Showing posts with label The Valleys of the Earth. Show all posts
Showing posts with label The Valleys of the Earth. Show all posts

Friday, 30 September 2016

Herding angels

Viktor Mikhaylovich Vasnetsov, Angel with a Lamp, c. 1885-1896
This is a roundup of what's been going on with The Book of the Watchers trilogy, for those of you who have not been following my Facebook mutterings like they are Holy Writ.

Book 2 (previously known as The Valleys of the Earth) is finished (it came to 86.5K words), edited, and sitting on the desk of a publisher who has expressed keen interest. I'm not going to say anything more until such point as we have signed a contract, but fingers crossed!

At 2a.m. the night before I sent it off, I decided to change the titles of both Book 2 and Book 3. I'm waiting for feedback from the publisher on the first of those.

Book 3 is now definitely going to be called The Prison of the Angels instead of the possibly-misleading The Treasuries of the Stars. All titles are quotes from psychedelic best-seller The Book of Enoch.

I have started writing Book 3!  Yes, I was planning to take some time off and do something fun like my tax-return, but the angsty sex-scenes for Book 3 are making such a commotion inside my skull that the only way to save my sanity is to get them out on paper.

Today this was part of my research:



I'm sure you'll agree it has potential for a smoking-hot sex scene... lol

Wednesday, 14 September 2016

Picture this ... no, please don't.


Oh the glamour of writing!

It's a good job you can't see me this week, because that meme is almost literally true. We're having a late-summer heatwave here so I am hunched in front of the PC, editing, in a stained dressing gown. I don't manage lunch until 3pm. I don't manage to get dressed or even brush my teeth until 7pm some days.

It's a good job Mr Ashbless is working from home because the sum total of my interaction with the household is to slouch downstairs and stare balefully into the fridge. The dogs are wondering why I don't love them anymore...

Anyways, this is how primary editing of The Valleys of the Earth goes:

  1. 1st draft finished!
  2. Insert scenes and bits thought of since writing "THE END". This takes longer than you think.
  3. Re-read the first book in the trilogy, make notes on everything from eye-colour thru individual character vocabulary.
  4. Lie awake at night worrying that the 2nd book is not actually as good as the 1st, but that I can't see where it all went wrong, because author myopia. 
  5. First edit, with special attention to spelling, pacing and sex-scenes. I've a tendency to be too terse near the end, so will probably need to include more descriptive detail in the final chapter. Discover I've added about 3K words to the text :-O
  6. Re-format to a lean mean Times New Roman machine, getting rid of all the damn tabs 'n' double spaces 'n' shit. Ellipses and hyphens.
  7. Lie awake at night worrying that my hero is too dominant, my heroine too annoying, and that I am heinously guilty of cultural appropriation and will be burnt in effigy by my readers, should I ever find any.
  8. Second edit, preferably read out loud to make sure of sentence flow. EVERY. GODDAMN. WORD
  9. Attempt third edit, realise I've actually gone blind and am no longer capable of reading anything at all.
  10. Give up and, weeping with despair, send book into publisher.
  11. Drink. Await criticism, instructions to rewrite, and the start of line edits

Thursday, 1 September 2016

The last battle

Gustave Dore, illustration for Paradise Lost

FINAL CHAPTER!!!

I WILL FINISH "THE VALLEYS OF THE EARTH" THIS WEEK

You are going to hate me ...
... cliffhanger ending


Wednesday, 24 August 2016

The End is Nigh!

Paradise Lost by Emile Bernard, 1868 – 1941

I'm up to 77K on The Valleys of the Earth and about to launch into the final extended scene. Things may be about to get a teensy weensy bit violent, but I'm sure that's fine in a romance, ahem. At least I now know exactly how the novel ends! (I also know how the first three chapters of the sequel go, but that's just got to wait.)

So there are no more surprises awaiting me for this volume ... probably. My heroine Milja managed to broadside me this morning, mind...

It's repeatedly asserted in The Book of Enoch, my go-to sourcebook of angelic craziness, that those women who slept with the fallen angels were taught magic as a consequence and became "witches" or "sirens" (depending on translation). I've treated this as an organic bodily change wrought by angelic influence/body fluids, not learned spells. So Milja has been developing some interesting new abilities throughout the series...

