Just in time for Christmas, the e-book for my debut novel based on Greek mythology, The Way Home, is less than a dollar! If you’d like to experience a swashbuckling adventure from a world of gods and magic, the e-book can be yours for the princely sum of 99 cents! On Kindle, iBooks, Kobo, and all the major online retailers at a reduced price until December 24, 2018.
Why has the price been set so low? The idea is to connect with more readers. It’ll help me with something I mentioned in a previous post:
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 sincerely doubt the rewards will be financial, and that’s okay. Reducing the price for a week will help get my work into the hands of more readers—if the low price means I can give more people a story to enjoy over the holidays, then it’s worth it to me.
I have another cool thing to announce this week, but in the meantime, I hope you’ll join me for the journey. The Way Homeis available now for all devices. Grab for a bargain while you can!
Until next time,
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.
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.
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:
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.
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.
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!
Illustration by Matt Wolf
‘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.
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.’
‘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.
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!
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.
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.
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.
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,
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.
As promised, I’m absolutely thrilled to unveil the cover and blurb for my upcoming novel, Ashes of Olympus: The Way Home, coming July 2018 from Odyssey Books.It’s a YA historical fantasy based upon Greek mythology, in which a band of refugees must face the wrath of the gods to find a way home.
I’m absolutely in love with the cover, and I am so grateful to my editor and the graphic designer for coming up with such a wonderful image. But what’s it all about? Read on for the blurb…
The gods betray you. The winds are hunting. Nowhere is safe. The journey begins…
The war of the gods has left Aeneas’s country in flames. Though he is little more than a youth, Aeneas must gather the survivors and lead them to a new homeland across the roaring waves. Confronted by twisted prophecies, Aeneas faces the wrath of the immortals to find his own path.
First in a trilogy based on Virgil’s epic poetry, ASHES OF OLYMPUS: THE WAY HOME is a tale of love and vengeance in an age of bronze swords and ox-hide shields.
The novel will be released both as an ebook and in print, July 2018.
Until next time,
P.S. Sign up to my free monthly newsletter for news and previews, as well as an exclusive prologue chapter to the Ashes of Olympus series! Over the next couple of months I’ll be giving readers an exclusive sneak preview of the amazing interior artwork in the book.
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!
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!
Wow, it has been a little while since I last posted, hasn’t it? I’ve hit 2018 running, as ever. Guess what, though? I’ve got something exciting to share… I set up a free monthly newsletter for followers!
I’m really excited about this. The newsletter will be a great way to keep in touch and share cool free stuff with like-minded people. I can interact with readers in a more meaningful way via correspondence than social media. And I’ll be honest, the recent changes to the Facebook algorithm gave me the kick in the pants I needed to start a mailing list. There’s never any guarantee with Facebook that your posts will ever find your followers. Unless you pay a small fortune, of course. Likewise, interactions on Twitter are fun but fleeting. The good old-fashioned mailing list remains the most reliable and cost-effective way to get messages out to readers.
Right now, if you subscribe, you will get an exclusive prologue chapter for the Ashes of Olympus series, my upcoming historical fantasy based on Virgil’s Aeneid. This chapter won’t be included in the book. It’s an exclusive free gift to followers. You’ll also get a special glimpse at the blurb for the first Ashes of Olympus book! Huzzah! Over the coming months, I’ll give subscribers the first look at the development of the book. You’ll get the sneak peek at the cover and read the first extract before they’re released to the wilds of the internet. Over the next few months, I’m going to share with my subscribers the early sketches for some illustrations I’ve commissioned for the book, so you’ll also receive original artwork based on Virgil’s Aeneid. In the long term, I am going to update the newsletter about once a month with my writerly updates. It’ll be a hoot!
What you won’t get is spam. I might send out an announcement about releases of my books. But I won’t clog up your inbox with advertising. Nor will I give anybody your email address. That would be an awful thing to do, quite simply.
I hope you’ll join me in this wild ride up to launch day!
Bibliomancy was a form of divination which was popular in the Middle Ages. First, you picked up a sacred or significant text, like Homer or Virgil or the Bible. You laid the book on its spine, allowing it to fall open. Then you shut your eyes and picked a passage at random from the open page. This passage supposedly revealed something about your future.
When you try it these days there is a chance you’ll get stuck with the copyright page, which is very confusing. I suspect this is how many copyright lawyers found their start.
The best place to start is the beginning, unless you’re Homer.
I first fell in love with all things Greek and Roman when I was about eight years old, sitting on the couch with my mum watching the BBC’s wonderful series I, Claudius. The sets might have been shaky, but even to my prepubescent mind the writing was solid. The story had everything: swords and sandals, poisoned mushrooms, Patrick Stewart in a toupee! Thank goodness Mum didn’t stop to consider whether the bloody saga of the Roman imperial family was age-appropriate. My immediate reaction, of course, was to stage my own version of I, Claudius with sock puppets for my third-grade classmates. For the most part, my long-suffering teacher managed to contain her bemusement. The kids cheered, and that’s what counted. Ever since, I’ve been convinced that story-telling is the most powerful means to bring the world of the ancients to life for today’s generation.
At the University of Queensland I leapt into studies of antiquity, striving to master Greek and Latin while working at the R.D. Milns Antiquities Museum. You can still find my favourite artefact there. Just a simple clay jug, nothing fancy, but centuries ago somebody picked it up while the clay was still wet. The fingerprints remain visible even today. In the epic poetry of Homer and Vergil I discovered the power of language to sweep readers into the world of gods and magic. Eventually, my doctoral research led me to travels in Europe. Snowflakes swirled all around as I stood in the broken remains of a Roman amphitheatre. Wandering through the ancient ruins, I knew the myths had cast their spell on me. And they have never let go.
After finishing my PhD, I did a brief stint as a high school teacher, hated being called ‘sir,’ and dived into academic and creative writing. I was fortunate enough to achieve a research fellowship at my alma mater. Still, I prefer to call myself an itinerant bard. My first academic book, Tertullian and the Unborn Child, is due to be released by Routledge on 3 March, 2017. I’ve also written a YA historical novel, the first of a trilogy based on Vergil’s Aeneid. The title is Ashes of Olympus: The Way Home. Although I remain open to the possibilities of sock puppet theatre as a story-telling medium, historical fantasy is my passion.
Over the coming weeks, I’ll share a bit more about my research, writing, and current projects. Until then, vale.