Podcasts about Viking Age

What happens when Vikings stop raiding and start laying siege to a mighty rock fortress on the Clyde?Matt Lewis is joined by Todd Ferguson to uncover the four-month Viking siege of Dumbarton in 870, exploring why this Brittonic stronghold mattered so much, how its fall reshaped Strathclyde, and how these events fed into the long, messy road towards a more unified ScotlandMOREThe Viking Great Army in BritainListen on AppleListen on SpotifyWhat Caused the Viking Age?Listen on AppleListen on SpotifyGone Medieval is presented by Matt Lewis. Audio editor is Amy Haddow, the producers are Rob Weinberg and Joseph Knight. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week. Sign up at https://www.historyhit.com/subscribe.  Hosted on Acast. See acast.com/privacy for more information.

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

STORY of AMERICA

In this week's episode, Dan and Mags are joined by Tonicha Upham as they explore the historical records kept by legendary Arab traveller Ahmad ibn Fadlan and his encounters with various European cultures.------------------------------------------------Check out Tonicha's past work:https://www.uu.se/en/contact-and-organisation/staff?query=N24-2371Also, check out their Google Scholar page:https://scholar.google.com/citations?user=XUaVCz0AAAAJ&hl=daFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

The brilliant Richard Fidler returns to discuss with Hammo his brand new podcast Viking Lives. Richard is producing this new series with his good friend Kári Gíslason and together they explore the Viking Age through personal stories and life narratives. The series covers topics like the myths of Odin and historical figures such as "Gudrun the Vengeful", and Richard shares an incredible story in today's episode. Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan and Mags chat with Faber Horbach, better known as Sowulo, to talk about his unique use of spiritual philosophy and obscure instruments.------------------------------------------------Follow Sowulo's on Instagram:https://www.instagram.com/sowulo.musicAlso, check out their YouTube channel:https://www.youtube.com/@SowuloOfficialFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

Fluent Fiction - Danish: Mikkel's Snowbound Viking Tale: Unearthing Hidden History Find the full episode transcript, vocabulary words, and more:fluentfiction.com/da/episode/2026-03-02-23-34-02-da Story Transcript:Da: En grålig tåge svævede over de snoede landeveje.En: A grayish fog hovered over the winding country roads.Da: Landskabet var et mosaik af sene vinterens farver.En: The landscape was a mosaic of late winter colors.Da: Mikkel kiggede ud af bussens vindue, mens snefnug langsomt smeltede mod ruden.En: Mikkel looked out of the bus window while snowflakes slowly melted against the glass.Da: Der var en dyb fascination i hans øjne.En: There was a deep fascination in his eyes.Da: I dag skulle klassen på udflugt til vikingernes gamle marker.En: Today, the class was going on an excursion to the old fields of the Vikings.Da: Mikkel elskede historie, især vikingetiden.En: Mikkel loved history, especially the Viking Age.Da: Han følte en særlig forbindelse til de mennesker fra fortiden.En: He felt a special connection to the people from the past.Da: Han håbede, at denne forbindelse ville give ham en følelse af at høre til.En: He hoped that this connection would give him a sense of belonging.Da: Ved siden af Mikkel sad Sofie, hvis latter fyldte bussen.En: Next to Mikkel sat Sofie, whose laughter filled the bus.Da: Hendes smil lyste op, når Henrik fortalte historier.En: Her smile lit up whenever Henrik told stories.Da: Henrik var klassen klovn, altid talende og fuld af selvtillid.En: Henrik was the class clown, always talking and full of confidence.Da: Mikkel følte sig ofte i baggrunden, men i dag ville han gøre indtryk.En: Mikkel often felt in the background, but today he wanted to make an impression.Da: Bussen stoppede ved en gammel gravhøj.En: The bus stopped at an old burial mound.Da: Klassen steg ud i kulden.En: The class got out into the cold.Da: Læreren begyndte at fortælle om stedet, men vinden blæste højt, og skyerne truede med at slippe et tungt snefald.En: The teacher began to talk about the place, but the wind howled, and the clouds threatened to unleash a heavy snowfall.Da: Mikkel havde hørt om et gammelt sted tæt ved, som ikke var på turens officielle rute.En: Mikkel had heard about an old spot nearby that wasn't on the official tour route.Da: Hans tanker kredsede om de skjulte historier, der kunne være gemt der.En: His thoughts circled around the hidden stories that could be tucked away there.Da: "Måske skulle vi tage en omvej," foreslog Mikkel stille til Sofie og Henrik.En: "Maybe we should take a detour," suggested Mikkel quietly to Sofie and Henrik.Da: Henrik lo, men Sofie så interesseret ud.En: Henrik laughed, but Sofie looked interested.Da: "Kom nu, det kunne være spændende," sagde hun.En: "Come on, it could be exciting," she said.Da: Trods den frosne luft fandt Mikkel modet til at insistere.En: Despite the freezing air, Mikkel found the courage to insist.Da: Efter lidt overtalelse fik han gruppen til at gå på opdagelse.En: After a little persuasion, he got the group to go exploring.Da: De traskede gennem det knirkende snetæppe, længere væk fra den planlagte rute.En: They trudged through the crunching snow blanket, further away from the planned route.Da: Vinden tog i, og sneen faldt tungt, men der var et eventyr i luften.En: The wind picked up, and the snow fell heavily, but there was an adventure in the air.Da: Pludselig stoppede Mikkel.En: Suddenly, Mikkel stopped.Da: Der foran dem stod en gammel runesten, halvt begravet i sneen.En: There in front of them stood an old runestone, half-buried in the snow.Da: Symbolerne var slørede af tidens tand, men stadig tydelige nok til at genkende.En: The symbols were blurred by the passage of time, but still clear enough to recognize.Da: Mikkel bøjede sig ned, tog et billede og rørte forsigtigt ved de gamle skrifttegn.En: Mikkel bent down, took a picture, and gently touched the old inscriptions.Da: Sofie og Henrik stirrede fascineret på stenen.En: Sofie and Henrik stared fascinated at the stone.Da: "Dette må fortælle en historie," sagde han begejstret, og for første gang følte han sig bekræftet.En: "This must tell a story," he said excitedly, and for the first time, he felt validated.Da: Da de vendte tilbage til gruppen, delte Mikkel sin opdagelse.En: When they returned to the group, Mikkel shared his discovery.Da: Selv Henrik, normalt så hurtig til en sjov bemærkning, var imponeret.En: Even Henrik, normally so quick with a funny remark, was impressed.Da: "Det er ret fedt," indrømmede han.En: "That's pretty cool," he admitted.Da: Læreren lagde en hånd på Mikkels skulder.En: The teacher placed a hand on Mikkels's shoulder.Da: "Godt set, Mikkel," sagde hun med ros i stemmen.En: "Well spotted, Mikkel," she said with praise in her voice.Da: For første gang følte Mikkel sig som en del af noget større.En: For the first time, Mikkel felt like part of something bigger.Da: Han indså, at hans passion for fortiden bar sin egen værdi.En: He realized that his passion for the past held its own value.Da: Hans selvtillid voksede, og han vidste nu, at hans unikke interesser gav ham et særligt ståsted i gruppen.En: His confidence grew, and he now knew that his unique interests gave him a special place in the group.Da: Idet bussen rullede tilbage gennem det viklede landskab, nærede han et nyt håb.En: As the bus rolled back through the winding landscape, he nurtured a new hope.Da: Historien havde talt til ham, og Mikkel havde endelig lyttet.En: History had spoken to him, and Mikkel had finally listened. Vocabulary Words:hovered: svævedewinding: snoedelandscape: landskabmosaic: mosaikfascination: fascinationexcursion: udflugtbelonging: at høre tillaughter: latterimpression: indtrykburial mound: gravhøjhowled: blæste højtunleash: slippedetour: omvejpersuasion: overtalelsetrudged: traskedecrunching: knirkendesymbols: symbolerneblurred: sløredeinscriptions: skrifttegnvalidated: bekræftetremark: bemærkningpraise: rosspotted: setpassion: passionunique: unikconfident: selvtillidhope: håbnurtured: næredeadventure: eventyrexploring: opdagelse

