[Vampire Month] The Epic World of Cedron by Richard Writhen


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For Richard’s second post for Vampire Month, he has given permission for us to reprint this blog from Our Epic World where he discusses his world building…


18175732_10155261580879138_1775785634_o“Two petty mercenaries are falsely accused of switching sides in a feud between two rich and powerful magnates; an ex-miner on the run from a murder charge becomes a reaver and embroiled in a romance; an industrial lieutenant is recruited to help capture a serial killer and an entire city is in danger of being ensorcelled by an ancient monk.”

What makes your world special or different?

Nothing, really. Most fantasy worlds are amalgams of stuff from IRL, popular culture, other fantasy worlds. The approach and execution are what may be different … how certain aspects are handled, their prominence, etcetera.

How does your main character fit into this world?

I don’t have any single protagonist. I use the Stephen King / H.P. Lovecraft / Joe Abercrombie style of integration where the characters all think that they are the “main” character of the story, much like IRL. It improves the…

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[Vampire Month] Richard Writhen interview


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Richard Writhen selfieOur second Vampire month victim is Richard Writhen, the author of three novellas on Amazon KDP: A Kicked Cur, A Host of Ills and The Hiss Of The Blade. His fourth novella, Angel of the Grave, is currently being written.  Richard comes to us all the way from New England and will be talking to us about his world building in his blog post later this week.

1)     What is the earliest memory you have of writing? What did you write about?

I had read a lot of early Stephen King and Clive Barker, Falling Angel by William Hjortsberg, The Lord of the Rings, as well as Neil Gaiman’s Sandman, in the late eighties and when I was about twelve I tried writing a few cute little stories and comics which are thankfully lost in the abysses of time or whatever. I also had two letters published in the Gladstone / EC Comics reprints of the early nineties.


2)      When did you decide to become a professional writer? Why did you take this step?

In truly characteristic fashion, I had always toyed with the idea yet procrastinated, but a confluence of events made me become serious after I turned thirty-six. I had been working as a copy-editor for about four years, I was reading the King James Version of the Bible, and I came across an ad looking for blog contributions. And I was like, sure let’s give it a go. A couple months later I felt that I wanted to segue into fiction, so I pitched the idea of a serial to the website’s owner and he was interested. The work later became my first novella and I’ve been serious about writing ever since.


3)      What would you consider to be your greatest strength as a writer? What about your greatest weakness? How do you overcome this weakness?

My greatest strength as of now is the internal continuity. I have some pretty detailed notes, though as I get older it may become harder to keep it straight; however, they have specific assistants and editors for that nowadays if I ever find success. My greatest weakness is world building / exposition, but that’s the thorn in the side of every writer, really. It can only be overcome through constant practice, as far as I know; writing more books. It’s very difficult to avoid the info dumps and have unobtrusive exposition, one of the most difficult writing skills. The greatest authors make it either fun somehow or almost invisible, seamless; simply part of the prose that the reader almost sub-consciously absorbs.


4)      Tell us about the place where you live. Have you ever derived any inspiration from your home or from anywhere you have visited?

I am from Newport, RI, USA. I also lived in NYC for several years. Everywhere I go influences how I depict fictional locations, be it Providence, RI, Long Island, NY, even places where I spent a lot of time in my youth such as Seekonk, MA affect my sense of place and I try to convey that in my fantasy settings. Street names, names on historical buildings … as a matter of fact, I got many names for the first two books in the Celestial Ways Saga from local gravestones, I would just change a few letters.


5)      Which book, if any, would you consider to be your greatest influence and inspiration?

My greatest? The Case of Charles Dexter Ward. H.P. Lovecraft’s masterpiece, unpublished in his lifetime and left to turn yellow in a drawer somewhere. His depiction of magic is exactly what I’m trying to convey. Its sense of history and antiquity and the manner in which it gives the city of Providence, RI its own personality. That’s another one of my goals with the novellas, to assign a real sense of place to the dark fantasy settings.


