Sailing the Wine Dark Sea - An Interview with Author, Glyn Iliffe

I've got a real treat for everyone this week. 

Over the years, I've read a lot of historical fiction/fantasy novels set in the ancient world. I've enjoyed most of them, but there is one series of books that makes me say 'Yes! That's how it's done!'

I first picked up King of Ithaca while roaming my public library's stacks looking for some new fiction. I thought the take on Odysseus' well-known story sounded intriguing, so I took it home and gave it a try. 

I'm so glad I did! It's one of the best historical fantasy novels I have EVER read (and I don't say that lightly). The male and female characters were so real, the world of Mycenaean Greece so vivid, that I was just drawn into the tale. From there, I went on to devour the other books. 

And now, there is a new book in the series entitled, The Oracles of Troy. 

Today I'm very happy to have author Glyn Iliffe on Writing the Past to talk about history, writing, and the fantastic world of The Adventures of Odysseus. 

WP: What got you interested in historical fiction in the first place? Was it a particular book?

GI: Writing historical fiction is just a marriage of two of my favourite things: writing and history. I’ve wanted to be an author since primary school. Nothing else appealed then or has since. The love of history comes from my dad. He was in the army before I was born, but he had shelves full of books about military history. I read these enthusiastically and it’s probably still my preferred branch of history to this day, even ahead of ancient Greece. In my younger days I was more a fantasy fiction fan (Tolkien and Edgar Rice Burroughs were top of my list), but I still remember the first histfic novel I read was The Happy Return by C S Forester. As far as characters go, Hornblower is a masterpiece.

WP: You really bring a place to life in your writing. Have you travelled to all the places you have written about, and how important do you think travelling is for writing historical fiction/fantasy?

GI: I’ve travelled to most of them - Ithaca, the Peloponnese, Mycenae, Delphi and so on - and I found it a real help to get an understanding of the lay of the land. But it still needs a lot of imagination to describe these places as they might have appeared in the Bronze Age. One difficulty is that the Trojan War occurred a very long time ago and the geography, flora, fauna and weather have changed somewhat in the three thousand or so years since then. The great bay in front of Troy silted up hundreds of years ago, for example. Another issue is that I’m trying to recreate the mythological/historical world described by Homer. If you read his descriptions of Troy you get the impression of a vast city housing many thousands of people. He fills you with a sense of awe. The actual site of Troy, though, is quite small and doesn’t lend much to the imagination. So I tend to exaggerate all the towns and cities I describe to give them the glory and majesty they would have been viewed with at the time. If I didn’t most modern readers would be a little underwhelmed.

WP: There are so many larger-than-life characters in the Iliad and Odyssey. What made you pick Odysseus from among the rest?

GI: Several reasons, all of them good. The original plan was to tell the story of the Trojan War in its entirety, from cause to conclusion. It wasn’t intended to be a series about one character, I just wanted to help people form a wider and deeper understanding of the whole tapestry of myths rather than the best known elements such as Helen of Troy, Achilles and the Trojan Horse. As with most series, though, I needed a character to tell the story through. Odysseus was the best choice for this. He was there when Helen was married, he was one of the key players throughout the ten years of the war and - very importantly - Homer gives him an epic poem all to himself for his journey home. No other character is present for the whole thirty-year span of the Trojan myth cycle. Besides that, he’s more complex than the likes of Agamemnon, Ajax or Achilles: a lowly king who has to work hard to earn his place at the top table; a thinker, schemer, orator and a warrior with more depth than some of his glory-seeking peers; a family man driven reluctantly from his home into a war he doesn’t want to fight; a character of dubious morality and yet somehow more humane than his contemporaries. All in all, with his strengths and weaknesses he is much more “modern” than the other Homeric characters, and that is key to engaging the reader.

WP: Academia often frowns on the popularization of history through movies, books and other media. How do you reconcile your academic background with your writing?

GI: Greek mythology carries a lot of baggage. On the one hand there’s a good deal of snobbery about it. I’ve had feedback from people on Amazon who are disappointed that I don’t take a high-brow approach to these stories. That doesn’t bother me, as I want my books to be accessible to anyone, not just those people who love ancient Greece. The most important thing is the story itself, and that’s where academic criticism falls down. Like all mythology, the original tales were designed to convey essential messages about the real world in a format that was engaging and entertaining. If I aimed my books at the academic level I think I’d be missing the true essence of what these myths are about.