What does it actually take to sail and maintain a Viking longship?In this episode of Exploring the Viking Age with Grimfrost, we sit down in the longhouse with our own shipwright and captain, Erik “Tullock.” A trained traditional boat builder who grew up in the harbor, he shares how he went from medieval markets to commanding 17-meter Viking ships.We dive into:• How Scandinavian boatbuilding traditions still mirror Viking Age methods• Why flexibility matters more than brute strength in a wooden hull• Oak vs pine, copper rivets, and selecting timber straight from the forest• The reality of sailing a square sail versus modern rigs• Minimum crew requirements for rowing and sailing• Captain responsibilities, crew coordination, and real risks at sea• Winter maintenance, tar, linseed oil, and preparing ships for launchSubscribe to stay updated! Also available on all platforms where podcasts are found, such as Spotify, Apple Podcasts, Amazon Music and more. Find all the links in our linktree: https://linktr.ee/grimfrost

In this week's episode, Dan and Mags interview Matthias Toplak to talk about the history of our furry friends in Viking society.------------------------------------------------Check out Matthias's blog:https://wikinger-toplak.deFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

Today's episode is in response to a question from a listener. Peter asked me who was the first non-native woman to reach the Americas? Gudrid Thorbjarnardottir was an Icelandic settler, transatlantic traveler, mother, pilgrim, and possibly the most well-traveled woman of the Viking Age. Visit the ⁠⁠⁠website⁠⁠⁠ (herhalfofhistory.com) for sources, transcripts, and pictures. This show survives on the on the support of listeners like you. Support the show on my ⁠⁠⁠⁠Patreon page⁠⁠ (https://www.patreon.com/user?u=83998235) for ad-free episodes, bonus episodes, and polls. Or make a one-time donation on ⁠⁠⁠⁠Buy⁠⁠⁠ ⁠⁠⁠Me a Coffee⁠. Your support helps me keep bring the stories of past women into the present. Join ⁠⁠Into History⁠⁠ for a community of ad-free history podcasts plus bonus content. Visit ⁠⁠Evergreen Podcasts⁠⁠ to listen to more great shows. Follow me on ⁠⁠Threads⁠⁠ as Her Half of History. Learn more about your ad choices. Visit megaphone.fm/adchoices

