I work slowly, I agree. I try to write poetically, and without cliché. Thirty years ago a good friend, and fine writer a generation older than me, dissected one of my short stories, showing me just how much cliché I was using. It was the best lesson I ever had! After that, I decided to try and establish a strongly poetic prose, with deliberate use of repetition of imagery, and phrases, and a certain ‘rhyming’ style. You will read this at its most deliberate in Lavondyss.

I don’t always refer to the classics for inspiration, though sometimes I find a theme there, or a reference point. Merlin’s Wood and the Merlin Codexx are inspired by our poet Alfred Lord Tennyson. Indeed, when I read his poem ‘Ulysses’, the last few lines became the rock on which I could build the thematic structure of the Merlin Codex books. I had had the idea before that, though.

You ask me about the play Medea by Euripides. This was certainly inspirational in the Codex idea: the performance I saw showed Medea’s sons being brutally murdered by their mother. After their deaths, on stage, they lay in a glass coffin, covered with blood. The young actors were talking, squirming around, and giggling together, even as the rage and anger of the play unfolded on the main stage. The audience was amused.

And it occurred to me that Medea, a loving mother, might only have pretended to kill her sons by Jason. If so: where would she have hidden them? And what if their father Jason discovered they were still alive?

The rest came naturally: Jason rebuilds his ship, Argo, and recruits new Argonauts. And one Argonaut is Merlin, a semi-immortal man wandering the world. This Merlin is the same Merlin whom I had introduced in the mid 90s, in Merlin’s Wood.

So the new books became an extension of the old book, just as Merlin’s Wood itself was an extension of the Mythago Cycle of novels. And Jason, in the new work, is the same Jason who appears in The Hollowing, the third Mythago book. Thus do ideas connect across the years of imagination.

The research I did for Celtika was mainly into the legendary invasion of Greece by a massive army of Celtic tribes, drawn from all over the ancient world at the time. They raided the oracle at Delphi, but with little success. I tried to make a prose style that shifted between the ‘heroic’ style of our own Celtic literature and the ‘heroic’ style of ancient Greek literature. Of course, I can only refer to translations; but it was enormous fun to play with both traditions and styles of narrative. The Iron Grail is a conscious recreation of the narrative style of an early Irish epic, The Cattle Raid, one of the most brilliant accounts of warfare, combat, gods, spirits and Celtic royalty ever written; it is a miracle and a delight that the ancient text has survived into the modern age.

Robert Holdstock
Interviewed by Octavio Aragao. 17th July 2008

30 or 40 writing tricks

April 3, 2020

When I was young and stupid, I thought, “there must be like 30 or 40 writing tricks, and when I learn them all, it’s going to get easier.” But there’s always more to learn. I always want to keep doing things that are not expected.

Dean Koontz
Interview with Dawn Ius, 1st April 2020