Vol 1: Cover Him with Darkness
  • She finds it physically impossible to cry
  • Cats love her, dogs hate and fear her
  • She can see ghosts, sometimes
  • She can tweak chance to give herself unusually good luck (small magics)
  • She has vaguely prescient dreams
  • She can pull other sleeping people, and angels, into her dreams to interact with them

Vol 2: The Valleys of the Earth
  • During a sexual encounter she can speed-heal her own wounds, or her partner's
  • It's very possible she can reverse this to do harm through hate-sex, though she hasn't actually tried
  • She's immune to disease (which is very helpful when visiting Ethiopia, believe me)
  • She can see in the dark
  • She can order certain animals around ... or at least scare them away
I'm trying to keep her powers witchy and low-key, and not to just pull another one out of the hat whenever it's convenient for the plot. But given that she started off as an ordinary human and she's hanging out in the major league with the big angelic boys, it's nice to be able to redress the balance of power slightly and give her some more effective agency.

Wednesday, 17 August 2016

Going up a Gere

I've been fantasy-casting the movie of my Watchers trilogy again... and I reckon I'd let Richard Gere from Autumn in New York audition for the Archangel Uriel.

He has the right hair.
Hair matters. It's my movie, damnit.

"Can you do massively snobbish sexually-frustrated villain, Richard?"

I've just been writing a Uriel scene for The Valleys of the Earth. At 70K I'm now entering the endgame of the novel. This scene was a masterclass in pantsing because I had no idea how it was going to end when I started.
  • I knew I had to get my protagonist out of her current Dire Peril (... she is always in dire peril)
  • I knew what would happen if it was an erotica book, but it isn't
  • I knew what would happen if it was a really mean horror story, but it isn't
  • I didn't want her to get rescued by one of her allies, just for a change
  • I didn't want her to give in to Uriel's manipulation
 So I started writing and ... ended up researching the Carboniferous period.

Writing is weird.

Monday, 8 August 2016

Blue Monday - special Valleys of the Earth preview

Every Monday I post a wicked excerpt for your entertainment.

Today's excerpt is a bit special, as it's a first draft from my work-in-progress,  The Valleys of the Earth, and I'd be genuinely interested to hear if anyone has feedback about the morality of this short but pivotal sex-scene.

I get a lot of posts across my social network from progressive people who characterise any sexual encounter that falls short of enthusiastic, fully-informed, legally-constituted, consent as rape, and all rape as equally heinous.

I do think this scene is all sorts of nonconsensual murky grey ethical mess, though maybe not in the ways the protagonists see it. I'd be interested to know, if anyone else has an opinion, which - if either - of my characters do you think guilty of rape?

  
Satan, Sin and Death by William Blake
Here's some context: 

  • Egan is running a high fever from a wounded and infected arm and is not in full possession of his mental or physical capacities. The scene opens with Milja trying to cool him down with ice-water.
  • They both are immensely attracted to each other, and care for each other deeply.
  • They both have really good reasons not to have sex with the other, and so haven't done it.




I could feel the heat in my cheeks, too. Egan was massively guarded and private in his self. Touching him felt like being admitted to a mystery, and treading on holy ground. I owed him respect and humility in my care for him. Gentle, unhurried strokes, tender over the black blooms of his bruises. Concentration, seeking out the feverish heat to sooth it. Patience, taking my time, returning again and again in my attempts to comfort him and sooth the fire in his flesh.

While the slow burn kindled in mine.

"I love you, Milja," he said, shocking me out of my reverie.

"That's the fever talking," I said with a hoarse little laugh. "Shush."

"No. I see you being put through ten types of shite, pushed places no one should have to go, and in the middle of it all you shine. A rose in a storm. That's what I thought when I met you ... a rose in a storm, whipped around by wind and rain. Strong and beautiful, and loyal. Too loyal. Does he even know how hard this is, what he's asking of you? Does he care?"

"Don't." My cheeks were burning now. "Don't talk about him, please."

"Okay. I don't want to talk about him. Let me talk about you. You don't have to do this, Milja. You don't have to carry this burden. The end of the world is not your responsibility, one way or the other. Walk away. Be happy."

Oh, he would break my heart.

"Egan ... please ..."              

"I want you to be happy. I want things I've no right to want. When I hold you, oh Christ. The temptation. I can't ... it's so hard not to want those things."

