Evolving Esqwith’s

Why back in simpler times when I was young and naïve I wrote a novel. It was, and always will be, the novel I had always wanted to write. I wanted to write it so much I wrote another novel between starting the novel I always wanted to write and finishing it, just to prove to myself I could actually write a novel. That novel, the one I wrote to prove to myself I could, became my first published novel Cider Lane. The novel I always wanted to write however was Passing Place, which became my second novel in the fullness of time. .

Yes that is where the name of this blog came from. the novel I always wanted to write…

Passing Place is the best thing I have ever written or ever will, in the opinion of the one person who’s opinion really matters on the subject. Others disagree with that opinion. Kate Bachureal, a fellow writer in the Harvey stable believes Lucifer mandrake is the best novel I have written. One of my oldest friends believes Maybe is my most accomplished novel. C.G. Hatton believes its the Hannibal novels because she prefers first person stories, and I graciously accept her opinion, and the rest of them, but the one that matters when it comes down to it is my own. Passing place is the best novel I have ever written because it has the most blood on the page, and slithers of my soul mixed in with the ink…

Thankfully, I am not alone in my opinion, readers seem to universally love the novel, it only gets good reviews, and at events I get readers coming back every years and asking me if I have written the sequel yet. I haven’t by the way. Passing Place took five years to write, the sequel, what there is of it in vague outlines, is taking the better part of a decade and may never be written.

The novel is complete in of itself and does not need a sequel and never has. If one gets written it will be written because I have to write it for myself, and as yet that hasn’t happened.

Yet despite been almost universally loved by those who have read it, Passing place has a fatal flaw. It is not a genre novel. It does not fit neatly into a little box. It is perhaps urban fantasy, but in part cosmic horror, in part science fiction, in part phycological, character driven, complex and no wholly unweird. It is unique and was not written to fit in a tidy box. Which is all well and good if you want to write the novel you always wanted to write, a novel that is by design genre defying…

But if you want to sell it, or to be more exact, find readers and have readers find it, not fitting into any tidy little box is a problem… Passing Place is the best novel I have ever written in my opinion, It is well loved by those who have read it. the problem is and always has been, not enough people have read it. It does not sell, because no one is looking for it, and even if they were, they would not find it.

None of which was helped by the original cover (on the left) which told you nothing about the book I liked it, but when I published the book I was young and naïve as I said. The original cover is very ‘penguin classics’ which is to say it will sell a book to a person who already is aware of the book. Thus is somewhat useless…

Also, while I like it, lest face it, its rubbish. the kind of rubbish you come up with when you really have no idea what your doing…

A year or two later I made the cover on the right, the cover the novel has had ever since. I kept the piano from the original cover as a background and put the bar, and the cat, in the window. All thing relevant to the novel and this cover sort of worked. It engaged the audience at events more which was a start, though I only really started doing events after the cover had been changed so it is hard to be sure. It may have caught the eye of a few more people on line, certainly if they had read anything else of mine, but it still does not tell you that much about the novel…

Last night, I reached Passing place in the add a J project and looking at the cover thought lets see what I can come up with. and I made all kinds of covers, none of which worked. I am not going to show you any of them, they were universally awful..

Then as midnight swung by and I realises sleep was going to evade me once more I started wondering what I could do to the existing cover that might work better while keeping the general theme. Changed the bar picture in the window to one I like that I had tried in one of the universally awful covers ideas. Changed the cat to, well a cat. and removed the timepiece which was there because all my covers had it on them for a while… and it was better, the bar was more bar like as I imagine Esqwith’s to be, the cat was more cat like, I reduced the proportions of the window and it fitted together nicely But it was just faffing , something was still needed…

So I went through my Canva clip art up loads for the last ten years or so until I stumbled across one specific piece of clip art that was used in the cover of the lexinomicrom, and several companion bits that weren’t , that had been sat there for years , and inspiration struck…

At 1am with a small pineapple rum and coke in hand…

What the cover needed, what ever cover needs if I am honest about it… Tentacles…

The cover still tells the prospective reader very little about the book itself. Oh sure there is a bar, and a cat and something about pianos… but what genre is it, what is it all about… Not really.

But Tentacles…

Importantly, red tenacles. Though this will mean nothing to anyone who has not read the novel so… meh.

At some point project add a J will be over and I can get back to writing, I may even work on the sequel to Passing Place everyone who has read it wants, though probably not as it doesn’t need one and I have other books to write… but still hopefully this cover will help the book find more readers who can then pester me to write another…

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Its a wrap…

This is an update house keeping post, it does however hold some information that may be useful for new writers along the way.

As part of the project ‘add a J. to my name’ I have to change the internals and covers of all my books in every format, to add the new pen name, Mark J. Hayes for the reasons I mentioned a couple of blogs ago. This has escalated as I am effectively updating and reinvigouration11 years worth of publishing.

Yes, before anyone points this out, I could have just added the J’s quickly and done all the covers the way I have been doing covers for the last 11 years. But as I had to revisit every file and ever cover in every format, it seemed like it would be worth while bringing everything up to date.

