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Showing posts with label excerpt. Show all posts
Showing posts with label excerpt. Show all posts

Sunday, June 23, 2024

Viking Magic - Plus Excerpt of the hero of "The Viking & the Pictish Princess" using such magic


The Vikings believed in magic. I used one of their beliefs in my "Viking and the Pictish Princess," the idea of a cursing pole.

Called a Nithing pole (in old Norse this means Scorn Pole), this was a long staff or pole, set into the earth and topped with a horse's head. It was meant to bring bad luck, and along with runes, was intended to create malice and trouble.

Such rituals and poles are recorded in the Viking Sagas, as in Egil's Saga. You can see what he did in this excerpt on Wikipedia https://en.wikipedia.org/wiki/Nithing_pole




My Viking warrior Olaf also uses a Nithing pole. Instead of a horse's head he uses a deer's head, to placate the spirits and gods of the Pictish kingdom that he and his new wife are striving to protect from invaders and rival ruler Constantine. 

Excerpt.


Up on the moor, beside the old ring of stones and facing

east, he had set up a cursing pole to anger and offend the spirits

of Constantine’s land, to give himself and his folk good

luck and to force bad luck onto Mongfind and her ilk. He had

slammed the newly felled and trimmed ash sapling into the

earth and snow, driving it down in his fury and frustration,

and topped the pole with the head of the roe deer, as sacrifice

to Loki, to Odin and to any Pictish god who would heed a Viking.

Man’s magic, for sure, but is it good to hold such secrets from my

wife?

It had to be, he decided. Eithne, these days, often looked

drawn and troubled. She had enough pain with her sister’s

malice. 

**************************************************************

As a strange writer's coincidence I wanted a Norse name for a small black horse, one that would roughly translate as "Sooty". I searched on the Internet and found a name: Saehrimnir, meaning sooty sea-beast. This fit nicely with Scottish and Pictish beliefs concerning water-horses and Kelpies.


THE VIKING AND THE PICTISH PRINCESS https://www.amazon.com/gp/product/B08LTGYTHV/ref=dbs_a_def_rwt_bibl_vppi_i20

https://amzn.to/3jA5bDvUK

 https://www.amazon.co.uk/gp/product/B08LTGYTHV/ref=dbs_a_def_rwt_bibl_vppi_i13

Lindsay Townsend

Monday, April 22, 2024

Much the Miller's Son. A Merry Man?

 Much The Miller’s Son. A Merry Man?

 

 

Picture from Medieval Occupations https://medievalbritain.com/type/medieval-life/occupations/medieval-miller/

 

Much, or Moche, or Midge, or even Nick, in various ballads of Robin Hood, is described as the Miller’s son and one of Robin’s company of Merry Men. ‘Midge’ suggests he was small and possibly harmless, but in one early  ballard (Robin Hood and the Monk) he is shown as being a killer, murdering a page boy and then taking the boy’s place in disguise.

 

This ambivalent attitude to Much also reflects medieval attitudes to millers. Because millers were responsible for turning people’s wheat, barley and other grains, even dried peas, into flour, they were often suspected of stealing part of the flour and giving light weight. Mills were often controlled by local land owners, and peasants resented having to use a mill where the gentry demanded a cut. Peasants were even forbidden from grinding their own wheat – although the discovery of quern stones at medieval sites shows that this law was frequently ignored. Chaucer, in his Canterbury Tales, portrays a miller as a bully and a show-off, Simpkin the Swagger. In medieval France, too, millers were seen as cheats, as the widespread saying calling millers, tailors, weavers and tax collectors thieves shows.

 


I have a water mill in my novel, “A Summer Bewitchment,” and show the hero Magnus and heroines Elfrida entering the mill in their quest to recover seven missing girls.

Excerpt

Dispirited, she slid off the bony bay and opened the mill door to a blistering fog of flour, a tumult of grinding mill-stones. She flung up an arm, clapping her hands over her ears as the ground shuddered under her feet. Magnus scowled, shouting something before hooking her up and carrying her through the mill into a narrow side chamber.

In this room she could hear again and the dusty flour was a little less thick, but it still formed a billowing cloud within the room. Dropped onto the dirt floor by her husband with no more ceremony than he might have released a bag of wheat, she coughed like a cat with a fur ball. Magnus smeared chaff from his eyes, cursing beneath his breath.

