Guest Post: Writing with Cannabis by Derek Nason

When I first began working on a story about women who turned into werewolves as they entered menopause way back in 2009 or so, there was not a whole lot of representation of middle-aged and older women to be found in science fiction, fantasy, or horror. I mean, there were the evil middle-aged queens with talking mirrors, out to poison their younger, prettier rivals and the ancient witches who popped up to do terrible things or sometimes, provide directions, as the case may be. But, with rare exceptions, they were never protagonists, and they were seldom more than cardboard embodiments of evil or just plain window dressing.

Around 2010, that started to change. A bunch of other things happened around then too, including a huge growth in ebook publishing by indie authors and indie publishers which brought in a lot of voices that were not previously being heard from in more mainstream science fiction, fantasy, or horror. Along with that came writers willing to take risks, to tell new stories, to tackle things like representation that had been pretty sparse up until then. Those writers included women who were middle-aged and beyond looking to see themselves and their stories in the pages of the genres they loved.

Amongst those writers was yours truly. As I entered middle age myself, I wanted to see more protagonists that were dealing with the same issues around aging that I was dealing with and still having adventures along the way. Entering middle age often brings with it some big physical and psychological changes, as well as the potential for having one’s traditional social roles (perceived desirability and childbearing, for example) reduced. Menopause is either ignored or treated like a medical condition, and middle-aged women who are still interested in sex are often treated as a punchline to a joke. Quite a bit of this is culturally specific to Western culture as we practice it in the U.S., but that also makes it pretty pervasive.

Inspired by a write-up that I found on a medical site for “symptoms” of menopause (“Unexpected hair growth! Mood swings! Receding gums which make your teeth look longer!”) I embarked on what was originally a novella about a woman who discovers that when she turns fifty, she also turns into a werewolf. She also develops a crush on her next-door neighbor and finds a whole new community of local werewolves, all middle-aged and elderly women, and confronts the people out to destroy her newfound family. After getting a lot of positive feedback for the idea, the novella was followed by the first novel, Silver Moon, and now, the second one, Blood Moon. Some of the themes and issues that I tackle in the Wolves of Wolf’s Point series include coming out at midlife, the physical and psychological experiences of menopause, a magical system that values older women and ways to combat the isolation that can impact women as they age. Also: werewolves, because they’re cool.

Silver Moon originally came out in 2012 (it was reissued by Queen of Swords Press in 2017), joining a small list of novels and stories with female protagonists forty and older in sf and f. These included Paladin of Souls by Lois McMaster Bujold (2003), a fantasy that sends a middle-aged noblewoman on a quest, and Remnant Population (2003) by Elizabeth Moon, which is a first contact novel featuring an eighty-year-old human colonist as the protagonist. There were also Nancy Springer’s middle-aged ladies of the fantastic featured in such titles as Fair Peril (1996), Larque on the Wing (1994), and Plumage (2000). YÅ«ya Satō’s Dendera (2009) is about a group of elderly Japanese women banding together to fight a supernatural bear, and most popular of all, Terry Pratchett’s Discworld witches, which were first featured in Equal Rites (1987) and Wyrd Sisters (1988).

Armed with the knowledge that there might be more stories out there, I went looking. I started a bibliography of the stories I found featuring science fiction, fantasy, and horror tales with female protagonists over 40 where I listed everything I knew about (10 books and/or stories) and then I asked for suggestions. And it turned out that I wasn’t the only one looking for more older women in speculative fiction. Suggestions trickled in and I checked them out and added them if they seemed like a good fit. The two biggest reasons for not adding a title were unspecified age (character felt “older”) and a misinterpretation of what a “protagonist” was. Middle-aged and older women apparently occupy an outsized role on the fictional page, such that even a walk-on and a couple of lines is as good as being a major player for some readers.

After the initial growth spurt, there were new and rediscovered works popping up every time I asked for suggestions. A nice fan I met at Helsinki Worldcon offered to create a Goodreads list, and things took off from there. The list has taken on a life of its own as people add books and readers discover it.

