The Dillon Empire hereby wishes you a very Happy New Year, and hopes you have a splendid 2025. Tradition dictates that l set out my main writing plans for the year ahead, so here’s what I hope to achieve.
Since August, I’ve been researching, outlining, and creating character profiles for my next novel. It’s the first in a series of dark mystery thrillers with a supernatural edge featuring a private detective and her assistant investigating a particularly baffling murder. Each of these novels will be a standalone mystery, but a bigger mystery will start to reveal itself in the background as the novels progress. As you can see, this is a hugely ambitious project as I’ve not consciously undertaken the writing of a series before (The George Hughes Trilogy was an accident in that respect, so doesn’t really count). At any rate, I am about to start writing the first draft of the first novel, so I’ll keep you updated on progress.
Also, this year, I might release another of my novels: horror-thriller mystery The Hobbford Giant. I’m still shipping that one around agents and publishers, but if I draw a blank, I may self-publish it. Alternatively, I might self-publish another volume of short stories (probably some of my fantasy tales, a few of which have previously appeared on Medium and Substack, and some of which have never been published before). I can’t say for sure which way I’ll leap, but one or the other of those will hopefully be available by the end of the year.
On top of this, I aim to write a clutch of new short stories, as well as pen another significant segment of my epic sequel to an as-yet unpublished children’s fantasy novel I wrote ten years ago, tentatively entitled The Faerie Gate (though that title will change). I had hoped to make progress on that novel last year, but that didn’t happen for various reasons; mainly, I’d bitten off more than I could chew, and something had to give. However, this year, I hope I’ll have the window to get another chunk finished. The novel is about half finished at present, and if I can get to two-thirds finished by the end of the year, that would be splendid. It’s turned into a bit of a monster in terms of length, so this novel could wind up being divided into separate volumes akin to The Lord of the Rings. But we’ll see. At present, I still think of it as one novel.
Beyond all that, I plan to revise and polish the mystery novel I wrote last year. I call it False Witness at present, even though that isn’t the real title (I’m keeping it a secret, for now). In addition, if The Hobbford Giant fails to get snapped up by agents and publishers, I’m going to send out A Thorn in Winter; another mystery novel which I originally wrote in 2022. As you can see, I’m not giving up on that front. Who knows? Perhaps this will be the year I find a mainstream publisher (I’ve had novels traditionally published in small indie presses before, but not by any of the big guns).
It will be interesting to see where I get to with all the above by the end of the year. I’m sure I’ll be immensely busy. In the meantime, thank you for supporting my writing. Again, I wish you all a very Happy New Year.
A rather forced smile makes me look a bit evil by the Christmas tree.
The first and most important thing to say in opening this lookback over 2024 in my fiction writing is thank you to everyone who has bought my novels and short stories or reviewed them (or both). I’m also thankful to everyone who has supported me in other ways, whether via Patreon, or through Medium, or by subscribing to read my work on Substack. I’m extremely grateful to all of you. I know this is already sounding like an Oscar acceptance speech, so before it degenerates into such nausea, I’ll move on with a quick glide through my fiction work in 2024.
New Novel Release: Ravenseed
After years of dithering, I finally released my first-ever fantasy novel: Ravenseed. An epic adventure of love, lust, betrayal, and vengeance primarily set in the Dark Ages, with a parallel plot in the present, this novel has been warmly received so far. I’m extremely proud of this story, and I’m thrilled to finally have dipped a toe into the world of fantasy, as it is such a difficult genre to get right. For years I was scared of putting off non-fantasy readers, whilst not getting it right for those who eat, sleep, and breathe such tales. But it turned out well in the end. Ravenseed represents what I’m most proud of in my fiction writing this year.
Ravenseed is available on Kindle or paperback from Amazon here or from Draft2Digital and other outlets here.
