Starting with Secrets: What is it?

Starting with Secrets’ is the title of the sixth Larkspur Academy mystery, and is the first part of a two-part adventure set in the Clearwater world. This, as you may know, is my invention of late 19th-century England. Both the Clearwater and Larkspur mystery series is set among real places, and feature people who lived at the time, but the main cast is invented characters. Many of the background events are true, and the Clearwater world sticks to actual dates and times as much as possible. I am even able to have characters take train journeys according to extant timetables of the time, down to the day of the week, route and times of the trains. I love adding that kind of detail.

Starting with Secrets has such a train journey, and it also uses real locations, described as best I can according to reports and documents of the time. In this case, we have the invented estate of Larkspur Hall, another one in Hertfordshire, Clearwater House (somewhere on the edge of Hyde Park in Knightsbridge, London), and Greychurch, which is my name for Whitechapel. The characters find themselves in some well-known locations, such as inside the dome of St Paul’s Cathedral and the Round Reading Room at the British Museum, both in London. They also visit villages that still exist today, although I have changed the names of two of the main locations to not upset anyone who might still be living there or who might own the property I have adapted.

I won’t give away the plot of ‘Starting with Secrets’, but if you like a good Dan Brown mystery/adventure, and if you like historically based riddles and conspiracy theories, then you’ll like this novel. I’ve tried to write it so you can solve the clues as the story progresses. At least, you can with some of them. What I am also trying to do with this two-part adventure is bring in as many of the Clearwater and Larkspur main characters as I can without losing focus. There is a relationship story, a background emotional reason for two characters to sort themselves out, and there is at least one ‘Ahh’ moment when I, for one, experienced a shiver and the prick of tears. You will find villains, heroes and a couple of new characters that we’ll learn more about in part two, and there’s a lot going on in the background where existing characters’ lives are developed.

It’s been three years since the saga started with ‘Deviant Desire’, the first Clearwater mystery, and even longer since Silas and Andrej met in ‘Banyak & Fecks.’ Actually, the more I write these series, the more I realise the whole lot tells the story of Andrej, a Ukrainian immigrant who fled his homeland to escape the Russians. (Nothing changes.)

Although Andrej, ‘Fecks’, is not the main-view character in ‘Starting with Secrets’, he is there, along with others we met in book one of the Clearwater series, Lucy Roberts the maid-then-cook, for example. Archer, Silas, James, Tom and Andrej, the ‘canonical five’ as I call them, form the centre of the cast for this one, and they are aided by the Larkspur Academy men, Dalston Blaze, Joe Tanner, Chester, Frank, Edward and Henry, and the new man, Bertie Tucker. Bertie’s a sailor, or was until he got caught doing something that was, in those days, illegal, and he’s the unwitting catalyst in both action and emotional storylines.

But that’s enough of a teaser for now. As I write (Friday), I am waiting for the final files to come back from being laid out, and then, as I now have both covers, I shall be able to upload the book to Amazon and you’ll be able to download it, order it in paperback or read it in Kindle Unlimited, as you can with all my novels. So, not long now, and you will have a 380-page adventure, bromance, mystery, treasure hunt story to get your teeth into, while I carry on biting away at the last in the Larkspur series, ‘The Larkspur Legacy.’

Keep an eye on my Facebook page for news of the publication day, and why not join my group, Jackson’s Deviant Desires where I post more personal news from time to time and where you and others can discuss any or all of my books.

Disability Pride Month: Joe Tanner

Disability Pride Month occurs in July “to listen to what the voices of disabled people have to say about their rights and what they need“.

The month was chosen to recognise that, the then President of the United States, George H.W. Bush signed the Americans with Disabilities Act (ADA) into law on July 26, 1990. (Wiki)

As this month is Disability Pride Month, I thought I’d write a short piece about my “disabled” character, Joe Tanner. I put the disabled in “ ” because Joe wouldn’t have seen himself as disabled. He’s deaf and has been since birth, and yes, that’s a disability, but all the same, he wouldn’t (or doesn’t) consider himself disabled.

These days, it’s difficult to write about how Joe was treated because the language of that time is now considered offensive, but we shouldn’t take offence at history, because there’s nothing we can do to change it; it is how it was. Being deaf in the late 19th century wasn’t easy, and although there had been schools for the deaf since the 18th century, they were small, private and expensive. Also, sign language was outlawed in 1880 and was discouraged as taught communication for 100 years. When Joe Tanner was born in 1871, his parents didn’t know what to make of him. Although his father was a vicar, he had a very short fuse, and Joe’s early life wasn’t pleasant. Frustrated that their son couldn’t communicate, Joe’s parents left him at the Hackney Workhouse and buggered off to America. Joe was about seven at this time, and was immediately put on the ‘idiots ward.’

This is where you mustn’t take offence to the language.

According to the glossary on Peter Higginbotham’s marvellous site www.workhouses.org:

Idiots and Imbeciles were two commonly used categories of mental subnormality.

Definitions varied over the years, but in broad terms:

Idiots, the most deficient, were unable to protect themselves against basic physical dangers.

Imbeciles, a less severely deficient group, were unable to protect themselves against moral and mental dangers.

It’s also likely that many deaf people entering a workhouse would have ended up in the hospital wards or sent to an asylum. In Joe’s case, he should have been sent to a school, which probably would have done him no good anyway, but he was lucky. Not only did he have an understanding workhouse matron, but he also met Dalston Blaze.

Here are some extracts from the chapter in ‘Guardians of the Poor’ where Dalston meets Joe for the first time. Joe was seven, Dalston six, and Mrs Lee was the workhouse matron.

The matron demanded to know what was happening, and a grubber said the boy had refused to stay on the idiots’ ward, and they were trying to get him back there. Dalston knew of the idiots’ ward, and of the one on the floor above, which was for the imbeciles, but he wasn’t allowed up there. Even if he was, he wouldn’t have gone, the noises and screaming were too frightening.

As the matron tore the grubbers down a peg, Dalston crept closer and stood facing the boy. Without knowing why, he knew that what was happening was wrong. If a boy misbehaved, he missed a meal, everyone knew that, and perhaps, he thought, this lad has been naughty. It wasn’t uncommon for the schoolteacher to whack a boy’s arse for misbehaving, but if this lad had just suffered that, he wouldn’t have been able to sit.

Mrs Lee tried to talk to him, but he balled himself tighter, and in the end, she told the grubbers to go about their business, and leave the lad alone.

