David Gemmell’s White Wolf

…is the story of Olek Skillgannon, the Damned, and his quest to resurrect a wife he never truly loved. His dreams are haunted by the titular White Wolf, which he is constantly trying to kill. The wolf visits his dreams as an ephemeral presence, and is a metaphor representing his path to an inner redemption for an evil past. 

The narrative studies the thin line between good and evil, as well as honour and love. He blames himself for the death of his wife and helping to turn the woman he truly loves – and saved – into the Witch Queen, Jianna.

White Wolf has all the tropes expected of a Heroic Fantasy, but it also has a lot more. I’ve read critiques where they have reported a lack of a firm plot, but I have difficulty in agreeing. The strong characterisations and 3D personalities really work for me. We have Jianna fighting to regain her throne – none too gently. Her actions could be deemed evil at various points in the plot. We have the old hag, who weaves her intrigues throughout. We have an ageing masterful warrior with a heart condition, and we have Olek, who has been on both sides of the fence in terms of good and evil. And then we have the psycho, Boranius, who loves to torture his victims.

Despite the contemporary criticism that Gemmell’s works are full of triggering events, I can’t be distracted from the truly epic heroic fantasies that they are.

Recommendation

If you can see your way through the contemporary woke attitude, I would highly recommend White Wolf. It is one of my all time favourite books from an all time favourite author. Definitely in my top ten.

What Maybelle Wallis has to say

Maybelle Wallis is a renowned historical fiction author. Poolbeg published her debut novel, Heart of Cruelty, in 2020 to widespread critical acclaim. Maybelle recently read Phil’s procedural:

The first question the sceptics ask is why? Why apply a technical approach to a creative art? Read on MacDuff.

Phil is the author and publisher of more than thirty novels. In his previous life, he was an author and editor in the technical space. During that time, he received many plaudits and awards for the procedures he developed, to the extent he was described as the best in the business on more than one occasion.

When asked why he wrote the book, Phil said, “Writing is about communicating an idea. Whether that communication is creative or technical, the fundamentals remain the same: getting a message across and quality. Many years ago, Stephen King said that quality doesn’t matter; only story matters. Things have changed. Professional writers are under siege from wannabe fast buck generators and AI. In this era, when The Machine and cowboys threaten our livelihood, the only defence is quality, which doesn’t come naturally, but through process.”

“…in 2006 [Phil] quickly put into place new technical writing processes and really transformed the quality of our product documentation.” Paul Cotter – IT industry leader

“I am really looking forward to reading more books by this very talented author.” Book Bandits Library – Professional book critic

After reading A Technical Approach to Novel Writing, this is what Maybelle thought about it:

“A Technical Approach to Novel Writing” by Phil Hughes provides a clear system for writers, aiding them in maintaining a daily writing routine and offering concise advice on researching, plotting, drafting, and editing to create novels that captivate readers.

For novice writers brimming with ideas who need the motivation to commit to a full-length work, this book instils discipline and structure. It may also benefit experienced writers who have inspirations and ambitions but find life’s demands interfere, by helping them focus their limited writing time to maximise productivity. While emphasising quality and the accuracy of research, it will steer the writer away from both rabbit-holes and plot-holes, back to pursuing the goal of the successful novel.

Excerpts from Phil’s own novels demonstrate how fiction can instantly transport readers to new worlds, evoking setting, conflict, character, and creating immediate suspense.

Soon, Phil will be presenting a course that outlines in more detail the procedures he documents in the work.

If you would like to participate, send an email to info@philhughespublishing.com to receive information and pricing.

Cover Reveal

The Rebel and the Seeress.

When Ruirech discovers his mother’s remains hanging from a cross, he vows bloody vengeance on the man responsible. Fortech Gold Mask led the Fomor army that sacked Forest Haven, and it is he who must pay.

It soon becomes obvious that revenge will not be easily achieved. Fortech commands an army of heavily armoured monsters and is protected by Gorias’s walls. Ruirech’s friend, Plenn, convinces him to fulfil his marriage contract with a Northern Princess, thereby gaining access to the North Kingdom horse warriors.