In theory at least, every time I publish something new I have to go back through everything else and change the ‘Also by this author’ pages for one thing, but the simple fact is that hardly ever happens because its is such a big task. About the author pages change too, and contact details, for example most of my books still had my old twitter address listed (I left twitter a while ago, because, well, twitter…)

So every book is now getting this About the Author page…

Which as you can see is entirely serious…

And these ‘By the Same Author’ pages

You might notice the future proofing of those *forthcoming titles, which are there so I don’t need to go through every book again for a fair while. I know what is in my WIP file and how long it will all take to write…

There are other things too. I used to publish as Saltholme publishing for one, but I changed the name of my personal imprint / publishing house to Steampowered Books for reasons of branding, ie I wished to have some… But I had not changed all the books yet.

There was also covers. I design my own with Canva as I have since the first book. The way I used to do paperback covers was with the KDP cover making tool, put the front cover art form the ebook cover in and use plain back overs and insert the text. This is simple, straight forward and easy to manage and makes perfectly okay covers. the main reason being that the free version of canva allows you to make ebook covers but bespoke wrap covers need bespoke sizes and the paid version. And ever wrap is a bespoke size due to the variation in spine…

There are a couple of issues with that way of doing covers, firstly a full wrap looks better as a rule, but more importantly if you want to take your print files to a local printer to get a small print run done of 20 or some books, which would eb cheaper than Amazon and generally better quality, you need the full wrap.

I have a paid canva account these days because I use it a lot more than once a year, so as part of the reinvigoration process and ‘adding the J, I am making wrap covers for my hardbacks and paperbacks. This is not all that complicated you just need to download the template generated for each book by size and page count, then make a bespoke template in canva and get creative…

So here are some examples

That is not all, because of course its not. I am redoing blurbs on books and amazon itself , 11 years hold a lot of lessons about what works and what doesn’t. There is the odd tweak of the books themselves if I have typos listed to remove. And all the kindle books are getting bonus content because it costs me nothing to add the first chapter of the next book in the series, or a standalone to the kindle file. Indeed in terms of page reads on Kindle unlimited etc, it is a positive bonus.

I am also making the hardbacks all larger font, and other tweaks. In essence there is a lot but then revamping your way through 11 years of publishing is going to do that to you. I am killing one small novella along the way just because it is already incorporated in an another anthology. But otherwise I am just working through them all, and once that’s done I have to update everything here as well…

So anyway… My name is Mark ‘J’ Hayes and I am a writer. I will eventually get back to writing once all the other books are sorted out…

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Autumn falls

Not done one of these for a while, but whimsy do’th take hold of one’s soul this crisp morning. It is the season of the witch, the season of fading light, the time of golden and brown. A time much beloved of writers, poets and pagans, which George and Emily certainly were… In my mind at least.

Delicious autumn! My very soul is wedded to it, and if I were a bird I would fly about the earth seeking the successive autumns. ~ George Eliot

Every leaf speaks bliss to me, fluttering from the autumn tree. ~ Emily Bronte

I’m so glad I live in a world where there are Octobers. L.M. Montgomery

He found himself wondering at times, especially in the autumn, about the wild lands, and strange visions of mountains that he had never seen came into his dreams ~ J/R/R. Tolkien

Aprils have never meant that much to me. Autumns seem that season of beginning.~ Truman Capote

That season of peculiar and inexhaustible influence on the mind of taste and tenderness. ~ Jane Austen

And a final word from that most wise of all sages and inventor of games with stick…

It’s the first day of autumn! A time of hot chocolatey mornings, and toasty marshmallow evenings, and, best of all, leaping into leaves! ~ Winnie the Pooh

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What’s in a Name

Before I begin, let me offer some advice to writers looking to self publish for the first time. A simple piece of advice, and one I wish someone had offered me a little over 11 years ago when I published my first novel. Go on to the big river company site, and/or the farm storage for blue bloods site, and type the word Author followed by your name.

You might be lucky, you might discover you name is unique, but no matter how unique you may think it is perform this simple check anyway. Just to be sure.

I offer this advice because I, full of the innocent joy of writer knowing they were about to hold their first novel in their hand, did not do this, and this has now lead to a whole lot of work in order to fix an issue I could have avoided for the very start. An issue compounded by 11 years of publishing, because it did not fell a huge issue to begin with.

What is the issue I hear you ask… Well simply put I am not the only Mark Hayes in the world who is published or publishes their own work. I wasn’t 11 years ago, and certainly am not now. This should not lead to confusion, as all my books are listed unto my amazon author account, but it does, and a couple of times people have messaged me asking if this book or that book is also mine. Sometimes as a joke, but more than once as a serious question. So to be clear…

I am Mark Hayes, the quantum pagan, goth, steampunk and urban fantasy writer from Yorkshire who also writes some non-fiction about 19th and early 20th century writers.

I am not the Mark Hayes, form the mid-west, who write church organ music, modern hymns and music of a Christian nature.