New Novel First Draft Written: False Witness (not the real title)
This year, I’m also extremely pleased to have written the first draft of a new novel. It’s not really called False Witness (too generic, and too many other novels already have that title). I’m keeping the real title a secret for the time being, but that will do as a placeholder to discuss it in public. The plot concerns a prank that goes wrong, as well as a dark secret in the protagonist’s past that comes back to haunt her present. And yes, I know that’s vague and could apply to pretty much every thriller I’ve ever written, but I really don’t want to say too much more at this stage. Just believe me when I say this dark secret is exceptionally dark.
New Novel Rewritten: A Thorn in Winter
I originally wrote this mystery thriller in 2023. I’d intended to prepare the second draft this year, so that was another annual goal duly ticked off. I plan to submit it to mainstream agents and publishers probably next year in the hope of finally cracking into bigger markets (I have been traditionally published before, but with smaller indie publishers). So far, feedback on this novel has been positive, so who knows? Perhaps this will be the one. The story? It’s still mostly under wraps for now, but I will reveal the first act features a tangled web of blackmail, before a decades-old unsolved murder comes into the picture.
Novel Submitted to Agents and Publishers: The Hobbford Giant
You’ll get to see this horror-thriller novel pretty soon, I daresay. Why? Because I will almost certainly release it next year – unless the remaining mainstream agents and publishers I’m waiting to hear back from snap it up. I’ve had some hugely encouraging feedback about The Hobbford Giant, but it is now looking unlikely that it will land a traditional publisher. I’m not discouraged, as I have many other novels lined up to try. Besides, this way you’ll get your hands on it sooner. What’s it about? Here’s part of the pitch I’ve been using:
Is it sometimes better not to know the truth? This question lies at the heart of The Hobbford Giant. Set in 1997, it concerns a young journalist investigating an unusual archaeological dig, an abuse scandal at a former children’s home, an ancient folklore legend, and a dark family secret that connects her to all three. The story also explores repressed memories, childhood trauma, and what happens when lies are covered by more lies. A tagline for the novel: “Some secrets can claim your soul.”
Against the wishes of her parents, Mira Webb moves in with her estranged uncle, after getting a job at the local paper in the southwest town of Hobbford. Her first assignment involves a piece on archaeologists digging in the grounds of a children’s home closed years previously in the aftermath of an abuse scandal. Their discoveries may shed light on the legend of a giant that once menaced the area, but after she experiences ghostly visitations, and the archaeologists start winding up in comas, Mira comes to believe an ancient curse may be at work; a curse to which she has a horrifying personal connection.
I hope that whets your appetite. More on this novel soon.
Short Stories
In between writing, rewriting, or submitting novels, I’ve penned half a dozen short stories and novellas. Some of these were published on Medium and Substack, as well as a couple I wrote last year which were held over for this year. Here’s a complete rundown of those released this year. The titles link to Medium. Links to subsequent parts are included at the end of every instalment. Each story is also available on Substack.
Horror. At a private girls school, an English teacher fond of shoplifting and married men stages a cursed play linked to a centuries-old ghost story. Also available on Substack.
Fantasy. A young woman tries to contact her comatose father on a spiritual plane between life and death. Also available on Substack.
Other Achievements This Year
You may have noticed I’ve slightly changed things on this site. I’ve made some visual tweaks, and I’ve also disabled comments. It is easy to interact with me on other platforms – on the Simon Dillon Books Facebook page, Medium, Substack, and Patreon, for instance – so I felt this site ought to be more like a brochure, showcasing my fiction work.
On the subject of Substack and Patreon, I’ve started running exclusives on the former, with monthly videos, and the serialising of my supernatural thriller novel The Thistlewood Curse available to those paying $5 per month. For that, paid subscribers also get access to my full film review archive, plus classic film analysis, top tens, and more besides. There’s a free subscription level too, purely for new release film reviews, but those disappear behind a paywall after four weeks. If you’re considering subscribing to my Substack page, but haven’t done so yet, take a closer look here.
As for Patreon, here I offer exclusive early access to short stories, sneak previews of artwork, exclusive insights into my writing processes, video updates, novel draft previews (including serialised unpublished novels), interviews with some of my characters, deleted scenes (sometimes entire chapters), and other material found nowhere else. Level of access depends on whether you become an Ally of the Dillon Empire, Free Citizen of the Dillon Empire, Knight of the Dillon Empire, or General of the Dillon Empire. Check out my Patreon page here, for more information.
