Seeing Through Shadows, Background

The Clearwater Companion. Larkspur Mysteries, book four

Have you read ‘Seeing Through Shadows’ the Larkspur Mysteries book four? It actually doesn’t matter if you have or haven’t, as this unpublished excerpt gives nothing away.

Chester Cadman has been duped by unscrupulous men, ridiculed in the newspapers, and disowned by his family. Only twenty-two, he is on the verge of starvation when a Clearwater detective makes him an offer he can’t refuse: Join the Larkspur Academy and investigate a haunting that has plagued Lord Clearwater’s family for nearly four hundred years.

What I have here is the original opening for the book, a section I wrote before the Clearwater Mysteries came about. It was to be the opening of a sequel to my standalone, slightly paranormal romance, ‘Curious Moonlight,’ when I invented an abbey in Cornwall and an ancient scandal that occurred around the time of the Reformation. This section is a very early work for me (another way of saying it’s a bit rough around the edges, a first draft and unedited), but the idea behind it stayed, and eventually became the backstory for ‘Seeing Through Shadows.’

Which is why I never throw anything away. Even if the text didn’t appear in the book in this or edited form, the idea behind it did.

It’s a quick read, but before you set off into the past, make a note that next Saturday, I will be revealing the cover of the first in the new series, ‘Finding a Way.’ More about that on my blog posts next week. Meanwhile, step back in time to 1538 and a moonlit night in the grounds of Larkspur Abbey…


Larkspur Abbey, 27th March 1538

The Abbot stood, cloaked and shadowed by the yew tree, his lantern dark and unnecessary thanks to the full moon. It painted the scudding cloud with outlines of silver and caused the unsettled mist to shimmer as it undulated over the damp grass and wove among the ancient stones. The moor mist played silently at the Abbot’s feet, stroking leather shoes before swirling to investigate his companion. As it drew near the second man, it seemed to realise its error and held back, skirting him before pouring down the hill towards the graveyard. There it pooled in a natural bowl, lapping at the base of the knoll as if waiting for a door to open and admit it to the earth.

‘The time draws near,’ the Abbot whispered, his eyes fixed on the far side of the graves.

‘Shall I go down, Father?’

‘No, Jacob. Wait awhile until we see it.’ He flicked his eyes across the tombstones to the church wall in case the apparition had appeared during the blink of an eye, but the mist was undisturbed, and no figure walked. ‘The monk has not returned, I hope?’

‘No, Father,’ Jacob replied. ‘Nor will he. He rides to Plymouth tonight, and thence Exeter and north. He shan’t be seen again.’

The Abbot crossed himself. ‘You know,’ he said, ‘the King’s commissioners are at Dartmoor.’

‘Aye, Father. We all fear for the Abbey.’

‘They will find no corruption here, Jacob.’ The Abbot’s voice was as firm as his belief that he ran an order beyond reproach.

‘Not now the monk has been sent away.’

‘Exactly.’ The Abbot shuffled his feet. ‘And not after you have done your duty.’

Jacob gripped the wooden handle of a dagger, his fingers itchy for work, his muscles tensed and ready.

In the graveyard, the mist became agitated and gathered at a cut in the hillock. Drawn to one place, it swirled in delight when a patch of grassy hillside opened like a door, and swept inside to the dark, unexplored tunnel. It poured around the skirt of a young girl, cowled and wrapped in a cloak of rough wool. Her boots cut through the vapour which pawed and petted before rushing on, as she trod a slow, deliberate path towards the graves.

‘There!’ the Abbot hissed and pulled his man to the cover of the tree. ‘See how it walks? As if floating above the mist.’

The girl made slow, cautious progress towards the east window, pausing to listen, crouching behind headstones when a breeze played at her hood and a startled night creature darted nearby.

‘Shall I go now?’

The Abbot sighed and closed his eyes in a brief prayer of forgiveness. ‘Yes, Jacob,’ he said. ‘But remember how the monk walked and be sure to do the same. Slowly, carefully go, because you know you are doing wrong, because you know God is watching and yet you act against your vows.’

‘I took no vows, Father.’

‘Which is why you are the only one who can do this. But picture yourself as him, and she will not suspect until you are on her.’

‘Aye,’ was all Jacob said as he hid the dagger.

He set off towards the church keeping to the shadows, but when there were none and the moon caught him in his guilty act, he behaved as the monk had done, crouching and crabbing low to the ground. If the girl saw him coming, she would think it was her assignation and not, as the Abbot had planned, her assassination.

He should have seen this months ago. It had become common knowledge in the Abbey despite the vow of silence, a vow he knew his monks rarely kept. If the King’s Commissioner heard of that, there would be trouble enough, but if they learned of the monk, the abbey would be torn down for sure.

The sinner was on his way to Plymouth now, on a mission to take the word of God into the county of Devon, further if possible. The cause of the Abbot’s fear had left, but only half of it. The girl was now against the church wall and creeping around the east to the south side where the shadows deepened in the recesses of buttresses. This is where they met, he had learned. Nightly when there was no rain, the monk and the serving girl from the Hall. It had first been noticed by a novice and gone unreported for the lad feared he would be accused of betrayal. Later, he confessed to a second novice who had the courage to approach the Abbot.

The Abbot knew the monk in question was otherwise virtuous and he rather the man found his way to a woman, rather than any of the noviciates as many monks did. He also knew the lord of the manor. If he reported the matter to him, he would flog all servant girls and possibly throw them out, bringing poverty to their families. The Abbot held his tongue and let the matter proceed. Young love was a fickle thing, he believed, and the pair would soon tire of each other. There should have come an end to it the moment he confronted the monk and told him to stop, but, as the younger man pointed out, it was hypocrisy on the part of the Abbot to cast stones before removing the plank from his own eye, and the Abbot was shamed into silence.

The girl vanished into the darkness between buttresses as Jacob reached the west end wall. He appeared and disappeared as he made his way towards the girl, entering every recess to stay in darkness, just as the monk had done.

It was the news that the King’s Commissioners were coming to Larkspur that forced the Abbot to act. Within a week of the news, he had cleaned house, threatened every monk, and taken every step to ensure the King received a favourable report and thus, he kept his job, his income and peccadillos. The fly in the ointment had been the one monk, so in love with a serving girl that he defied not only his Father but God.

