Category Archives: -John McCarthy

Nathan Hawke: Fantasy lost, Fantasy found

In the United States, if you visit a bookstore’s Fantasy section, urban and contemporary genres are dominant. Kelly Armstrong, Jim Butcher, Simon Green, and Patricia Briggs are some of the authors you’ll find that define fantasy literature. Magic and paranormal races exist in worlds that are familiar to us in interesting and personal ways. Jim Butcher’s Dresden Files series is based in Chicago where I grew up. Although Butcher does not live in Chicago (as of this post) he does a great job using the city as a base for great storytelling.

The age of sword and sorcery, middle age and ancient world time periods, are not passed, but just explored by a smaller group of authors. Just look at a store’s bookshelves to see what’s present on the real estate. Jennifer Roberson, Tamora Pierce, Brandon Sanderson, George Martin, and R.A. Salvatore offer worlds of wonder, magic, and swordplay that entertains with strong characters and in-depth culture and/or politics.

The fantasy writers that may be on the endangered species list represent the gritty underbelly of the ancient worlds as told by Robert Howard, David Gemmell, and Mary Gentle. Battles are unsanitized, the heroes are not clean spirited individuals who’s actions can go mostly unquestioned as the “right” and “fair” choice. Authors like George Martin have such elements—although his stories fill the need for taking a balcony view of intrigue and governance from mostly the leadership perspective.

Nathan Hawke represents the next cohort of authors who picked up the banner from David Gemmell and others to continue to tell the gritty tale of complex heroes whose choices leave the reader unsettled even while accepting the choices made. Nathan Hawke’s Gallow—a 3 book series—uses the motif of the loner warrior who reluctantly takes on the cause of others.

Character Complexity

“Beside him Sarvic turned to run. A Vathan spear reached for him. Gallow chopped it away; and then he was slipping back and the whole line was falling apart and the Vathen were pressing forward, pushed by the ranks behind them, stumbling over the bodies of the fallen. For a moment the dead slowed them. Gallow turned and threw himself away from the Vathan shields. The earth under his feet was slick, ground to mud by the press of boots and watered with blood and sweat. A spear point hit him in the back like a kick from a horse. He staggered and slipped but kept on running as fast as he could. If the blow had pierced his mail he’d find out soon enough. The rest of the Marroc were scattering, fleeing down the back of the hill with the roars of the Vathen right behind. Javelots and stones rained around him but he didn’t look back. Didn’t dare, not yet.”[i]

With this opening in the first book, Nathan Hawke takes readers on a grand and gritty journey with Gallow, a warrior gifted at killing in a shield wall or alone against many. All he wants is to be left alone as a family man and a blacksmith for a community that despises him. Yet his sense of honor drives him along a path that takes him far from home, risking his life and those of others, and making deadly enemies of those he once called friends.

Hawke’s writing style is spare, reminiscent of Hemmingway. If a camera represented his writing craft, it would be tight focus images of people and places, exposing the imperfections and failings—so that no character that moves the stories forward is static or stock. And none are completely good or evil. Cruel men are capable of random acts of kindness, and good characters may commit heinous acts in the name of what they hold dear. Such character complexity effectively engages readers to follow each story line, and wonder at the potential unpredictability. For example, after a battle where Prince Medrin orchestrates the death of one of his generals, Screambreaker, he attends his funeral and speaks genuine words of honor to the dead:

“…the Lhosir stopped what they were doing and honoured the Screambreaker and the dead who’d fallen beside him. [Medrin] let the old ones do that, Tolvis Loudmouth and the rest. Let them start the pyre and, when the pyre was built, put the bodies of those they most wanted to honour on top and set it alight. [Medrin] said a few words himself, because he was their prince after all, then let the old ones who’d fought with the Screambreaker against the Marroc finish speaking him out. The pyre was huge and there probably wasn’t a single Lhosir who hadn’t put a piece of something on it.”[ii]

Prince Medrin enjoys torturing common people and then mutilating their bodies on stakes along roadways for all to see and fear. Yet, he pays honor to a fallen champion who he perceived as a rival. This is Hawke’s gift for character development that also moves the story forward.

