Christmas dog would like to talk to you about the joys of the season and goodwill to all dogs but he has some important food to attend to… this might take some time. He says to check back in the new year…
If you are a fan of Game of Thrones I guess it cannot escaped your notice that there were a few, shall we say, logistical issues with ‘Beyond the Wall’ (episode 6 of the latest series). Issues that included not only faster than light Dragons and Ravens but also people that can move at that speed.
‘I’ve only looked at one review online, and it was very much concerned with the speed of the ravens. I thought, that’s funny — you don’t seem troubled by the lizard as big as a 747, but you’re really concerned about the speed of a raven. It is true there are time issues, and I’m not exactly sure how many kilometers there are between Eastwatch and Dragonstone. But it was a bit dreary to hear somebody who said, “I cannot enjoy this episode because, you know, that speed of that raven … ” There’s was a lot of wonderful stuff going on here and if it really gets that much in your way, that’s not good to hear. But that said, Gendry’s a really great runner. [Laughs.] Ravens go super fast. And who’s to say how much time passes on that island, since it’s always sort of an eternal twilight north of the Wall? With those three ideas in mind, I think we can lay the timing concerns to rest.’
Now, this is an interesting defence and one which is not new. ‘But there are dragons’ or something similar is a statement that has been made about fantasy settings in tabletop RPGs, books, TV shows, films and LRP for decades. And on the surface it is a reasonable argument. Why are you concerned about the petty logistical issues when there are such fantastical elements blatantly on display? Surely everything can be explained by magic?
With this argument we do, however, get into one of the fundamental pillars of world building. Regardless of your fantasy elements, there need to be consistent and visible rules to govern how they function. In a post in this blog a while back I discussed some of the reasons for this and argued that not only does the human mind react badly to blatant rules breaking in settings, but also that the rules set limits on what is possible and therefore increase the tension and thus drive the story. For this to work, you have to accept that magic cannot (and should not) be capable of solving all problems, at least not without a cost and that other fantastical elements such as mythical creatures need to have well defined specifications.
There is also the issue of pacing and direction here. Most storytelling forms can and often do play fast and loose with time. I mean we really don’t want to spend hours of screen time watching some people trudge through snow when nothing of interest is happening and a good director can play with these rather fluid perceptions of time to good effect. How long were they waiting there surrounded by an army of undead? It is heavily implied by the direction that it is a day but the above quote seems to suggest longer was intended. It feels here that the intention to fool the audience with time has backfired somewhat – certainly based on the many responses which assume the less than 24 hours theory.
Looking at the above response we have three things that are problematic. The first is Gendry being able to run, in bitter cold and hostile terrain, an unknown number of miles back to Eastwatch after an indeterminate number of days marching through the same terrain. OK, yes, he may be a fast runner and he may have inherited something of a heroic constitution from his father. However, he is not a native of that part of the world. He was born and lived most of his life in a climate that was more like southern France than the bitter cold of the north. He is strong because of his genes and his work as a blacksmith (which is what makes his strongarm antics with the hammer plausible) but he has never been shown to be a particularly good runner. We can add some points for him being driven by urgency but you still have to question how long it takes to do that journey. Maybe it would have been more plausible if it had been Tormond – a native of the terrain they were traversing – or even Jon who has Stark genes and therefore resistant to the cold? Of the three points, this one is the one that could maybe be excused on the points made, although it is stretching credulity. If they were close enough to the wall that he could get there that quickly, why not have a signal prepared for Eastwatch to look out for – a beacon or similar? Something to let them know they needed help. After all, they already had two flaming swords so fire was not an issue.
The second issue is the speed of the ravens. Again, arguments that Westeros Ravens are fast do cover some of this. It has been established that there is a complicated and efficient mail service that uses them and so it is reasonable to assume that breeding methods, training and possibly some magic may well go into this. However, it is still stretching it to assume that even a fast bird could cover that distance in less than 24 hours. Previously the raven mail has been seen as providing delivery within a couple of days (within similar limits to a modern postal service) rather than a few hours.
