Tooth and Blade: Chapter 1

Salvete!

Guess what? The first Tooth and Blade novella is now live world-wide on Kindle! To celebrate, I thought I would share the first chapter… More than that, I wanted to share an amazing illustration inspired by the story. It was created by my friend and former colleague, Dr Yvette Hunt. Enjoy!

Chapter 1: Teeth

“They aren’t like our kind, Dóta. They are beasts.”

My mother’s warning echoed through my head, but it would not stop me. I tiptoed through our cave, my path lit by glowing mushrooms which clung to the walls. Módor’s wrath would be great if she caught me near her treasure hoard. She was afraid of what I would find there, the truth of what I was. I pressed my lips together and shook off my fear. No matter the risk, I had to know.

Points of rock jutted from the floor like razors as I edged along the passage. Icy droplets fell from the ceiling and ran down the back of my neck. I shuddered as they crawled down my spine and pulled my sheepskin tighter.

I’m not sure how old I was when I figured out I wasn’t like Módor. Perhaps it was the day I stumbled and cut my palm on a rock. My blood had run hot and dripped to the ground. Módor had stroked my face to comfort me and for the first time I realized her touch gave me shivers. Then she traced her long nail over the wound and licked it. For an instant her eyes glowed like coals. “There now,” she had said. “Nothing to fear, my girl.” And Módor had smiled with pointed teeth.

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I pressed my way through the jagged gap in the wall which led to Módor’s treasure chamber. Módor had chosen a special chamber for her spoils, lit by a spear-shaft of sunlight from a hole in the ceiling far overhead. The light stabbed at my eyes and I squeezed them shut for a moment. When they had grown used to the light, I blinked and looked about. The piled gold shone bright and the gems winked like stars. I ignored the silver cauldrons, coins and fire-stones, for glittering trinkets could tell me nothing. In the corner of the chamber I spied what I was after. A pile of tarnished chain mail and bones, all that was left of the man foolish enough to challenge my mother. Time had picked the skeleton clean long ago; only a few slivers of decayed flesh remained. The dead warrior still clutched a great sword. A rusted helm protected his skull.

Hands trembling, I picked up the skull and held it up to the light. Flakes of rust fell away from the helmet to show boar-shapes etched into the metal. The head. It was the head I needed to see, not some rusted bit of iron. I pulled the helmet off and threw it aside. A thrill of fear passed through me as it clanked to the ground. My brother’s ears were delicate. Even the smallest noise would make Grethor bawl for Módor.

Moments passed, but nothing happened. Telling myself it was safe, I peered closer at the skull. The empty sockets stared back at me. I traced my thumb over the teeth and ran my tongue over my own. The warrior’s teeth were rounded.

Like mine.

My fears became truth. A beast, that’s what I was. A child of men.

I set the skull down upon the floor, bent to study the body. To judge by the length of the man’s leg-bones, he was taller than most, though he was a dwarf compared to Módor and Grethor. Would I grow to that height? At sixteen, I sensed my growing was done but couldn’t be sure. Another reason to learn more about my kind. The warrior’s mail was crusted with brown and rotted tatters of linen still clung to the skeleton. Clothing, I knew. Grethor had told me once how the creatures of the world above wore a kind of second hide as I wore my sheepskin.

The sunlight caught on something shiny beside the corpse. Without thinking I reached for it and held it up to the light. It was a small disc of polished amber hanging from a rotted leather cord, some kind of amulet. No mere trinket, this. Men must have crafted it in another age, so the gods would protect them. Some of the grime fell away as I rubbed the amulet between my fingers and light shot through veins of yellow in the amber. It was as though the amulet held the sun, waiting to escape. A pretty thing. Perhaps I should put it back? Some instinct told me no; it belonged to me. I slipped it inside my sheepskin. The amulet lay warm against my chest. The feeling was delicious in the coldness of the cave. It had lain hidden under the corpse so long, nobody would miss it. I hoped.

“Well. Hello, Dóta.”

I whirled to find Grethor’s yellow-green eyes staring down at me. His mottled skin flushed dark and his bitter smell filled the cavern. Under his arm Grethor carried his old leather sack. He hissed. “What are you up to?”

