush – Wuthering Heights – Official Music Video
Silhouettes made via book pages.
Opening (Chapters 1 to 3)
In 1801, Lockwood, a wealthy man from the South of England who is seeking peace and recuperation, rents Thrushcross Grange in Yorkshire. He visits his landlord, Heathcliff, who lives in a remote moorland farmhouse, Wuthering Heights. There Lockwood finds an odd assemblage: Heathcliff seems to be a gentleman, but his manners are uncouth; the reserved mistress of the house is in her mid-teens; and a young man who seems to be a member of the family, yet dresses and speaks as if he is a servant.
Snowed in, Lockwood is grudgingly allowed to stay and is shown to a bedchamber where he notices books and graffiti left by a former inhabitant named Catherine. He falls asleep and has a nightmare in which he sees the ghostly Catherine trying to enter through the window. He cries out in fear, rousing Heathcliff, who rushes into the room. Lockwood is convinced that what he saw was real. Heathcliff, believing Lockwood to be right, examines the window and opens it, hoping to allow Catherine’s spirit to enter. When nothing happens, Heathcliff shows Lockwood to his own bedroom and returns to keep watch at the window.
At sunrise Heathcliff escorts Lockwood back to Thrushcross Grange. Lockwood asks the housekeeper, Nelly Dean, about the family at Wuthering Heights, and she tells him the tale.
Heathcliff’s childhood (Chapters 4 to 17)
Thirty years earlier, the owner of Wuthering Heights is Mr. Earnshaw, who lives with his teenage son Hindley and his daughter Catherine. On a trip to Liverpool, Earnshaw encounters a homeless boy, described as a “dark-skinned gypsy in aspect”. He adopts the boy and names him Heathcliff. Hindley feels that Heathcliff has supplanted him in his father’s affections and becomes bitterly jealous. Catherine and Heathcliff become friends and spend hours each day playing on the moors. They grow close.
Hindley is sent to college. Three years later Earnshaw dies and Hindley becomes the landowner; he is now master of Wuthering Heights. He returns to live there with his new wife, Frances. He allows Heathcliff to stay but only as a servant.
A few months after Hindley’s return, Heathcliff and Catherine walk to Thrushcross Grange to spy on the Lintons, who live there. After being discovered they try to run away but are caught. Catherine is injured by the Lintons’ dog and taken into the house to recuperate, while Heathcliff is sent home. Catherine stays with the Lintons. The Lintons are landed gentry and Catherine is influenced by their fine appearance and genteel manners. When she returns to Wuthering Heights her appearance and manners are more ladylike, and she laughs at Heathcliff’s unkempt appearance. The next day, knowing that the Lintons are to visit, Heathcliff tries to dress up, in an effort to impress Catherine, but he and Edgar Linton get into an argument and Hindley humiliates Heathcliff by locking him in the attic. Catherine tries to comfort Heathcliff, but he vows revenge on Hindley.
The following year, Frances Earnshaw gives birth to a son, named Hareton, but she dies a few months later. Hindley descends into drunkenness. Two more years pass, and Catherine and Edgar Linton become friends, while she becomes more distant from Heathcliff. Edgar visits Catherine while Hindley is away and they declare themselves lovers soon afterwards.
Catherine confesses to Nelly that Edgar has proposed marriage and she has accepted, although her love for Edgar is not comparable to her love for Heathcliff, whom she cannot marry because of his low social status and lack of education. She hopes to use her position as Edgar’s wife to raise Heathcliff’s standing. Heathcliff overhears her say that it would “degrade” her to marry him (but not how much she loves him), and he runs away and disappears without a trace. Distraught over Heathcliff’s departure, Catherine makes herself ill. Nelly and Edgar begin to pander to her every whim to prevent her from becoming ill again.
Three years pass. Edgar and Catherine marry and go to live together at Thrushcross Grange, where Catherine enjoys being “lady of the manor”. Six months later, Heathcliff returns, now a wealthy gentleman. Catherine is delighted, but Edgar is not. Edgar’s sister, Isabella, soon falls in love with Heathcliff, who despises her, but encourages the infatuation as a means of revenge. One day, he embraces Isabella, leading to an argument with Edgar. Upset, Catherine locks herself in her room and begins to make herself ill again.
