The Clearwater Inheritance. The End of the Line?

The Clearwater Inheritance. The End of the Line?

I have quite a lot of news for you today, starting with the release of ‘The Clearwater Inheritance’, book ten in the series. As I write, the Kindle version is now available to download, and the book is also on Kindle Unlimited. You can find it here. https://www.amazon.com/dp/B0971F1HT3 That’s the Amazon.com link, but it is available in other Amazon countries/sites too.

The paperback version is still being checked by the Amazon bots and going through that process but should be available any moment if it’s not already out there. You will be able to find it from the main Clearwater Series page here: https://www.amazon.com/gp/product/B07RPCKF4L

Is this the end of Clearwater?

In a word, no. Having written ten stories and a prequel, so 11 books in total, I thought it might be time for a change. However, I enjoy the Clearwater world and characters so much, I don’t want to let them go. What was starting to become a problem for me, though, was having so many characters I wanted to write about, and I was looking for a way to deal with this. In ‘Inheritance’, I wanted to give a sense of something ending and something about to begin, and I wanted as many of my principles to play a part as possible without the story becoming cluttered. So, without giving anything away…

In ‘The Clearwater Inheritance’, you’ll find four storylines taking place, and all leading to the same end: Who will inherit the Clearwater fortune and name? The story is set in three locations; Larkspur Hall in Cornwall, Clearwater House in London and across Europe. After it becomes clear that the inheritance is in jeopardy, the ‘crew’ split up to work various leads. Some stay at Larkspur, some go to London, and two head off to the Carpathian Mountains. Each team is working their own lead and has their own tasks. Meanwhile, the usurper to the Clearwater fortune is heading towards them with a devious plan of his own.

That’s the basic outline, but Clearwater’s inheritance (and thus, his ability to fund charities, run the mission, help those in need and do what he does) is not the only thing that might be lost. His new venture, The Larkspur Academy, will not happen if he loses the race to secure what is rightfully his. And that’s where the continuation comes in.

I’m now starting on the follow-on series, The Larkspur Mysteries. My intention is to bring in new characters and make each mystery/love story/mashup mainly about one new and central character. However, they exist in the Clearwater world. So, in the first book, which currently has a working title of ‘Dalston Blaze’, we meet an eighteen-year-old chap brought up in a workhouse. He is rescued from a predicament and sent to Larkspur to join the new ‘Academy.’ Thus, some of the existing characters play parts in the new series but are not always central. I’ll say no more for fear of giving away things that happen in ‘Inheritance.’

Thanks

This seems an appropriate place to thank people for their help in making the Clearwater series such a popular success. First of all, you, the readers who keep the writing going not only through book sales and reviews but also through interaction on my Facebook page. I must also thank those who work behind the scenes to ensure historical accuracy, people such as Andy Ward, my railways guru who helps with timetables and routes and all those factual details I love to insert into the fiction. Jenine, my PA, who does sterling work to promote the books and this site, and who keeps me in line with orders to post this and write an interview for that while holding down two full-time jobs, one of which is bringing up my two godchildren. Similarly, I must thank Neil, my husband, for reading the first drafts, calling me a ‘bastard’ for making him cry and laughing in the right places.

On the publishing side, my proofreader, Ann Attwood, tirelessly corrects my punctuation and typos with the patience of a saint and never complains when I repeatedly make the same mistakes despite her notes. Andjela K, my cover designer who, I think you’ll agree, produces some amazing covers. She does this from a few notes I send her and always seems to understand exactly what I am after. For ‘Inheritance’, I would like to thank Khayyam Akhtar, who produced an accurate map of the route two characters take across Europe, including the route of the Orient Express, which features in the story. The map is based on an existing German map of the time. Finally, Scott and Mark at Other Worlds Ink who now do my layout and interior design, and their reviewer Maryann who has been so supportive.

Price changes

And now for some business news. Thanks to various changes in tax and stuff I don’t fully understand, I have to put up the price of my eBooks and paperbacks. We noticed that many people sell their ‘novels’ at the same price as me, but those novels are actually novellas or even short stories. I have always tried to keep my prices low, but I was recently reminded that I am producing full-length novels of at least 90,000 words, and I should be offering them at a price more appropriate to the amount of material. For example, ‘Inheritance’ is 150,000 words long (which is why the print costs are more than usual), and that’s a lot of typing for a return of only $0.17c per sale.

However, for three days starting tomorrow, the first in the series will be run as a giveaway, so ‘Deviant Desire’ will be available for free for a very limited time. This is to celebrate the ‘end’ of the series and hopefully encourage new readers to start at the beginning and carry on through by buying the other 10 books. This, by the way, will be my first ever price rise since I started publishing ten years ago.

Instagram

A quick note. I now have an Instagram account/page/thing, and although I don’t really know what Instagram does, you can now follow me there.

MM Fiction Café on Sunday has an Interview with Archer

The MM Fiction Café will be hosting an interview with Archer, Lord Clearwater, this Sunday, 13th June. Check out their blog post, and find out a little more about Archer than you might already know.

A Treat from Doctor Markland

And finally… Another talented artist has been working with me to produce sketches of some of the characters for the Clearwater Family page, which you can find in the main menu. Dazzling Designz works through a ‘work for sale’ site and has been drawing several of the Clearwater crew over the last few months.

Her latest is a sketch of Doctor Markland, the scatty but brilliant doctor who first appears in ‘Deviant Desire.’ (He actually appears in the prequel, Banyak & Fecks too, if you look closely). The Doc has just appeared in an early scene in the new Larkspur Academy series, so he’s still with us. I thought I’d end by showing you the sketch. This is how I imagine him. Oh, and here’s a little known fact… When I was born, I was delivered — in the harsh winter of 63 when the Romney Marshes were deep in snow and the roads impassable — by our family doctor, Doctor Markland. He was nothing like the Doc in my books, though he did, apparently, take a first look at me and say, ‘He looks like a keen beer drinker; you should call him Toby,’ so he wasn’t far off.

I’ll be back next week. If, in the meantime, you want something to read, then ‘The Clearwater Inheritance’ is out there and waiting.

Do We Judge a Book by its Cover? Part 2

Do We Judge a Book by its Cover? Part 2

Today, we have the second in our series ‘Do we judge a book by its cover?’ Here, I’ve invited some of my favourite authors to chat about their covers and what’s behind them. The reason for this is because I have a new Clearwater Mystery coming out during the coming week, and Andjela K has once again done me proud with the cover. This is the first Clearwater with no person on the cover, and there’s a reason for that. Being the 10th in the series, and the ending of one thing and the start of another, and concerns more than one main character. In fact, the story follows three paths, all leading to the same overarching end in one story, but the question was, who to put on the front?

As you can see, I didn’t put anyone on it (apart from a train driver, if you look closely, but he’s not in the story). What I asked for was a representation of the main ‘props’ in the story. In this case, you can see Rasnov Castle in Transylvania, the Orient Express as we now call it, and a piece of music by Bach, one of the preludes referred to in the mystery. I hope the cover also suggests a journey, snow, urgency and the period.

So, that’s what we’re talking about today; book covers. I’ll now hand you over to my guests.

 


 

A Little Morbid

by Olivier Bosman

Book 3 in The John Billings Mysteries

Published February 9, 2021

(Victorian mystery, the occult, Egypt, Treasure Hunt, LGBT)

 

The year is 1895.
An ancient manuscript claiming to hold the secrets of God’s creation;
A cunning old woman trying to make sense of it;
A deluded psychopath intent on stealing it away from her.
Following on from the events in “A Glimpse of Heaven”, Billings and Trotter travel to Egypt in search of the elusive “Codex of Solomon”, where things suddenly start becoming… a little morbid.

 

 Why did you choose this cover for your book?

The posture and clothes of the man in the picture give him an air of mystery.

Do you design it yourself or pass over to a specialist designer? What’s your process?

This was a premade cover, but I asked the designer to add an Egyptian background.

Are you making a statement with the cover?

Yes. It’s clear that this is a Victorian mystery set in Egypt.

Do you ask others for feedback or go with your gut feeling?

I go with gut feeling. If I ask for feedback I get contrasting opinions and that only confuses matters.

Do you usually do a cover reveal event?

No. I just announce my new book on Facebook and my newsletter without too much fanfare. It’s important to have a cover well before release date so you can do some marketing.

Who would be your ultimate person to provide a quote or appraisal for the cover of one of your future books?

I haven’t done that yet, nor have I thought about it. I’m not even sure who the leading author in my particular genre is. I guess it’s because my writing falls between genres.

Find Olivier at his website https://www.olivierbosman.com/
Universal book link https://books2read.com/alittlemorbid
Facebook https://www.facebook.com/olivier.bosman.author

**********************************

 

99 Days

by Matt Converse

Published May 27, 2021

 

(M/M, Sci-fi, romance, thriller, novella)

 

 

Life as we know it will never be the same. Flying saucers are spotted all over the world. But after one crashes into the San Francisco Bay, they disappear. Not far from the crash, Mitch rents his spare room to Claytone and quickly develops a crush. But what he doesn’t know is that Claytone will soon turn his world— and heart, upside down. Claytone’s final revelation will reach even further; it will change life on planet Earth— forever.

 

Why did you chose this cover for your book?

I looked through many pics at the site my publisher offers to choose from and this one grabbed my attention the second I saw it.

Do you design it yourself or pass over to a specialist designer? What’s your process?

I pick out the picture and font of the lettering I want, then my publisher’s cover designer works her magic.

Are you making a statement with the cover?

I certainly hope so. I think it fits the contents of the book very well.

Do you ask others for feedback or go with your gut feeling?

