Drakenfeld Updates

For those wondering, the edits have pretty much been finished and handed back to my editor – who likes the changes (always useful). There may well be one or two very minor things to massage out, but the bulk of it has been worked on and we move on to the copyedit, which is marginally less humbling.


1. It’s definitely going to be called Drakenfeld.

2. We have a blurb – I’m not sure when we’re going to release it. It’s probably the sort of thing we’ll sit on until the right time, but then Amazon auto-updates and it gets out there anyway.

3. I’ve discovered Drakenfeld shares the name with some sort of ceramic glaze.

4. With distance (and you need distance to really assess these things) this is the book I’m most proud of – and that’s a personal perspective, of course. Other people might think it’s not as good as one of the Red Sun books, but I hope I’m now writing with much more subtlety and consideration. Each novel is a failure of some kind, but I like to think I failed less with Drakenfeld.

5. Still awaiting the cover art. Word on the street is that it’s going to be quite different to the previous series. Not a hooded figure in sight, you’ll be pleased to know. I think there’s going to be some sort of reference to the classical world – probably more inspiration than it being a fresco, but I’m looking forward to seeing the new direction.

6. There will be ARCs.


Book Staircase

Now this is a pretty good way of using space. The only thing is, you’d hardly ever make it to the top of the stairs, since you’d get distracted every couple of steps. (Via.)


On the Tor UK Blog

I’ve written a piece for the Tor UK blog on having my first two books receive new covers, and on being able to revisit Nights of Villjamur to make certain changes to the text:

Who doesn’t like getting a new coat? All right, I know that some of you will love to fester in the trendy / dodgy peacoat you bought over a decade ago, but fashions change whether you like it or not. (Admit it – you’re getting older and you don’t like the change so much.) Anyway, the world of publishing does have to change. What appealed five years ago to the average punter stepping into a bookstore on a wet Wednesday probably won’t work today. Sometimes, you need to freshen up book covers to appeal to new readers.

Read the rest.


Invisible Cities Panel

I was at Foyles in London on Saturday night for a panel called Invisible Cities. It was a discussion on cities and the fantastic, with Tom Pollock and Kate Griffin (with Tom Hunter as moderator), and which was hosted by The Kitschies and Kraken Rum.

I haven’t enjoyed a panel discussion so much in ages. Tom and Kat were on superb form, and we had some proper debate going on, whilst being thoroughly grounded in genre sensibilities. We covered all sorts of subjects about how we each approach writing cities, our relationship with urban spaces, cities as inspiration, what cities can represent, how they’re great at presenting a wide cast of potential characters, tensions, plots and so on. As you can see – a pretty wide-ranging talk. My slant was, pretty much, trying to prove that cities didn’t really exist on one level (I’m not sure whether or not I got away with it) as well as championing the non-city. And right at the start, Tom Hunter very kindly revealed my dislike of London to the audience made up largely of Londoners, but I think I smoothed that over…

There were some really interesting questions that the audience brought up, one of which I never felt got answered properly, so I’m highlighting it here. One man asked about working class characters in fantasy fiction, and why they were notably absent. What I think he was actually getting at was – and this is probably with regards to real world cities – why there is little interest in genuine social realism. To a large extent, I do agree with him – there is a particular M. John Harrison-esque kitchen-sink grunge fantasy that doesn’t really get done all that much these days, especially one that engages with social issues. I didn’t really have a satisfactory answer to that. Perhaps it’s a niche within a niche, or perhaps class is very different these days in Britain. Maybe it’s done in short fiction? Anyway, my lack of a satisfactory answer niggled me.

Other than that, great to see new faces, as well as more familiar ones – and lovely to have a panel like this outside of a convention. Thanks to all who came.