Heathcliff takes up residence at Wuthering Heights and spends his time gambling with Hindley and teaching Hareton bad habits. Hindley dissipates his wealth and mortgages the farmhouse to Heathcliff to pay his debts. Heathcliff elopes with Isabella Linton. Two months later, they return to Wuthering Heights. Heathcliff hears that Catherine is ill and, with Nelly’s help, visits her secretly. However, Catherine is pregnant. The following day she gives birth to a daughter, Cathy, shortly before dying.
After Catherine’s funeral, Isabella leaves Heathcliff, takes refuge in the South of England and gives birth to a son, Linton. Hindley dies six months after Catherine, and Heathcliff thus finds himself master of Wuthering Heights.
Heathcliff’s maturity (Chapters 18 to 31)
Twelve years pass. Catherine’s daughter Cathy has become a beautiful, high-spirited girl. Edgar learns that his sister Isabella is dying, so he leaves to retrieve her son Linton in order to adopt and educate him. Cathy, who has rarely left home, takes advantage of her father’s absence to venture further afield. She rides over the moors to Wuthering Heights and discovers that she has not one but two cousins: Hareton, in addition to Linton. She also lets it be known that her father has gone to fetch Linton. When Edgar returns with Linton, a weak and sickly boy, Heathcliff insists that he live at Wuthering Heights.
Three years pass. Walking on the moors, Nelly and Cathy encounter Heathcliff, who takes them to Wuthering Heights to see Linton and Hareton. Heathcliff hopes that Linton and Cathy will marry, so that Linton will become the heir to Thrushcross Grange. Linton and Cathy begin a secret friendship, echoing the childhood friendship between their respective parents, Heathcliff and Catherine.
The following year, Edgar becomes very ill and takes a turn for the worse while Nelly and Cathy are out on the moors, where Heathcliff and Linton trick them into entering Wuthering Heights. Heathcliff keeps them captive to enable the marriage of Cathy and Linton to take place. After five days, Nelly is released and later, with Linton’s help, Cathy escapes. She returns to the Grange to see her father shortly before he dies.
Now master of both Wuthering Heights and Thrushcross Grange, Cathy’s father-in-law, Heathcliff insists on her returning to live at Wuthering Heights. Soon after she arrives Linton dies. Hareton tries to be kind to Cathy, but she withdraws from the world.
At this point, Nelly’s tale catches up to the present day (1801). Time passes and, after being ill for a period, Lockwood grows tired of the moors and informs Heathcliff that he will be leaving Thrushcross Grange.
Rovina Cai – Wuthering Heights.
Ending (Chapters 32 to 34)
Eight months later, Lockwood returns to the area by chance. Given that his tenancy at Thrushcross Grange is still valid, he decides to stay there again. He finds Nelly living at Wuthering Heights and enquires what has happened since he left. She explains that she moved to Wuthering Heights to replace the housekeeper, Zillah, who had left.
Hareton has an accident and is confined to the farmhouse. During his convalescence, he and Cathy overcome their mutual antipathy and became close. While their friendship develops, Heathcliff begins to act strangely and has visions of Catherine. He stops eating and, after four days, is found dead in Catherine’s old room. He is buried next to Catherine.
Lockwood learns that Hareton and Cathy plan to marry on New Year’s Day. As he gets ready to leave, he passes the graves of Catherine, Edgar and Heathcliff and pauses to contemplate the quiet of the moors.
Lunaesque Creative Photography – Wuthering Heights
Heathcliff: Found, presumably orphaned, on the streets of Liverpool and taken by Mr Earnshaw to Wuthering Heights, where he is reluctantly cared for by the family. He and Catherine grow close and their love is the central theme of the first volume. His revenge against the man she chooses to marry and its consequences are the central theme of the second volume. Heathcliff has been considered a Byronic hero, but critics have pointed out that he reinvents himself at various points, making his character hard to fit into any single type. Because of his ambiguous position in society and his lack of status, underlined by the fact that “Heathcliff” is both his given name and his surname, his character has been a favourite subject of Marxist criticism.
