Hallo, Hallo dear hearts!
Today is going to be an interestingly conversational day here on Jorie Loves A Story, as I am going to be discussing where #Mythothon2 took me along my immersive literary journey into the folds of Mythology as I entreat into different avenues of Mythos each year [since November, 2018].
This also marks the first time I’ve been able to feature a topic of interest for #FolkloreThursday – happily finding others are tweeting about #NorseGods & #NorseMythology – which will make my visits round the blogosphere today quite happily contented knowing I am not the only reader who is dearly curious about this particular subject of interest!
For [2019] we turnt our collective eyes onto Norse Mythologies and the folklore or legends which surround the Norse Mythos canon both in the original context of the stories themselves and/or in the after canon variants which have populated literature since they were first known.
I previously disclosed the discovery of a wicked sweet tome of a book entitled: Cycles of Norse Mythology writ by Glenn Searfoss – which happily became a title for review consideration just ahead of the start date for #Mythothon2 which was the 1st of September.
During today’s #WWWednesday update, I’ll be disclosing where I am in my Mythological readings but on this special Q&A post, I’ll be talking more directly about what it is about Cycles of Norse Mythology which are enticing me into the deeper aspects of the book’s message whilst I start to navigate through the Norse Myths as a new reader who doesn’t quite have her full bearings but is learning per each new chapter, paragraph and cycle she is reading!
For those who would like to read early reviews for Cycles of Norse Mythology – here are some examples of the kind of literary feedback & reflective takeaways being shared with Mr Searfoss as readers are endeavouring to condense their reactions on this beautiful narrative tome of over 800+ pages of interconnected stories & cycles!
The Wishing Shelf – “A gripping set of Norse myths written with a gold-tipped pen. Accessible, gripping and highly recommended.
….I opened Cycles of Norse Mythology hoping for a number of things. Firstly, a writing style that would bring to life the deeds of the Norse gods, making them accessible to modern readers. Secondly, characters of old that jump – yes, literally jump – off the page. And, thirdly, a text that would not only be of interest to scholars of Norse mythology, but also to anybody who is simply looking for a good book. And, I’m delighted to say that this ticked every box.” (see also full review)
Readers’ Favorite – “Author Glenn Searfoss has provided a loving recollection of the Norse mythology tales in a very compelling and engaging style for readers of all ages…. As a primer for readers looking to take in all the stories with ease, you should look no further than Cycles of Norse Mythology. A highly recommended read for mythology fans all around.”
Readers’ Favorite: Reviewed by Ray Simmons – “My first contact with Norse mythology was The Mighty Thor comic book published by Marvel Comics. That is a great place to start but Glenn Searfoss has taken me to a whole new level with Cycles of Norse Mythology…. This book is a treasure trove, and Glenn Searfoss deserves a seat in Valhalla next to Odin himself for putting together this magnificent book. I loved it and I’m sure many of you will too.”
Readers’ Favorite: Reviewed by Christian Sia – “Transporting, exciting, and utterly entertaining, Cycles of Norse Mythology: Tales of the Æsir Gods by Glenn Searfoss plunges the reader into the world of mythology and puts them into the company of powerful characters, gods, and heroes…. The beauty of the prose, the elegance of style, and the seduction in the narrative voice; powerful elements that make readers feel as though these stories were taking place inside their souls. Glenn Searfoss takes readers to a mythical place and leaves them at the end feeling as though they awoke from beautiful dreams.” (see also full reviews from Readers’ Favourite)
Author Q&A with Glenn Searfoss (Cycles of Norse Mythology)
Subtitle: Tales of the AEsir Gods
by Glenn Searfoss
Source: Direct from Author
Edda's and Sagas of the Northland recount epic struggles for control of the world. In this land lost amid the cycles of time, canny gods confront shrewd giants, while valiant heroes battle honorable foes.