When heading North, they visit Cassandra for a foretelling. Ruirech is so frustrated by the blind seeress’s prediction, he abducts her, setting in motion a series of events that prove that vengeance is a dish best not served.

Buy The Dagger and the Compass

Screenshot

When duty and compassion collide, who can decide on the right choice?

Just after she awakens from a prophetic dream, Dagda orders Bee through the portal to hunt for her mischievous brother. She soon learns to trust no one in the Kingdoms. Bee’s ma always told her to treat the Tuatha with due respect, but to watch her back. She never fully understood what her mother meant until she was face-to-face with them in the cauldron to which Dagda sent her, a land where life is worth less than nothing and allegiances are broken more regularly than morning bread.

Exacerbating matters, Myrddin has declared himself a necromancer and created an army of dead Fomorii.

Too late to prevent her brother from falling into the mad druid’s grasp, Bee becomes involved with Danu’s Three, and the task her master set her morphs into a struggle for Tuatha survival.

David Gemmell meets Philip Pullman in this exciting portal fantasy from award winning author, Micheál Cladáin.

Available online at Red Books Wexford.

Book Launch

We would love to see you at our next book launch in Red Books Underground in Eclectic Avenue, just off Main Street in Wexford, opposite the AIB.

Readings, book signings, Q&A. Glass of wine and a few nibbles. It promises to be great craic.

A Tale of Two Halves

Yesterday evening, I finished writing a chapter in my current WIP. When I opened my social media this morning, there was an avalanche of posts about the current AI witch hunt. I know I shouldn’t have, but I couldn’t resist running a little test.

The AI checker I have been reading a good deal about is TextGuard. I copied the text of my chapter’s first draft, totally new, totally unedited, totally me, and ran it through the TextGuard AI checker. Here is the result:

So, the report states that the text was 60% AI generated. However, I knew that to be a false positive. Following that, I had to download the App because I wasn’t allowed to paste anymore text into the online version (which is supposed to be free).

I downloaded the app, removed the three instances of en dashes (signifying a longer pause than a comma) and the one instance of an em dash (signifying an interruption) and ran it again. Here is the result:

I made no other changes. Only removing the dashes, and yet, the report went from 60% AI generated to 9% AI generated. How can the use of a few dashes signify a document has been 51% generated by AI? I am afraid that I can only draw one conclusion: the claim to be a “comprehensive AI detector” is a marketing ploy. Their website also claims the tool is 100% free, but in fact requires a subscription.

As authors, we are already under serious assault because the market is flooded by AI generated slop. To now have that exacerbated by witch hunts caused by tools that claim accuracy when they are anything but accurate, using mainly em dash and en dash to detect AI, which was an idea bandied about on social media because of a sudden surge in their usage by non-professionals. Professional writers have always used them and it is mostly non-professionals who see them as a sure sign of AI.

Of course, the side of the story that I have rarely seen mentioned is that the Large Language Models used to generate AI text were stolen from original writers (myself included: A Prelude to War and Anvil were included in the Anthropic theft). So, when I run my text through an AI checker, is it finding writing traits that are there because I wrote some novels that were included in their LLMs? It seems quite plausible.

No doubt, the developers will say TextGuard reports are only an indicator of possible AI generation, but that isn’t how they are marketing the app. TrustPilot has (at time of writing) 1395 reviews, most of them positive. I sincerely hope that they take a look at TextGuard, because they must be bots or other such scams.

Farewell and adieu to my sweet writing career!

This week has been a tumultuous one for me. I have just received the printer’s proof for my 30th, and quite possibly my last novel, and cancelled my annual subscription to the Historical Novel Society.

For the last 3 and a bit years, I have been receiving the Basic Income for the Arts grant from the Arts Council (the last novel is dedicated to them by way of thanks), and received the final payment on February 13th. A new application process will begin shortly, and payments will commence in the autumn. The selection process is once again random, and at this juncture, the Arts Council haven’t yet published the eligibility guidance. Will those who already received the grant be eligible? The simple truth is that if I don’t qualify, I won’t have the money required to continue publishing novels. I am sure that I’m not the only artist who finds themselves in this predicament.

But how is this true?