On the other hand, I think Hollywood approaches Greek mythology at an angle that is far too low-brow. Clash of the Titans and the recent film about Hercules, for example, just want to project muscles, explosions and over-the-top monsters on to the screen. The sad thing is their multi-million dollar CG extravaganzas completely overlook the intelligence, emotion and basic humanity of these fantastic tales.

WP: What is your favourite historical fiction/fantasy novel (and why)?

GI: You said favourite, so I’m going to be honest. It has to be The Lord of the Rings. A boring answer, I know, especially for anyone looking for a new book to read. But it’s true. I re-read it every two or three years and I’m just drawn into a complete fantasy world that never disappoints (except for the fact they’re too short - after the Grey Havens I just want to keep reading).

WP: Do you envision yourself writing in Bronze Age Greece only, or are there other periods you would like to explore? Is there a historic person in particular whose story you would like to tell?

GI: I’m tempted by Heracles, but maybe not for a while. The historical period I’d most like to write about at the moment is the Great War. For much too long I’ve turned aside from studying this vital period in history because of the common perception that all the death and suffering was for nothing. There isn’t the same sense of futility with the Second World War. But a couple of years ago I started to explore the Great War a little more and now I’ve become hooked on it. Almost all the stereotypes I knew have been exploded and to be honest I feel I’ve been cheated for too long by modern interpretations. Worse still, I think the men who fought that war have been cheated. What I’d like to do is write a series of novels that attempts to honour the memory of those men and the reasons for their sacrifice. So instead of portraying a single historical person, I’d like to do justice to the soldiers who fought on the Western Front and perhaps dispel some of the purely negative mythology attached to them. The problem is that the market will be saturated with Great War novels for some time, so it might be difficult to find a gap.

WP: Many authors struggle for years to break out or get noticed, and from what you say on your website, you had just such an experience. In hindsight, is there anything you would do differently? Do you have any advice for new historical fiction/fantasy authors?

GI: Yes it took a while. I started writing King of Ithaca in 1999 and it was rejected 38 times before I was offered a contract in 2006. It hasn’t been much easier since, either. If I could go back to 1999 (or earlier) and give myself some advice, I would say “have more faith”. Writers need to believe in themselves to succeed. When sending a synopsis and sample chapters to a publisher or agent, they’re much more likely to pay attention if the writer sounds upbeat about the book and their own talents.

The first bit of advice I would give any historical writer is to remember that plot should be secondary to character. An exciting storyline can only go so far in engaging readers; it’s more important they care about the people you’ve created if they’re to continue to the last page. When a reader invests emotionally in your characters then, as an author, you’ve succeeded.

Another thing is that research is vital and takes time, but don’t feel the need to include everything you’ve learned in your story. You should do enough to feel comfortable with the place and era you’re describing, which will then come through in what you write. But don’t be tempted to bog the reader down with historical facts - leave that to the textbooks. Little details here and there should be enough to draw the reader in without hindering the flow of your story.

WP: Do you ever see your work being made into a movie? Who would play Odysseus and Eperitus?

GI: See my earlier comment about Hollywood. Obviously I’d be mad to turn down a movie offer, but judging by what has been done so far with Greek mythology I dread to think what Hollywood would do to my characters and storyline. I would love the books to be made into a US TV series, though. You just have to look at the quality of The Wire, Game of Thrones and The Walking Dead to realize the storytelling power of this medium. As for actors, that’s a tough one. I can’t think of anyone who just fits either role. Damian Lewis is a good actor and a natural redhead so might be an interesting choice for Odysseus. And maybe Norman Reedus (Daryl in The Walking Dead) would be a good Eperitus - quiet, thoughtful and mean.

WP: Do you have any writing rituals that you would like to share? What is a typical ‘writing day’ like for you?

GI: Over the years I’ve learned I have a writing ‘sweet spot’ that occurs in the middle of the afternoon. I average around 2,500 words a day, most of which get written between 2pm and 6pm. Knowing that, I usually start my writing day (which is Friday - I have another job the other four days of the week) with a cooked breakfast at a café in town. It’s a very old fashioned place with high ceilings, sash windows and listed wallpaper from the 1920s, but it’s got a great atmosphere and serves wonderful food. I usually sit there until 11am drinking tea with a couple of friends, then head home to start the day’s writing. It still takes me a while to get settled and one pitfall I have to avoid is the temptation to look at e-mails, the internet or play games. It’s always best to jump straight in - the sooner I force my brain into writing mode the better. My worst writing days are when I haven’t had enough sleep. My best are when I have a clear outline of what I’m going to write, so I can just slip straight into it and let the pistons of my imagination get pumping.