6)      What drove you to write about Vampires?

I’ve always been a fan of vampire lore. I was quite taken with the Interview with the Vampire Movie, I saw it when I was in college. My first love was Lost Boys, though. I wanted to see it original run but I was still well underage, so when I finally caught it a few years later on HBO or whatever, I was floored. I also like Underworld saga, Let The Right One In, Twilight Saga, Vampire Academy Series, Blade Trilogy and more.


7)      What do you think is the attraction for Vampire fiction? Why is it such a popular topic?

My theory for the past several years has been that the werewolf legends represent man’s struggle with his own animality, and the vampire legends represent mankind’s self-victimization, i.e. man victimizing his fellow man. A lot of what is successful as art and / or entertainment has subconscious roots in age-old social and psychological rhetorical or unanswered questions about the human condition. That’s why it’s never-ending …


8)      In a fight between all the greatest Vampires of fiction, who do you think would come out on top?

Well, Lestat and Dracula are two of the most powerful vampires of fiction. I’d be hard pressed to figure out which one of them is stronger. David from Lost Boys is pretty awesome; Eli from Let the Right One In as well. A lot of the vampires from Blade trilogy are also very epic.


9)      What about in some other contest such as sexiness or dress sense? Who would win that one?

Sexiness? Fashion sense? Prolly Vampirella for both. After her, maybe the trio of female vampires in Francis Ford Coppolla’s Dracula. And of course, I must mention Lina Romay in Female Vampire by Jess Franco, may she rest in peace.


10)   How well do you think one of your characters would fare against the winner(s) of the above?

My vampire angle is as yet undeveloped. There’s a nation of vampires, Drackhon, that has fought wars in the past with the denizens of Khlarion, on the continent of Holrud. The vampires’ society and all of that will be revealed further in books to come. So my strongest vampire as of now is probably Debarah, one of the protagonists of A Kicked Cur. He has grotesque physical strength, almost like Edward Cullen from Twilight Saga, so I think he would certainly survive a fight with the likes of Dracula and Lestat, but overcoming them …? IDK about all that.


11)   Tell us the basic premise behind your latest novel.

My latest work is my third novella. It’s called The Hiss of the Blade, and it’s a bleak treatise on the manner in which those in my gothdark world called Cedron first live and then die by the sword. Mercenaries, fled slaves, agriculture and mining magnates, every man is out for himself and much like our real world, the center can’t hold and people wind up dying … or worse.

[Vampire Month] How things have changed – fairytale kisses that never happened! by Alicia Wright.


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So, the end of the first week of March and the first Vampire month author of this year has her chance to talk about a topic of her choice. Given that her work is based on vampires interacting with fairies, it makes sense that she discusses fairytales….

As I mentioned in the interview, I don’t think we should get cross if other people’s Vampires don't belong in Fairyland Alicia L. Wrightinterpretations of folklore don’t fit into our own boxes for it. Folklore is an excellent raw material, and although I do use tropes from all sorts of fiction, I always go back to the original source, folklore and fairytales for my basis. Then I cherry pick what I want and what fits in with my universe. Writers and storytellers have always done that, and one of the things I find fascinating is reading old tales and seeing how attitudes and stories have changed and what hasn’t changed.

The Brothers Grimm even edited their own collections of fairytales, so that the final versions we know today are quite different than the original versions they collected.

Take the trope of a kiss breaking a spell. Did you know that most of the famous kisses from fairytales originally never happened?

Snow White, for example. In the original version, when Snow eats a bite of poisoned apple and the dwarves place her in a glass coffin, the prince does happen by, but he does not kiss her. Dead, pretty girls being his thing apparently, he begs the dwarves to let him have the coffin. They refuse at first, but he won’t give up, so they go ‘Oh all right, you weirdo’. The prince then has his servants carry the coffin around wherever he goes, until one day, one of the servants goes ‘bugger this for a game of soldiers’ and drops his end of the coffin, the shock of which jars the piece of apple free. No kiss.