Left with no choice, the Abbot gave the monk an ultimatum. To leave that day on horseback, or in a coffin. The monk had ridden off within the hour, leaving the girl ignorant of his departure, but still living. A confession from her and the abbey was lost.

Jacob reached her recess and slipped into the void. The Abbot listened but heard nothing. Cloud darkened the moonlight, and the scene descended to monochrome gloom until the high breeze took away the cover. As it did, it revealed Jacob dragging the girl’s body into the moonlight and kneeling beside it. His instructions were to haul it to a prepared grave and there bury it, but the man looked up, towards the trees and then back to the body. In a second he was on his feet and running towards the Abbot.

‘The idiot,’ the Abbot hissed.

The hour was late, and no lights glowed in the arched windows of the dormitory or church, and no-one moved in the cloisters. Nocturns had been said and the monks returned to their beds, there to sleep until the bell for Lauds. The perfect time for illegal assignations, but since the Abbot’s dire warning, none had dared. None but the banished monk, now not only a fornicator but the cause of a young girl’s death.

Jacob puffed his way ungainly to the top of the rise and clambered to his master.

‘Father,’ he said, his face paler than the moonlight, his eyes wider than the night sky. ‘I can’t bury the body here.’

Furious, the Abbot gripped the man’s cloak, dragged him close and glared. ‘You fool,’ he spat. ‘Get about your task.’

‘Father, I can’t,’ Jacob protested. ‘Come and see, and you will understand.’


Curious Moonlight

Escaping bad choices, Luke Grey arrives in the Cornish fishing village of Madenly determined never to fall in love with a straight man again. But then he meets Peran Box.

Peran’s passion for investigating historical mysteries is his only escape from a loveless relationship. But then he meets Luke.

Attracted to each other’s differences, the two embark on an intense friendship which sparks hope for Luke and ignites Peran’s gay-curious feelings.

But then they meet Billy, dead for three-hundred years and determined to keep them apart until the mystery of his murder is solved.

Cut: The Larkspur Legacy

And The Clearwater Companion

Today, and now and then from now on, I am going to put up parts of the Clearwater and Larkspur series that were cut from the final publications. It’s probably best if you only read these after you have read the book in case there are any spoilers. Eventually, there will be a separate area on my site for these outtakes, and for other material that was/is destined for ‘The Clearwater Companion.’ I’ve decided that putting my energy into producing the companion for print will take me away from what I want to do when I get back to a new series in a week or so. Thus, over time, I’ll work to build up the companion online, so anyone can access it for free.

Meanwhile, it’s a rather long chapter that never was, but here is what was to be chapter twenty of ‘The Larkspur Legacy.’ In a nutshell, Dalston, Joe and Andrej are travelling across Europe to meet the boat but must make a stop in Vienna, where Andrej has been called by his father who works for the Emperor.

Note: This is the first draft and hasn’t been proofed. Some of what happens here is related later in the book by Bertie Tucker, which, I thought was a better way of telling this part of the story.


TWENTY

Vienna

DAY 10 of the Legacy voyage

Brought up in the workhouse, Dalston Blaze never imagined he would one day cross the channel on a steamer, ride a train to Paris, travel on night sleepers, or roll through the European countryside, let alone visit Vienna. The journey had taken four days, during which he had gazed from the window marvelling at the different styles of buildings when the train pulled into towns and cities, steamed through tunnels, and crossed land both flat and mountainous. During it, when not examining platforms for anyone who might be looking for them, he had sketched and read.

Joe had been doing the same, studying his ancient Egyptian writing, and pondering over Lord Clearwater’s clue. Keen to see the country they were making for, he was less interested in the scenery and more in the history and customs of where they were going once Mr Andrej had completed his business. The hours between changes, he spent flicking through a book, turning the words into images in his silent mind, and now and then showing Dalston something of interest. A pyramid, a thing called a sphinx, tombs and columns, but also drawings of strange creatures; a man with a hawk’s head, crocodiles, and, the image of their clue, a man with the head of a jackal. On one page of his book there was a plate, and when he showed that to Dalston, it chilled his blood. “Anubis,” the caption read, “God of Death.”

At that point, Dalston said he’d seen enough, and turned to Mr Andrej for conversation, asking where they were, and if they had to change trains again that day.

The Ukrainian had made the journey a few times before and knew exactly which train to catch from where, when to change and where to stay on the two nights they had broken the journey. At those times, he had been vigilant when sending their location back to Larkspur, but so far, they hadn’t noticed anyone on their tail.

Mr Andrej had also spent time looking at a small portrait Dalston had made of his intended, and not long after they’d left Paris, said, ‘What shall we call him?’

‘What?’ Joe signed, and when Dalston translated, signed, ‘She is a woman, and she has a name. Lucy.’

‘I think he means the child.’

‘He knows it’s a boy? How?’

‘Da, will be a boy,’ Mr Andrej said when Dalston explained. ‘I feel this.’

‘Have you talked about names? Andrej, perhaps?’

‘Would be find name, da, but, Miss Lucy says she already has one child called Andrej. Maybe, I call him Danylo, for my brother.’

‘Or Daniel, if he is to be British born.’

‘Is idea, da.’

The conversation had been repeated several times, both while traveling and when they stopped in a city to wait and send word back to London. On the nights they booked into a hotel, they stayed long enough for a reply to come back from Mrs Norwood.

Your message sent on to LH. W just left as planned. God speed.

Messages, Mr Hawkins had said, were to be as brief as possible, and as carefully written in case they somehow fell into enemy hands, but it didn’t take much for Dalston to work out that news of their journey was being sent to Larkspur and that Mr Wright, Frank and Chester had left for Greece and Egypt. Although leaving a few days after the Egypt party, so as to make tracking more difficult for Kingsclere, Chester would overtake them somewhere on their route, because he was joining an escorted tour that left France with a party of tourists and took them across the sea to Alexandria. There, he would leave the group, and, with any luck, vanish into his own people and set about his preparations unnoticed. Before the parties left London, Mrs Norwood had suggested they memorise their routes and arrival times, so every man knew where he had to be by when, but Dalston hadn’t been up to that challenge, and instead, wrote the journeys in symbols in his sketchbook. By his reckoning, as the train slowed to arrive in Vienna, James and Frank would be two days away from London, at the point where Chester was to leave them and make his way to the coast in the south of France. From Marseilles, he would travel with the Cook’s escorted tour directly to Alexandira, and if anyone was watching him, he would be able to pick them out with ease from among the well-to-do and rich; the only people who could afford the ticket. At the same time, according to his notes, the Legacy would be sailing east towards Genoa while Chester’s steamer cut across in front of it. A few days ahead of them, prehaps, but it was the same sea, and the crossing routes made for an interesting pattern in his mind.

