Midwinter Fae, the second volume in the anthology series A Procession of Faeries, brings you nineteen tales of magic, beauty, wonder…and sometimes danger, as the Fae can be unpredictable, and follow their own rules.
Midwinter Fae is available for a limited time in The Realm of Faerie bundle.
Enter the Realm of Faerie, a world of beauty, danger, and enchantment. But remember the legends if you want to make it back home again…
Part 1 of the Midwinter Fae author interview includes:
- DeAnna Knippling, author of “By Winter’s Forbidden Rite”
- Eric Kent Edstrom, author of “Winternight”
- Deb Logan, author of “Faery Unpredictable”
What do you enjoy about weaving elements from mythology, legends, and folklore in your own writing?
I really like finding new ways to include old patterns. In a different story, “The Rusalka,” I included a traditional Slavic spirit that might have started out as a pagan god, or might have started out as the legend of a woman who either committed suicide because of a lover, or been murdered by him (the former seems more probable). Rusalkas drown young men by seducing them, then dragging them to the bottom of lakes. The young men are often portrayed as being blameless, but hey, aren’t they all?
In my story, the modern rusalka homes in on a man’s lover who is using him as a drug mule and about to get him killed. The man lives in the same apartment building as the rusalka, that’s all, but her job is killing bastards, and bastards she must kill. Is it justice?
To the survivors, the women in the old Russian folktales who outlive their drowned lovers, and in the story, the main character, who outlives his bastard boyfriend, maybe it is.
I both like and hate that life hasn’t changed that much, since the forests were thick and the lakes were deep.
Eric Kent Edstrom
Mythology and legends give depth to stories because they immerse the reader in the culture in which the action is happening. Midwinter is a particularly atmospheric moment because by definition it’s the darkest of days. The very idea of it provides loads of atmosphere in which a story can happen. And I love, love, love atmosphery stories.
I’ve been reading fairy tales since I was a child. I love their sense of wonder and magic, as well as the cautionary lessons they teach. With all of that so deeply ingrained in my psyche, I’m never surprised when it surfaces in my writing.
Science does a great job of explaining the world, even the universe, but there are still niches where science doesn’t have the answers, and magic plays in those crevices! I’ve always appreciated Arthur C. Clarke’s third law: Any sufficiently advanced technology is indistinguishable from magic.
Fairy tales are filled with magic. Does that mean that fairies are simply more technologically advanced than we are? That thought certainly gives me lots of ideas to play with!
Mythology and fairy tales often incorporate aspects from the locale in which they originated. For example, selkies appear in folktales from the Northern Isles of Scotland, the Faroe Islands, and Iceland. Is there an area of the world that you particularly enjoy including in your writing, whether from a mythological aspect, a geographical one, or both?
America. I like trying to find out what America is, mythologically speaking. But I grew up on Grimm’s fairy tales and British children’s stories, so I kind of have to sneak in around the sides of things, mythologically speaking.
Strangely, the closest I think Americans consistently get to a national mythology these days is Stephen King. The Shining is Colorado. “The Children of the Corn” is Iowa and big swaths of the Great Plains states. The Stand is all the places it travels through, including Las Vegas. I haven’t been to Maine, so I’m going to have to assume that King is reasonably accurate as far as the feel of Maine goes. King’s stories often feel like fairy tales to me, boiling down the feel of a place and putting a name to it.
I feel like instead of trying to include mythological elements that are traditionally from the places I write about, I often try to find mythological elements that fit the feel of the places I see. I try to put a name to the things about a place that are true, but not defined. For me, writing stories about the barriers between universes being thin feels perfect for where I grew up in the Great Plains. Look out at the perfectly flat horizon for an hour and try to convince yourself that it’s all solid and real. It’s impossible. Why doesn’t all that flat land feel real? Because there’s another universe out there, just on the other side of the hill, and we’re only pretending there isn’t.
Eric Kent Edstrom
Much of the mythology in my world is inherited from a now-vanished race of people called the elnisians. Imagine them as Tolkien-like elves: elegant, long-lived, and wise. These people are gone now and now humans occupy the world. They’ve moved into elnisian cities and have adopted the elnisian mythology.
What I enjoy about that is the world is steeped in a sense of loss. There are magnificent ruins everywhere that humans have no way of duplicating. So people live with this constant reminder: there was an age of grace and this isn’t it.
I’m most familiar with the European fairy tales I read as a child, especially those from the British Isles, but I’ve also had a lot of fun exploring Native American legends as well as Asian mythology. Some of those threads of magic and mystery appear in my Prentiss Twins adventures, Thunderbird and Coyote.
I really enjoyed taking my Montana-raised characters to Hong Kong…and introducing them to Monkey King! Blending different strains of folklore always leads to fascinating twists.
Question for DeAnna Knippling:
In “By Winter’s Forbidden Rite,” you’ve incorporated a number of elements from myths and legends—for example, the Queen of the Fairies has horns. You’ve also added a twist—the Queen is a scientist. What did you most enjoy about pulling all of this together, both in this story and in your series A Fairy’s Tale, which this story is a part of?