“How the miller stands this I do not know,” he said at length.       

“The money is good.” Mark detached himself from leaning against a beam and approached. “A fresh horse is tethered for you, sir, my lady.”

I am no lady. Elfrida bit down hard on that. She glanced at Magnus. “A message through Father Luke?”

“It seemed the easiest way. Have you brought the clothes?” he asked Mark.

Mark handed him a parcel. “Sir, I have two horses—”

“Go back, welcome Peter to the manor and tell him how things are when you get the chance. Keep a watch on Father Jerome and Tancred, especially Father Jerome. I do not want that priest getting word to the Lady Astrid.”

“Do you think he would try to or even want to?” Elfrida asked, thinking at once of Father Jerome’s pale, sunken look when he realized his lady had gone off without him.

Magnus shrugged. “Why should I care? Mark, I will take both your horses. We shall go faster with two, riding and guiding.”

Mark tugged on his red nose. “I ride Star?” He sounded horrified.

“He is smooth enough and steady.”

“And slow. What do I tell our reluctant guests?”

“Tell Tancred and that priest as little as possible. Let them think we have gone to my wife’s village.”

 

Short Blurb for “A Summer Bewitchment.”

Can a knight and his witch save seven kidnapped maidens? Sir Magnus and Elfrida strive to find the girls, but at what cost to their marriage?

A SUMMER BEWITCHMENT ( THE KNIGHT AND THE WITCH 2)
https://www.amazon.com/dp/B07ZTMNWZ9/ref=sr_1_1?keywords=lindsay+townsend&qid=1572605630&rs=154606011&s=digital-text&sr=1-1
Amazon Co Uk
https://www.amazon.co.uk/dp/B07ZTMNWZ9/ref=sr_1_1?keywords=a+summer+bewitchment&qid=1572606494&s=digital-text&sr=1-1

Lindsay Townsend 

Monday, November 27, 2023

Pace in my Romantic Fiction.

 



Pace in my romantic fiction 

 

Pace in my fiction depends on what genre I'm writing in. This determines what I focus on. When I write romance, I like to be tactile, highlighting the positive aspects of any setting. I focus on appearance, the sensual aspects, the thoughts and feelings of my characters. If there is violence in my romances, it is not dwelt on.

 

In my novels, I find that pace can be increased by showing and involving the reader in the characters's dilemmas. Each time a viewpoint is changed or a new setting is used it can 'refresh' the reader and so add to pace.

 

Pace does not need to be unrelenting, I find, or stories can seem rushed. There can be times for moments of reflection, particularly when a character learns or chooses something. I always feel that a crucial scene deserves a full showing.

 

As a reader myself, I know that romance readers are curious and love to learn. If I can make the research interesting by putting it in a character's mouth and also imperative - the character really needs to know it, the stakes are important - then so much the better. 

 

I also find that anticipation can be an important device in pacing - readers love to anticipate. You can make readers 'wait' in writing. For me, anticipation is one of the ultimate appeals of romance - I know the hero and heroine are going to have their happy ever after ending, but how?

 

I finish with an excerpt from my Christmas Sweet Romance, "Sir Conrad and the Christmas Treasure." In it I switch points of view between hero and heroine, something I love to do so the reader sees the characters through the eyes of my romantic leads, drawing my reader in and so hopefully adding to romantic pacing.



Excerpt

Sir Conrad, steward of the forest high lands, glowered at the latest miscreant to be dragged before him in the great hall of the northern sheriff’s castle. A castle that has never felt like my own, for all I am reluctant steward here.  

Despite his instructions, Sir David, his under-reeve, would bring the wretches up in fetters, even the women. Conrad tightened his already crushing grip of  his sword hilt to stop himself from punching David and rose from his chair to approach the small, slight figure before him.

“What, where and who?” he snapped at his shorter, stockier, second-in-command. The woman—girl, really—did not flinch, which surprised him.

