The Future King: Logres, now available on Amazon!

Britain, 2052. In a world of war, disease and hunger the UK stands alone as a beacon of prosperity under an all-powerful ruling party. Life at new school Logres seems promising for fifteen-year-old Gwenhwyfar, and quickly she falls for the school’s handsome catch, Arthur. When Arthur’s rival, Lancelot, returns after a suspension, her heart is soon divided. Realising that behind the UK’s prosperity lies unspeakable cruelty, Gwenhwyfar sets off on a path to dismantle everything the government stands for. Suspenseful, raw and awash in a dystopian setting, The Future King: Logres is a story of identity and discovery against this backdrop, the second coming of the Arthurian legends.

The Future King: Logres: Volume 1

It’s out! It’s available to buy! Finally, after many hours of proofreading, formatting and double-triple checking my files, The Future King: Logres is live on Amazon (and also on Createspace). Soon to be released on Kindle, I thought I would share with you an extract from the middle of novel to whet your appetites.

She was knocked out of Arthur’s grasp in a second, pushed aside by one scrambling body and then another, and suddenly she was being carried along with a stream of faceless figures, fighting against them, trying to get back.

‘Arthur!’

A tear gas canister propelled past her, splitting the protestors. Someone pushed her hard in the back. Gwenhwyfar didn’t realise she had fallen until she was on the tarmac. Instinctively her hands flew up to protect her head. Someone trod on her leg, another person tripped over her stomach. The shouting was frightening. Grabbing hands pulled her up, and then another protestor was asking if she was all right, helping her away from the scene. When she fought against them they abandoned her.

‘Arthur!’ she yelled again, cutting through the crush. He was tall; she should be able to find him, and at the same time she half-hunted for Gavin, who was tallest. She daren’t jump to try and see better; if she did she would go down again, and this time she might not get back up.

She longed to take her mask off; it was hot and hard to breathe. They had been told to go to Marvin’s meet-up spot if one of them got separated, but with her phone at home she was scared to leave when she knew that Arthur was here somewhere, just a few feet away.

The crowd struggled the only way it could—back into itself. Gwenhwyfar waited, alone and small as the road around her cleared, but when the police charged in with handcuffs and batons she shrank away, knowing she shouldn’t linger. A sudden heat seemed to melt against her with the brightest of lights. Someone had thrown a Molotov cocktail.

Of course none of this would have been possible without the support of my family and friends, and I would like to take a moment to thank everyone who has already ordered The Future King: Logres and who have supported me throughout this process. If you do buy a copy then I encourage you to leave a review on Amazon – it will help others decide if this book is for them and I would love to hear your feedback!

With TFK published I can now concentrate on other endeavours, and hopefully also continue writing Book II which will be the next in The Future King series.

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Progress on self-publishing!

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So! Yesterday (was it yesterday? Actually, I think it was Friday), I finished my edit/proof read of my novel. That’s right! All five-hundred and something pages checked, double-checked, and tweaked. Surprisingly the new format of the novel made catching things that I’d never noticed before much easier – such as missing speech marks, duplicated words, or words that had clearly hung on despite the rewriting of the sentence. Inevitably, I will have missed one or two things. My three-pronged approach of reading in my head, reading aloud, or getting dictation & speech to read for me can’t have picked up everything. As a result I have sent my final draft off to my proof-readers, and am awaiting their verdict. I shall have to resist the urge to edit again when comments come back – after all this is the start of a story, and there are always so many ways to tell it.

In the meantime I am trying to work my way through the minefield that is writing your own blurb. I should be able to manage it, I’ve written a novel, right? I edited that novel, then after that I did the unthinkable – I trimmed down 120,000 words into a one-page synopsis. That, at the time, seemed impossible – but as it is often shown, the impossible turned out to be possible after all. 200 words or less is a much shorter order to work to, however, and (so far) I’ve found it’s the sort of thing that can only be approached in short bursts.

One draft – a splurge of sentences on the page that make little sense. Break. Another draft, writing an alternative to the above. Research, lots of research – or at least just a little bit – looking at book blurbs in your own library and googling ‘how to write a book blurb’, only to find that there are several ways one can do it. Writing again, with these strict guidelines in mind. Deleting all the above because, surprisingly, the guidelines were actually quite helpful. Break, because what you wrote needs to sink in before you can edit it. But you’re there, you’ve got the tone and the content right. Now it just needs to… pop.

Other than that, my schedule at the moment includes getting other aspects right – in particular things like text for the acknowledgements. As I am destined to a reasonable wait before I can continue with the whole publishing thing (everything is on hold now until the book itself is ready to be uploaded), I will probably return to some of the other points on my to-do list for a while. Scanning my grandfathers’ slides of plants and butterflies is one, illustrating a few projects is another, working on a children’s book is my third (nearly done, I just need a decent ending). Presently I am battling the urge to try restructuring my book completely, just to see if it would be better (or worse). Knowing when to stop tweaking is a good skill, and it’s easier to do when working on a painting or drawing. The result of a drawing is usually completely visible on one page, and is therefore easier to conclude that it is, actually, finished. Perhaps someday I will be able to transfer such understanding to my written work, and the whole process may become a little easier to draw a line under.