I am also not the Mark Hayes form Ireland who writes biographies about his time partying with Robbie Williams in Hollywood.

I am also not the Mark Hayes who writes dry looking technical books about nuclear reactors, wind turbines, and other engineering (*as I am also an engineer some people assume I am , I am not)

I am also not the Mark Hayes who writes books about the British Communist party 1935 – 41 or on the Rise of the far write in Britain (*which some people who know me have assumed I was as I have a degree in political science)

I am not the Mark Hayes from Bristol who has a doctorate and writes children’s books

And I am absolutely NOT the MARK HAYES, who published a couple of kindle only books in 2025 that are only 50 odd pages long, spells the name with upper case and was made with AI. Which is obvious as who ever made this was so dumb/blatant about it that they left the ChatGPT response to their prompt in the text… (see below)

I mean , really? I have zero respect for anyone using ChatGPT to write, but leaving the response in is a new low…

That last one is a real problem. The others I don’t mind been mistaken for me or me being mistaken for them, but that last one… And before you think this is just going to be me ranting about people using AI to create art , and writing is an art, I am sure everyone knowns my opinion on that subject. But the problem is that this utter garbage is out there with the name Mark Hayes attached to it but no author account, so if you click on the name it brings up a search of all the authors called Mark Hayes, and as I am prolific, it comes up with my books first. And to be clear I do not want my name associated even by mistake with this kind of AI generate trash…

Which brings me back to my name, and the reason it never occurred to me to check to see if any else had published under it in 2015. The simple answer is Mark Hayes is my name, the whole of my name, I had no middle name and I wanted to hold a book I had written with my name on it because that was the dream I had always been working towards. Added to which publishing was a nicer world in 2015 The kind of junk that the one calling themselves MARK HAYES was producing did not exist, and if I was getting confused with other writers called Mark Hayes back then, they were at least actual writers.

So lets get up to date. I have a new book coming out at the end of the month (hopefully) which is the book version of the four year blog series I was posting here, Dear Edgar. There has been a lot of work in the background to bring that to fruition as the blogs and the book are very different prospects. But having sorted it all out I made a decision I have been toying with a while, that has a lot to do with discovering MARK HAYES existed, though I have been thinking about it for a couple of years or more, which is changing the name under which I write form Mark Hayes to Mark J Hayes.

Wrap cover for Dear Edgar

The J is a made up initial, as I said I do not have a middle name. J is for John, my fathers name, as he is one of the reasons I do not have a middle name, the other being my mum… Also there is no Mark J Hayes publishing books out there in the world, this I have checked…

But the issue here is that my author account, the author name people follow on amazon, the name on every one of my books, is Mark Hayes, and amazon don’t really allow you to change them without rereleasing them all. Losing all those reviews, rankings and identity. Basically starting from scratch. However I wrote them an email and after a little discussion they have agreed to change my author account name to Mark J. Hayes which I will now use perofessionally.

In order for them to do this however I first have to go and change the name on every cover of every book, and on the internals on every book, and the headers on every page of every book. And do all of them before the end of the month and the new book gets published…

I have a lot of books out there as you may know, this is a lot of work…

So anyway, free advice to myself, check your name, 11 years ago in my case… For what’s in a name? Everything.

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Nice Safe Cosy Fiction Involving No Moral Ambiguity At All…

I do not profess to write cosy fiction, and for the most part I do not read a lot of cosy fiction. I like visceral, I like viscera. I like a little blood on the page, figuratively speaking. Cosy fiction is all well and good but I am not one who wishes to snuggle into a blanket, with a cup of hot coco, with a cat purring softly on my lap, while I read something suitable.

Cosy is just too damn cosy, it makes no attempt to take you out of the cosy for a moment now and again. Nothing morally ambiguous ever happens. The good guys and girls are the good guys and girls. The bad guys and girls are the bad guys and girls. Good guys only do good things, no matter what happens This is true of most cosy fiction at any rate, not all, there are exceptions. Those exceptions also tend to be the best cosy fictions, because there are always some shades of grey.

The really good ones don’t let you know there is a shade of grey coming, they just throw you a googly* when you least expect it when a character does something that is unexpectedly grey morally speaking, while entirely in character at the same time. And if the writer of cosy fictions is really good at cosy fictions, they will do it once and once only, perfectly timed to impact both reader and the other characters. Both of which have to deal with a sudden moment of moral ambiguity they were not expecting.

*A googly is a ball occasionally bowled in cricket which if timed right catches the batter unaware. Its a rarely bowled ball because it requires you to spin the ball in the opposite direction to the one the batter is expecting. If a googly bowled badly it is almost always hit for six. but if it is bowled right and the batter caught unaware it invariably slips passed the bat and take out middle stump. Hence the term ‘to be bowled a googly’. Your welcome..