Dalston, intrigued by the boy, stays with him when the staff give up, and the two start to communicate. Their language begins with drawings and moves on to finger and hand signs. In the story, Dalston (who is hearing) and Joe do what many deaf people did; they invented their own language. Although British Sign Language (BSL), as we now call it, was abandoned in schools in 1880, many deaf people continued to use it in their own groups, homes and meeting places. That’s why there are now so many regional variations in BSL.

Dalston and Joe go on to appear in all of the Larkspur Mysteries either as main characters or supporting cast, so I have been able to explore Joe’s character more as the series goes on. I thought it was important that Joe didn’t end up as a ‘feel sorry for’ character; I didn’t want him to be the one being looked after or treated in any way differently to the other characters. He’s a gay, young man in Victorian times like all the others around him, except he can’t hear. He can communicate, but not everyone can return the communication, not with sign language at any rate. However, other characters are learning some of it, they can always write things down, and none of them treats Joe as inferior. He is, after all, an excellent and natural horseman, he drives the carriages, and he studies archaeology while solving old murder cases.

With Joe, I wanted to show a disabled character in the same way as I show my others. Therefore, he’s not always fun and happiness, he has flaws, he gets frustrated, and he has a temper. He and Dalston’s first year together out of the workhouse (aged 19 and 18 by then) was not always an easy one, and like any young couple, they had relationship problems – none of which were due to Joe’s deafness. Joe’s also got a naughty sense of humour, and uses his sign language to his advantage, talking about people without them knowing what he is saying.

Book five of the Larkspur series, ‘Speaking in Silence’ also concerns a young man with a disability, though it’s not a physical one. Because of something that happened in his past, Edward Hyde has chosen not to speak more than one or two words to anyone (apart from his one friend). It’s his way of withdrawing from the world because of an incident that left him contemplating suicide. So, his disability is, you might say, an emotional one, but it is one he can be ‘cured’ of. That’s what the book is about, getting Edward’s voice back – although emotional recovery from his trauma will continue long after the story has finished.

For both these characters, Joe Tanner and Edward Hyde, I wanted to present my differently-abled characters as positive, non-victims (although Edward was) and to make them as good/bad, nice/nasty, grateful/churlish as all the others. Hopefully, they both present positive images of deaf or emotionally scarred people, and we see them do heroic things that we all wish we had the courage to do.

However readers take them, what they do in the books makes me proud, and that’s my way of wrapping up this post about my ‘disabled’ characters for Disability Pride Month.

Speaking in Silence is due out at the beginning of August

The Larkspur Series begins with Guardians of the Poor’ and it’s Joe you see on the cover signing the word ‘deaf.’

Work In Progress 3.10

Speaking in Silence

We’re into week ten of the writing of this new Larkspur Mystery and I am pleased to tell you, I have only eight chapters left to edit before I can say I have a draft for my beta readers, Neil and Jenine. The MS is booked in for proofreading on the 20th of July, and I am still aiming for the end of July/start of August to have the finished novel ready for you.

My to-do list now looks like this:

  • Finish the fine editing
  • Reread for a final check
  • Create the blurb
  • Find images suitable to make a cover and open negotiations with Andjela
  • Proofreading
  • Layout
  • Check everything and reread
  • Upload to Amazon
  • Hope for the best

While all that is going on, you won’t be surprised to learn that I have started thinking about the next book. The next two books, actually, because I am planning a two-book finale to this series along the lines of ‘The Clearwater Inheritance.’ I am teeming with ideas, and have already outlined various scenes in my head, but I must find a way to connect them. All I can tell you right now is that I am planning to incorporate many of the characters from both Clearwater and Larkspur, have three or four storylines running at once all leading to the same end, so all will be connected, take my characters to some wild and exciting places, and tie up many threads. Some of these threads were started in Deviant Desire, and before that, Banyak & Fecks, so I have lots of rereading and remembering to do (thankfully, I keep my ‘bible’ and notebooks). There is also a special ending to consider, and all being well, you’ll be able to read the second book of the two at or by Christmas.

Watch this space.

Thank goodness for my author notebooks and ‘bible’!

Work In Progress 3.09

Speaking in Silence

It’s done! The first draft, that is, and we have arrived at Bodmin station at 95,000 words. Now, after a brief stop, we must make the return journey to London as we embark on the rewrites and editing.

A view of Bodmin Road Station, Cornwall in c.1895

This novel turned out to be slightly different to the others, and that made the journey an interesting one. Speaking in Silence is a mystery. It takes place in Cornwall and London, it brings in two characters who have, until now, been in the background, and it is based on a newspaper report from 1891. There, the similarities with the other Larkspur Mysteries end. Don’t worry, it still contains your favourite elements, but in a different way.

The content is darker than I’ve previously dabbled with because the protagonist is a victim. He’s also the one who hardly speaks, which presented another challenge when writing. Also, the mystery isn’t written as: This is strange, how are we going to solve this? It is written so the reader asks, ‘What are they doing?’ We know ‘they’ are up to something, and we know what they want to achieve, but, hopefully, you won’t work out what it is they are doing and how they achieve it until the end. Then, in the denouement, you’re told exactly how it happened.

I expect that makes little sense, but it will all become clear in the end, and the end of the journey, I hope, will be sometimes in July. Meanwhile, here’s an unedited taster from draft one.

Outside, foxes and owls scoured the grounds for their prey, while inside, a dim light burned in the drawing room until well past two in the morning. Figures paced before the window, apparently speaking in silence as no sound escaped the casements, and they disturbed nothing and no-one. At two fifteen, a light in an upstairs bedroom came on, and three silhouettes sat at a desk with paper and pen. Another discussion began, and one wrote while the others offered ideas. A little later, one sat in a chair while another busied himself around his head with scissors and a razor, until all three were satisfied with the results of their labours.

If that wasn’t strange enough, at the back of the house, another two men came from the kitchen and crossed the yard. At two twenty-five, they lit lamps in an ancient building that had once been a barn and set to work. There was no speaking, but there were sounds; the hissing and bubbling of liquids in jars, the clank of crucibles on iron stands, and the opening and closing of heavy books. All this took place beside a light which grew increasingly discoloured, once being orange, and then red, to glow purple just before the stable clock chimed half-past three.

Speaking In Silence
JACKSON MARSH
I love this watercolour of Victoria College’s first chemistry lab, I can imagine our young men working in here

Doing Your Denouement

I have just written the denouement for ‘Speaking In Silence’, and it’s prompted me to talk about the subject and what I learnt from the process of writing the novel.

All my novels tie up at the end, but they don’t always come with a classic denouement. The closest I came was in ‘Unspeakable Acts’, the third Clearwater novel, where James Wright explains the villain’s motivation and method. ‘Speaking In Silence’ is slightly different to other mysteries I’ve written because it’s more of a ‘What are they doing?’ mystery for the reader, who won’t know what until the climax, and won’t know how until the last scene, the denouement.

