The Hunted & the Hind: Knitting a universe versus snappy dialogue

Cover, audiobook, The Hunted and the Hind

I thought I’d talk a bit today about the differences between writing historical stories and paranormal stories, with particular reference to The Hunted and the Hind, which is coming soon to audio. Most of my stories have magic and the paranormal in them, but I see myself as being more a historical writer than a fantasy writer—I try and get my history right and then throw in the extra ‘what if’ of the magic.

One of the things I like a great deal about my paranormal universe is that no-one, not even me, knows exactly how everything fits together. This is great as a writer because you can basically darn up plot-holes as you go along, but it is also a bit nerve-wracking, because you can write yourself into those same plot holes and it’s excruciating trying to dig out of them. Someone on twitter asked how I kept track of my magic system a while back and my answer was that I didn’t really, but in my head it looks like a room full of balls of wool and excited kittens. This is still true, although since that conversation I’ve started keeping detailed notes because it was all getting a bit out of hand.

Writing the historical parts of the stories is completely different. I like to have a clear idea of the period I’m writing in—for the 1920s now, I think I’ve got quite a grip on it. I started off with family stories about the period and then did lots of reading around, about specific areas of London, specific things that happened that I wanted to touch my characters in some way. It’s a much more measured approach. I sometimes get sidetracked by research into things that seem to blow up in my mind as immensely important and might only have a sentence in the finished book. In The Flowers of Time, for example, I became obsessed with how to make light in the Himalayas in the 1700s and ended up making not only my own butter-lamps, but my own butter.

For The Hunted and the Hind I got sucked down a sea-travel rabbit-hole that seemed to be endless. The characters take a liner home from Egypt to England and I needed to satisfy myself that I’d got the detail right before I started shoving magical happenings into the story. That seems to be the way it works for me—I get the historical period straight in my mind, I have my characters and then I say ‘what if this happened?’. It’s my own particular version of the writer habit of killing your darlings.

As the writer though, one of the most fun things about the 1920s books is the snippy dialogue between the main characters. It was really nice to get back into that when I began to write again. However, I didn’t want Hunted to be another Alec and Lew book, they’d had their turn and I wanted to focus on Fenn and Will. I ended up cutting quite a bit of Alec and Lew scenes because they were just there so I could write snarky dialogue that ending in shagging. Which is what I have as a deleted scene for you today!

The Hunted and the Hind is coming to audio in the next few weeks, narrated by the inestimable Callum Hale–catch up with the audios of Lost in Time and Shadows on the Border here.

The Hunted and the Hind

Cover of The Hunted and the Hind

#3 in the Lost in Time 1920s series.

Inadvertently tumbling through the border into the Outlands after Fenn, Sergeant Will Grant of the Metropolitan Police has spent three months imprisoned by the Frem. When Fenn frees him, they step through the border to the Egyptian desert. It’s a two week ocean-liner journey back to England, with the possibility of magical pursuit. Will the journey give Fenn and Will time to resolve the feelings they have been dancing around since the day they met?

Listen to Angel Martinez reading an excerpt for Friday Reading Day.

#3 in the Lost in Time series. m/enby paranormal, historical, romantic suspense of 40,400 words set in 1920s London. Sequel to Lost in Time and Shadows on the Border, which should be read first. The Lost in Time trilogy.

Deleted Scene from The Hunted and the Hind

“No,” said Alec, very firmly.
“I think you should,” said Lew, mildly. “It would be very helpful.”
“No,” said Alec, again.
“Please?” Lew tried.
Alec sighed. He was going to lose this battle. “Honestly, I have no idea what I’m going to do about it,” he said. “We can’t go on much longer…his mother…,” he trailed off.
“Well, yes,” Lew said. “You’ll have to speak to her. But…,”
“What?”
“She must know about the border, mustn’t she? Grant had training from his father.”
There was a thoughtful pause.
“Yes…,” Alec said, finally.
“So, and forgive me if this seems in any way less simple than it seems…we could just tell her the truth.”
That honestly hadn’t occurred to Alec. He stared at Lew.
“The truth?”
“Yes. The truth.” He paused. “Horrific thought that seems?”
There was a relatively long silence.
“Well…,” Alec was just making noises with his mouth whilst his brain processed.
Lew turned his head on the pillow and looked at him enquiringly. “Yes…?”
“The truth? I suppose…,”
“Yes…,” Lew’s tone was one of exquisite patience. Alec realised he was taking the mickey.
“Oh, do be quiet,” Alec conceded. “Fine. We’ll tell her the truth.”
“Will said she was away,” Lew said. “Can you find out when she’s back?”
“I’ll telephone her house,” Alec conceded. “And make some inquiries.”
“Good plan,” Lew said. “Well done for coming up with it!”
Alec punched him in a friendly fashion on his naked shoulder and things quickly deteriorated in to activities that meant words weren’t very necessary.