Let's talk the Orkney Saga, Orkney Earls and just Orkney history in general.For those who don't know, The Orkneys are the northermost islands in Scotland, bar Shetlands.Please welcome Judith Jesch, who has recently written a book with Birlinn Publishing on The Saga of the Earls of Orkney.Welcome, Judith!Get The Saga:https://birlinn.co.uk/product/the-saga-of-the-earls-of-orkney/Get Women in the Viking Age:https://boydellandbrewer.com/book/women-in-the-viking-age-pb/Read Judith:https://boydellandbrewer.com/?s=judith+jeschFind Judith:https://oldnorse.org/portfolio/viking-warrior-women-judith-jesch-an-expert-in-viking-studies-examines-the-latest-evidence/https://bsky.app/profile/judithjesch.bsky.socialhttps://en.wikipedia.org/wiki/Judith_JeschFind Baroque:https://www.ifitaintbaroquepodcast.art/https://www.reignoflondon.com/https://substack.com/@ifitaintbaroquepodcastSupport Baroque:https://www.patreon.com/c/Ifitaintbaroquepodcast/https://buymeacoffee.com/ifitaintbaroqueIf you would like to join Natalie on her walking tours with Reign of London:Saxons to Stuarts:https://www.getyourguide.com/london-l57/london-the-royal-british-kings-and-queens-walking-tour-t426011/Tudors & Stuarts:https://www.getyourguide.com/london-l57/royal-london-tudors-stuarts-walking-tour-t481355/The Georgians:https://www.getyourguide.com/london-l57/royal-london-the-georgians-walking-tour-t481358/Naughty London:https://www.getyourguide.com/london-l57/london-unsavory-history-guided-walking-tour-t428452/For more history fodder please visit https://www.ifitaintbaroquepodcast.art/ and https://www.reignoflondon.com/ Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan sits down with Sif Brookes as she explains her research into the mythology and misconceptions about the Valkyries.------------------------------------------------Follow Sif on Instagram:https://www.instagram.com/ladyvalsifAlso, check out their new book:https://www.amazon.com/Valkyrjur-Servant-Master-Sif-Brookes/dp/1959350595Follow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

Wir springen ins 11. Jahrhundert, und sprechen über ein Schwert. Ein Schwert, das nach hunderten Jahren aus dem Fluss Witham in England gefischt wurde, über das wir aber eigentlich sehr wenig wissen. Wir versuchen sein mögliches Leben nachzuzeichnen, und sprechen dabei über Stahl aus Afghanistan, Schwertschmieden im Rheinland und die Bedeutung, die ein Schwert ganz abseits vom Schlachtfeld hatte. //Erwähnte Folgen - GAG158: Al-Biruni und die erste Globalgeschichte – https://gadg.fm/158 - GAG191: Aethelfled - Warrior Queen of Mercia – https://gadg.fm/191 - GAG414: Ibn Fadlān und die Reise zur Wolga – https://gadg.fm/414 - GAG519: Die Warägergarde – https://gadg.fm/519 Literatur - Androshchuk, Fedir. Viking Swords: Swords and Social Aspects of Weaponry in Viking Age Societies. Stockholm: Statens historiska museer, 2014. - Brunning, Sue. The Sword in Early Medieval Northern Europe: Experience, Identity, Representation. Boydell Press, 2019. - Davidson, Hilda R. Ellis. The Sword in Anglo-Saxon England: Its Archaeology and Literature. Woodbridge: Boydell Press, 1962/1994. - DeVries, Kelly. The Norwegian Invasion of England in 1066. Boydell & Brewer Ltd, 1999. - Halsall, Guy. Warfare and Society in the Barbarian West, 450-900. London: Routledge, 2003. - Jones, Robert W. A Cultural History of the Medieval Sword: Power, Piety and Play. Woodbridge: Boydell Press, 2023. - Maryon, Herbert. "A Sword of the Viking Period from the River Witham." The Antiquaries Journal 30, no. 3-4 (1950): 175-179. - Moilanen, Mikko. Marks of Fire, Value and Faith: Swords with Ferrous Inlays in Finland during the Late Iron Age (ca. 700-1200 AD). Turku: Suomen keskiajan arkeologian seura, 2016. - Morris, Marc. The Norman Conquest: The Battle of Hastings and the Fall of Anglo-Saxon England. London: Hutchinson, 2012. - Oakeshott, Ewart. Records of the Medieval Sword. Boydell Press, 2006. - Raffield, Ben. "'A River of Knives and Swords': Ritually Deposited Weapons in English Watercourses and Wetlands during the Viking Age." European Journal of Archaeology 17, no. 4 (2014): 630-655. - Williams, Alan. The Sword and the Crucible: A History of the Metallurgy of European Swords up to the 16th Century. Leiden: Brill, 2012. - British Museum: "Sword with inscription +LEUTLRIT". Inventarnummer 1848,1021.1. https://www.britishmuseum.org/collection/object/H_1848-1021-1 Das Folgenbild zeigt ein Ulfberhtschwert. //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Geschichten aus der Geschichte jetzt auch als Brettspiel! Werkelt mit uns am Flickerlteppich! Gibt es dort, wo es auch Becher, T-Shirts oder Hoodies zu kaufen gibt: https://geschichte.shop // Wir sind jetzt auch bei CampfireFM! Wer direkt in Folgen kommentieren will, Zusatzmaterial und Blicke hinter die Kulissen sehen will: einfach die App installieren und unserer Community beitreten: https://www.joincampfire.fm/podcasts/22 //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