All things considered, 2024 has been a challenging and fulfilling year, with many (though not all) of my annual goals achieved. As usual, I’m taking a short break over Christmas, but as per my tradition, I’ll reveal my goals for 2024 on New Years Day. Watch this space.
It only remains for me to thank you again and wish you all a Merry Christmas.
(All images by author or created by author in Canva, unless otherwise stated.)
What have I been up to lately? Lots, as it happens.
New novel
Most of my recent writing time has been spent working on the outline, character profiles, and research for my next novel. I’m very excited about this one, as I hope it will be part of a longer series, featuring the same protagonist. It’s a supernaturally tinged whodunnit, which will come as no surprise to any of you, given that mystery horror-thrillers are my bread and butter. But this is the first time I’ve planned a series of novels in that genre. It’s a challenging project, but one I can’t wait to share with you all. I begin writing the first draft in January.
New short story: An In-Between Christmas
Outside the next novel(s), one of my recently written short stories, An In-Between Christmas, is now being serialised in Fictions on Medium (see part 1, here). As a taster, here is the logline for this bittersweet dark fairy tale: “A young woman tries to contact her comatose father on a mysterious spiritual plane between life and death.”
An In-Between Christmas is also being serialised on Substack (here). It will appear in weekly instalments, every Monday, with the final part appearing on the 23rd of December. However, if you can’t wait that long, or if you want to read the story outside of Medium and Substack, all six instalments are available on Patreon, but at a price. I’m taking advantage of their new “buy a one-off post” scheme, so that’s available too, at a cost of £3 per instalment. I agree, that’s a bit steep, but that’s Patreon’s minimum price per post. All Patreon support is hugely appreciated, of course.
Substack or Patreon?
If you want full access to my short stories and novellas, as well as classic cinema articles, top tens, film review archive, and more, then Substack is probably a better bet at $5 per month (the free version gives you new release film reviews only, though after four weeks they disappear behind a paywall). Patreon provides more exclusive behind the scenes material, and exclusives such as video updates, story previews, deleted scenes, unseen designs, more in depth articles about my creative process, and so forth. But if you simply want to see the finished products, Substack is better value for money. Of course, if you’re on Medium, much of what I publish on Substack is there too. However, there are going to be exclusives on Substack very soon, so do bear that in mind if dithering over where best to view my work.
Subscribe to me on Substack here or support me on Patreon here.
Another new short story
Beyond all this, I’m working on yet another new short story. This time it’s a comedic detective story, the details of which I’m keeping under wraps at present. This story also has a connection to my new novel, but I’m keeping quiet on exactly how for now, except to say the light tone here will be in stark contrast to the much darker edges of the new novel.
That’s about it for now. Expect my final update for 2024 next month.
Over the last month, most of my fiction writing activities have centred around short stories. The first of these, a new fantasy tale presently untitled, is set at Christmas and concerns a young woman with a father in a coma. At the hospital, She meets a mysterious man who transports her to another dimension where she might be able to contact her father, if she undertakes a perilous journey. That’s all I’m going to say about the plot for now (I’m being deliberately vague on details) but I hope it will run on Medium and Substack this December.
The second short story is about a private detective investigating the murder of a much-loathed man involved in an online scam. However, this story might not see the light of day, because I wrote it mainly as an exercise in getting to know the protagonist of my next novel. I may write two or three more short stories involving this character in other cases, and might publish them further down the line, if all goes well with the novel, and if the short stories are compelling enough in their own right.
All of which brings me to the next novel. The preparations for writing the manuscript in earnest are presently underway. I’m preparing plot outlines, character profiles, undertaking research, and generally getting ready for the big push to write the first draft, early next year. Hence, the short stories being centred on the private detective protagonist.
That’s pretty much all I can say at present about my fiction writing. I’ll keep you updated with further news when I have it. However, if you are a Medium subscriber, or if you subscribe to me on Substack, do check out my ghost story presently being serialised on both platforms: Rachael.