Shelley Adina is one of my favourite writers in any genre, not least because she bowls me the odd googly in every one of her novels. In one cast it was a well placed utterly unexpected ‘oh Bugger!’ around page 251 of the second book in her Cosy steampunk, Lady Georgia Brunel Mysteries. I reviewed that book a couple of years ago and the first in the series the year before that, the third got a mention in a sweep of books last year, and then round about April this year the fourth came out, on kindle only…

If you click on this it will take you to Shelley’s books

For reasons beyond her control, Shelly did not bring out the paperback at the same time. So I waited, because I have the others in paperback and wanted to continue the set. So I was checking ever few weeks to see if the paperback was out. It was a long wait…

The wait was worth while.

When it finally came out in paperback I got a copy and as ever happily wrapped up in a virtual cosy blanket of cosy steampunk mystery goodness with the two ladies of a certain age once more pulled into a mystery by want of being in the wrong place at the right time. The same charming characters, clever plots and wonderful writing, that just carries you along in a genteel jaunt of delight and intrigue.

Added to this there was a certain extra joy in this latest book due to the cameo appearances by characters from Shelley’s other steampunk series set in the same universe which I first read way back when I was first considering turning my keyboard to steampunk*. The young heir, not even a toddler, to Lord Falmouth’s estate gets kidnaped, and Georgia’s adult son has vanished too in the night. A venetian assassins coin left behind as the only clue to what may have happened. And so the race is on to find them both before the prince arrives.

*My own steampunk novels may be very much not cosy fiction. Yet there are some deep aesthetic roots for the world of both Maybe and Hannibal Smyth in Shelley’s mysterious devices universe. Noticeably less chickens I must admit, but I shall leave the fowl to Shelley...

Mystery piles on mystery, and in the clever way Shelly always seemed to do, the astute reader might spot clues the ladies miss, and feel rather proud of themselves in a cosy kind of way… The missing heirs sister saying she had only ever found one secret passage, spring to mind. Or other times things are said that characters miss. These touches are artful, light and placed in a way you might miss them yourself.

The plot rolls along, revels it self in snippets as it goes and eventually there is a chase through the sky’s in airships and plenty of daring do… All wonderfully written, all perfectly paced, all a delight, with just the right kind of tension both romantically between characters who have been sharing the pages for four novels now, and in the mystery itself.

But around about page 251 Shelley bowled her readers a googly (I don’t have the book in fount of me and that page number is a pure guess, but the in the middle of the final third of the novel) something morally ambiguous occurs over the English Channel, which catches you out as you don’t expect it. A moral ambiguity that gives our heroine Georgia a moment of uncertainty about someone of whom she is so certain. A moment of uncertainty that is soon lost in the drama of the chase to rescue the kidnapped baby and her son from the clutches of those. A moment of uncertainty that I am almost sure will come back around in the next novel in the series, due out next spring.

Shelley Adina is one of my favourite writers for a reason. I read her cosy fiction for a reason, the reason is that it is never quite as cosy as it seems. The good guys are not always entirely good. The bad guys are not always entirely bad, but merely misguided or driven by not unreasonable agenda’s. There are wonderful shades of grey, delicately hidden in behind all that nice safe cosy.

Hiding in plain sight like venetian assassins, waiting to catch you unawares.

You should read all her books, you should certainly read this one,

Right at the front of the book there are a series of quotes from reviewers one of which is this blog, which is to say from my review of the second novel. One of the other quotes is from Madeleine Holly-Rosing. This I feel puts me in damn fine company as I also love Madeleine’s work.

Clicking on this will take you to my amazon page

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A ritual blade

This is a post about ritual, it has no real place on my writers blog, this involves my belief in pagan spiritualism and in my place in the universe. But as I do not have a separate pagan blog, here it is.

On a peg in my kitchen, hung by a leather thong tied in a loop, and sheaved in leather wet moulded to the blade, hangs a Damascus steel knife with a hard resin handle. The blade itself is about five and a half inches long, single edged, and extremely sharp. It has a weight to it that the average knife does not, not because Damascus steel is heavier than normal steel, it isn’t, but because the blunt edge is thicker an average knife you might otherwise find in your kitchen. A eighth of an inch of steel on the blunt edge honed down to a fine edge on the sharp.

Unlike the other knifes in my kitchen, which are thin bladed utilitarian kitchen knifes such as you might by at any supermarket. This is not a cheap disposable tool, but that is not the reason the blade has a weight to it the others do not.

There is only one other knife in my kitchen that carries the same kind of weight, and it is one of the smallest, oldest and most insignificant looking blades in the two knifes blocks on the window ledge above the sink.

That old knifes blade is only three inches long, and half an inch wide, is plain and thin, stainless steel in a equally plain wooden handle. It is old, been around since the 70’s old, and once belonged in my mother’s kitchen draws. When I first left home I borrowed that innocuous little blade, along with a couple of old plates, and some other basics all of which have long since broken, but that little knife has been with me a long time. The tip is half twisted and half snapped off, where one annoying day I used it as a screw driver because it was close at hand and I needed to change a fuse in a plug. For many years it just lived in the kitchen draw and got used once in a blue moon and it somehow stayed sharp all the same.

