Warrior of Woden
4.5/5
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About this ebook
Oswald has reigned over Northumbria for eight years and Beobrand has led the king to ever greater victories. Rewarded for his fealty and prowess in battle, Beobrand is now a wealthy warlord, with a sizable warband. Tales of Beobrand's fearsome black-shielded warriors and the great treasure he has amassed are told throughout the halls of the land.
Many are the kings who bow to Oswald. And yet there are those who look upon his realm with a covetous eye. And there is one ruler who will never kneel before him.
When Penda of Mercia, the great killer of kings, invades Northumbria, Beobrand is once more called upon to stand in an epic battle where the blood of many will be shed in defence of the kingdom.
But in this climactic clash between the pagan Penda and the Christian Oswald there is much more at stake than sovereignty. This is a battle for the very souls of the people of Albion.
What readers are saying about the series:
'Historical fiction doesn't get much better than this' ANGUS DONALD, author of The Outlaw Chronicles.
'Matthew Harffy's tale of England in the Dark Ages is nothing less than superb' HISTORICAL NOVEL SOCIETY.
'Murder, betrayal and vengeance fuel tribal warfare and personal combat. Beobrand is the warrior to follow' DAVID GILMAN.
Matthew Harffy
Matthew Harffy grew up in Northumberland where the rugged terrain, ruined castles and rocky coastline had a huge impact on him. He now lives in Wiltshire, England, with his wife and their two daughters. Matthew is the author of the critically acclaimed Bernicia Chronicles and A Time for Swords series, and he also presents the popular podcast, Rock, Paper, Swords!, with fellow author Steven A. McKay. Follow Matthew at @MatthewHarffy and www.matthewharffy.com.
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Reviews for Warrior of Woden
9 ratings1 review
- Rating: 4 out of 5 stars4/5‘Warrior of Woden features a blend of quality battles, tense encounters, and some decent drama. I prefer all the previous books in the series, but this one still has plenty to offer, especially in the last quarter of the book.As with many historical novels, the author puts so much effort in getting the history elements correct that essential creative writing skills are neglected. Main problem being too much ‘telling’ and not enough ‘showing’. Don’t tell the reader that a character ‘looked shocked’ – show his shock with action, or body language, or a facial expression.Adverb overuse is another evil, and the biggest problem with adverbs is they ‘tell’. For example, at one point someone ‘walked nervously’, which tells us the character moved from A to B but we don’t see it. Cut the adverb and use a strong verb to ‘show’ the action.Adverbs are at their most superfluous with this kind of thing: ‘more slowly’, ‘more quickly’, and ‘more loudly’, whereas ‘slower’, ‘quicker’, and ‘louder’ convey the meaning with a concise verb.Adverbs are also pointless in instances like: ‘nodding silently’; ‘Someone was retching noisily’ (do people ever retch quietly?); ‘Shifted uncomfortably’ (‘shifted’ alone implies the discomfort).Two other style issues that irritated me are the overuse of ‘then’ (to state what happens next), and ‘had’ (past perfect).To keep using ‘then’ is lazy and unimaginative. It’s fine in children’s books, but for gritty historical fiction I expect more imagination. Most can be cut, the rest replaced. ‘Had’ appears many times in the previous four novels, but they’re like an infection in this one, which was a major distraction.The frequent use of ‘had’ in the past perfect tense is something all authors should avoid, as it reports on the scene as opposed to taking the reader into the action as it unfolds. The odd one is inevitable, but in this book it’s consistent, even though it’s easy to cut them down. For one thing, this narrative is in the past tense, so ‘had’ should only be used if a sentence sounds odd without it. For example, ‘He had said’ works fine as ‘he said’ because ‘said’ is in the past tense. ‘She had sat down’ works better as ‘She sat down’ because ‘sat’ is past tense. If a scene that’s past is being recalled, all that’s needed is to inform the reader that these events have already happened, after which the frequent use of ‘had’ is unnecessary.In this novel, we get the likes of ‘had shaken’, which annoys and baffles me when ‘shook’ is available.The frequency of ‘had’ stands out in all novels in this series, but in this one most of all, owing to a lot of jumping around the story’s chronology. In several cases, I pondered why this scene or that scene couldn’t have been fitted in as they happened, rather than open with a character located in a certain place, only to start with the, ‘He had done this, and then he had done that’ type of thing. Stories flow better if kept linear, and when backstory is needed, there’s no need to over-swell it with ‘had, had, had’. It’s a filler word, too.On the plus side, this author uses some excellent similes. I was impressed with his creativity in this department. Also, he recreates the period well, making me feel like I’m in the seventh century.He’s gifted at creating child characters. Children don’t surface often in this novel or its predecessors, but when they do appear, they’re vivid and believable. Despite the criticisms, I liked this novel well enough to read the next in the series.