WP: What is your next project?

GI: I’m busy sorting out a paperback version of The Oracles of Troy, the fourth in my Odysseus series. I’m also a third of the way through the fifth book, currently entitled The Voyage of Odysseus. That’ll take me into 2015, with editing and so on, and then it’ll be on to the final episode in Odysseus’s adventures. I’ve also written a teenage novel set in the modern era, which I’m hoping to send out to agents and publishers soon. Then there’s another teenage novel rattling around my head that I’m quite excited about, but, as ever, it’s a matter of finding the time to get it on to paper.


I'd like to thank Glyn for taking the time to answer all my questions and give us some insight into his love of history and his writing life. 

I highly recommend The Adventures of Odysseus! The series will inspire you, make you rage, make you cry, and make you want to get stuck in there with sword, and shield, and spear alongside all the heroes that have haunted story and myth since that long-ago war beneath the walls of Troy. 

Be sure to check out Glyn's website to find out more about the series. You can also connect with him on Twitter. 

His books are available on both Amazon and Kobo. 

As ever, thank you for reading. 

In Insula Avalonia - Glastonbury Abbey

Springtime, as elusive as it is this year in Toronto, always reminds me of Glastonbury.

From my days In Insula Avalonia, I can still recall refreshing walks along the crest of Wearyall Hill, along the dragon’s back of the Tor, and down Paradise Lane through the squelching mud to the giants, Gog and Magog.

Spring is still a time of rejuvenation in this place. After the rains have stopped, the magpies and blackbirds are out, flitting from fence post to hedge row, squawking at passers by.

Everywhere you look, snow drops and bluebells are peaking out of the ground in satisfying clusters, the dew still thick on their tiny flowers if you happen to be out in the morning.

Nestled between Wearyall Hill, Chalice Hill, and the Tor, is another sanctuary – Glastonbury Abbey.

Model in the Abbey Museum

The Abbey grounds, like other sancturaries in town, are a place to get away to. You have to pay to get in, but once you walk through the arch, past another desendent of the Holy Thorn, and onto the green lawns surrounding these magnificent ruins, you are set to experience a whole new aspect of Glastonbury.

The ruins of what was once one of the largest abbeys in England rise up from the soft ground, sentry-still, surrounded by mist. ‘Majestic’ is a word I would use to describe the ruins, and ‘sad’. When you see the model of what the place looked like at its height of power and prominence, you understand.

Glastonbury abbey was not always such a soaring monument of Christianity. The lovely ruins that can be seen today are a medieval creation, the remains of which date from the twelfth to sixteenth centuries. But the place itself is said to be the site of the first Christian church and oldest religious foundation in the British Isles.

According to tradition, Joseph of Arimathea and his followers built a wattle church on the site on land he was given by the local king, Arviragus, around the middle of the first century A.D.

Circa A.D. 160, two Christians named Faganus and Deruvianus are supposed to have added a stone structure on the site of what is the Lady Chapel. It is here that there is an ancient well dedicated to St. Joseph.

The Lady Chapel c.1900

In the early days of Christianity in Britain, this first chapel and the well were the predecessors of the magnificent ruins of the abbey we see today. The Lady Chapel was the site of the first Marian cult in Britain, and in the words of Geoffrey Ashe “there is no rival tradition whatsoever. When all of the fantastic mists have dispersed, ‘Our Lady St. Mary of Glastonbury’ remains a time-hallowed title.”

In one of the Welsh Triads, Glastonbury is given the distinction of having a ‘perpetual choir’.

It was a place that Christians gravitated to. Indeed, several Celtic saints are said to have come here, including St. Bridget, St. David, St. Columba, and even St. Patrick whom some stories name as the first abbot of Glastonbury.

Walking the grounds of Glastonbury Abbey is a contemplative activity, like so many other spots In Insula Avalonia.

Abbey Cloisters

It is supremely peaceful and there are all manner of flora in the gardens to add to the calm. Great trees shiver overhead when a breeze blows into town from across the Somerset levels.