Also, according to his notes, they were to spend no more than three days in Vienna before taking a complicated journey to meet the ship. Chester had shown them the route on one of his maps, and said it was one thousand miles by road, a figure Dalston couldn’t comprehend, but they had eleven days to reach the port, and he wasn’t unduly worried. They would probably take trains, and make more stops, however, because there was no rush, and apart from putting Kingsclere off their scent, Dalston was keen to see Venice, San Marino and other places he had never dreamt of seeing.

From the workhouse to this, he thought, as he closed his book and, began to gather his things.

‘You thinking what?’ Joe asked, after waving in his face.

‘Nothing. Just setting the journey in my head.’

‘Nearly there.’

‘Yeah. Pack up.’

No matter how exquisite the décor in a first-class carriage, there was nothing better than the relief of standing up after hours of sitting down. Dalston stretched his long legs, and, as the other two found their bags, and Mr Andrej scoured the carriage just in case, Dalston lowered the window to watch the approaching platform.

The locomotive made a great fuss of slowing, emitting groans and huffs as if it wanted those on the platform to know it had done a masterful deed and dragged these people all the way from Munich without stopping, when, in fact, it had stopped several times. He ducked back inside to avoid a cloud of steam, and when he looked again, through the last of the mist, he saw yet another sight he never thought a boy from the Hackney spike would ever witness.

Two liveried men stood on the platform, upright, arms behind their backs and their heads held erect. There was nothing new in seeing servants stand in that way, all the waiters in London did it, but these men weren’t waiters. They were dressed in yellow tailcoats finely adorned with thick, gold braid on the inner sleeves and the lapels, and beneath, they wore grey waistcoats with buttons that sparkled in the sunlight. A beam of it fell through the station roof as if specifically designed to highlight them, and left the other passengers gawping in shadow. The men had dark blue breeches to high stockings, and flat, black shoes beneath. They were several steps up even from Mr Nancarrow’s fine livery, but at least the Larkspur butler didn’t have to wear a wig of the last century.

‘Blood hell,’ Dalston said as the carriage stopped directly in front of the pair. ‘There’s some right nob on this train, and no mistake.’

The mistake was his.

Mr Andrej said something that sounded like a swear word, and added, ‘Why?’

‘Is the emperor aboard?’ Joe signed with a shrug.

‘Must be.’ Dalston looked along the tops of the seating, but saw no-one else rising. He assumed it was bad form for anyone to leave the carriage before the Emperor, and so hung back, but when Mr Andrej swore again and opened the door, it dawned on him these men were there to meet them.

‘I told them we stay hotel this night,’ Mr Andrej said, standing back to usher Joe onto the platform first. ‘Why they do this? My father has sent them…’

Dalston stepped down next, leaving Mr Andrej mumbling behind, and as soon as the Ukrainian set foot on the stone, the two footmen snapped their heels together as suddenly as they jerked their heads down and up. Expressionless, one raised his arm to direct the party to the station exit, and the situation became even more strange when onlookers stood aside to let them pass. One footman, as Dalston assumed they were, walked ahead with the three of them in the middle and the other uniformed man behind, and it reminded him of being marched to the cells in Newgate prison.

‘We are shit at being secret,’ Joe signed as they walked, and his hand movements caused people to stare, worsening the spectacle.

‘Just follow, and keep your head down,’ Dalston signed. ‘At least no-one’s going to attack us when we have an escort.’

‘For Mr Andrej?’

‘Must be.’

‘Why?’

‘Because he’s the son of a baron, and his father’s high up in the court. Weren’t you listening?’

‘Very funny.’

‘Oh shit. Is worse.’ It was Mr Andrej who said that, and when he was led from the station and into the sunlight, Dalston saw why.

The footman led them to a carriage, but one unlike any Dalston had seen. Bowl-shaped, the body sat high above four wheels, the back one larger than the front, and its top was adorned with fancy gold leaves pointing skywards. It had gold trim around its windows, large, ornate lanterns, and a crest on the door. Even the wheel spokes were trimmed with gold, and the two horses wore plumes, with their manes braided. They were held by another liveried man, this one wearing a cloak and tall hat, and holding a whip. He also bowed sharply when Mr Andrej approached, and one of the footmen opened the door, inviting the men inside. It was only then that Dalston realised they’d not collected their luggage.

‘Our bags?’ he said, but Mr Andrej wasn’t listening, he was trying to ask the footman something, but the man made no reply.

‘Not speak English,’ Joe signed.

‘Our bags?’

‘There.’

Porters arrived with their belongings and began loading them onto the back of the carriage where one of the footmen secured them.

‘We go,’ Mr Andrej said, and bent to climb aboard.

With no other option, Dalston followed, and took a place on velvet-lined seats, where furs had been provided against the cold air.

‘We go where?’ Joe signed, and Mr Andrej told them they were in an imperial carriage, so they were being taken to a place called Hofburg.

‘Is that a town?’

‘Nyet. Is where my father works and lives. Why he send this?’

Dalston’s guess was as good as anyone else’s. ‘To surprise you?’ he suggested.

‘Is big surprise, da.’ Mr Andrej smiled. ‘I write to tell him when we come, and I have two friends. Maybe he want to meet you.’

‘Maybe they’ll drop us at the hotel,’ Dalston said as the carriage set off.

It glided over the cobbles as though someone had put down carpet, and, as it took its leisurely pace through wide streets, he was able to admire the buildings. They passed a large park on one side, and four-storey houses on the other which became grander the further they rode. Well-dressed pedestrians stopped to stare in, as if they were expecting to see royalty, while others ignored the carriage and went about their business of parading beneath parasols, or wrapping shawls tighter as they sat outside street cafes sipping from delicate cups.