I should probably have thrown out that old knife years ago, but I couldn’t have done so. It is a knife that has been with me for more or less all my adult life, through several relationships and house moves, laying in kitchen draws and occasionally being used, sometimes not as a screw driver but as a knife, and while the handle is small and doesn’t entirely fit in my not entirely small hands there is a comfort and familiarity to it. It has been with me a long time, and I have been using it a long time. It carries the weight of years and something of me in its tiny wooden handle. It has also nicked my fingers once or twice over the years, and shed a little blood. Such is the way of old knifes that are not perhaps as sharp as they should be any more.

Perhaps unsurprisingly, when I started to grow sage in my garden, when it came to harvesting it rather than using secateurs or scissors to cut the stems I would use that old knife*. Carefully rounding the stem with the blade, guided by my thumb, which one has to be careful not to cut in the process. I did it this way, with that old knife, because it felt right to do so. The knife felt right in my hand, the pressure needed to round the stem felt right. The whole process of harvesting stems that way felt like the right way to do it, and has since I first planted sage, some years ago now, in two large pots in my back garden.

*This is a very foolish way to harvest sage unless you are very careful, cutting it with any for of snipping implement makes far more sense, is safer, and I recommend you use the safer better option.

The last time I did this, in mid May this year, it also felt like it should be the last time. I don’t know why it felt like that, it just did. Something about the knife in my hand felt subtly wrong, the blade was not as sharp as it used to be, but then it has not been as sharp as it used to be for many years. In any regard it felt like that old blade needed to be laid to rest.

Around the same time I read a well considered piece by another practitioner, which spoke of the scared aspects of tools, and how they had to be used. A sacred blade is not a blade that sits on a shelve until a ritual of some kind requires it, because a sacred blade becomes such through use. Ritual requires foundation, a sacred knife needs to be used, to become a tool of the mundane, in order to be a tool of the spiritual. This feels right to me.

Thinking of that old blade it feels exactly right to me. It was a knife I had held for years, used for years. Sure I had used many other knives as well in the kitchen and else where, but that specific knife had a weight and a meaning to me beyond that. Which was why it was the knife I used to cut sage. It was entirely the wrong tool for the task, but the only tool for the task at the same time.

I cut sage, to make bushels, dry and burn them. It is a ritual all along the way. Hence I use the knife that means the most to me, or did. I ritualised the harvesting without thinking about it, I did it the way I always did. Which is the core of a ritual of any kind, repetition. Like touching the green man above the door before I leave the house and when I return. Ritual, unthought of, is made by reptation.

The old blade was now retired, it sits in the knife block as it has for years now, but it is no longer the blade of ritual. I was not sure why, only that this was the case. Like so many things it is a matter of feeling. What was worrying was that while I knew, in some way, that the blade no longer held the same liminal state, nothing had replaced it.

Then, on a whim, or perhaps not, I bought a mystery box from raven forge. Mainly because I wanted a new axe. This is not entirely true and mildly disingenuous, I did not want a new axe to replace my old hatchet, for which I had recently bought a new handle, and which is seldom used. I wanted a raven forge axe for the wall, and had for a while, but was unable to decide which of the many designs I wanted most, so a mystery box, in which an axe was more or less a guaranteed item seemed a nice way to get an axe for the wall. Sometimes, for reasons I can not explain, I want things to come to me, not to be sought out. The axe for the wall felt like one such thing, and the mystery boxes were only a few quid more than most of the axes, and contain many other things. So I went with the whim.

The mystery box arrived, in it was a fabulous display axe, a drinking horn, Viking jewellery and a number of other things… And a Damarcus steel knife with a knotted leather thong, and leather sheave. A blade I had not ordered, nor expected. A blade that had come to me, and had weight, intention and craft to it. A blade that felt right, after my old blade of ritual had cease to be such a thing.

It felt, as things sometimes do, right. It felt it had weight, not just in the physical world but beyond.

It was a blade that had come to me.

I hung the knife in the kitchen off a peg, and without much thought on the matter started to use it. Though I was aware it was a conscious choice to do so and also aware that a ritual knife must be used. It needs to learn its place in your hand, and you hand must learn to hold the blade. So it has become my kitchen knife. Not in the way my old knife was, a thing that was used once in a while but had been for years. This new knife I use every day, consciously use every day, and treat with respect.

I do not use it to cut open packaging, nor is it sued to cut bread, or spread butter. I don’t know why exactly save it should not be used for such things. I have other knifes, I have scissors I do not need to use this one in such ways, but it is a choice not to do so all the same. I do cut meat and veg of all kinds, and then once a meal is prepped the blade is washed, dried, placed back in its sheath and hung back on its peg. This is by way of a ritual, adopted without much thought. Something that felt right to do.

To give context, I wash up when I get to it, the kitchen counter seldom over flows with pots, plates and pans but I don’t wash up as I go. The sink is often full of water and things soak within it. I am aware there are people reading this who are shaking their heads. Your not alone, my mother would be too bless her, but I live in a community of one. I do what needs to done, when I get around to doing it so knifes, forks, spoons and everything else, are put in the sink until I get to them.