In this week's episode, Dan and Mags welcome Sværia to the podcast to talk about her creative journey from making designer clothes for rockstars to designing masterful costumes for TV.------------------------------------------------Follow Sværia on Instagram:https://www.instagram.com/svaeriaFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan is visited by an old friend of the podcast, Mathias Nordvig, to discuss his new book, which introduces the Poetic Edda and Prose Edda.------------------------------------------------Follow Mathias on Instagram:https://www.instagram.com/mathiasnordvigAlso, check out his new book:https://www.routledge.com/Old-Norse-Mythology-An-Introduction-to-the-Poetic-Edda-and-Prose-Edda/Nordvig/p/book/9781032672816Follow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

The Assassin's Creed games specialise in recreating the places and sounds of the past. But how can we know what music our ancestors listened to? If we can, how well does ancient music work within a modern audience's expectations of what music is? And how does making music for a video game differ from all the other forms of entertainment we have today?Dr Holly Nielsen is joined by Steph Economou, the composer for the Assassin's Creed Valhalla: The Siege of Paris and Dawn of Ragnarok, for which she won the first ever Grammy award for video game music. Rounding out the trio is Ari Mason, who performed on both scores, and who is a specialist in the art of historical performance. Together, they can shed light on the fascinating process of transporting us to the past through music.Echoes of History is a Ubisoft podcast, brought to you by History Hit. Watch these interviews and exclusive videos on our YouTube channel.Hosted by: Dr Holly NielsenEdited by: Robin McConnellProduced by: Robin McConnellSenior Producer: Anne-Marie LuffProduction Manager: Beth DonaldsonExecutive Producers: Etienne Bouvier, Julien Fabre, Steve Lanham, Jen BennettMusic:Francia by Steph EconomouHásæti by Steph EconomouThe Siege Of Paris by Steph EconomouDawn of Ragnarök by Steph Economou, Einar SelvikIf you liked this podcast please subscribe, share, rate & review. Take part in our listener survey here.Tell us your favourite Assassin's Creed game or podcast episode at echoes-of-history@historyhit.com Hosted on Acast. See acast.com/privacy for more information.

In this episode, we sit down with archaeologist Cecilia Ljung from Uppsala University to explore one of the biggest transformations of the Viking Age: the shift from Norse pagan traditions to Christianity.Through graves, runestones, and early towns, we follow the physical evidence of how belief, ritual, and daily life changed across Scandinavia.Subscribe to stay updated! Also available on all platforms where podcasts are found, such as Spotify, Apple Podcasts, Amazon Music and more. Find all the links in our linktree: https://linktr.ee/grimfrost

In this week's 300th episode, Dan and Mags are joined by a legendary figure in all things Norse for film and academia, Jackson Crawford, to talk about his YouTube career and Old Norse colour semantics.------------------------------------------------Follow Jackson on YouTube:https://www.youtube.com/@JacksonCrawfordAlso, check out his his Instagram:https://www.instagram.com/norsebyswFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

A wind whips across the North Sea as dragon-headed ships cut through the waves towards Anglo-Saxon England. Their arrival marks the start of the Viking Age.In this episode of Gone Medieval, Dr Eleanor Janega is joined by Terri Barnes and C.J. Adrien of the Vikingology podcast to explore why Vikings left their Scandinavian homelands. From climate change and political upheaval to innovations in shipbuilding, they examine the forces that set these raiders and explorers on a path that would reshape medieval Europe.MOREThe Viking Age: What New Discoveries RevealListen on AppleListen on SpotifyViking Warrior WomenListen on AppleListen on SpotifyGone Medieval is presented by Dr. Eleanor Janega. Audio editor is Amy Haddow, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week. Sign up at https://www.historyhit.com/subscribe.  Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan and Mags sit down with Clare Downham to dissect the descendants of Ivar the Boneless and the Viking kings of England and Ireland that followed in his lineage.------------------------------------------------Follow Clare on Bluesky:https://bsky.app/profile/downham.bsky.socialCheck out her new book:https://www.amazon.co.uk/Medieval-Ireland-Cambridge-Textbooks/dp/1107031311And her other publications:https://hcommons.org/members/claredownham/Follow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan and Mags are joined by Ed Gamester (Filling in for Mathias) to shoot the breeze and talk everything from old Norse, theater and wrestling.------------------------------------------------Check out Ed's Instagram:https://www.instagram.com/thustheguildFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