The final issue is, of course, the dragons. Again, these can be fast but there to be some consideration of the people on the back of the dragon. An exposed dragon rider going at anything more than the speed of a car is going to be exposed to a lot of elements. Think about the issues of driving a motorbike or one of the old fashioned biplanes. You need goggles and protective clothing to prevent wind chill and damage to the eyes from insects and dust even at relatively low speeds. The fastest WWI biplane (arguably the fastest plane an exposed pilot could be on before you get into vehicles that require a completely enclosed cockpit and pressurisation) is listed (ironically enough) as the Sopwith Dragon with a top speed of just under 150mph. Beyond that speed you can imagine it would be difficult even with protection for a human to be safe and comfortable and here we have a rider with no such protection. OK, again you can argue the Targaryen genes here – her family has been riding dragons for centuries so there has to be some adaptation happening there – but still to push the speed much beyond that 150mph is not really practical. Point being, unless dragons can teleport, it is stretching it to be able to say they can cross a continent so quickly.
The goal has to be the suspension of disbelief. The writer, having set the rules of the world in place, needs to then make sure that these are maintained and, if it is necessary to break them at all, it is done in a way that seems plausible. I think the main issue here is the fact that there were many ways the same effects could have been achieved without breaking that suspension. I have already mentioned the possibility of a signal to Eastwatch – a very quick communication tool which, if the guards had been on alert, would have got the message there much quicker than a running person. The rest can have been achieved with some advance planning using existing features of the world that have already been well established. For example, Bran as the Three Eyed Raven has the ability to communicate across vast distances and could have got that message to Dragonstone almost instantly. A raven to Winterfell from Eastwatch in a short space of time is a lot more believable than one all the way to Dragonstone. But there is an even more realistic way to achieve it. What if the dragons had already been en route in preparation for this very thing? What if they were already at Eastwatch waiting for word? Easy enough to establish with some scenes of them arriving, much to the consternation of the Wildlings in the fortress, or even a scene where it is Daenerys who comes out of the fortress to find Gendry collapsed with exhaustion at the gate.
You could even have it so that Bran at some point delivers a prophesy to Daenerys – telling her she needs to be there at a certain point but there will be a dire cost (which any who watched the episode already know). She angsts about it for a bit, not sure what to do, which is more important – her war with the Lannisters or the war against the undead? But then, finally, gives the order to mount up and arrives just as she is needed, maybe dramatically almost but not quite too late to save the day entirely.
There are probably other ways to achieve the same thing, all of which end with the same awesome scene of dragons flaming through undead hordes. I’d argue that a surprise appearance of dragons that was signposted in advance (Chekov’s dragon) is far more satisfying a conclusion than ‘suddenly dragons’ in a way which leaves confusing questions about plausibility. It was not that the scene was overly fantastic or that questioning the plausibility was pointless in the face of fantasy elements. Rather, it was that three rather ludicrous situations had to occur at the same time in order for the plot to work and even in a world where dragons are a thing people will still subconsciously take those dragons more seriously if they can see a logical set of rules that govern them. Once you start to mess with perceived plausibility you lose suspension of disbelief and once you lose that you lose the audience’s trust.
Today we have another release by C.A Bell to showcase to go with Angel that appeared in a previous blog. So, check out her latest: Suave.
#NewRelease #Sexy #Fun #LaughOutLoud #Erotic novel #KindleUnlimited
I make sexy, sexier.
When a woman is on my arm, you can bet your life she suddenly becomes a hundred times more appealing to everyone else around. Why? Because I’m shit hot and I make them look shit hot, too.
There’s no doubt about it, I’m an arrogant hunk with an impressive six-pack.
I’m not looking for love. I’m not looking for money. I’m just looking for a hot woman to stroke a few things—my ego being one of them.
I choose my women like I choose my wine—if she doesn’t smell fruity or look rich, she’s got no chance.
I make sexy, sexier.
When a man or woman is on my arm, you can bet your arse they suddenly become a hundred times more appealing to everyone else around. Why? Because I’m sexy as shit and I make them look sexy as shit, too.
There’s no doubt about it, I’m a sexy, powerful woman with an impressive pair of legs.
I’m not looking for love. I’m not looking for money. I’m just looking for a hot man or woman to stroke a few things—my ego being one of them.
I choose my prey like I choose my perfume—if they don’t smell sweet or look expensive, they’ve got no chance.
They’re both egotistical, powerful people with uncontrollably intense sexual appetites.
But, what happens when two forces collide because they want the same thing, the same woman? I’ll tell you what happens—mighty, sexy things.