Catherine Earnshaw: First introduced to the reader after her death, through Lockwood’s discovery of her diary and carvings. The description of her life is confined almost entirely to the first volume. She seems unsure whether she is, or wants to become, more like Heathcliff, or aspires to be more like Edgar. Some critics have argued that her decision to marry Edgar Linton is allegorically a rejection of nature and a surrender to culture, a choice with fateful consequences for all the other characters. Literary critics have examined her character through many different lenses, including those of psychoanalytic theory and feminist theory.
Wuthering Heights for The Folio Society by Rovina Cai.
Edgar Linton: Introduced as a child in the Linton family, he resides at Thrushcross Grange. Edgar’s style and manners are in sharp contrast to those of Heathcliff, who instantly dislikes him, and of Catherine, who is drawn to him. Catherine marries him instead of Heathcliff because of his higher social status, with disastrous results. From the perspective of feminist theory, this exemplifies the problems inherent in a social structure in which women can gain prestige and financial security only through marriage.
Wuthering Heights by Messalyn.
1500: The stone above the front door of Wuthering Heights, bearing the name of Hareton Earnshaw, is inscribed, presumably to mark the completion of the house.
1757: Hindley Earnshaw born (summer)
1762: Edgar Linton born
1765: Catherine Earnshaw born (summer); Isabella Linton born (late 1765)
1771: Heathcliff brought to Wuthering Heights by Mr Earnshaw (late summer)
1773: Mrs Earnshaw dies (spring)
1774: Hindley sent off to college
1775: Hindley marries Frances; Mr Earnshaw dies and Hindley comes back (October); Heathcliff and Catherine visit Thrushcross Grange for the first time; Catherine remains behind (November), and then returns to Wuthering Heights (Christmas Eve)
1778: Hareton born (June); Frances dies
1780: Heathcliff runs away from Wuthering Heights; Mr and Mrs Linton both die
1783: Catherine has married Edgar (March); Heathcliff comes back (September)
1784: Heathcliff marries Isabella (February); Catherine dies and Cathy born (20 March); Hindley dies; Linton Heathcliff born (September)
1797: Isabella dies; Cathy visits Wuthering Heights and meets Hareton; Linton brought to Thrushcross Grange and then taken to Wuthering Heights
1800: Cathy meets Heathcliff and sees Linton again (20 March)
1801: Cathy and Linton are married (August); Edgar dies (August); Linton dies (September); Mr Lockwood goes to Thrushcross Grange and visits Wuthering Heights, beginning his narrative
1802: Mr Lockwood goes back to London (January); Heathcliff dies (April); Mr Lockwood comes back to Thrushcross Grange (September)
1803: Cathy plans to marry Hareton (1 January)
Infinity scarf featuring text from Wuthering Heights.
Ellen Moers, in Literary Women, developed a feminist theory that connects women writers, including Emily Brontë, with the gothic fiction. Catherine Earnshaw has been identified by some critics, as a type of gothic demon, because she “shape-shifts” in order to marry Edgar Linton, by assuming a domesticity, which is contrary to her true nature. It has also been suggested that Catherine’s relationship with Heathcliff conforms to the “dynamics of the Gothic romance, in that the woman falls prey to the more or less demonic instincts of her lover, suffers from the violence of his feelings, and at the end is entangled by his thwarted passion.”
The original text, as published by Thomas Cautley Newby in 1847, is available online in two parts. The novel was first published together with Anne Brontë’s Agnes Grey in a three-volume format: Wuthering Heights occupied the first two volumes, while Agnes Grey made up the third.