He lifted his good hand and grabbed mine, his grip shockingly strong. I'd presumed him weak. Startled, I met his gaze. It was wider than natural, almost glassy. My heart was banging against my breastbone. I tried to form words but couldn't bring them to life.

"Your lips now. I think of your lips under mine. I think of your body under my lips. I want to fuck you Milja, that's the truth, because I'm a piece-of-shit sinner and that's how my love feels, all wrapped up my lust and what I need - and I'm sorry, I can't stop thinking about you. About how much I want you."

"Oh God."

 "Do you think about me?"

I'd never realised before that blue is the colour of pain. I thought I might be trapped by those terrible blue eyes forever, drowning in his anguish and mine. "Yes," I breathed, the admission nearly breaking me.  

"This?" He pulled my hand down lower, over the sheet, pressed it down firmly against the cotton. Every muscle in my arm contracted in shock - but he did not let me pull away. He held me there, and so I looked. The thin sheet was soaked and plastered against his body, hiding nothing. Not the thick ridge of his erection trapped between my hand and his hard stomach, not even the subtle twin plum-shaped swells of his balls.

Oh. Oh oh oh.

He burned against my palm, a feverish wedge of need trying to push open the doors of possibility. "Please," he groaned, tightening his fingers around mine to squeeze his shaft and rub up and down.

 "Egan..."

"Please Milja." His hips twisted. "Oh God please." Sweat speckled his upper lip anew. The ache in my core rose like a heat plume to meet the ache in my heart.

He's beautiful, I thought, and simultaneously; This is so wrong. I dropped the towel and reached in with my left hand, grabbing his little finger and pushing it back to break his grip and peel it away from me. I pushed his good hand back up onto the pillow, leaning in to pin it with my weight. He didn't have any leverage to resist me.

My breath caught in my throat.

Poor poor Egan. Aching and desperate and helpless. Pinned on his back while his swollen cock raged and wept for release. Just like Azazel had been before I freed him.

After all these years, the darkness beneath the mountain was still there inside me. I had him at my mercy, and that mercy ran slick and hot through me until it escaped down the inside of my thighs.

My hand hadn't moved from his cock.  I squeezed him again.

"Ah Jesus, yes," he cried. Egan never blasphemed.

You need this? You need this? I wanted to bite his parted lips until they broke again and bled, and if I'd had the reach I might have. I can make no excuses for what I felt, or what I did. There was a dark tide of lust rising in me - and even though yes, I could explain, it makes no difference to my guilt. I felt bad for him, yes. He was handsome and sweet and he loved me, yes. No difference.

I loved him, in a way I couldn't even bring myself to think about.

No difference.

The fact is, he was hurt and he was helpless and that made me want to fuck him right now.

 And that's why I didn't let go of his thick cock. I kept hold of it through the cotton and I rubbed it even harder and thicker, until his heels dug into the mattress and his hips danced. I worked him slow and hard and pitilessly, until, his head was thrown back and his throat distended with strain and the blood ran down his chin from his split lip, until he was gasping and rigid and begging incoherently.

Until he came, under the sheet, calling on his saints and his God.

I drank in every cry, every detail. I kissed his bloody lips and lay beside him, cradling his head to my pounding heart.

And only then did I come out of my trance.

Friday, 5 August 2016

Movie muses


Recently on Facebook I joined in posting a list of my twelve favourite movies of all time - specifically, the ones I can happily watch again and again and again.

Here's my list, in release order - along with instances where these movies have influenced my writing.

Jason and the Argonauts (1963)
I could watch the scene where the bronze giant Talos comes to life and chases everyone every day for the rest of my life and never get bored!
Okay, so I've written loads of swords-n-sandals Greek-inspired stories - but in particular The Red Thread in Dark Enchantment is just steeped in the Jason / Medea bad romance.



Time Bandits (1981)
That Agamemnon sequence with Sean Connery? Take a look at my novel Divine Torment. Scorching sun, nasty court politics, guys in short tunics, and a cynic's view of the gods.

The saddest minotaur ever :-(

Aliens (1986)
Directly inspired my SF-gangbang story The Military Mind, in Fierce Enchantments
 


Labyrinth (1986)
There are shades of Jareth the Goblin King in my creepy Dom fey The Brennnan, in Named and Shamed.


The Muppet Christmas Carol (1992)
 

Falling Down (1993)
A masterclass in dramatic escalation, mixed motives and messing with the viewer's empathy.

