THANATOS: Death and the Carpathian Interlude

Today I’m very excited to announce that Thanatos, Part III of the Carpathian Interlude, is finally out in the world!

I know this novella has been a long-time-coming, especially for those of you who have e-mailed me to say that this series is your favourite of all my books.

It feels rather strange to finish this trilogy. It’s the end of a journey that began as a bit of fun, but then quickly turned into something a lot more serious, gruelling, and frankly…painful.

I have a confession to make to you…

The first draft of this book was finished over two years ago.

Yes, you read that correctly.

I regret that I’ve left fans of this series hanging for so long since the release of Lykoi (Part II). However, I wasn’t ready to deal with Thanatos for some time after typing ‘The End’ on it.

This is where I get very personal with you, dear readers.

You see, when I was about half way through writing this story, my father passed away very suddenly. He was alone, away from his family, on his way to work.

The event hit my family like a Dacian raiding party in the dead of night.

I was floored…paralyzed.

But I knew that if I did not finish Thanatos then, while I was in the flow, I never would. So, a few days after this sad occasion for my family, I sat down for hours one night and fought my bare-fisted, bloody way to the end of the novel.

People say that when times are tough, writing can be one of the most cathartic activities you can undertake.

And you know what?

It’s true. Despite the brutality of that writing session, and the darkness of the story itself, it did help me in a way.

When it was done, when I finally typed ‘The End’, my grief poured out and the fog I had been caught in began to lift.

For a long time, I wondered how bad the story might be, that I might have just dumped my chaotic grief onto the page. That’s another reason this took so long to get out.

But this past fall, I finally handed the manuscript to my editor, dreading the feedback I would get and the sight of red all over the paper like vicious sword wounds.

It seems however, that pain and brushes with death can indeed give life to creativity.

When she returned the manuscript of Thanatos to me, my editor told me she thought it was perhaps one of the best things I’ve written yet.


Now for a bit about the story itself…

As I mentioned, The Carpathian Interlude series was originally intended to be a bit of fun, but it quickly became serious.

Despite the fantastical elements of the stories with zombies (Immortui) and werewolves (Lykoi), a fair amount of research has gone into these novels, and Thanatos is no exception. As always, I have striven for accuracy when dealing with the historical parts of these books.

Mithras and Mithraism, which was an important religion among Roman soldiers, are a big part of these books. Thanatos really delves into ancient Zoroastrianism, of which Mithraism is a part.

The historic event that these books revolve around is the Battle of the Teutoberg Forest in A.D. 9, in which Quinctilius Varus lost three of the Emperor Augustus’ legions in the forests of Germania. It was a time of terror in the Empire.

I also did a great deal of research into Dacians, their gods, and the Dacian capital of Sarmizegethusa for Thanatos; it was a fascinating rabbit hole to fall into.

For those of you who like the follow the history and research of my novels, never fear, for later this year I’ll be posting a blog series called The World of The Carpathian Interlude. Stay tuned for that.

Some of you may also be wondering about the title of Thanatos.

‘Thanatos’ is the Greek word for ‘Death’. This is deliberate on my part, and directly tied to the Carpathian Lord in the stories.

However, that is where the ties to the ancient Greek image of ‘Thanatos’ ends.


In ancient Greek tradition, Thanatos was a winged god, the twin brother of Hypnos (Sleep). In Hesiod’s Theogeny, Thanatos is the son of Nyx (Night) and Erebos (Darkness).

Thanatos was the personification of Death, and to the ancient Greeks, it was his duty to usher the spirits of the dead to the appointed place, a role later more associated with Hermes. To the ancient Greeks, he was a dreaded god, but not wicked or evil.

In Part III of the Carpathian Interlude, Thanatos is a much more ancient evil, an enemy of the gods in the battle between Light and Dark.

As I said, there will be a blog series about all the research for the Carpathian Interlude trilogy coming out later this year.

In the meantime, I do hope you enjoy this new story, and that it gets you thinking, even in the darkest of places.

Thank you for reading, and may you walk in the Light…


To get a copy of Thanatos, or read the synopsis of this final part in The Carpathian Interlude, just click the link below to go to the book’s page: 


The World of Warriors of Epona – Part I – Epona: Goddess of Horses

The Eagles and Dragons saga is marching on, and so I’m very excited to begin a new series of blogs posts based on the newest release, Warriors of Epona.

Writing the Eagles and Dragons series has been a fantastic and exciting adventure thus far, for me and for the characters inhabiting this world. And with each new book, I’ve tried to explore new realms, new areas of thought and belief, and to plumb new depths of the human experience.