Sword and Sorcery

In Nathan Hawke’s world there are ancient artifacts of power such as a red sword that cuts through steel like butter, which can only be effectively blocked by a special shield. There are ghoul dogs that hunt tirelessly in swamps and forests for human flesh. All of these pale to the much feared Shadewalkers:

“When Oribas walked toward the end of the arc of salt, the shadewalker moved with him. It kept moving, stepping gingerly along the line until it found its end and looked up. Its dead face didn’t change but perhaps its eyes gleamed a little brighter as it sensed its victory. It advanced quickly. Addic cried out, turned and ran while Oribas simply stepped over the line of salt to be on the other side. The shadewalker came at him, stopped abruptly at the salt and began to walk along the line again, looking for a way past.”[iii]

Shadewalkers are undying or undead warriors, who are nearly impossible to destroy, unless you have knowledge of the ancients and unshaking courage. The magic does not dominate the story. Hawke uses it judiciously in parts of the story for the greatest impact.

Some would point out that authors like Robert Jordan, George Martin, R.A. Salvatore, Steven Erikson, and Glen Cook also carry the mantel for Sword and Sorcery. All deserve credit for skillful craft in their own right. Of these authors, only Glen Cook comes closest to the grainy side of fantasy in ancient settings that brings alive the starkness of humanity through complex characters. David Gemmell was the leader in this area in recent decades, until his passing.

Last November I visited several bookstores in Sydney Australia. I was immediately struck by the volume of authors who wrote in this genre of Fantasy. Many have yet to land on American shores, but can be found via e-books and places like Abebooks. Perhaps on my personal journey to find more like Nathan Hawke, I will find that the lands to explore are across oceans.[iv] Until then, check out Nathan Hawke’s stories for engaging and powerful author’s craft.

(As of this posting, Nathan Hawke comes to U.S. Bookstores: BN in Ann Arbor MI)

Next Month: Lead with a Story by Paul Smith

[i] Hawke, Nathan (2013-07-11). Gallow: The Crimson Shield (p. 7). Orion. Kindle Edition.

[ii] Hawke, Nathan (2013-07-11). Gallow: The Crimson Shield (pp. 265-266). Orion. Kindle Edition.

[iii] Hawke, Nathan (2013-08-08). Gallow: Cold Redemption (Kindle Locations 709-713). Orion. Kindle Edition.

[iv] Fantasy listing of books by sub genres: http://bestfantasybooks.com/

Crafting: Making the Invisible Visible

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We all have our favorite authors. They’re ones whose storytelling draws us in. Their characters’ voices speak inside our heads as old friends or familiar voices that send chills through our body. Some authors have a writing style so distinctive that when a passage is read out of context, we can identify them. A sampling includes: Barbara Parker (list), J.K. Rowlings (list), Ernest Hemingway (list), J.R.R. Tolkien (list), and Richard North Patterson (list). There are many authors who successfully craft writing, whether it’s fiction or non-fiction.

I find myself doing what I’ve heard many other writers do—read other authors for how they use writer’s craft. Reading for author craft while reading a book is a surreal experience. It’s like listening to music while reading a review of the performer. If not careful, it’s easy to succumb to the book’s seductive call to get lost in the writing. Yet when focus is maintained on the craft, there are treasures to unearth that can be used in one’s own writing. Every published author I’ve spoken to has said that they are constantly reading—to stay knowledgeable and—I suspect—to learn how others use writing skills.

For example, I want to learn how…

Hemingway uses spare language to create story tension and characters:

In the excerpt that follows from the beginning of The Old Man and the Sea, Hemingway(1) establishes the setting, conflict, and the relationship between characters…

“Everything about him was old except his eyes and they were the same color as the sea and were cheerful and undefeated.

“Santiago,” the boy said to him as they climbed the bank from where the skiff was hauled up. “I could go with you again. We’ve made some money.”

The old man had taught the boy to fish and the boy loved him.

“No,” the old man said. “You’re with a lucky boat. Stay with them.”

“But remember how you went eighty-seven days without fish and then we caught big ones every day for three weeks.”

“I remember,” the old man said. “I know you did not leave me because you doubted.”

“It was papa made me leave. I am a boy and I must obey him.”

“I know,” the old man said. “It is quite normal.”

“He hasn’t much faith.”