In 1850, when a second edition of Wuthering Heights was due, Charlotte Brontë edited the original text, altering punctuation, correcting spelling errors and making Joseph’s thick Yorkshire dialect less opaque. Writing to her publisher, W.S. Williams, she mentioned that “It seems to me advisable to modify the orthography of the old servant Joseph’s speeches; for though, as it stands, it exactly renders the Yorkshire dialect to a Yorkshire ear, yet I am sure Southerns must find it unintelligible; and thus one of the most graphic characters in the book is lost on them.” An essay written by Irene Wiltshire on dialect and speech in the novel examines some of the changes Charlotte made.
Heathcliff shouting for Cathy.
Wuthering Heights Family Tree.
Wuthering Heights by Fritz Eichenberg.
Wuthering Heights for The Folio Society by Rovina Cai.
Wuthering Heights ~ Emily Bronte.
Inspiration for locations
There are several theories about which real building or buildings (if any) may have inspired Wuthering Heights. One common candidate is Top Withens, a ruined farmhouse located in an isolated area near the Haworth Parsonage, although its structure does not match that of the farmhouse described in the novel. Top Withens was first suggested as the model by Ellen Nussey, a friend of Charlotte Brontë, to Edward Morison Wimperis, an artist who was commissioned to illustrate the Brontë sisters’ novels in 1872.
The second possibility is High Sunderland Hall, near Halifax, now demolished. This Gothic edifice was located near Law Hill, where Emily worked briefly as a governess in 1838. While it was perhaps grander than Wuthering Heights, the hall had grotesque embellishments of griffins and misshapen nude males similar to those described by Lockwood in Chapter 1 of the novel.
The inspiration for Thrushcross Grange has long been traced to Ponden Hall, near Haworth, which is very small. Shibden Hall, near Halifax, is perhaps more likely. The Thrushcross Grange that Emily describes is rather unusual. It sits within an enormous park, as does Shibden Hall. By comparison, the park at Chatsworth (the home of the Duke of Devonshire) is over two miles (3.2 km) long but, as the house sits near the middle, it is no more than a mile and a half (2.4 km) from the lodge to the house. Considering that Edgar Linton apparently does not even have a title, this seems unlikely. There is no building close to Haworth that has a park anywhere near this size, but there are a few houses that might have inspired some elements. Shibden Hall has several features that match descriptions in the novel.
Tom Hardy – Wuthering Heights.
The earliest known film adaptation of Wuthering Heights was filmed in England in 1920 and it was directed by A. V. Bramble. It is unknown if any prints still exist.
Photograph discovered possibly of the three Bronte sisters – brontesisters.co.uk
The Reader’s Guide to Emily Brontë’s “Wuthering Heights” HERE
I bring fresh showers for the thirsting flowers,
From the seas and the streams;
I bear light shade for the leaves when laid
In their noonday dreams.
From my wings are shaken the dews that waken
The sweet buds every one,
When rocked to rest on their mother’s breast,
As she dances about the sun.
I wield the flail of the lashing hail,
And whiten the green plains under,
And then again I dissolve it in rain,
And laugh as I pass in thunder.
I sift the snow on the mountains below,
And their great pines groan aghast;
And all the night ’tis my pillow white,
While I sleep in the arms of the blast.
Sublime on the towers of my skiey bowers,
Lightning my pilot sits;
In a cavern under is fettered the thunder,
It struggles and howls at fits;
Over earth and ocean, with gentle motion,
This pilot is guiding me,
Lured by the love of the genii that move
In the depths of the purple sea;
Over the rills, and the crags, and the hills,
Over the lakes and the plains,
Wherever he dream, under mountain or stream,
The Spirit he loves remains;
And I all the while bask in Heaven’s blue smile,
Whilst he is dissolving in rains.
The sanguine Sunrise, with his meteor eyes,
And his burning plumes outspread,
Leaps on the back of my sailing rack,
When the morning star shines dead;
As on the jag of a mountain crag,
Which an earthquake rocks and swings,
An eagle alit one moment may sit
In the light of its golden wings.
And when Sunset may breathe, from the lit sea beneath,
Its ardours of rest and of love,
And the crimson pall of eve may fall
From the depth of Heaven above,
With wings folded I rest, on mine aëry nest,
As still as a brooding dove.