I go with my gut feeling.

Do you usually do a cover reveal event?

I do a cover reveal of my two main social media platforms, Facebook and twitter.

Who would be your ultimate person to provide a quote or appraisal for the cover of one of your future books?

This is my only m/m sci-fi, most of mine are LGBT horror and thriller, so I wouldn’t mind a quote from Stephen King!

Amazon profile: https://www.amazon.com/Matt-Converse/e/B00TKCCVWY/

Facebook: https://www.facebook.com/matt.converse.39

Universal buy link: https://smarturl.it/99Days

**********************************

 

Silly Little Love Songs

by Frank W. Butterfield

The Latest book in The Romantical Adventures of Whit & Eddie Series

Published May 18, 2021

(Mystery, Hitman, Elders, Redemption, Billionaires)

 

It’s a mystery about a mystery. Sal Desimone was executed in 1948 for the murder of Pete Rudd. But did Sal really do it? Or was he covering for someone else? Whit and Eddie are digging into the past to find out the truth. But will doing so get them or the people they love killed?

 

Tell us why you chose this cover for your book?

This is the ninth book in the series, and it follows the template.

Do you design it yourself or pass over to a specialist designer? What’s your process?

I designed this myself with help from designer Ron Perry. Since I publish rapidly across a number of series, Ron helps me develop a template I can then adapt when new titles are ready.

Are you making a statement with the cover?

Yes! Just prior to the publication of this book, I revised the template and updated all the covers. There are two MCs and I previously only had one (Whit) on the cover. I added the other MC (Eddie) to the template and really like the results!

Do you ask others for feedback or go with your gut feeling?

I ask my loyal readers for their feedback but primarily follow my inner feeling about whether it’s right or not.

Follow Frank on his website https://frankwbutterfield.com

Facebook https://www.facebook.com/FrankWButterfield/

Amazon https://www.amazon.com/dp/B09581QSW9

 


I’d like to thank everyone for contributing to today’s post. Make sure you click through and read more about these books – you’re not going to be disappointed!

Have a great week, Jackson

The Real History Behind The Clearwater Series

Part 2 – Trains

This is the second blog in a series where I look at the real historical events and facts behind my Clearwater Mysteries Series. Today we talk about my love of train travel, how it features in the books and are joined by my personal Railway Guru, Andy.

There is a lot of train travel in The Clearwater Mysteries, and for two reasons. Firstly, in the era in which the books are set, there were no cars or aeroplanes, travel was steam-powered, horse-driven, by sail, or you could walk. Secondly, I’ve always had a thing for travel, maps and routes. Within that is an interest in steam trains, though I am no expert. It must be in my blood, this thing about locomotives, and if it is, I can identify a good reason why.

The Romney, Hythe & Dymchurch Railway: A Childhood on the Tracks

It’s ironic, maybe, that I was born in 1963, the year the first Beeching report was undertaken. ‘The Reshaping of British Railways’ sought to streamline the nationalised railways industry and was responsible for identifying 2,363 stations for closure (55%) and 30% of route miles. It’s also interesting that when I was born, my small, fairly remote hometown still had a railway station, and steam trains were still in use on mainlines, although they were being replaced by diesel. However, I can honestly say that the first time I ever travelled by train, it was pulled by a steam locomotive.

New Romney Railway (1966) – YouTube film

A mile from where I was born (in a petrol station and car repair shop, by the way) was, and still is, the central station for the world’s smallest passenger-carrying light railway. That’s the Romney Hythe and Dymchurch Railway (RHDR), a 13.5-mile steam railway on a 15-inch gauge. The line was opened in 1927 and later expanded, much used by the military in WWII, and runs today as a popular tourist attraction. When I was at school, my classmates from out of town used it to get to school, and when I was growing up, it was part of my playground. I have childhood memories of not only riding on it but also being at the stations among the steam, playing on the tracks and simply watching the locomotives trailing steam and smoke across the marsh.

As an aside, at some point in the 70s, my godmother, The Dowager Lady Alvingham (on whom Lady Marshall is based in the Clearwater books), showed an interest in buying a castle that stands on a hill overlooking Romney Marsh. At the same time, my uncle, who had a passion for model railways, showed an interest in buying the RHDR. Their plan was to sit in Aunty Dolly’s castle, watching Uncle Hugh’s ‘toy’ trainset chugging across the flatlands below. Sadly, it never came to fruition, but my uncle did give us the model layout he’d built, and my father installed it in our attic. It was a vast landscape about 12 feet by four, had houses with working lights, the Flying Scotsman with real smoke, and provided hours of endless fascination for my brothers and me.

Still Chugging

My interest in train travel is still chugging along. In fact, it is my preferred method of travel. There is something romantic in planning a journey, and sometimes I think I am a frustrated travel agent. I don’t mean popping into Expedia and booking a flight and hotel; I mean looking at a map, working out what railways will get you there, finding the timetables and working out the connections.

Our travel companion, Paddington, at budapest train station

A few years ago, Neil and I decided on a Central European holiday. It was my fault, really. I wanted to travel a few countries by train, so I got out the atlas, Googled a bit, and set to work on a route. Because we live on an island, we had to start the journey by boat and fly to our first destination, Vienna. We were met by Neil’s brother, who lives there, and travelled into the city by train, so that was a good start. After a couple of days there, we moved on, and in the space of a couple of weeks, went from Vienna to Prague to Budapest to Belgrade on a variety of train journeys, some more classy than others.

Me fulfilling a bit of a dream, on a train, in the Carpathian mountains, coming back from Transylvania

Before this, we had been to Romania for my 50th birthday, flying into Bucharest and then taking the train into the Carpathian Mountains to Sighisoara, the alleged birthplace of Vlad Tepes on whom Stoker based Dracula. We also travelled by train to Brasov and stayed there on the way back to Bucharest, and we did all this first-class because, in Europe, ticket prices are often a tenth of the price they are in the UK and elsewhere.

I mention all this because, in the upcoming novel ‘The Clearwater Inheritance,’ some of the characters find themselves travelling by train and visit, among other places, Vienna, Budapest, and Brasov, and they journey through the Carpathian Mountains.

 

Across Canada by train, 2020

One of my life’s ambitions was to travel across Canada by train, a five-day journey from Toronto to Vancouver. (We passed through a place called Clearwater, and stopped at a place called Collins.) This we achieved last year, just before the world was overcome by the virus.

 

 

Seen in Vancouver

Actually, we left Vancouver at the end of the Canadian leg of the journey, the day after the country went into lockdown. Although our trip wasn’t over, we had to cut the London and Athens legs short as there was no point in going there; everything was shut. Rearranging flights at two in the morning while sitting in an airport, buying boat tickets, finding hotels, and wondering whether we might have to travel from London to Athens by hire car or train… Well, for me, that was like a weird dream come true. The travel agent in me kicked in, and we became like continents on ‘The Amazing Race.’

You won’t be surprised to learn I am keen on ‘Around the World in Eighty Days’ by Jules Verne.

——————————————————————————-

At this point I thought it would be fun to invite my good friend Andy over tell us a little about himself. He has become my Railway Guru, always willing to answer my questions and check facts for me as I research the series. I asked him where his love of trains came from and how that seed grew.

I first became interested in railways at the age of 10 when my parents unwisely bought me an “ABC” locomotive spotting book to shut me up on an interminable family holiday rail journey from Birmingham to Ilfracombe. They came to very much regret doing this as my bedroom filled up with railway magazines, models, and bits of actual railway equipment. I was already interested in buses as there was a major bus depot a few minutes walk from my house. Through the teenage years the interests became more advanced with much borrowing of books from the library, and at the same time steam was disappearing from the UK national railway network. No doubt all that reading about how things came to be the way they were encouraged me to take a University degree in history, and then start a career in transport management (buses in this case). A switch to managing freight transport followed, and then manufacturing industry.

So great that your childhood hobby grew into your career. And I know that even now in retirement you have managed to carry on in a new capacity…

The view of the Booking Officer

Yes, after semi-retirement I took up a part-time position at my local heritage steam railway as Booking Office Supervisor, surrounded by 1898 vintage buildings, real working steam trains, and a superb shop selling second hand railway books. I have also added looking at ferries and aircraft to my transport studies.

When not doing this I like reading fiction, often set in the late-Victorian, Edwardian, 1920/30/40s era, and sneering at authors who get their railway facts wrong (and so often their geography too). Being used as a consultant on your “Clearwater” series was immensely satisfying as a result.

Thank you Andy and I really think that maybe it will be your turn next to write a book!

——————————————————————————-

So back to my writing and how I use trains in the Clearwater Mysteries.

The first time a train appears is in chapter one of book two, ‘Twisted Tracks’.

James Joseph Wright was born on January 10th, 1863, at the precise moment the world’s first underground train delivered its passengers to Farringdon station. As the locomotive puffed and fumed from the tunnel, James’s mother, some four miles distant, puffed and fumed through her own first delivery.

That’s the only time an underground train is mentioned in the series, but overground trains start to feature from then on. I started this book with an ending in mind. I wanted one of those classic ‘fight on the roof of a moving train’ moments and wanted to add in men on horseback riding alongside, someone (James) inching along the outside of the trucks, the villain doing away with the driver, and the train racing out of control towards a fiery end… And that’s exactly what you get.

Archer wasn’t far behind, galloping from the ridge to the rear of the train and encouraging his mount with his crop. The horse knew its purpose and worked with him, delivering him up the embankment to the backplate. The viscount drew level with the last car, stood in the stirrups, and grabbed the rail. With one great leap, he left the saddle and swung his legs across to the car. He landed first time and clambered aboard as the horse veered off and slowed. Archer wasted no time climbing to the roof, and James turned his attention to the engine.