“No,” the old man said. “But we have. Haven’t we?”

“Yes,” the boy said. “Can I offer you a beer on the Terrace and then we’ll take the stuff home.”

“Why not?” the old man said. “Between fishermen.”

I’m amazed at what’s accomplished in one conversation. Hemingway understood that every word on the page must move the story forward. The purpose served must contribute to the whole story, even if it’s what appears to be a casual conversation.

Barbara Park uses language that sets both tone (humor) and character through dialog:

I can recognize Barbara Park’s main character in any passage, like as a parent, I know my children’s voices in a crowd of students in a loud hallway. She creates a signature character with a unique and irreverent voice: Junie B. Jones—“The B stands for Beatrice. Except I don’t like Beatrice. I just like B and that’s all.“ What follows is a conversation with her Kindergarten teacher on the first day of school(2):

“Her name was Mrs.— I can’t remember the rest of it. Mrs. said I looked cute.

“I know it,” I said. “That’s because I have on my new shoes.”

I held my foot way high in the air.

“See how shiny they are? Before I put them on, I licked them.

“And guess what else?” I said. “This is my bestest hat. Grampa Miller bought it for me. See the devil horns sticking out the sides?””

There is so much to love, laugh, and learn about Junie from this short exchange. Her lack of a filter sets the tone for many situations she gets involved in. There is much to be enjoyed by kids and adults from these stories.

How authors use craft is the stuff of this blog series. On the 3rd of each month, I will focus on an author. Exploring their use of writing skills to craft compelling stories and messages. Feel free to join in the exploration of their use of craft as I will provide an advance on what author will be explored.

March 3rd: J.R.R. Tolkien, The Hobbit

Feel free to read the same book, or refer to a different book by the same author. Uncovering Author’s Craft matters more than which book a person explores.

Other authors we’ll explore together are Aimee Carter (Pawn), Daniel Silva (The English Girl), and Paul Smith (Lead with a Story). Share in the comments what authors and their books that make you go hmmm.

Looking forward to growing in the craft together.

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Hemingway, Ernest (2002-07-25). The Old Man and the Sea (p. 4). Scribner. Kindle Edition.
Park, Barbara (2012-05-22). Junie B.’s First Ever Ebook Collection!: Books 1-4 (Junie B. Jones) (Kindle Locations 67-71). Random House Children’s Books. Kindle Edition. From book 1 – Junie B. Jones and the Stupid Smelly Bus

Editor’s Log: A Beginning…

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Editor’s Log 02012014

Every beginning starts somewhere. In the case of the Deadwood Writers’ Voices, it was September of 2002 at a Barnes & Noble in Northville, MI. The founder, Dave led the group until April of 2004. At that time, the group was known as the writer’s group that met at Barnes & Noble once a month from 7-9 p.m. When I joined in January of 2003, there was a solid core of 5-6 members. When Dave moved from the area, he appointed me the next facilitator, probably due to my experience of leading two writer’s groups prior to my move into the area.

In my experience with writers’ groups, there is one leader. That person makes all of the decisions, although to be honest there are few to be made when the purpose is to share and discuss each other’s writing. I wanted this group to be different, and so did it’s members. Starting with that first meeting we decided to add a learning component to our meetings, and slowly we grew into a learning community. Currently we have a membership over 30. By early 2004, we named ourselves, The Deadwood Writers.

Our mission…

Support all writers to achieve the writing goals that they strive to accomplish.

Our unofficial motto…

Keep writing!

Our learning focus…

Author’s craft, marketing and, publication

We’ve had authors and publishers, such as J.A. Konrath, Aimee Carter, and Marion Nelson Publishing & Marketing, talk to us about craft and publication. From the many learning experiences, members generated the ideas that have dramatically evolved the group’s understanding about writing and publication. In our 12th year, the Deadwood Writers’ Voices is one such idea.

Deadwood Writers Voices will be a collection of writers exploring the multi facets of writing and publication. Consider this site as our invitation to join our expanded writers’ learning group. The posts range from exploring ideas to being reflective, instructional, or creative. Diverse voices with a wealth of experience are waiting to be revealed. All perspectives and questions are welcome as we can all learn from each other.

Welcome to the Deadwood Writers Voices…