Created by author in Canva.
A spooky, supernatural horror tale, Rachael is in five parts, the first four of which are now available to read. Here’s the subheading I’ve used: “At a private girls school, an English teacher fond of shoplifting and married men stages a cursed play linked to a centuries-old ghost story.”
Check out part one here (on Medium) or here (on Substack). The end of each instalment features links to subsequent parts, of the final part will be published on the 31st of October.
Over the past couple of months, I’ve been busily promoting my latest novel Ravenseed. Here’s a handy list of links to the various facets of the novel explored on this site, for those still considering whether to take the plunge and give this novel a go.
I can only again urge you to do so, as Ravenseed – an epic tale of love, lust, betrayal, and vengeance – is a story I’m particularly proud of. Blending Arthurian mysticism with adventure and romance, it’s the first fantasy novel I’ve ever released, but it isn’t aimed purely at the fantasy crowd. Ravenseed isn’t bogged down in world-building minutiae, but it deals with relatable themes via engaging characters, primarily in a Dark Ages setting, and in a present-day parallel plot that mirrors events in the past. Why not give it a go?
Here’s the blurb from the back of the book:
532 AD. Knights Sir Peter and Sir Matthew ride to battle, but when they take an ill-advised detour, the two friends find themselves involved in a quest to break a curse on Sir Matthew’s love, Elizabeth.
The quest sends them on a journey through Anglia, where they encounter magicians, spirits, gods, and dangers beyond their wildest dreams – from without and within.
In the present day, as teenager Fay Pendleton reads an ancient account of the two knights, scars start appearing on her face. Despite her ongoing disfigurement, she becomes obsessed with discovering the outcome of the quest, and her link to this mysterious story.
If that doesn’t whet your appetite, here are the aforementioned links to articles, exploring certain aspects of the novel in more detail.
Teaser Images
For a series of teaser images, hinting at some of the locations in the novel, click here, here, here, and here.
An Introduction
A lengthier introduction to the narrative and themes of Ravenseed can be found here. I also expound on why this isn’t just a novel for fantasy fans, but for all readers.
Excerpt 1
A brief taste of the novel, from chapter 3, introducing Sir Peter, Sir Matthew, and their squires. Click here to read it.
Excerpt 2
A second short excerpt, introducing the beautiful and beguiling Elizabeth. Click here to read it.
Settings, Research, Revisions
This article explores some of the research that went into the novel. This includes earlier iterations of themes and plot ideas from the original outline, as well as the physical locations, geography, histories, and folklore surrounding the story. Click here for more.
Influences and Inspiration
What novels or texts informed Ravenseed? I discuss the tonal inspirations in this piece.
Deleted Scenes
In an article about the editorial process, I reveal details of two major sequences (each about a chapter long) I decided to cut from the final draft. One involves a dragon, the other, a second battle sequence. Click here for more.
Bloodmire Revisited
A companion piece novella for Ravenseed entitled Bloodmire was published a couple of years ago on Medium. I’ve since decided to revise the ending, for Substack subscribers (exclusively, for the time being). More details can be read here.
The First Review
Fellow fantasy author Claus Holm offered this five-star endorsement of Ravenseed. To read it, click here.
Ravenseed is available from Amazon on Kindle or paperback here (in the UK) and here (in the US). It is also available from Draft2Digital and their associated outlets (such as Smashwords).
Reviews are hugely important to independent authors like yours truly, as they encourage algorithms to show my novels to more people. Obviously, it’s also great when they are positive, and in the case of Ravenseed‘s first review, it’s a five star all-out rave. Author Claus Holm had this to say about my novel:
“Dillon reveals a new side of himself in this novel. Mostly known for gothic thrillers, this time he turns to a fantasy stories with knights, curses and dark wizards wielding evil magic. He knocks it out of the park!
In modern day, a teenage girl named Fay finds an old book, describing the adventures of two knights of the realm, Sir Peter and Sir Matthew, during the reign of King Arthur. The book tells of how they embark on a quest to absolve Matthew’s great love, Elisabeth, from a curse. As she reads the book, the events in the book being affecting Fay’s life, and she is soon stalked by an unknown enemy that has ties to the very story she reads. She must go on her own quest to find out what is happening.