Conrad knew he was harsh, unsmiling in his manner. Since Joan had died three winters ago, leaving him a widower, feeling angry, cheated and bereft at the age of twenty-four, he had been unable to be anything but cold to anyone. He had no interest in brief affairs. I witnessed too much tumult and heartbreak from my father and brother and their parade of mistresses to do the same. Although this girl—

          Studying her, he recognized two things at once. The first was that he truly desired her. To his own shock, Conrad wanted her badly, with a potent drive he had not felt since he was a youth. Is it the picture she makes in her chains? I would chain her to my bed, if I could. She was delicate, with a fragile profile, sweetly upcurving lips, masses of glossy blonde hair and eyes as blue and big as a summer sky. She seemed both graceful and slender and at the same time determined, standing straight, poised as a dancer, facing life head on.

That was the second thing he realized. The girl was brave. Dressed in her dirt-coloured gown, her mud-spattered, heavily-stained tunic and shedding cloak, in old leather boots that were splitting at the seams and looked too small for her, she watched him with the poise of a cat, all barely-hidden fire.

If she smiles at me I may even kiss her, and yes, I would love to keep her by my bed. But why did she seem familiar?

“David?” he asked.

His under-reeve blushed. “We found her in the lower castle.”

Sir Conrad felt himself become dangerously quiet, the background chatter of the great hall burning away in a blaze of righteous anger as memory spurred him to move. In a dazzling flash, as if he had been struck by lightning, he remembered earlier that morning.

He had been striding to the stables when yelling and the thud of  punches had erupted from a mob of youths, kicking about a clattering wooden ball. As the lads’ shoving and shouting quickened and Conrad spotted fisted hands groping for knives, a small hooded and cloaked figure skirting the edge of the group suddenly tottered. Pushed savagely from behind, the tiny, limping rag of a creature threatened to tumble headlong into the boiling mess of arms and legs.

“Hold off!” Conrad had bellowed, sprinting as he warned. In a few long steps he rammed past the fools, seized the falling figure and had carried it to safety, setting his light burden down on the top of the outer keep staircase.

The work of moments was forgotten in the fierce tongue lashing he flung at the lads. But he recognised her now.

No wonder she seemed familiar. “I rescued you,” he said aloud.

The girl pierced him with a glare, clearly disputing his version of events. Do not expect me to be grateful, her eyes said.

“….She was swept up with that group of ‘prentices…” David was explaining, oblivious to the currents between them. Exasperated at the girl, Conrad was still glad to break their battle of stares and looked back over his shoulder at his second.

“The ruffians rioting in the bailey this morning over a foolish game?”

His stocky second shuffled his booted feet and muttered something about kicking a ball about being harmless entertainment.

“That is as maybe,” Conrad growled, his quicksilver temper flaring afresh as he stalked closer to the one he had saved, his cloak snapping round his heels. “The girl could have been crushed in that mêlée, you idiot! Why is she in chains?” The iron shackles were a bitter grey against her pale, delicate wrists.

David hunched a little, clearly uncertain how to answer, and the girl spoke for the first time. “I confessed, sir.”

“To what, girl?”

She studied him with narrowed eyes, a shuttered expression falling across her pale face, then she straightened afresh, with a faint rattle of her fetters. “To whatever would bring me before you so I could ask for your help, sir. And to propose a bargain.”

Sir Conrad stared anew.

****

The steward glowered and Maggie held his darkly brilliant gaze, seeing herself reflected in his deep grey eyes. Towering above her, he looked like a scowling saint. Somewhere between her dread for her brother and her surprise that she had truly startled him, Maggie admitted that he was handsome.

Handsome and bereft. Strange words for a hardened warrior and knight but true for him. “Handsome but keeps to himself, not like his brother, more's the pity.” “It’s said he loved his wife, didn’t he, and she’s dead.” “Will his children be as striking, I wonder?” The muttered comments about the steward were all true, except for that one thing. Sir Conrad was not just handsome, but vulnerable.

                                        UK https://amazon.co.uk/dp/B07KW6K5RL/

Lindsay Townsend 

Monday, August 21, 2023

Witch-Craft in the Middle Ages. Excerpt of Magic Working from "The Snow Bride".

In the Middles Ages, belief in magic was strong. Many practised magic in the forms of good-luck charms, and in the wearing of certain plants to ward off bad luck. Witches were both feared and revered. I use this fear/respect in my novel, "The Snow Bride" to build tension and to show my heroine Elfrida as a warrior like my hero Magnus. In her case, she is a warrior of magic.