You can stroll the scant remains of the cloisters and up the nave with the abbey’s stone titans looming over you. In a couple spots, you can lift a wooden cover to reveal some of the colourful tiles of the abbey floor.

And then toward the transept you come to an unassuming outline in the grass with a plaque marking it. This is where you meet with one of Glastonbury Abbey’s most mysterious connections.  

Floor Tiles

In 1184 a fire ravaged the abbey and the monks needed to rebuild. Around the time of the fire, a Welsh bard is supposed to have revealed to King Henry II that King Arthur himself was buried within the abbey grounds.

The king passed this information on to the Abbot of Glastonbury who later ordered excavations to be carried out. In 1191, it is said that the monks found the bones of a man and a woman in a hollowed out tree trunk who were none other than Arthur, and his queen, Guinevere.

With the remains was a lead cross with the words ‘Hic Jiacet Sepultus Inclytus Rex Arturius in Insula Avallonia’ which translates as ‘Here lies buried the renowned King Arthur in the Isle of Avalon’.

The Arthur Cross

The Elizabethan antiquarian, William Camden, did a sketch of the Arthur cross in the early 17^th century.

A lot of doubt has been cast on the monks’ discovery with many believing that it was a hoax created by the monks to boost tourism through pilgrimage. The remains were treated as relics and later moved within the abbey during the reign of Edward I in the early 13^th century.

It is important to note that the archaeologist who excavated the abbey in the 1960s, Dr. Ralegh Radford, indicated that the monks’ story might not have been that far-fetched, and that there was indeed a person of great import from the correct period buried in the graveyard just south of the Lady Chapel.

The Abbot's Kitchen

As with all things In Insula Avalonia, belief is always a part of the great equation.

There are other buildings associated with the abbey too, including the Abbot’s Kitchen where the Benedictine brothers would have prepared meals, and the Abbey Barn which is now home to the Somerset Rural Life Museum.

The site is lovely and inspiring. Tradition on the abbey grounds goes back ages to the very roots of Christianity in Britain and beyond.

As I would sit on a bench, listening to the birds and the breeze, gazing upon the ruins, I would imagine St. Joseph arriving with his followers and picking out the spot for that first chapel. Perhaps they had something in common with the druids and priestesses of the goddess who might have already been there? Perhaps a common yearning for peace and truth?

It is sad that Henry VIII robbed us of the physical beauty of Glastonbury Abbey in the great Dissolution. The last abbot was dragged to the top of the Tor and beheaded by the King’s henchman, Cromwell.

For this place to function peacefully and unmolested from its earliest time, through Saxon incursions and Norman invasions, speaks to its agreed importance over the ages.

The majesty of this place may lie in ruins now, but its spirit and mystery certainly remain intact.

Thank you for reading.

To learn more about Glastonbury Abbey, visit the Abbey website HERE.

And History for All

“To be ignorant of what occurred before you were born is to remain always a child. For what is the worth of human life, unless it is woven into the life of our ancestors by the records of history?” (Cicero)

I’ve run into a few history haters of late. Yes, they DO exist!

Someone recently said to me that ‘history is just boring. What’s the use? I live in the present, not the past.’

After a few deep breaths, I got control of my outrage. How could someone say such a thing? To me it’s such an obviously ignorant statement.

But then I asked myself ‘What turned that person (like so many others) so completely off of history in the first place?’ I’ll bet that anyone who hates history loves a good story, loves to watch movies set in the past, likes to hear about people’s victories, defeats, great love affairs, suffering, loss, adventures, beliefs etc. etc.  What’s not to like?

“History isn't about dates and places and wars. It's about the people who fill the spaces between them.” (Jodi Picoult, The Storyteller)

History IS about people. It’s about the reasons and motivations behind all those dates, and wars, and places. And because it’s about people, there is always something that other people, in any age, can relate to and learn from.

I think the root of the problem for all those folks who despise history is that it was badly taught or presented. When you think about it, we’ve all had a bad teacher in one subject or another, history being no exception.

In high school, I had one good history teacher. The others, I don’t even remember. That history teacher told us those personal anecdotes of people during the periods we were studying. He brought history to life using not only stories, but also props, movies, and artifacts.

Isn’t history a record of human life as it has been played out?

“If history were taught in the form of stories, it would never be forgotten.” (Rudyard Kipling, The Collected Works)

Mr. Kipling hit the nail on the head there. If history were taught in an interesting way, the number of naysayers would be far less. I’ve always believed that good historical fiction should be a part of every history curriculum.