What is a Denouement?

The word is borrowed from the French and originates in Latin, as this snippet from Etymonline tells us:

1752, from French dénouement “an untying” (of plot), from dénouer “untie” (Old French desnouer) from des- “un-, out” + nouer “to tie, knot,” from Latin nodus “a knot,” from PIE root *ned- “to bind, tie.”

[PIE = The roots of the reconstructed Proto-Indo-European language are basic parts of words that carry a lexical meaning, so-called morphemes.]

In other words, denouement means to untie a knot. In literary terms, it means the final part of a play, film, or narrative in which the strands of the plot are drawn together and matters are explained or resolved. Or, as the dictionary also states: the outcome of a situation, when something is decided or made clear.

In other-other words, it’s that bit at the end of an Agatha Christie when Poirot stands in the drawing room and tells the assembled characters who did it and how. Of course, the technique is used in all forms of literature and creative writing, and doesn’t have to pertain to a crime story. The denouement of Romeo and Juliet happens after the two main characters are dead, for example, even though we all saw how they died.

What to Consider When Writing a Denouement

The following is based on my experience. There are plenty of free writing-advice websites that will give their own views, but having just looked at a few, they are very similar to what I worked out for myself.

Keep notes as you write towards the end

First of all, as I wrote my way through the first draft of Speaking In Silence, I made a note every time a character was seen to do something with no explanation; every time I dropped in a question mark for the reader if you like. This was to make sure I didn’t leave any knots still tied at the end. I do this with every novel, and it’s a good way to avoid the trap of ‘I’ll remember that for sure’, only to say later, ‘What was it I had to remember?’

The notes also help me see if I have given too much away to the reader, and if I need to take out anything too obvious. Thinking about ‘Silence’, I’m worried the reader will catch on to what’s happening well before the end, and so the climax won’t be a surprise. (It doesn’t have to be. I’ve found readers are as happy to say, ‘I didn’t see that coming’ as they are to have proved themselves right.)

Don’t Witter on for too Long

Says he… My denouement happens in dialogue, and I’m not sure if that’s the done thing or not, but it’s what I have done. The chapter is currently 4,000 words long, but it’s not all explanation. Some of it is character thoughts, reactions and other story matters, and the explanation of how they did it comes from four characters, not one, so there is more than one voice, and more than one point of view. They are explaining themselves to Lord Clearwater, so we are in his head, and when I felt the others were being too detailed, I had him slow them down because I imagined that’s what the reader would also be thinking.

Beware Repeats

I was conscious of not repeating what the reader already knew. They would have seen X do this and that, and the idea of the denouement isn’t to go back and relive the action, it’s to explain the reason for the action. Yes, you have to place the explanation in context, but that can be done in a few words. Also, once something has been explained, there’s no need to repeat the explanation from another character’s point of view. In my scene, with four people untying the knots, I made sure they all contributed, but they only contributed something new or added a detail that cleared up another question mark.

Show Not Tell

That old chestnut again. Think about that Agatha Christie scene when Poirot has everyone in the drawing room, the dining car or wherever, and you’ll see he does a lot of talking. Now think film, and you’ll notice there are flashbacks showing the action. That’s one way of giving the explanation, but it’s a filmic one. The way to present a ‘show’ denouement is to write a scene where the action unknots the rope, rather than dialogue doing it for you. It’s not easy, and in my opinion, some stories require a dialogue explanation. If I had written the ‘how they did it’ into the action during the book, there would be no deepening mystery. If I had written the ‘how they did it’ into the climax, it would have cluttered up the pace. The only way I could make it work in ‘Silence’ was to have the four characters tell Clearwater — who knows what they have done — exactly how they did it.

Keep to the Rules

Although it’s right at the end of the book, my denouement still keeps to the rules of character arc and development, scene structure, location, description and pace. It’s not just one long dialogue of this-then-that. There is some character-created humour, we come away with the sense that a particular character has changed, and we know where we are (Clearwater’s drawing room with the footman coming and going). As well as all that, the scene ends with a great big question mark which will lead us into the next instalment. Not exactly a cliff-hanger because the reader knows the answer to the question, but the characters don’t.

Other Advice Answered

I pulled a few random tips of denouement writing off the internet. I’ve justified my ending against them.

Keep it short. Each part of my explanation is short, but there are a lot of things to explain, and that, I did on purpose.

The denouement validates the story. I always aim for this (see the end of ‘Fallen Splendour’ for my favourite story validation). The denouement validates what has changed for a character or a situation.

Convey a new normal. I have left the reader knowing a particular character will now be better off, and one will be worse off. That is their new normal.

Characters’ futures. Similar to the new normal; the conflicts have been resolved, and normalcy returns to the characters, although that normalcy might/should be changed. I’ve also put in a question mark, and the denouement is followed by a short epilogue which takes us towards the next story.

Epilogue Vs Denouement This is summarised very nicely at this page from masterclass.com:

Denouement is an essential conclusion to plotted conflict, while the epilogue is an optional afterward in which the author shows readers how characters have fared after the events chronicled in the work.

In ‘Speaking In Silence’, the epilogue concerns the villain and leads us into the next story. I now have a completed first draft and can set about rewriting the whole thing and improving it, all the while, aiming towards that all important denouement.

‘Speaking in Silence’ should be ready by July, and you can keep up to date with its progress on my weekly Wednesday WIP blog.

Making Your Book Titles Count

I’ve often been asked how I come up with the titles for my novels, so today, I thought I’d look at a few and explain how they came about.

Just the other day on Self-Publishing School, Chandler Bolt wrote a piece titled ‘Book title ideas: Choosing your own & generators to use.’ In his article, he says titles are short hooks that advertise your book by using the fewest possible words, and suggests that potential readers take less than five seconds to decide whether or not to buy the book. Some things to bear in mind, he says, are to

  • make the title memorable,
  • make sure its genre-appropriate and
  • make it intriguing.

I agree with everything he says in his article (it’s well worth reading), and it caused me to reminisce about how I came up with some of my titles.

What Comes First, the Title or the Story?

Good question. I just experimented with a book title generator and, to be frank, wasn’t impressed. It was a basic thing where you selected an adjective and a noun, and it bunged the in front of random words. It generated things like ‘The Enchanted Pencil’, ‘The Imaginary Vase’ and ‘The Crazy Coffin‘. Okay, fun if you’re looking for inspiration and you don’t mind every book title starting with The, but it wasn’t really my style. I could have done better by opening a dictionary at random and picking the first two words I came across.

