Oath of the Brotherhood

by Carla Laureano

  But both Irish and continental monasteries found that over time, they had to leave the walls of their cloisters to both spread the gospel and the knowledge that was lost over centuries of conquests by “barbarians.” It’s this argument that Conor brings at the end of Oath of the Brotherhood and which permeates the other two books in the series: what good is their knowledge and prowess if they’re going to remain completely separated from the world around them? What purpose is there in possessing the light if they’re not going to use it to fight the darkness?

  All these questions—and the Fíréin’s dedication to isolationism—feel real and plausible because it taps into the human impulse to protect ourselves, to resist change, to fear the unknown and therefore avoid action. Conor’s entrance into the Fíréin brotherhood is not merely a decision to learn to fight or to flee danger in the kingdoms: it’s a symbol of his willingness to commit himself to the unknown, even death, on the strength of his trust in Comdiu. His arrival in Ard Dhaimhin, as we see in Oath of the Brotherhood and will see on a much larger scale in future books, challenges the very principles of the brotherhood and asks whether inaction is truly a sign of faith or merely fear of an uncertain future.

  Q&A

  WITH AUTHOR CARLA LAUREANO

  You’re best known for writing romance. Why did you decide to write fantasy?

  I was actually a fantasy writer long before I wrote romance, though my books have always included love stories in some format. I wrote my first fantasy manuscript at the age of twenty, when I discovered that the genre was much larger than C.S. Lewis and J.R.R. Tolkein, the only fantasy writers I was familiar with as a child. (I can thank a college friend who dropped off his favorite fantasy paperback at my apartment during graduation week.) I loved that I could easily explore themes such as heroism, sacrifice, duty, and purpose in a natural way.

  You can’t discount the vagaries of publishing, though, and it was a romance novel I wrote during a break from editing this book that sold first, launching me along a path of writing contemporary romance and surprising me by the fact I was able to touch on those themes, albeit in a different way.

  You can see both of those influences in Oath of the Brotherhood, where the love story is a catalyst for some of the larger actions in the story. It wasn’t until writing this series that I realized that all stories are in some way a love story, whether they’re about love of God, love of country, or love of another person. Even “unredeemable” anti-heroes display an underlying love of independence, justice, money, or self. The worthiness of the object of love has a huge influence on the tone and scope of the story.

  Why did you choose a recognizable historical setting for your book rather than starting from scratch?

  I love Ireland and Scotland, and I’ve always been fascinated by the Celtic history and myth of those countries. I’ve also read fantasy for decades, but most of my favorite books were set in a generically medieval continental European or British setting. Then I discovered two historical fantasy writers, Guy Gavriel Kay and Juliet Marillier, and my eyes were opened to how much historical settings—whether they used the actual historical context or just one that was heavily influenced by it—could become a character and a driving force in a story. Ireland is a culture that is inextricably linked to its land and its myths, so having felt an instant affinity for Eire when I first visited at the age of nineteen, it seemed natural to build my fantasy world based on that country.

  How long did it take you to write Oath of the Brotherhood?

  Almost a decade…. though not continuously. I came up with the idea while I was still working full time and toyed with it on free weekends and evenings… building the world, trying out different plot ideas, swapping out characters. Then it got put on a shelf for a long period of time after I had my first son. It was when I was pregnant with my second son and was put on bedrest that I pulled out the idea again and started daydreaming what it could be. It was only once I decided that this was meant to be a Christian fantasy novel that it finally found its heart and soul. I worked on it on and off for about two more years before I was ready to pitch it at conferences.

  The other books in the series were written much more quickly—in less than a year—because the world was already established. I’d like to say that I’d had the entire story plotted out from the beginning, but a lot of it I figured out as I went along. And the ending of the series surprised even me.

  What’s your writing process like?

  I used to write in successive drafts, and books would have six or seven versions before they were ready to be seen by anyone. Over time, I’ve been able to streamline that into two or three.

  I tend to be pretty disciplined about the writing process, especially when I’m under a deadline: I sit down at the same time each day and write for a certain number of words (which I determine based on how many work days I have to complete a draft). These books, which were written several years ago, were largely completed in three-hour chunks while my youngest son was in preschool. I’d set up my “office” at a coffee shop nearby (so I didn’t waste part of that work time driving home) and write as fast as I could with a cup of coffee and an epic soundtrack playing through headphones. If I finished my 3300 words, I was done for the day. If I wasn’t, I had to sneak minutes in the carpool pickup line or during nap times or after everyone went to bed. I spent driving time working through setting ideas or the plot for the next chapter so I was prepared for the next chance I had to get it down on paper.