The story is dark, full of rich flavor and told very well. Both Peter (the writer of the old book) and Fay are compelling protagonists, that you very quickly get to care about, and the descriptions of old Anglia that was are full of very lovely descriptions of a world long gone.
The book also frames the conflict between the old religions and Christianity in an interesting way, where they both have power in different ways.
The book is a rare gem, for well-written Arthurian fiction is hard to come by, and the modern twist only improves the story. Highly recommended for a darker fantasy reading.”
All very encouraging, and great to have the endorsement of a fellow fantasy writer. If you have read and enjoyed Ravenseed, please consider leaving a review on Amazon or Goodreads, or ideally both. It doesn’t have to be long or eloquent. “I enjoyed it” is fine, and all reviews are appreciated. They are the lifeblood of independent authors, and literally put food on the table, due to the aforementioned algorithmic stimulation. Thank you to all of you who do review my work. You are hugely appreciated.
Ravenseed is available from Amazon on Kindle or paperback here (in the UK) and here (in the US). Downloads or paperbacks are also available from Draft2Digital, Smashwords, and associated outlets here.
My recently released fantasy novelRavenseedunderwent substantial revisions from early drafts to the finished version. Various sequences were removed based on feedback from beta readers (who saw different iterations as the novel took shape). My first draft – written from an outline I’d already drastically altered many times – came in at over 122,000 words, with the released version cut down to about 113,000 words. As an insight into my writing process, here’s a look at two major sequences that were removed, and why.
During the outlining stage, I became anxious that the novel needed more action in the second half. Both the sequences in question were born out of this concern, but it rapidly became apparent after penning the first draft that both were unnecessary. Instead, I needed to trust the story and the character arcs rather than artificially insert extra perils. As a result, two massive sequences got the axe.
The Dragon Attack
Following the chapters where the knights take some rest in Kirkstall Abbey, a dragon attacks them at night. Carefully treading around spoilers, by this point in the story, schisms already exist between certain characters. The original idea was for them to be forced to work together to fight this monstrous threat, allowing for a brief flash of their former camaraderie. The dragon was also intended as a metaphor for the lusts and ambitions of one particular supporting character, who (it is later revealed) consorted with the main antagonist to bring about the attack in the first place, for their own ends.
After I’d left some time to distance myself from the manuscript and read it with fresh eyes, this sequence stood out like a sore thumb. The dragon lust metaphor was clumsy, and the Machiavellian machinations of the supporting character seemed absurdly convoluted. I eventually cut almost all that subplot, including the entire dragon sequence. Although Ravenseed features supernatural entities, this isn’t a novel that needed big monster scenes, so it was a good cut to make, and the story reads far better as a result.
The Second Battle
Another major chapter removed from the final version is a battle sequence told in flashback that details how Sir Matthew saved Sir Peter’s life, some years previously. I shan’t say exactly where this flashback would have appeared, again, for fear of spoilers, except to say it was intended to add contrast and irony with events later in the book, whilst beefing up the action.
The battle is fought in flat eastern lands, perhaps in Norfolk or East Anglia, amid freezing conditions. I rather liked some of the details – for instance, Sir Matthew’s distress at the suffering of their steeds during the attack, further exploring the animal-loving side of his persona, and a near-drowning moment. The terrain is also very different to the earlier battle (a castle siege), with ambushes in long grass and reeds. In addition, this was meant to expound on a key moment of character development for Sir Peter, who finds new reason for optimism and hope, after becoming disillusioned about notions of glory and honour in the face of warfare’s brutal realities.
However, whilst this sequence worked well in and of itself, it felt like seriously over-egging the pudding in the context of the novel. There’s already a major battle sequence earlier in the book, so adding another big-scale conflict at a time when the story has become more low-key, and dramatically focused on a smaller group of characters, didn’t work. In addition, the hoped-for irony and contrast didn’t come off as well as I’d hoped. It felt as though I was trying to be too clever for my own good by demanding additional calls on reader sympathy when I’ve already put them through the emotional wringer in other respects.