Actually, let’s try that…

The Queer Informant

The Predynastic Deuterium


The Putty Cushion

Now we’re just being silly. Let’s get back on track. Where in the world did ‘Deviant Desire’ come from?

Deviant Desire

Deviant Desire started out as Something Lamplight, or it might have been Something Gaslight, because I wanted a title that reflected the background of the story, Whitechapel in 1888, during the time of the Ripper murders. As I was writing the book, I thought more about the title, and suddenly ‘Deviant Desire’ popped into my head. I hadn’t read that article I just mentioned or anything like it, so this was instinctive, but the more I thought about it, the more sense it made.

Deviant Desire works on several levels. The main character, Silas Hawkins, is a renter and a trickster, so he’s a deviant. He’s also gay and so is the other MC, Lord Clearwater, so according to the lores of the time, they are both deviants. When they meet, they fall for each other, crash, bang, wallop style, so there’s your desire.

Meanwhile… The villain of the piece is killing young men as a way of laying a trap for our hero. He, the villain, has a deviant desire, not only to trap the hero, but a desire to kill, and if that’s not deviant, I don’t know what is.

Twisted Tracks

The title for the follow-on novel to Deviant Desire, Twisted Tracks, took a little longer to come up with, but it works in the same way. A villain is enticing the hero to a confrontation, and he does it with various twisted clues, including an anagram, a twisting of words into other words. Our hero and his friends follow the clues, the tracks left by the villain, and everything climaxes on a runaway steam train which, of course, runs on tracks. Until they run out…


Unspeakable Acts

The trend continues in book three of the Clearwater Mysteries with Unspeakable Acts. The trend of using succinct two-word titles, an adjective and a noun, but without ‘The’ in front of them. While thinking of this title, I wanted to continue using words that the Victorians used for gay men and their sexuality. So far, we’ve had deviant and twisted, and another common thing was to refer to gay sex as an unspeakable act. The story of book three concerns a performance at the Royal Opera House at which someone is due to make a speech, but if he does, he will be assassinated, therefore he can’t, or, in other words, his speech is unspeakable. The performance is of an opera, so the word ‘acts’ has a couple of other meanings (the division of a play, what the actors do on stage), and it all ties together with the background theme of the Clearwater collection, the dangers of being gay in Victorian times.

And more…

I could outline every single one of the 11 Clearwater titles, but it would become repetitive. In summary, though, they all have double meanings: Fallen Splendour (book 4) refers to a line from the major clue of the mystery, ‘The splendour falls on castle walls’, and also refers to someone’s downfall; Bitter Bloodline (book 5) refers to the taste of a Transylvanian wine, a blood feud, and Bram Stoker; Artful Deception (book 6) centres on an artwork and theatrical tricks, while hero and villain try to outwit and deceive each other; Negative Exposure (book 9) refers to being photographed naked, having the negatives of those photos printed and therefore exposed, and because of that, a man’s secret coming into the open, thus, also being exposed.

You’ll note that for books seven and eight, the titles differ. We’ve moved on from the use of deviant et al., and the titles are longer. Home From Nowhere (book 7) was a line that came to me when the characters were speaking. As often happens, I let them speak and, later, edit what they say. In this one, Fecker says to Jasper something like, ‘Like me, you have come from nowhere’, and later, Jasper says to Billy, ‘I feel like I’ve come home.’ Oh yes, I thought, Jasper (the MC) has come home from nowhere, and there we go.

One of a Pair (book 8) is another play on words. Jasper is one of a pair of young men falling in love, and Billy is the same as he’s the other half of the pair. There’s another meaning to the title which I can’t tell you in case you haven’t read the book, but if you do, you will realise the relevance.

Banyak & Fecks, The Clearwater Prequel

Banyak & Fecks was the first time the title came before the story. I’d been thinking about a novel detailing how these two friends met. Deviant Desire opens with them in the East End, and they are already very close by the time we meet them, so how did they get there? My husband said there should be a prequel telling us just that, and I wanted to write something more character driven rather than full-on mystery. I wanted it to be about Banyak & Fecks, as they call each other, so that had to be the title, and it is.

The Larkspur Series

Still trying to keep to the title-writing rules of catchy, intriguing and memorable while sticking to my own deviant desire for titles to have more than one meaning while being relevant to the plot, I moved into slightly different territory for the Larkspur series.

Guardians of the Poor, the title of book one, refers to the real guardians of the poor, those who oversaw, ran and were responsible for the workhouses. It also refers to the two main characters, and how they do something which improves the life of those in a workhouse; they become guardians of the poor in another sense.

Keepers of the Past keeps up the rhythm of the series titles, and refers to archaeologists and a cult member (perhaps), while Agents of the Truth completes the three-part telling of Dalston and Joe’s story. It also refers to archaeologists and men working for the Clearwater Detective Agency.

Seeing Through Shadows

For book four in the Larkspur series, I wanted something a little more atmospheric, and I wanted to get away from the rhythm of ‘Plural Noun of the Single Noun’ of the first three books. Seeing Through Shadows gives us a verb, a preposition and a noun, so a different rhythm, while remaining succinct and a little intriguing. Do we see through shadows? Aren’t we just seeing what they are shadowing? I mean, if there’s a shadow on the wall, are we seeing the shadow or the wall? In the story, we’re not sure what we’re seeing, so that fitted rather well.

I am currently working on Speaking in Silence, which is an oxymoron, because you can’t speak without making a sound. Yes, okay, so we have sign language and writing, but that, strictly speaking, isn’t speaking. Speaking in Silence refers to those things which are left unsaid, and in the story, there are many of them. The most difficult ‘unsaid’ part of writing this novel has been keeping information from the reader; that’s the thing I am not saying; the silence if you like. The reader will find out what’s going on in the end, but I wanted to keep them in the dark for as long as possible. I hope it works. We will have to wait and see. Also in this story, there are lots of things that the characters don’t say, but in the gaps in conversations, they and we understand their meaning… It’s complicated to explain, and you’ll have to wait a couple of months before you can read it when I hope all will be revealed.

Other Titles

I’ve written more than the Clearwater and Larkspur series. You might have heard of or read The Mentor Collection, for example. They are ‘Older man mentors younger man in love, lust and a few other things’, kind of stories. The titles aren’t tricky, though again, there is a pattern. All four are ‘The Mentor of…’ somewhere, and that somewhere takes the classic form of adjective and noun. Here, the adjective suggests loneliness or isolation (reflecting the younger, lost-his-way character) and the noun is something stable, a home (representing the older character).