Cycles of Norse Mythology takes the reader on a thrilling exploration of the Norse Universe as the Gods and Giants are exposed in their complex interactions. From the creation of the world to its violent ending, this comprehensive re-imagining breathes life and modern relevance into the Norse gods and their foes, while remaining faithful to the traditional myths. Through engaging, lyrical storytelling, this work presents the gripping adventures of the Norse Gods in a style to delight modern readers of all ages.
Cycles of Norse Mythology comprises six cycles of 100+ interconnected stories that encompass the entire breadth of Norse Mythology. All tales are extended to create greater tension between the reader and the characters. Sequence gaps are filled by interpolations based on cross references in classic and modern literature.
→ Cycle 1: Prophesy. Odin travels the dark road to Niflhel seeking knowledge from the withered lips of the long dead seeress. In this frozen land, he is forged to his purpose by the harsh lashings of the seeress as she relates the creation stories of the cosmos, the nine worlds, the sun and moon, day and night, the origin of giants, dwarves, elves, mankind, and the gods themselves.
→ Cycle 2: The Victory Gods. Returned to Asgard, Odin learns the truth of prophecy and the ultimate cost of purpose. As the Æsir expand their number and their power, Gullveig’s brutal death at their hands sparks a bloody war with a rival clan, the Vanir; their eventual truce unifies the godheads in an uneasy alliance. Post-war rebuilding introduces the primary gods and goddesses, along with the Einherjar, valorous warriors gathered from battlefields across Midgard. Meanwhile, Thor’s martial journeys into Jotunheim underscore the constant tension with the offspring of Ymir.
→ Cycle 3: The Sword of Vengeance. Accompany the fiery blade born of love and hate that is destined to play a pivotal role in the shaping of the Norse universe, through the tragedies of Volund its creator, Nidud king of the Njara who is ordered by the Odin to capture the blade, and Svipdag the chosen son of man fated to recover its keen edge, and who ultimately gifts it to the Æsir for his marriage to Fryeja .
→ Cycle 4: Premonitions. Victory, jealousy, and revenge follow the Æsir gods and goddesses as they seek to avert their ultimate fate. The Fenris wolf is tricked and bound. Baldur’s death sends shudders through the nine worlds as innocence dies and the first portents of Ragnarök begin to align. Vali, fresh born from his mother’s womb, slays Baldur’s hapless killer. Freyr gives away the Sword of Vengeance for a bride; an ill-fated gift which ultimately finds its way into the hands of Surt at Ragnarök. Loki’s devious and sometimes, vicious attempts to humble the gods highlight the strife and dissent of within the Æsir clan and result in his horrible punishment.
→ Cycle 5: Ragnarök. Unable to avoid the final confrontation, the Æsir gather their band of chosen warriors and prepare for battle. The rainbow bridge shatters as ancient enemies charge onto Vigrid Plain, eager to end the reign of the victory gods. Follow the fortunes of the primary combatants as they boldly face known defeat, the Æsir goddesses awaiting their fate in the great hall of Fensalir, and the remnants of mankind who survive to greet the dawn.
→ Cycle 6: Of Gods and Men. While Cycles 1-5 focused on interactions among the gods, this cycle encompasses stories of direct interaction between the Æsir gods and mankind. These stories contrast human folly with the morality inherent in Norse Mythology.
→ Glossary: Norse Mythology heralds from an era when names reflected the character attributed to an object, such as a weapon, a person’s character, or their current station in life. This glossary provides a quick reference to the meaning behind names and terms used in the book.
→ Source Reference: References for further reading are included for persons who want to delve deeper into the study of Norse Mythology. This bibliography is restricted to books published in or translated into English and is by no means, exhaustive. As with all resources, the harder and longer you look, the more there is to be found.