C.A’s Stalker Links
Website – http://cbellatrix.wixsite.com/cabell
Facebook – https://www.facebook.com/AuthorC.A.BELL/
Twitter – @cbellatrix09
C.A.Bell’s Hot Room – https://www.facebook.com/groups/957145681001116/
Bell & Gill’s Naughty Corner – https://www.facebook.com/groups/172075439998804/
Given the current political climate, it seems to be the thing these days for a theatre company to reinterpret Shakespeare’s Julius Caesar with a very Trump like figure in the title role. In the US this has even led to anything with the name Shakespeare associated with it getting death threats from Trump supporters. For some reason they did not like the image of a Trump like figure being brutally assassinated on stage. Even though the play is not at all about glorifying or condoning assassination as a method of political protest.
With the above in mind, I headed off to the Storyhouse open air theatre in Chester to see their interpretation of the Roman epic history play.
I do have one thing to admit before I continue, however. Something which may lose me Shakespeare cred points or something. This was the first time I had ever seen Julius Caesar…
I mean, I am not a total newbie to the Bard. I’m familiar with several of his plays, having seen them performed by a number of companies including the Storyhouse troupe. However, way back in school we were offered as a class a choice between three plays – Macbeth, Julius Caesar and Romeo and Juliet. Naturally, being teenagers, we voted overwhelmingly for bloody violence and so romance and political coups passed us by. Since then, I’ve always naturally gravitated to the more fantastical based stories than what were perceived as the serious histories. I’ve preferred not only Macbeth, with its witches and concepts of predestination, but also Midsummer Nights Dream with its faeries and the Tempest with its spirits and magicians, all precursors of modern fantasy and tapping into ancient myths and legends. Julius Caesar was something I never really felt the need to see.
So I arrived at the open air ‘theatre in the round’ in Grosvenor Park in Chester not really knowing what to expect save a passing knowledge of classical history, several viewings of HBO’s Rome with it’s bastardised version of events and the absolute certain knowledge that at some point in the play Caesar gets stabbed repeatedly in the forum.
Oh, and that the chances were they would be Trumping up Caesar.
Which seemed to be the case as the opening scenes of jubilant citizens were replete with ‘Make Rome Great Again’ placards and the set dressing had a certain ‘stars and stripes’ feel to them. However, there the comparisons to the current US president disappear. Despite superficial details, this Caesar is modelled more on the lines of a generic US president than any specific one – no orange faced caricature here. Instead we get a charismatic, grey haired, white man who plays the crowd by literally walking through the crowd shaking hands with the audience, his trophy wife in tow and a gaggle of aides and bodyguards on all sides. An elder statesman at the height of his power. His dialogue and actions are all as Shakespeare wrote them. of course, and the performance of the actor (Christopher Wright) who plays him works well to give the impression of a popular but controversial figure without devolving into petty parody. This is in a marked contrast to the reports of the controversial New York portrayal which had the actor dressed and acting more like the current incumbent and there were dialogue references to ‘5th Avenue’.
In fact, a more notable sign of this play being interpreted for the modern day is in some of the other casting. Several characters, including the pivotal role of Mark Anthony (played by Natalie Grady), have been gender flipped here. This is a good, positive move for a 21st century production, especially as not only is the character who gets the (in)famous and most identifiable ‘lend me your ears’ speech a woman but so is Cinna (one of the conspirators) and Lucius (Brutus’s servant). None of these character has significant changes to their personality or actions as a result of this change, apart from the point where Mark Anthony and Octavius seal their alliance against Brutus and the conspirators with a kiss*. This creates several strong and interesting female characters in a play where traditionally most of the main characters are male and female characters limited to relatively secondary roles without seeming to water down the roles at all. Cinna is still keen to commit the assassination and Mark Anthony is still as keen and ruthless in avenging it.
The modern touches are see throughout. Casca, for example, at one point dresses in a trenchcoat and looks like an aged CIA or FBI agent which is a nice touch and the various ‘rude mechanicals’ are dressed in clothes that can only be described as ‘chav’ and carry cans of lager as they are being obnoxious at the main players. During the riot scenes, several can be seen carrying the box for a flatscreen TV and other consumer goods in a clear nod to the way every single riot in The Simpsons seems to end in looting. Most of the main characters, being patricians, are of course well dressed in smart suits, though they do change to modern military garb later.