Many people don’t realise how costly it is to publish a book: editing, graphics, printing, material, equipment, subscriptions, and marketing, leaving aside the hours poured into writing a novel. I was on the verge of retirement just before I qualified for the BIA grant three years ago. My sales were ticking over, but not generating enough income to cover the cost. Since the advent of AI, my sales have plummeted. Last year, I sold 40 books and had 3000 pages read on subscription. I have sold three books this year, all of them to close family, and the bottom has fallen out of the subscription world.

When I add up the cost of publishing The Dagger and the Compass, it gives me the collywobbles: editing €800, subscriptions €400, material €100, printing €1100 (for initial print run). €2400 excluding labour and marketing, which is yet to happen. The simple truth is that I don’t have the money to carry on.

Of course, I will not give up writing, because it’s in my blood. However, now there will be no outlet for my work, it takes on that old philosophical question: “If no one is reading it, is it actually writing?” or something similar, at least.

Farewell and adieu…

Excerpt

The screams brought Eithne back to consciousness.

She had no recollection of where she was or how she had come to be there. Not at first. But as the screams continued, and the stench of death and destruction grabbed her by the throat, she remembered standing atop the gatehouse watching for her son’s return. Opening her eyes, a flash of pain made her close them more tightly. She took several deep breaths to take the edge off the pain. Slowly, it dulled to an incessant throb, but she kept her eyes closed and tried to remember how she came to be lying on her back.

“I was waiting for Ruirech,” she whispered, as the memory returned. “Always waiting for my boy to come home. Uselessly waiting.”

And it had been a fruitless dream. She’d been standing in the gatehouse when, instead of Ruirech, an army of monsters had arrived on the edge of the clearing: the long-awaited, much-feared Fomorii host—Balor’s fist. The largest of them, mounted on a black stallion, easily sixteen hands high, wore a mask, which glinted in the morning sun, clearly visible despite the black cowl he wore with the hood up. 

“I hope Ruirech doesn’t return here,” she had said to no one as she watched the horde surround the settlement. 

The thought of her son returning to find his dreams crushed by a Fomor army had brought tears to her eyes, which she scuffed away just as the sheriff, Abartach, arrived beside her, doing up the straps of his boiled-leather cuirass. With a false smile, Eithne had said the leader looked more like an affected druid than the commander of a horde of monsters.

“So, it finally happens,” the sheriff replied. She’d seen the resignation in his eyes. Despite being a lawman, he knew enough of war to know there was no way out.

“Aye. Ruirech always said it would.”

“Do you think the stories about torture are true?”

“I don’t know, Abartach. Try not to think about it.” The sheriff nodded and said no more. The last words she’d heard were about rumours of torture, and it made her shudder.

Where is he now? she wondered. The speculation didn’t last, because she knew where he would be: dead or dying with the rest of the settlement’s people. As a mother and the Chief in her son’s absence, Eithne had dreaded the moment, especially with the inevitability of its arrival. The battle’s outcome was also inevitable. Those in the settlement were simple country folk forced out of their homes by the Usurper’s decree, whereas the armoured monstrosities were born soldiers. Eithne had heard many disagreements around the Fomorii host, but one area where all agreed was their mastery of violence.

Now, she recalled ordering Abartach to ring the bell in the gatehouse tower, and feeling a sudden pang of guilt for the people who came running to its summons, knowing that all of them: farmers, women and children, young and old, would soon die. Forest Haven had been safe only as long as its location remained a secret.

She now recalled that when the battle began, she heard the thump of the engines releasing their stones, followed by a crack directly above her, and nothing more until the smoke and screams had dragged her back to life, lying on her back.

Finally opening her eyes again, Eithne found the pain now bearable. The clear sky and intermittent wispy clouds hinted at a quickly approaching spring. “Not a good time to die,” she said, before trying to sit up. It was hopeless. Someone had bound her to something by her wrists, forehead, and ankles. Her arms were level with her shoulders, and she thought, judging by the lumpy pain in her back, she was tied to a wooden cross.

She remembered Abartach’s last words and shuddered again. 

During the expulsions, when Balor gave their lands to his monsters, many had reported seeing bodies hanging from crosses. Mutilated bodies.