 


From "The Snow Bride"

She is Beauty, but is he the Beast?

THE SNOW BRIDE (THE KNIGHT AND THE WITCH 1) https://amzn.to/2MZZan0    

UK  https://amzn.to/2H1tYzY

EXCERPT https://bit.ly/2yV95Cb

REVIEW https://bit.ly/38ynFzh 




Excerpt  

“Are you a witch?”

Elfrida, sewing on the sleeves to her younger sister’s best dress as they sat together on the bench outside her hut, felt fear coil in her belly like hunger pangs. Keeping her eyes fixed on her needle, she answered steadily, between stitches, “I am my own master, ’tis all, without a husband. Have any in the village been troubling you?”

“Oh no, Elfrida, but I was thinking.”

Elfrida tugged another stitch tight, her needle flashing like a small sword in the bright evening light. “Does your Walter call me so?” she asked carefully.

She glanced up. Christina was blushing very prettily, her light-blue eyes brighter than cornflowers when set against her pale-blue veil, white skin, and primrose hair. Lost in admiration, and quite still for a moment, she heard Christina admit, “We do not talk much. Well, I do not. Walter calls me kitten and we kiss.”

Christina and her betrothed could be found kissing all over the village, so that was no surprise.

“Yet still.” Christina pressed a well-bitten fingernail to her rose-petal lips. “Our dam was a witch.”

“She was a wisewoman, Christina.”

“Our father was a wizard.”

“A healer and dowser,” Elfrida patiently corrected.

“And you are all of that, of those things, I mean.”

Elfrida fastened the final stitch and knelt beside her sister, crouching back on her heels in the snow. Christina was not usually so fretful.

“Walter loves you very much,” she said after a space, “and you have a good dowry.”

A good dowry it was, of cloth she had spun and ale she had brewed, cheeses she had made, and silver pennies she had earned by her healing and dowsing. Since her earliest childhood, Christina had longed to be married, with a hearth and children of her own, and Elfrida had striven to keep her safe and happy. She was the eldest, so it was her duty, and she had promised their parents, on their deathbeds, that she would do so.

“But will the priest marry us?” Christina was biting another fingernail.

“Today is the very eve of your wedding, little one.” Elfrida tugged gently on her sister’s dress. “This is your wedding gown.”

“He has preached against redheads.”

“You are no redhead, and Father John’s sermon was on modesty for women,” Elfrida replied. Her sister was not a redhead, but she was, and redheads were rumored to be witches. “He said that for a girl to be unveiled was to be as brazen as a redhead. He took my healing ointment, too.” She tugged gently a second time on Christina’s dress. “Walter will be here to see you after sunset. Would you have him see you in your gown?”

Her sister ignored her question and pouted. “He will be late. He is coming here only after a meeting with his old men, and you know how they go on!”

“Did he say what the council was about?”

Christina shrugged. “He may have done, but I was not listening then.” She colored prettily. “Will you comb my hair again?”

Elfrida silently rose, kicking the snow from her faded, red gown—one that had belonged to their mother—and eased the wooden combs from Christina’s pale, shimmering hair. As she gently teased and tugged and Christina’s breathing slowed, Elfrida thought of the council.

 

Excerpt of Elfrida working her witch-craft.

 

“She is the third!” Walter had cried out, beating his fists against the walls of their empty hut. “The third in her wedding garb, and the most beautiful: one black-haired, one brown, and my Christina!”

He had refused to say more, even when Elfrida had threatened to curse him, but his outburst told her what he and the elders had been hiding from the village women. The brute who had carried off Christina had kidnapped other pretty young girls, also dressed in their wedding gowns. He stole brides.

I will dress myself as a bride and return here with my own wedding feast, with food and drink in abundance. Let him think me a bridal sacrifice, his red-haired bride, left for him by the village. And, by Christ and all his saints, this time I will be ready for him!

It is a blessing I am a healer and have so many potions ready prepared. If I put sleeping draughts in the wine, food, and sweets, surely I can tempt the beast to take some? I can smear tinctures of poppy on my skin and clothes, so any taste will induce sleep.

Sleep, not death, for she had to know where he had taken Christina.

