9 Fiction Writing Tips

 I'm just wrapping up my tenth novel and so I have writing and fiction on my mind which led me to deciding to write this today. The internet is glutted with writing tips, most of which are confusing and contradictory when compared to each other, so I hope that this attempt might offer aspiring writers some more practical suggestions than the usual run.

This is not meant to be business writing advice, most of which in my experience sucks the joy right out of the process of writing. This is advice for how to write good stories and still like doing it ten years later.

1. Write What You Want to Read - This is pretty straightforward advice but honestly its so important. When I wrote my first novel my friend Catherine Kane, who had encouraged me to give it a try, was the one who told me to write what I would want to read, and its advice that hasn't ever steered me wrong. If you don't want to read what you are writing why should anyone else? A lot of people will tell you to write to market, to avoid tropes, to write what's popular or going to be popular but ultimately you have to remember that you are part of the market too. If you love those tropes that other people say are tired then trust me so do plenty of other people. Everyone telling you that elves are overdone now? If you still want to read it then so do other people. Write what you want to read and you will find an audience for it. 
2. Research Matters - This is pretty obvious with non-fiction but even with fiction this is important. Some of the cringiest moments I've had as a reader have come from badly researched material in novels, whether its a book character supposedly from Connecticut talking about how 'new' everything there is compared to New Orleans (New Orleans was first reached by the French in 1690; Connecticut by the Dutch in 1614, for context), a book consistently referring to a town in Maine as a small town despite it having a population of 25,000 people (again for context 6 of the 10 biggest cities in Maine have less than 25,000 people), or books set in Ireland written by people in the US that have clearly never been to Ireland. Even in high fantasy take the time to find out how far a person can walk in a day or a horse can travel, or what you write is going to be unbelievable and not in a good way. And please if you are including foreign language material for a language you don't speak hire a native speaker to check it for you.
3. Beta Readers Are Essential - A beta reader is someone who reads the early version of your story or book and offers feedback on it. This can be anything from pointing out plot holes or weak characterization, noting areas where a story drags or moves too quickly, or suggesting points where the story is weak. Some beta readers will also read for errors in the text, or anything else you specifically request. Beta reader feedback allows you to polish a story and fix details that you may not be aware of because you are so immersed in the story. 
4. Don't Worry About Having a Perfect Draft - Some of the best early advice I got (from Dave D'Alessio if you were curious) when I started writing was to look at the first draft as a rough product that was meant to be fixed later and not an instant finished project. When we expect our first draft to be perfect we are setting ourselves up for problems and stress. Get it written and then go back and smooth things out, add or delete as needed, address plot holes or any other issues you have. A book (or story) isn't done when you finish writing that first draft, its only beginning so don't treat the first draft as if it should be flawless. 
5. If You Get Stuck, Try Something Different - This is something I discovered really helps me when I get jammed up in a scene - which does and will happen. Sometimes things just stop flowing or you lose that creative momentum, and its easy to get frustrated and give up or put a project on permanent hold. What I do instead is switch to another section of the story, or go back and read from the start, or even just stream of consciousness write for a bit. This may or may not work for you too (see point 7) but I do think its worth suggesting here because its easy to let that frustration completely derail us, just like its easy to start to see word count goals as all important. But ultimately its okay to delete what doesn't work and its okay to switch things around if you need to, or anything else that frees up that creative block. And in the end if walking away is what you need to do then do that - go watch a movie or take a walk. 
6. Define Success for Yourself - I consider myself a successful author. Do other people agree with that? I don't know and honestly it doesn't matter to me. There will always be measures of success applied by others that we don't meet. Always. That's life. What matters is if we think we've succeeded. What is your goal with your writing? Have you met it on any level? Then you are successful. 
   On a related note I highly recommend setting up a variety of goals for yourself and celebrating every success you have, big or small. Its great to be called a best selling author, sure, but its just as great to see someone loves your story, or see your name on a byline, or simply see a something you wrote out in the world. All of those things are success and all deserve recognition. 
7. Find What Works For You - As I mentioned in the intro there is a lot of writing advice to be found online and its often predicated on what worked for the person writing it. And the thing is I could tell you what works for me and you could try it - and be absolutely miserable because my writing process is not what works for you. And I've seen that so many times, where someone reads writing advice from a famous author they admire and tries to follow it and finds that it absolutely kills their desire to write. Because the process that works for one person can be absolutely counterintuitive to another. Do you need to plan out plot points in a detailed outline before starting? Do that. Do you write best off the cuff with only a general idea where its all going? Do that. 3,000 words a day? Awesome. 100 words a day? Just as good. It really is wahtever works best for you to get your story down.
   Ultimately we can't compare ourselves to other writers, we have to find our own way - and that means trial and error and work and failing and succeeding. 
8. Consider Sensitivity Readers - So, let's talk diversity. Yes its important (in my opinion) to include diversity in your writing but its so, so easy to mess that up because writing outside your own life experience is difficult to do well. Its worth considering sensitivity readers within any group you don't belong to but are writing about, although you must understand that a sensitivity reader isn't going to give you some sort of stamp of approval but rather will help you see areas that may need improvement. In other words a sensitivity reader is there to help you write more realistically about things you personally don't understand by pointing out places you may be reflecting stereotypes instead of reality, creating a caricature instead of a character, or leaning into race tropes. 
9. Content Warnings - if you plan to share your writing publicly and your work includes things that are common triggers for other people's trauma, such as sexual assault, suicide, disordered eating, you should use content warnings. These are just an easy way to signal to potential readers if a book might be something they shouldn't read. You don't need to and realistically can't content warning every possible thing that might cause an issue with someone but definitely make note of the common ones especially if they are unusual in the genre you are writing (ie you don't need to put a content warning for sex on a paranormal romance book where it would be typical content for the genre, but consider putting a content warning on animal death which isn't necessarily expected)