Places to find the book:
ISBN: 9781789820829
on 11th April, 2019
Format: Trade Paperback
Without having any conception of how to enter into a reading of Norse Mythology, I still attest the serendipitous moment in which this book crossed my path in late August. Having said that – what I loved most about how Searfoss approached writing this [storied] novel in six different acts of insight into the back-histories of the Norse legacies interwoven through this concentration of Classical Mythology is how he aided your journey with keen insight into how to write a descriptive arc of story whilst grounding it with a catalyst attached to his lead character (Odin) who is not necessarily the kind of bloke you want to feel attached but of whom is an unreliable narrator of a story because he is more antagonist than he is a leading gent or hero.
As you might have noted in the synopsis of Cycles of Norse Mythology – Searfoss created six cycles of influence, intellectual dissection and creative exploration for his book. After thanking his wife and their family of dogs who have taken this journey with him – a sentiment I smiled after as I understood how attached we all become to our companions in fur; canine or feline inclined; he moved into the Content List and the List of Acknowledgements of the collective works which not only inspired this edition of Norse Mythological stories but of how he understood the back-histories of the mythos itself.
Immediately you dive into the first cycle of “Prophecy” after a delightfully ancient image which reminded me of the totem poles of Alaska’s Native population. And, thus your journey inward to seek the Mythology and the stories begins as any other novel would present itself to you. Except in my particular case, I had chanting, drums and an ethereal sound journey evoking itself in the background re-pleat with lightning, thunder and other interesting bits of inclusive ambience which not only centred my journey but anchoured me to the aspect I was journeying somewhere wickedly new and exciting.
-quoted from my forthcoming review for
Cycle One from Cycles of Norse Mythology; a review in six parts on Jorie Loves A Story
Published By: Acorn Press,
an imprint of Andrews UK Limited
Formats Available: Paperback and Ebook
Converse via: #NorseMythology, #Norse, #Mythology and #Odin
Before I share the conversation I had with Mr Searfoss, I wanted to mention that I was the seventh grader who was ill-prepared to catch my English teacher’s passion for Greek Mythology – he just didn’t make it presentable in a way which would inspire you to feel a connection to those characters; in other words, he took the bland, boring & traditional approach! Just because the stories are ‘this old’ & ‘this important’ – it was almost like you *had!* to catch on the fire of energy he had for those stories and if you fell short? Oyy.
This is why I was charmed by re-exploring Mythologies by the approach presented to all of us by Lou – she made it open & exploratory per each reader’s own interests – to seek out the re-tellings & re-invented stories wherein the older stories of Myth, Lore & Legend from the original canons of Mythologies (per each origin of influence) would speak to the kind of stories we desire to be reading ‘now’ vs any prior attempt in the past.
If you flip this round to another sub-nice of Literature I’ve been eagerly discovering and reading since becoming a book blogger – whilst noting I’ve chatted about it during @SatBookChat as well in the past – if you take into consideration the fairy-tale re-tellings?
I mostly lean towards the Historicals vs the Contemporaries – but the point here is I have readily found myself smitten with bookish JOY finding these lovelies but when I went to read the originals? I found I was not as eager to pursue them! Some, I suppose might be of interest but overall? I am in full appreciation of the after canon narratives – the clever ways the authors of today are re-investing us into the fairy-tales themselves but with a uniquely spun story which implores us to go further inside the world they’ve built for us.
I am finding my pursuit of Greek & now Norse Mythologies to be of the same vein of curiosity – the more authors I discover who are writing in this breadth of exploration know how to move us past our misconceptions of the genre from the past and allow us the joy of re-discovering these stories with fresh eyes today.
I don’t want to spoilt my first review for Cycles of Norse Mythology as I am still pooling my thoughts together *but!* let me just re-iterate this one takeaway for you dear hearts:
I am so wholly consumed by Searfoss’s style and vision for the Norse Myths, I am finding myself locking eyes and imagination into how he’s presenting the stories – even though, as you will see, there are aspects of the Myths themselves I still need to better understand – but as I take this walkabout journey, I am in full appreciation for having waited to read the Norse Myths until I came into his book! It truly is a feast for those who want something wickedly imaginative to sink their literary teeth inside!
