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Andrew's horror novella, 'The Bathtub', is now available.

Sunday, 13 September 2020


Every writer has their own methods for adding depth to their characters. I’m no different, so I thought I’d outline how I do it.

First, I’m not afraid to use stock characters. That’s people I use more than once, or several times in my case and usually under different names. My attractive twenty-five year old dark haired, green eyed female who appears in a lot of my work tends to be the same person, whether it’s Goewin in my historical fantasy ‘The Footholder’s Tale’, set centuries ago, or Kerry-Jane who appears in some of my contemporary erotica, and who made the supporting cast in ‘The Door into War.’ Using the same person in key roles means they hit the ground running because I know their personality and how they’ll react to any situation.

I also reuse some minor characters. Max, a senior professor, has been a mentor for younger academics in a few stories, such as ‘The Wood’ and ‘The Door into War.’ I also use pictures of people to help shape them. When searching for a picture I have a good idea of what I’m looking for, but seeing someone can help focus or add a detail that I’d not thought of. For example, a light scar which begs to be a remnant of a past adventure, or simply a habit of chewing a stalk of grass to add a bit of quirkiness.

I also write brief biographies. I used to complete lengthy character sheets for each key person. That was only semi-useful; it took a long time and was often counter-productive because I found it difficult to remember who was who, and I sometimes completely forgot something key amid the unimportant detail. Now I write a few paragraphs for each person alongside a photograph. The biography has the obvious like age, appearance and personality traits. I also include things like their reaction to key events they’re involved in, other characters they particularly like or dislike (and why) and what in the novel motivates them.

Next time you read one of my books look out for my dark haired heroine clasping some kind of pendant for reassurance. That might be a carved disc of Celtic whorls and spirals if she lives in ancient times, or maybe a locket if she’s from the twenty-first century.

Saturday, 4 July 2020

The Saw Franchise

I own every DVD in this series of horror films (eight, to date), which follow the traps a man sets to test his victims’ will to live.  Even though I’ve written splatter myself (‘Snuff’ and ‘The Bathtub’ for example), I admit the explicit violence in the Saw films had me fast forwarding in places.

I didn’t buy the DVDs as they came out, or in order, so my understanding of the underlying threads was disjointed.  Having had the house to myself for a few days recently, I decided to binge watch the series in the right sequence.

I agree with most reviewers that the earlier films are generally stronger, although I think all have something to offer.  ‘Subtle’ isn’t the first word that comes to mind when watching Saw, but I liked the themes that run through the series, and particularly how the different characters are used and pop up unexpectedly yet in context time after time.  It does all get complicated though and I would have found it difficult keeping track of everything without having with the franchise’s comprehensive Wikipedia page to hand. 

To summarise, in my opinion the Saw films are worth a watch if it can be done in a binge, because they make better sense when seeing them in order in only a few days.

Friday, 3 April 2020

Keith Publications

Keith Publications, who published two of my novelettes, Art Class and Eton Mess, have sent me a final statement and a release letter.  I knew the publisher was closing and it’s all been done properly and in good order.

I’d like to thank Mary at Keith Publications for publishing the stories and for being great to work with.

Friday, 13 March 2020

The 'Dragon of the Isle'

History is full of colourful individuals, stretching back from ancient times right up to the present day. One figure who has fascinated me for years is Maelgwn, fifth century king of Gwynedd in north Wales. He’s already appeared in my novel, The Faerie Handmaiden of Annwyn, and looks set for a part in a new story I’m planning. Characters inspired by Maelgwn have also turned up in some of my other fiction.

So, why does Maelgwn interest me?

Firstly, through my passion for fifth and sixth century north Wales. He’s one of the best known characters from the time and place who doesn’t come from myth and legend. Secondly, he’s a villain, and nasty people are always more interesting for writers than nice people. Maelgwn was berated by the contemporary writer Gildas (who calls Maelgwn ‘Dragon of the Isle’) for various evils: turning away from God, illegal marriage, and assassination are just a few, with Gildas hinting at more sins which he doesn’t describe. Myths and legends are equally unambiguous in their treatment; Maelgwn is portrayed as a tyrant who is often outthought and given his comeuppance by more intelligent or more pious enemies.

As a novelist, characters like Maelgwn are a godsend. He comes over as a strong character and a powerful bully. Gildas and other early sources give colourful detail, such as his death in a local church when he was driven mad by the Yellow Plague, and giving him the epithet ‘Maelgwn Hir’ (‘Maelgwn the Tall’), although I’ve seen this argued as being mistaken for a different Maelgwn. The stories he attracted could fill several novels and I’ve found myself using him, or characters inspired by him, in several stories without having to repeat anything.

All that is great material for an author. Another bonus is that in a period of few written sources there is very little else recorded about Maelgwn, so apart from his (often unspecified) sins and his dates, there isn’t much to go on (other than his notable height, assuming the right Maelgwn!). That gives writers wonderful scope for filling in the blanks according to the story’s needs.

In summary, Maelgwn is a brilliant subject for historical novelists, and I’m sure I’ll continue to use him in my stories set in ancient north Wales.

Wednesday, 1 January 2020

Writing Review of 2019

As usual, I’m jumping on the bandwagon alongside nearly every other writer to do a review of my 2019 writing year.

In terms of publications, I’ve had three.  That’s a personal best for numbers, but balanced by all three being shorter stories.  They are:
  • ‘Football Fantasy’, an erotic novelette;
  • ‘Sunshine & Ice Cream’, an erotic short;
  • ‘The Bathtub’, a violent horror novelette which also made it into a horror anthology.

As usual, I’m grateful to my publishers for having me and to my editors for turning my drafts into something readable.

Despite the publications, the year has been dominated by my relocation which has kept writing time to a minimum.  I’ve not managed to update my blog much this year, again due to my move and settling into a new routine.  I hope to be more active in 2020.

I’ve got a few projects planned for next year:
  • A horror novel based around a heavy metal band.  I’m about half way through the first draft;
  • A horror/fantasy novel set during the English Civil War (the 1640s).  It’s a new period for me so I’m having to do research.  My background is in history so looking everything up is fun, not a chore;
  • I’ve got a handful of completed horror novels hanging around which I’m happy with and which I’ll try to place.  These are all centred around Celtic myth;
  • Some more erotic shorts, mostly including Kerry-Jane and Amy, my favourite PhD students.
I’d really like to do a retelling of ‘Peredur Son of Efrawg’ which is a traditional Welsh/Arthurian story partly set in the time and place I’m most interested in (north-west Wales (where I live now) in the fifth and sixth centuries).  The original is a convoluted tale with a lot of unusual elements and I’m struggling to give it a decent structure and historical context.

Finally, a big, big thank you to everyone who has been involved in my writing in 2019, particularly Philip.