The fairies in A Fairy’s Tale are from another dimension: aliens, if you will. I started thinking about the way fairies are portrayed in what I’ve read, both traditional sources and more recent ones. If the fae are aliens, what should that mean? Why would they come here? What did they hope to achieve when they first came? Is that the same now?
Fairies either don’t belong on our Earth, or we’ve changed their Earth so much that they can’t stand it here anymore. These days, the fae are aliens, or refugees.
In a lot of recent tales about the fae, there’s a sense that either the fae were cut off from our universe at some point in the past (often at the same point that magic stops working), and are only returning briefly—or else that the barriers between our world and fairy have eroded or disappeared, and now we all have to learn to cope with each other. I particularly love Pamela Dean’s Tam Lin, a story about the fae at a modern college, and a human woman who has to win her lover back. The fae are so appealing in that book, and so terrifying, too.
What I wanted to find in A Fairy’s Tale was a place where the traditional elements of the fairies (which have become somewhat infantilized by our treatment of traditional fairy tales, as only stories for children) could be re-seen as terrible and wonderful and strange again. For me—your mileage may vary—that place was finding the “alien” elements of the fae. The horns are traditional–but they’re part of a physical distortion that was at least somewhat based on the Xenomorphs from Alien. The changelings are traditional—but which side will they grow up on? Will they be controlled by the fae, or will they still think of themselves as human? Will they have to make compromises?
And, as you pointed out, of course the Queen is a scientist. The fae traditionally have the use of cantrips, glamors, and other magic. And, if as Arthur C. Clarke says, “Any sufficiently advanced technology is indistinguishable from magic,” then clearly the Queen is going to be mistress of that science.
I feel like, in pulling this series together, that I was pulling together my thoughts on what it meant to have a normal life broken by something beyond that person’s control. There are elements of intrusion (which often we could have handled better, more respectfully, more mercifully), and elements in which things were never the way they seemed, and that we pretended were fine all along. Humanity could have worked with the fae, but didn’t, and instead chose to see them as intruders, to be tricked, used, manipulated, and killed. And yet, on the other hand, when the fae go underground and hide their changelings among humanity, humanity is disgusted, outraged, and terrified. What did we expect? That our lives would never be anything other than ordinary? That we could erase everything that didn’t fit our vision, and suffer no consequences?
A lot of this is subconscious stuff that came out while I was writing, or that I’ve only realized later. “Huh, that was smart,” I’ll think. “Too bad I had no idea why I was doing it at the time.”
Question for Eric Kent Edstrom:
“Winternight” is set in your Starside world, about two years before the Starside Saga begins. What key parts of this story are based on mythology, and what’s your favorite of the magical elements you’ve created of your own?
Because Starside Saga happens in a secondary world, I wanted to invent my own legends, fairy-type-beings, and myths. It’s usual in epic fantasy for there to be a whole new pantheon of gods, demi-gods, and spirit creatures. So this was a fun chance for me to invent my own mythology.
The central arc of the series is about Kila Sigh, a human thief with a bit of godsblood in her veins. Unfortunately for her—and for her world—hers is the blood of the god of death, pestilence, greed, and suffering. Must she succumb to that influence? Or does she have enough will to bend her power into the service good? So yeah, the whole thing is based on mythology.
But it’s true even for smaller aspects of the world. For example, the fey in the series are called “vergents” and they sort of phase in and out of reality in pursuit of their own unknowable aims. Most don’t believe they exist at all. (hint: They do exist, sort of. Reality is bendy where vergents are concerned.)
One of my favorite magical elements in the world is the idea of the “vergent pass.” These archway portals allow people to travel great distances in a few steps. Unfortunately, they’ll only take you in one direction. That can make for a long walk home if you step through the wrong one.
Question for Deb Logan:
In “Faery Unpredictable,” Claire’s boyfriend, the Prince of Winter, is accused of stealing the Wyrd Stone. If the stone isn’t returned by midnight of the Festival of Alban Arthan, Winter will be eternal, and there will never be another Summer. This story incorporates a number of mythological elements. Which were your favorite to include, and how does this story tie in with your Faery Chronicles series?
In the first book in the series (Faery Unexpected), Claire discovers that she’s not a normal teenage girl … she’s the long lost Princess of Faery. So in Faery Unpredictable, we have a teenage girl who is the princess of the realm, but doesn’t really know much about her faery heritage. That’s one of the things I enjoyed about writing this story… laire was learning the mythology right along with the reader.
I also had a lot of fun playing with the intersection of mythology and science for this tale. The inhabitants of Faery believe that the Wyrd Stone controls the seasons. Specifically, the length of days. Claire, having been raised in 21st century America, believes that the earth’s orbit around the sun controls the seasons. Roddy’s explanation of the relationship between the Wyrd Stone and the orbit was great fun to imagine.
I’m very fond of the Faery Chronicles world. My very first published short story, “Deirdre’s Dragon,” was a children’s story about a little girl who inherited a dragon from her grandmother. It was only about 800 words, but the idea stuck with me and I knew there was a lot more story to tell. Eventually, Faery Unexpected was born.
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Eric Kent Edstrom
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