“Nothing.” The guilt pressed down upon my shoulders, but I forced myself to stand tall. Had he seen me take the amulet?

“Nothing, eh?” Big Brother’s forked tongue flicked from the corner of his mouth. “Thought you’d peek at Módor’s hoard, I guess. Ought to be more careful. You know how fiercely Módor guards her gold.” He pointed at the scars on his cheek and smirked.

My eyes flicked to the skeleton. “Humans like it too.” The words spilled from my mouth without thought.

His pointed ears pricked up. “And what do you know of humans?”

I tried not to cringe, held my shoulders square. My brother could be cruel as Loki and rough as Thor when the mood took him, but I would not quake. “Nothing,” I said.

Smugness filled his face. “Tell Módor, I should. Not right to go poking through her things. One shout from me and she’ll peel the hide from your bones.” Grethor rasped with laughter. “She could sew me a new bag from it.” He thrust the sack at me.

I caught it. “No. Don’t tell her.”

“And what’ll you give me if I keep my tongue still?”

My hands curled into fists. “What do I have to give, Grethor?” The only thing I owned was my sheepskin—and now the amulet. And my brother wasn’t getting them.

He scratched his chin with one of his claws. “A song, sweet sister.”

I released a slow breath. “A song.”

“Just like when we were little.”

“You were never little.”

He shrugged. “Young, then. The bad dreams plague me now as they did then.”

I blinked. “Still?”

Grethor flinched. “Dreams of fire and flashing swords and the man who grips like iron. He comes to rip and tear. One of his kind.” He glanced at the warrior’s skeleton and shuddered. “Every night he comes, since you stopped singing me to sleep. Remember how we’d cuddle?”

I did remember. The earliest thing I could recall was Grethor curled up next to me in the night. It had been nice, when we were children. But as he grew and his muscles thickened, Grethor would squeeze me like a toy until my bones would crack. I would wake to find bruises and that was not so nice. “I can’t, Grethor. Not anymore. You need to learn to sleep on your own.”

Grethor lowered his head. “Such a pretty voice you have. Soft. And I don’t want you to get into trouble with Módor…”

Breath caught in my chest. It was hard to say no to Grethor. “All right. If you want.”

Grethor’s face split into a grin and his teeth were like needles. “Good. Walk with me, Dóta. My belly’s gurgling. I’m going above to get me some meat.” He pulled the sack from my hands. As we left the chamber, I glanced at the corpse one last time. The dead man’s smile was not so fearsome now.

In silence we wound through the passageways. Grethor twisted left and right to squeeze through the narrow gaps in the rock. He was massive as a frost giant, but could press himself through fine cracks. We made our way down to the chamber where he could enter the underground river. Big Brother leapt over the rocks while I stumbled. His eyes were made for the gloom.

The sound of rushing water filled my ears and the rock floor grew slick under my feet. Beneath the river’s surface I could just see the entrance to the underwater tunnel which would take Grethor to the world above.

He laid his clawed hands on my shoulders and they were clammy. “Be good to old Módor and I might bring you back a nice new hide to warm you. And more than that. I’ll bring you back more tales of the world above. Of the sky, trees, animals.” He leaned close, murmured in my ear. “Of humans, even.”

My heartbeat grew faster. “When will you be back?”

He shrugged. “When I’m back.” Grethor drew me to him and sniffed my hair. It was something he’d done ever since he was a child, though I’d never felt the urge to mimic him. Was it because we were not the same kind? Grethor slid into the river, treaded water for a moment. He opened his eyes wide and green fire kindled in them. The light on the water cast shimmers upon the roof of the hollow and then he dived and took the light with him.

***

Foundling, the first Tooth and Blade novella, is now available world-wide on Kindle!

$0.99 USD or free on Kindle Unlimited.

Step into a world of haunted meres, iron and magic.

 

Tooth and Blade: The Origin of the Story

Salvete, readers!

Right now I’m thrilled that my first Tooth and Blade novella, Foundling, is going live on Amazon this week. Keep your eyes peeled as I will soon share Chapter 1!