Researchers Find that Viking Age Dentistry Was Probably More Sophisticated than Previously ThoughtBy Today's RDH ResearchOriginal article published on Today's RDH: https://www.todaysrdh.com/researchers-find-that-viking-age-dentistry-was-probably-more-sophisticated-than-previously-thought/Need CE? Start earning CE credits today at ⁠https://rdh.tv/ce⁠ Get daily dental hygiene articles at ⁠https://www.todaysrdh.com⁠ Follow Today's RDH on Facebook: ⁠https://www.facebook.com/TodaysRDH/⁠Follow Kara RDH on Facebook: ⁠https://www.facebook.com/DentalHygieneKaraRDH/⁠Follow Kara RDH on Instagram: ⁠https://www.instagram.com/kara_rdh/⁠

The history of the Vikings is usually told from the top down, through powerful characters such as chiefs, commanders and royalty, with raids, looting and war at the centre of the narrative. But what about all the others? What was it like to live a normal life as farmer, a merchant, wife or child?This is the central question in a recent book by British Eleanor Barraclough, Embers of the Hands. Taking her starting point from archaeological finds in order to tell the story of ordinary people's lives in the Viking Age, she reveals how, beneath the surface, we find stories equally dramatic to the great heroic tales of those on the top.On stage, she will be joined by her Norwegian colleague Tore Skeie. With books such as his award winning The Wolf Age: The Vikings, the Anglo-Saxons, and the battle for the North Sea Empire, Skeie depicts a both vivid and brutal Viking Age rife with decisive events. Skeie's approach to history is mainly through the upper class, such as through Saint Olaf or the nobleman Alv Erlingsson.Skeie and Barraclough write the history of the Viking Age from two different perspectives; from the bottom up and from the top down. What can these two ways of reading history learn from each other?The conversation was moderated by Carline Tromp, writer, critic and old norse philologist.The event was part of the Festival of Non-Fiction 2025. Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan and Mags interview to discuss how memory and oral tradition can influence our interpretations of written sources Gísli Sigurðsson.------------------------------------------------Check out Gísli on Academia:https://arnastofnun.academia.edu/G%C3%ADsliSigur%C3%B0ssonFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

RUNES, TAVERN MESSAGES, AND HIDDEN HISTORIES Colleague Eleanor Barraclough. John Batchelorinterviews Eleanor Barraclough about her book, Embers of the Hands: Hidden Histories of the Viking Age. They discuss a specific runic inscription from roughly 1200 AD found on a piece of wood in a tavern in Bergen, Norway. The message is from a woman named Gyda telling her husband to come home, to which he seemingly carved a nonsensical, drunken response. Barraclough explains her methodology of using such everyday objects—"embers of the hands"—to reveal the personal lives of individuals often lost in the grand scope of history. The segment also establishes the 793 AD raid on Lindisfarne as the traditional, shocking start of the Viking Age. NUMBER 1

Among the many cool characters from the Viking Age that are brought to life in Assassin's Creed Valhalla is Alfred the Great. Before his military success against the vikings, Alfred also boasts one of the all-time great comeback stories. In January 878 all looked lost: Alfred was hiding in marshlands, his army defeated and scattered, and the Vikings controlled his kingdom. The key event that almost saw the end of Anglo-Saxon England was the Battle of Chippenham.Assassin's Creed Valhalla recreates the battle and puts players in the heart of combat. But what do we really know about the battle? How big was a viking army? What did the Anglo-Saxons count as a 'real' battle?To help answer these questions, Matt Lewis is joined by Professor Ryan Lavelle from the University of Winchester. In addition to writing Alfred's Wars: Sources and Interpretations of Anglo-Saxon Warfare in the Viking Age, he consulted on Assassin's Creed Valhalla.Echoes of History is a Ubisoft podcast, brought to you by History Hit. Watch these interviews and exclusive videos on our YouTube channel.Hosted by: Matt LewisEdited by: Michael McDaidProduced by: Robin McConnellSenior Producer: Anne-Marie LuffProduction Manager: Beth DonaldsonExecutive Producers: Etienne Bouvier, Julien Fabre, Steve Lanham, Jen BennettMusic:Leofirth's Honor by Jesper KydFrozen Lands by Sarah SchachnerKingdom of Wessex by Jesper KydIf you liked this podcast please subscribe, share, rate & review. Take part in our listener survey here.Tell us your favourite Assassin's Creed game or podcast episode at echoes-of-history@historyhit.com Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan and Mags are once again joined by burial experts Emma Thompson and Brad Marshall to examine some of the more unusual burials, from well afterlife portals to bone pillows.------------------------------------------------Follow Emma on Instagram:https://www.instagram.com/archaemmaFollow Brad on Instagram:https://www.instagram.com/archaeobrad14Follow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