That orbèd maiden with white fire laden,
Whom mortals call the Moon,
Glides glimmering o’er my fleece-like floor,
By the midnight breezes strewn;
And wherever the beat of her unseen feet,
Which only the angels hear,
May have broken the woof of my tent’s thin roof,
The stars peep behind her and peer;
And I laugh to see them whirl and flee,
Like a swarm of golden bees,
When I widen the rent in my wind-built tent,
Till calm the rivers, lakes, and seas,
Like strips of the sky fallen through me on high,
Are each paved with the moon and these.
I bind the Sun’s throne with a burning zone,
And the Moon’s with a girdle of pearl;
The volcanoes are dim, and the stars reel and swim,
When the whirlwinds my banner unfurl.
From cape to cape, with a bridge-like shape,
Over a torrent sea,
Sunbeam-proof, I hang like a roof,
The mountains its columns be.
The triumphal arch through which I march
With hurricane, fire, and snow,
When the Powers of the air are chained to my chair,
Is the million-coloured bow;
The sphere-fire above its soft colours wove,
While the moist Earth was laughing below.
I am the daughter of Earth and Water,
And the nursling of the Sky;
I pass through the pores of the ocean and shores;
I change, but I cannot die.
For after the rain when with never a stain
The pavilion of Heaven is bare,
And the winds and sunbeams with their convex gleams
Build up the blue dome of air,
I silently laugh at my own cenotaph,
And out of the caverns of rain,
Like a child from the womb, like a ghost from the tomb,
I arise and unbuild it again.
Among the men proposed as the historical King Arthur is a young Dalriadan prince named Artúr or Artuir. Could this prince have been the historical King Arthur?
Birthplace: Dalriada, Argyll, , Scotland
Death: Died 590 in Scotland
Biological son of Áedán mac Gabráin, Rí na Dál Riata and Ygerna del Acqs (Fictional)
Foster son of Domelch verch Maelgwyn
Husband of Gewenhwyfer De Bretagne
Brother of Domangart mac Áedán, Rí na Dál Riata; Eochaid Buide mac Aidan, Rí na Dál Riata; Conaing Macaedan; Bran Dál Riata; Gartnait Dál Riata and 3 others
The political situation in northern Britain was complex during Artúr’s lifetime, the last third of the sixth century A.D. Northern Britain was inhabited by four ethnic groups in close proximity: the Irish (Dalriada Scots), Picts, Britons, and Angles. Interaction between these four groups was extensive in warfare, alliance, and intermarriage.
The Irish had settled in western Scotland before recorded history but probably during the late Roman period (Nieke and Duncan 1988:6–11). The political history of the Dalriada in Britain is traced from the time of Fergus Mor (d. 501), who moved the seat of the royal dynasty of Dalriada from Ireland to northern Britain.
Scottish Dalriada was confined to the western coast of modern Scotland, including Arran, Jura, Islay, Mull, and numerous other smaller islands, with its seat at Dunadd in Argyll (Nieke and Duncan 1988:7). From 574 to 606/8, Dalriada was ruled by one of its most dynamic and successful kings, Aedan mac Gabran (Bannerman 1974:80–91), the probable father of Artúr.