Undertaking the research and writerly scholarship to dig into the heart of Norse canon of Mythology had to be an incredible experience. Can you share what first inspired you into this project to breathe life into “Cycles of Norse Mythology” and how you approached connecting the central arc of the stories through the six cycles as they appear in sequential order of the book itself?
Searfoss responds: I grew up knowing of Odin, Loki, and Thor long before reading comic books. But when I decided to learn more about the Norse gods and goddesses, I became dissatisfied. All the summary sources (e.g. Bullfinches’ Mythology) were about a handful of male gods; they provided little if any information about the goddesses and the animals that populated the world of Norse Mythology. Talking with other people, I found the same limited information.
So, I began researching the topic, more for my own understanding than anything else. It took 16 years intensive study that involved consuming research literature, translations of works (from 900 – 1400 AD), and story compilations published since the late 1700’s to the present.
Sharing what I knew with others inevitably resulted in requests for more background and tales from earlier in the mythology. So, I had to do more research and to write more stories. Ultimately, this work expanded to encompass the entire breadth of Norse Mythology.
Came too, the understanding that Myth time is not necessarily linear. So, I worked to organize the stories into a more natural flow for the modern reader. Doing this required correlating events, the appearances of characters, and weapons to work out a stable arc for the stories.
I must confess – for all the wanderings I took in literature as a child and youth, Mythology wasn’t high on my list. I didn’t really get into the Gods & Goddesses of Mythology (of any origin) until I was well into adulthood. Even then, I wasn’t even sure where to begin my readings as I was still half curious if I would even be able to attach myself into the stories as I had such a difficult first journey in seventh grade. Let’s just say some teachers leave an indefinite mark on how you react to certain stories and literary interests.
This is why I re-looked into Mythologies myself – when Lou first broached the idea to read about the Greek Mythos and now the Norse Mythos – I couldn’t contain my excitement! It led to a very self-directed self-inquisitve journey into seeking out a multitude of authors, genres and correlating texts to dig deeper into the after canons, re-tellings & inspired by stories which in of themselves were a re-bridge offering us a way to understand those curious perplexing Gods & Goddesses we never felt we could hug close enough towards to understand otherwise.
Your dedication is beyond impressive – though I understand why it took so long to source and research as well! The sheer breadth of the subject you undertook would be time consuming in of itself! It must have felt wonderfully successful though – when you finally completed the book!
I, for one, as a hesitative reader of all Mythologies – thank you for writing this!
The graphic you find on the first ‘cycle’ chapter title page reminded me of the totem poles of Alaska’s Native population – can you talk about the origin and influence of the graphic’s design which meets the reader as they delve into this first cycle? Is it woodblock or of a woodcut design influence or does it relate more directly to the Norse Mythologies themselves moreso than the style of the artwork itself?
Searfoss responds: The graphic (The God Wotan and Two Ravens) is the work of Arkadiy Welesov, a Graphic Designer living in Kiev, Ukraine. His portfolio offerings go under the name Bourbon-88.
My publisher asked me to select a set of images to use for the book cover and as lead in for each cycle. I selected images from several artist portfolios to represent the core focus for each cycle and to reflect a similar design style.
This particular image captured my attention as a direct embodiment of Odin – perfect for Cycle 1: the ravens Hugin and Munin perched on his shoulders, his missing right eye, the minimalistic helmet, the long, dangling mustache and beard. To me the image seems a mixture of Norse/Viking Age art styles that I have seen in museums, photos, and archeologic reviews. (For example, to me, the stark line knotting in the beard and mustache reflect images I have seen of Celtic and Viking age knot work.)
Yes, I can see where you would correlate the Norse/Viking influences – for me, at first glance I had a different point of recognition – however, after I re-viewed it through your description here, I started to see the image differently I liked how much thought you put into even this smaller detail of the book but one which is still just as crucial as the other choices you had to make — for me, the art is another component of joy as I’m reading.