In this episode, we explore one of the most extraordinary eyewitness accounts of the Viking Age, written by the 10th-century Arab traveler Ibn Fadlan. Best known today through the movie "The 13th Warrior", Ibn Fadlan was a real historical figure who encountered Viking merchants along the Volga River in 922 AD.Together with our guest, we break down what Ibn Fadlan actually saw, what he was told, and where later interpretations may have gone too far. We examine the infamous ship cremation funeral, the role of the so-called “Angel of Death,” the question of human sacrifice, and how much of this account reflects Viking-Age Scandinavia versus the culture shaped by trade, migration, and local traditions among the Rus and other Scandinavians encountered in the east.We also discuss how Arabic and Persian sources differ from European ones, why these texts have been underused in Viking studies, and what they reveal about violence, belief, and identity in the Viking world, without romanticizing or sanitizing the past.Subscribe to stay updated! Also available on all platforms where podcasts are found, such as Spotify, Apple Podcasts, Amazon Music and more. Find all the links in our linktree: https://linktr.ee/grimfrost

What do we know for certain about Old Norse ideas about masculinity and femininity, and can Viking Age mythology provide any answers? In conversation with James Osborne, Dr Jackson Crawford discusses the second edition of his translation of the Poetic Edda, and explores what can still be learned from the collection of Old Norse narrative poems that forms the foundation of our understanding of Viking mythology. Learn more about your ad choices. Visit podcastchoices.com/adchoices

If the word “Viking” conjures for you a braided warrior raiding a village in the north of Europe, you're not exactly wrong. But there's a lot more to the story.

In this week's Yuletide Special, Dan and Mags are joined by Prof. Terry Gunnell, a highly regarded researcher in folk legends, as he tells us everything there is to know about the festively mythical Wild Hunt.------------------------------------------------Follow Terry on Instagram:https://www.instagram.com/gunnell_terryFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

In The Saga of the Earls of Orkney (Birlinn, 2025), Professor Judith Jesch presents a fascinating history of the Earldom of Orkney, which was established in the Viking Age, records the adventures, feuds and battles of powerful Norsemen during its first three centuries. The medieval earls of Orkney owed allegiance to the kings of Norway but their influence ranged from Britain and Ireland to Sweden and Russia, and they travelled as far as Narbonne, Crete and Jerusalem. Advised by bishops and formidable women, they and their henchmen jockeyed for power with each other and with neighbouring rulers in Scotland, often with murderous outcomes. In between the high politics and violence, the world of the earls was one of piety, poetry and feasting. The Saga also provides rare glimpses of culture and everyday life in northern Scotland when it was central to the Viking diaspora. Set in a recognisable landscape, it mentions features, sites and even buildings that can still be seen today. This new translation of the manuscripts of the Saga uses an innovative approach to presenting medieval sources to non-specialist audiences, highlighting textual variations that affect its interpretation. It also reflects saga style and language more closely than previous translations and is ideal for both research and reading aloud. This is an essential, detailed and up-to-date resource for academics and general readers who wish to know more about Viking and Norse Scotland. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Saga of the Earls of Orkney (Birlinn, 2025), Professor Judith Jesch presents a fascinating history of the Earldom of Orkney, which was established in the Viking Age, records the adventures, feuds and battles of powerful Norsemen during its first three centuries. The medieval earls of Orkney owed allegiance to the kings of Norway but their influence ranged from Britain and Ireland to Sweden and Russia, and they travelled as far as Narbonne, Crete and Jerusalem. Advised by bishops and formidable women, they and their henchmen jockeyed for power with each other and with neighbouring rulers in Scotland, often with murderous outcomes. In between the high politics and violence, the world of the earls was one of piety, poetry and feasting. The Saga also provides rare glimpses of culture and everyday life in northern Scotland when it was central to the Viking diaspora. Set in a recognisable landscape, it mentions features, sites and even buildings that can still be seen today. This new translation of the manuscripts of the Saga uses an innovative approach to presenting medieval sources to non-specialist audiences, highlighting textual variations that affect its interpretation. It also reflects saga style and language more closely than previous translations and is ideal for both research and reading aloud. This is an essential, detailed and up-to-date resource for academics and general readers who wish to know more about Viking and Norse Scotland. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this week's episode, Dan and Mags interview Dan Coultas to ask him about his research into identifying neurodivergent characters in Old Norse literature.------------------------------------------------Follow Dan (Guest) on Instagram:https://www.instagram.com/thegodsowncountyFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan and Mags sit down with Simon Trafford, Senior Lecturer in medieval history to dive into the topic of mead, how it's made, and the multiple purposes it was used for.------------------------------------------------Follow Simon on Bluesky:https://bsky.app/profile/simonjptrafford.bsky.socialFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan and Mags have a chat with Ema Tennås Rimstad. A Doctoral Fellow in Philology who has been researching the use of bind runes during the Middle Ages in Norway.------------------------------------------------Follow Ema on Instagram:https://www.instagram.com/etrimstadFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan is joined by the legendary composer for Heilung, Christopher Juul, to take us through his process of how he makes music.------------------------------------------------Follow Heilung on Instagram:https://www.instagram.com/amplifiedhistoryAnd follow Christopher on his personal Instagram:https://www.instagram.com/christopher_juulFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