The Picts held most of modern Scotland north of the region between the Firths of Clyde in the west and Forth in the east. Most of Pictish history has been lost but they are believed to have followed a unique mode of royal succession (Anderson 1980:165; Farmer 1990:46). With extensive intermarriage between all four groups, sons of foreign princes and kings often successfully claimed the Pictish throne (Anderson 1980:167–175). Dalriadan territory expanded mostly at the expense of the Picts, with whom the Scots were at a nearly constant state of war throughout the sixth and seventh centuries. During Artúr’s lifetime dominance continually fluctuated between the Picts and the Scots, and Artúr participated in these wars. More HERE
Artúr is mentioned in three medieval manuscripts. In Book I, chapter 9 of Adomnan’s8 Life of St. Columba (Anderson and Anderson 1991:32–33), written c. 700, Aedan asks Columba which of his three sons Artúr, Eochaid Find, or Domangart will succeed him. This chapter illustrated Columba’s prophetic powers, having him predict Aedan’s successor and the fates of three of his sons, including Artúr. The History of the Men of Scotland (Senchus Fer nAlban), a royal genealogy and military roster cataloging the strength of each of the three main tribal groups or cenéla of Dalriada (Bannerman 1974:154–6, 91; Anderson and Anderson 1991:160), was originally compiled in the seventh century, probably c. 650–700.9 Artúr is mentioned in the genealogical section of this document. Artúr’s death is also mentioned in the Annals of Tigernach (abbreviated AT), which date from c. 1088.
The King Arthur Conspiracy: How a Scottish Prince became a Mythical Hero by Simon Andrew Stirling – Amazon
Omniscient point of view is most associated with nineteenth-century novels.
Basically, omniscient point of view means that the story is told from an all-seeing God-like, omnipotent viewpoint. You would use third person pronouns in the writing, but you can choose to dip into the head of any of the characters and reveal things that have occurred in the past or will happen in the future.
This was once a very popular method of storytelling. There are some cases where this can add an extra dimension to your writing when done well. Joseph Conrad was a master of omniscient viewpoint.
The trouble is that each character must have a distinctive voice so that the reader is never at a loss as to whose head he is in at the moment. This is an interesting device for an epic novel which explores a theme with several tangled subplots. It is difficult to manage because if you give away the wrong information (in other words if you tell us what we want to know) then you lose tension using this technique. But if you can control it, and give the reader the right amount of information, you can increase tension considerably.
True omniscient viewpoint is very rare, but limited omniscient is often useful for modern writers.
Limited omniscient basically means that while you have a God-like perspective of the story, you limit yourself to being in one character’s head at a time. It allows you to switch characters as many times as necessary, even within a scene.
Think about true omniscient POV as having a camera panning throughout the room at a party scene, dipping into anyone’s head and perhaps more than one person at a time, by taking on the collective group perspective. Then you can think about limited omniscient more like passing a camera around the room with each person filming their own POV of the story.
True omniscient viewpoint can be difficult for your reader to follow. The limited omniscient makes it a bit easier, but even that is not an easy challenge for a beginning writer.
If you use a method of storytelling like omniscient POV that takes away from the intimacy, you need to provide a real benefit in some other way.
“Writers are gods. We get to create entire worlds, populate them, and even…destroy them. Of course, writers can do this in any viewpoint, but omniscient point of view adds another layer to the process.”
– Nancy Kress
In Pride and Prejudice, when Jane Austen writes, “It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife,” she (or more precisely, the novel’s omniscient narrator) isn’t exactly holding back with the attitude and the opinions.
The neutral narrator of a standard third-person novel could never write a sentence like that.
Not only can omniscient narrators share their attitudes and opinions and comments with the readers, they can actually address the readers directly.
If nineteenth-century omniscient point of view novels are your thing and you think you can write a twenty-first-century version, go for it. Just be aware of two things…
It is a technically demanding viewpoint to use. If the sign of a beginner is to mishandle point of view, you will really have to know what you are doing if you want to write a third person omniscient novel and not look amateurish.
Giving omniscience a modern twist is imperative. And the way to do that is to use the narrator far more subtly than did your nineteenth-century counterparts.
To see how contemporary writers have brought the third person omniscient viewpoint up to date, try Vikram Seth’s A Suitable Boy or John Irving’s A Widow For One Year.
The greatest advantage of using the third person omniscient point of view is the total freedom that it offers a writer. In inexperienced hands, that total freedom is also the viewpoint’s greatest drawback.
Read about Writing a Multiple Viewpoint Novel HERE.
Interview with Tracey-anne McCartney
‘A Carpet of Purple Flowers’ is your wonderfully imaginative debut novel; have you written other fiction prior to this publication?
Only as a child, and then my stories would never be finished.