But the Damascus steel knife I now use every day to prepare food is washed and dried each time. Then hung back in place. A ritual that was born out of an unconscious desire to use the blade each day. A ritual that has in turn become something of the every day and yet something of meaning.

None of this was intention. I did not purchase the knife. Yes I purchased the box it came in, so yes I paid money in order to receive it but I never chose it. The knife chose me. Someone packed the mystery box and put that particular Damascus blade in it along with everything else. A blade that when I first held it felt just right. the kind of just right the old knife felt, before it didn’t any more. Using the blade for food preparation became ritual after I hung in the kitchen, and it had hung there for a week or two. One evening I just felt I should use it. Cleaning and drying the blade after each use, rather than placing it in the sink became ritual because it felt right to do so, and wrong to do otherwise. Not using it to cut plastic or open packaging of any kind became part to the ritual unconsciously, and then consciously once I realised I was doing so. All of this became ritual in an organic unthought of way,

And after I month or so I found myself picking up the old knife and the new one, and holding them together for a long moment because it felt right.

It felt like a passing of energy between them. Call it the spirit of the old knife merging with the new. But don’t ask me to explain why that was. At some point I just realised this new blade was now my blade of rituals, possibly simple because so many simple domestic rituals surround food, its preparation and consummation. Spilled salt over you shoulder to ware off evil and such forth. Food itself is often a ritual too. Every Christmas dinner you ever ate should tell you that. To use the blade in the preparation of food feels right, and then by extension using the blade for other rituals seems right too.

Come next I harvest sage I will use this knife, for that is a ritual and this is my ritual blade. Like so many other things it became so, as did the rituals around it, because the new rituals felt right as I adopted them, for the most part without realising I was adopting them at all as I was doing so, until I looked back afterwards from a place where these small rituals had developed meaning .

Repetition is, as I have said else where, the heart of ritual…

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Lovecraft and ice-cream

The book about Lovecraft I got paid to write is finally out in the UK. It came out in the US last month.

It is a very pretty book, part biography and part exploration of the mythos worlds and creatures. It also includes the relaying of a story about Lovecraft taking a couple of younger men out for Ice-cream, in a New England seaside town. (I did not make this up)

Its also available in audio book, but the pictures are better in Hardback

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Blyton and Lovecraft

“What’s the weirdest thing you have discovered today mark?”

Why, I am glad you asked…

The Strange World of H.P. Lovecraft: A Guide to the Characters and Creations of the Cthulhu Mythos is due out in the UK on September the 1st. It is already out in the US, but for reasons unbeknownst to me the publishers staggered the UK release. However it is already available in one format in the UK and indeed everywhere and that is the Audio book version. This surprised me for the very simple reason that I was utterly unaware that the publishers were releasing it in an audio version.

My authors copies that arrived a couple of weeks ago to my delight

This however is not the weird thing…

I should also perhaps point out that while I was unaware they were doing an audio version, I was contracted and paid a flat fee to write this book. The publishers paid for the words, they can do with the words what they wish and to be frank I am pleased that they have. It does me no harm and while I have no real skin remaining in the game as the contract was a flat fee no royalties deal, I would obviously still want the book to do well. It has my name on it.

But that’s not the weird thing

The weird is the voice artist they contracted to record The Strange Worlds of H P Lovecraft is actress and voice artist Sarah Ovens.

Sarah has a large body of work, and is clearly well respected and well known within the industry. I know this because having discovered the publishers had commissioned an audio version, and therefore who recorded it I looked her up because I was curious, obviously. Sarah really does have a large body of work, both as a sole narrator and on ensemble pieces. So of those audiobook, to judge purely by reviews and amazon stars, have done very well. Which one hopes bodes well for The Strange World of H.P. Lovecraft , because it would be nice to see it successful in both formats.

Having discovered the book has been narrated by someone successful and well thought of within the field I am utterly delighted. Which brings me to the weirdest thing I discovered today…

The very first first book to come up when I clicked on Sarah Ovens as narrator on amazon was Enid Blyton’s the Wishing Chair… Which I have the vaguest memory of reading when I was a child…

So, the narrator of the audio version of The Strange World of H.P. Lovecraft also is the voice of Enid Blyton’s the Wishing Chair series… I mean that’s a juxtaposition of weirdness right there.

I will have a new audible credit in a few days, right after I finish Kate Baucherel’s second slim caviller trilogy all 28 hours of it… At which time I will get the thankfully shorted listen of The Strange World of H.P. Lovecraft and listen to it because I genuinely have no idea what to expect of the audio version but and deeply curious to find out how the voice of Enid Blyton’s The Wishing Chair pronounces…

“Ph’nglui mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn”

(“In his house at R’lyeh dead Cthulhu waits dreaming.”)