My final comment here isn't exactly writing advice but it is important. Once you put your writing out there for the public you will get people who like it and you will get people who don't. There is no perfect, universally loved novel or story because everyone enjoys something different. And that's okay. Do what you can to make your work the best it can be, listen to fair critique to help you improve, but don't let the unfair criticism pull you down. Like Dita Von Teese said: “You can be the ripest, juiciest peach in the world, and there's still going to be somebody who hates peaches.” and that's true of writing as well.

2021 Recap

 Hello everyone! 2021 is just about wrapping up and I wanted to offer a quick recap of what I've been up to work-wise this year, which has been a very tumultuous one for me (and I'm sure many others).

I had three articles published in 2021:
“Sexuality and Gender Among the Good Neighbours: the Intersection and Inversion of Human Norms in Fairylore”, written for Revenant Journal 2020, cut, posted on academia.edu; FIS newsletter 2021
“Lugh, God of Many Skills”, Pagan Dawn, Lammas Issue, 2021, no 220
“Seeking in the Mists: Gods and Goddesses of Ireland”, Pagan Dawn, Samhain issue, 2021, no 221

I presented  “Unseely to anti-hero: The Evolution of Dangerous Fairies in Folklore, Fiction, and Popular Belief” at Hertfordshire University’s ‘Ill Met By Moonlight’ conference

I wrote and published two stories in my 'Queering Fairy' series:
The King of Elfland: A queer retelling of Thomas the Rhymer 
In the Fairy Wood: A queer retelling of Alice Brand 

I wrote two articles for forthcoming anthologies which I hope will be out in the next year or so, one focused on Irish America folk magic and the other on the Irish sidhe in modern fiction. 