But apart from the obvious interest in the topic, there still remains the question of how broad and deep the representation these books and stories provide. There are, for example, still not many characters who are women of color and even fewer who are written by writers of color. There are some queer women, but not many. A list of trans women who are also elders in spec fic and protagonists, while longer than it would have been a couple of years ago, is still very short. Representation of aged characters is also full of magical and technological “cures” and other miracles.

There have also been some challenges making readers aware that the books and stories that do exist are out there. I, and now we, have been adding to and publicizing these lists for years and yet every six months or so, I encounter a post or commentary somewhere online to the effect that there are almost no older women featured as protagonists in sf and f. This is invariably followed by people suggesting the same five or six books, many of whom are amazed that there are many more stories than they thought out there.

As writers in the field age, their characters often age with them (sometimes subconsciously), so I think that we will see more of these stories in the future. Add to that the works that we have not yet discovered and included, particularly those from outside the U.S., perhaps not originally written in English, and there is fertile ground for exploring older women as central characters in speculative fiction.

Bio: Catherine Lundoff is the publisher at Queen of Swords Press, a Minneapolis-based small press focused on fiction from out of this world. Queen of Swords publishes work by A.J. Fitzwater, Alex Acks, Catherine’s own work and that of other authors. Catherine is also an award-winning writer and editor who works in IT and lives with her wife and their kitty overlords. Her books include the Wolves of Wolf’s Point series, Silver Moon and Blood Moon, Out of This World: Queer Speculative Fiction Stories and Unfinished Business: Tales of the Dark Fantastic and as editor, Scourge of the Seas of Time (and Space). She is the author of over 100 published short stories and essays which have appeared in such venues as Fireside Magazine, Nightmare Magazine, the SFWA Blog, Sherlock Holmes and the Occult Detectives, American Monsters Part 2 and World of Darkness anthologies Haunting Shadows, The Cainite Conspiracies and Ghosthunters. She teaches writing classes at the Rambo Academy and Springboard for the Arts.

Websites: www.catherinelundoff.net and www.queenofswordspress.com

If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines. Or if you’re looking for community from other F&SF writers, sign up for the Rambo Academy for Wayward Writers Critclub!

My love of Arthurian lore definitely began with a trio of books my aunt lent me as a kid, Mary Stewart’s Merlin Trilogy, The Crystal Cave, The Hollow Hills, and The Last Enchantment. I knew only a little about King Arthur and Merlin and the rest, and the allusions to historical Roman Britain and the grounding of Merlin’s vaunted magic in science was revelatory to me at the time, though I admit I didn’t wind up pursuing the path of historicity myself, instead cleaving to the fairy story aspects. My Arthur isn’t the much-debated 6th century British chieftain, but the boy who drew a sword from a stone. My Merlin is all seeing, all knowing, and can appear in any forest by passing through the hedgerows planted by Queen Gloriana in the Garden of Joy.

Nevertheless, Stewart led me to John Boorman’s Excalibur, which led me to Sir Thomas Mallory and T.H. White. Years later a woman I worked with lent me The Mists of Avalon, and it was the clash between Christianity and paganism there that arrested me. After reading Bradley I rediscovered Mary Stewart in the unofficial sequel to the Merlin Trilogy, the Morded-centric standalone novel, The Wicked Day.

All of these ingredients went into the mix of my forthcoming novel The Knight With Two Swords, a retelling and expansion of The Tale of Sir Balin related in Le Morte D’Arthur.

The titular Balin is a temperamental, reactionary knight, the greatest of Arthur’s champions prior to the arrival in Camelot of Sir Lancelot. He and his twin brother Brulen are affected early on by the murder of their pagan mother at the hands of Christian fanatics, yet the two brothers come away from the experience with very different outlooks; Balin blames the pagan sisterhood of Avalon for corrupting his mother, whereas Brulen sets himself as an outlaw against all that is Christian.

This makes the court of Camelot, where both the Archbishop Dubricius and Merlin the Enchanter have a hold of King Arthur’s ears, a bewildering place for Balin. He seethes, torn between serving God’s chosen king and striking down what he perceives as the serpents in his shadow.
His personal conflict comes to a head when a mysterious woman girded with an enchanted sword visits the court, and no man but Balin can draw it. Yet, she warns him, though it will make him the greatest knight in the land, it will also doom him to kill the one he loves best”¦.