Sadly, not one of my elementary, high school, or university history courses ever included historical fiction on the reading list. On the contrary, the teachers often slammed historical fiction, especially at the university level.

Big mistake! Imagine the possible classroom conversations about an historical person or topic that the students might have read about in a fascinating or gut-wrenching novel!

That would have been much better than “This general marched with his army in such and such a date to such and such a place,” or “On such and such a date, such and such a tyrant was defeated in this battle.”

Honestly, that sounds like the history of nowhere to me. Every era taught the in the same boring way, oftentimes without any passion for the subject. How are you supposed to hook your audience?

“The past is a source of knowledge, and the future is a source of hope. Love of the past implies faith in the future.”  (Stephen E. Ambrose)

I think it’s also important to encourage diversity of interest in various periods of history, and what better way to do that than through fiction.

Among history lovers’ circles, I’ve also run into what can only be called ‘period snobbery’.

If history is really about people, and people of the past are how we can most easily relate to history, then there is something to be learned or gained from every period of history, in every place.

“That men do not learn very much from the lessons of history is the most important of all the lessons that history has to teach.” (Aldous Huxley)

In my studies, I found something interesting in every period of history to clamp onto. Again, the common denominator of the ages is people - flawed, impassioned, messy people.

The Gods must truly be having a laugh, or a good cry, when they watch us mortals. History is an eternity of entertainment.

It’s not to say that history lovers don’t have their favourite periods to which they gravitate. I love the ancient and medieval worlds; these span thousands of years, so I suppose that my tastes are pretty varied.

However, I can still remember being rapt by my American history course when it came to the Civil War, or the Civil Rights movement in the 1960s. I never thought industrialization could be interesting, or Regency England for that matter, until I studied them a little.

Medieval Japan? Very cool. Learning about cuneiform in Mesopotamia? Brilliant!

Another good example is movies or Television shows. Of course, I loved Gladiator, The Fall of The Roman Empire and other ancient-themed movies. I also enjoy watching The Tudors, and the BBC’s Pride and Prejudice alongside I Claudius.

“If you don't know history, then you don't know anything. You are a leaf that doesn't know it is part of a tree.” (Michael Crichton)

Myth and Legend are also a part of history, a deep-rooted part of human existence.

What I find amazing and unfortunate is that there are some people who make a career for themselves out of trying to disprove what is history and culture to others.

Often I’ll read a quote from one of these folks that belittles even the greatest beliefs or achievements of the ancients, be it about their gods, their rituals, their cures, and their stories.

I think history and the people of the past require and deserve a bit more respect and attention than that.

 “Fiction is written with reality and reality is written with fiction. We can write fiction because there is reality and we can write reality because there is fiction; everything we consider today to be myth and legend, our ancestors believed to be history and everything in our history includes myths and legends. Before the splendid modern-day mind was formed our cultures and civilizations were conceived in the wombs of, and born of, what we identify today as "fiction, unreality, myth, legend, fantasy, folklore, imaginations, fabrications and tall tales." And in our suddenly realized glory of all our modern-day "advancements" we somehow fail to ask ourselves the question "Who designated myths and legends as unreality? " But I ask myself this question because who decided that he was spectacular enough to stand up and say to our ancestors "You were all stupid and disillusioned and imagining things" and then why did we all decide to believe this person?” ( C. JoyBell C.)

I love this quote, and it's so true. In man's search for scientific reasoning and advancement, he has, at the same time sought to explain away so many rich aspects of our actual history.

Myths and legends ARE history. They were not mere fireside tales intended to entertain the drunken masses, or stories whose sole purpose was to lull children to sleep after suckling at their mothers' breasts.

Perhaps this is one reason that history classes today tend to be so boring for many students? If myths and legends were taught as history and not as pure fabrication that is so easily explained away, those classes would be riveting. We would be inspired by the past, and not bored by it.

If history is about people, then we would do well to try and look at things as those people did if we really want to understand them.

Hindsight can be useful when studying the past, but it can also be a poison that leads our modern minds to think we are superior to all that has gone before.

History is for all - every person, every period, every aspect has value.

“Everyone who wants to know what will happen ought to examine what has happened: everything in this world in any epoch has their replicas in antiquity.” (Niccolò Machiavelli)

Thank you for reading.