I wrote three books that will be out in the next year, including a high fantasy novel that's out with beta readers right now and the forthcoming Pantheons the Norse and Pagan Portals Aos Sidhe.
I had three books published in 2021, one through Moon Books and two self published:
Pagan Portals Lugh 
Settling of the Manor of Tara 
Through the Mist a dual language mythology book 

Additionally I have three books under contract with Moon Books that I will be working on across the next year. I taught several classes through the Irish Pagan School and I ventured into offering my own class with 'Elves After Dark' which looked at elves and sex across folklore. I also presented at several conferences and was a guest on a variety of podcasts and shows, which is always fun. And of course I've been blogging a few times a month and making fairy focused educational videos on Youtube, including a series focused on the fairy ballads. 

With 2021 almost over I'm looking forward to 2022 and the new projects in the works. I hope you all have a good new year and a better 2022. 

The Fairy Folklore in Jim Henson's 'Labyrinth'

 I'm going to do a small series of reviews over the next few months looking at the fairy folklore in different films and tv shows, prompted by some discussion on social media. I think this will be fun and also help people see the various threads of older beliefs that are woven into some popular shows and movies. I'm thinking of covering a variety of things including Pan's Labyrinth, Jonathan Strange and Mr Norrell, Legend, Maleficent, The Secret of Kells, Song of the Sea, Siren, and maybe Krampus. But I'll start with one of the most classic fairy films, Jim Henson's Labyrinth. 

 Full disclosure this is one of my favourite movies, in part because Brian Froud was eth concept designer and he is one of my favourite artists. I also want to note that while I'm specifically picking out threads of folklore found across the film there are many, many ways to interpret this movie including seeing it all as a coming of age story, a dream, or as a reflection of Sarah's mental state. I'm not getting into any of those here and sticking purely to the folklore.

Discussing fairylore in Labyrinth is, admittedly, low hanging fruit (pun intended). Brian Froud has said in an interview that "We based Labyrinth on European folklore." so its hardly a stretch to find that folklore on display in the film. I will go over them point by point below. Before I start I do want to quickly note that historically goblins, elves, and fairies were treated interchangeably and the terms were used synonymously so I will be taking the same approach here. 

Warning spoilers ahead for anyone who hasn't seen the movie before.