The plot moves through the first act with the conspiracy and the seduction of Brutus, ending the first act with the well known ‘et tu Bruti’ line and much blood spilled. The second act explores the aftermath, with the war between Brutus and Mark Anthony triggered by Anthony’s provocative speech to the plebians (which makes good use of actors planted in the audience for a more immersive feel). Of course, followers of history (or watchers of HBO’s Rome) know how that ends for all involved…
Overall, this is a well performed piece of theatre. Immersive without being too much ‘in your face’ and making good use of popular, modern references without breaking the essential nature of the original play. The parts are all well played with strong performances from all. An entertaining evening that has definitely changed my mind about Shakespeare’s more historic stories.
*Would be interesting to know if the director would have included that touch if both characters had been male or both female.
Those of you who have read Gods of the Deep will already be familiar with Berg based socialite and detective, Lady Catherine, the character who is proving to be quite popular based on some of the feedback I have got privately. Naturally being the sort of lady who likes to be seen being seen, it was very easy to persuade her to agree to a photoshoot.
So, we took ourselves to Deansgate, near the centre of Manchester, and to the John Rylands library which is one of my favourite locations in the city and which provided a perfect backdrop for the shoot.
Of course, being a fictional character, Lady Catherine could not attend in person. She is obviously far too busy being fabulous to concern herself with such petty matters as posing for her own photographs. However, she managed instead to manifest in the form of professional model and occasional Cosplayer, Penny Dreadful.
Penny was very enthusiastic about this shoot. When she read the story Heart of the City, which introduces Lady Catherine, she was filled with ideas about how to bring the character to life and we spent a long time discussing the details of costume, hair, make up and props. We then spent almost 2 hours on location, with a couple of brief breaks in a convenient nearby pub for costume changes, doing what we could to produce the best images possible. There were some issues with reflector stands blowing over in the wind, some problems finding some good light and a few passers by near the library gawping but other than those it was a very smooth shoot.
You can see some of the results of the shoot in this post and there are others on my Flickr account. Comment on the ones you think best portray the character. You can also buy a copy of Gods of the Deep to learn more about Lady Catherine and what she gets up to. It may also interest you to know that I am currently percolating ideas for the sequel… More on those as they develop. Currently they include explosions.
What lies behind the door to Chateau Rouge is all that Angel knows – sex, drugs, abuse, and treachery. But when Felix, an artist from England, enters into her tiny world, he opens her eyes to what life could really be, and now, Angel wants out. There’s just one problem. There’s no way on earth the owner, Grand Papa, will ever let her leave Chateau Rouge. She is his. His possession. His whore. His Angel.
Angel has a choice to make. Does she finally stand up to the man who has taken so much from her? Or does she give up true love through fear of what lies outside the walls of Chateau Rouge – freedom.
Genre: Erotic Romance/Thriller with elements of BDSM
Length: Novel – 55k
Book Type – Standalone
Release Date: June 16th 2017
C.A.Bell was born and raised on the outskirts of London, England, but for the past four years has resided in the west midlands where she married and made a home.
She is author to numerous erotic fiction stories, including The Architect, Nancy’s Curse, Femme Fatale: The Agency, The Shame Train, and many more.
As well as putting together her own collections of short stories and poetry, she is also a contributor to many anthologies and online magazines.
Website – http://cbellatrix.wixsite.com/cabell
Facebook – https://www.facebook.com/AuthorC.A.BELL/
Twitter – @cbellatrix09
I’m late in submitting my Eastercon diary. I blame work in the real world for sapping all the time I have available to blog – most of my spare time lately has been spent on writing (working on something new, it’s not going well but at least it’s going) and photography. I am also scrimping a lot here as, unlike last year’s diary, I am not planning to do an entry for every day. I had planned to do a daily diary while at the event but circumstance, alcohol and Russell Smith happened. Repeatedly.
This was my second ever Eastercon and already I felt like a veteran. I’d upped my game by actually staying in a hotel rather than going home each evening (arguments that they should have relocated to Manchester for my convenience were met with flat refusal, apparently the committee mostly live in Birmingham and they wanted the easy commute, strange coincidence…). I’d also been given three programme items to be on, two of which I was moderating and the third was with Pat Cadigan, one of the guests of honour.
There was an opening ceremony. The guests were introduced. Then Dr Emma King of the Royal Institute took the stage and proceeded to blow up bits of it using flour, gherkins, a lot of electricity and jelly babies. This sort of thing is apparently normal when the Royal Institute of Science put on shows and, according to her potted history of the institute, such things have been normal since it was first founded and evidence that it was almost certainly set up by Time Lords.* Luckily the stage survived (or was time shifted back to a time when it had not been blown up…) and proper health and safety procedures were followed. The only casualty was a single Jelly Baby.