Definitely not Magical Realism: The Border Magic system

orange cat on focus photography
Photo by Alexas Fotos on Pexels.com

So, The Fog of War is out next month and I thought it was probably time for another post about how the magic system works–that seems to be one of the main questions that comes up when I do Q&A’s about the series. Basically, my process can be summed up if you visualise me sitting on the floor in a room full of kittens, with different coloured balls of wool all heaped up around me and letting the kittens do their thing. And if the kittens are also crazed on catnip then it’s even more accurate.

When I started writing the series, I dabbled with making one of the MCs a shifter. I thought he might be a centaur. And then the whole thing fell apart when he turned out to be living in a small flat above a laundry in 1920s London and it just wasn’t practical. I mean. Think of the floors! He turned out to be a magician, effectively, although he’d loathe the word. No-one who uses magic with good intent in my world actually calls it that.

I have to confess, the kitten thing didn’t really happen. Although it should have. Because kittens! And I didn’t sit down and plan out the system before I started. It just evolved as the books went on. I knew I wanted my people to be able to pull energy from somewhere. And I knew there needed to be a price, because if you have unlimited magical energy available you’re all-powerful and where’s the fun in characters that are all-powerful?

photo of woman holding a mirror
Photo by Miriam Espacio on Pexels.com

The system works on the principle that there’s power everywhere. It’s called kias. Everyone has some as part of their life-force, some people more, some less. And there’s a source of it in a thing called the border or the shimmer. Some of my characters know this, some don’t. And some of them know that the shimmer doesn’t just exist in isolation. It’s a border between our world and another one. The other one is where people like Fenn (Shadows on the Border & The Hunted and the Hind) and Linn (Inheritance of Shadows) live. They’re sort-of-elves and are magic-users as a matter of course. Fenn and Linn work for a group called the Ternants, who are responsible for maintaining the border between the two worlds. There are definitely other groups who are working to break it down.

We don’t know a lot more about any of the not-quite-elves as yet, pretty much because I’m making it up as a I go along. (Let’s hear a big “YAY!” for discovery writing!). There will be more in forthcoming books, but at the moment I’m enjoying writing about the reactions of characters who live in our own world and touch the magic to a greater or lesser extent and finding out how they each embrace or reject it.

If you know anything about reiki and similar energy practices you will see similarities between those and how my magic system works. Healthy people have healthy energy and sick people have low or wobbly energy. It’s possibly to help people’s health by balancing their energies up. I have taken that further by allowing my magic users, or workers, to pull energy in to themselves (from other people, from their surroundings, from the shimmer, from charged objects) to manipulate both kias and physical matter. Small things like lights in the palm of your hand, and big things, like opening a gate in the energy border between the worlds.

If you’re a responsible person you try and keep the overall energy system balanced and don’t steal kias from people or pull so much from the shimmer that you make it weak and allow nasty things like carnas or hollows to push their way through. If you’re an irresponsible person you do just that. And sometimes you can set up a line or a cord linking you to someone else that is a constant drain on their energy and constantly replenishes yours.

The magic system is really very simple. It works on the basis that energy follows thought. The irony of the green book being that it’s supposed to be a ‘book of spells’ or a book of instructions to make the magic work for you…but actually you don’t need to do any of that ritual stuff. You just need to pull the kias toward you, form your intention and hold it strongly in your mind…and if you are powerful enough and have enough kias available, pow! it happens.

Old books

If you’re trying to do things that are selfish or greedy, or badly thought out, the potential for the kias to spring back at you and sproink you on the nose like a stretched elastic band is enormous. My main characters tend to realise this, earlier or later in the stories. Sometimes after being sproinked.

As the series has gone on the system has developed and I’ve found myself using a sort of retroactive kitten-method to make interesting plot happen. I tend to write very messy first drafts that mean I have to go back and do an enormous amount of pruning to make things fit together logically. Having to make sure that the magic works as well is another layer of complication and having energy-follows-thought as it’s base principle makes it both simple and very complicated. It allows an awful lot of wiggle-room, which means there’s an awful lot of ways to mess it up! But most things I write seems to have the paranormal in there somewhere and my worlds don’t seem complete to me without it.

You can read more about the system and how the books fit into it here.

Border Magic and The Green Book: A secondary character

Border Magic and the Green Book

All of the Border Magic books (previously the Lost in Time books) are based around The Green Book. It’s featured to a greater or lesser extent in every book in the series and I am starting to see it as a main character who has it’s own timeline. I’m not entirely sure what it contains myself, but it seems like there’s one spell (except they’re not spells, let’s be clear, they’re just instructions!) for each story so far.

Deleted Snippet, The Flowers of Time: The Green Book
The Flowers of Time, now in Audible. "Jones was written perfectly. As a non-binary person I felt seen, and may have shed a tear once or twice". "I loved Flowers. It's sweet and sexy, but also fascinating...and creepy."

As Jones got further and further in to the Green Book (she began to capitalize it in her own mind when thinking about it), she became more and more convinced that her father had believed it to be at least based in fact, if not completely factual.

