Bringing Ragnarok – Dev Diary 10
Well, the New Year has begun, and so the time has come for me to start work on Book 3 of Bringing Ragnarok.
I am rather pleased that I was able to write, edit, and publish Book 2 between July and December of 2018 – just as I’d planned. But plans are one thing, and reality quite another. 2018 has to have been one of the worst two years in my memory. It was a year of things breaking. We lost two of our founding Broken Wagon Farm members, one cat and one dog. Illnesses struck us both and other family members, and while the lass of the house spent a summer working, in effect, three jobs, the lad - me - finally realized that the logic of pursuing an academic career was coming to an end.
So! I am quite pleased that I was able to get the job done, and with a manuscript that ended up a full third longer than I’d originally intended. And with 2019 looking – at least in our household – to be a more stable time, I am confident that I’ll be able to get Book 3 up and published by the July 2019 – and then on to Book 4.
Completing Book 2 was also a relief for another reason – insofar as the narrative goes, Books 1 and 2 complete the first of three “movements” in the Saga. The first movement, First of Fimbulwinter, is about the Six Friends transition into their new world, and coming to grips with the reality of what being in war really means.
As a result, Book 1 has (I hope) a bit of a jarring feel, with a bit of whimsy, while Book 2 is more of a descent down the other side of a rollercoaster – it starts off slow, a bit like the late-middle of Book 1, and then accelerates into a torrent of action. Book 2 also ends on a much darker note, as I believe it has to, in order to serve its role in the Saga.
Book 3, by contrast, begins a new movement, one more focused on exploration and problem-solving. There’s still action, but it is spaced out again, and the Six Friends won’t always be quite so close to the center of the battles. I hope to continue taking the readers on a whirlwhind tour of three periods of human history, while working in as much detail on the crucial question of how the world got so dystopian in the first place.
Which means more about America’s collapse (the news continues to make this both easy and salient), more about Germany’s descent into madness, and more about the dark future the Neoliberals have in store for us all (though unless they get to work on rejuvenation pharmaceuticals soon, those of us reading this in the 21st century won’t live to see that particular dystopia rise).
Also, while I’m using musical metaphors...
*Brief aside: as this sentence was being typed, a cat just leaped onto my lap and then over to the couch. One of my primary functions in life is serving as a cat highway/parkour installation*
...As I was saying – musical metaphors. I make no secret of the fact that I love music. In fact, most of the backstory and plotting that swirled around for a couple years before I actually sat down to write the Saga came together whilst I relaxed on the couch, listening to Amon Amarth.
For some reason, back in about 2015 I got back into listening to music after a long period of, well, not doing much of anything new. Working on my PhD was starting to get... well, I was starting to get burned out, I now realize. Academia is a right hell-disaster, as I’ll get around to talking about on my blog one of these days. Racism, sexism, a culture of bullying – anything you can imagine experiencing in a cubicle in corporate America, you can find it in Academia, too. And there’s only so much self-congratulating hypocrisy from old white men with no clue about how the world actually works one can take in a lifetime.
Well, in any event, while I was starting my three-year journey to total burnout, I was listening to Pandora whilst poring over some statistical data (like ya do) when a song came on – “Runes to my Memory” that just totally blew me away. I’ve always been a huge Tolkien fan, and I knew there was a Swedish melodic death metal band named Amon Amarth, which is the Sindarin (One variety of Elf-speech) word for Mount Doom – the fiery chasm whence the One Ring was thrown, freeing us all from the dominion of Sauron, forever. (others have moved in to fill the void since, sadly).
So when I heard this song and checked the Pandora feed to grok the band name, I knew I had to find more of their stuff. I’ll save the full review, analysis, and impressions of the full Amon Amarth discography for another day, but suffice to say that I acquired all ten of their studio albums and listen to each pretty much once or twice a week, every week. Often, while putting together plotlines and lore for Bringing Ragnarok.
So I think it is fair to say that I owe a huge debt of gratitude to Amon Amarth. In fact, there are scenes, even entire chapters, that are directly inspired by certain songs. I quote AA both as Part epigraphs and in the voice of a character, Sandra Chavez of the Missoula Regiment, who (like I suspect I would if I were a 20+ year veteran of the aftermath of the collapse and breakup of the USA) has incorporated certain lyrics as part of her life ethic and enjoys transmitting them via radio as part of psychological operations against her enemies.
It actually strikes me, as I type this, that perhaps I should reach out to the Amon Amarth fan community and see if I can score some readership. In past blogposts, I’ve wondered who my fans are – and I still am not entirely certain of the answer. But I suspect that it is safe to say that someone who likes reading stories about badass women who fight against the odds to change the world, who also enjoys swedish melodeath, and who is super into sci-fi and fantasy books, is probably someone who would like Bringing Ragnarok. So perhaps, I need to think of a way to chase down that particular idea Thread...
In any event, Amon Amarth also deserves credit for getting me into reading Sagas in the first place, which is what allowed me to pull two decades of ideas together into a coherent, epic, metaphysical storyline. Wanting to learn more about the Norse gods Johan Hegg growls about, I read the Eddas (Prose and Poetic). Then I went and read every Saga I could find on Amazon. Ragnar Lodbrok, the Volsungs, Sagas of the Icelanders, Heimskringla – most sit proudly on my shelf.
And it was that spree, tied to my own disillusionment with Academia, that provided crucial impetus for getting me (finally) writing the kind of tale I’ve always wanted to write. Something that blends genres, draws on the critical and postcolonial scholarship that I think is so important for people to encounter, and takes the reader on a familiar sort of journey, while reaching what I hope will be a rather unexpected (if, in point of fact, foreseeable if you’ve gotten obsessed with sagas and mythology) endgame and conclusion come Books 5 and 6...
But first, there’s the fun of Books 3 and 4 to get through. Which I guess I’d better get to writing.