After a Friday afternoon panel on communication in science and a wonderfully instructive workshop on preparing manuscripts for submission by Joanne Hall**, I started the weekend properly with a beer with R.A Smith. The fact that I have been having beer (and annual birthday dinners and parties) with R.A Smith since we were both at university does not make this unremarkable because this was a concept known as a ‘Literary Beer’ in which attendees at the conference can book onto a session with an author and sit and drink beer (or the drink of your choice) with them and talk books. A similar concept, the Kaffeklatsch, takes place during the day and supposedly replaces beer with coffee. However, I was aware that there were some drinking beer at Kaffeklatches and some heretics were even drinking tea! Russ had a good turn out for his beer and he proceeded to entertain with anecdotes and secret spoilers about upcoming events in his as yet unwritten book 3 of the Grenshall Manor series. He also performed an adequate re-enactment of a turret in the very obscure computer game Beachhead…
The next day I was at a loose end as I was not slated for any programme items until Sunday morning. However, I decided to check out the Women in Star Wars panel which played out to a packed room despite the early time of day. The discussion ranged over tropes that apply to women, particularly the idea of George Lucas riffing off Japanese ideas for female characters, as seen in anime and Japanese cinema and how that explained the paradox of Leia as the Princess who needs to be rescued but is also a strong, independent woman who is a leader in her own right. Apparently in Japanese cinema that is a common theme.
I followed this with a workshop on self publishing by F.D Lee that looked at many of the pitfalls that a self published author might get into. Some good tips, including pointing out that if you are publishing mainly on Amazon and other online sources, your cover is only ever really seen as a tiny thumbnail and so you should design it accordingly.
The afternoon was spent pleasantly in a Kaffeklatsch with two outstanding authors – Peadar O’Guilin and Peter Kalu. Originally it was supposed to be two separate events but because of very few attendees it was decided to merge them into one. The low numbers seem to have been across the board for this afternoon slot and one theory was because famous fantasy artist Fangorn was doing an art tour and everyone wanted to do that. So we ended up with five in total, all writers in some form, and as Peadar generously pointed out we were all attending each other’s Kaffeklatschs. There was a lot of discussion about Irish myth, African and Caribbean myth, football, zombies and zombie footballers. The last due to Peter’s latest book which apparently sees the 1966 England World cup squad coming back from the dead. As they do.
In the evening I attended the BSFA awards to watch awards begin given out to some very worthy people and to see Kari Sperring’s Eurovision host impersonation. I then yet again demonstrated my lack of geek by failing to attend the screening of the new series of Doctor Who which was taking place at 7 but instead opted to attend another Kaffeklatsch, this time with the wonderful Adrian Tchaikovsky. This was very well attended, despite the draw of Peter Capaldi on a big screen, and according to Adrian much better attended than his first Kaffeklatsch where he was able to buy coffee for all the attendees for very little money. There was much discussion on various topics and, as you might expect insects were a theme.
Once that was over it was time for food and drink and, eventually, bed…
*This is undeniably true. I have evidence. Good evidence. Well, had… it seems the entire body of evidence linking the RI to Gallifrey has apparently just vanished. As if it had never existed. Removed completely from time. That in itself is suspicious enough. Also, I am sure I saw Emma wearing a scarf once.
**I am not sharing any secrets, you can go to a workshop on your own… It was very instructive and did confirm that I was at least doing most things right when submitting to publishers, though I needed to up my synopsis and cover letter game a touch. Publishers look for any excuse at all to reject.
Gods of the DeepWell, it has been a more erratic Vampire month than usual this year, scheduling hiccups and my time being eaten up by that vampire that is work. However, despite all that we managed to pull it off and release a limited Vampire month line up on time. I hope you enjoyed this year’s offerings and come back next year to see what we have in store for you then.
As a photographer I have obviously been exploring vampires quite a bit recently and I intend to keep up that interest. There is also the possibility that I might be thinking about looking at Vampires in fiction. If I get a good idea for a story involving vampires I may delve into it and see what comes out. I do feel that Helen, my hero from Transitions and Transformations, is overdue an encounter with a blood sucking fiend of the night. After all, she has bested the ghost of a Roman soldier and been almost seduced by a shapeshifting Fey so how will she cope with a charming older being? Or maybe Everyn from Gods of the Deep might meet one… I will be sure to keep you all informed of any developments.