The Mentor Series

Thus, we have: The Mentor of…

Wild Hill Farm

Barren Moor Ridge

Lone Marsh House

Lost Wood Hall

As Wildhill Farm, Barrenmoor Ridge etc., as they are also place names.

To Finish

As usual, I am rambling on now, and I am sure you got the point some time ago. So, to finish, I thought I’d return to that random title generator and come up with some more Mentor titles. This isn’t just for fun, I also want to highlight what I believe: that the author should come up with the title, and not use one of these random word-pickers, although they might spark ideas for stories. Perhaps. How about reading…

The Mentor of the Perfect Fireplace

The Mentor of the Haunted Coffin

The Mentor of the Happy Wheelbarrow

The Students of the Windy Wind

Remember: keep the title succinct, intriguing, genre-specific and, if you can, consider the rhythm.

See you on Wednesday for more WIP news, have a great weekend and happy reading!

Work In Progress 3.06

Speaking in Silence

The WIP news this week is that I am up to 55,000 words and chapter fifteen of the Larkspur Mysteries book five, Speaking in Silence. On our train journey from London to Cornwall, we have reached somewhere around Bath or Bristol, and that’s appropriate because it means I’ve just met the villain of the piece coming the other way. Chapters 14 and 15 are set on a train journey from Cornwall to Devizes, in Wiltshire, and in the story, the train has recently left the city of Bath.

You know when you get halfway through a draft and suddenly think to yourself, ‘Something’s not right’? Well, I had that twice during the last week, so some of my workload has been fixing a couple of things, or rather, fixing one, and thinking about how to fix the second.

In the first instance, I’d left what they call a plot hole and needed to go back and fill it in. This meant adding an extra chapter so that what a character did next would make sense.

In the second instance, I realised I have started the story from too many points of view. Simply put, it opens with the villain, cuts to Silas’ POV, then to Frank’s, then back to Silas’, and then there’s a backstory section from Henry and Edward’s points of view. The story was originally to be about Frank and his involvement with someone else’s story, but now I am further in, I realise it’s not about Frank at all. So, the earlier scenes that are from his POV need to be from someone else’s, Henry in this case, and so they need rewriting.

Hey ho! That’s how it goes. Now, having told you this, I am going to get on with chapter 16 and move the story into its second half.

What’s On Your First Page?

The importance of the first few lines

In showbiz, they say, ‘It’s not how you start, it’s how you finish.’ When writing a novel, I say, it’s how you start and finish.

While standing in the bookshop or browsing through Amazon, many people will pick up a book and look at the cover first. If the cover and title grab them, they will then read the back blurb. If that intrigues them, they will read the first line, and if that appeals, they may read the first page. After your cover, title and blurb, your first page is the most important part of your book, so today’s blog is about what a first page should do. You can expand that to the first couple of pages or the first chapter, but really, what the first page should do is grab the reader and drag them into the story.

Opening Lines

Before we get into an examination of what’s on your first page, I wanted to have a look at some opening sentences, just to make a point:

It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.

Jane Austen, Pride and Prejudice (1813)


It was the best of times, it was the worst of times…

Charles Dickens, A Tale of Two Cities (1859)


There was a boy called Eustace Clarence Scrubb, and he almost deserved it.

C. S. Lewis, The Voyage of the Dawn Treader (1952)

And the point is, it’s not only the first chapter or page which should engage, the very first line should too. When I wrote the first line of The Mentor of Barrenmoor Ridge, I wanted to sum up the entire story, set the background and inspire the reader to look forward. This is what I came up with:

John Hamilton was refusing a job at Everest base camp when he caught sight of the youth who would change his life.

Barrenmoor Ridge is about a mountaineer coming to terms with the death of his lover while rescuing a younger man from a mountain and falling back in love. The first page opens halfway through a scene, as all good scenes should, they say. Having just written that, I thought I’d examine some of my other opening lines to see whether I followed my own advice.

Andrej waited until the darkest hour before he untied his wrists with his teeth, and freed his feet from the knots.

[Banyak & Fecks]


Jasper Blackwood’s life changed beyond recognition on the morning of 27th July 1889.

[Home from Nowhere]


Liam Dent was wondering if the time was right to come out to his best friend when the man who would nearly kill them stepped on his foot.

[The Students of Barrenmoor Ridge.]

You can see, there’s something of a formula, but not always. The opening for ‘Other People’s Dreams’, my first novel, is an advertisement:

Do you want to live out my dream?

One yacht, a thousand islands and all the time in the world.

36-year-old guy with the money and the fantasy seeks four fit, young, gay lads to crew his boat in the Greek islands. (No experience necessary)

You must be trustworthy, attractive, loyal, adventurous, uninhibited and free from June through to September with no ties.

All expenses and living allowance paid in return.

Certain strings attached.

Write with photo to Jake, Box No. 2006

The first sentence in your novel is as important as all the others, but is usually the first one someone will read before deciding whether to buy a book. Grab ’em from the start and hold ’em until the end. But before they even reach the end of chapter one, they need to get past the first page…

Meanwhile, on the First Page

One Stop For Writers (OSFW) released a guide, ‘How to Craft a Winning First Page’ (see the image), and I am using that as a guide while I examine the openings of two of my novels. The details of each section are on the image, but below, I’m comparing what OSFA suggests against what I did. Bear in mind, I hadn’t read this advice or any like it when I wrote the two novels I’m going to look at, The Mentor of Barrenmoor Ridge (2018), and Deviant Desire (2019).

The notes on the image expand the OSFW advice, but in summary, it suggests five things a first page should do:

  1. Start in the right spot – begin just before a major event in the main character’s life
  2. Show – basically, don’t start with too much backstory (plenty of time for that later)
  3. Tighten up – don’t be wordy, don’t drag it out (plenty of time for that later too)
  4. Raise a question – create intrigue
  5. Build empathy – make the reader like the MC

How do my two examples compare?

The Mentor of Barrenmoor Ridge

The Mentor of Barrenmoor Ridge

Here’s the opening line:

John Hamilton was refusing a job at Everest base camp when he caught sight of the youth who would change his life.

Start in the right spot. Catching sight of the impact character (Gary) is the catalyst for the love story that follows. We also enter the story halfway through a discussion. That’s a common trick used by Shakespeare among many others. Other good ways to open are on a journey in progress, with an argument, with a bang, or right in the middle of some action. When I wrote Banyak & Fecks, I originally started with Andrej (Fecks) standing over the ruins of his burnt-out home and remembering his childhood. That section is still in the first chapter, but it was too slow for an opening. Now we start with him escaping from a camp, stealing back his knife, and running from certain death. A little more grabbing than a character feeling sorry for himself.