  These days the process is easier because my kids are older and in school full time, and I can sit at my own desk. But the structure is more or less the same.

  How did you develop the magic system for your series?

  Ireland in the Dark Ages was a highly religious place, first in pagan beliefs and later with the coming of Christianity, so I wanted magic to be interwoven into those beliefs. Since this was to be a Christian fantasy, it made sense for magic to be a gift similar to spiritual gifts, only available to believers, through the influence of the Holy Spirit (if you look closely, you can see His presence in this book, even if He’s not explicitly described). Conversely, any other magic had to be rooted in pagan folk beliefs or something darker. Since early Christian scholars denounced the sidhe of Irish paganism as demons, it was natural to position my fictional sidhe as enemies of the good. But it would be simplistic to paint all druids with the same brush, especially considering the real druids of Ireland maintained their status as poets, historians, and judges after the coming of Christianity. Therefore I invented the class of the Red Druid, practitioners of blood magic whose power issues from a dark source. Even though this is a fantasy version of Ireland, I wanted it to feel plausible enough within a real historic framework.

  Did you intend for the book to be read as a Christian allegory?

  The Song of Seare isn’t meant to be an allegory. As a secondary world fantasy, Seare and its environs exists completely separate from our own world. However, I had to address a question that comes up every time Christians talk about the possibility of the existence of other worlds or a multiverse: if God created everything, then He created the other worlds; if those other worlds were fallen and sin existed, then He would provide a Savior. Considering Seare is so closely based on real-world Ireland, it made sense to make the salvation story in this universe similar to our own. But because the fictional world is different—and magic exists—I only intended to draw attention to a broader spiritual message and not finer points of theology.

  What can we expect from future books in the series?

  Although Oath of the Brotherhood ends with a nominal victory, there’s some ominous foreshadowing that things might not have been as neatly concluded as it might seem. There’s still evil brewing, there’s still the question of war in Seare and the Fíréin’s involvement in it, and there’s still uncertainty about Conor’s unconventional path. Was he educated and trained merely to save Aine’s life… or does a greater purpose still lie ahead of him? Those questi
ons and more will be answered in the remaining books, Beneath the Forsaken City and The Sword and the Song.

  ACKNOWLEDGMENTS

  When I began writing Oath of the Brotherhood, I hoped that it would somehow find its way into print, but I didn’t dream that it would be given not one, but two lives: first as a paperback release with NavPress and later as a hardcover with Enclave Publishing. It’s been a long journey from the book’s inception to holding this iteration in hand, and it never would have happened without a distinguished list of enthusiastic publishing professionals to help it on its way. My deepest gratitude goes to:

  Reagen Reed, the only person I’ve ever met who has read more fantasy than me. I am grateful for both your sharp insight and your ability to keep me from embarrassing myself. I couldn’t have asked for a better editor for this project.

  The crew at NavPress who edited and shaped this book the first time around, particularly Meg Wallin and Brian Thomasson.

  The crew at Enclave Publishing, who embraced this book as their own and have given it a second chance to reach readers in this beautiful new format.

  My agent (and now publisher), Steve Laube. I’ve said it before and I’ll say it again: I wouldn’t be doing this if it weren’t for you. I’m forever grateful for both your insight and your friendship.

  My husband, Rey, for your constant support, encouragement, and willingness to share your wife with imaginary people. I love you now and always.

  Nathan and Preston: in the time since this book was first written, you’ve grown into two amazing young men. I’m proud to call you my sons.

  Mom and Dad, for being my early readers, cheerleaders, and encouragers. You told me I could do anything with hard work, determination, and prayer, and you made sure I believed it. Thank you.

  ABOUT THE AUTHOR

  Carla Laureano is the two-time RITA® award-winning author of over a dozen books, spanning the genres of contemporary romance and Celtic fantasy. A graduate of Pepperdine University, she worked in sales and marketing for more than a decade before leaving corporate life behind to write full-time. She currently lives in Denver, Colorado with her husband, two sons, and an opinionated tortoiseshell cat named Willow.