• The foreshadowing in the movie of the owl in the park while Sarah is pretending to rehearse a play, where the owl is later revealed to be the Goblin King in disguise, harkens back to folklore which tells us that the fairies can be around but unseen at any time. One might read into this the implication that the goblins had wanted to take Sarah's brother and were arranging circumstances to their own advantage. This is echoed later in the labyrinth where Jareth appears in disguise as a beggar then reveals his true self to confront Hoggle and Sarah. 
• The idea of a specific phrase or word having magic power to invoke Otherworldly beings, ie 'I wish the goblins would come and take you away right now'. This is very much in line with older folklore where the fairies could take a thing - or a human - if certain words were said about it. In folklore this was usually either the owner/guardian speaking ill of it or people failing to properly bless it; in this case wishing her brother away would qualify as speaking ill of it or ill-wishing in my opinion. 
  This is reinforced when Sarah asks for her brother back and Jareth replies 'what's said is said'. 
• Jareth trying to bribe Sarah with the gift of a magical object is reminiscent of various stories of the Fair Folk giving something in exchange for something they want form a human as a form of compensation - although what they give is rarely what it appears to be.
• The scenes where Jareth turns an object into various things - a crystal, a snake, cloth -  echoes wider fairy lore about fairy glamour and also is similar to the scenes in the ballad of Tam Lin 
• '13 Hours' a time that doesn't properly exist on any human clock recalls wider folklore about the way that time moves differently in the world of Fairy. This is also shown in the way that Sarah's entire adventure in the Labyrinth occurs over those 13 hours but she returns home after a much shorter time, not even long enough for her father and step-mother to notice her absence. 
• The deceptive nature of appearances is a particularly interesting aspect of fairylore incorporated into the film. Sarah learns quickly that the 'nice' looking twee fairies bite while the unattractive dwarf Hoggle - as well as beings like Ludo who frighten others - are helpful. There are also several points where the landscape of the labyrinth itself proves this as well, with things changing based on perspective, like the wall that is actually a doorway. As Sarah herself says partway into her journey 'things aren't always what they seem'. 
• Sarah encounters a talking worm soon after entering the labyrinth and later talking objects like the door knockers. This idea of intelligence and speech in beings/objects that humans wouldn't normally attribute them too is another thing that is often found in fairy folklore, particularly because things may not be what they seem - like the owl that is actually the goblin king - and partially due to fairy magic. 
• Toby being taken so that he can be turned into a goblin* is from classic changeling lore, where a baby might be taken and turned into one of the fairies, or trolls, or trows, etc., It was common across a wide swath of folklore for humans to be stolen and transformed into the same type of being who stole them, in order to add to the numbers of the Good folk who are not known to reproduce often. One might perhaps argue that Sarah's later experience with the Junk Lady where Sarah has forgotten why she is there and starts to transform into a Junk Lady herself also echoes this theme. 
• Following on that last point Sarah engaging in a quest to recover her brother is also following classic changeling folklore. Although her quest is particularly magical and odd, we find multiple examples across folklore of people who recovered stolen humans (babies, brides, etc.,) by either confronting the fairies directly or by stealing the person back from them. Often times in these tales the person is seen riding a horse as part of a fairy cavalcade and the rescuer pulls them down and gets them back home without saying a word (if they speak the person is lost).  
• Jareth asking Sarah how she likes the labyrinth and when she replies that its 'a piece of cake' he immediately makes it harder and creates a dangerous situation for her to face, as well as his later claim that his actions in tormenting her throughout the labyrinth were 'generous' certainly captures the wider temperament of the fairies. The Fireys inability to understand Sarah's physical differences - her body parts can't detach as their do - is another good example of the way that fairies think differently from humans and react differently to situations. We might also argue that the way they try to remove her head but are angry when she pulls off one of theirs (and throws it) saying that isn't fair because you are only supposed to throw your own head, despite their attempts to forcibly pull hers off demonstrate the different rules that fairies apply to themselves versus humans. 
• The scene with the peach has a lot going on with it, but I'll just note in particular the idea of eating fairy food resulting in a person being trapped in fairy and the deceptive dreamlike nature of some fairy experiences. 

This touches on the main points that I'd like to note with this particular film. There may be more that I have missed or some that I mention that are open to discussion but I think this summarizes the most salient points. From the perspective of fairy folklore at least Labyrinth may be viewed as a classic tale of a quest to recover a changeling, albeit with a lot of extra flourishes and additions, and goblins that are more comical than truly malicious. 

*the implication here is that all of the goblins in the labyrinth were once human babies, stolen and transformed.

Resources for Learning Old/Middle Irish

  I recently published a new book of translations from old/middle Irish into English and as sometimes happens when the subject comes up people are asking me how I learned the language and for suggestions on where to start themselves. For those who aren't aware old and middle Irish are the predecessors of modern Irish, in much the same way that old and middle English are the predecessors of modern English, and even if you speak modern Irish you would have to learn old and middle Irish separately. 

Learning old Irish, as with any language, is best done from teachers who are fluent in the language themselves, however that isn't always an option. I am entirely self taught because there wasn't any way for me to attend classes on the subject. And I will warn people learning a language, especially one like Sean agus Méan-Gheailge, is difficult and requires dedication and a degree of stubbornness, as well as a willingness to hunt for any and all helpful materials. 

Below I am going to give a list of both free online resources as well as books (not free) that a person could use to learn this language if they wanted to. These are the ones I have personal experience with and recommend but are not the only things out there. 