But I digress…

Show. I.e., trimming down the backstory. My Barrenmoor Ridge first page contains lines such as, ‘You were talking about another base camp season,’ he said, showing us that John has worked at Everest base camp before, he’s got something to do with mountaineering, and a discussion has happened before we arrived. Showing, not telling, is something that confuses many aspiring authors, and it can be a hard one to get your head around. I tell plot and action all the time, because sometimes you have to, but I always aim to show things like emotion and feeling. Rather than saying ‘he felt sad’, or ‘John was angry,’ show John crying or kicking over a chair and shouting. The reader will imagine more and thus, be drawn further into the story and character. In Barrenmoor Ridge, John is distracted and not concentrating, and he’s shaking because of something or someone he’s just seen.

Tighten up. There are two paragraphs on my first page that tell us where we are, what’s going on, and give us some atmosphere. We are in the climbers’ café in Inglestone, where cigarette smoke hung in the clammy air mixed with the blue fog of over-fried food. That’s enough to set the scene. We don’t need too many other details of the café beyond the tablecloths and plastic bottles of sauce.

Raise a question. Hopefully, the opening line, John’s trembling hand and a couple of other things raise questions. Who did he just see? Why is he trembling? Why is he refusing a job? How will his life change?

Build empathy. In the opening scene/page, John is doing what most of us have done: meeting with someone in a café and having breakfast. It’s what in screenwriting terms they call ‘the normal world.’ However, the second character tells him, ‘Not just any season,’ she said. ‘Possibly your last. You’re not getting any younger.’ So, we now know he’s getting on a bit, it’s a special opportunity, and he’s done it before. Over the page, we learn that John is getting over the death of his lover, so hopefully, that builds more empathy.

Having just reread that opening, I know I could have done better for a variety of reasons, but, in my defence, it was only my second novel as Jackson, and I was still building my style. A year later, I wrote what was to be a standalone novel based around the Jack the Ripper murders (although in an area of London called ‘Greychurch’ where the Ripper was killing rent boys). Deviant Desire then became the first in an ongoing series of Victorian mysteries, but that wasn’t my original intention. Had it been, I probably would have begun the story in exactly the same way.

Deviant Desire

Opens with:

Silas Hawkins was searching for coins in an East End gutter when a man four miles distant and ten years older sealed his fate.

Can you see the similarities between that and Barrenmoor? Yeah, well, if it ain’t broke don’t fix it.

Start in the right spot. That opening line tells us that the catalyst is on its way; Silas’ life is about to change because of what someone else is doing off stage. The first paragraph goes on to say that even if Silas knew what was to become of him, he wouldn’t have been bothered, because Silas wasn’t the kind of youth to shy from a challenge, not even one that might threaten his life. (Ooh, something dangerous is coming…)

Show. This is about cutting out too much backstory, remember? Well, there isn’t any on the first page, but there is plenty in later chapters. Although this opening is ‘wordy’ in that it is descriptive, that is to set the atmosphere of an October night in London’s East End in 1888. You can’t write about the Ripper and not have atmosphere. Thus, I get a bit Dickensian while making the reader want to know more about Silas’ past:

In these times, hunger was a keener motivator than sense. It drove need, need drove experience, and in the four years since he had turned his first trick, experience had prepared him for the dangers of life.”

There is some backstory there, four years since he had turned his first trick, but I didn’t really go into detail about those four years until nine books later when I wrote the prequel, Banyak & Fecks, and the story in which those four years come back to haunt Silas, Negative Exposure.

Tighten up. I refer you to the section above about atmosphere. However, the story starts with a bold statement that tells us something major is about to happen to this man who is searching through rubbish leftover at a market hoping to find food. He’s hungry, cold, and he ‘turns tricks.’ We also learn a bit about his character while reading what I hope is suitable and descriptive prose.

Raise a question. As with Barrenmoor, the questions arise from the opening sentence. Who is Silas Hawkins? Why is he searching for coins? Who is the man four miles distant? Why should he change someone’s life? Is the ‘ten years older’ relevant? Will we get an older/younger romance? Later on the page, we learn he’s been turning tricks and we might wonder why, how, and will we get to know more about that?

Build empathy. If you don’t feel sorry for a gamin (street urchin) rooting through trash so he can live, shivering, prostituting himself even during the time of the Ripper and generally not having a pleasant life, then you need to work on your empathy skills. Joking aside, it’s the writer’s job to make the reader feel empathy. Hence, phrases on this page such as Every night on the grimy, gaslit streets was dangerous, and every unlit customer a potential killer, but the threat of starvation gnawed harder than the fear of violence.

A Few Last Words About the First Words

There is a practise in the film script writing world to do with how you introduce a character and how you say goodbye to them. It’s a case of first impressions count, but so do last ones, and the same applies to novel writing. I’m not necessarily talking about the main character here; the rule applies to all characters and to the novel itself. How you meet an entire story is as important as how you meet the MC and others, but so is how you leave it.

Take from the attached advice from One Stop For Writers what you will, but I am going to end with an ending.

In Deviant Desire, we meet Silas on that grimy street, and we leave him 300 pages and one adventure later somewhere entirely different. As for the story, it starts thus:

Silas Hawkins was searching for coins in an East End gutter when a man four miles distant and ten years older sealed his fate.

By the time I got to the end, I decided it was to be an ongoing series, thus, it ends with a different character whose name I have omitted so as not to spoil the story for you.

Revenge was not something [he] thought he would ever contemplate, but he found the idea of it suited him and, as he ordered an ale, he turned his mind to a variety of ways it might be exacted.

Continued in part two, Twisted Tracks

Remember, it’s about how you start and how you finish. It’s about how you introduce your reader to your story, how they leave the story and how the story leaves them. The mark of good storytelling comes when a reader finishes a book wanting to know what happens next to the people in it. This means they have connected with the characters and their world and don’t want the journey to end. The mark of a good first page is to do the same in reverse: to make your reader want to take the journey in the first place.

You can join me on my writer’s journey by tuning into my regular Wednesday work in progress blog. Currently, we’re journeying through Speaking In Silence, the Larkspur Mysteries book five.

Character Interview with Tadhg Byrne

Today I have the pleasure of interviewing Tadhg Byrne, the main character from Beck Grey’s latest release, Embrace Me. Just like Joe Tanner, my MC from The Larkspur Mysteries, Tadhg is deaf. I am hoping that he will share how he feels about his deafness and how this language barrier may affect his relationships.