May the great old ones have been kind to Sarah on that one…

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Dear Edgar 66 ~ Landor’s Cottage

Edgar Allen Poe died on the 7th of October 1849 in Baltimore at the age of 40, a little more than 2 years after the death of his beloved Virginia. Perhaps in keeping with much of Poe’s dark romanticism, the exact cause of his death remains a mystery, but following the death of his great love he descended into hedonism, womanising and the bottle. It would be poetic to think he died chasing desperately to replace that which he had lost. The shade of Virginia driving him to his doom as he sought with increasing desperation to fill the void she left in his life.

Life is seldom entirely poetic however, as has been mentioned previously, even before Virginia’s death Edgar was spiralling out of control, becoming increasingly erratic, if not actively having affairs certainly looking for the woman to become the next Mrs Poe, and back to his worst in his other relationship the one with the bottle. All of which was exacerbated by him becoming an over night success with ‘The Raven’ after twenty lean years as a writer.

Becoming an overnight success is easy, provided you are prepared to endure the years of relative failure until your night arrives…

A host of ‘available’ women were it seems interested in the famous dark-romantic poet and widower. He was getting invites to all the literary circles parties. For a short time celebrity and the bottle masked his grief, but it could only last so long.

There are many theories about Poe’s death, which according to the coroners report was caused by an inflammation of the brain. Some accredit it to sever alcohol withdrawal, others meningitis, that old 19th century favourite syphilis and even rabies among other possibilities, none of which are the wildest, but I will come to that.

Landor’s Cottage was the last story by Poe to be published in his life time, or indeed ever. Unlike the Poe inspired HP Lovecraft who left a veritable mountain of unpublished work when he died. Every story Poe wrote in his life time was published in his life time. If there were any unpublished works in his study they were thrown out when his house was cleared. There is no achieve of lost Poe. Indeed the only works to be published after his death were two poems he had already already sold. The Bells and arguably his most famous and accomplished poem other than ‘The Raven’, the dark romantic grief inspired ‘Annabel Lee’

And neither the angels in Heaven above

   Nor the demons down under the sea

Can ever dissever my soul from the soul

   Of the beautiful Annabel Lee;

Annabel Lee (excert) ~ Edgar Alan Poe 1849

Unlike Annabel Lee which is a beautiful haunting poem written by a poet at the height of his powers, and a worthy final poem if ever there was one, Landor’s Cottage is at best a bit dull. It is not really a story as such, and could be reasonably said to be one of the least interesting bit of prose Poe ever produced. This is not to say it isn’t beautifully written, it is. Nor is it to say it is not wonderfully evocative as a piece of descriptive writing, it is. But that is really all it is. Beautifully, wonderfully, descriptive writing about… nothing much at all.

In essence this is the ‘story’. The narrator goes for a pleasant walk in the countryside of upstate New York, as it starts to get darker it dawns upon him that he will not make it back to his lodgings until long after nightfall and he is unsure he will find his way in the darkness. He stumbles around a bit before coming across a cottage. A perfectly serene little cottage in an isolated valley inhabited by a young woman and Mr Landor the owner of said cottage… the end…

And that really is the end. The last of Dear Edgars stories, a short piece about a walk in the courtside with nothing so threatening as a badger, and stumbling upon a cottage.

Nothing dark, macabre, horrifying, mysterious, strange or uncanny occurs, it is a none story at best, a descriptive piece of nothing much at all. Linked vaguely with those two other less than enthralling pieces, The Domain of Arnheim and The Landscape garden, and as much a beautifully written nothing as they were. This is to say a disappointing end to a career that reach such hights and inspired so many that came after. So my advice, go read The Raven , go read Annabel Lee. Go read The Tell Tale Heart, the Murder in the Rue Morgue, Berenice, The Fall of the House of Usher and a whole bunch more. Revel in the worder that is the master of the unnerving and the strange. Let this one pass…

ONE COTTAGE… NO RAVENS AS NO RAVENS WERE USED IN THE MAKING OF THIS STORY...

Should you read: Well obviously no, because this is not what you read Poe for, it is perfectly pleasant regardless, but that’s all that can be said for it

Blaggers fact: The wildest theory about Poe’s death was that he died as a result of electoral fraud. Baltimore was holding municipal and congressional elections at the time. Baltimore was in electoral terms the wild west, which is to say normal rules did not apply. Just before he died Poe was found delirious just outside a polling station wearing cheap, ill-fitting clothes that were not his own. which suggested he had been a victim of cooping

Cooping was a means of electoral fraud. A gang would force a citizen to vote multiple times for their candidate, usually by getting them drunk, threating them or just out right violence, dragging them between different poling stations. Forcing them to change cloths to vote multiple times in the same polling station was also not uncommon. The city volunteer fire brigade were believed to be bribed to do just that by Charles Gwinn, a Whig politician who several years later went to become the Attorney General of Maryland and was of using “fraud, intimidation, and violence” in Baltimore, to win that election

It is possible therefore that one of the finest and most unique writers in human history was killed by been forced to drink and vote for a corrupt Whig politician by a bunch of firemen. Or syphilis

This really is the end of Dear Edgar, on this blog at least. Thank you to those who have joined me on this journey and given likes, comments, or just reads along the way. Like all such journeys it took longer than I thought, was stranger than I expected and was frustrating at times. It was I think a nicer journey than the one I took with Lovecraft before it, yet in some ways not.