In the meantime, if you know someone who should be featured in Vampire month, feel free to let me know. We welcome any and all applicants. Just be aware, Ann Rice and Rachel Caine get first dibs…
See you all next year!
Last week I showcased some of my own photos with Vampire themes. Today we have some images of Emma Darling, a Preston based model, taken by various photographers. Each one shows a different aspect of the image of the Vampire. I asked Emma to comment on the photos and this is what she said:
I had so much fun shooting these images.
I love the darkness and beauty of vampires, there’s something spine tingling yet thrilling about these dark creatures.
Beautiful yet deadly.
I’m Emma Darling a professional model and actress from Preston,
I adore modelling and feel honoured to be part of people art.
I cover a whole range of styles my favourite being fantasy, horror and cosplay,
I find it exhilarating playing new characters each day I throw myself into it wholeheartedly and imagine I am that character throughout the shoot.
This can be challenging but so much fun!
Emma’s work covers a range of different styles and shows how the image of the vampire has changed. The second photo by Graham Peers shows a traditional Nosferatu style vampire posing with Emma as a Hammer style character, while the one above (by Rob Vanner who also seems to have many more gothy vampire shots on his portfolio) is a more modern style.
The final shot, also by Graham Peers, is also a modern look. All three have a definite goth vibe to them. Consider Jack Cutler’s gothic tragedy vampire from my previous post for another take on the concept. I guess that the immortality of vampires, both in fiction and as a concept in fiction, opens up a lot of possibilities. You can have a vampire character in a novel from any period of history or from any part of the world.
Of course, the tendency is for a lot of Vampires to find themselves mired in the Victorian period. I guess we have Bram Stoker to blame for that as Dracula, a tale so firmly set in that period, is the most well known vampire character. After all, he does seem to come up a lot in answers to the Vampire Month
questions. However, other periods do get a look in with Ann Rice popularising the 1700s and good old Edward Cullen being a first world war veteran. The modern day is also well represented with the classics there being ‘The Lost Boys’ (though it may not be politic to point out that film was released in 1987 which is exactly 30 years ago now, so I guess it counts as a period piece…) and the Underworld series ( the first of which was released in 2003).
All these examples do have one thing in common, of course. They all show the vampire as sexy. Even Dracula was described as being attractive. The exception seems to be poor old Nosferatu in photograph two. That was a character who wore his dark soul on the outside.
If you felt like commenting, you could talk about which type of vampire you prefer or whether you think there is an historic period or other style of vampire you think is overused or should be used more.
Lucy joins us one last time for Vampire month today, to tell us how much she enjoys her working life.
One of the things I love most about what I do is the variety. I work from home, and do lots of different things that make up a full-time job—I write, I edit, I run my own marketing and web design business (http://www.writermarketing.co.uk). So because of that, no two days are the same.
When it comes to writing, I still have lots of variety. I write for several publishers, as well as self-publish. This enables me to write different lengths of story, with different pairings, heat levels and genres. I write contemporary and paranormal. I’m currently working on my first spy thriller, something I’ve been wanting to do for a while. I know some authors find a certain niche and stick with it, and if that’s what they want to do, then great. But I really enjoy the variety, and am very lucky in that many of my readers will check out my books no matter where they fall in genre, heat level, pairing, etc. Mainly because it’s tough enough to keep up with one name to write under and all the associated website maintenance and social media stuff—if I created pen names for all the different genres and pairings I work in, I wouldn’t be able to do it. So I embrace that variety, and am grateful to the readers that do, too.
Lucy Felthouse is the award-winning author of erotic romance novels Stately Pleasures (named in the top 5 of Cliterati.co.uk’s 100 Modern Erotic Classics That You’ve Never Heard Of, and an Amazon bestseller), Eyes Wide Open (winner of the Love Romances Café’s Best Ménage Book 2015 award, and an Amazon bestseller) and The Persecution of the Wolves. Including novels, short stories and novellas, she has over 150 publications to her name. She owns Erotica For All, and is one eighth of The Brit Babes. Find out more about her writing at http://lucyfelthouse.co.uk, or on Twitter or Facebook. Sign up for automatic updates on Amazon or BookBub. You can also subscribe to her monthly newsletter at: http://eepurl.com/gMQb9