Ep 271 is loose! And we're heading way back to the time of the Vikings for a few tales of adventure, of bloody feuds and very bad bargaining...What do you REALLY know about the Vikings? Who was Gunnhildr, Mother of Kings? And why you should never trust a Viking travel brochure...The secret ingredient is...Norway!Thanks again to Villains Rum for their help with one of this week's drinks!Get cocktails, poisoning stories and historical true crime tales every week by following and subscribing to The Poisoners' Cabinet wherever you get your podcasts. Find us and our cocktails at www.thepoisonerscabinet.com Join us Patreon: https://www.patreon.com/thepoisonerscabinetFind us on TikTok: https://www.tiktok.com/@thepoisonerscabinetFollow us on Instagram: https://www.instagram.com/thepoisonerscabinet/Find us on Facebook: https://www.facebook.com/ThePoisonersCabinetListen on YouTube: https://www.youtube.com/@ThePoisonersCabinetSources this week include:https://en.wikipedia.org/wiki/Greenlandic_Inuithttps://en.wikipedia.org/wiki/%C3%86thelred_the_Unready#Conflict_with_the_Daneshttps://en.wikipedia.org/wiki/GunnhildMotherof_Kingshttps://thevikingherald.com/article/gunnhildr-gormsdottir-mother-to-kings-in-norse-sagas/941https://www.historyanswers.co.uk/medieval-renaissance/8-haunted-castles-you-need-to-visit-in-this-life-or-the-next/https://thevikingherald.com/article/new-research-unveils-the-mastermind-behind-denmark-s-iconic-jelling-runestone/686 Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan is joined by Liam Waters to discuss Cursed Swords and the mythology surrounding these fascinating weapons.------------------------------------------------Follow Liam on X (Twitter):https://x.com/liamh2osFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

In this month's smut episode, Dan, Mags and Clair return to the wild and raunchy tale that is The Skuldner.------------------------------------------------Watch the episode on YouTube: https://youtu.be/LJbJ6nM_1MoFollow Clare on Instagram:https://www.instagram.com/clareifyFollow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, Dan and Mags sit down with archaeologist Roderick Dale to tell us about his research into Berserkers and Ulfhednar.------------------------------------------------Pick up Rodrick's book:https://www.amazon.co.uk/Realities-Berserkr-Studies-Medieval-History/dp/0367Follow Margrethe on Instagram:https://www.instagram.com/arkeomagsFollow the Podcast on Instagram:https://www.instagram.com/nordicmythologypodcastIf you like what we do, and would like to be in the audience for live streams of new episodes to ask questions, please consider supporting us on Patreon: https://www.patreon.com/NordicMythologypodcastCheck out Dan's company, Horns of Odin, and the wide range of handmade items inspired by Nordic Mythology and the Viking Age. Visit: https://www.hornsofodin.com Hosted on Acast. See acast.com/privacy for more information.

Who were the Vikings' ancient ancestors? In this episode Tristan Hughes explores the fascinating maritime culture, sophisticated trade networks and social hierarchies of the Nordic Bronze Age c. 1800–700 BC. Joined by Professor Johan Ling, they shed light on how proto-Viking societies of ancient Scandinavia imported essential metals, crafted stunning rock art using bronze tools and operated complex trade routes extending to Britain, Iberia and beyond. Enigmatic religious practices and the pivotal role played by elite kinship networks are brought to life through remarkable archaeological finds such as horned helmets and a golden sun chariot to reveal the remarkable complex societies that preceded the Viking Age.MOREThe Bronze Age CollapseMycenae: Cradle of Bronze Age GreecePresented by Tristan Hughes. Audio editor is Aidan Lonergan, the producer is Joseph Knight. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic SoundsThe Ancients is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.

. Reliquaries, Status Seeking, and Rune Amulets Against Dwarves Eleanor Barraclough Embers of the Hands: Hidden Histories of the Viking Age The discussion moves to reliquaries, originally used in a Christian context, such as at Lindisfarne, to house saints' relics. Norse raiders prized the metal and decoration, discarded the relics, and brought them back to Norway, often gifting them to women. These items were passed down through female generations or repurposed as brooches, suggesting that early raids were often masculine activities focused on acquiring wealth and status necessary for young men to secure a wife and establish a home. Pre-Christian belief systems involved protective runes and amulets against malevolence caused by supernatural beings such as elves or dwarves. A human skull fragment from Geber, Denmark, dating to the early eighth century, was carved with runes, possibly intended to guard against sickness caused by dwarves. 1919

6. Kerið Cave: Offerings to the Fire Giant in Iceland's Liminal Space Eleanor Barraclough Embers of the Hands: Hidden Histories of the Viking Age A recent discovery in Iceland is Kerið cave, a lava tube associated with the fire giant Surtr, formed by a volcanic eruption around 900 AD. Deep inside, archaeologists found a massive built wall, unburned animal bones, and stones arranged in the outline of a boat. Within the boat, offerings related to fire—ornaments, jasper, and burned bones—were left, likely intended to placate the fire being dwelling further within, possibly responsible for the volcanic activity. This site represents a liminal space, a meeting point between the physical world and the mythological worlds of fire and ice. After Iceland's official Christian conversion around 1000 AD, a metal cross was left as the final offering, seemingly closing off the pagan practice