Up until around a year and a half ago, I lost myself in art projects but found myself researching folklore more and more. Then one day, I decided to put all of the information gathered over the years into a story, and here we are. I’ll be honest, I wasn’t sure if I could do it, especially as I’ve never attempted writing of this magnitude in my life. Even formatting a manuscript had me in a spin! However, I fell in love with the fairy tale and its characters so much I had no choice but to listen to my muse and write. I became hooked. It still amazes me today that we can create an elaborate world simply from a collection of ideas. I must add, I have a new admiration for authors, having been through the process. It’s the most difficult thing I’ve ever done.
Have you always been attracted to the fantasy genre?
Yes, it’s where magic exists, and we all love a bit of the magical, don’t we? A little escapism from reality is a splendid thing. A brief respite from normal life.
Apart from fantasy, I also enjoy crime and psychological thrillers. Usually gangster related. I love Martina Cole’s characters, rough, gritty and raw. I think this explains why Brandon was created. A South London lad, a petty criminal, who becomes lost in drink and drugs. He brings a sense of reality to the magical elements. Each character has been created for a reason, even Fez, the Fennec fox. Though it might not appear obvious at this point in the story. None are wholly good, and none wholly bad. Each feel as if they’re doing what is right for them, selfish perhaps, but karma has a way of setting the balance right. *Winks*
I love that you have beings that are from two sects of a different world. What inspires you to create fantasy?
Childhood daydreams that refused to leave my heart. :o) We never had a television or a phone, so I would sit in my room and create fantastical worlds. I have a fascination for folklore and cross- referencing mythical information. Yup, crazy I know, but it lights up something within, and my imagination fires up! If I’m not writing, I’m researching.
In the book, I include elements of fantasy, but in a way that seems believable. So perhaps, it’s more magical realism than fantasy. I write as I see the story play out in my mind, blending genres, creating a story that refuses to slot into a specific box. This is why Urbane Publications felt like the right choice for me as a writer. A publisher that sees beyond genre labelling.
I’ve always thought of magic as a ‘feeling’. A spark that lifts the spirit, and to me, it is the strongest magic of all. I guess that’s why I’m a romantic, a romantic realist if there can be such a thing. I believe in love, in all its forms, but remain very much aware that it can be an electrifying ride of both positives and negatives. This is where I write from.
As for fantasy inspiration, the beings in the book are inspired by many supernatural elements, but mainly the Tuatha Dé Danann, translated as people(s)/tribe(s) of the goddess Danu, who are thought to represent the main deities of pre-Christian Gaelic Ireland. Also, the folklore of the Aos Si, a supernatural race in Irish and Scottish mythology, which I blend with other cultures myths and philosophies. I believe that many stories from all over the world stem from one original source, and this is where I draw my inspiration, from those similarities.
Bea is caught in a love triangle and a war. I felt sympathy for the two Otherworldly beings in her life: Karian and Chance. I realise you’ve touched on this above, but did you intend to create an ambiguous feel, or did you see it as a straightforward good versus evil approach?
Oh, I most definitely wanted to create an ambiguous feel. You could read the book as a ‘normal’ love story, but there are layers if you care to look deeper. It is not an evil vs. good in any way, more a light vs. dark. Yin and Yang. We all have positive and negative personality traits, it’s what makes us interesting individuals with depth. Love is a perfect example of yin and yang. Where rational thinking goes out-of-the-window in matters of the heart. I suppose it depends greatly on the level of love/relationship.
Mistakes make us who we are, and I write my characters embracing these imbalances/flaws. I want them to grow, learn from each other through emotional hurt and joy, as we all do. People’s values/lifestyles differ on such a tremendous scale, and I wanted to portray this via my characters. Much in the same way that readers will relate to different aspects of the story, dependent on their perspective. Such as, Bea’s relationship with two men. How can she really be in love with two people? Why can’t she just choose between them? Hmm, but what if you have another person’s soul inside you? Can she truly be criticised for not being able to make rational choices, especially when everything around her is irrational? How would you stop ‘feeling’ the other soul? It would drive you crazy. Add to that, both men that she loves are not human and are on opposing sides of an old war, not of their creating, poor young Bea has a lot to contend with.