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Here is the blurb:

They call me Peace-weaver. Warmaker. Beast.

My name is Dóta, and I am alone among my clan. The blood runs hot through my veins, though my mother’s touch gives me shivers. The gods of Asgard whisper to me in the night. I am a child of men, a monster unto monsters.

Sixteen years I have dwelled in the shadows beneath the earth. To discover my heritage, I must take up my bone knife and step into the light above. Secrets await me there—beauty, terror, the truth of who I am. Soon I must make an impossible choice, or the nine worlds will be devoured in fire and war.

A monster sheds no tears.

I was first inspired to write Tooth and Blade when I encountered Beowulf as a teen, stepping into the world of heroes and demons, mead halls and monsters. Sharp-eyed readers will recognize many similarities between Tooth and Blade and the epic. I’d consider the villain Grethor a blood relative of Grendel, though my story stands apart as an original creation. I’ve always loved stories told from the viewpoint of an outsider and that appealed to me much more than the idea of a straightforward adaptation.

Though my education is much more in Greco-Roman history than that of medieval Scandinavia, I have done my best to capture the spirit of the age, language and culture, diving deep into the primary sources. In my choice of language, I tried to stick with words of Old English, Germanic or Old Norse roots as much as possible, though I have often used words from Romance languages for the sake of clarity. You may notice that Dóta spins the tale using kennings, one of the favorite tools of a skald.

Though I strive to be authentic in my depiction of the Norse world, I have sought to give Tooth and Blade the timeless quality of myth rather than confine it to any specific region or century. It is enough to know the adventure takes place in a world of haunted meres, iron and magic.

Looking forward to sharing more about Tooth and Blade soon!

Julian

Coming 2019: Tooth and Blade

Salvete, readers!

I am thrilled to announce that in addition to the second Ashes of Olympus, next year I will release three novellas in a series based on Norse mythology. The title of the series is TOOTH AND BLADE.

For now, here are the cover and the blurb!

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They call me Peace-weaver. Warmaker. Beast.

My name is Dóta, and I am alone among my clan. The blood runs hot through my veins, though my mother’s touch gives me shivers. The gods of Asgard whisper to me in the night. I am a child of men, a monster unto monsters.

Sixteen years I have dwelled in the shadows beneath the earth. To discover my heritage, I must take up my bone knife and step into the light above. Secrets await me there—beauty, terror, the truth of who I am. Soon I must make an impossible choice, or the nine worlds will be devoured in fire and war.

A monster sheds no tears.

Norse mythology meets historical fantasy in the first novella of the TOOTH AND BLADE series. Step into a realm of haunted meres, iron and magic.

I hope you’ll join me for the journey. Part One of the series will land on Kindle in April 2019. I will eventually have a wider release for the box set of the series later in the year.
Edit: Foundling is now available to pre-order via Kindle!
Until next time,
Valete

Ashes of Olympus: The epic illustrations

Salvete, readers!

I was really grateful that I could include illustrations in The Way Home, as Greek mythology lends itself to visual story-telling. The nine lavish illustrations enrich the story and give the book a unique character. I’m telling a tale of gods and monsters and magic… Why would I not want to see that fill the page? It’s the next best thing to having my book adapted for film. And given that The Way Home is intended for both YA and adult readers, it also felt right to include illustrations. In the age of the graphic novel, visual literacy is more important than ever. I didn’t want the illustrations to simply complement the story, but to be an essential part of it.

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Every illustration functions like a panel from a comic book. Some things are better conveyed visually than through prose, which meant that I could be sparer with exposition. For example, I felt more comfortable leaping into the action with the fall of Troy because this was the first thing readers saw:

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The image of the Trojan horse at night, wreathed in flames, instantly tells readers everything they need to know about where we are in the story. I didn’t need to tell the reader about the horse because it was all there to see. At my editor’s suggestion, I even ended up changing the first chapter because the illustration made some of the description redundant.

One of the most powerful images in the story is actually from a moment which isn’t conveyed through prose at all, but occurs between chapters.