Edgar Alan Poe has inspired many writers one of which was old tentacle hugger, another is me. The blogs will become a book in time, as was always planned, but the blogs will stay here to be found by those that wander and wonder.

Those this blog series has never really touched Poe’s poetry the last words I leave to Poe himself, with the last words of his most famous poem… As it seems fitting.

And the Raven, never flitting, still is sitting, still is sitting

On the pallid bust of Pallas just above my chamber door;

And his eyes have all the seeming of a demon’s that is dreaming,

And the lamp-light o’er him streaming throws his shadow on the floor;

And my soul from out that shadow that lies floating on the floor

Shall be lifted — nevermore!

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Nailing my colours to the mast

This is a rant, I make no apologise for this. If you don’t wish to read a rant then you should just stop here, but it is, I feel, an important rant. I also stand by ever word. Originally this was posted on my Facebook page. I have extended it to a degree to clarify my position.

Over the week I found myself delighted to discover an old friend from way back when had written what they described as ‘Their first foray into Fantasy Literature’. As such with the intention of buying a copy I went on amazon and as I was able read a sample just to get an idea of his style etc. As I say I had every intention of ordering a copy because I believe in supporting my friends in their endeavours and writers in general.

I was surprised in the first place that the ‘writer’ had not published it under his name but under a slightly odd pseudonym. But having read the sample It occurred to me that perhaps this was because something inside told them not to put there name to it…

When I read the first paragraph and was disappointed on many levels by the prose. Not just because it wasn’t well written, though it wasn’t, the prose was terrible but that is by the by. I was disappointed because when I started reading the sample it became obvious in a few lines that this had be ‘written’ by generative AI. That’s all it took, one paragraph. Regardless read on, hoping I was wrong but I wasn’t.

I went back to the copyright pages and found the words ‘this was written with generative AI and then edited and proof by the ‘author’…’ So let me be as fair as I am able here and say at least they have not tried to pretend it isn’t Generative AI.

If you are wondering how I knew so quickly, let me just say there are certain hallmarks to generative AI. I have come across them all too often as part of the editorial team with Harvey Duckman. There is a certain kin of over done description that is encouraged in High school English classes which is a commonality to Generative AI.

Having read the first few paragraphs I was disappointed and angry in equal measure. As such I almost replied to his Facebook angrily. But I let my annoyance cool off a tad, and instead posted to my own page with the rant this post is based on, to get it out of my system.

And it was a rant.

Allow me to expand on why I hate generative AI. I started writing for pleasure when I was around 13, that is to say I started writing stuff that was nothing to do with school work, because I wanted to. When I was 45, I published my first novel, and in the intervening 30 years between these two events I learn to write. I learned how to craft sentences, paragraphs, chapters and weave stories. I learned how to develop a plot and characters. I learned to write in my own style, then in multiple styles. In short over 30 years I learned how to write.

It is often said it takes 10000 hours to perfect any skill. Perhaps I am a slow learner as I spent significantly more than that learning to be a writer. That first novel some 12 years ago is a bit of an oddity, unlike anything else I have written. It is also a novel that I think anyone who has read it will agree is if nothing else unique. That first novel was however merely another step along that road of becoming a writer.

None of this came easy. Aside anything else I am dyslexic, writing is hard. But I put my soul into the page. It ain’t worth anything if you don’t.

I like to think I have become quite good over the 40+ years I have been at this. Do anything long enough and you will become at least competent. I like to believe, however, I have crafted genuine art with my words. That may be pretentious of me, perhaps, but I believe writing is an art.

40+ years of crafting words… But now lets get back to the rant.

Generative AI is destroying the creative industries while being trained on stolen goods. The stolen words of those who have spent years learning there craft. And what it produces is trash, utter trash. Unreadable garbage for the most part, generic descriptions at best, all in all soulless tripe.

Yet in the last couple of years the literary marketplace has been flooded by people using generative AI to ‘write’ books. Two years ago there were perhaps 2 million books on amazon, today there are 20+ million due to the absolute flood of generative AI ‘writers’. This is strangling the market place that it was already hard to find readers in. In the process it is destroying livelihoods.

What is perhaps worse is Generative AI is also turning readers away from independent authors because readers have already read too much generative AI crap. Unable to find real books in the mire of Generative AI garbage, there has been a move back to mainstream books again. In essence Generative AI is a cancer to the creative industries

I did warn you this was a rant…

There is very little money in books. The people flooding the market with AI garbage are not going to make money, but they can produce books by the dozen in a few days or less, while real writers spend years to write a novel. Real writers are drowning in a sea of AI created garbage.

To be clear if any of my friends have the passion and drive to become writers. I welcome them, I will help and encourage them any way I can.

But if you use generative AI to ‘write’ a book please do not call yourself an author and more importantly stop as you are destroying the industry I have put my life and soul in to.

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