‘Jimmy!’ Archer was above him, fighting the wind for his balance. ‘Warn the driver. Stop the train.’

Everything was shadows and speed, gusts and fumes as James fought his way to the next car. Wooden, it offered a narrow walkway, making it easier for him to pass, but there were no handholds apart from cracks in the planking where he dug his fingertips, pressing his body flat against the side. He didn’t know how many more cars there were before the tender, but the headlamps were still a way off. The driver was expecting to continue straight on and was steaming the engine hard. [Twisted Tracks, chapter 24.]

Fallen Splendour and Other Journeys

Trains appear again in book four, ‘Fallen Splendour.’ For this one, I wanted another tense sequence and included a race against time. In this case, I had to get James from London to the Welsh coast to collect Archer and get them both back to the High Court in London in as few hours as possible. Initially, I thought I had not left myself enough time and thought I might have to rewrite some chapters because the time I had given James to achieve his task seemed unreasonably short. Then I referred to my railways guru, Andy, and he told me about ‘specials.’ Apparently, if you had enough money and clout, you could have the railways put on a special train just for you, and this, they could do with a few hours’ notice. Perfect! Of course, being a Clearwater novel, I didn’t go for just any old special, which is why Archer finds himself steaming through the night in Queen Victoria’s royal carriage.

Bitter Bloodline’ (book five) starts with a train crash. ‘Artful Deception’ (book six) takes us across the English Channel and on a relatively short journey to the Netherlands and back, plus another train journey to Derbyshire. In book seven, ‘Home From Nowhere’, Jasper encounters his first journey by train.

Jasper’s fear soon gave way to intrigue when the train moved, and became awe when it picked up speed. It wasn’t long before he began to enjoy the rhythmic trundling, and the only time he thought he was going to die was when they passed through a tunnel. The

sound was deafening, smoke poured in through the window, and the carriage was plunged into darkness. It was over in seconds, leaving the footman struggling with the window, and Jasper shaking.

Train journeys are also featured in books eight and nine, but when we reach book ten… Well, that’s when I thought it was time to branch out from the domestic lines and go intercontinental.

The Clearwater Inheritance

You know how I am with ‘Dracula’, the epistolary novel to end all epistolary novels in my opinion… I employ a little of this ‘story in journals, letters, and other documents’ style in The Clearwater Inheritance.

Dracula opens with Jonathan Harker writing about his journey from Munich to Bistritz (now called Bistrita), travelling through Vienna and Budapest. Two of my characters take the same route because they are also travelling to Transylvania (though that’s got nothing to do with vampires).

I may have travelled on similar routes, but not, obviously, in the same century or on the same kind of trains, so I had to do some research into how such a journey would have been. You know how you sometimes get lucky? I put a search string into the search engine that read something like this: ‘Travelling in Europe in 1890’, and what should I find in a book collection?

Travels in Various Parts of Europe During the Years 1888, 1889 and 1890, Being a short and practical account, by Gilbert H. W. Harrison (with 24 illustrations).

I couldn’t have asked for anything better and was able to draw on first-person accounts of Folkestone, the channel crossing, Paris, Vienna, Budapest and parts of Hungary as they had been experienced in the same year as my story. I even have my characters stay at or mention hotels and stations Harrison saw and described.

Harrison was on a tourist route, however, and my characters follow the same route until they realise Thomas Cook & Son haven’t grasped the urgency of their journey. There are other delays, and backstory from ‘Banyak & Fecks’ comes into play at one point, as do other pre-mentioned backstories concerting Lady Clearwater’s Romanian/Transylvanian connections and other things to do with Archer’s past. Ultimately, my travelling characters need to get back to England in a hurry.

The map created for ‘The Clearwater Inheritance’ based on one from 1912. All rights reserved. Dark lines and lighter solid lines show the Orient Express routes, dotted lines are the characters’ other routes.

Again, I spoke to Andy about this side of the story and asked how long it would have taken from Bodmin in Cornwall to Brasov in what is now Romania in 1890. He came back with suggested times and routes. Finding original timetables is never easy, but I reckon, in the story, I am as close to what was possible as I can be. For the return journey, though, I needed to speed things up a bit and so looked into using the Express d’Orient, the Orient Express as we now call it.

A timetable from The Orient Express

A couple of chapters happen aboard this luxury train, but this is not an Agatha Christie, and the journey to and from Brasov is only one aspect of the story, but again, I tried to be as accurate as possible, at least with descriptions and distances. I had to reschedule the Orient Express to a different day, else the rest of the plot wouldn’t work, but apart from that, the race home is, as far as I can see, accurate, if a little tight. The characters have an awful lot of luck making steamers and ‘very early’ trains, but hey, it’s fiction and fact mixed, faction, you might say, and it was all possible.

End of the line

Is book ten the end of the line for Clearwater? Has the series finally reached its destination? All I can say is, running at 150,000 words, ‘The Clearwater Inheritance’ is the longest of the stories, and it does have a sense of rounding things off. It also has a sense of leaving something open for another series set in the same world, and it is that idea I will be considering once this book has been published.

Look out for my newsletter at the start of June, as there will be an extract from the book included as a special preview for those who sign up. (There won’t be any plot spoilers.)

I must go now, but I will add a list of references I have used for my railway research as a guide for anyone who is interested to know more.

Books:


 

Journal of the Society of Arts (1891), Austro-Hungarian Railways and the Zone System
London Daily News 1890 (and other newspapers of the time)

Online:

GlobalSecurity.org (on which my map of the route is based) https://www.globalsecurity.org/military/world/europe/orient-express.htm

The Man In Seat 61

 

 

News From Both Worlds

News From Both Worlds

Hello everyone, here’s what’s going on in my writing world and my real world. Let’s start with where we are right now, at my website.

The Clearwater Family

We are starting to build new pages. Have a look at the top menu, and you will see The Clearwater Family. You can click on that to find links to individual pages about the main characters in the Clearwater series. So far, we have interviews with Jasper, Thomas, Andrej and James, and more will come along in time. When they are published as a blog post, they will also be available under the family. So, if you have missed any chats with the characters, you can find them there. This is part of the ongoing project, ‘The Clearwater Companion.’

The Clearwater Inheritance

The news on Clearwater 10 is that I am almost at the end of the third draft, while Neil is almost at the end of his beta read. Proofing is booked in for May 25th, Anjela is working on the cover, and I am aiming for publication in early June.

There are no spoilers here, but already I have overheard Neil in the other room muttering things like, ‘You can’t do that!’ ‘Oh no!’ ‘Ha! I knew it!’ and other helpful/unhelpful asides. There are a few twists, a code, lots of history, an evil villain, and a certain amount of travel involved in this story, which is to be the longest of the Clearwater collection so far.

Flash Fiction

I have devoted my writing time to the Clearwater series for the last two years because it grabbed me, and I love writing it. But, during that time, I was also able to release The Students of Barrenmoor Ridge, and recently, I was invited to enter a flash fiction anthology competition. I’ve never written flash fiction before (I had to look up what it was), but I thought I’d have a go. The competition called for only 300 words which, to me, is more like a sentence – lol – rather, a couple of paragraphs, but I did my best. The very short story has a beginning, middle, end, something to do with gay/love, and is kind of in the required genre of mystery/sci-fi/fantasy. Oh, and it also had to be about ink, as if there weren’t enough constraints already. I won’t know the outcome for a while yet, but if it is not accepted into the anthology, I will post it here.

Meanwhile…

Meanwhile, here in Symi, Greece, we are at last allowed to go to the pub. Well, to the kafenion and the tavernas as we don’t have pubs.

Easter on Symi. Neil made the cake.

There are still restrictions in place, but they are easing ahead of the opening up for tourism date of May 15th. This could be an excellent thing for the economy, but not such a good thing for health; we will have to wait and see. If you want to know more about where I live and what we do on Symi, click the link for my five times per week blog from the island, Symi Dream.

Neil and I have had our first vaccination against ‘the thing’, and the second one is due next week. I had a couple of dodgy days after the first, with heavy cold/flu symptoms and a very painful arm, but you know what us writers are like, I just got on with it, and it passed.

At Rhodes Old Town with my godson

Also, a couple of weeks ago, I went to Rhodes for the first time in 13 months. In fact, it was my first time off our island since we came back from Canada last year. This trip was to start the process of proving I have the right to live in Greece now the UK has left the EU. Tedious, I know, and don’t get me started on Brexit. I am now waiting to go back to Rhodes to have a fingerprint taken as the second stage of my application to remain as a third-country national. Neil is still a European citizen because he has an Irish passport, lucky thing. We’ve been here nearly 19 years, had a business and all that, and I should have no trouble getting my new residency card. I hope!

Next

And now, I am four chapters away from the end of the latest draft of the Clearwater Inheritance, and so I must get on.

Yesterday’s sunrise seen from our roof

Neil has gone for a walk and a swim, as the temperature has been up to 30 degrees of late, but I am chained to the desk and deadline. I have been out for a few walks recently, and I need to do more to get rid of some of this lockdown lard. I’ve spent the last year at the desk, making models or watching endless TV series, with only a few strolls up and down the hills and not my usual five days per week schedule. Still, I’ve got lots written and a few models made.

Two of the horror figure models I have made during lockdown – and a photo of Neil created by Anjela in the Clearwater style

So, thanks for reading. Keep in touch and keep following the Facebook page, sharing things around and leaving reviews. I’ll be back next week with… something else to chat about.