And flipping the genders round, you all know the story of The Princess and the Frog. A princess drops her favourite ball into a pond and a frog retrieves it, and makes her promise to make him her companion afterwards, sharing her food and bed. The princess thinks ‘Sure, whatever, it’s just a dumb frog, I’ll just run off’. So she does. And then the frog turns up at her door, and she doesn’t want to keep to her end of the bargain, but the king says ‘You made a promise and you have to keep it, you’re a ruler after all, what would happen if we didn’t keep promises? Democracy, that’s what. So unless you want to be replaced by a prime minister you’ll court that frog’. So pulling her face a great deal and with more cajoling from her father, she lets the frog sit at the table and eat from her plate, and then takes it upstairs to her bedroom, but when she sees the frog creeping under her bedcovers, she thinks ‘Ew, and dad isn’t here to stop me’ and hurls the frog against her bedroom wall. This is the fairytale for people who think violence solves everything, as this does break the spell and the frog becomes a prince. No kiss.

And then there’s Sleeping Beauty or rather, Talia. In the original version, she was not cursed by a fairy, but nevertheless, getting a chip of flax under her fingernail after prinking herself on a spindle somehow caused her to go into a deep sleep. Her father places her in one of his mansions and then abandons her there, letting the mansion go to ruin. Must be nice to be rich enough that you can just abandon one of your mansions. One day, a king comes riding by, and his falcon flies into the mansion. I guess the king isn’t as rich as Talia’s dad, because he is not for losing a perfectly good falcon, and as no-one answers the door, he commands a ladder be brought and climbs into the house. Coming across Talia lying on a bed, and looking very pretty, and being unconscious and not being able to say no, he sleeps with her. Then he just leaves. No kiss. She gives birth nine months later to twins, and one of babies sucks her finger while looking for a nipple and sucks out the flax and she wakes up. Have I mentioned there was no kiss?

And that’s why I always go to the source. Most of what everyone knows about folklore and fairytales these days are surprisingly modern and wildly inaccurate to the earlier versions, insofar as you can be inaccurate about a lot of stuff people made up hundreds of years ago.

Stories change. And thank goodness they do!

Where to find Alicia:






[Vampire Month] Alicia Wright interview.


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Alicia Wright Vampire authorSo, the first victim of the Vampire interrogator in 2018 (by dint of the fact she got her responses back to me within 48 hours of getting the invite) is Alicia Wright, author of the Vampires Don’t Belong in Fairytales series.

Later this week, she will talk about some of her research into fairy tales – the Fairytale kisses that never happened – but first she has to endure the torture of the infamous interview questions…

1)      What is the earliest memory you have of writing? What did you write about?

My earliest memory about writing is writing a story in primary school. I wrote 2 sides of A4 about myself having an adventure with my many, many imaginary friends.

2)      When did you decide to become a professional writer? Why did you take this step?

I’d always wanted to be an author, ever since I was about 8 years old. I had it in my head that one day I would write a book and try to get it published. I finally sat down to do that when I was 19, and it was because I’d just quit after my first semester at university. I just wasn’t ready for university at the time. So I thought ‘What now?’ and it seemed like the right time to get on with it.  I didn’t finish a manuscript until November 2007, when I was taking a forced gap year from my second time at university and I discovered NaNoWriMo.

3)      What would you consider to be your greatest strength as a writer? What about your greatest weakness? How do you overcome this weakness?

I had great trouble with my manuscripts until that first full manuscript in 2007, when I tried writing comic fantasy for the first time.  Until then, whenever I read back my manuscripts, they just weren’t good enough, they didn’t sparkle, there was something missing. Humour was that missing element that let me find my writing niche. Comedy has always been my thing, the majority of the things I read and watch have always been comedy-based.