You cleverly keep the reader a bit in the dark about the lead character in Cycle One – it takes quite a bit of time for us to uncover the self-sacrificial character who is a bit narcissistic in his pursuit of wisdom is really Odin. Why was this technique of hiding his identity until we understood his innate nature important to this part of the story?
Searfoss responds: It was important for the reader to understand the obsession, before tying it to the character. The pursuit of wisdom costs the seeker and ultimately overwhelms everything else.
I couldn’t agree more! This becomes so readily true almost immediately after you begin reading Cycle One, too.
The Norse Mythologies are inclusive of corvids as messengers between worlds – specifically the raven – how did you approach showing this inter-species communication and what textural background in the Mythos themselves provided the context?
Searfoss responds: In Norse Mythology, birds are a conduit of wisdom. The person who can speak to birds is provided with insight and information that is unavailable any other way. For example, in the Sigurd myth, once Sigurd tastes a drop of blood from Fafnir’s heart, he can suddenly understand the speech of birds in the surrounding trees, who immediately save his life by warning him of Regin’s unexpected treachery.
The ravens, Hugin and Munin (Mind and Thought), are central to Odin’s pursuit of wisdom. Through them he learns what transpires across the nine worlds. By their character, they are also Odin’s messengers, relaying his orders and sending his warnings …. provided the recipient listens.
In Pursuit of Wisdom –
“In my wanderings, I learned the languages of birds: the wren, the starling, the hawk, the eagle. But the cleverest of all, ravens, the black birds that range across the lands, calling to each other as they wing through the sky, from them I learned the most.
Like men they stand sentries to warn of impending danger. Like men they share knowledge of what they have seen, what they have heard. Like men they feast in the field after a hard-fought battle.
Two I called from the dark flocks circling high above that I might more easily learn from them what happens across the nine worlds. Munin, I called one for the clarity of mind. Hugin, I called the other for the swiftness of thought. Each day they wing across the wide world. Each evening they return to perch on my shoulders and whisper into my ears all they have seen.”
I have to admit – this was connecting a bit of the passages I had not yet had the pleasure of reading and/or understanding. I enjoyed the purview of what you were intending for us to pick up on as we read this collection of text and it also gave a newer insight into the ravens themselves which I am appreciative of as I love the symbolism of corvids in these kinds of stories but as reading is subjective to how we each interpret the stories we’re reading – sometimes I might land on a different train of thought than a writer intended. Previously I learnt quite a bit about corvids when I read “Corvidae” a Speculative Anthology.
I was fascinated by my readings in 2018 and now in 2019 – how both the Greek and the Norse Mythologies have their own hierarchy of Gods; wherein each of those persons have their own role and duties. What did you find the most challenging about bridging this back-history into your book?
Searfoss responds: Identifying the many gods and goddesses, how they came about, their duties, and how to present them in a realistic manner was challenging. The primary difficulty is that Norse Mythology heralds from an era when names reflected the character of the person or their current station in life. As such, sources for any surviving tales required being able to identify a god or goddess by different names and different duties. Thank goodness for the centuries of work that other researches put in.
I started to notice this issue when you were first introducing us to the Gods & Goddesses per the way in which they were ‘known’ in the context of ‘Cycles of Norse Mythology’. It was a bit muddling I admit at first to trudge through as it seemed that for each person being highlighted they had a variety of names and/or known identities – not to mention how interchangeable Odin becomes known through time as well! Goodness! I can see why you were thankful others ahead of you had uncovered all this information!
As we first met Frigg, Odin’s wife we find a woman whose love for a man is not easily returnt – how did you want to highlight their life together but also show how the priorities of Odin’s life are not fused to his home life? How he is both loving yet distant (er, emotionally removed) from Frigg? Whilst also showing how difficult this was on her to have this kind of relationship with him?
