Today sees Different Times and Other Places, my retrospective short fiction collection, published by Newcon Press. This is the latest in their Polestars series showcasing writers working across speculative fiction – who happen to be women. Selecting these stories has offered me insights into my development as a writer, as well as highlighting inspirations which I realise go back to my earliest reading. It has also given me the opportunity to share two completely new, previously unpublished stories. The Green Man’s Guest sees an unexpected encounter for Dan Mackmain in an arboretum, while A Stitch in Time Saves One explores an epic fantasy possibility that occurred to me and was simply too good not to use somewhere.

The only downside of putting this collection together – if I can even call it that – is I find I want to write more and longer stories about the people and places I have revisited. My natural writing length is the novel. Writing short stories is a skill I have consciously learned. It’s a distinctly different narrative form which I have come to appreciate, not least by reading the work of other authors who do this supremely well. Writing really good, effective short fiction absolutely isn’t simply a case of fitting a story into the required word count.

My first novel, The Thief’s Gamble, was an epic fantasy, a genre I still read and enjoy. I often come across potential inspirations for fresh ways of looking at magic, and of reflecting on our own lives using the magic mirror of a previously unimagined secondary world. These days, short stories allow me to explore these ideas in between writing my ongoing Green Man series of contemporary fantasy novels. And since a short story asks far less of a reader’s time, they are an excellent way to offer an introduction to my style and perspective as an author.

I don’t ever want to become complacent as a writer, so I continually strive to hone my skills. The best way to improve your abilities in any craft is to tackle new tests. That’s something else I get from short fiction. Writing for a themed anthology is an intriguing creative challenge as I look for an angle that no one else has seen. Then I get to read everyone else’s stories, and see the other possibilities they found. In Fight Like A Girl Volume 2, from Wizard’s Tower Press, it’s great to see so many authors from the first volume returning, as well as the contributions from other writers joining us. It’s very rewarding to see readers enjoying the breadth of perspectives this anthology offers.

Shared-world writing asks similar and also different questions of an author, as a group of writers work together to find the balance between individuality and collaboration that creates a coherent setting which becomes more than the sum of its parts. I contributed the story ‘Unseen Hands’ to the Ampyrium anthology from ZNB in the summer, working with and alongside a great roster of writers to build this new and original milieu.

February 2025 will see the publication of the Lincolnshire Folk Tales Reimagined anthology. This was a different writing challenge yet again. The team behind the ‘Lincolnshire Folk Tales: Origins, Legacies, Connections, Futures’ project at Nottingham Trent University are putting together a programme of launch events, which will include readings, Q&A and more, to promote interest and awareness of the origins and influences of this storytelling heritage. Check this page for the dates and places for events – you’ll need to scroll down for the newest additions.

And now? I’ll get back to working on a new, full-length project that I’m developing, alongside Dan’s next adventure…

I’m delighted to share the news that my female-centred Arthurian retelling, The Cleaving, is now available as an audiobook, courtesy of Watkins Media, narrated by Joanna Carpenter.

You can find it here

I’ve felt for years that the legendary epics of King Arthur and Camelot don’t tell the whole story. In particular the women are badly underserved, as they are denied the right to control their own destinies amid the wars and rivalries that determine ‘the matter of Britain’. As far as Arthur and Merlin are concerned, they serve Camelot by doing as they are told and nothing more.

So we’re supposed to accept Arthur’s mother Ygraine marrying the man who’s just killed her husband? Arthur’s half-sister Morgana turns to dark magic to defy him and Merlin just because she’s ‘bad’? The enchantress Nimue challenges Merlin and uses her magic to outwit him – but why does she do it? Come to that, exactly why does Arthur’s marriage to the dutiful, biddable, beautiful Guinevere end in adultery, rebellion and death.

When I focused on the women I saw a different picture. Men forget that women talk. Ygraine, Nimue, Morgana and Guinevere have opportunities to become friends and allies as the decisions that shape their lives are taken out of their hands. Now these women have a voice.

The seventh instalment of Dan Mackmain’s adventures makes this the longest continuous sequence of novels that I’ve written. Okay, I actually reached that point with the last book, The Green Man’s Quarry but I’ve only just thought about this. The Tales of Einarinn came to a natural pause after five volumes. The subsequent books in the World of Einarinn timeline were a series of four novels, followed by two trilogies. With each of those sequences, I was determined not to rewrite a story I’d already told. Shifting focus to a different part of that fantasy world with a new cast of characters was a key part of ensuring that.