How can you be gentle, yet strong? How do you remain true to yourself when different people require different things from you? Bea has to find answers to some of these questions and more. Through the choices she makes, major changes are on the horizon.
I’ve also tried to create a story that subtly connects love in a more spiritual way, via Calageata (the elemental realm) visualisation, fingertips, and Otherworldly meetings, of which none are accidental. It is all a part of a divine plan and in book two, the characters realise how deeply karma (Vororbla) has played a role in their lives, and the truth of how these characters relate is finally revealed. The question is… Do they have the power to change destiny, and would they want to?
I have mentioned my favourite moment in my review. Your idea of a fabricated reality disintegrating is steeped in gothic imagery. Have you been influenced by gothic literature?
Hmm, good question. Yes, I love gothic visuals/themes. Dickens, The Old Curiosity Shop is a favourite. Dorian Gray. Bram Stoker’s Dracula. Poe. Older fairy tales could also be classified as having a rather gothic feel, which I enjoy. Blending dark, melancholic tones with light. I guess that’s why I wrote that particular scene in this manner. I wanted to create a strong, dark transition, a peeling away of unquestioned reality. How a lie feels outside of itself.
A favourite quote used in the book by the famous English travel writer, H.V. Morton, who visited Menteith Lake in the 1930s wrote:
“Far in the middle of the lake was a low greyness that rose and fell in queer shadows, as though the once holy isle of Inchmahome was built up out of lake water like a mirage.”
Although he is not a gothic writer, this section describing the lake really grabbed me. Contrast is important in writing and I wanted to capture that essence.
Your novel has a sense of completeness to it but there is clearly scope for more. I was delighted to see you are working on a sequel. When is it due out?
Thank you, Shirley. Yes, ‘A Carpet of Purple Flowers’ is a part of a much bigger story. One which spans over different eras. A karmic cycle that, until resolved, will continue to cause mayhem in people’s lives.
This epic tale will be explained over three books, a trilogy, but Bea’s part is told within the first two, which I’m in the process of writing – ‘Awake in Purple Dreams’.
Rest assured, unresolved questions will be answered in book two. ‘A Carpet of Purple Flowers’ is really an introduction to a different world and its people. ‘Awake in Purple Dreams’ is the middle, and ‘The Purple Book of Menteith’, the end of that particular tale.
I also intend to write a fourth novel, a stand-alone, pre-history of this other world – ‘The Butterfly Bridge’. This was actually the original story that introduced itself, long before ‘A Carpet of Purple Flowers’.
You can read a little more here
I am in the process of outlining ‘Claíomh Solais’ (Shining Sword), possibly a novella, to accompany ‘Awake in Purple Dreams’, which happened quite by accident the other day. A character just decided they wanted their story heard and I listened. :o)
A big thank you, Shirley, for your kindness in giving me the opportunity to share my thoughts here. It’s been a wonderful, reflective experience.
Thank you, Trace! It has been a fascinating insight into your novel, the cross-referencing mythical background to it, and the folklore inspirations that helped to create it.
Shirley has a fabulous book ~ Skyjacked ~ Check it out. ;o)
Separated from his son, only a galaxy stands between him and home… The year is 2154, and Corvus Ranger, space pilot and captain of the Soliton, embarks on a penal run to Jupiter’s prison moon, Europa. It should be another routine drop, but a motley band of escaped convicts have other ideas. When Soliton is hijacked, Corvus is forced to set a new destination, one which is far from Earth and his son. Unable to fight (or smooth talk) his way to freedom, Corvus finds himself tied to the plans of the escapees, including their leader Isidore and a gifted young boy who seems to possess strange abilities. Desperate to return to Earth and the son he left behind, Corvus is thrown into the ultimate adventure, a star-strewn odyssey where the greatest enemy in the universe may very well be himself.
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