Free Online Resources:

Memrise, a good way to learn vocabulary https://app.memrise.com/course/1155705/sengoidelc-old-irish-for-beginners/1/
Through the University of Texas Linguistic Research Center https://lrc.la.utexas.edu/eieol/iriol 
Old Irish conjugated prepositions on Quizlet https://web.archive.org/web/20210212034949/https://quizlet.com/10767887/old-irish-conjugated-prepositions-flash-cards/ 
Pronunciation guide https://www3.smo.uhi.ac.uk/sengoidelc/donncha/labhairt.html
the electronic dictionary of the Irish language aka eDIL, a dictionary of old and middle Irish http://www.dil.ie/search 
UCC's online Irish Texts, a source for the original material with parallel English and modern Irish translations http://iso.ucc.ie/index.html 

Books available to purchase:

Old Irish Verbs and Vocabulary by Anthony Green
Sengoidelc: Old Irish for Beginners by David Stifler
Old-Irish Paradigms & Selections from the Old-Irish Glosses with notes and vocabulry by John Strachan
Old-Irish Workbook by EG Quin
Dictionary of the Irish Language: Based Mainly on Old and Middle Irish Materials by EG Quin
Old Irish Reader by Rudolf Thurneysen
A Concise Old Irish Grammar and Reader by Julius Pokorny
A Student's Companion to Old Irish Grammar by Ranke de Vries
An Introduction to Old Irish by RPM and WP Lehmann

A Modern House Blessing

 In the past I've been asked to help people cleanse or bless their new houses. It occurs to me that this sort of simple thing would be good to post here for anyone to do themselves. This method is entirely my own, as far as I know, and thoroughly modern, but is based on older methods and concepts, particularly drawn from the Carmina Gadelica material.

  First I walked through the house, room by room, burning herbs associated with cleansing. In general I recommend using a combination of vervain, rosemary, and juniper when possible, but any one of those alone is also good. Using smoke to purify and bless spaces and the home is an old practice, particularly using juniper. F. Marian McNeill in the Silver Bough says "Juniper, or the mountain yew, was burned by the Highlanders both in the house and in the byre as a purification rite on New Year's morning" and the Gadelica itself says "Iubhar beinne [juniper] and caorran, mountain ash or rowan, were burnt on the doorstep of the byre on the first day of the quarter, on Beltaine Day and Hallowmas." Likewise rosemary also has a strong historical association with cleansing, as according to Grieve's Modern Herbal it was burned to cleanse a sick room and was also believed to remove any evil influences in general (Grieve, 1931). Vervain in both the Celtic and Roman world was considered a sacred herb and used as an offering to the Gods (Grieve, 1931).
   Next I lit a white candle and walked through each room again praying for blessing on the home. This is based on traditions associated with certain holidays, like Samhain, where fire - usually in the form of a burning torch - would be taken around the boundary of a property to bless it and protect it.
    In the end I stood in the middle of what would be the living room, holding the candle, and recited a prayer slightly modified from the Carmina Gadelica:
"Gods bless this house,
From site to stay,
From beam to wall,
From end to end,
From ridge to basement,
From ground to roof,
From foundation to summit,
Foundation and summit."

The above prayer is the modified version from my book By Land, Sea, and Sky, but is changed very little from the original which can be found in the first volume of the Carmina Gadelica by Carmichael here http://www.sacred-texts.com/neu/celt/cg1/cg1048.htm and below:
House Blessing 45
God bless the house,
From site to stay,
From beam to wall,
From end to end,
From ridge to basement,
From balk to roof-tree,
From found to summit,
Found and summit.

References:
 McNeill, F., (1965) The Silver Bough
 Carmichael, A., (1900). Carmina Gadelica 
Grieve, M., (1931). A Modern Herbal 
Daimler, M., (2010) By Land, Sea, and Sky 

The Morrigan, The Dagda, and Samhain

 As we're getting into October and people are turning their  attention to Samhain I'm starting to see discussion and references to the meeting between the Morrigan and the Dagda at the river Unshin showing up here and there. This is one of those stories from myth that often suffers from 'telephone game syndrome', that is people who haven't actually read or heard the story themselves taking a small part of it that's widely repeated and creating their own context for it. Which, in the wider scope of modern folk belief, has its place - however today I thought it would be helpful to outline what's actually going on in that part of the story and address some common misconceptions around it that directly contradict the myth. 
    This isn't intended to argue against the more modern takes so much as to show the context and give some insight into the actual original story for those who are interested. This is easier to do to be honest because there is only one surviving manuscript containing this story, which occurs in the Cath Maige Tuired (CMT), so for once we have a singular source to look to rather than carefully sorting through multiple contradictory texts. 