So how can I keep writing the Green Man books without repeating myself? It turns out elements embedded in these stories from the start are very helpful. I decided Dan’s life would be grounded in everyday reality. Writing epic fantasy novels showed me how a solid foundation makes the magical far more believable. With these books, that means a year or so between each story sees a year or so pass in Dan’s life. His relationships develop and his priorities change. That makes new demands on him and I can find new ways to threaten him.

These books are rooted in British folklore. This is a vast and varied resource. The more I read, the more I find to spur my imagination. I don’t necessarily find complete stories. Most local legends are single incidents, often tied a particular landscape feature or an old building. A lot of these stories are very similar, even when they’re set hundreds of miles apart. None of this is a problem. As I read these variations, I can use common threads to weave stories into the underlying mythology that’s evolving through this series. Where I find contradictions and exceptions, those can remind the reader not to take anything for granted. Where mentions of a monster are little more than fragments, I can devise something that’s both familiar and wholly new.

Then there’s the catalyst. The creative process that has emerged for these books is very different to my approach to writing an epic fantasy novel or a historical murder mystery. I plan those in detail from the start, and I tailor my research to the needs of the plot I’ve already worked out. Each Green Man book starts with me gathering assorted, apparently unrelated ideas from my folklore reading, from places I visit, from conversations with like-minded friends. I make note of news stories about rural life and concerns which will affect Dan and his friends. At that stage, I genuinely have no idea what the next book will be about.

Then I will come across something that suggests a way to tie these ideas together. Once I have that catalyst, the story starts to take shape. Its internal momentum shows me where and when to draw the next element in. Now my research is about finding the people and resources to tell me things I had no idea I would need to know. I will be well into writing the novel before I see the ending come into focus ahead. I would never have imagined I would be working this way, but the experience is as exciting as it has been unexpected.

So what was the catalyst for The Green Man’s War? When we were visiting Burford one day last winter, my husband saw a small bronze statue of three dancing hares in a jeweller’s shop window. Regular readers will understand why that caught his eye. We went in to buy it, only to discover the shop door should have been locked and the ‘Closed’ sign put up. A distracted member of staff had followed the usual routine on auto-pilot. The manager and staff were actually in the shop that morning to compile an insurance claim after being robbed the week before. A gang of men armed with hammers and knives had ambushed the keyholder outside, forced their way in, and stripped the shelves and display cases bare. The nice people in the shop were happy to sell us the little statue, once they had told us all about it.

That got me thinking. What would Dan do, faced with that situation? Why might something like that happen to him? I’d read a few myths that mentioned jewellery. Ideas started coming together…

I had an excellent time at Fantasycon in Chester, and an excellent time at Bristolcon, which is where you would expect it to be held. Having spent the last two days clearing the decks of work stuff, today will be getting everything ready for our trip to Sweden tomorrow. I’ll be one of the Guests of Honour at Fantastika 2024, this year’s Swecon, over the weekend. After that, husband and I are having a week’s holiday in Stockholm. (Burglars please note, Resident Son is taking vacation days while we are away to have his own holiday at home.) This will be our first break in what has been a challenging year for a range of reasons. I’m looking forward to coming home refreshed to work on a couple of things at a more relaxed pace than the past six months have allowed.

I’m also encouraged by what’s been a recurring theme in panel discussions, namely the importance of writers examining and discussing the origins of themes and archetypes they’re using. An important reason for this is to avoid perpetuating outdated and even harmful subtexts and ideas. More than that, writers are seeing the wide range of opportunities to be found in identifying the stories not being told, by looking at variations on legends, old and new, which don’t centre the most frequently-used characters and story structures. I feel this is excellent for the SF&F genre.

Enthusiasm at these conventions for the forthcoming new anthology Fight Like A Girl Volume 2 (Amazon pre-orders here) is very rewarding, as is people’s eagerness to read The Green Man’s War (Amazon pre-orders here), which will be published on 15th November,. For comprehensive lists of non-Amazon buying links check out the Wizard’s Tower Press pages for Fight Like A Girl Vol.2 and for The Green Man’s War.

Something I’ve found very entertaining is seeing readers (who tagged me in) discussing their responses to the Green Man series protagonist Dan Mackmain, as a character and as a ‘real person’. The consensus seems to be affection blended with intermittent exasperation, as expressed in splendid fashion here.