Jurassic Park (1993)


The Prophecy (1995)

No escaping it, a HUGE influence on Cover Him With Darkness, and its sequels yet to come. I have to stop Uriel channeling Christopher Walken every time he appears! :-D 


Also, Satan
Evita (1996)
The scene with Antionio Banderas dancing joyously in the fountain is 45 seconds of pure sexuality for me - and an interesting contrast with Che's normal surly and angry demeanor that actually taught me something about writing alphas.






Deep Rising (1998)


The Fellowship of the Ring (2001)


Aragorn. All that repressed anger. SAY NO MORE.



300 (2006)


Oh good grief ... Gerard Butler,  Lena Hedey, balletic ultra-violence, heartbreaking sacrifice, ripped and sweaty warriors in tiny leather pants.... This movie was made for Ashbless the writer ;-)

This poster is on my kitchen wall


BTW, here's a list of twelve seminal movies I've NEVER ACTUALLY SEEN, and which have therefore no influence on my romantic or erotic imagination:


Grease
Dirty Dancing
Sleepless in Seattle
Gone with the Wind
When Harry met Sally
Casablanca
Love Story
The Notebook
Annie Hall 
The Fault in Our Stars
Amelie
Pretty Woman

It might explain some things.

Wednesday, 3 August 2016

How it b-Egan

Some research notes for Egan's backstory

Over the last two days I've written 5000 words for The Valleys of the Earth, which is incredibly productive for me. It's involved a lot of research, and not actually getting dressed until dark.

  • I've changed a major character's name
  • I've got my protagonist out of her Ethiopian imprisonment without stretching credulity too much
  • I've had to decide on a getaway airplane, and I'm settling on the Beechcraft King Air turboprop ... for reasons of size and seating layout. You have no idea how hard it is to stage a private face-to-face discussion on a plane.
  • I've introduced demons to my world - demons, not fallen angels.

  • And I've finally got Milja and Egan back together and talking. And a great big chunk of that has been uncovering Egan's dodgey background in Special Ops, and how he came to work for secretive agency Vidimus (Latin for "We Have Seen"). It all gets a bit gory and shooty and sad.
 I had to do this for F Leonora Solomon because she squeeeeeeed all over Egan in Cover Him with Darkness and I rashly promised her more revelations :-)

  • I still have to research a bunch of military details ... I foresee a few afternoons with my Delta Green supplements, because RPG rulebooks are actually really useful for this sort of stuff. DG is written by almost entirely by military/gun nerds as far as I can see.
  • Oh yeah. It turns out Egan has had a major revelation/change of plan all on his own, which rather took me by surprise when he announced it mid-conversation. Bloody characters! I actually sat there with my mouth open, staring at the screen, and said, "Well, well. Really?!" 
 Still, I'm willing to run with it... let's see where it goes!

Wednesday, 13 July 2016

Crash landing



A nice bit of writers' serendipity here.

I've been sorting through all my old pictures of Ethiopia and I came across this one - a wall poster in a juice bar in the one-horse-town of Wukro. Apologies for the poor definition - there wasn't much light - but though I've no idea what it is advertising, it seems pretty pertinent to my writing! It depicts, I'm guessing, a Titan thrown down to earth during the battle with the gods.

What it's doing in a bar in Africa I've no idea, but I know what it's doing in my book :-)

UPDATE: a quick search with Google Images suggests that it's based on street art by Kurt Wenner, which is well worth checking out.

Here's his website

Thursday, 7 July 2016

Author guilt

Lucifer, by Franz Stuck, 1890
I'm at 50K in writing The Valleys of the Earth, and feeling guilty.

Chapters 8-11 are set in Ethiopia. Logically there's no reason angelic activity be confined to Europe and America, of course.  From the very first conception of this trilogy I wanted to move the action to Ethiopia at some point, because it's one of the oldest Christian nations in the world and it has the distinction of keeping The Book of Enoch as part of its Biblical canon even when the rest of the world lost all copies of that text (though it gets a namecheck when quoted in the Epistle of Jude, for example).

And the angels which kept not their first estate, but left their own habitation, He hath reserved in everlasting chains under darkness unto the judgment of the great day.

That's the entire reason I visited Ethiopia a couple of years back, and chapters 7-8 are based pretty much word for word on my diaries, photos and memories. (After that I go seriously off-piste, I admit.)