In short, this story didn’t need an extra battle or a dragon, and I am convinced no one will come away from it feeling short-changed. Ravenseed has plenty going on without additional razzle-dazzle. You get knights, sorcerers, sieges, spirits, gods, sword fights, supernatural duels, two love stories, epic journeys in past and present, plus a magical finale with more than enough climactic conflict and irony to be going on with.
Ravenseed is out now. Here’s the blurb from the back of the book:
532 AD. Knights Sir Peter and Sir Matthew ride to battle, but when they take an ill-advised detour, the two friends find themselves involved in a quest to break a curse on Sir Matthew’s love, Elizabeth.
The quest sends them on a journey through Anglia, where they encounter magicians, spirits, gods, and dangers beyond their wildest dreams – from without and within.
In the present day, as teenager Fay Pendleton reads an ancient account of the two knights, scars start appearing on her face. Despite her ongoing disfigurement, she becomes obsessed with discovering the outcome of the quest, and her link to this mysterious story.
Ravenseed is available from Amazon on Kindle or paperback here (in the UK) and here (in the US). Downloads or paperbacks are also available from Draft2Digital, Smashwords, and associated outlets here.
The most obvious point of inspiration for my new fantasy novel Ravenseed is the Arthur Legends. Whether you’re reading Sir Thomas Mallory’s La Morte d’Arthur, TH White’s The Once and Future King, or any of the many other versions of Arthurian mythology, this is the most direct and conscious influence. Though Ravenseed is an entirely original work and makes no direct reference to Merlin, Guinevere, Arthur, or any of his various knights, the Dark Ages setting, and a couple of references to the unnamed King, make clear this tale belongs somewhere in the Arthurian timeline.
What other texts most influenced my work? Here are three books that lingered in my subconscious whilst writing, mostly as a tonal inspiration.
The Bible: 1 and 2 Samuel
I’ve written before about my theory that the Arthur legends were directly inspired by the story of King David. Just replace Samuel with Merlin, Saul with Uther Pendragon, David with Arthur, David’s Mighty Men of Valour with the Knights of the Round Table, Jerusalem with Camelot, and add supernatural artefacts (the Ark of the Covenant, Excalibur, and the Holy Grail). You get the idea.
My primary source of inspiration for this tale is the forbidden romance aspect: Lancelot and Guinevere in the Arthur legends, and David and Bathsheba in the Bible. Their affairs lead to disaster in both cases (as well as causing war and division in the process – Absalom, Mordred, etc). In Ravenseed, there are two romantic stories, each a parallel of the other, one in the Dark Ages and one in the present. One is forbidden, the other isn’t, but both relationships face potential catastrophe.
The Buried Giant by Kazuo Ishiguro
This melancholy, elegiac tale of an elderly couple journeying in an attempt to find their son shortly after the reign of King Arthur is an unusual, vivid novel. A mysterious loss of memory seems to have gripped many in the land, though as they travel, the couple in question slowly recall their past. Along the way, they encounter knights, monks, ogres, dragons, and a number of travelling companions, some of whom are not what they seem. Much iconoclastic debunking of the supposed honour and justice of Arthurian rule ensues.
In this novel, Arthur is not the all-benevolent King generally spoken about in the legends, as the major revelations of the story reveal. In Ravenseed, the two knights, Sir Peter and Sir Matthew, are not as affluent or famous as many of their more celebrated kin, and whilst my book doesn’t reveal dark deeds performed by their King the way this one does, it does note that the King and his wizard (neither of whom are named) are often too wrapped up in loftier matters to care about important details like showing up for battles. In addition, Sir Peter and Sir Matthew are not treated well by the knights closest to the King, and understandably bear a certain amount of ill will as a result.
Stardust by Neil Gaiman
This hugely enjoyable romantic fairytale features star-crossed lovers, quite literally, given that one of the central couple, Yvaine, is a fallen star. Tristan has vowed to bring this star to the object of his affection, Victoria, but finds himself drawn to Yvaine amid a supernatural comedy of errors that also features an evil witch, enchantments, and certain other fantastical complications, some of which were an influence on Ravenseed.
