You might have missed the news last night, so here’s the deets as we know them!
High King’s Vengeance, the sequel to Heir to the North and the concluding volume of the Malessar’s Curse duology, will launch at 5pm on Friday 23rd September at Fantasycon-by-the-sea in Scarborough. There will be paperbacks. There will be hardbacks. There may even be alcohol. If you’re dreadfully unlucky, I’ll read a few pages too!
But, that’s not all, not by a long chalk.
Kristell Ink doesn’t do things by halves – which is why this launch slot is a co-launch with Joanne Hall‘s latest fantastic standalone novel in the world of Hierath, The Summer Goddess. Having deservedly won Grimdark Magazine’s “Battle-Off” last year, Joanne has got stunning cover art by Jason Deem to show off as well as a rocket-paced rescue quest.
So, come and join us for what, in my humble opinion, will be the best launch of Friday night at Fantasycon so far!
Oh, and if you want sneak previews of both books, as well as bonus short stories and notes about our writing processes and themes, and you want to support one of the very best indie fantasy publishers in the UK today, go visit the Grimbold Books Patreon site and join our club.
I guess there’s a serious amount of ego and hubris involved in using the word “triumph” in the title of this blog post, and I’m usually a little more modest than that, but at the same time everybody’s got the right to blow their own trumpet once in a while and if this ain’t the time then I’ve no idea when will be, so Triumph in Nottingham it is, because Triumph in Nottingham it was!
You may have been aware that Heir to the North was launching officially at Fantasycon this year, with a proper slot in the programme and everything. If you didn’t know, then Grimbold Books’ incredible co-chief conspirator Sammy Smith made sure everybody did by the end of Saturday by also launching a very natty line in HTTN promotional t-shirts for us all to wear. Like the Fox Spirit Skulk at Edge-Lit, it turned the Grimbold posse into a brilliantly visible presence throughout the rest of Fantasycon. I reckon that helped pull in a few people for the launch itself, and it certainly made the table in the dealers’ room busier.
The launch itself – aside from mild-to-severe panic beforehand, kept pretty much under control with much appreciated help from Jo Thomas¹ – was an absolute blast. With launch music by The Fall (played through gritted teeth by Jo Hall²), I read from a fight scene in chapter five and answered questions, and then signed books for a crowd that included folks I’d never met before. That’s an incredible thing: I could happily get used to that.
The best part was that when the room emptied, the table in the dealers’ room suddenly got very busy as a result. Awesome stuff, and a day I’m not going to forget in a hurry, even if I’m having trouble remembering half of it even now (that ol’ flight or fight thing going on in the background…). But what was the rest of the convention like?
In contrast to last year’s FCon in York, where panel items happened down at the far end of long corridors, and you ran the risk of encountering a small boy on a pedal cart in the darkness, Nottingham’s De Vere Conference Venue was laid out with everything set in a square around the edges of the main Conference Theatre, in a sort of Roman villa arrangement. You could walk right around the square and see all the panel and reading rooms, the dealers’ room, and the two bars (one serving alcohol, the other intermittently not serving anything at all depending on which way the wind was blowing), and the little break-out spaces. And despite everything being closer together and the convention itself being a sell-out, it didn’t feel crowded.
That’s got a lot to do with the schedule itself. Richard Webb had done an ace job as event co-ordinator, and I could have gone to two fascinating panels in different rooms at every hour of the day, with readings and launches always competing for attention. I’m fairly sure everybody was in panels most of the time, which explains why the bar was never crammed full (well, that and the stupefying lack of food available at the venue).
As it was, I actually ended up seeing very little across the weekend, spending more time chatting and generally getting around. The Diversity in Genre was very well supported, and an hour well-spent – Laurel Sills, Naomi Foyle, Joanne Hall, Joel Cornah, Anna Smith-Spark, and Isabel Yap are all names worth following. A marketing panel moderated by Adele Wearing didn’t illuminate all the great secrets I had been hoping for but was useful nonetheless, and with my SFSF hat on I introduced myself to Gollancz’s Sophie Calder afterwards.
Last year, the disco on Saturday night was a stunning combination of book deals, bad dancing, and vodka. This year, with Sunday on my mind, I found myself trekking across Nottingham in search of a Sainsbury’s instead, and hid the packs of muffins and bottles of wine in the car rather than take them into the hotel to face the judgemental stares of the night staff. Friday night had been a different matter – karaoke courtesy of Abaddon Books: I wheeled out the big guns and swung the mic to the Cutting Crew. There’s video footage of Lee Harris (Desperado) and David Moore (Werewolves of London) which I would happily use as blackmail material if those performances weren’t so damned good. Curses, foiled again!
And talking of tour-de-force performances, the stand-out reading of the weekend was given by Anna Smith-Spark, from her agented but currently unsigned queer existential grimdark novel The Court of Broken Knives. In those shoes, with that subgenre, and a background in performance poetry to draw upon, a reading that climaxed with cries of “Death! Death! DEATH! DEATH!” was always going to be a damned hard act to follow. That book needs a home, and quick.
Brain bleach is needed to drive from my mind the conversation about BizarroCon in America early next month. Dude, watch that cattle-prod. I headed back to the Boo! Books table in the dealers’ room for more vodka-laced gummy bears after that one. Edward Cox recited his one-star Goodreads “review” (more like a bilious fart than a review). Marc Turner and Daniel Godfrey hung out at the bar; the Sinister Horror Company and Unsung Stories were great to chat to; Will MacMillan-Jones was indefatigable; the Redcloaks were stellar; there were so many people and I have so little memory…
And of course, there were the awards. Last year I live-tweeted them; this year I left that to the BFS team and just enjoyed the ceremony. Every single nominated author, artist and publisher was deserving of their success and recognition. The winners all deserved their wins. Especially, from my point of view, Juliet McKenna³ as part-recognition for her brilliant hard work on the VATMOSS quagmire (on top of a massive catalogue of fifteen novels and more stories besides), and the drop-kick ace Fox Spirit Books as Best Small Press.
Let’s do it all again, shall we? See you in Scarborough next year!
This anthology, it must be remarked, does contain astounding tales of derring-do, dark heroism, colonial mishaps and whale-skin airships, all tinged with a particular and unique post-steampunk flavour, set as it is in a world of the Group’s own devising.
Watch! as Group Captain Sebastapol Valiant blithely changes the entire course of European history! Gasp! as the British win the race to the moon! Thrill! at the subtleties of Chinese poisons! Gasp again! as spywasps chase a beautiful Russian spy through the souks of Marrakesh! Boggle! at the mindbending futures posited herein!
Well, y’know, it’s up to you. But if I say that The Clockwork Eyeballª aside, there’s some really good stuff in here? and that BSFA-award winner Ian Salesº has very kindly given us a foreword? … G’wan. Have a gleg.
¹OK, so we get the title by default, but anyway, so what? It’s true!
²Yes, that includes little old me. This is an advert. Sorry 🙂
³There is also a link for the discerning pre-post-paper genre-literate reader, if that’s the way your digital cookie crumbles.
ªThat’s my rather super contribution, by the way. But you knew that already.
ºPlug-within-a-plug: Adrift on The Sea of Rains is monstrously good. The cover alone is worth the admission price, and the blurring of real and possible histories is seamlessly brilliant. You need it.