My weakness is action scenes. I always seem to hurry over them and they’re too short. I cope by re-reading them and seeing what I can do to improve them, and my beta readers tend to point out to me if my action scenes are too short.
4)      Tell us about the place where you live. Have you ever derived any inspiration from your home or from anywhere you have visited?

I live in Newton-le-Willows now (10 years after starting a book about a girl who moves to Newton-le-Willows…) but I grew up in Lowton.  Most of my inspiration comes from my travels over the years. I’ve been to Iceland, Japan, Germany, Norway, Denmark, Greece and Poland, usually for study or volunteer work, and other countries and cultures always leave an impression on me, as do the people I’ve met there. You meet the most extraordinary people abroad, and that certainly shows in my writing, such as my quarter-Japanese Icelandic snow woman. I never actually base characters on anyone I know as that would make them awkward to write for me, but I might use a tiny piece of their background as inspiration. I also like to take photos of scenery so I can use them as inspiration for descriptions and comic backgrounds.

5)      Which book, if any, would you consider to be your greatest influence and inspiration?

Patricia C Wrede Enchanted ForestThere is no single book, but my earliest influence was Patricia C. Wrede’s The Enchanted Forest Chronicles. I picked up Dragonsbane when I was 11 and it was this book that taught me a woman could be a king. It was this book that pointed out to me how silly fairy tales are and how much fun it is to poke fun at them. A few years later, I discovered the Discworld series and from when I was 14 until there were no more Discworld novels I always got the new one for my birthday. I think anyone who reads my work can tell it has also been a big influence on my writing.


6)      What drove you to write about Vampires?

I do believe, and this is going to sound weird, that I write vampire fiction because I don’t like most of it. I love vampires as a subject, but even though I am happy to read about other people’s interpretations and I always find them interesting, I’m incredibly picky about what I find satisfying.  If they are just monsters or if they are too brooding or dark I find it hard to get too invested, but if they’re too silly – I know that’s rich coming from me – I find that too far the other way. Not that I object, I am always very clear that everyone is entitled to their own vision of folklore and that if we all write using the same template then stories will stagnate.
I did not intend for Miss Prince to be about vampires as such. Johann was meant to be a minor character and then he – and his entire family – went on to hijack not only that story but the entire series! Part of what took me in that direction was actually that Twilight was at the height of its popularity and much as I am not a fan, as I said above, Stephanie Meyer has and had every right to write vampires however she wanted. I saw it as a sort of parallel of the boxes we all try to put ourselves and each other in, how society wants those in a box to act a certain way, and woe betide you if you don’t. I don’t think that’s right, in fiction or real life. No-one belongs in a box.

7)      What do you think is the attraction for Vampire fiction? Why is it such a popular topic?

I think it’s because they are such a human sort of monster. There are so many directions you can take that. Are they a gleeful predator, who views humans as talking sheep? Are they the reluctant monster, consumed by their sins? Bit of both?  Something else entirely, a cloud cuckoolander, a grim overlord? A soulless, shuffling corpse doesn’t make for great character development, but that has its merits too.

And then there’s the blood thing. We’re pretty fascinated by blood and unlike getting your brain eaten, you can survive losing some blood. You can also link it to sex if you want to. And people do. Because if you CAN link something to sex people will. So there’s all sorts of other avenues to explore than ‘is the scary thing going to kill me’. Again, I think it’s to do with the sheer variety of directions you can go.

8)      In a fight between all the greatest Vampires of fiction, who do you think would come out on top?

I have to say, it’s got to be Dracula, hasn’t it? Of all the classical literature vampires, he has the most powers and he’s the most iconic and he’s been the template for vampires since 1897.

9)      What about in some other contest such as sexiness or dress sense? Who would win that one?