“Daniel. Sweetie. That’s gonna bite you in the ass later. Daniel. No. Please think this through.”

I’ve had some intriguing conversations about Dan in person as well. All of this encourages me to continue writing his story. It’ll be interesting to see where delving into my folklore To Be Read stack takes him next.

The way Dan’s occupation is interwoven with his personality, and influences his actions ,leads me very nicely into the guest post following this. Andrew Knighton has been reflecting on ways in which a fictional character’s work can colour and shape a story. I am very much looking forward to reading Andrew’s new novel, The Executioner’s Blade, when I get home from our travels.

I will be at Bristolcon this coming weekend, where Cheryl and I will be celebrating the forthcoming publication of The Green Man’s War. For this convention, ebooks will be available for purchase direct from Wizard’s Tower Press. Click here for the Wizard’s Tower page of purchase links for pre-orders.

As ever, Ben Baldwin has given us an absolutely stunning cover.

What’s the story this time? Well, for a few years now, the Green Man has sent Daniel Mackmain to resolve clashes between ordinary people and the supernatural world. Dan has found allies among folk from myth and met other humans who can see the uncanny. He has also made dangerous enemies. Someone has decided to put a stop to this interference once and for all. Dan and his friends are about to find themselves in the firing line.

The actual publication date will be 15th November for hardback, paperback and ebook editions through the usual retailers. This year has been a challenging one for me personally, and unforeseeable events threw my writing schedule into chaos. This landed the rest of the team, publisher Cheryl, editor Toby and artist Dan, with the knock-on effects which had to be managed alongside their other commitments. Believe me, everyone has done their utmost to bring Dan’s latest adventure to eager readers as soon as humanly possible, and I am hugely grateful.

Bristolcon will also see us celebrating Fight Like a Girl Volume 2, and similarly ebooks will be available for direct purchase. This is a second anthology of excellent short stories looking at different interpretations of this phrase, and offering sound reasons why it’s a big mistake to think that particular comment is a remotely valid put-down. My story is titled Civil War.

Oisin McGann has done us proud with this gorgeous cover art, and the publication date is 21st November. My fellow authors are Danie Ware, Gaie Sebold, Dolly Garland, Cheryl Morgan, Anna Smith Spark, K R Green, Julia Hawkes-Reed, K T Davies, S. Naomi Scott and Lou Morgan.

In December, Newcon Press will publish Different Times and Other Places, the tenth collection in the Polestars series where editor Ian Whates has invited writers to offer a selection of their short fiction. Since the other authors are Jaine Fenn, Teika Marija Smits, Emma Coleman, Justina Robson, Cécile Cristofari, Aliya Whiteley, Liz Williams, Fiona Moore and Patrice Sarath, you will understand how honoured I am to be asked.

Reading through stories I’ve written over the past twenty-plus years was an illuminating experience, and choosing which ones to include was a fascinating challenge. The process showed me aspects of my own writing which I haven’t noticed before. That was as unexpected as it was intriguing. I also had the opportunity to write a brand new Green Man short story, prompted by a comment my husband made as we walked around an ornamental National Trust garden. Reading a book about tapestries had also given me an idea for a story some while ago, and now this collection will give you the chance to read that. Click here for pre-orders.

So while 2024 has included a lot that I’ll be happy to see the back of, October, November and December are putting plenty into the plus column!

I am very much looking forward to travelling up to Glasgow next Wednesday, for the upcoming Worldcon August 8th-12th. I foresee some excellent discussions ahead with the panels I’ll be on, and the programme offers so much other stuff that I know I’ll enjoy.

My books will be on sale in the Dealers Room, and if you can’t make the autograph session on Saturday afternoon, I’ll be happy to sign books, new or old, whenever our paths cross – as long as I’m not actually on my way to one of these actual programme commitments.

Cut From Whole Cloth, Thursday 8 August 2024, 17:30 GMT+1 Alsh 2
Farah Mendlesohn, E. C. Ambrose, Heather Valentine, Juliet E McKenna, Mary Robinette Kowal

Who makes the royal robes, who weaves the flags of the republic, and what are those snazzy spacesuits made of? Fabric and clothing are an integral part of the world, and this is no less true in SFF: so who does it best? What worlds best use fabric and crafts in their creation, and which writers give us clothes we want to wear?