Some of it she couldn’t translate. It was written in a myriad of different languages and hands. Some of the pages were even printed and had clearly been bound in between other pages retrospectively. The enterprise looked as if it had started out as someone’s journal and then perhaps passed through a few different owners who had continued the work before coming in to her own hands. If Pater had found it in the library at Penel Orleiu, god knew how long it had been there. They’d come out to India in the mid-fifties and Jones had been four when they left England, that much she knew. So he had probably had it a few years before that. It could be forty years old. Or a hundred. She didn’t think it was much older than that, from the gold-tooling on the binding and the way the leather and paper were aged. But it was difficult to tell.

Some of the ink was a faded brown color, clearly not very good quality. And some of it was very clear. One page was written in a very pretty green. It wasn’t a cohesive work at all.

So far, we know the book is bound in green leather with gold tooling and it’s written in lots of different languages with a mixture different handwriting and print, some of it on odd bits of paper that have been shoved in higgledy-piggledy. No-one has been able to work out where or when it originated, least of all me. However, this is what we do know:

  • 1611: The book is known to be in Baden. Piece inserted by an unknown elderly traveller who mentions the Himalayas. They talk about pulling power from the border to make magic. (reference: The Flowers of Time)
  • 1730s to 1779: The book is known to be with Franklin Jones. Franklin finds it in the library in his country house, Penel Orlieu. It probably arrived there in a job-lot of books bought by his Grandfather around 1690. He takes it to India with him in the mid 1750s. (reference: The Flowers of Time)
  • 1779: Jones finds the book among her father’s things. (The Flowers of Time)
  • 1848: Jones leaves it in her cousin’s library at Penel House in London. (The Flowers of Time)
  • 1890 to 1920s: The book is at Webber’s Farm in Somerset, with Arthur, Matty & Rob. (Inheritance of Shadows and Bradfield Trilogy – coming soon!)
  • 2016: Mira finds the book in a second-hand shop in London. The book is left behind at her flat when she and Lew go back to 1919. (Lost in Time)

I have a few more stories for it yet, so this time-line will no doubt expand. Because I write in a bit of a random fashion, the stories start off at one point and I have a fairly firm idea of what’s going to happen; and then the characters all hare off in a different direction with me racing to catch up.

The book seems to have life of its own in much the same manner as my human characters do, and functions as a thread running through all the stories. Because my universe has the possibility of time-travel, that makes the whole thing more complicated. It wouldn’t surprise me if the book turns out to have been made in 2051 and then jettisoned back to the sixteenth century. Or created in 1496 and then jumped a hundred years for some reason.

I see the magic in the universe as very unknown and unpredictable. It’s our own world with a hidden layer beneath, if you like. And there’s always a price to pay if you use it; if you’re lucky, and not a nice person, you can sometimes get someone else to pay the price. If not, you get ingested by a magical squid or sucked in to a vortex of rabid mice or eaten by a guinea pig. (WARNING: These are not real examples).

I like the fact that the reader probably knows more about how the magical bits of the universe work than the characters. Each book is self-contained (except Lost in Time, which has a HFN and sort of runs on in to Shadows on the Border for a proper HEA, because it was my first novel and I wasn’t quite sure how it was all going to work). The central story is always the development of a relationship between two people discovering more about the concept of the Border and pulling energy from it to make magical things happen or stop them.

The characters in the love story change. But behind everything lurks the Border and the magic, and the book.

Border Magic banner

Wider availability of audiobooks

Audiobook cover: Lost in Time

Right, I have a New Thing!

As some of you will know, there’s a HUGE fuss in audiobook-world about the lack of transparency in the way Amazon/Audible treats authors. It’s all boring back-room stuff that you can find detailed elsewhere if you’re desperately interested; but what it boils down to is that although Audible is a huge market, it’s not a straightforward one for authors to navigate and that makes me sad and stressed.

So…ta da! Drum roll! Etc! My audiobooks are going wide! I have taken the two 1920s London books down and moved them everywhere else in the entire universe! Inheritance of Shadows will follow later this month. If I can work out how to get them back up on Audible once the dust has settled from extracting them, I’ll do that. New releases will definitely go up elsewhere before they go to Audible.

Audibook Cover: Shadows on the Border
Shadows on the Border Audio

The really, really good thing about this is that I can now set my own prices and have a great deal more control over all of that. I have signed up to the Author’s Direct platform which gives me a level of control that sings to my obsessive soul and also gives authors 70% of the cover price. So if you choose to use that one, you can buy Lost in Time and Shadows on the Border for $7.99 each! You can also find them on all the other apps like Apple, Chirp and Scribd for similar ball-park prices.

Happy listening!

Who’s who in The Hunted and the Hind?

I’ve been putting these out over social media over the last few days…here they are gathered together for your reading pleasure!

Inadvertently tumbling through the border after Fenn, Sergeant Will Grant of the Metropolitan Police has spent three months in prison. When Fenn frees him, they step through the border to the Egyptian desert. It’s a two week trip back to England, with the possibility of pursuit. Will the journey give Fenn and Will time to resolve the feelings they have been dancing around since the day they met?