 

 

 

Musical Cryptography: A Mystery Device

Musical Cryptography: A Mystery Device

A good mystery needs particular elements. Strong characters, motives, opportunities, means, deceptions, red herrings… There’s a long list. In all my mysteries, I also employ what I call a device. A plan, method, or trick with a particular aim, as the online dictionary defines its meaning. Without giving too much away about my Clearwater Mystery Series in case you’ve not read every book, I wanted to tell you about some of the devices I have used in this series and in my other novels.

A Mystery Device

When I talk about a device, I am referring to the thing that needs to be understood for the mystery to be unlocked and the ‘treasure’ found. That ‘treasure’ can be a murderer on the run, a kidnapping victim, the prevention of an assassination, anything. It is the particular aim of the investigating characters.

So far in this series and other books with a mystery or treasure hunt element, I have used murder sites to form a map, a poem to reveal a location, anagrams, the first draft of Dracula and the novel itself (The Stoker Connection), an oil painting, family history (The Blake Inheritance), rare books, unusual poisoning and, on more than one occasion, musical codes.

Here’s an aside. Years ago, when I first moved to Brighton, UK, I had an idea for a madcap mystery adventure concerning drag queens and opera singers. I never finished writing this one, but I spent hours working out the plot and the devices. The story hinged on a piece of coded music. Later, when I moved to Greece in 2002, I set about writing another mystery adventure comedy (I like my mashups), and in it, the device of a musical code. The story, Jason and the Sargonauts, was based on the original Jason and the Argonauts myth but concerned a group of elderly tourists coming to Symi on holiday and their young, gay rep. It is a mix of fiction and historical fact set in the present day and the past and concerns the search for The Golden Fleece. That’s not the original Golden Fleece, but something else, and the key to its whereabouts is hidden in a piece of music. This novel was written under my real name, James Collins, and you can find it here.

A Treatise On The Art Of Deciphering, And Of Writing In Cypher: With An Harmonic Alphabet (1772) by Philip Thicknesse

Wow, that’s a title and a half, but it is actually a real book. I now have a copy of it and dipped in and out of it when writing my current novel. It was written in 1772 and plays a part in the story. Naturally, I couldn’t let the name of the author go by without at least one character making a reference to Thicknesse. It is too good a word to turn down. (Inserts a wink emoji.)

Currently, I am working on the 10th book in the Clearwater Mystery series, ‘The Clearwater Inheritance’, and once again, I have used the device of a musical code. Or rather, a message hidden in a piece of music. It has always fascinated me – the thought that it might be possible to write a message into music that could only be understood by someone who investigated deeply enough, but there has always been the question, How?
How can you translate musical notes into the English language, create a message, and still make the music sound like music?

I shan’t tell you exactly how because that would spoil the story for you, and actually, it’s hard to do in text without bamboozling the non-music-reading reader and without showing images of a score while playing an audio track, but…

The current state of my notebook.

One of the simplest ways to do it would be to have each note represent one letter. Say you started on the note Middle-C, and every semitone going upwards was the next letter of the alphabet. Even if you’re non-musical, you might guess that the word AWAY, for example, would have the melody bouncing from bottom to top of the range in a very untuneful manner.

Then there’s the question of where to start? Who’s to say what note is A and what is Z? There are 88 notes on a modern piano keyboard, any one of which could be A with the consecutive alphabet running up or down. And how do you handle chords and harmonies?

As you might see, it’s a lovely idea but hard to explain, and for this reason, I researched musical codes to see if it was a viable device.

It is, and I am certainly not the first to have thought of it.

Musical Cryptograms

The B A C H motif

A musical cryptogram is a cryptogrammatic sequence of musical symbols, a sequence which can be taken to refer to an extra-musical text by some ‘logical’ relationship, usually between note names and letters. The most common and best known examples result from composers using ciphered versions of their own or their friends’ names as themes or motifs in their compositions. Much rarer is the use of music notation to encode messages for reasons of espionage or personal security. [Wiki]

There are two principal techniques, the German and the French. The most common musical cryptogram is the ‘B-A-C-H’ motif. JS Bach used this, but in the German-speaking world, the note B-flat was actually B, and B-natural was H, so he had more letters available. The French version is even more compliacted. I was interested to learn that several well-known composers have used a musical cryptogram, Bach, Schumann, Brahms, Ravel, Poulenc, Shostakovich and Elgar, among many others.

There is also a method of coding a message in music by way of patterns, where the shape of the phrase represents a letter. If you are interested, check out Atlas Obscura.
With so many possibilities to draw on, I eventually decided that to keep it simple was the best way forward, and so, I was delighted to find a quote that said, In its simplest form, the letters A through G can be used to spell out words or codes. [Ludwig Van Toronto.] I decided to limit myself to seven letters, the basic music notes as used in the English notation system. (Don’t get me started on do, re, me, fa, so, la, ti and the Solfège system of notation.) This naturally presented me with other challenges.

Limited Letters

Michael Haydn’s musical cipher of 1808

How to create a message using only seven letters? The starting place was an anagram solver and typing in A through to G to see what came up. Not a lot. So, bearing in mind that any of those seven letters can repeat as many times as necessary, I searched for anagrams made up from letters such as A and E (the only available vowels) plus DD, GG, F, CCC… and so on. Well, that took some time, but eventually threw up a list of words I could legitimately use.

After that, it was a case of putting the most useful ones in the right order and then building the answer to the riddle around them. I mean, there was no point the message reading ‘You will find it at the zoo’, because, from that sentence, I would only be able to use F D A E. But hang on… FDAE can be arranged to make FADE, and if I add another D, I can make FADED. What’s more, that doesn’t sound too bad if played as music. So, what something is made up of only the seven letters and might be faded? A faded DEAD… A faded DEAF… BED… DEED…

A DEED is a legal document, and an inheritance would be written into a legal document, a deed or, in this case, a fee tail, also called an entail, but still a DEED…

Finally

I’ll stop chatting there as I don’t want to give anything else away about what I am currently writing. All you need to know is that you’re in for a treat with the next Clearwater, and you don’t need to be a musician to understand the code. You can leave that to Jasper Blackwood…

Jasper Blackwood at work, 1890

By the way, The Clearwater Inheritance is currently going through its third draft, and I have booked it in for its final proofreading towards the end of May.

I have contacted Anjela about the cover and aim to have the novel released early in June. If you’ve not read Banyak & Fecks, you might want to slip that one in before the publication date because some of what happens in The Clearwater Inheritance relates to what happens in the prequel, Banyak & Fecks.

And now, back to 1890 and musical cryptography…

Developing a Series

My Two Year Journey Through The Clearwater World

Just over two years ago, I decided to write a standalone book taking the premise: ‘What if Jack the Ripper had killed male prostitutes?’ I wanted it to have elements of mystery and romance, but essentially, to be a thriller. By the time I had finished the first draft of ‘Deviant Desire’, I had realised that the story was unfinished because ‘Jack’ was never caught. Therefore, I thought I should write a sequel, and the premise there would be, ‘Why did the killings suddenly stop?’ So, I started on ‘Twisted Tracks’, and as I was writing that, I realised I had created a group of characters and a world that cried out to be an ongoing series. Two years later, there are nine mystery books in the series, one non-mystery prequel, and I am working on book ten.

Today, I thought it would be interesting to look back over the journey from Deviant Desire to the present day and see the development of The Clearwater Mysteries.

(If you click on the photos you will open up the blog posts from along the way).


Deviant Desire, Book One

March 8th, 2019

First book in the series published

 

The standalone story was ready to go to publication. I had completed the book, found a cover designer, Andjela K, and a proof-reader, Anne Attwood, and had managed the layout of the book myself. Deviant Desire was published, and although I didn’t know at the time, it was to become my top-selling title and the first in a popular series. I’d hit a nerve, or tapped a seam, or stirred imagination or something, and because I thought it was the best book I’d written so far, I was more than pleased.

Other Worlds

As well as creating the characters and the mystery plot, I also developed a world. I incorporate fact with fiction in my historical mysteries, but I change the original world because I need to take liberties and use artistic licence. For example, Whitechapel becomes Greychurch in my imaginary London, although descriptions of the place are based on authentic sources.

Other Worlds Ink took me on a book tour

As I was writing book two, ‘Twisted Tracks’, I decided that I could do with some help with publicity, and so I turned to Other Worlds Ink to arrange a blog tour for me. This ran from April 29th to May 12th, 2019, and was the first such tour I had undertaken.

One of the guest posts they arranged for me can be seen on MM Good Book Reviews and was published on May 4th.

Twisted Tracks, Book Two

May 2019

Deviant Desire was now building momentum and selling well. Reviews were coming in, and they were, at first, a little mixed. I must admit that one was scathing, but when I read it, I realised that it was probably written by someone who was livid because they’d not thought of the idea themselves. They gave away some of the plot twists (which is unforgivable in a review), and other plot points they mentioned were inaccurate. I wasn’t daunted, however, and book sales were better than any of my other novels, and so I pressed on.

Book Two saw the momentum continue

 

The publication of Twisted Tracks coincided with the book tour, which helped sales enormously. Readers who enjoyed book one could instantly move on to the ‘to be continued’ story in book two and Twisted started to pick up sales, readers and reviews from the week of its publication.

 

Unspeakable Acts, Book Three

Book Three sees the Viscount launching his foundation to help the street boys of the East End

Come June of that year, I decided that I needed to leave the Ripper element aside (at least for now), and turn my attention to what else was going on in Victorian London in 1888. Researching the life and work of Victorian rent boys threw up little, as it is not a much-discussed topic, but I had previously read about a scandal that involved a male brothel in Cleveland Street in 1889, and had that at the back of my mind as a setting for one of the future Clearwater Books. However, I couldn’t wait until 1889. I invented my own potential scandal based in my world and employed a male brothel in Cleaver Street.