Don’t Go Into the Forest: Monsters and Feminism Saturday 10 August 2024, 11:30 GMT+1, Castle 1
Juliet E McKenna, Ellen Datlow, Genoveva Dimova, Rivers Solomon, V. Castro

Monsters have been used historically as metaphors to keep women in line. Don’t go into the forest; don’t stray from the path. They have often also been used to represent and demonise women. Are we seeing a change in monster narratives? Are books today starting to explore how the monstrous might be used to empower women instead?

Autographing: Saturday 10 August 2024, 16:00 GMT+1, Hall 4 (Autographs)
Incidentally, if you simply want to say hello, or to arrange something with me, this will be a good time to do that.

Strong Female Leads Who Don’t Kick Ass Monday 12 August 2024, 11:30 GMT+1, Hall 1
Taeyeon Song, A. Y. Chao, Juliet E McKenna, Lorraine Wilson, Nnedi Okorafor

“Strong female character” has too often been a euphemism for a sword-wielding amazon battling those who wronged her. Fun and glorious though those women are, this panel will talk about the women who lead through intelligence, charisma, patience, or other skills.

In further diary news, if you can’t get to Worldcon

I’ll be at the BFS Fantasycon in Chester, 11th-13th October, and at Bristolcon 26th-28th October.

Then I’ll be in Stockholm for Fantastika 2024 (also the 2024 Swecon) 1st-3rd November, where I have the tremendous pleasure of being a Guest of Honour alongside T. L. (Tendai) Hushu, Lena Karlin and Åsa Schwarz.

Excuse the brevity of this post. I have a lot to get done before Wednesday!

And yes, there will be news of the next Green Man book in due course.

*** Breaking news update! The release date for Ampyrium (and this year’s other ZNB anthologies) has been brought forward to July 15th – that’s right, Monday!***

With one of those quirks of timing the book trade comes up with, the second half of this year will see a whole lot of new short stories I’ve written coming out with different publishers.

First up, available from 15th July, and with huge thanks to the Kickstarter supporters, you can read my contribution to the Ampyrium anthology from US small press, ZNB. This new and original shared world project has thrilling potential, and it’s great to be part of it. (More thoughts on such projects here)

Ampyrium is a city of a thousand wonders! Powerful magicians created this massive city, contained within an eight-sided wall, each with its own portal to another world. Different magical lands collide as the races from those worlds come to trade, to politic, to carouse, and to murder. Merchants and royalty, thieves and assassins; caravans and envoys, armies and entourages are all here. Don’t stray though. IGet lost in the streets of Ampyrium and you’re on your own. The Magnum stay aloof … even if their Eyes are everywhere.

My story, Unseen Hands, introduces a family of exiles from Daruvia, a forested world whose healers and herbalists are second to none. Joshua Palmatier, David B. Coe, Esther Friesner, Patricia Bray, S.C. Butler, and Jason Palmatier offer you other stunning worlds.

Coming soon from Wizard’s Tower Press, I have a story in Fight like A Girl 2. Regular readers will recall the excellent first anthology from Grimbold books – if you haven’t already read that, I highly recommend it. All these stories feature women using their wits, skills and determination to prevail in a range of SF&F settings.

The other authors for this second anthology is KT Davies, Dolly Garland, KR Green, Julia Hawkes Reed, Cheryl Morgan, Lou Morgan, Naomi Scott, Anna Smith Spark, Gaie Sebold, and Danie Ware. You’ll recognise several names from the first book, and this new anthology will feature an introduction by Charlotte Bond. My story is Civil War.

The excellent Polestars series of single-author collections from NewCon Press has so far featured Fiona Moore, Liz Williams, Aliya Whiteley, Cécile Cristofari, Justina Robson, Emma Coleman, Teika Marija Smits and Jane Fenn. I will be honoured to be in their company when my own collection Different Times and Other Places appears later this year.

As well as shorter work selected from my writing over the past twenty-plus years, there are two entirely new stories. The Green Man’s Guest sees a wholly unexpected encounter for Dan Mackmain, while Tapestry gave me an opportunity to explore an idea I’ve been thinking about for a while. This is merely one of the things I enjoy doing with short stories.

Last, but by no means least, an intriguing opportunity came my way some months ago, when Dr Rory Waterman and Dr Anna Milon of the School of Arts and Humanities at Nottingham Trent University contacted me. They are leading a fascinating project ‘Lincolnshire Folk Tales: Origins, Legacies, Connections, Futures’, which sets out to explore the origins and influences of Lincolnshire legends, to promote interest and awareness of this storytelling heritage.