Before I put Tadhg in the spotlight I asked Beck for a little background info…


We first meet Tadhg Byrne on the day he leaves his abusive ex. He’s living and working in Los Angeles, where he went to college and studied architecture. He made a name for himself in the field and outwardly everything looked wonderful, but his ex was controlling and tried to cut him off from family and friends. Tadhg finally has the courage to leave and go back home to his family in Seattle.

The story really picks up when Tadhg starts his new job at an architectural firm in Seattle. We meet him again a few months after he’s back in Seattle, on his first day of work at his new job. He stops at a small café to get coffee and pastries for himself and his interpreter, Kaino. But Kaino is allergic to coconut oil, so Tadhg needs to ask about the ingredients in the food. However, he’s deaf, doesn’t have his phone, and no one working in the café knows ASL, American Sign Language.

As he’s struggling to communicate with the workers in the café, Quinn MacDougall interrupts to offer assistance. He knows some ASL and attempts to help facilitate communication. There is a strong attraction between Tadhg and Quinn, but neither attempts to get or give phone numbers for a future meet up. Luckily for them both, they find out that they now work for the same firm.

What is your full name?

Tadhg Donovan Byrne

Where and when were you born?

I was March 8th, 1986 in Seattle, Washington

What three words would others probably use to describe you?

Deaf with a capital D. Tenacious. Driven.

So that our readers can picture you better, what colour are your eyes?

Quinn would say they’re crystal blue, but I just say blue.

Do you have any physical traits that stand out such as scars, birthmarks or tattoos?

I’d say my most obvious physical trait that everyone notices is my deafness. I was born hearing, but when I was five I contracted meningitis and had a fever that was high enough and long enough to damage my auditory nerves. My mom, who is absolutely amazing, immediately enrolled us in a family ASL class at the local community college. She and I went twice a week for a few hours a session, and she hired a private tutor to come two other nights a week. She dove right in.

I do also have a tattoo of a Celtic dragon on my upper right arm. They symbolize wisdom and power.

It’s a reminder that I’m smart and strong enough to do what needs to be done, but it’s also what I should strive for. It’s both a reminder and a manifestation.

Do you mind telling us a little about how it is to be deaf/non speaking. Do you see it as a disability?

It’s my life. I don’t know any other way to be. I don’t remember much about when I could hear. I was born hearing, but when I was five, I contracted meningitis and had a fever that was high enough and long enough to damage my auditory nerves.
And no, it’s not a disability. Hearing is just something I can’t do. Like some people can’t roll their tongue, or other people are colorblind and can’t see certain colors.

A more sensitive question maybe, but have you been bullied because of it?

I think everyone experienced some form of bullying at some point in their lives. But I had friends in kindergarten who stayed my friends after I became deaf. I wanted to stay in my mainstream school with my friends through sixth grade, but the school was smaller and I knew all the teachers and students. It got a lot harder in middle school, and that’s when I convinced my mom to send me to a Deaf School. It was amazing and really helped me learn about what it means to be Deaf and to reach my full potential as a person.

You have already mentioned your mother a couple of times, she sounds like a real rock in your life. Tell us a little more about her.

She is called Mia (nee Dennehy) Byrne. She’s 58 years old and was born in Galway, Ireland. My mom is a force of nature. She’s the strongest person I know and we’re very close. She studied to be a nurse before I was born, and after she married and then divorced my stepfather, Bryan McCarthy, she went back to school to become a Nurse Practitioner. Now she works in a cardiac care unit for a highly prestigious medical group in Seattle and is frequently after Blake, my stepbrother, to stop pushing himself so much. We get together and have movie nights or go to dinner frequently.

And how about the rest of your immediate family?

My father was James Byrne. If he’s still alive, he’s 69 years old. He was born in Limerick, Ireland, but moved to Galway as a young man, which is where he met my mom. My parents were married in Ireland and moved to the USA before I was born. They divorced when I was five after I lost my hearing due to a severe case of meningitis. My mom learned ASL with me, but my father refused. When they divorced, he moved back to Ireland and we haven’t had contact with him since.
Then came my stepfather, Bryan McCarthy. He was born in Tacoma, Washington. He was a very jovial, generous man, but he drank a lot and had a wandering eye. He and my mom met in the hospital when he was admitted for tests for liver issues. They started dating and got married when I was six, had several good years together, and then amicably divorced. She got a huge settlement out of it, kept the house, Bryan remarried, and I got to keep my brother Blake. I got the best part of that deal. While she was married to Bryan, I was lucky enough to have a stellar education, both in and out of the Deaf community, an amazing place to live, vacations and nice clothes and so many other things.
I also have a stepbrother: Blake McCarthy 46 years old, Born July 29, 1974, in Seattle,
Washington.

It sounds like your childhood was a bit up and down…

It was pretty normal until I was five and lost my hearing. Then things were pretty bad for a few years, financially and emotionally. Mom and I had a lot to deal with. But then my mom got remarried and things got a lot better. That’s when I gained a step-brother, who is still one of my very best friends.

So who has had the most influence on you and how did they become your role model?

Besides my mom, who is an incredible woman and the strongest person I know, I’d have to say my step-brother Blake. We’re incredibly close, even though there’s a twelve-year age gap between us. I met him when our parents got married. Blake was 18, and I was 6. We were 20 and 8 when they divorced. Blake stayed in touch with me and my mom, and saw us frequently. He is my biggest supporter, but also the first one to tell me when I’m out of line about something. He always has my back, no matter what. And I’ll always be there for him, too.

What did you want to be when you grew up?

First, I wanted to be a dinosaur, but then Blake told me that wasn’t a viable career path, so I decided that I’d sell ice cream. Oh, the dreams of a six-year-old. When I got older, I wanted to be an artist and quickly realized I loved drawing geometric shapes and things that followed set patterns. When I was at school, one of the dorms was being renovated and I got my first look at blueprints. I was about fourteen. One of the teachers saw my interest and helped facilitate conversations with the workers and the architect on the project. I was hooked ever since.
Now Architecture is my passion.

When did you have your first kiss, and who with?

I was sixteen, and it was with Jake Zemanski. He was in my class and I thought he was sweet and cute. We’d been dancing around each other for months because I wasn’t completely sure he was into me. Probably because he wasn’t sure either. As a gay, Deaf teen at a boarding school, there weren’t many other out guys and Jake was still trying to figure himself out. Was he bi? Was he gay? Did he just like me? I knew pretty early on that I was gay.
Anyway, we were in the rec room playing foosball and everyone else was outside, or watching a movie or something. This was my first crush that wasn’t a celebrity, and I was in knots over him. At some point, we stopped pretending we were interested in foosball. He came over to my side of the table and stuck the ball in my goal and said he won. I asked him what the prize was, and he said a kiss.
Who was I to argue? It was actually really sweet, and soft, and pretty perfect if I’m honest. Not all awkward and too wet, like some ‌stories my friends have told me about their first kisses. I guess I got lucky.