The illustrator Matt Wolf is an old friend of mine, a Queensland-based artist. What I love about his work is that it evokes the numinous, the mysterious and the epic. Check out Matt’s Instagram here! He has a great ability to conjure other worlds with his artwork, and when I discovered that I would be able to include illustrations in the Ashes of Olympus trilogy, I instantly knew he was the one for the project. Matt took the idea of handling it like a comic book with gusto, creating vivid, dramatic and startling images which bring the story to life.

It was a pleasure to collaborate with Matt, who was easy going, professional, and transparent in his communications. I suspect I was more involved in the process of creating the illustrations than most authors. Initially I gave him the synopsis along with a set of extracts from scenes which I thought would make for good illustrations. I also provided notes on character appearances and photographic reference materials for him to use as a starting point.

In choosing the reference materials, I decided to go with artefacts from the Hellenistic or Classical ages of Greece, rather than stick too closely to the bronze age. Not historically accurate, perhaps, but instantly recognisable. If readers can recognise certain icons, it makes the story that much more relatable. However, I tried to do so in a manner sympathetic to the past. For example, in the illustration below the warriors are kitted out in hoplite armour with Corinthian helmets, but their swords are taken straight from the Myceneans. A case of gleeful anachronism! You can get away with these things when you are writing fantasy.

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Aeneas’s appearance is modelled upon that of Alexander the Great. Alexander’s look brings to mind the idea of kingship in antiquity, partly because so many subsequent monarchs emulated him. But given that Alexander so consciously styled himself to look like a Homeric hero, I thought it was acceptable.

From there, I was happy to let Matt run with it. I made the conscious decision to give him the space to make his own decisions. It isn’t easy to hand over the story to another creative person and let them play, but its worthwhile. Matt did consult me and provided me with running updates, but for the most part I let him tell the story his own way. Sometimes his interpretation does differ from the way I picture things, and that is a good thing. Sometimes when you let other people into your world, the result is better than you could have possibly imagined. The illustrations turned out so well, in fact, that my publisher printed the book on white paper rather than cream to maximise their effect.

Matt, mate, if you’re reading this (and I know you are!!) I just want you to know from the bottom of my heart how grateful I am for all of your efforts. You helped to define the book and it stands out from the crowd because of you.

And if you would like Matt to illustrate your work, he is available for commissions.

The Way Home is available via the online store of your choice!

Until next time,

Valete

PS. I’m offering a free short story exclusively to followers of my newsletter. Sign up here for your copy! Fear not, I won’t give away your email address and you can unsubscribe at any time.

 

The Way Home: Chapter 1

Salvete, readers!

I thought I would share the first chapter from my debut novel, The Way Home, Book I of the Ashes of Olympus trilogy. I hope you enjoy it!

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Illustration by Matt Wolf

Chapter 1

‘Aeneas, for the love of the gods, open up!’ cried Sergestos, pounding on the front door.

Aeneas ran to the door and wrenched it open. ‘Stop yelling, would you? My father will flay me if you wake him.’ He stopped short as he realised Sergestos’s round face was covered in soot and reeked of smoke. The scholar wore a studded baldric over his tunic. ‘What’s happened?’

‘It’s the Greeks, they’re here.’

Aeneas swore. ‘Let me get my gear. I’ll be at the main gate in—’

Sergestos shook his head. ‘Aeneas, they’re here. Inside the walls.’

Aeneas staggered. The sea god had built the walls himself. They stood over forty cubits tall. No mortal power could break them.

‘What? How can that be? They sailed home yesterday.’

Sergestos shrugged. ‘Something to do with that horse. Point is, half the city’s in flames.’

Aeneas rushed upstairs to see for himself, and Sergestos followed.

Fire.

All his life Aeneas had loved to look down upon the city, to gaze at the twinkling lanterns in the streets. Now thatched rooftops were alight, the flames glaring like eyes in the night. The fire was spreading from the outer city, where the peasants lived. The screaming echoed heavenward. He blinked sweat out of his eyes, straining to peer past the flames. Far off, the city gate gaped like an open wound. Column after column of Greek warriors passed through, hungry to pillage the defenceless Troy. They were making a beeline toward the palace, marching up the main road. The bronze of their helmets and armour glistened in the burning.