5. Creation, Ragnarok, and the Cautionary Tale of Post-Conversion Norse Mythology Eleanor Barraclough Embers of the Hands: Hidden Histories of the Viking Age Accessing Norse belief systems requires caution because the main textual sources, such as the Prose and Poetic Eddas, were written in the thirteenth century in Iceland, after the conversion to Christianity. Snorri Sturluson, a poet and politician murdered in thirteenth-century Iceland, composed the Prose Edda as a handbook to preserve the myths. Norse creation mythology describes life beginning in Ginungagap, the eternal void where the fire world (Muspel) met the ice world (Niflheim), forming the primordial ice giant Ymir. The mythological destruction, Ragnarok (the doom of the gods), involves the fire giant Surtr and Loki arriving on Naglfar, a ship terrifyingly constructed from the fingernails of dead people. 1920

7. Defining the End: 1066, Harold Hardrada, and the Battle of Largs Eleanor Barraclough Embers of the Hands: Hidden Histories of the Viking Age The ending of the Viking Age is explored through political shifts. The year 1066 AD is conventionally used as the endpoint, marking the death of Harold Hardrada, King of Norway, at the Battle of Stamford Bridge. Hardrada, a larger-than-life figure who had served the Byzantine emperor, based his English claim on Cnut's North Sea Empire. William of Normandy, who triumphed shortly thereafter, was of culturally assimilated Norse descent—Norman means Northmen. However, 1066 is Anglocentric. A later marker is the 1263 Battle of Largs, where conflict between King Hákon of Norway and King Alexander III of Scotland over the Western Isles ended with Hákon's death. This effectively ended Norway's political control in the region, although Norse culture persisted. 1920 John Carter on Mars

3. Kievan Rus Assimilation and the Unsolved Mystery of the Salme Ships Eleanor Barraclough Embers of the Hands: Hidden Histories of the Viking Age In the east, Rurik and his company founded what became Kievan Rus, shifting their power base south from Novgorod (862) to Kiev. Although people of Norse heritage controlled the area initially, they were a minority who mastered cultural assimilation with Slavic groups. Norse names like Ingvar and Helga became Slavicized as Igor and Olga, demonstrating extensive cultural mixing. The text also covers the mystery of the Salme ships in Estonia, recently discovered. These two ship burials, dated around 750 AD and predating Lindisfarne, contained the remains of dozens of high-status individuals from Sweden who died violently, likely on a diplomatic mission. One leader was buried with the king piece of the popular board game Hnefatafl placed in his mouth—an intentional act of storytelling.

2. From Raiders to Rulers: The Danelaw and the Eastern Expansion of the Norse Eleanor Barraclough Embers of the Hands: Hidden Histories of the Viking Age The discussion highlights the transformation of Vikings from raiders—who famously plundered Paris for 7,000 pounds of gold—to military conquerors. The Great Heathen Army arrived in England around 865, conquering East Anglia, Northumbria, and Mercia. The subsequent stalemate led to an agreement between King Alfred and the Norse leader Guthrum toward the end of the ninth century. This accord established the Danelaw, granting the Norse political and legal control over vast swathes of England, evidenced today by Old Norse influences in place names. The Norse cultural sphere was enormous, characterized by a diaspora that spread east and west. People from what is now Sweden moved down Eurasian waterways, becoming known as the Varangians, or Russ (rowers), and settled Novgorod in 862.

1. Everyday Objects and the Shocking Start of the Viking Age Eleanor Barraclough Embers of the Hands: Hidden Histories of the Viking Age The book uses everyday objects to explore the real lives of the people known as Vikings. For example, a runic message carved on wood from Norway around 1200 AD shows a woman named Gia telling her inebriated husband, who is in a tavern, to come home. Runes were spiky letters often carved into hard surfaces like wood or bone, possibly originating during the Roman Empire. The book's title is a kenning, an Old Norse poetic device in which "Embers of the Hands" originally meant gold but here refers to precious, personal objects. The Viking Age is generally dated from 750 to 1100 AD, with a defining start marked by the shocking raid on the wealthy monastery at Lindisfarne in 793 AD.

8. Greenland's Final Days: The Mystery of Herjolfsnes and the Fifteenth-Century End Eleanor Barraclough Embers of the Hands: Hidden Histories of the Viking Age The final chapter focuses on the end of Norse settlement in Greenland, begun by Eric the Red around 985 AD. Herjolfsnes, one of the last settlements, preserved the clothes and bodies of the final generations in its graveyard, dating into the early fifteenth century. The garments were patched, coarse woolen pieces reflecting the declining status and isolation caused partly by climate change. One woman's dress tore when she was buried—a poignant detail. The Norse interacted with the Inuit, who may have carved figures depicting Norse dress. The final reports include a man burned for seducing a married woman through witchcraft in 1407 and a wedding in 1408. The ultimate fate of the last few inhabitants remains an unsolved mystery. 1949