The Royal Opera House, London, one of the settings for ‘Unspeakable Acts’

Another of my areas of fascination is the theatre. So, I combined the Cleveland Street scandal (my version), the Royal Opera House (factual) and an imaginary opera into book three, Unspeakable Acts, and this was published in early June.

The series was building momentum, and I knew that I was on a roll, but what next?

 

A writing retreat

June 2019

Tilos – the perfect writers’ retreat

Not being a great fan of writers’ workshops and getaways where strangers pick apart each other’s work and someone tells you how you should write, I don’t go on group retreats. However, that year, I decided I could do with some solo time to work on the next book. I found myself an apartment on an island near ours, an island called Tilos, and booked myself a week of solitude. Tilos is home to only 200 people, and it offers peace, quiet, a village square for evening relaxation and plenty of solo-time walking and ‘chilling.’ I went there in June 2019 armed with my laptop and a book of Tennyson poems.

Fallen Splendour, Book Four

Book four and the feeling that maybe that was the end

I had so much invested in my characters by now, I wasn’t worried about books sales. It was what was going on in the lives of my Clearwater crew (as a fan named them) that was important, and the series had gathered so much momentum, it was hard to conceive it would ever finish. I sat down at my keyboard in my rented apartment overlooking the sea and laid out my tools for part four. A kidnapping, a coded message, and a race to rescue the victim. Simple, but tied up with a poem by Tennyson.

I wrote 35,000 words in the five days I was on Tilos, and work continued when I returned home to Symi. Andjela came up with another perfect cover, and Fallen Splendour was released on June 15th.

 

It was hard to think that this might be the last book. There is the feeling with the last chapter that suggests the series is ending, and, if it were a film, the camera would pull away from the five main characters looking down over the splendour of Larkspur Hall at Christmas as we fade out…. Cut.

But…

An interlude

Autumn 2019

I needed to return to my other series, The Saddling series (by James Collins, my real name), because it should have four parts, and I’d only written three. I tried to leave Clearwater alone and work on part four of Saddling, but after plotting, researching and putting together 40,000 words, I realised that what I was doing was transporting some Clearwater elements into Saddling, and they are two completely different worlds. The message-to-self here was that I needed to continue Clearwater. I wasn’t done with it yet. I was having too much fun. I’d covered the Ripper, the Cleveland Street scandal, Opera, Tennyson, kidnapping, coded messages, train crashes, what else was there?

There was Larkspur Hall.

Bitter Bloodline, Book Five

So far, Clearwater had existed mainly in London, but the Viscount also owns a massive country house with 16 bedrooms, a tower, a ruined abbey, a village and everything else that went with great stately homes of the past. I was also hooked on the idea of involving real people, and so, Bitter Bloodline (which has a bit of a Dracula influence without the vampires) was created to showcase Bram Stoker, Henry Irving and others.

Book five is published

So, during the latter part of 2019, I worked on Bitter Bloodline, broke into the Lyceum theatre, researched poisons and how the Borgia’s managed to poison dinner guests (not that the Borgia’s were in the story), planned a rough landscape of Larkspur, bought an OS map of Bodmin Moor, where the house is, and learnt a fair amount about Transylvanian wine. Bitter Bloodline was published in early November 2019.

That’s five books in only eight months. Five very successful books, I should add, and full length at an average of 95,000 words each. Clearwater was taking over my life.

Into 2020

And now we take a siding because, while I was writing approximately half a million words into five books, I had also retired. Rather, semi-retired on a private pension scheme from years ago which allowed me to take a holiday of a lifetime.

The Royal Opera House, part of our whirlwind stay in London

As Neil and I left Symi in March 2020, rumours were spreading that due to covid-19, towns and cities might have to close down, and the world was in for a pandemic. We had booked a trip to Canada and had been looking forward to it for 14 months. It didn’t feel like the best time to travel, but at the same time, our insurance wouldn’t cover us if we cancelled.

We went via Athens and London, where I could visit some of the Clearwater scenes, the Lyceum theatre, for example, and the National Gallery where book six’s opening was to be set. We had a fantastic time crossing Canada by train, but by the time we reached Vancouver, the epidemic had become a pandemic, and all those places we’d seen had closed behind us. We were among the last to have dinner atop the CN Tower, we were on the last cross-Canada excursion train, on one of the last flights out of Vancouver, and had an adventure of our own trying to get home that was worthy of Clearwater himself.

 

Artful Deception, Book Six

May 2020

Book six released

But reach home we did, and it was straight back to work for me. Book Six in the series, Artful Deception, was released on May 30th, 2020. I wanted this one to finally finish off the Ripper story of books one and two, and again, there was a feeling that it would be the last in the series. I wrote it, released it, and that was, in a way, that. I don’t know why I didn’t give it the same attention as the others, I think my mind was on what to write next, but it didn’t matter. The series had picked up so much momentum, it had a life of its own, but I wanted to write something… calmer.

Home From Nowhere, Book Seven

August 2020

Full of more historical research and one of my favourite subjects, music

This story grew out of a character we briefly met in Artful Deception – a hall boy working for the evil Earl Kingsclere. What would it have been like, I wondered, to be a young man of 17 trapped in the world of working below stairs with no hope of going anywhere? What would happen if that young man had an incredible talent from birth? How could this be a mystery? Not only did I want a cosy, not too tense mystery, I also wanted a love story.

Clearwater exists in the world of Victorian Britain when to be gay meant disgrace and imprisonment, and that is the confine of everyone in my world; all the gay characters, I mean – and most of the leading players are gay. For the mystery, I once again turned to music and real people. For the love story, I turned to two opposing characters: a cheeky, rough-diamond Cockney, Billy Barnett, and a mild-mannered slightly ‘on the spectrum,’ hall boy, Jasper Blackwood. (The name came first, and as I wanted him to be a dichotomy, I gave him a name you might expect of a Penny Dreadful villain.)

Passionate about the research and the details of historical fiction

There is a lot of historical fact in the background of Home From Nowhere, particularly around who the parents turn out to be. By now, my reference bookshelves were bulging with all the books I’d bought to inform my Clearwater world.

I think Home From Nowhere has received more praise and more five stars than any of the other books to date, and Jasper and Billy are currently playing significant parts in book ten, which is still being written.

One of a Pair, Book Eight

And still, the momentum continued. We are into August 2020 now, and as it is the month of my brother’s birthday, and as he was a chemist before he retired, I innocently asked him about unusual poisons, as you do. He gave me the idea for the slightly unlikely but completely possible twist I needed to make One of a Pair work, and once I had that the rest of the mystery more or less wrote itself. My scatter-brained character, Doctor Markland, appears in this book by popular demand, there was much research to do on chemicals and train travel, and this, like Fallen Splendour, was a book that more or less wrote itself.

Book eight released

It also competed the love story begun in Home From Nowhere and is another ‘cosy’ mystery, though with a little more tension.

A cover note: One of a Pair was also the first time I have found a photo of a character and based the character’s description around the image. Usually, it’s the other way around. Jasper Blackwood appears on the cover.

 

 

Looking forward to the past

We are up to September 2020, and I am in a more literary mood.

Slumming, just one of the subjects researched for the series

I wanted to try a book that was not reliant on a complicated, twisting mystery plot. I also wanted to know more about the two characters who began the series, Silas Hawkins and Andrej Kolisnychenko. Or, as they are known to each other through nicknames, Banyak and Fecker (Fecks). Silas is the son of an Irish immigrant, Fecker is a Ukrainian refugee. They met in 1884, lived together as friends, and worked together as renters, but when we meet them in Deviant Desire, they already have a strong bond that you might these days call a bromance. Fecker is straight, Silas is gay, and nothing happens between them sexually (not these days), yet they love each other.

So, I thought, how did that all come about?

Banyak & Fecks, The Prequel

November 2020

The prequel

That’s how Banyak & Fecks was born, and it is probably the most researched book in the series. It’s a prequel, and by the time One of a Pair (book eight) came out, Banyak & Fecks was already in the first draft stage. By now, my assistant Jenine was on board and doing all kinds of magical things to boost sales and develop my website and reputation. That’s why we now have interviews with other writers, more in-depth articles like this one, cover reveals and competitions. She keeps busy while I write books.

But for all that, I wasn’t sure where to go next. I wanted the series to continue because I didn’t feel like I was quite done with it yet, and I didn’t want to say goodbye to my characters. But was it running out of steam?

Apparently not.

November 2020

During 2020, apart from travelling across Canada and narrowly avoiding a pandemic, I had also started on a Clearwater mystery titled ‘Men of a Similar Heart.’ This involved a murder at a boarding school in 1877, and I reached the 60k word mark relatively quickly. Then, it did run out of steam and was going nowhere. I had four different openings of the story, but none of them fitted. I had some great characters, but I had seven main characters and loads of secondary ones by now. There were subplots of forbidden longing between my main couples, Silas and Archer, James and Thomas, but because I’d stepped away from 1889 and gone back in time, something was getting in my way…

Negative Exposure, Book Nine

erotic photography paved the way for book nine

It turned out to be pornography. Well, erotic photographs of the past.

There is an incident in Banyak & Fecks that moves the Andrej/Silas relationship forward. I hit upon the idea that this incident from 1886 might come back to haunt Silas in 1889, and that’s how Negative Exposure came about. Once I realised that was where the story was going, it was easy to write, and while I was writing it, I became aware that a new series was now waiting in the wings.