What in Hades was going on? Somebody should have rung the warning bell. This wasn’t a battle. It was defeat, the end of everything. The thought twisted in his belly like a knife.

‘Daddy?’ Little Julos waddled out of his bedchamber at the foot of the stair, rubbing his eyes. His curls were tousled with sleep.

‘Hey, little man,’ said Aeneas. ‘Where’s Mummy?’

‘I’m here,’ said Kreusa. ‘Has something happened?’ She emerged from the bedchamber opposite Julos’s, tying her hair back with one hand. Looking up, she saw the embers spiralling into the sky. ‘The city,’ she breathed.

Sergestos swallowed. ‘Gods help us, our training never prepared us for this. Troy has fallen.’

Aeneas shook his head and jutted his jaw. ‘Not yet. Not if we save the king.’

Sergestos glanced from Kreusa to Aeneas. ‘Right. See you shortly, then.’ He clapped Aeneas on the shoulder and bolted down the stairs past Julos and out the door.

Tightening her lips, Kreusa beckoned Aeneas downstairs and into their bedchamber. ‘Julos, wait in your bedchamber, please. I won’t be long.’

‘But I’m—’

‘It’ll be fine, son,’ said Aeneas.

Kreusa passed Aeneas his sword belt, her hands steady.

He buckled it to his side, put on his leather jerkin. Aeneas glanced up at his polished helmet and breastplate mounted on the wall. Father had given them to him for his eighteenth birthday last year. No self-respecting warrior would go into a fight without full armour, but there was no time.

Father gave a snore from down the hall.

‘I’ll get him up,’ Kreusa said, reading Aeneas’s mind. Julos padded into their bedchamber, slurping on his fingers, and she scooped him into her arms. ‘Go on. We’ll be fine.’ Kreusa looked him in the eye, resolute.

Aeneas had always loved Kreusa for her ability to take charge, right from their betrothal day. He reached for her and Julos.

Kreusa kissed him once, hard, on the mouth. Then she pushed him away gently. ‘There’ll be time later. You need to go,’ she whispered. ‘Please, love. Just go. And if you run into enemy gods, stay out of their way.’ Kreusa turned, but it didn’t hide the tear streaking down her cheek. She swept out of the chamber, holding their son tight. Julos peeked over her shoulder at Aeneas, eyes wide and green as his father’s.

Aeneas stared after them for a moment, then shook himself. Kreusa was right, he’d wasted enough time already. He snatched up his gear on his way out, found the weight of his spear a familiar comfort. The leathery smell of his ox-hide shield reassured him it was ready to protect.

Taking a deep breath, he passed over his doorstep.

***

I hope you enjoyed Chapter 1. In the meantime, The Way Home is available via the online store of your choice!

Until next time,

Valete

 

 

Releasing my debut novel: The first week

Salvete, readers!

My debut novel The Way Home has finally been released worldwide and is available in a variety of online stores as both an e-book and paperback. Cue the confetti and balloons! Nothing can beat the chemical high of knowing that after months and years of hard work, the story is finally out there for the public to read. This is a moment which I have looked forward to since I was a teenager and decided I wanted to be a writer. And after working on the manuscript so long, it is surreal to know that there is literally nothing I can do to make the book better. It’s out there now. However, I also know I would never have made it this far without the amazing support of many people. A great big gigantic thank-you for sticking with me, everybody. Your marvellous support and encouragement makes all the difference to me.

The paperback actually snuck onto Amazon a little early, which was a nice surprise. To my amazement, it actually started to attract sales before the official release date! But I decided not to announce it was ‘officially’ available until both the e-book and paperback were released, hoping that this would attract a rush of sales which would be looked upon favourably by the gods of the algorithm. To my delight (and relief) it paid off. I was watching anxiously—after all this preparation and planning, what if the whole thing flopped? So much of this industry depends on luck. However, it didn’t take long for the novel to reach the number one spot in its little niche on Amazon Australia. The highlight came last weekend, when my little book reached the top 50 books selling on Amazon overall. Not just in its niche, but for the store overall. I documented its steady rise through the charts the only way I knew how… with terrible cartoons I drew using Paint!