I will coax the truth from the groggy monster, and then the village men can have him.

Part of her knew she was being wild, unreasonable, that she should talk to Walter, tell the villagers, but she did not care. Talk would waste more precious hours, and they might even try to stop her. For her sister she would do anything, risk anything. But she must hurry, she must do something, and she had little time.

It was full dark before Elfrida was finished, midnight on the day after the start of Advent, two days after Christina should have been married. She shivered in the glinting snow, her breath suspended between the frosted, white ground and the black, star-clad sky.

She glanced over the long boulder she had used as an offering table for her wine and food, not allowing herself to think too closely about what she had done. She had lit a small fire and banked it so that it would burn until morning, to stop her freezing and to keep wolves at bay, and now by its tumbling flames she saw her own small, tethered shadow writhing on the forest floor.

She would not dwell on what could go wrong, and she fought down her night terrors over Christina, lest they become real through her thoughts. She lifted up her head and stared above the webbing of treetops to the bright stars beyond, reciting a praise chant to herself. She was a warrior of magic, ready to ensnare and defeat the beast.

“I have loosened my hair as a virgin. I am dressed in a green gown, unworn before today. My shoes are made of the softest fur, my veil and sleeves are edged with gold, and my waist is belted in silver. There is mutton for my feast, and dates and ginger, wine and mead and honey. I am a willing sacrifice. I am the forest bride, waiting for my lord—”

Her voice broke. Advent was meant to be a time of fasting, and she had no lord. None of the menfolk of Yarr would dare to take Elfrida the wisewoman and witch to be his wife. She knew the rumors—men always gossiped more than women—and all were depressing in their petty spitefulness. They called her a scold because she answered back.

“I need no man,” she said aloud, but the hurt remained. Was she not young enough, fertile enough, pretty enough?

Keep to your task, Elfrida reminded herself. You are the forest bride, a willing virgin sacrifice.

She had tied herself between two tall lime trees, sometimes struggling against her loose bonds as if she could not break free. She could, of course, but any approaching monster would not know that, and she wanted to bait the creature to come close—close enough to drink her drugged flask of wine and eat her drugged “wedding” cakes. Let him come near so she could prick him with her knife and tell him, in exquisite detail, how she could bewitch him. He would fear her, oh yes, he would...

She heard a blackbird caroling alarms and knew that something was coming, closing steadily, with the stealth of a hunter. She strained on her false bonds, peering into the semidarkness, aware that the fire would keep wild creatures away. Her back chilled as she sensed an approach from downwind, behind her, and as she listened to a tumble of snow from a nearby birch tree, she heard a second fall of snow from a pine closer by. Whoever, whatever, was creeping up was somehow shaking the trees, using the snowfalls as cover to disguise its own movement.

A cunning brute, then, but she was bold. In one hand she clutched her small dagger, ready. In her other, she had the tiny packet of inflammables that she now hurled into the fire.

“Come, husband!” she challenged, as the fire erupted into white-hot dragon tongues of leaping flame, illuminating half the clearing like a noonday sun. “Come now!”

She thrust her breasts and then her hips forward, aping the actions that wives had sometimes described to her when they visited her to ask for a love philter. She shook her long, red hair and kissed the sooty, icy air. “Come to me!”

She saw it at the very edge of her sight—black, huge, a shadow against the flames, off to her side, and now a real form, swooping around from the tree line to her left to face her directly. She stared across the crackling fire at the shape and bit down on the shriek rising up her throat.

The beast stepped through the fire, and she saw its claw reaching for her. She heard a click, off to her right, but still kept watching the claw, even as the fire was suddenly gutted and dead, all light extinguished.

Darkness, absolute and terrifying, smothered her, and she was lost.

Lindsay Townsend 

Monday, February 27, 2023

Nicknames and Endearments.

 


Nicknames and Endearments.

Nicknames can help readers identify with characters, give a small clue to their personalities or appearance. Or nicknames can be deliberately misleading and at the same time appropriate, say where “Generous Eddie” turns out to be a brutal miser, generous only in the beatings he administers, or “Big Meg” is a small and dainty creature, perhaps with a large heart. Nicknames can also be wrong, revealing perhaps a character labouring under the mistaken opinions of those around her/him, and something that the reader and main viewpoint characters in the story can gradually discover.