You will be unsurprised to learn that I was thrilled to be asked to write a story for the Lincolnshire Folk Tales Reimagined anthology, which will be published in partnership with the University of Lincoln. More details to come!

Yes, I had an excellent weekend. The highlight was (obviously) winning the 2023 Best Novel Award from the British Science Fiction Association, as voted on by members. The full list of winners is here and you can learn a bit about the BSFA while you’re there, if you wish.

I was pleased and honoured to be shortlisted. Yes, that’s what people always say. The thing is, it’s true. A nomination for a genre award means readers find your work worthy of recognition alongside books written by your professional peers and personal friends. That in itself is wonderful. When a friend’s novel which I have enjoyed turns out to win, I’m thrilled for them.

The Green Man’s Quarry actually winning this award was a wholly unexpected delight, and an honour not only for me. Writing may be a solitary occupation, but getting a book into print most assuredly is not. I am intensely grateful to Cheryl Morgan of Wizard’s Tower Press, who first set up her publishing enterprise to help writers like me make our backlists available in print and ebook formats on terms that brought us a worthwhile return. When The Green Man’s Heir was met with a discouraging lack of interest from the agents and publishers I approached, she was absolutely ready to see how the book fared as WTP’s first original publication. The rest, as they say, is history – and do check out the subsequent original titles from Wizard’s Tower Press.

My further thanks go to Toby Selwyn, whom I have known since he was a teenager reading my epic fantasy novels. We’ve met at conventions and stayed in touch through his university years and subsequent career as an editor. This combination of his rigorous professional skills and his finely-honed understanding of my writing makes a significant contribution to these books. I also thank Ben Baldwin for his outstanding artwork, for the whole series, and especially for The Green Man’s Quarry. This latest cover did everything the previous art did to catch the eye and stir the imagination, as well as hinting this time, readers should expect something a bit different… Each of these books brings new members to the team. Since The Green Man’s Quarry sees Dan venture north of the border, I enlisted Shona Kinsella, also a fine writer and meticulous editor, as Scots cultural consultant. She made an invaluable contribution, so thank you to her for that.

It’s thanks to SF conventions and the wider SF&Fantasy fan community that I know these people. Conventions are where I first met Cheryl and Shona. Ian Whates of Newcon Press, another friend made through conventions, recommended Ben when we were looking for an artist for The Aldabreshin Compass reissues. Our genre’s early and effective adoption of websites meant Toby and I could make contact all those years ago and stay in touch ever since. The online world has long enabled keen SF&F readers and reviewers to share their enthusiasms. This virtual word of mouth makes it possible for small press publications to find the people who will love their stories. So thank you, everyone in SF&F circles for that.

The rest of the convention? The panels I took part in were fascinating and informative conversations. I listened to various talks and discussions with keen interest and my notebook to hand, coming away with new information and perspectives that will improve and inform my own work. The convention’s guests were wonderful to meet, and to hear talking about their writing and their working lives. In between times, I caught up with long-standing friends whom I haven’t seen in person for far too long, given the weird dislocations of these past few years. I met online pals in person which is invariably a pleasure, and I made connections with people I wouldn’t have encountered elsewhere, who will assuredly become friends and colleagues. If anyone ever asks you if SF conventions are worth their time and money, feel free to cite all of the above.

There was one notable difference from many UK conventions this year. Rather than being based in a main hotel, this Eastercon used the Telford International Centre for its programme and events, and for central social space. This turned out to work extremely well. Accommodation was readily available within easy walking distance in a range of hotels to suit all budgets. There was similarly a good choice of restaurants and other refreshments options within easy reach, as well as food and drink on site. I recommend event organisers in search of a venue take a serious look at both this site and at this slightly different model for themselves.

As those of us who’ve been involved in event organisation will know, nothing as big and complicated as an Eastercon runs as apparently smoothly and successfully as this weekend did, without a tremendous amount of hard work by a great many people both beforehand and through the event itself. Last, but emphatically by no means least, my thanks and admiration go to the Convention Committee, everyone working in the various departments on site, and to the Levitation volunteers.

And thanks to my husband, for tackling the interesting photographic challenge of this shiny transparent glass award alongside shiny dark-hued book covers.