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Just assume that cartoon-me has feinted in that last pic and is thus out of shot.

It was such an honour to see my book ranked alongside those of Rick Riordan, even for a moment. For me, as an unknown Australian author published by a small press, that was the best feeling in the world.

I was overwhelmed by the amount of support I received via social media during the release week—I had to switch off my phone at work because it kept pinging through the day. People liked, shared, retweeted, and declared they had bought the book. I was taken aback by the warmth shown by not only friends and family, but also the classics community, fellow Australian authors, teachers and librarians. And, of course, listeners of The Bestseller Experiment! I have done a few podcasts with them over the last few months, and I’m profusely grateful for the way listeners took the book into their hearts. One of my goals throughout this process has always been to reach a community of readers, and I’m glad to have achieved it.

Then came the big moment when my copies (30 of them!) arrived. Believe it or not, this was the first time I had held the book in my hands. It’s a scintillating sensation—seeing the cover on the screen of my laptop could never convey the richness of the red and gold cover. And I cannot get over how handsome the illustrations are by artist Matt Wolf!

And so, what started as my nerdy little ambition to adapt an ancient epic has turned out to be one of the greatest moments of my life. And I’m so very grateful. It’s time to get cracking on the next book, of course, and I have a few other projects in the pipeline. I shall admit that I’m tired and could probably use a rest. But still elated and so ready for the next step. As always, I hope you’ll join me for the journey.

If you haven’t bought The Way Home already, it is available via the online store of your choice!

Until next time,

Valete

PS. I’m offering a preview and a special short story exclusively to followers of my newsletter. Sign up here for your free copy to read on a Kindle or any other e-reader! Fear not, I won’t give away your email address and you can unsubscribe at any time.

The Way Home: Origins of the novel

Salvete, readers!

My debut novel The Way Home officially launches in just a few days. The pre-order also has found its way to Amazon early, both for the paperback and the e-book. It’s actually doing pretty well already, given that I haven’t officially announced that it is available! It is a little bit surreal, seeing it in the top ten of its little niche, alongside Rick Riordan’s Percy Jackson books. It’ll be properly available next week, and you can bet I’ll let you know when it’s out. In the meantime, a few people have asked me where I got the idea to write the Ashes of Olympus trilogy, a YA adaptation of Virgil’s Aeneid.

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Check out some of the amazing illustrations from Matt Wolf!

It started when I was an undergraduate in Latin class. My lecturer’s enthusiasm for the Aeneid was infectious, and I was not immune. Just about every lesson he would put a passage from Virgil on the board for us to decipher with the air of Santa Claus pulling a toy from his sack. Determined to know more of the story, I picked up a translation of the Aeneid and read it cover to cover. I had encountered Homer’s Iliad and Odyssey before, but the plight of the Trojan prince Aeneas spoke to me on a level I had not really expected. Perhaps the desire for a place to belong spoke to me in my late teens. On a more superficial level, I loved the sense of adventure. I had always been a reader of fantasy and historical thrillers, and here was a classic quest with monsters, gods, and epic battles. More than that, I adored the sensitivity of Virgil’s characterisation, particularly of Dido. Though I sometimes found the character Aeneas difficult, it helped me to understand that when we are reading classics we are dealing with the ideals of another age. Discovering the joys of Latin scansion helped me to find the music in Virgil and gave me an appreciation of poetic language which I had never really found before. Every time I returned to the poem, the same thought would occur to me: this would make such a great novel!

Later in my degree, when I came to translate the poem itself, I decided to translate it into the prose of an adventure novel whose language echoed the historical thrillers I had always enjoyed. Something along the lines of Valerio Massimo Manfredi, Conn Iggulden, or Bernard Cornwell. There was just one problem: the translation was awful! For some reason, dactylic hexameters didn’t gel with the direct language of a thriller or fantasy. I hated what I had written, and so would anybody with sense, so I shelved it and moved on.

