Something I knew I wanted to capture in my novel Udal Cuain, was the deep world of lore that literary classics such as Lord of The Rings, the Hobbit, and Harry Potter present by creating books within books. Such as There and Back Again by Bilbo Baggins, Quidditch Through the Ages by Kennilworthy Whisp, or Fantastic Beasts and Where to Find Them by Newt Scamander. But it had to fit the world I had created in Udal Cuain with the type of literacy and availability of books, according to the time period.

I settled on a private journal that would make sense in the world of a Cheiftain living in Viking Age Ireland, that although Ancient Irish had a spoken language mostly, a brief written language of Ogham based on trees, they did have the influence of monasteries and with it written language and booking making availability. Especially if that Chieftain had studied with monks and was interested in cultures other than his own, a wanderlust and curious man, a recorder of history, both good and bad that could lead to secrets being recorded, that others did not want. A cause for his death? Perhaps! This was my jumping-off point for creating an active character in a story, where this character had already died.

In Media Res

Because I was a novel writing novice I wanted to be as slick and tricky as possible, at times writing myself into a corner by joining the story in media res, jumping into a story in the middle of the narrative without context. This left me with a problem, how do I tell the stories I need to tell without lengthy flashback scenes that may confuse the reader and muddy the plot?

Insert a lost journal. Found by a key character, with similarities to Conn. This character, who is one of the main characters, is named Kinvara. Kinvara is a misfit turned hero, through her pure spirit, she is chosen by the faeries to be their advocate and right the wrongs of her fellow clan. It is she who finds the journal after Conn’s death when she is in exile on Searbh for treason against the reigning Tearlag, widow of Conn. Kinvara desires to understand why her family and their allies were driven from home to this island, and why her parents would align themselves with Riordan and Saoirse, the ones accused of treason by Tearlag when they seem to be such bad people.

Kinvara like Conn, observes people, and so by choosing her as the character to find the journal, it is like we get to experience Conn in these situations and resolved a problem I did not anticipate – How do I make Conn a relatable character when he’s dead? How do I make the reader see his side? By making Kinvara a foil of Conn, her experience with the secrets she discovers inside Conn’s Journal allows the reader to understand who he was. How Kinvara reacts to the information both shows her value system and Conn’s and allows Kinvara to be a fly on the wall of events that apply to her but gives her the knowledge of such information that would not be available to her character otherwise.

It eliminated for me, the need to create an omniscient narrator. Something I wasn’t interested in.

Sowing Seeds of Story

Now came the task of integrating the two. How should this book, Conn’s Journal be presented in the story of Udal Cuain?

I pondered if it should be in reference only, or maybe a separate book? But that felt like I was putting a burden on the reader to seek this out when I didn’t know if anyone would care enough to do so. I don’t have a writing pedigree to fall back on, I’m an unknown writer that may not be engaging or worthy of devoting so much time to, so I thought about how to make the journal part of the chapters.

Integrating the pieces of Conn’s Journal into the chapters seemed like the most efficient option for the reader, if it exists in the story without requiring the reader to look up an additional source, I believed the reader would be more engaged, and more likely to read Conn’s Journal. This was a great strategy, I believe because this opened a new framework to chapters. If I wanted to reveal something from the past, instead of having the characters talk about it, I could paint a whole scene with action and foreshadowing, so that it was like the reader was reading Conn’s Journal like Kinvara and experiencing the story from her perspective, but also Conn’s perspective.

This plan provided a great opportunity to reveal more about the secretive O’Connors and fact-check what son Riordan, daughter-in-law Saoirse, and wife Tearlag were presenting to the characters in the story and telling the reader. It allowed me the chance to experiment with unreliable narrators, which was a lot of fun, and use the tool of dramatic irony.

Because of the seasonal framework, I discussed before in Ancient Irish Calendar, I had a concise way to show the reader when Conn’s Journal took place. His entries could be dated and set in a specific season or month that could be referenced before or later on, like a hyperlink. But, this could be more layered, Conn may have written about an event in his early life that was set in the calendar framework, and I could demonstrate when Conn did this writing later in life with an entry dated so that the reader could feel like Conn was a three-dimensional character. Just as in life, I wanted my characters to feel human and humans have memories triggered by events that are extremely personal in nature. We connect the dots in our own way, and I wanted Conn’s character to have the chance to tell his own story.

Thank you reader for allowing me to muse and reflect on this work with you. I truly miss the story within the story I created with Conn. What do you think about this writing technique? Would you apply it to your own work? Do you enjoy when authors employ in media res, dramatic irony, or books written by their characters? Should dead characters stay dead? It’s a lot to ponder.