Searfoss responds: Norse Mythology must be considered within the context of its own historical time and place; a time when social structures were born out the need to survive. As such, the relationship of Odin and Frigg mirrors that of human society at that time.
Frigg is the goddess of home and is a protector of children. Her duty lies with the home, but that does not mean she is passive in their relationship. She has wisdom, power, cunning with a ting of justified jealousy, endurance of spirit, and great strength that she can bring to bear when it suits her, especially to chastise Odin for a slight or to use her cunning to outwit him and others.
As the leader of the AEsir, Odin is responsible for the entire AEsir clan and humankind, as well as the protection of Midgard and Asgard.
In the role of husband, Odin’s primarily responsibility is the protection of his family and home. However, he is always in the thrall of his obsession, which requires he constantly travel seeking wisdom, so that he might better protect his favorites, his family, and his creations. When home, he is loving and supportive, almost violently so, but always within this framework.
On his journeys, he is decidedly a philanderer and often justifies his affairs as bowing to fate. It is these actions coupled with his obsession that creates the wall in their relationship.
This is quite true – I did notice that as you were breaking down the relationships within the context of the cycles themselves – you were owning to the origins of where these characters and stories originated. Meaning, it made full sense to me that they would own the relationships and mannerisms which were vindictive of their own ‘time’; it is the same whenever we read stories in the Historical past – for instance, the social norms of the Regency are not entirely fully maintained today (as a for instance).
I hadn’t known what each of the Gods & Goddesses are known for or how / why they are known as well as they are until I started reading the book itself. Therefore, some of my observations might have a few stumbling blocks inside them as I try to piece everything together solely based on how the information is disclosed and how it is arranged inside your book. I truly found it helpful how you summed up Frigg’s role and what her gifts were in this world. I don’t believe there was a concise character map for the Gods & Goddesses themselves with these kinds of descriptions included? I did just discover the impressive Glossary in the end pages of the book this week – however, you truly have to take the time to dig into it to sort out the information you need. I love doing that as it helps heighten my reading experience but I just meant, in regards to the characters who might come to a reader’s attention the most, you have to have a bit of patience to root out the information you are seeking.
I am going to have to go back through the pages I’ve read and re-read them as I confer with the Glossary as the information in the end pages are important in order to see the other ‘layers’ which this book provides the reader. You can read it on the surface like I originally did but there are a few hurdles in doing that as you are so out of your depth to find recognition in everything that is happening – I believe it behooves the effort to read it through and then, re-read it with the assistance of the Glossary.
I was thankful you shared a bit about their personalities – you honed in on what I was already starting to infer about them and it was lovely to share this with my readers, today.
In a rare moment of humility as Odin is very self-serving, when it comes to the Giant, you see a different side of him – where he is in a quandary of conscience over a staff. Throughout your own readings and research, what do you think fuelled Odin’s conflicting thoughts and emotions as he generally acted impulsively towards his own goals and his self-directed motivations. What do you think made him pull back a bit in certain circumstances?
Searfoss responds: Odin’s character is that of one who knows his fate but remains determined to drive his own destiny. There are a number of instances, such as adopting the Frenris Wolf, where he tries to circumvent fate by intentionally going against known prophesy. He is not devoid of compassion, though driven by the cost of wisdom and his reluctant acceptance of purpose, it can appear as if he takes a self-centered view.
I sensed this about Odin myself – how he was refusing to believe despite evidence to the contrary about what he was fated to live – he wanted to take the reins back on his own path. He wanted to be stronger than what was destined and to curate his own outcome. In the beginning, you get a different sense about Odin – he nearly presents himself as self-serving without too much empathy – though he has compassionate moments and thoughts, a lot of his personality is clouded over by his drive and his determination to achieve what he feels is most self-important to achieve.
As you moved between your research and the writing of “Cycles of Norse Mythology” how did you want to re-broach the origins revealled in the canon of these stories in your own version of the stories? Meaning – how did you want to make this an approachable collection of stories where new readers to Mythology (whether they first read Norse or Greek, or other Mythologies) would feel the depth of what you’ve written without feeling it was too difficult to read? How did you keep these stories both relevant and relatable for today’s reader?