So what I've done is sent my characters there on a MISSION and they end up killing a whole bunch of Ethiopian priests, not entirely surprisingly, because angels are ruthless douches. And I do feel a bit shit about this, because nowadays the racial-political subtext in genre fiction has become ... "problematic"*


Now, generally I regard this as a Good Thing to be aware of. It is  - as a friend suggested yesterday - a sign of growing emotional intelligence in our culture. "It's not just about us anymore, guys! Other people have voices and points of view too!" And certainly Avatar made me roll my eyes and feel slightly pissed off.

But I'm telling a story. It can't logically or dramatically be confined to characters doing nice things to other people, or even characters doing nasty things only to whitish people.

(My "hero" characters in this case consist - for the record - of 1) A Balkan Montenegrin of Serbian Orthodox background, 2) a Iraqi, and 3) an angel of no human ethnicity... so I'm guilty of cultural appropriation before I even start, yay...)

In the end, I'm going to have to just go for it. Story comes first. Readers have a choice to read or not, or to go look for some other storyteller. We are, after all, grown-ups. I can only continue to try and write as fairly as I can, within the story's limits (it cannot represent all POVs equally, some characters are just there to die horribly for the sake of the plot, some characters really are just wallpaper).

Feeling a bit guilty is, well ... part of life.

Thank you RG, I needed this!




*There's a poisonous weasel-word for you :/ Problematic should mean "a: posing a problem : difficult to solve or decide b : not definite or settled : uncertain  c : open to question or debate : questionable" ... whereas is is commonly used as shorthand for "YOU HAVE SAID THE BAD THING SO WE MUST NOT READ OR WATCH  OR ENJOY THIS"

Sunday, 5 June 2016

I am in blood stepped in so far

Magazine illustration by Fritz Hegenbart 1864–1943
I've hit 41K on my wordcount for The Valleys of the Earth, which means that notionally I am halfway through!

Plotwise, the excrement is about to hit the rotating blades in great quantity.

(Also I just wrote "wordcunt" so I think I should stop and eat)

Wednesday, 18 May 2016

Jigsaw plot

This is where I am with my WIP right now:


At 35,000 words - coming up to half way - I've finally got my characters to Ethiopia, thus totally justifying my holiday there last year. And hell yes, I'm using those thousands of photos I took for reference purposes. I WANT TO GET IT RIGHT ... not that anyone reading the novel will care. *sigh*

As a die-hard Pantser, at 35K I've also hit the point where the writing process becomes really complex - a bit like doing a jigsaw where every piece has to be hand-carved as you go along. I'll sit down to write a new scene, moving the plot an other notch forward. But inevitably I also have to go back to one or more previous scenes to add a few lines of dialogue or a single adjective, to tie that scene into the new one. I have to make sure that the characters can proceed logically from one action to the next instead of making gigantic lucky guesses, and that they can look back on past scenes and suddenly realise the significance of a event or observation. That means a LOT of infilling of details.

I flew thousands of miles to take this photo, I'll have you know.
Three times now I've had to go back and insert entire new scenes that round out character motivation, or that will have the desired plot effect eight chapters down the line. And more embarrassingly, I've also had to backtrack to remove stuff. But just once.

Every scene must pull its weight. There's no padding.

I go to bed every night thinking about plot and wake up every morning thinking about plot. I've grown increasingly non-verbal around Mr Ashbless, as I'm constantly trying to keep every story detail in mind until I can get them written down.

Don't marry a writer, folks. Or maybe check if they are a Plotter or a Panster first!

Sunday, 15 May 2016

Buns of Evil


I've been going through my old photos from Ethiopia for research on this current novel ... And I would just like to point out what a fine fine butt the Devil has.

Wednesday, 23 March 2016

Wayland's Smithy

If you've read Cover Him With Darkness you'll know that I put the defeat of the Watchers (fallen, mortal-shagging angels) at "about five thousand years ago" somewhere in the Bronze Age.

Evelyn de Morgan

Since I'm writing the sequel, The Valleys of the Earth, in which my "hero" Azazel goes trying to find his imprisoned brothers all round the world, I've been looking for places they might be stashed in underground cells.

Here's one: Wayland's Smithy in Oxfordshire:


It's a famous Neolithic longbarrow and this month I finally got to see it, having had it on my to-do list for decades. That's because it is a bit of a hike up The Ridgeway in a surprisingly remote range of chalky hills...