Chief among these is the main enchantment that afflicts Elizabeth in my story (the details of which I will not spoil). She has just got married to Sir Matthew, at a detour to the Raven Inn on their march to war, though they do not consummate the marriage. However, Sir Peter is also drawn to her, and gradually, she begins to reciprocate. Obviously, love triangles are nothing new, but the supernatural nature of those in Stardust informed both of the romantic narratives in my novel. I’d also add the comedy in Stardust also informed some of the lighter moments in Ravenseed.
Again, to be clear, Ravenseed is its own beast and stands out from all the above. But it would be disingenuous not to mention the inspirations and influences that informed the novel. Besides, if any of the above are your cup of tea, I reckon you’d definitely enjoy my book.
Ravenseed is out now. Here’s the blurb from the back of the book to whet your appetite, if you’ve yet to pick up a copy:
532 AD. Knights Sir Peter and Sir Matthew ride to battle, but when they take an ill-advised detour, the two friends find themselves involved in a quest to break a curse on Sir Matthew’s love, Elizabeth.
The quest sends them on a journey through Anglia, where they encounter magicians, spirits, gods, and dangers beyond their wildest dreams – from without and within.
In the present day, as teenager Fay Pendleton reads an ancient account of the two knights, scars start appearing on her face. Despite her ongoing disfigurement, she becomes obsessed with discovering the outcome of the quest, and her link to this mysterious story.
Ravenseed is available from Amazon on Kindle or paperback here (in the UK) and here (in the US). Downloads or paperbacks are also available from Draft2Digital, Smashwords, and associated outlets here.
A fair amount of research was required for my new fantasy novel Ravenseed. Here’s a bit of an insight into that process, as well as a few ramblings about the locations and revisions to the story made ahead of writing the first draft of the manuscript.
Whilst the Dark Ages setting for the bulk of the narrative didn’t necessarily require strict factual veracity given the parameters of the fantasy genre, I wanted to ensure the correct names were used for regions, towns, and so forth, assuming they existed at that point. I discovered Plymouth, Exeter, and Camelford were already established, but Bristol wasn’t. However, the region was called Abona, so I used that name. I also opted to use Anglia rather than Albion as the latter generally refers to Great Britain rather than just England. My novel is set entirely in the latter.
Beyond that, as I’ve already mentioned, I didn’t necessarily cling to strict historical fact. For example, plate armour wasn’t around in those days, but it is used in my novel, as it is part of Arthurian fantasy iconography. On the other hand, I did try to stick to geographic fact as much as possible, making sure the journey taken by the characters reached caves in the Mendips before going far further north to Sca Fell Pike in the Lake District (the highest mountain in England), for example. The clash of Christianity with the old religion is a key theme of the Arthur legends, and likewise informs my novel.
Before I wrote the first draft of the Ravenseed manuscript, my plot outline changed many times. For example, the original parallel story wasn’t set in the present, but only a generation or two after the main story. Instead of Fay, Abel, and Anne, and their modern-day journey, I had a story about a blacksmith’s apprentice who happens upon Sir Peter’s account. At the same time, I had the mysterious masked traveller rampaging from village to village, searching for “the last of the Ravenseed”, killing without mercy, and leaving terror in his wake. I worked on this version of the story in some detail, before deciding the parallel tale lacked contrast, so opting for a contemporary version instead.
Another glance through my original notes informs me I’d originally considered reincarnation themes, as well as a lot of ponderous piffle about the idea of the written word as contagion (in relation to the disfigurement subplot in the modern-day storyline). The straightforward, less pretentious curse I ditched all that for is far more appropriate to the fantasy genre. I honestly don’t know why I was so foolishly abstract in my narrative approach, but then again, my outlining process is mostly about getting rid of the bad ideas.