Searfoss responds: I consider all mythologies as relevant today. Their stories are reflections of humanity and our interactions, both good and bad. For this book, my intent was to bring a human voice to the entire scope of characters: gods, goddesses, sub-deities, giants, dwarves, etc. To increase their relevance to today’s reader, there are no totally evil characters or totally good characters. A blend of tenderness, bitterness, and egotism characterizes heroes and villains alike, humanizing them during their moments of triumph and failure.
I think the Mythologies only begin to take-on a renewal of interest for readers today when they can become presented in such a way as you have with “Cycles of Norse Mythology” – where you took the more tangible approach to make the stories approachable – you tucked us into these stories with a refreshing style where it is both engaging as it is compelling to be read. That in of itself is a feat worth being congratulated over!
I also noticed this too – how none of the characters within the Norse Myths are easily distinctive between where they lie between light and dark; rather, they honestly own both sides of their natures.
What are you hoping an intuitively curious reader will takeaway from “Cycles of Norse Mythology” and what do you hope will be their final response to the collection of stories you’ve given us to ruminate over?
Searfoss responds: Perhaps the reader will take away a bit of hope and a view that they can make a difference in this world.
Most of all, I hope the book will instill an interest in Norse Mythology that will take the reader on their own journey of discovery and interpretation.
I hope this will be the case! Likewise, I hope through my showcases and presentations of “Cycles of Norse Mythology” on Jorie Loves A Story and on my bookishly social feeds on Twitter – perhaps, I too, can help readers discover this tome of joy to read! In effect, it is like you said – the stories are important even now to be read and how thankful we all should be that you took on this project to inspire us to find something we might have previously overlooked!
This interview is courtesy of
the author Glenn Searfoss.
& part of my readings discovered during:
Read how the #Mythothon2 journey began in September, 2019.
This post is happily being shared via #FolkloreThursday in the twitterverse! Wherein I am happily finding a lot of lovely spirits are sharing their own curiosities about the #NorseGods & #NorseGoddesses! I even learnt Odin is *Thor’s!* father – who knew!?
My review of Cycle One will be featured 17th October!
Similar to blog tours where I feature book reviews, as I choose to highlight an author via a Guest Post, Q&A, Interview, etc., I do not receive compensation for featuring supplemental content on my blog. I provide the questions for interviews and topics for the guest posts; wherein I receive the responses back from publicists and authors directly. I am naturally curious about the ‘behind-the-scenes’ of stories and the writers who pen them; I have a heap of joy bringing this content to my readers. This also extends to Book Spotlights & Book Blitzes which I choose to highlight which might have content inclusive to the post materials which I did not directly add a contribution but had the choice whether or not to feature those materials on my blog.
{SOURCES: Book cover of “Cycles of Norse Mythology”, synopsis, author photograph of Glenn Searfoss and author biography were all provided by the author Glenn Searfoss and are used with permission. Post dividers by Fun Stuff for Your Blog via Pure Imagination. Tweets were embedded due to codes provided by Twitter. Blog graphics created by Jorie via Canva: Book Review Banner using Unsplash.com (Creative Commons Zero) Photography by Frank McKenna, #Mythothon2 banner and the Comment Box Banner.}
Copyright © Jorie Loves A Story, 2019.
I’m a social reader | I tweet my reading life
Curious how to write tome of insight on #Norse #Mythology? Tuck into this convo: Jorie & #GlennSearfoss talk "Cycles of #NorseMythology"; antho of #shortstories wherein the Mythos comes alive!??
?https://t.co/w9MzavQcJw#FolkloreThursday #NorseGods pic.twitter.com/LhaXCL5sXy
— Jorie | the Joyful Tweeter ?? (@joriestory) October 10, 2019
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