Several years passed. I wrote a lot of terrible stories which will never see the light of day. I married and became a young dad. I did a postgrad research degree, worked for a museum, and immersed myself deeper into the classical world than is healthy. Eventually I went to present a paper at the Classical Association conference at the University of Reading. This was the first time I had travelled overseas on my own, and I felt very far from home. It was worth it though. One of the themes of the conference was the reception of Greek and Roman culture in children’s and young adult novels. There were a lot of great panels on Caroline Lawrence and Rosemary Sutcliffe. But the key moment didn’t come until I was on my way home.

At Heathrow I met a young woman who was struggling with her luggage. I offered to help, and we got chatting, and I casually asked where she was from. At this point she started crying—she was from Bosnia, but she was effectively homeless, a citizen of nowhere. Neither side of the civil war wanted anything to do with her. One side rejected her because of her heritage, and the other side because of her father’s religion. The war had been over for years, but she was still a refugee. She had endured horrors as a child which no human being should have to go through. I was sitting on the plane home, reflecting on what she had said. And that’s when it hit me: the Aeneid is in its essence a refugee’s tale from a world of gods and magic. It’s a tale for anybody who has felt there’s no place in this world for them. A theme which, two thousand years after the Aeneid was written, is still sadly relevant. And somehow this idea connected with the panels on YA literature I had seen. By the time I got off the plane, a plan was forming.

I wasn’t going to translate the Aeneid. I was going to adapt it, tell the story in my voice. I wasn’t going to put Virgil up on a pedestal. Instead, I would write an original work which captured something of what made the story significant to me. It would still be a rip-roaring adventure for young readers. Yet it would focus on the deeper theme of the refugee crisis. My goal was to make it a great story in its own right, not edutainment. And I would infuse it with something of my own experiences, make it personal. And you know what? This last part was actually really scary. But for the first time, I felt like the writing worked. It was real.

Five years and many drafts later, here we are. The book will be in readers’ hands very shortly. I’ve done all I can to make it the best story possible.

I hope you’ll join me for the journey.

Until next time,

Valete

PS. I’m offering a preview and a special short story exclusively to followers of my newsletter. Sign up here for your free copy to read on a Kindle or any other e-reader! Fear not, I won’t give away your email address and you can unsubscribe at any time.

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Free short story!

Salvete, readers!

Publication day for The Way Home, Book I of the Ashes of Olympus trilogy is just a few short weeks away. In the meantime, I’ve written a short prequel, which I’m giving away to newsletter subscribers for free!

Betrothal introduces the characters of Aeneas and Kreusa, whom we here meet as children. The story takes place ten years before the events of Ashes of Olympus. On the eve of the Trojan War, a young girl must find her voice to stand before the gods… As an added bonus, you’ll also get a first look at the first three chapters of The Way Home.

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I’m offering the e-book exclusively to followers of my newsletter. Sign up here for your free copy to read on a Kindle or any other e-reader! Fear not, I won’t give away your email address and you can unsubscribe at any time.

This was an absolute blast to write and I’d love to hear your feedback!

Until next time,

Valete

What I strive for as an author

Salvete, readers!

As publication day of Ashes of Olympus: The Way Home draws closer, I find myself reflecting on what I’m aiming for in terms of my career as an author. I’ve had a few folks tell me I’m going to be the next J.K. Rowling, and they are looking forward to the (hypothetical) movie of The Way Home. While I recognise and appreciate the compliment, it always makes me a little uncomfortable. I love the Harry Potter books and admire J.K. Rowling, but I don’t want to be her. It’s much better to be me. At this point in my career, I don’t think it’s realistic to aspire to be a bestseller like Rowling. Very few authors become superstars like that. And to be honest, I can’t think of anything worse than having that level of ubiquity.

So what am I striving for, at this point? Much simpler, more achievable things.

I want to reach a community of readers who find something to enjoy with my work. There is great satisfaction in cheering somebody up who is having a bad day, and I think novels are the perfect form of escapism. And if readers get something more out of it, I’m glad.