... and is deliberately badly signposted by English Heritage. Here it is hidden in its copse of trees, unvisited, melancholy and a little bit spooky even in daylight:


The barrow (185 ft long by 43 ft wide) was built in about 3,400 BCE, over the top of an older smaller barrow. The front stones at the chamber end are BIG and present a strikingly feminine entrance into the Underworld

Though that may just be my dirty mind...

The legend that sprang up around this earthwork was that it was the forge of the supernatural blacksmith Wayland (a memory of the Germanic smith-god Wolund, he's referenced in Beowulf and The Ring Cycle among others).

It was claimed well into historical times that if you rode up there and left your horse tethered by the stones overnight, along with a silver coin, you'd find it freshly-shod in the morning. I love that story! It has such a ring of "Yeah, you can interact with the supernatural if you want to - no problem."



Kipling used Wayland's legend in this chapter of Puck of Pook's Hill.

So that's a site-visit I can claim expenses for, eh? ;-)

Wednesday, 10 February 2016

Satan is the white guy

Phwoar warning! The Archangel Michael has just walked into my WIP, The Valleys of the Earth. And he looks a lot like this:


Actor Martin Sensmeier
Angelology is notoriously vague - all the different angel systems invented over the centuries contradict each other wildly - but for these books I'm going with the line that there are four archangels: Gabriel, Raphael, Uriel and Michael, because those are the ones told to hunt down the fallen Watchers in the Book of Enoch.



I introduced Uriel in Cover Him with Darkness and he looks like this in human form:


Raphael was also briefly glimpsed, because he was the one who took Azazel down, and I decided there was no reason whatsoever for him to look Caucasian - so I modeled him on the long-haired historical heroes of the Chinese cinema industry I grew up with. Because hair.

Actor Leslie Cheung
After that, I thought "Well ... let's go with the notion that the four archangels are assigned to the four compass directions / Quarters of the Earth. Uriel's clearly the North, so Raphael is the East." (I'm assuming that the "centre point" of the world is Jerusalem/ the Garden of Eden / the Middle East here, for the sake of argument.)

Michael, the warrior-angel, obviously watches over the West. Gabriel hasn't shown up yet, but he'll look African when he does.

And if you've read CHWD, you'll know that Uriel is also Satan.
Heh.

Sunday, 7 February 2016

The Watchers secret backstory revealed!!!

;-)

Seriously, at some point in The Book of the Watchers I'm going to have to tackle a number of Big Questions.

1) WTF was God thinking of?
2) WTF is God doing right now?
3) WTF is God going to do about all these fallen angels escaping?

Don't let anyone tell you Erotic Romance is an easy genre to write...

Saturday, 30 January 2016

Two Precious


So I'm just getting stuck deep deep deep into my luverly Valleys of the Earth ... when the edits for Falling Deep turn up in my inbox, along with a 'request' for a cover blurb ASAP!

The writing life, eh? There's always something to distract you from your book, even if it's only your other book :-)

I've seen plenty of authors say it's harder writing the cover blurb than the book, btw. I get that. We are fiction writers, not marketing copywriters. That's a WHOLE different skill, and lots of us find it really stressful.

"Explain in 200 words why your baby is the best baby in the world and everyone should love it."

Thursday, 28 January 2016

So it begins

Mikhail Vrubel again!
I'm 4K into The Valleys of the Earth, the follow-up to Cover Him with Darkness.

I'm scared, tbh.

I'm scared I'll end up repeating myself - metaphors, similes, theological arguments.
I'm scared Milja's relationship with Azazel is too abusive for contemporary readers.

I'm really scared I can't write anything as good as that first volume. Because I think I've set the bar way high, truth be told.

All I can do is write it out, though.


Sunday, 18 October 2015

And breathe...


So I finished my tax form late last night and had a giddy 45 seconds :-)

Then I remembered I have a short horror story, the Falling Deep novella, and the sequel to Cover Him with Darkness to finish. NOW.

Gaaaah...


Wednesday, 4 March 2015

Abyssinia'll later folks!

The rock-hewn Church of St George, Lalibela

... because I'm off on an *ahem* research trip to Ethiopia. The sequel to Cover Him with Darkness is partly set there, and that's all the excuse I need!

Back in a fortnight :-)