They had just passed a square with a statue in the centre, when Joe signed he wanted to ask Mr Andrej something.

‘Da, what?’

‘He wants to know why you don’t live here,’ Dalston interpreted. ‘Why, if your father is a baron in the Royal Austrian court, do you work as a groom in England? Sorry if he is being a bit personal.’

‘Nyet, Vohon.’ Mr Andrej was still smiling, and it broadened when he used his nickname for Dalston which, he’d said, translated as Fire. ‘I will tell him. I am not groom, I am Master of the Larkspur Horse, and I live where I live because I love Geroy, and I love my Lucy. I have my friends at home, so why I want to come and be here? You see how they treat me. Is embarrassment.’

‘But your father is here.’

‘Da. But this I not know until nearly two years ago.’

Dalston explained to Joe, who had been reading Mr Andrej’s lips, but he still wasn’t satisfied.

‘Joe asks a lot of questions, sorry,’ he said. ‘He doesn’t understand how you ended up working for Lord Clearwater when you came from abroad, and why you don’t now live in a palace with your father.’

If Mr Andrej was annoyed by the intrusion, he didn’t show it. He placed one of the furs over his knees, and rested back into the plush.

‘Is long story, Mr Joe,’ he said. ‘I leave my homeland when I was younger, I think fourteen, maybe not. My father… The man I thought was my father was dead. So was my mother, and my sisters and brothers, maybe. I not know. Our neighbour, Yakiv Blumkin, he tries to take me away from Russians who are killing our people, but I say, no. I go my own way. I come to England on ship with Captain Kent, who is now with Geroy on sea. I meet Banyak… Mr Hawkins. We meet Geroy, he gives us job. Then, January last year, I go with Pianino long way to Rasnov. Is in Transylvania, and we stop in Vienna where Mr Blumkin is, but he is not Mr Blumkin the neighbour, he is Baron Kubinsky of Judenburg, and he is in high position in court because his title puts him there. He tells me… He shows me he is my real father. But, I stay with Geroy, and I have Miss Lucy, and I have friends, like you have Joe, and I am happy where I am. Now, that is enough, questions, Mr Joe.’ He glanced from the window. ‘We are there in minute.’

Dalston had kept up with the translation as best he could, but it wasn’t easy when Joe interrupted him asking who Pianino was and what was Transylvania, which Dalston didn’t know how to spell. Pianino was Jasper Blackwood, he explained, the pianist, and he couldn’t say why they had made the trip, but all he and Joe needed to know was they were probably being taken to meet an important man, and Joe had to behave himself.

‘Me?’ Joe gaped. ‘Fuck off.’

Dalston grinned. ‘We never know, someone there might speak our language.’

‘Not likely. How long we stay?’

‘Two days.’

‘Why? We have lots of time. Maybe we stay longer?’

‘No. We have a schedule.’

‘But look…’ Joe pointed from the window. ‘All this. You draw. Look there, museum… and there, big church. No hurry to get to boat. We have ten days.’

‘What he saying?’

‘Joe wants us to stay in Vienna longer than we should. He thinks we have plenty of days before we need to be in Italy.’

‘Da, Mr Joe is right, but we must do what we are told. Jimmy knows best. I see my father today, tomorrow, and after, we start again on journey. We stay in one place too long, the svolochi find us easy. Safer is, we go in two days. Da?’

Dalston wasn’t going to argue with him, but Joe wanted to. However, their entry into a large, open courtyard put paid to more questions, because there was nothing else to do but stare in awe at their surroundings. After passing through a columned gatehouse, the carriage took a graceful curve, following a line of arches supporting columns that in turn supported a balustrade four floors up, beneath which were tall windows in a classically fronted, semi-circular building of immense size.

‘Fancy house,’ Joe signed as if he was bored, when his wide eyes betrayed what he really thought.

The carriage pulled up beneath another arch, where the weakening sunlight was supplemented by flaming torches, and Dalston waited for Mr Andrej to move first. The horse master himself waited until one of the footmen had opened the door, and Dalston assumed that was the form. Once the step was lowered, Mr Andrej ducked out, and they were met by another man wearing a military uniform who greeted them with the customary snap of head and heels.

‘Herr Blumkin, welcome,’ he said in English, but offered no hand to shake. ‘I trust you had a good journey.’

‘Was long,’ Mr Andrej replied.

‘Of course. I am Herr Gruber, assistant to Von Kubinsky. Your father waits for you in his chambers. You will stay at the palace, Sir, and I will show you up, but perhaps you would like your companions taken to the hotel. I can arrange it.’

‘Nyet. Why am I here?’

The man, no older than thirty, Dalston thought, but assured and upright, twitched at the bluntness.

‘Your father’s request, Sir. I will explain on the way.’

‘Nyet. Now.’

The man faltered. ‘Perhaps it would be best if your friends returned…’

‘Nyet. They stay with me.’

That time, Herr Gruber both faltered and twitched, his confidence waning. ‘As you wish, Sir,’ he managed. ‘They might wait outside the baron’s rooms.’

‘What is wrong?’

‘Sir?’

Mr Andrej growled in his throat. ‘You not tell me why we come here. You want rid of my friends. What is wrong?’

‘It really would be best if we were alone…’

‘Gruber, you say?’

‘Yes, Sir. Assistant to…’

‘Gruber. I not go anywhere without these two. They are under my protection. They stay with me. That is that. Now, why my father call me here straight from stinking train? We are hungry, we are tired, and we want rest. Find them rooms with me, but first, tell me. What is wrong?’

Gruber had paled, but waved a gloved hand and said something to the footmen who unloaded the bags and passed them to two more servants who had appeared from inside.

‘Please, come with me,’ Gruber said, and showed the party into a hallway.

It was not like any hallway Dalston had encountered. Their shoes squeaked on a marble floor as they entered something as large as the refectory at the Hackney workhouse. A massive stone staircase climbed to a gallery and split either side, with chandeliers hanging low from a ridiculously high ceiling. White and gold painted doors led to who knew where, and the walls were covered with paintings of uniformed officials, and women in glittering gowns. For all its grandeur, however, the entrance was cold, and Dalston chilled further when it dawned on him that Mr Andrej had demanded they stay the night in a royal palace.