I’m extremely pleased to share the news that my story Unseen Hands will appear in the shared world anthology, Ampyrium, to be published later this year by ZNB. As I’ve said previously, shared world writing has some particularly interesting angles for authors. Seeing the ways in which this particular setting has grown in the telling of our various stories, I can see it’s going to offer tremendous potential for all sorts of tales. Do check out ZNB’s anthologies. They always offer great reading, as well as opportunities for debut authors through their open calls.

In other writing news hereabouts, the next Green Man novel is coming together nicely, with Dan Mackmain using what he’s learned in recent years to counter new challenges. There are a couple of other short stories in the works, of which more, later.

In upcoming events, I’ll be at Eastercon over the bank holiday weekend. I’ll bring some print copies of the Lescari and Hadrumal trilogies with me, which I’m happy to offer for free to keen readers. If you’re interested in these books, let me know – or find me at the convention. If you have anything you’d like me to sign, feel free to say hello and ask.

As well as seeing friends and colleagues, and enjoying the programme myself, I’m participating on a varied selection of panels, alongside writers whose thoughts I’ll be very interested to hear.

Choosing Character Voice – Sat 11:00–11:45
What are the relative benefits to the storyteller of adopting 1st, 2nd and 3rd person point-of-view? What can the author achieve with each and what are the challenges? What opportunities does the choice of past, present or future tense present? What other stylistic elements contribute to character voice?

Making Systemic Change – Sat 16:00–17:00
The British SF and Fantasy field is still very monocultural in terms of both authors and readership. How do we define and support the kind of systemic change we would like to see to make British SF&F more diverse?

Motherland Fort Salem: a complex allegory… – Sun 13:00–14:00
…about contemporary US politics. Motherland Fort Salem is queer, women-focussed, gloriously intersectional, and complex.

This Green and Pleasant Land – Sun 16:00–17:00
Not everybody was terribly enthused by the industrial revolution. British SF & fantasy is full of alternatives to the industrial future, pastoral, communitarian, and a Britain made over for tourism.

Faery, folklore and fairy tale in fantasy – Mon 12:00–12:45
The exhibition at the British Library this year has placed folk and fairy tale at the heart of fantasy. The panellists will discuss the role fairy tale has played in modern and contemporary fantasy, the sources people have drawn on, and the ways in which authors, artists, film makers and others have weirded and subverted the folk and fairy tale.

(edited to add)
Consider the Loom – Mon 13:00–14:00
How do fashion and technology interact in sf and fantasy. Do you ever find yourself wondering how on earth a character can wear a thing that their culture clearly could not produce? The panellists will talk about clothing and fashion design and trends from different sci-fi universes and fantasy ones, how people describe cloth and fabric and construction, how they use it as part of their worldbuilding and their character design, what people’s fave outfits were and which they’d like to lift wholesale to add to their own wardrobes.

It’s always worth taking a look at the novels long- and shortlisted for genre awards – even if you’re not a member of organisations like the BSFA, the BFS, or SFWA. Likewise, it doesn’t matter if you’re eligible or not to vote for awards linked to conventions such as the Hugos. These are books that have appealed to a solid number of well-read SF&F fans. The juries who pick the winners for accolades such as the Arthur C Clarke Award and the World Fantasy Awards are fans first and foremost, and assess all submissions diligently. Not every book is for every reader, but there’s every chance you’ll find something to your particular taste that you haven’t come across before.

Then there are the short stories, the novellas, the non-fiction and related works. The odds are good that these lists will offer you unfamiliar names whose writing you’ll want to check out, both of authors currently published and of authors being written about. There’ll be discussions about aspects of the genre which you may very well find of interest. When something on any of these lists comes from a small press you haven’t previously encountered, it’s definitely worth seeing what else they’re publishing. And don’t forget the art awards, which invariably illustrate the breadth and depth of skill enhancing SF&F stories these days.

Why am I mentioning this now? Because the BSFA long lists have just been announced, and yes, I have an interest to declare because The Green Man’s Quarry is among the nominations for best novel. Will it be shortlisted? Who knows? At the moment, knowing enough readers enjoyed Dan Mackmain’s latest to nominate the book gives me a nice, warm feeling on this chilly wintry day.

If you are eligible to vote, but haven’t read this latest in the series yet, this is great timing, as the ebook is currently a Kindle UK limited time deal for the bargain price of 99p – and so are a good few other BSFA longlisted titles. Amazon have a wide-ranging SF&Fantasy offer on at the moment. That’s well worth checking out whether or not you’re interested in voting for any awards at all.

Happy reading!