 In history, King Edward the First of England was nicknamed “Longshanks” for his height and “Hammer of the Scots” for his campaigns against Scotland. An example of a nickname giving a flattering impression that was not, in my opinion matched by reality is King Richard I, the “Lionheart.” Brave perhaps but also cruel, as shown by his killing of the Muslim captives of Acre – all 2700 of them. By contrast, Richard’s opponent on the crusades, Saladin, was a man whose epithet, “Salah ad-Din” means “Righteousness of the Faith”, a title he appears to have lived by.

A more endearing nickname is that of “Greedy-Guts” for the famous medieval champion and knight William Marshal, an epithet he acquired during his teenage years.

In my own fiction, I use nicknames to reveal character. So, in ‘The Master Cook and the Maiden,’ my hero Swain, is known to his brothers as “Ram,” because of his great size and battle habits.


Excerpt.

 

One more thing is needed... an entourage," said a new

voice, issuing from the out of the apple tree by the garden

wall. Even as Alfwen struggled to pick out the stranger in the



shadows and foliage, Swein was darting forward.

“Gideon, by all that’s holy! Well met, brother!”

He smacked into the newcomer, knocking the shorter man

to the ground while Mistress Glover scolded, “The tunic,

Swein, careful of the tunic!”

Somehow, the smaller man flung Swein off him, leapt to

his feet and enveloped his brother in a bear hug. “Well met,

Ram!

“After Battering-Ram, when he would charge into things

as a lad,” Gideon explained, nodding to Alfwen and the

widow. “Will you introduce me, Ram?”

Grinning, Swein detached himself from Gideon and

bowed. “May I present Mistress Glover and my wife, Alfwen.”

He beamed at Alfwen, a look of pride and love together.

“My bride, Alfwen.”

The shorter man stepped closer and Alfwen’s breath

stopped.

 

Endearments in fiction, especially romance fiction, can show a developing romantic interest and tension and suggest a growing closeness. Individual and apt endearments are particularly satisfying and can be used in banter between couples in both fiction and life. They can also show a regional flavour.

So, for Cornwall, “Lover” and “My handsome man,” can be used as pet names for both sexes. (I was called “My handsome man” by an elderly Cornish lady, straight after she commented on my looks to my mum, “It don’t look twenty-one, do it?”) Devon folk also use “Lover,” – I always smile when my husband, who comes from Exeter, uses it to me.

Scots can use “Hen” as a pet name for a young woman. Annwyl in Welsh means "dear, darling, beloved,” and anwylyd means dearest. For a boy: “fy ngwas bach I” (my little lad) or “fy 'mach del I” (my little pretty one). Hinny, Pet, Bonny lass/lad are all expressions I’ve heard in Northumbria.

‘”Sweeting,” has been popular since the Middle Ages, or “dear heart.”, though “piggesnie” (“Pig’s eye”) may not be well received today. How about the lovely, “My heart’s gleam” or “My best beloved,” that are also medieval?

Have you any favourite nicknames or endearments?

Lindsay

 

My Rose and the Sword #romancenovels SIR CONRAD & THE CHRISTMAS TREASURE, THE MASTER COOK & THE MAIDEN, THE VIKING & THE PICTISH PRINCESS. All #free with #KindleUnlimited

https://www.amazon.com/dp/B07KW6K5RL/ 

UK https://www.amazon.co.uk/dp/B07KW6K5RL/ 

https://amzn.to/36Swsgi  UK https://amzn.to/3914uSb                

https://amzn.to/334ZcBj  UK https://amzn.to/3jA52Qt

 

Monday, January 23, 2023

In Defence of Stew

In Defence of Stew

 

 


Stew. It doesn’t sound appetizing. People speak of stewing in one’s own juices, meaning those that suffer as a result of their own, often foolish actions. Tea that is stewed is bitter, overdone. To be in a stew means a character is angry, anxious or embarrassed.

 

In her book, “The Tough Guide to FantasyLand”, Diana Wynne Jones laments that, no matter how exotic the location, stew is often served as a meal for the questing heroes. A visual joke in the film “The Two Towers” has Aragorn ambushed by a dubious stew made by Eowyn. The plotting side of me wondered – What is that meat? How did anyone have time to slow-cook – stew – anything while on the march? Surely the old medieval stand-by of fast food, a pie, would have been a more practical option?