Joe nudged him, and signed, ‘Fuck’ with his jaw dropped, but remained still when Dalston glared.

‘Before we go up, there is something I must tell you,’ Gruber said, one eye on the servants disappearing with cases. ‘Your father called for you because he is not well. He was keen to…’

‘What you mean, not well?’

‘I mean he is ill, Sir. Gravely ill.’

Gruber dragged out his words to give them weight, and Mr Andrej’s pallor soon resembled that of the official.

‘I must be honest with you, Sir. Your father, although sound of mind, is very week of body. The physicians have suggested your visit is timely. A few days later, and you may have been too late.’

Mr Andrej said nothing, but marched past Grubber to the stairs, and began to climb. Gruber, protesting, followed, leaving Dalston and Joe with no choice but to do the same. There was no time to explain to Joe what was happening, but Gruber had spoken slowly, and his English was good. Joe had probably read his lips, because he, too, looked grave as they took the stairs, following Mr Andrej’s ever-quickening pace.

‘My father is in his rooms?’

‘Yes, Sir, but please, we must ask the nurse if…’

‘We ask nothing. Why he not tell me this before?’

‘He was reluctant to inform you at all, Sir, for fear of upset. It was me who insisted you be called.’

‘You were right.’

‘I am glad you agree, Sir. To the left here.’

‘I know where my father lives,’ Mr Andrej yapped, and led them into a wide, heavily decorated corridor where windows overlooked a manicured garden.

‘Of course, Sir. Please…’ Grubber managed to slow the tall Ukrainian by placing a hand on his arm. ‘Quietly and slowly. We must ask the nurse if it is a suitable time to visit.’

Having passed through one set of double doors, Mr Andrej came to a halt outside another, his urgency evaporated, and his shoulders slumped.

‘Will you wait here, Herr Blumkin?’

‘Da,’ was all Mr Andrej said, and he turned away from the doors as if not wanting to see what lay beyond when Gruber slipped into the room.

‘Can we help?’ Dalston said.

Mr Andrej shook his head. ‘Sickness, I am used to,’ he said. ‘But this, I was not expecting. Why? Every time, why?’

Dalston could only shrug when Joe asked him what that meant, and seeing Mr Andrej’s distress, knew it wasn’t the time to enquire.

The servants appeared with the cases, but kept their heads down as they passed, and entered a room further along the passage in silence.

Dalston and Joe were under Mr Andrej’s protection, but at that moment, it felt as if the situation had been reversed. Mr Andrej, usually so assured and dignified, was trembling, and his eyes had moistened.

‘Would you like us to come in with you?’ Dalston whispered.

The big man turned to him, glanced at Joe, and beckoned them close. ‘Vohon,’ he said, and grabbed Dalston’s hand. ‘I not want you to come in with me. I need you come in with me. Please?’

Work In Progress: 5.16

The end of the line.

This morning, I received the final layout files from Other Worlds Ink, so The Larkspur Legacy is ready to go. Only three more days and I will upload it to Amazon, and the Kindle version should then go live on Saturday night/Sunday morning (GMT + 2).

Before that, you can find out more about OtherWorldsInk and their services, because we’re arranging a chat with them for Saturday’s blog. They arrange blog tours and publicity, do book formatting and cover design and are a great help to me. I’ve used them since ‘Negative Exposure’, and now no longer have to spend hours setting out my pages and doing the best I can, because they do it for me. More about that on Saturday.

As for the next work in progress,

I have already begun on The Clearwater Companion by gathering my notes, cuts, excerpts, images, and other ideas. Right now, I am typing up the notes from my bible (series notebook). We may not use all of them, but as long as I have them all in one digital place, I’ll be able to work with them much more easily. It’s a pretty thankless task, but a couple of hours a day and I should have both large notebooks transcribed in a month, and I can then set about seeing what’s what.

Meanwhile, look out for The Larkspur Legacy, the series finale to the Larkspur and Clearwater books. You should be able to get it from Kindle on Sunday (the print version may take a day or two longer to appear).

Proof Reader. Proof-reader. Proofreader?

Proofing a book and making it ready for publication.

The Larkspur Legacy, the last in the Larkspur Mystery series, is now being layed out and when that’s done, it will be ready for publication next weekend. Meanwhile, I thought I’d have a look at the blurb and talk a little about the proofreading stage. As you can see from the title, I’m never sure whether I should write proofreader or proof-reader, or even proof reader. And that’s why I have one. More about that in a moment, first the blurb.

The Larkspur Legacy full blurb reads like this:

The Larkspur Legacy

The Larkspur Mysteries

Book Seven

Jackson Marsh

‘Lord Clearwater, the Larkspur Academy has forged a bond among its men that will last long after they have left us and made their own way in the world. You are to be commended for the enterprise, but you should not be surprised by it.’

Barbary Fleet, December 1891

Henry Hope lies in a coma, and Lord Clearwater’s hunt for his mother’s secret treasure is on hold. But when a new clue comes to light, Clearwater and the academy men resume their greatest adventure. It is also to be their most dangerous.

With murderous enemies behind, the unknown ahead, and a warrant out for Clearwater’s arrest, no-one is safe. Loyalties and friendships are tested as the men face harrowing confrontations, a war of attrition in the national newspapers, storms, gunfights and death.

Will love and friendship be enough to secure the lives and futures of Lord Clearwater and his crew? Can they solve the riddles in time, and will anyone ever know the meaning of the seemingly unlockable riddle? Behind four points ’neath gifted crook, the light awaits for those who look…

The Larkspur Legacy follows on directly from ‘Starting with Secrets’ and is the culmination of both the Clearwater and Larkspur mystery series. It is not necessary to have read the Clearwater Mysteries, but to get the best from this ‘end of season finale,’ you’re advised to read both, the Larkspur Mysteries in particular, and to read them in order.

With themes of friendship, bromance, male love and revenge, the story combines historical fact with fiction. As with all of Jackson Marsh’s mysteries, the novel contains humour, love and action, while offering the reader the chance to solve the clues with the cast of disparate, well-drawn characters.