The Future King: Logres – book cover release!

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The Future King: Logres is due to be released in October of this year. Keep checking back for teasers and confirmation of a release date.

So today I am finally ready to post up the above design. This is my novel, this is my my book cover: this is what it looks like. It’s simple, it’s clean, and it’s a great start to the look and feel of the rest of the series.

The name of the series, The Future King, is born from the promise of King Arthur’s messianic return to save the country despite his downfall at the end of the original legends. Logres is the scene in which this second coming is set: the secondary school at which fifteen-year-old Gwenhwyfar Taliesin starts after moving from Swansea with her affluent parents. It is 2052, and the gap between rich and poor has never been wider. Immigrants are persecuted and dubbed ‘illegals’ while day-to-day life is becoming increasingly monitored: just another year under George Milton and his ruling party, New National.

Things are going well for the release of The Future King: Logres – the book has been fully formatted and I am just perfecting my final draft. It will then be sent off to my proof-readers (very kind friends and family who don’t mind checking for errors). I’m greatly looking forward to seeing Logres printed and in final book format – my full book design is waiting patiently in photoshop as a psd file for my confirmed spine width. Then I just need to write a blurb.

Feel free to let me know what you think of the chosen design if you’d like to leave a comment. It’s back to editing, here, but keep checking back for more news, updates and teasers in the weeks to come!

The Knights of the Round Table

“His broad clear brow in sunlight glow’d;
On burnish’d hooves his war-horse trode;
From underneath his helmet flow’d
His coal-black curls as on he rode,
As he rode down from Camelot.
From the bank and from the river
He flash’d into the crystal mirror,
‘Tirra lirra, tirra lirra:’
Sang Sir Lancelot.”

– The Lady of Shalott (1832) by Alfred, Lord Tennyson

Arthur. Merlin. Camelot. The legends of King Arthur and his knights are known in some form or another to the majority of the population, and have repeatedly been reinvented in television, film, and the written word. Personally I cannot pin-point my first encounter the legends, but assume it must have been through an older text, because when I first saw Jerry Zucker’s First Knight (1995), I thought they had misspelt Sir Lancelot (as far as I was concerned at the time, it should have been Sir Launcelot). It wasn’t until college that I delved deeper into the legends, after reencountering them through my studies of the Pre-Raphaelites (in particular John William Waterhouse’s The Lady of Shalott (1888)). First I read Tennyson’s accompanying poem (quoted above), and then I purchased Le Morte d’Arthur from my local Waterstones. After hunting the same store for King Arthur related books, I soon discovered my all-time favourites: Marion Zimmer Bradley’s The Mists of Avalon, Bernard Cornwell’s Warlord Chronicles, and T. H. White’s The Once and Future King. Each author’s interpretation of the legends is, of course, birthed from the same origins. But each is fundamentally and absolutely different.

What is it about the legends of King Arthur that is so expansive? You could tell a hundred authors or more to retell the legends in their own words, and no two versions would be remotely the same (unless of course they were talking, and intending to be the same). Of course, a writer’s different styles and preferences would affect any such project. But in the case of King Arthur, I think the legend’s richness is compound in the inevitable differences. There are dozens of stories within the framework offered, and hundreds of subplots countable from that. It is just so complex. Who do you focus on? Which stories do you tell? The list of the Knights of the Round Table at its most expansive runs to more than 150. The love stories are ever-changing and entwined. The quests are endless – the Holy Grail, the Questing Beast – authors need only take their pick.

My interpretation of the legends of King Arthur evolved from my own experiences and interests in life, metamorphosing into a hybrid of contemporary concerns and the raw essences of the myths. This modern reflection of the myths is set to span the arc of Arthur’s rise to power in a futuristic depiction of Britain. Book one has been written, and I have read Createspace’s lengthy user agreement and deemed it satisfactory. I am looking into the particulars of self-publishing, such as how to format a book and how to design your own cover. I can’t afford a graphic designer or a proof-reader or editor, so I (like many others) will be taking a risk and doing all of the work myself.

Perhaps it is a good sign that after all these years I am still not bored by my idea. I still believe in the concept, I still love the characters. I can re-read the first and last fifty pages again and again, and still find them interesting. Many stories of King Arthur hint at Arthur and Merlin retiring for the long sleep – destined to reawaken when Britain needs them most. I think this perhaps is one of the most attractive concepts in the legends – the promise of hope in the dark days to come.