 

Stews deserve a better press. An ancient form of cooking, almost every culture has its own form of this one-pot wonder. Once going, it does not need much attention or critical timing. The cheaper cuts of meat benefit from long slow cooking and pay benefits by releasing a delicious gravy. On the medieval table, a carefully roasted haunch of venison was frequently the showy centrepiece of a royal or noble feast, but to me this lean, gamey meat tastes better in a stew. Of course, in medieval times there were no potatoes, sadly, but onions, carrots, greens and beans were to hand.

 

Can stews be romantic? Of course! The hero and heroine, foraging side by side, to add mushrooms to the gently bubbling stew pot. Stirring the pot together. Sharing the meal...

 


I have my medieval Master Cook Swein creating stews in my novel, “The Master Cook and the Maiden” as can be seen from the following excerpt:

 The Master Cook and the Maiden.

 Vengeance…or love? Will Alfwen have to choose between them? And what part will the handsome Master Cook, Swein, play in her life?

amazon.com/dp/B088RJNYJ4/ UK amazon.co.uk/dp/B088RJNYJ4/

Excerpt

In the middle of the cavern, surrounded by glinting fires, a black cap swerved and ducked. Under the hat Swein moved with the certainty of a king. He manned four spits, two stew pots and an oven at once, his arms constantly stirring, turning and scooping. In one hand he gripped and used a fork, testing and catching the great rolls of spitted meat, while his other hand alternated between a deep ladle, bowls of flour and a mortar of spices. One instant he raked a stream of glowing hot ashes out of an oven and into an iron box, into which he popped several fresh eggs to roast, another moment he shouted, “Pies in! Stew thickened!” and two burly loin-clothed youths skimmed huge thick-pastried tarts off wooden platters into the waiting oven, while a third tipped a stream of ground almonds into the seething stew pots.

Lindsay Townsend  

  

Monday, November 23, 2020

Viking Magic - Plus Excerpt of the hero of "The Viking & the Pictish Princess" using such magic


The Vikings believed in magic. I used one of their beliefs in my "Viking and the Pictish Princess," the idea of a cursing pole.

Called a Nithing pole (in old Norse this means Scorn Pole), this was a long staff or pole, set into the earth and topped with a horse's head. It was meant to bring bad luck, and along with runes, was intended to create malice and trouble.

Such rituals and poles are recorded in the Viking Sagas, as in Egil's Saga. You can see what he did in this excerpt on Wikipedia https://en.wikipedia.org/wiki/Nithing_pole




My Viking warrior Olaf also uses a Nithing pole. Instead of a horse's head he uses a deer's head, to placate the spirits and gods of the Pictish kingdom that he and his new wife are striving to protect from invaders and rival ruler Constantine. 

Excerpt.


Up on the moor, beside the old ring of stones and facing

east, he had set up a cursing pole to anger and offend the spirits

of Constantine’s land, to give himself and his folk good

luck and to force bad luck onto Mongfind and her ilk. He had

slammed the newly felled and trimmed ash sapling into the

earth and snow, driving it down in his fury and frustration,

and topped the pole with the head of the roe deer, as sacrifice

to Loki, to Odin and to any Pictish god who would heed a Viking.

Man’s magic, for sure, but is it good to hold such secrets from my

wife?

It had to be, he decided. Eithne, these days, often looked

drawn and troubled. She had enough pain with her sister’s

malice. 

**************************************************************

As a strange writer's coincidence I wanted a Norse name for a small black horse, one that would roughly translate as "Sooty". I searched on the Internet and found a name: Saehrimnir, meaning sooty sea-beast. This fit nicely with Scottish and Pictish beliefs concerning water-horses and Kelpies.


THE VIKING AND THE PICTISH PRINCESS https://www.amazon.com/gp/product/B08LTGYTHV/ref=dbs_a_def_rwt_bibl_vppi_i20

https://amzn.to/3jA5bDvUK

 https://www.amazon.co.uk/gp/product/B08LTGYTHV/ref=dbs_a_def_rwt_bibl_vppi_i13

Lindsay Townsend