“This is a book that could have been written by
Sir Arthur Conan Doyle and Dan Brown.”

That is what you will see on Amazon when the book is published.

For me, the important things to remember when writing a blurb are:

  1. It is not a synopsis
  2. It is selling the book
  3. Use power words
  4. Keep it brief
  5. Entice the reader

Other authors and advisors have other advice, but those are my rules to myself.

I start by writing what I want the browsing reader to know, and I don’t care how I write that draft. Then, I go through it knocking out as much as I can that’s not necessary to convey the backbone of the story, and then I go through it again using power words.

I try to keep blurbs down to 150 words or less, and only three paragraphs.

1) The premise of the story: Henry Hope lies in a coma, and Lord Clearwater’s hunt for his mother’s secret treasure is on hold, when…

2) The ‘thing to draw the reader in’: But when a new clue comes to light….

3) The great question or hook: Will love and friendship be enough…?

As for power words, I mean words and phrases like:

Greatest adventure, most dangerous, murderous enemies, the unknown, harrowing confrontations, war of attrition, storms, gunfights, death…

I also prepare the blurb before I send my MS to my proof-reader, because it makes sense for a third party to check it as much as they check the MS.

I’m lucky to have found Ann Attwood, and she has been my proof reader on every Jackson Marsh book and a couple of my later James Collins titles. It’s important to have a good working relationship with your proofer (who is not necessarily also your editor, in fact, I believe they should be two different people, but that’s up to you).

I invited Ann over to tell us a little bit more about herself and how she got into proofreading.

I started proofreading in my twenties (a long time ago!), mainly doing technical documents, but I have always read a lot.

I read Margaret Mitchell’s Gone with the Wind when I was around 16. My mum had the hardback edition, which was really heavy to carry around, and, of course, I read all Jane Austen’s books, and Georgette Heyer’s. As you can see, I am a big romantic fiction fan.

I worked in banking (sorry) until I had my family, but reading kept me sane. After they all started at school I was working in a preschool, but had to give up when I damaged my back. I needed something to do.

It wasn’t a big leap to get into reading ARC editions, but many had so many mistakes from lack of editing, I think, so I began sending corrections to the authors.

It wasn’t long before I was asked if I would proofread or edit professionally, so I set up a Facebook page (now Meta), and it snowballed from there.

To be honest, it’s so long since I started working with James and his Jackson persona, I can’t remember how we met. Probably a recommendation, which is how I’ve gained most of my authors (there are about 40 or 50 on my books. Some send regularly a book a month, others may send one or two a year)

James is easy to work with, and his books are extremely good. I enjoy following the plots and untangling the mysteries to see if I reach the same conclusion. The stories are extremely well thought out, and he has obviously done a lot of research. All that is left for me to do is fix his typos and enjoy myself immersed in a brilliant adventure, ensuring there are no continuity issues (which there usually aren’t).

This last book, the finale in the series, is his longest and best yet (IMHO). All the loose ends are tied up, but no spoilers here.

As well as editing and proofreading for my indie authors (genres include romantic, historical, paranormal, sci-fi, crime, and murder mysteries), I proofread for the online edition of a financial magazine, and edit for the marketing arm of a PSP software provider.

Ann Attwood

Thank you Ann, you sound like a very busy person and I very much appreciate being one of your clients.

So back to checking through the manuscript, your proofer should be able to identify everything from obvious typos to the subtle differences between words, and that’s what Ann does. Although I use a spell check, and a couple of plug-in grammar and spelling checkers in Word, there’s nothing to beat a 3rd party pair of eyes, and an experienced grammarian proof reader. We’re not just talking spelling and typos, but punctuation and consistency of story.There are so many words in the English language that are important to get right, and some of the ones I need a third eye on are these:

Discrete           Discreet

Blonde            Blond

Practise            Practice

And some of my most common typos are character’s names, believe it or not. Often your eye and brain see what they expect to see, not what’s actually written, so I am always missing mix-ups like:

Dalson             Dalston

Joseph             Joshep

Marshall          Marhsall

I’ve also put in some accidental typos that have been quite funny (as long as they get taken out). Mind you, nothing is as funny as some of the typos you see left in published classics.

In the Larkspur Legacy, there is one section where one of the characters is reading from an actual copy of Baedeker’s travel guide from 1890, and I couldn’t help quoting it verbatim. Reading from the book, the character says:

 ‘The façade, towards the boulevard… They must mean this road… Roman circular style… Three stories…” Spelt wrong. “Cottage of the pensioner who keeps the key…”’

The Baedeker travel companions, were very popular in the later 19th century and well respected, but not always so well proofed, it seems. Mind you, I can’t say anything, I am always coming up with new and creative typos: ‘Joe’s not stupid, Sir, he’s dead.’ Instead of deaf, for example. Mostly, I’m able to take them out before they go to Ann, but I also have a checklist of my most common. Form/From, Filed/filled, griped/gripped etc. I have trouble with double-letter words, as you can see, and that’s why you should always hire a professional proofreader, or a proof reader, or, assuming he/she is a compound adjective, a proof-reader.

Proof-reader might not be a compound adjective, actually. I don’t know. Which is why I call in the professionals.

The Larkspur Legacy is due for release next Saturday, 26th March. In the meantime, to celebrate the completion of The Clearwater and Larkspur Mysteries, I am offering Deviant Desire as a FREE download on Amazon until 22nd March. Maybe you had it on KindleUnlimited before but now you can download for keeps, or maybe send to a friend to get them hooked too!

I am also part of a BookFunnel promo running for the week, over 50 fellow MM author are showcasing their first in series, so if you are looking for a new binge read have a browse. I need clicks on this link to build my BookFunnel reputation so please CLICK HERE

And finally, on Monday, at 7pm Athens time, I will be available for a live 30 minutes Q and A session at the M/M Fiction Addiction Cafe. Feel free to drop by and ask me anything you like (well, within reason lol).

Work In Progress: 5.15

The Larkspur Legacy

You’ve been hearing about this work in progress for over 15 weeks now and must be getting pretty tired of it, so it’s about time I told you what the next WIP is to be.

First, though, a quick update on ‘Legacy.’