They mean to torture me to find Ruirech’s location, she realised. It didn’t matter because, regardless of how much pain they put her through, she had no idea where her son was. All she knew was that he’d left in the company of a witch and a Tuatha warrior. She’d warned him not to get mixed up with their type, but he had laughed it off, hugged her, and suggested she watch for his return. She now regretted scolding him and saying she wouldn’t waste her time waiting for the return of a fool.

“Danu protect my son from this,” she said, before saying, “He might already be dead.” 

“Everyone dies,” a voice boomed from somewhere out of sight.

“Show yourself, Monster,” Eithne hissed.

After a short delay, a golden mask blocked her view of the blue skies. Dark shadows cast by the black cowl made the metal appear multihued. Despite the shadows, it looked to be pure gold. The smoothness of the perfectly formed features made her suck in a hissed breath. What should be beautiful was instead cold and ugly. She didn’t doubt the contours fit exactly to the face beneath, making her wonder why the warrior wore it. She had heard of those hiding disfigurement behind such a mask, but thought the hint of feral, devilish eyes was more a gauge of internal corruption. This mask wasn’t meant to cover battle or accident damage, but to add to the aura of malice emanating from its wearer.

“You are Eithne. Is it true that you rule here?” The same detached voice asked from behind the facade. The question made her think someone had betrayed them. How else would Gold Mask know who she was, let alone her position?

“Who told you that?” she asked. There was no response, just the staring, unblinking, malevolent eyes. The wait dragged on until she felt compelled to fill the vacuum.

“I don’t know anything,” she said, almost a whisper.

“I have no interest in your knowledge, or a lack of same.”

“So, what do you want from me?” Eithne pleaded.

“Nothing,” boomed from the golden face, before it moved out of sight. “Sharvan Gold Mask has a gift for you.”

Am I supposed to recognise the name? she wondered. 

As she listened to his movement, Eithne tried to see what he was doing, but it was hopeless. Her forehead was firmly fastened to the cross, and she had no line of sight that didn’t include blue skies and wispy clouds. When she heard a ripping and felt her flesh exposed to the coolness of early spring, causing little bumps of chicken flesh, she whimpered slightly. Courage was not for her. Ruirech would frown and tell her to show her lineage, but the lineage was his. She was not directly descended from High King Eterscel; she was nothing more than the lowly daughter of a merchant of high standing, and merchants had no call for bravery. Oh, they took risks with money and trade, but how could that compare to suffering the pain of torture?

Danu let me be strong.

The pressure of ice-cold metal quickly joined the chicken bumps on her belly. Slowly, the pressure increased until she felt a pain lance into her. It was a level of pain she’d never thought she would experience, and it kept getting worse.

She screamed.

Through her turmoil, she heard a chuckle boom from somewhere out of sight and screamed again.

“Welcome to Sharvan Gold Mask’s gift,” her assailant’s detached voice boomed. Through the fog of her pain, she realised the speaking of his epithet aloud was not for her benefit, but for his. Sharvan Gold Mask probably didn’t bother speaking to anyone else; he was wholly caught up in his world behind a mask.

None of it mattered, though, because screaming until overwhelmed by the sheer agony, Eithne fell into a darkness from which she would never arise.

Coming Soon: The Rebel and the Seeress

When Sharvan Gold Mask massacres the folk of Forest Haven, he sets a series of events into motion that could signal the end of Humankind and the Fae. Dagda has concealed much of his power in Lia Fáil, and the stone seems to have developed a will of its own.

Against the advice of the seeress, the rebel, Ruirech succumbs to his thirst for revenge and seeks the destruction of Sharvan and his master Balor.

Coming soon, book two in the Search for Lia Fáil series.

Get Mick’s Latest

Donn’s Needle at Breshlech

The fortress at the head of the Chicken’s Foot peninsula is central to the events of The Dagger and the Compass. When Dagda’s human horde first invaded the Kingdoms, it was the site of the Fomorii last stand. Now, millennia later, the mad druid, Myrddin has resurrected that hapless army, and they threaten the existence of both the Kingdoms and the Fae Realm.

Portal fantasy at its best.

Where to go:

Print: https://www.amazon.ie/dp/1738521966

ePub:  https://www.amazon.co.uk/dp/B0GNN59BYJ