Let’s chat about your relationships with others. Do you believe in the existence of soul mates and/or true love?

No. I believe there are the right people for the place you are in life right then. And if they care, and if you are truly compatible, then you will grow together as people and in your relationship.
And that will make it last.

What do you look for in a potential lover?

Acceptance. Understanding. Empathy. Kindness. Someone with a loving heart who can express themselves but who can also communicate well.

What is the quality you most like in a man?

Integrity.

How important is it to you that your partner is also deaf or at least can communicate in ASL?

Very. I am a Deaf man. It’s who I am, and I am unapologetic about that. People ask me if I’m sad I lost my hearing, or if I wish I could hear. My answer is absolutely no. I don’t want to hear. I don’t need to hear to have a full life. What am I missing because I can’t hear? Music? I love music and play it all the time. The sound of laughter? I don’t need to hear the actual sound to enjoy laughing, or the joy of seeing someone else laugh.
My partner needs to understand and embrace that. They need to want to and be able to be a part of that. My language is ASL, so my partner needs to know my language. I can’t learn to hear, so they have to learn to communicate with me in my language.
In any relationship, there is always compromise. Whose turn it is to do the dishes or whether you paint the living room beige or teal are typical couple compromises and are necessary for a stable, loving relationship. But you can’t compromise who you are, and who I am is a Deaf man.
The person I’m with needs to understand and accept that, just like I’ll have to understand and accept things about them, too.

What is your greatest regret so far, why?

Getting involved with my ex, Aston, and letting him control me, and isolate me from my friends and family for so long. He made me doubt myself, my ability to make decisions for myself. It was such an abusive relationship, and I didn’t see it until way after I should have. I’m still working on trusting my decisions, but every day I grow more confident. Quinn and Blake have a lot to do with that. Their faith in me gives me faith in myself.

What is your biggest secret?

I don’t really have secrets. Not anymore. My abusive relationship with Aston was a secret for years. I was so ashamed that I let it happen that I couldn’t tell anyone or ask for help. My best friend Tyler and my step-brother Blake figured it out on their own and got me out of there.

Who is the most important person in your life, why?

I have four important people in my life, all for different reasons, but none more or less
important than any of the others. My mom, my step-brother Blake, my partner Quinn, and my best friend, Tyler. They’ve all been there for me when things were bleak, and I love them all fiercely.

Quinn, the man of my dreams

Do you like yourself?

I do. I like and love myself. And I’m learning to forgive myself for mistakes I’ve made. I’m a work in progress.

It sounds like you are in a positive place, so where do you see yourself in 5 years?

Married to Quinn, the man of my dreams, working at our own successful architectural firm.
Maybe having a dog and talking about adopting kids. Happy. That’s where I see myself in five years. Very happy.

And now a few fun questions, what is your favorite color?

Gray. I know! People say that’s boring, but I love the contrast against white, and it’s a pretty bold color in its way.

What is your most treasured possession?

My family, and my culture.

Do you like to read?

I love to read. I read a lot of different things, depending on my mood. I’ll read biographies of famous architects, or Deaf pioneers. I’ll read books about architecture. I’ll read classic science fiction.

My brother Blake is a publisher for Hibernian Press, Gary Atkinson’s publishing company. Gary is one of my favorite authors. I get all of his books from Blake. They’re very similar to Tom Clancy’s books, only with more emotion and better sex scenes.

What makes you laugh?

Quinn, because he’s always doing or saying something funny.

What do you have in your pocket?

My phone and my wallet.

What is your greatest extravagance?

Clothing. I love quality clothing. Quinn thinks I’m a clotheshorse, and I suppose I am. I can’t help it. I love the way quality clothing feels on, and how it makes me feel wearing it. Like I can take on anything and succeed.

And the final question I like to ask everyone, who would you like to invite to your fantasy dinner party?

Four people:


Frank Lloyd Wright, a world-famous architect, because his designs inspire me and I’d love to discuss his use of space and place and incorporating nature into his work.

Ludwig Mies van der Rohe, another famous architect. Along with Frank Lloyd Wright, he’s one of the pioneers of modernist architecture. I’d love to pick his brain.

Kitty O’Neil, “the fastest woman in the world”. She was a stunt woman and a race driver, setting 22 different speed records on land and water in her lifetime. Oh, and she happened to also be deaf.

Vinton Gray Cerf, who is a huge advocate for accessibility, was on the board of trustees for Gallaudet University, is an advocate for net neutrality, and is recognized as one of “the fathers of the Internet”. He’s also hard of hearing.

That sounds like a dynamic guest list!

Thank you so much Tadhg for taking the time to pop in and answer our readers’ questions. Thank you for being so honest and open with your answers, especially sharing how you have turned past challenges into a positive outlook for the future, great inspiration for us all. I wish you all the luck in the world with your new romance, Quinn is very lucky to have found you!

Blurb

Tadhg: After a nasty breakup with my manipulative ex, I returned home to Seattle to lick my wounds. I’m done with relationships. From now on I’m focusing on my career.There are just a few issues with that.

1. It’s not that easy for a Deaf man to succeed in a Hearing world, even with the right degree and experience.

2. Quinn MacDougall. He’s my co-worker. He’s also incredibly talented, driven, and distractingly handsome.

3. He’s hearing. And that’s the biggest problem of all. How can someone who isn’t Deaf ever truly understand and accept me?

Embrace Me is a 95,000-word contemporary MM romance about language barriers, loving but demanding families, crappy bosses, and sexy guys in speedos. It contains no cheating, and a guaranteed Happily Ever After.

You can connect with Author Beck Grey here.

Work In Progress 3.02

Work In Progress 3.02

Week two of the creation of ‘Speaking in Silence’ and I’m afraid I will have to be rather silent on the subject. I said in my last WIP blog that I intended ‘beginning on the book proper in a couple of weeks.’ I still do, and the couple of weeks has now become one week. I intend to start on it on Sunday. Meanwhile, I have been reading about railways, investigating a few other matters I need to know, and inventing scenes in my head.

So, the WIP news this week is that there isn’t any WIP news this week, but I’m looking forward to knuckling down again in a few days. Summer is fast approaching, and that means I’ll be up at my usual summer morning time of 4.30-ish, at the desk by five if not sooner, and will have all morning and, when it’s not too hot, all afternoon to dedicate to the next Larkspur adventure. I’ll be keeping you informed as I progress through it.