It’s proofed, all the extras are done (map, illustration, covers), and I have begun the process on Amazon, so it now has an ISBN number. I’ve contacted the layout guys and aim to have all the files to them in a day or so, so they can begin their work, and have it back to me well before ‘push the button’ day on March 26th.

Coming on March 26th

Nearly there.

Barbary Fleet and Other Matters

Meanwhile, I have started gathering information for The Clearwater Companion.

One of the major parts of this forthcoming book will be the story of Fleet and how he came to the Larkspur Academy, and I have a couple of chapters in draft form which I wrote some time ago. I am currently looking at them, and wondering if I haven’t got a novella here. Maybe. We will see, but ‘Barbary Fleet and Other Matters’ will be a short story within the companion, which will also have other information, ‘backstage’ news about characters and stories, facts and fiction, and all manner of things that might be of interest to anyone who has read both series.

So, that’s my current work in progress, a companion to the Clearwater and Larkspur mysteries for anyone who might like to know some things that are not in the 18-book double series.

Cover Reveal The Larkspur Legacy

Over the next couple of weeks, whilst we wait for The Larkspur Legacy to be published, we (that’s the Royal ‘we’, i.e. Jenine, my P.A.) thought it may be fun to look at the other professionals behind my books. Those people who help transform my file on a computer into a real life published and saleable book.

To start the ball rolling, and to coincide with my cover reveal today, we are talking covers and cover art with a chance to chat with Andjela, my very talented cover artist who has been working with me for over six years.

Let me hand over to Jenine…

Firstly let us meet cover designer, Andjela Vujic. Tell us a little about yourself, Andjela.

While I have a degree in scenography, my art extends to painting, dancing and graphic design. I have been designing book covers for the past nine years, and it remains my biggest passion. I am currently producing the majority of the book covers for Foreshore Publishing in London. You can find me on instagram https://www.instagram.com/agazar_design/

Now to Jackson, how did you initially find Andjela?

When I first started as Jackson Marsh, I went to People Per Hour and put up a work request. Something like:

I am looking for a cover artist to design the covers of my MM Romance and mystery books.

Out of the many offers, Andjela was the designer whose work I felt was most on my wavelength — the most professional — and she seemed flexible. Now, I contact her with a cover idea, and tell her a few basics, such as: What I imagine, what props are involved, the weather (if an outdoor scene), the date/period, and if there’s to be a model/face, I try and send her a similar looking person to the one I want.

At what point do you start imagining the cover? At what stage do you contact Andjela?

I usually start thinking about the cover once I have completed a first draft. By then, everything of importance is in the story, and from it, I extract either a moment as in the covers of ‘Fallen Splendour’, when we see Clearwater (or Andrej) rearing their horse on a clifftop,

or ‘Keepers of the Past’ when we see Joe racing to stop a murder.

Both involve horses, in the way ‘Twisted Tracks’ involve a couple running for a train.

In other words, a moment of excitement from the story.

Other times, I feature the characters, as in ‘Banyak & Fecks’ because it’s more of a biographical story.

Sometimes, I take ‘props’ from the story, and highlight them, such as the cover for ‘Agents of the Truth.’

How easy is it to communicate your ideas, does she understand what you are looking for quickly?

It’s easy, and yes, she knows what I want even when I don’t!

For ‘the Larkspur Legacy’, I wrote,

A sailing ship with three masts, sails, (the year is 1890) in a storm, heading towards us, like the train in the cover you did for ‘The Clearwater Inheritance’. It’s during a storm, and needs to say ‘dramatic journey.’ The book is about a travel, adventure and mystery. So: stormy, the image suggests movement, maybe with a map and compass in the sea like the music was in the ‘Inheritance’ cover. How would that look?

I had another idea too, and she tried that, and I realised it wouldn’t work. She often does me several mock-ups and doesn’t mind how many times I ask for tweaks.

So, you are both on the same wavelength?

Yes, it seems we are. I only have to send the basics, and she knows what I like and, somehow, comes back with exactly what I was picturing, even though I didn’t explain it very well.

I asked Andjela a similar question…

When Jackson sends you his ideas for a cover is it easy to visualise what he wants?

Yes! We have been cooperating for years now, and we have always had great communication. He is one of my favourite clients-always clear on what he wants, which makes my job a lot easier. His initial idea is often the one we go forth with, in the final design.

You were nominated for a Goodreads award for the cover of ‘Seeing Through Shadows’. Congratulations!

I am so glad to hear that. That cover was a pleasure to create.

Which is your favourite cover that you have designed?

Seeing Through Shadows and Negative Exposure 🙂

Jackson, ‘Shadows’ was nominated for best cover by Goodreads, in your opinion is this Andjela’s best? Which one is your favourite?

I like all of them for different reasons. ‘Seeing Through Shadows’ is great because it gives us a ghostly atmosphere, features the owl, and is slightly misleading, which is what I wanted. The colours are also perfect for the mood of the story.

One of my favourites is ‘Negative Exposure’ because it shows the image of either a young male posing for an erotic photograph (a part of the story), or a body lying dead on a rocky shoreline, which is also appropriate. The colours are spot on too.

Mind you, I love the artwork for ‘Banyak & Fecks’, the black and white for ‘Fallen Splendour’, and the drama in ‘Starting with Secrets.’

As for the Larkspur Legacy, as you can see from that email excerpt above, the guides for the cover were:

  • A sailing ship with three masts
  • 1890 (1891)
  • A storm
  • Dramatic journey, travel, adventure, mystery
  • Map & compass

From that, we have the cover which suggests adventure and danger. Within it, however, are also important props from the story. Also, as this is the end of a series, I wanted to do what I’d done with the final Clearwater book; show a moving object, rather than a person. ‘The Clearwater Inheritance’ showed a train ploughing through music in the snow. ‘The Larkspur Legacy’ shows a ship ploughing through rough seas against a map. What all that means will become clear when you read the book. Click the photo below to see the new cover…..

Don’t you think it’s fabulous? I’m nearly all the way through my beta read and I can say that it perfectly depicts the thrilling adventure you will be taken on!

Before we finish Andjela has an early birthday surprise for Jackson 🙂 Click on his face for another reveal…

(even Jackson doesn’t know what’s underneath!)