I want to be part of a community of writers. Acceptance by peers and being able to give back something in return means the world to me. I cherish my friendships with fellow writers, published and not. These people make me a better writer. Functional creative relationships are precious gems.

I strive to be professional. I want to develop a reputation in the industry as a versatile, disciplined author who meets deadlines and works well with others. Professionalism is an under-valued attribute among aspiring authors. Admittedly I’m still learning the ropes as an early-career author, but one day I’d like to reach a level of mastery where I can pass on what I’ve learned.

And finally, I’m working hard to make a living as an author. Yes, I know, this is going to be the toughest of the lot. However, I made the decision long ago to adopt the mindset of a small business owner rather than a hobbyist. Making the business profitable will be a multi-phase project which may take years. That’s okay. I’m in it for the long haul. For the time being, any money I make from The Way Home will be invested in the next book, growing the business until it becomes a reliable supplement to my day job. Then eventually my writing will become the main source of income. I still aim to be a hybrid author with a foot in both the indie and the trad camps.

If I can achieve these things, I’ll be satisfied. However, all of these goals are contingent upon me being prolific, so I’d better get back to it.

Oh, and big news! Next week I’m going to share the cover of Ashes of Olympus: The Way Home. I’m sharing it first with my newsletter subscribers. If you’d like a sneak peek, then please feel free to subscribe.

Until next time,

Valete

Fantasy Maps

Salvete readers and happy Easter!

I’ve been in a very visual space this week. Along with my publisher, I’ve been looking at concepts for the cover of my upcoming novel, Ashes of Olympus: The Way Home. It should be finalised very shortly and I can’t wait to share it. All I can really tell you for now is that the cover will be red and gold, Gryffindor colours! Just as exciting, The Way Home will feature nine internal illustrations as well as an incredible map. I’ll share more on the internal illustrations as we get closer to release– here’s a teaser if you can’t wait! But for today’s blog post let’s focus on the map and the thinking that went into it.

I love maps in books. Done properly, they can evoke a sense of space and place, making the story that much more real to readers. It’s great fun to follow your heroes’ journey on the map, and sometimes it can enrich the experience of the author’s world. A map can convey a sense of politics far more effectively than mounds of exposition. The most effective maps, I think, are those which are created to be in-world, because they become a form of world-building. A good map draws you into the story before you’ve even read a word.

However, I’ve also read many fantasy novels where the map actually detracted from the experience of the story. I think if your reader can’t make sense of the story without the map, something has gone terribly wrong. And there are times when the map is included seemingly out of a sense of obligation. They’ve become a staple of fantasy. If you’ve got a map for the sake of having a map, it becomes grating. There are times also when they are nothing but a gigantic spoiler. If every place your characters visit is included on the map, it destroys a sense of discovery. Even worse, if they feel like something out of our world, maps can yank the reader out of the story before you’ve even started. Maps rendered on a computer are too painstakingly accurate for a medieval fantasy, for example. And having a scale in modern miles or kilometres is equally problematic– leaving aside the fact these measures might not exist in your world, the last thing you want is to take away a sense of wonder by having everything precisely quantified. The key is to create the map in a very deliberate way, keeping in mind that it’s a form of story-telling too.

It was very important for me that the Ashes of Olympus trilogy have a map, for a number of reasons. It’s an historical fantasy which uses ancient Greek place names, eg Sikilia for Sicily and Hesperia for Italy. It helps readers connect more if have that visual link between past and present. And to evoke the sense of the past, I wanted it in an antiquarian style, with ships and sea monsters in the water. I did make a couple of concessions to anachronism in drawing up the brief. It wasn’t entirely possible to have the map come from within the universe because the majority of my readers probably don’t read Greek. And I thought it would be confusing to present the slightly jumbled geography we find in Homer and Virgil. Artist Linc Morse rose to the occasion with an exquisitely crafted design. Check it out below!

Map of Middle Sea

 

I particularly love the little Scylla! Ashes of Olympus: The Way Home will be available in July 2018. Sign up to my free monthly newsletter for news and previews, as well as an exclusive prologue chapter to the Ashes of Olympus series!

Until next time,

Valete