This woman is Nimue, a familiar face in Arthurian lore. Named as one of the three queens who, along with Morgan Le Fay and The Queen of Norgales (who I’ll talk a little about later) ultimately accompanies the body of Arthur on his funeral barge, she is invariably described throughout the lore as an enchantress, the temptress who traps Merlin in a tree, and The Lady of The Lake herself.

The names of The Lady of The Lake are almost legion. There is Lile (who Phyllis Ann Karr in her Arthurian Companion suggests only became an individual when someone mistranslated the French “˜l’ile d’Avilion’ as “˜Lile of Avalon’), Viviane, Nineve, and Sebill from the Vulgate Cycle, to name a few. As others have done before me, in Knight With Two Swords, they have all held the office of Lady of The Lake, and as the embodiment of Balin’s scorn for Avalon and its pagan mysteries, definitely have an impact on the tragic course of his life.

Other, less well known female characters from across Arthurian lore make appearances too, such as the mother of Merlin, Adhan, and his sister Gwendydd, who probably first appeared in Cyfoesi Myrddin a Gwenddydd ei Chwaer, a poem from the Red Book of Hergest attributed to a bard named Myrddin. In the old story, Gwendyyd’s son is killed in battle by her brother, and Myrddin goes mad when she disavows him. Geoffrey of Monmouth calls her Ganieda in his later Vita Merlini, where she cuckolds her husband Rhydderch Hael, and Myrddin tells on her. Geoffrey Latinized Myrddin into Merlin, possibly replacing the “˜d’ with an ‘i’ because “˜Merdin’ sounded too close to “˜Merde’ (“˜shit’ in French). In The Knight With Two Swords, Gwendydd is the bridge between Nimue and Merlin, who will tutor her in the magic arts she employs to direct Balin as a weapon of her own personal quest for vengeance.

In the course of Balin’s adventures, he encounters the Aspetta Ventura or, “˜Expected Fortune,’ a castle mentioned in the 14th century Italian take on Tristan, La Tavola Ritonda. The mysterious chatelaine of the castle is Lady Verdoana, known as The Leprous Lady, a woman covered head to toe who demands every maiden who visits her submit to a bizarre bleeding ritual. Cursed by a spurned sorcerer, she can only be cured by the blood of a royal virgin. Needless to say, this leads to shenanigans when Balin and his traveling companions find themselves houseguests.

For the ultimate antagonist of The Knight With Two Swords, I looked to the aforementioned Queen of Norgales. Like The King With A Hundred Knights, she goes unnamed in most stories, popping up now and again in Malory and the French Vulgate Cycle tormenting Lancelot and plotting with Morgan. She is described as one of the three most powerful sorceresses of Britian, behind Morgan Le Fay and The Lady of the Lake. In The Knight With Two Swords, she is a mysterious elderly dowager, always veiled, content to direct the actions of her armies and agents from afar. The widow of a wicked king named Agrippe who invaded the Grail Kingdom at the behest of the Devil, she plays a long game of wits with Merlin himself, whom she considers her grandson, as it was she who set the demon that begat him upon his mother Adhan in a failed attempt to bring forth the antichrist.

The Knight With Two Swords is available in print December 21st, and drops on Kindle on the 26th.

Edward M. Erdelac is the author of twelve novels including Andersonville and The Merkabah Rider series. His fiction has appeared in dozens of anthologies and periodicals including the Stoker award winning After Death and Star Wars Insider Magazine. Born in Indiana, educated in Chicago, he lives in the Los Angeles area with his wife, three kids, and three cats. News and excerpt from his works can be found at:
http://www.emerdelac.wordpress.com
https://www.facebook.com/Edward-M-Erdelac-112183918691
https://twitter.com/EdwardMErdelac

Enjoy this writing advice and want more content like it? Check out the classes Cat gives via the Rambo Academy for Wayward Writers, which offers both on-demand and live online writing classes for fantasy and science fiction writers from Cat and other authors, including Ann Leckie, Seanan McGuire, Fran Wilde and other talents! All classes include three free slots.

If you’re an author or other fantasy and science fiction creative, and want to do a guest blog post, please check out the guest blog post guidelines.