Work In Progress: 5.14

The Larkspur Legacy

The work in progress news this week. I have the proofed MS back, and am reading through it for the last time; still a few days to go with that.

Meanwhile, I have sent the back cover text to Andjela so she can make up the full cover, and I have estimated the page count to be around 500, including the author’s notes, front and back matter, map and an illustration. I expect to have the covers finalised in a week or so, and we are still on track for release on March 26th.

My next job, after my final read, is to set up the Amazon page and get the ISBN number, so I can add that to the front matter before sending everything off to be formatted.

Meanwhile, Neil read the full draft and had a comment to make. I’ll put it here to whet your appetite.

As with all the Larkspur books, The Larkspur Legacy catches the reader in a tale of mystery and mayhem, and twists and turns that will not disappoint. This last story is a book that Sir Arthur Conan Doyle and Dan Brown could have written together.

Jackson Marsh is a gifted author who keeps his readers on the edge of their seats. There will be tears, and your blood will be thumping in your chest as the excitement unfolds.

My proof-reader wrote,

This one’s going to be a hard one to surpass!

What you make of it will be revealed in time, but there’s not long to go now. If you’ve not started on the Larkspur Series, then now’s a good time to begin the adventure with ‘Guardians of the Poor.

As I’ve mentioned before, things that happen in this novel have their roots in previous books, and in ‘Legacy’, the skies are darkening with the wings of chickens coming home to roost, as an old friend of mine used to say. (If only chickens could fly; I think he was being ironic.)

Upwards and onwards, and less than three weeks to wait.

Looking Ahead

Now that the last in the Larkspur series is almost ready to be published, and I have sent it away to be proofed, what next? 

I’ve still to complete the blurb and author’s notes which will also need to be proofread, and I will be working on them later today. As for the next book, I have a few ideas, and I’d like to ask you for more. 

The Clearwater Companion 

My next job is to put together a companion to go with the Clearwater and Larkspur series. For now, I am calling it ‘The Clearwater Companion’, but I also have an idea I might call it: 

Barbary Fleet & Other Matters
A Guide to the Clearwater and Larkspur Series 

When I set about writing the Larkspur series, the first book was to be titled ‘Barbary Fleet,’ and I wrote the first couple of chapters to see how it would go. It didn’t go very far. Not because I didn’t have a good idea, but because I was keen to get the Larkspur Academy up and running, and this book was to be about Fleet, his past, and how he came to be in charge of the academy. It was to be a prequel, I suppose, and like ‘Banyak & Fecks’, would lead to the first of the new series. However, I soon realised I didn’t know enough of what was to happen in the Larkspur world, to give it a prequel, and the time wasn’t right for Barbary Fleet’s past. As Fleet would have said, ‘My past must remain in the future.’ 

I even had an idea for the cover: 

That’s actually my husband photoshoped into a picture and created by Andjela, my cover designer. It was a Birthday present for Neil. 

Instead, as I wrote the Larkspur series, I kept trying to find a place where I could put Fleet’s past, how he came to Larkspur and what his story was, but I never found the chance. There’s a large twist in his story, but it never fitted comfortably into any of the others. 

I’m saving it for the Companion, and it is one of the unpublished sections and stories from the Clearwater and Larkspur worlds that will appear in the finished book. 

The book, by the way, will contain a spoiler alert and I will suggest that people only treat themselves to it once they have finished reading both series.  

As for ideas, so far I have: 

  • Cut sections from some of the books. 
  • Anecdotes and backstories, such as the one mentioned above. 
  • Drawings of some of the characters like I have in the Larkspur series, but didn’t put in the Clearwater ones. 
  • Maps. 
  • Some of the author’s notes / information that, again, I didn’t put in the Clearwater books. 
  • Quotes from some of the characters. 
  • An explanation of titles. 
  • Threads through the books that readers may not have noticed. 

That list is the result of a quick brainstorm, and there may be more ideas to come. I started a folder for this project over two years ago, but there is little in it. I started writing character biographies, but frankly, that became dull. So, I don’t think we’ll have ‘fact pages’ about each of the main characters. It’s a companion, a bit of fun and an extra, not a Haynes manual. 

So, my shout out to you is this:

If you have any ideas, or if you want to suggest what you would like to see in the book, please send them to me either via email or through my Facebook page. Perhaps you have unanswered questions, or want to know something about one/some of the characters that’s not been explained, let me know and I will see what I can do. 

My contact details are on the Connect page: http://jacksonmarsh.com/connect/  and you are more than welcome to join Jackson’s Deviant Desires, my reader group for more discussions and perusal.

Work In Progress 5.13

The Larkspur Legacy

This week I have a brief work in progress update for you.

Yesterday, I sent the first half of the MS off to be proofread. I am having a final read through, and when that’s done, the rest will be ready for proofing.

I’m still on track for publication on March 26th (or as soon after that date as Amazon releases the book), so there is not long to wait now.

Currently, my days are taken up with writing, re-reading, editing, and re-reading again.

The cover is ready but I must work on the back text and blurb, and the author’s notes which have proved popular in the Larkspur Series.

Once all this is done, and the book is out, I can turn my mind to The Clearwater Companion, the collection of series-related information and short stories I intend to put together for anyone who has read the entire two series. But that’s for the future. For the moment, it’s back to re-reading.

Made me chuckle

Work in Progress: 5.11

The Larkspur Legacy. Editing.

This week’s update on The Larkspur Legacy is encouraging. I am now about to start trawling through each chapter to check for better ways of writing things, obvious errors, grammar, characters’ speech patterns, and inconsistencies.

Because the story takes place over a period of ten weeks or so, and because there are various threads, with characters reporting back to a central place, I need to make sure I have all the dates and locations correct and feasible.

I have two weeks before I must send at least the first half to be proofread if I am to make the March 26th deadline for release, so any free time I now have has to be spent on the book.

Meanwhile, other elements are coming together:

  • The cover is 80% ready for approval.
  • I have had a map created.
  • I have an illustration I may/may not use.
  • Proofreader’s time is booked.
  • I’m also working on the blurb and author’s notes, though they come last on my list.

And so, to work…

If you are new to The Clearwater World then now is a good time to start binge reading the series. You have a month until the two interconnecting series are completely finished. Download Deviant Desire today, happy reading!