However, before I can get to that, I need to finish the Clearwater collection, and book nine, Negative Exposure, lays the groundwork for the plot of book ten and plants the seed for the next series.

Onwards to the Beginning 

Book nine with a new cover concept

 Negative Exposure was released in February 2021, 20 months after releasing Deviant Desire, and brought the series up to just under one-million words in total. (I have been through four keyboards in that time.) The story is more akin to the earlier ones, with a mystery leading to a deadline and a chase. It is tenser than the likes of Home From Nowhere and ends with the crew gathering for Christmas at Larkspur Hall, as they do at the end of Fallen Splendour. However, it also ends on a twist that I only decided upon when writing the penultimate chapter. It was one of those ‘light bulb’ moments, and as soon as I wrote the last line, I thought, ‘Oh bugger. How do I get myself out of that?’

The Clearwater Inheritance, Book Ten

January 2021

Manchester Weekly Times and Examiner, 11 Jan 1890, Sat Page 2

Book ten will pick up where book nine left off. What Lord Clearwater said in his last speech means it has to (damn the man!), so, as I write, I am researching all manner of things from European train travel in 1890 to personal telegraph systems, legal entails and inheritance law of the 19th century. I have several scenes plotted, some including a selection of my favourite characters from the past. I am referencing people and events from ten previous books while getting to grips with the imaginary Larkspur Hall layout and its 50 + rooms. I am also making parallels with today’s pandemic, as there was one ravaging the world in January 1890, and all the time, laying more groundwork for the series that will follow.

For this, the future of Clearwater, I have decided that my Clearwater characters will still exist and appear but will be the background to a set of new people and others who we might already know who will play larger parts in a slightly different series. I can’t say much more than that right now because this is still very much in the planning stage, and, speaking honestly, I am not 100% sure how it will start or where it will go. But it’s there somewhere in the recesses of my imagination and only needs some kind of deviant desire on my part to bring it out.

It has been two years since I wrote the first line of what was meant to be a standalone romantic thriller; Silas Hawkins was searching for coins in an East End gutter when a man four miles distant and ten years older sealed his fate. I didn’t know it then, but young Mr Hawkins had sealed my fate, at least for the time being.

The Clearwater Series, available from Amazon on Kindle or paperback

New Release: Negative Exposure

New Release: Negative Exposure

Today I have news of my latest release, Negative Exposure.

This is book nine in the ongoing Clearwater Mystery series. It not only gives you a mystery, an exciting finale with a face-off and chase, but it also paves the way for book ten—more about that in a minute. First, I would like to tell you a little about what is behind Negative Exposure and how I came to write it.

Banyak & Fecks

Although this is book nine in the popular series, it is born out of the series prequel, Banyak & Fecks. When I was writing the prequel, I was researching what my main character, Silas Hawkins, might have done to make ends meet. If you have read it, you will know he moved to London in 1884, aged 16, to find his fortune, send money home to his sisters so they could survive. He was always a petty-criminal and not afraid of the law, so he fell into dipping (pickpocketing) and running scams. Having met Andrej (Fecks), he discovered prostitution, which led him to pose naked for a photographer.

There is a scene in Banyak & Fecks where Silas goes to have his photos taken, and it all goes wrong (no spoilers). That was the starting point for the idea behind Negative Exposure.

The story starts in December 1889 and the second Clearwater Foundation gala, held at the Lyceum Theatre in London. Silas is now the Foundation’s public face, and the Queen’s grandson, Prince Albert Victor, is considering becoming a patron of the charity. It’s all going well, but then Silas’ old life comes back to haunt him. The story of his past unfolds, and in the narrative, we’re taken back to the scene of the photographic session. From then on, the mystery becomes more complicated as James and Fecker work together to discover the villain’s identity and do something about it before it’s too late…

The Obscene Publications Act of 1857

This act of British law, also called Lord Campbell’s Act, was introduced into statute because, Prior to this Act, the “exposure for sale” of “obscene books and prints” had been made illegal by the Vagrancy Act 1824. but the publication of obscene material was a common-law misdemeanour. The effective prosecution of authors and publishers was difficult even in cases where the material was clearly intended as pornography. [Wikipedia]

Researching into this act, because I like to include factual historical details in my fiction, I discovered that the Lord Chief Justice, Lord Campbell, presided over its creation when the House of Commons was debating a bill to restrict the sale of poisons. Campbell made the analogy that (what we now call) pornography was a sale of poison more deadly than prussic acid, strychnine or arsenic. So, our obscenity laws stemmed from the sale of poison, and the act was not repealed and updated until over one hundred years later, in 1959.

All very interesting, but what I found more interesting was the law didn’t say anything about those who made the pornography or appeared in it. It was purely to do with the sale of printed works. More interesting, though typical of the time, was the blatant hypocrisy behind notions of pornography. It was something that would adversely affect women and young people — men, it seems, were not affected by images of naked men. I also looked into that and had to wonder how a person can pose for an artist and have a nude painting represent, say, a Classic figure from mythology and people call it acceptable art, and yet a naked man posing in the same fashion but for a camera was considered pornography. That was something of a rabbit hole, and one I may go further down one day.

All interesting stuff, and slightly explored in Negative Exposure, which is more a mystery thriller than it is a work about the originals of the Obscene Publications Act of 1857.

The Russian or Asiatic Influenza Pandemic of 1889/1890

Another aspect of Negative Exposure is the background world, what was actually happening in London in 1889, and that, ironically enough, was an influenza pandemic. It started in Asia and quickly spread across Europe in 1889, reaching London late in the year, just about the time my story starts. That, I thought, would act as a handy added layer of tension and could also make for a couple of twists.

And On To Book Ten

While writing Negative Exposure, my mind was already fast-forwarding to the next book.

Now then, some people might think that ten books in one series is enough, and right now, I agree. It’s not that I am getting tired of my characters or world, but I wonder if the reader might be. As the series has grown, so has the cast list, and there is now a group of ten main characters. They, I thought, might make for a good and final part ten. ‘The Power of Ten’ was my original idea, and I thought of a story that would see all ten main players banding together to fix one final mystery.

[The ten, by the way, would be: Clearwater and Silas, James and Thomas, Jasper & Billy, Fecker & Lucy, Mrs Norwood, Doctor Markland.]

Map showing the spread of the pandemic, 1889 to 1890

However, when I started on Negative Exposure and brought in the influenza pandemic as background colour, another idea occurred to me. This was an idea I had a while back, and one that concerns Archer (Lord Clearwater’s) title and estates. It’s complicated because he is the second son and the oldest one—the ‘real’ viscount—is still alive though stripped of his title (which, I don’t think, was possible, but this is fiction). So, I started to think, what would happen if Archer’s land, money, charities, business and all that were in jeopardy? Not the man himself, but everything he stands for. Well, actually, why not the man himself as well? What if Archer stands to lose everything? How might that come about? What could be done to save it?

And that’s how part ten has started. So far, it is titled ‘The Clearwater Inheritance’, and the last couple of chapters of Negative Exposure pave the way and start the story rolling.

I am working on it. It’s turning out to be complicated to hone down to the simplest way of explaining the inheritance problem and how it might be shifted from one man to another, and it’s giving me a headache. But, once I have the technicalities nailed down, the rest of the story will flow because I have already invented it in my head.

‘The Clearwater Inheritance’ won’t be out for a few months, as I have to get everything right, and there are lots of ends to tie up before the series finishes.

Except, it’s not going to finish, not really, and not if I can keep the momentum and direct it into a siding. You see, I have an idea for a second series based in the Clearwater World, and the groundwork for that is also laid out in the final chapters of Negative Exposure, and the foundations will be laid during the telling of book ten, The Clearwater Inheritance.

No promises, but don’t worry that you after book ten you won’t read of Archer, Silas, Fecks and the crew, because they will be back as background characters in a new series, ‘The Larkspur Academy Mysteries’, or adventures, or… well, it’s all still rather in the planning stage, and I am not even sure it will be written.

Anyway, that’s enough rambling from me. The main point here is that Negative Exposure is now available in paperback and Kindle and on Kindle Unlimited if you use that service, and it’s set at the same price as all my other books. Just follow the links, read, enjoy, and if you do, review and share the news.

Thanks for being here, and I will see you next week.

Jackson

Negative Exposure & A Valentine’s Peek

Negative Exposure & a Valentine’s Peek

Hi, welcome to my Saturday blog. Today, I want to tell you more about ‘Negative Exposure, the Clearwater Mysteries, Book Nine’, and give you a heads-up about something special for Valentine’s Day.

Negative Exposure

This is the ninth book in the ongoing series, the Clearwater Mysteries (though the 10th book in the Clearwater world, as there is a non-mystery prequel, ‘Banyak & Fecks’).

If you’ve been following the series, you’ll know that after the mayhem of books one to six, there was a break in pace for two slower, calmer mysteries, ‘Home from Nowhere’ and ‘One of a Pair’.

Inspiration for part of the cover

Well, with ‘Negative Exposure’, the Clearwater crew is back to detecting, unlocking clues, racing against time and battling things out on stormy clifftops. While I’m about it, I’m also drawing on information and events from the prequel and other novels through the series, and bringing in the real flu pandemic of 1889. (It was around for longer, but this story takes place in December 1889.)

Negative Exposure is also setting things up for Clearwater 10, which will be the prelude to a change in direction, but not an end to the Clearwater world. I’m still thinking about this idea, so my plans might change.

Negative Exposure starts at the end of the 2nd Clearwater Gala, this time, held at the Lyceum Theatre, London as discussed by Clearwater, Henry Irving and Bram Stoker in ‘Artful Deception.’ Everything’s going well until, the next day, two pieces of potentially devastating news arrive at Clearwater House. One, brought by Dr Markland, involves the spreading pandemic, the other is found by Harvey in Silas’ coat pocket, and threatens to blow Silas and Archer’s world apart.