A second outline featured the journey culminating in the Malvern springs in Worcestershire. This idea came from ancient legends about Malvern water supposedly containing restorative or healing properties (it was once considered sacred). These stories were later put down to the water’s purity when samples were scientifically tested. Anyway, I eventually ditched using this location in favour of what takes place in the novel, but reading around this subject anew was immensely interesting.
At one point, I considered setting part of the novel in France, with an invading French force repelled by the King and his knights (which included Sir Peter and Sir Matthew). This ultimately changed to the Cornish rebellion and subsequent battle that features early in the final novel. Some of the fantastical elements were a bit more out there in the original drafts too. I even considered an appearance from Lucifer, along with a dragon that acted as a clumsy sexual jealousy metaphor. The dragon sequence survived to the point that it was written into the first draft before it got excised. But more on the deleted scenes in a future article, as I’ve rambled on enough.
Ravenseed is out now. Here’s the blurb from the back of the book to whet your appetite, if you’re yet to pick up a copy:
532 AD. Knights Sir Peter and Sir Matthew ride to battle, but when they take an ill-advised detour, the two friends find themselves involved in a quest to break a curse on Sir Matthew’s love, Elizabeth.
The quest sends them on a journey through Anglia, where they encounter magicians, spirits, gods, and dangers beyond their wildest dreams – from without and within.
In the present day, as teenager Fay Pendleton reads an ancient account of the two knights, scars start appearing on her face. Despite her ongoing disfigurement, she becomes obsessed with discovering the outcome of the quest, and her link to this mysterious story.
Ravenseed is available from Amazon on Kindle or paperback here(in the UK) and here (in the US). Downloads or paperbacks are also available from Draft2Digital, Smashwords, and associated outlets here.
Here’s another excerpt from my newly released fantasy novel Ravenseed, an epic tale of love, lust, betrayal, and vengeance. In this scene, Sir Peter meets Sir Matthew’s betrothed Elizabeth for the first time, and is captivated by her beauty.
I noticed a young barmaid crossing the room to where we stood. Her gaze was fixed on Matthew, but because I stood quite close to him, she could almost have been staring at me. Indeed, at one point her eyes flickered in my direction and gave a brief appraisal, before returning to their intended focus.
The barmaid let out an exclamation of delight and embraced Matthew. She kissed his lips then drew back, regarding him with an expression of unadulterated joy.
‘Matthew! I didn’t expect you! After I heard about the King fighting in Cornwall, I thought I might never see you again.’
Matthew appeared pleased with his welcome, but stiffened somewhat, perhaps due to my presence.
‘Elizabeth, this is Sir Peter and his squire Robin.’
‘A pleasure,’ said Robin, bowing slightly.
Elizabeth ran a hand through her long auburn hair. ‘I’ve heard a great deal about you, Sir Peter.’
To say that I understood in an instant why Elizabeth had so captivated Matthew would be an understatement. She was beautiful, yes, but hers wasn’t the mere beauty of a country girl. Something about her deep green eyes drew me into her face and held me transfixed. They were warm, kind, almost magical, as though they could perceive my very soul, locate my greatest desire, and grant it.
‘I’ve heard a great deal about you too, Elizabeth,’ I said eventually. ‘Sir Matthew is very fortunate.’
Elizabeth laughed and gave Matthew a playful cuddle. ‘Fortunate? How can you be sure of that? How do you know I will not bring disaster upon him?’
‘No one seeing you could entertain such an absurd notion,’ I replied.
Elizabeth stared at me, suppressing a grin. An expression of mild irritation crossed Matthew’s features.
‘I’m delighted to hear Elizbeth meets with your approval, Sir Peter.’
He spoke as though jesting, yet I sensed a flicker of unease beneath Matthew’s remark. Had my reaction to Elizabeth’s immense beauty unsettled him? He had no reason to be concerned, though I could entirely understand his obsession with her.
‘I am likewise glad to meet with your approval, brave sir knight,’ said Elizabeth, with a hint of harmless mischief in her eyes.
You can pick up Ravenseed from Amazon on Kindle or paperback here (in the UK) and here (in the US). Downloads or paperbacks are also available from Draft2Digital, Smashwords, and associated outlets here.
Simon Dillon Books 
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