Best Vampire in General AND Best Alternate Form awards must go to Carmilla. She gets up at noon, drinks hot chocolate, sleeps with anti-vampire charms under her pillow and her animal form is a panther. Come on, people. Vampires don't belong in Fairyland Alicia L. Wright

10)   How well do you think one of your characters would fare against the winner(s) of the above?

Oh dear, that’s quite a complicated question. Many of my vampires and my other characters would struggle with Dracula, but anyone with strong magical skills like Contessa or Tyrian could just turn him into a squirrel or something. My ONE vampire hunter would manage if he had a decent plan and back up.
Carmilla isn’t as much of a threat, and she would inspire pity and an offer of aid rather than aggression. She’d be up to her ears in vampire medicine, psychological help and possibly even a donor or two, although she’d have to be put under house arrest for her crimes.

11)   Tell us the basic premise behind your latest novel.

The latest one is Vampires Don’t Belong in Fairyland. It’s about Fairyland collapsing into civil war, which I promise is funnier than it sounds. Fairyland is split into three Realms, with three countries, all with their own set of royals, but they all consider themselves one country and family. But you know what families are like. Kids squabble over the silliest things, usually toys, only with royals the toy they’re fighting over is the entire country and the resulting tantrum and girly slap fight is replaced by everyone hiring assassins.
So out of all the Fairyland royals we have only two left standing – Queen Regent Lir and King Tyrian. Tyrian has a problem other than his cousin is trying to nick his crown and possibly kill him, and that is the fact that he’s a king. In fairytales, whenever kings try to do anything remotely adventurous they tend to die, so there’s no chance he can save the country by himself. He’s going to need help, and the traditional thing to do is to find a prince to do the adventuring for you. We might just have one knocking about…


Alicia L. Wright is a YA comic fantasy author from Lancashire in the North West of England.

She studied both art and graphic design in high school and college, where she was told to stop drawing dragons and fairies. She didn’t listen. She also went to university, which seemed like a good idea at the time.

She writes books about fairies, vampires and other nerd things, playing with tropes and drawing a webcomic – poorly.

Amazon  Facebook  Goodreads  deviantART Twitter




[Vampire Month] From the dust…


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And so it begins… Another year, another Vampire month and another great set of authors to entertain you with their thoughts.gothic vampire blood

We are kicking off this year with Alicia L. Wright, an artist and writer of comic fiction about Vampires and Fairies. She starts to entertain us on Monday with her interview questions then her blog later in the week.

She is followed by three other wonderful writers who will each face the Vampire month interrogation and give us their thoughts on a topic of their choice.

Stay tuned and watch out for garlic, sunlight and crucifixes!




#GoT : Plausible logistics in fantasy.


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Game of ThronesIf 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.

In a recent interview, the Director of that episode, Alan Taylor, defended these issues.

‘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 three eyed RavenThe 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.Dragons in Game of Thrones

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.








Suave by C.A Bell


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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

Suave by C.A.Bell

Pick up your copy now while it’s on offer for just .99: http://mybook.to/Suave

Max Harper

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.

Brooke Knight

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.


Buy Now



C.A’s Stalker Links

Website – http://cbellatrix.wixsite.com/cabell

Facebook – https://www.facebook.com/AuthorC.A.BELL/

Twitter – @cbellatrix09

Amazon – https://www.amazon.co.uk/C-A-Bell/e/B0140XPC0U/

Blog – http://bellbookanderotica.wixsite.com/bbae

Goodreads – https://www.goodreads.com/author/show/1951042.C_A_Bell

C.A.Bell’s Hot Room – https://www.facebook.com/groups/957145681001116/

Bell & Gill’s Naughty Corner – https://www.facebook.com/groups/172075439998804/

Julius Caesar: Storyhouse 3rd August 2017


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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. The Grosvenor Park open air theatre for Storyhouse's Julius Caesar

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.

Photoshoot with Lady Catherine


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Gods of the Deep by D.A LascellesThose 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.

lady with a gunOf 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, Lady Catherine, detective of Bergwhich 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.