I'd like to look at several specific ideas that I find are really common around this topic:

1 The Dagda and the Morrigan meet up/have sex on Samhain
Well....no, not exactly. They do meet up and have sex, that part's true, but in the text its pretty clear that their meeting occurs more than a week before Samhain - its the battle with the Fomorians which occurs on Samhain.
According to the text the Morrigan and the Dagda meet 'around' the time of Samhain and she asks him to gather the Aes Dana, the skilled people of the Tuatha Dé (TDD), while she goes herself to attack Indech one of the Fomorian kings. She then meets them all at an agreed on point and displays the king's blood as proof she has done as she said she would. The text says of that second meeting: "Sechtmad rie samain sen, & scaruis cach oroile diob go comairnectur fir Erenn uili al-la rie samain."
"This was a week before Samhain and they all scattered until all the men of Ireland came together the day before Samhain."*
Now we can argue that Samhain itself isn't a single day - although its named as the first of November in the texts - but a time period, which is fair, but that time period is generally seen as extending forward beyond the 'day' of Samhain not as a nebulous time around that 'day'. Hence the month of November in Irish is the month of Samhain, mí na Samhna, beginning with the day of Samhain, 1 November. So when we see this meeting in the story its happening at some point around the middle of October, then she goes and attacks the Fomorian king, and then she meets up with the Dagda and Aes Dana a week before Samhain, then the day before Samhain all the Tuatha Dé gather for the battle. 

2 The Dagda sought the Morrigan out for her help in battle
When people talk about the meeting of the Dagda and the Morrigan its often framed in the context of the Dagda seeking the Morrigan out, as if he had gone on a quest to find her. However its clear from the myth that this meeting was one that occured every year between the two: 
"Bai dno bandal forsin Dagdae dia bliadnae imon samain an catha oc Glind Edind.....Is hi an Morrigan an uhen sin isberur sunn."
"The Dagda was to meet a woman on a day, yearly, about Samhain of the battle at Glen Etin....She is the Morrigan, the woman mentioned particularly here"
Its also important to note that these two figures aren't strangers or casual acquaintances, in fact they are referred to in several places as a married couple and in the CMT its said that the place they lay together was called Lige ina Lanomhnou 'the bed of the married couple'. So rather than going out to search for her he was simply meeting her where they met every year, and because the meeting that particular year was right before a battle she gave him martial advice - marital martial advice as it were.

3 The Morrigan had to be persuaded to aid the Tuatha Dé
 One of the more common ideas I see attached to the union of the Dagda and the Morrigan is that the Dagda slept with her in order to gain her aid in the battle with the Fomorians; this is often tied into a related (inaccurate) idea that the Morrigan was some sort of neutral party or was not one of the Tuatha Dé herself. 
Now putting aside that we've already established she was the Dagda's wife, its important to note a couple other points. Firstly the Morrigan is very clearly listed as one of the Tuatha Dé across all of the source material we have that mentions that sort of thing and her mother is listed as one of the women of the TDD. She has already appeared in the Cét-Cath Maige Tuired (first battle of Maige Tuired) against the Fir Bolg using her magic against the Fir Bolg and aiding the Tuatha Dé. More importantly perhaps in the story of the Cath Maige Tuired the Morrigan has already been helping the Tuatha Dé prior to her meeting with the Dagda, specifically by appearing to Lugh and inciting him to rise up and fight against the oppression of the Fomorians. She is without doubt on the side of the TDD and working in their favour and nothing in the story directly indicates the Dagda ever asked her for her aid or even advice. It says only that the Dagda spoke to her, they slept together, and afterwards she gave him military advice and went to attack the Fomorian king herself. 