What is it?

These days, we would probably call it pornography, back then the word, although in existence, wasn’t widely used, so I’ve gone with ‘erotica’ and other Victorian euphemisms. James leads the investigation, with Silas and Fecker also involved, and it takes them back into Silas’ past and an event from ‘Banyak & Fecks’, on to the Cheap Street Mission, and later, to the wilds of the west coast of Scotland. During all of this, there is a growing sexual frisson between two major characters who should not be attracted to each other. There is no great love story, other than my favourite theme of friendship and how far we would go for our friends.

I’ve decided to release a sample of the story in a special newsletter on Valentines Day, not because the story is about love, but as a gift for readers.

Valentine’s Day

On this day, I will be sending out a newsletter that will include part of a chapter from ‘Negative Exposure.’ I have yet to decide precisely what chapter and what part as it’s one of those stories that follows on scene by scene, and doesn’t have a section that can easily be taken out and posted as a standalone piece, but… well, we’ll see.

If you’ve not signed up to the newsletter, you can do it here with a couple of clicks.

I usually only send one per month, and I don’t bombard people with other writers’ books’ sales opportunities or news. It’s purely informal and personal, with news of my work and what I have been doing here on our quiet Greek island.

Back to Editing

While writing this post, I am in the middle of editing ‘Negative Exposure.’ I am currently on chapter 12 of 24, going through each page line by line, removing repeats and shaving off too many passive verbs and dangling modifiers, and all that grammar jazz. I’m also ensuring that clues tie-up, backstories are consistent, and words are spelt correctly. The manuscript is booked in with my proof-reader for February 15th, which means I am aiming for a release date in the week of February 22nd. Not long to wait now. It also means I have a tight deadline and as each chapter takes me roughly two hours to line-edit, I can’t hang around, and I need to get back to work.

First, though, I am finishing my cup of tea before going for a short walk around our village for the exercise. It gets in the way of my writing but must be done, and while I am doing it, I can put together an outline for Book 10, which has a working title of ‘The Final Prelude’, but that’s very much at the in-the-imagination draft stage right now.

One last thing, an appeal. If you’ve read any of my books and liked them, it would be helpful if you could give them a good rate on Amazon, or even a short review, and share news of the books around your social media. I know many of you do, but new readers might not know how much those small actions can help a writer develop his audience.

Thank you, and look out for the Valentine’s Day newsletter and your exclusive peek at ‘Negative Exposure’, the Clearwater Mysteries, Book Nine.

Jack

What’s a Novel without Characters?

What’s a Novel without Characters?

Last week, I was talking about how I write a novel. Today, I want to talk about characters. After all, what’s a novel without characters?

Character Vs Characterisation.

In his book on screenwriting, Story, Robert McKee discusses the difference between character and characterisation, a concept that confounds many. Characterisation, he says, “is the sum of all observable qualities of a human being.”

So: age, height, sexuality, choice of vehicle, speech style, dress sense, personality, behaviour, job… And so on.

Many people, particularly new writers, think such things show a person’s character. They don’t, they are their characteristics. So, what makes a character and, more importantly, how do you show character when writing a novel?

My rule here is to never write something like, ‘Oh, Tony? Yeah, he’s a dodgy character,’ and leave it at that. Show Tony is dodgy (whatever that means), show him doing something so the reader imagines for himself how dodgy Tony must be.

Yeah, okay, but how?

Robert McKee, one of the gurus of screenplay writing, says: ‘True character is revealed in the choices a human being makes under pressure – the greater the pressure, the deeper the revelation, the truer the choice to the character’s essential nature.’

He also says the pressure is essential, and that reminded me of a writing truism. In this case, it was said best by Syd Field in his work, Screenplay: The Foundations of Screenwriting

“All drama is conflict. Without conflict, you have no action; without action, you have no character; without character, you have no story; and without story, you have no screenplay.”

For screenplay, you can read novel, play, musical, story…

How do I show character?

All this theory made me think about my characters and how I set about creating them. I shall be honest here, sometimes I don’t think about a character before I write him/her, I just let them write themselves as I go. In other cases, I sit and consider the character beforehand, and at other times, I imagine someone I know, put them in a story-appropriate costume and setting, and write them doing what I think that person would do. Later, as I go through the drafts of a novel, I pay more attention to whether that character would actually do whatever it is I have them doing. I ask myself, would they say that? And more importantly, would they choose to do that? Sometimes, they just do it, and they’ve made a decision and shown character before I realise what I’ve written. That, for me, is when I know the characters I am creating are real.

Here are some examples of how I show character in The Clearwater Mysteries. Some of these examples were planned, others just happened because I was being led by the characters I was creating.

Silas Hawkins

At one point in ‘Deviant Desire’, Silas and Fecker take Clearwater and Thomas into the East End to see the sites of the Ripper murders. Archer (Clearwater) is looking for clues and becomes increasingly aware of the life Silas has been living. He is also falling in love with the Silas. Seeing how he lives, the squalor and the danger, Archer, being an impetuous romantic, offers Silas a new life and declares his love for him. They happen to be at a Ripper murder site, in the dark, with a mob of vigilantes fast approaching, all of which are designed to add the conflict, drama and tension to what should be a romantic scene.

On hearing a handsome, wealthy man, a viscount, is offering him a way out of his hellish existence, and knowing that he has feelings for Archer, what does Silas do? In a classic romance novel he might swoon into the man’s arms and say, ‘Take me away from all this,’ but this is a Clearwater novel. Silas simply says no, tells Archer to run before they are caught, and disappears into the night.

That rejection defines his character. He’s not weak, he’s not swooning, he’s taking himself out of a ‘dream come true’ situation because he can’t cope with the idea of being loved. That’s his character or part of it, and we learn from that scene that Silas is insecure about love, but strong when it comes to his convictions.

James Wright

In book four, ‘Fallen Splendour’, we know that James is handsome, a ‘jock’ by today’s standards, literate and loyal, and we know he was bullied when younger, but these are characteristics. So, we need him to show character. Cut to the scene where Inspector Adelaide has taken Silas from Clearwater House and thrown him in gaol, Archer and Fecker are away, Thomas is at Larkspur, and two strangers, the Norwoods, have come to look after the house. James is alone, and because of the way Adelaide behaved, he suffers a flashback to his bullying. He crumples by the door thinking all is lost but, hs anger at Adelaide unlocks an inner strength. Refusing to be put down, bullied and trampled over, and does something about it. The conflict of the scene, the arrest, brings out the best in James. He chooses not to give in, chooses to seek help, and so his character develops from servant to friend to businessman.

Archer, Lord Clearwater

Of all the characters, Archer is the one most driven by outrageous, character-defining decisions, mainly because he can. The fifth richest nobleman in the country, he has the resources to do whatever he wants. He could give his life over to pleasure if he wanted, as so many rich landowners did. He could spend his time at any one of his homes and evict those families who rent his property if he fancied using it for himself. He could attend balls and galas, the theatre and dinners simply to socialise, and he could treat his servants like shit as his father treated them, and treated Archer.

He doesn’t.

He has more money than any of us can dream of, and yet chooses to use it for others. He sets up a charity to help who we’d now call rent boys, which, in 1888, was a fairly dangerous thing to do as it could invite all manner of negative speculation. Archer doesn’t care. He treats his staff well, is constantly trying to promote them and make them his equals if not friends (his fatal flaw), and he chooses to see the best in people (another flaw which nearly leads to his death on a few occasions). We get from that that Archer is a kind man, but it’s deeper than that. Like Silas, he needs to be loved, but for different reasons, and although it would be easy for him to throw money at people to make them happy, he doesn’t. His charity is also a business concern, his fundraising galas are also social manipulation, he gathers influential friends and knows how to play the political game while choosing to fill his house with staff we’d call gay or gay-friendly. In other words, in a time and place when being gay was punishable by two years in prison with hard labour, he chooses to tread a dangerous path and risk losing everything including his title, by protecting other gay men.

Some of Archer’s character-making decisions are made under great pressure. Examples: Knowing the Ripper’s identity and that the man is dangerous, he opts to accept his invitation to a potentially fatal confrontation (twice). When faced with a bland, legally correct and society-expected speech in front of 2,000 people at the Lyceum Theatre, he sets it aside to speak from the heart. (That’s book nine, you’ll have to wait for that.) Those are but a few examples.

Thomas Payne

Today, Tom is interviewed exclusively at the MM Fiction Café.

These interviews are an excellent way for a writer to stop and think more deeply about the character he has created. In this case, it’s Thomas Arthur Payne, and I was attending more to his characteristics than his character choices.

Thomas begins his fictional life as Clearwater’s footman, later, his butler and, at the end of book nine as something else (no spoilers!). Tom’s interview is accompanied by a drawing that I had commissioned (left), and I’ve posted it here so you can get a rough idea of how I see him. The drawing is pretty accurate except I notice the artist gave him an earring, which he would not have worn, and his cheeks are a bit chubby, but that was her interpretation of my description and everyone imagines characters in their own way.

Check out Tom’s chat with Josh at MM Fiction Café, and you will learn a few things about him that you won’t find in the books.

Finally

There is a line in a film, and I can’t remember which one, where someone says, ‘History judges us not on what we choose to do, but on what we choose not to do,’ and that also works when putting together a character. Ultimately, choices, or choosing not to make them, define character, particularly decisions made under pressure and during conflict because, as Syd Field says, “All drama is conflict. Without conflict, you have no action; without action, you have no character; without character, you have no story.”