4 The Morrigan and Fomorian Princess are the same person
 Another idea I see floated around a lot, which may be tied into point three, is a confusion between the Dagda's meeting with the Morrigan and the subsequent meeting and tryst he has with a Fomorian princess. Basically he meets with the Morrigan as discussed above and is later, after other war preparations, sent out by Lugh to spy on the Fomorian camp; in leaving there he encounters a Fomorian woman who says she is the daughter of the king Indech and the two become lovers, after which she promises to work magic against her own people. I will note that the second meeting is entirely omitted from Stokes translation of the CMT because as he says of it "Much of it is obscure to me, and much of the rest is too indecent to be published in this Revue."^; I suspect that this being the easily available public domain material which many people access and that section being omitted is one factor that led to the conflation of the two encounters, as people hearing of the second but unfamiliar with it assume it is in fact the first. In any case while there are some common themes between the two there are also multiple notable differences which makes it clear that the two are different figures within the story. 

These are a few of the most common things I run across that I feel should be addressed or clarified. As I said in the introduction people are free to believe what they will and follow different modern ideas of this meeting, but hopefully this has helped clarify the written version of the myth and what it actually tells us. 

*all translations are my own
^ I hate Whitley Stokes

Quick Guide to Common Folklore Related Terms

Today I wanted to offer a quick and very rough guide to terms used around material connected to folklore. I find that this subject can be very confusing for people and hope this may help a bit with that. Disclaimer that these definitions are based in my own understanding of these concepts as an amateur folklorist.

Folklore - according to Oxford dictionary folklore is "the traditional beliefs, customs, and stories of a community, passed through the generations by word of mouth.". Folklore has several key aspects including both its oral nature as well as its existence within a community. Folklore is also fluid and evolving, showing change in line with the community it is attached to.
Michael Fortune's Youtube videos of people being interviewed and discussing their community's or their family's fairy beliefs is an example of folklore. 

Anecdote - an anecdote is a personal story being recounted by the person who experienced it or passed on as such. It represents a real person describing events they witnessed or experienced. 
Someone describing their own encounter with a fairy is an anecdotal account. 

Retellings - Much of the Victorian material we have, as well as some popular modern material, falls into this category. Retellings represent folklore that is being preserved in written form with additions from the author; there can often be a fine line between a retelling and the folkloresque but while retellings often add flourishes and drama they generally adhere to the broad strokes of the original folklore. 
Lady Wilde's work may best be described as retellings. 

Folkloresque - Also previously known as fakelore and sometimes called folklorism, folkloresque is material that is rooted in folklore concepts of motifs but which heavily incorporates creativity and fiction to create something new. The folkloresque isn't properly folklore - it isn't representative of a group's beliefs or practices - but is inspired by or based on existing folklore. Another key difference between folklore and the folkoresque is that the folkloresque exists in a fixed form.
The movie Labyrinth can be described as folkloresque. 

Fiction - is written work that describes imaginary stories or relates events that aren't true. This is why works of fiction usually include disclaimers that the work was created by the author and any resemblance to real people or places, etc., is unintentional. Fiction is an exercise in human imagination and is usually predicated on telling an interesting story. 
The Dresden Files is an example of fiction. 

There is often debate on whether or not folklore is fiction, but in my opinion this presupposes that folklore is untrue and was created at some point purely for entertainment, which ignores the key aspect of folklore as belief and practice of a community. Whether or not stories of selkie wives did happen they represent active belief in a community, with attached practices, and were understood as true by the people who believed in them. Fiction in contrast is created intentionally to be a story for entertainment. This is an essential and pivotal difference.