[Currently, Saturday morning, European time, the Fiction Café server is having an issue. You may need to check back with it later to read the interview.]

How I Write a Novel

How I Write a Novel
Thoughts, Tips and Tricks

For this week’s blog, I’ve jotted some notes on how I go about writing a novel. There was once a book on my shelves titled ‘The Three Rules of Novel Writing’, but I discarded that years ago because, according to some, there are no rules to writing a novel. That’s not true. Mark Twain agreed that there were three, “Write, write and write”, and endless websites and creative writing commentators come up with lists of what you should and shouldn’t do when you want to write a novel. I tend to side with Mr Twain: Write.

The word ‘novel’ originated from the Latin novella, a singular noun use of the neuter plural of novellus, diminutive of novus, meaning ‘new’. We’ve probably all used the word, as in, ‘That’s a novel idea,’ and that’s exactly what a novel should be; a novel idea expressed through the medium of storytelling, one of mankind’s oldest forms of communication. Take it to the extreme, and you could write anything and call it a novel. For example, I’ve seen some books that had no punctuation or no speech marks around dialogue… Hideously affected if you ask me, and they come across as publisher-wank, for want of a better way to put it, and being ‘original’ for the sake of it. My advice? Avoid!

But I am not here to lecture on the art and craft of writing a novel, simply to tell you how I do it and what my thoughts on novel writing are. So let’s leap straight into a common question I am asked when being interviewed. Are you a pantster or a plotter?

Pantster

When I first came across the word pantster, I thought it was some fetish-related quirk or a typo, but soon discovered it refers to someone who makes it up as they go along. As in, flying by the seat of your pants, I guess. Famous pantster novelists include Margaret Atwood and Stephen King.

I’m in good company then, because I am sometimes a Pantster. In fact, I can confess that my entire Clearwater Mystery series has been written by pantstering, if “to pantster” can be a verb. I usually start with a question?

Deviant Desire: What if Jack the Ripper killed rent boys?
Twisted Tracks: What happened next?
Unspeakable Acts: Why not bring in a Cleveland Street scandal idea?
Fallen Splendour: What if the clue to a mystery was hidden in a Tennyson poem?
Bitter Bloodline: Why not expand the series to involve real-life characters of the time?
Artful Deception: How many twists can I get in one story?
Banyak & Fecks: Can I write a Victorian bromance?

Some tools of the trade on my shelves.

Next, I usually have a beginning and an end. For the current work in progress (‘Something Exposure’, still not fully titled), I want a thrilling chase towards the edge of a cliff kind of climax followed by a massive twist that leaves the reader thinking, ‘Oh no! What next?’ I have both in my head, and I’m currently heading towards them.

For some stories, I have an opening. Example: ‘Home From Nowhere.’ Here, I wanted to start with Jasper being woken in the early hours and told to be ready to leave immediately. ‘Why?’ I asked myself and received the answer, ‘We’ll find out as we go along.’ As that story progressed, the ending came into sight about halfway through writing, before then, when I reached chapter five, I think, I had to ask myself, ‘So what’s the mystery?’ and then music popped into my head.

For other stories, I start with a setting, a ‘world’ in which the story takes place. Again, I can give you a list: Deviant Desire, Jack the Ripper. Unspeakable Acts, Opera. Banyak & Fecks, male prostitution in the 1880s. Something Exposure, Victorian, male pornography. Artful Deception, art. And so on.

For all of them, then, I have either a beginning to launch me into the story, or an end I know I have to aim for, and what happens in between is made up as I go along. Sometimes, the characters add the twists for me. I’ll be beavering away on a chapter, and it’s flowing, and I’m heading towards the last line which I imagine to be one thing, and one of the characters will suddenly say something I wasn’t expecting. Either that, or I throw in a line to see where it will lead to, and I take myself by surprise. There’s an example in ‘Fallen Splendour’ at the end of chapter four when Mr Norwood answers the door to find three men looking for Silas.

‘These men are here to see Mr Hawkins,’ Norwood announced.
‘Actually, Sir,’ the moustached man said, straightening his overcoat and squaring his shoulders. ‘We are here to arrest him.’

Believe it or not, I didn’t see that coming. My subconscious must have said, ‘What if…?’

Making it up as you go along is fun, but does require a lot of backpaddling, changing details in written chapters as you go, and making notes to remind yourself of things to tie up later, but it also offers the freedom to let the characters run wild. You can always tame them later.

Plotter

Plotting, on the other hand, involves… well, plotting. When I was studying screenplay writing, I learnt an awful lot about structure. I am still a structuralist as having a structure is different from plotting. All of my novels have a basic four-act structure as you see in most mainstream films. 1) Ordinary world, 2) change of world 3) halfway twist or boost/change, 4) unravelling. That’s a very basic outline of the four-act, hero’s journey storytelling structure which I like to think of like this:

Act 1:  There is no problem.

Act 2:  What is this problem?

Act 3:  How do we deal with this problem?

Act 4: Let’s put this problem to bed.

Some of my Victorian research books

Okay, so you could say that’s an outline for a plot, but it’s not really. That’s the frame on which you’re going to build your story, and there are plenty of other tried and tested structures, for example, Shakespeare’s five-act structure, but let’s not go there right now.

Plotting, to me, means detailing the action and the character arcs, developments and relationships, as you would do very carefully if writing a film. That involves storyboarding and telling yourself, ‘In chapter six, X must do something in order to show her development from A to C via B.’ ‘In chapter seven, the relationship between Y and Z reaches the point where the subplot rides above the main plot, and the MC comes to terms with the IC’s resilience, forcing…’

Yeah, well, as you might imagine, that’s far too technical for me. I can do it and have done it when writing film scripts, but it’s simply too restrictive.
(Btw, MC = main character, and IC = impact character, the wall he hits, the man he falls in love with, the challenge character, etc.)

Having said that, I do have to do some basic plotting, particularly in a mystery. Mainly, that’s around pacing. Don’t give away too much yet, drop a clue here so the reader will know it but forget it long enough for it to be a pleasant twist later, make sure you foreshadow that, if a character’s going to escape by galloping a horse, make sure we know early on that he can ride… And so on. But I don’t outline each chapter and arc my characters in fine detail. I have done in the past; ‘Jason and the Sargonauts‘ was one of my first James Collins novels, and that took a lot of plotting because of timelines, and because I was new to writing. Now, I like to think I am more intuitive. Besides, if you get it wrong in draft one, you can always go back and untangle your plot in draft two onwards.

My process

So, my process now is this:

From the Clearwater ‘bible’

I have an idea, a ‘what if?’, an ending I want to use, a twist to drop in at some point, a world I want to write in (Ripper, opera, art, music, early pornography…), or sometimes, simply a title. With Unspeakable Acts, the title came before the story.

I start at page one. Sounds obvious but often it’s the last chapter that’s in my head, and yet I leave that one and write chronologically to give myself something to aim for, and often, the ending changes or develops as I go as more and better ideas come to mind.

Actually, I messed with the chronology in ‘Artful Deception’ which opens a few days after the start of the story proper. We have the first scene, wonder what it’s all about, and find out later when the scene is fitted back into the storyline, although from a different point of view so as not to be repetitive. That’s a common film technique.

I make notes as I go. When writing anything, it’s vital that if you come up with an idea for later, you note it somewhere, else you’ll forget it. Similarly, I have a list of ‘Tie-ups’. These are ideas I have along the way and add in, intending to use them again later. The list is to make sure they do.

For my current Clearwater work in progress, I have a file titled ‘Ideas for act one onwards’ and running through it, I find these headings:
A ‘POC’ for each chapter. (POC = point of chapter, to ensure there’s a point to each part of the story and I’m not just indulging myself with interesting but unnecessary detail).
Time limit – to remind me of the timeline and pace.
The letter. In this case, a blackmail letter starts the mystery story, and it’s in my notes so I can easily refer to it as I go.
Notes on photographic ‘printing out’ paper, Eastman’s Solio paper (1888) very important!
Then there’s a whole section on train times because that’s one thing I like to be realistic about. I have notes from my friend, Andy, a railways’ expert who has copies of rare timetables books from my era.
TWISTS. In capitals, note. One of these rather alarmingly says, ‘CUT TO: Funeral’, but I will say no more.
A list of additional/cameo characters so I can add them to the ‘bible’ and maybe use them in later stories.
TIE UPS. Ah, there it is!

There then follow links to all kinds of research websites and title of books I’ve dipped into and might want to check back with.

My Rules for Writing a Novel

To summarise this rather rambling post, I’d say that my rules to writing a novel are simple. This list is not exhaustive.

  1. Don’t get it right, get it written, and then get it right.
  2. Write what you would like to read.
  3. Keep everything realistic within the world you create.
  4. Make sure everything ties up.
  5. Plot if you must but don’t let it restrict you.
  6. Write to the best of your ability.
  7. Constantly ask yourself, ‘Is that what I meant to say?’ and ‘Can I write this better?’
  8. Learn your grammar!
  9. Employ a professional proofreader.
  10. Write something every day, even if you think it’s rubbish.
  11. Don’t feel you must adhere to anyone’s rules.

And now, I shall thank you for reading, and head back to chapter 19 of ‘Something Exposure’ where one of my MCs is just about to confront the IC, while my other two MCs race to stop him. I must take what should be a cordial meeting to the point of fatality in a realistic and thrilling way without being ridiculous or allowing the pace to slacken. We’re at the crisis and climax stage, and I really can’t leave these boys hanging around a cold castle in the wilds of Scotland any longer.

See you next week!