In Warriors of Epona Lucius Metellus Anguis’ journey leads him down a very different path to a place that is both beautiful and terrifying.

I do hope that you enjoy the next phase in this adventure.

Epona and horses (Wikimedia Commons)

In Part I of The World of Warriors of Epona, I want to introduce you to a new character in the series, a goddess.

In Warriors of Epona Lucius has started the next phase of his military career as the praefectus of a Sarmatian cavalry ala. To read more about the Sarmatians, CLICK HERE.

Originally, Epona was a Celtic horse goddess, and some believe that her worship spread out from Alesia, in Gaul, at the time of Caesar’s conflict there with the Celtic war leader, Vercingetorix.

The interesting thing about Epona is that she came to be widely worshiped by Romans as well. This was a truly unique circumstance for a Celtic goddess, for worship of such deities was usually local in nature, and then they were often combined with a Roman god (for example the worship of Sulis Minerva at Bath).

Epona riding side saddle

However, the worship of Epona spread across the Roman Empire, especially among cavalrymen, and dedicatory inscriptions and altars to her have been found largely along the Rhine and Danube frontiers, but also in Gaul and Britannia.

She was also associated with plenty, and some of the few representations that survive show her holding sheaves of wheat. She was also associated with apples.

The Roman festival of Epona was celebrated on December 18th.

I have always been drawn to Epona since I read the Mabinogion, the compilation of early Welsh tales, or ‘Triads’. In the tale Pwyll, Prince of Dyfed, the otherworldly woman, Rhiannon, is a reflection of the Goddess Epona, riding a brilliant white horse, followed by three white, red-eared hounds, and of course the birds of Rhiannon.

In Warriors of Epona, I chose to portray the goddess, who is Lucius’ new protector, as Rhiannon is portrayed in the Welsh Triads. If you have never read Pwyll, Prince of Dyfed, I highly recommend it as it beautifully portrays some of the strongest archetypes of ancient Celtic myth.

Here is an excerpt from Pwyll, Prince of Dyfed:

Once upon a time he [i.e. Pwyll] was in Arbeth, a chief court of his, with a feast laid out and great hosts of men all around him. After the first course, Pwyll got up to go for a walk and made for the top of a mound which was above the court and was called Gorsedd Arbeth.

‘Lord’, said one of the court ‘it is a peculiarity of the mound that whatever high-born man might sit upon it, he will not go away without one of two things: either wounds or blows, or his witnessing a marvel.’

‘I have no fear of wounds or blows in the midst of this host. A marvel, however, I would be glad to see. I will go,’ he continued ‘ and sit on this mound’. And he went to sit on the mound.

As they were seated, they could see a woman on a large stately pale-white horse, a garment of shining gold brocaded silk about her, making her way along the track which went past the mound. The horse had an even, leisurely pace; and she was drawing level with the mound it seemed to all those who were watching her.

‘Men’ said Pwyll ‘ is there any of you who recognizes that lady on horseback over there?’

‘There is not, my Lord,’ they replied.

‘One [of you] go up to her to find out who she is’ he said.

One [man] got up, but when he came onto the road to meet her, she had [already] gone past. He went after her as fast as he was able to on foot, but the greater was his speed, the further away from him she became. When he could see that following her was to no avail, he returned to Pwyll and said to him:

‘Lord, it is no use anyone in the world [trying] to follow her on foot.’

‘Aye,’ said Pwyll ‘go back to the court, and take the fastest horse that you know, and go after her.’

He took the horse and off he went. He got to smooth open country, and he began to set his spurs to the horse; but the more he struck the horse, the further away she became. Yet she still had the same pace with which she had begun. His horse flagged, and when he noticed his horse’s slackening pace, he returned to Pwyll.

‘Lord,’ said he ‘it is no use following that Lady over there. I haven’t known any horse in the land faster than this one, but [even on this] following her was to no avail.’

‘Aye’ said Pwyll ‘there is some kind of a magical meaning to this. Let us go [back] to the court.’

[So] they went [back] to the court, and passed the rest of that day. The next day they arose and that [too] passed until it was the hour to eat. After the first meal [Pwyll spoke thus]:

‘We will go – the company that we were yesterday – to the top of the mound. And you,’ he said to one his retainers ‘take with you the fastest horse you know in the field.’ And that the retainer did. They [then] made for the mound with the horse.

And, as they were sitting, they could see the woman on the same horse, with the same apparel about her, coming up the same road.

‘Look!’ said Pwyll ‘here comes the lady on horseback. Be ready, boy, to find out who she is.’

‘Lord, that I’ll do gladly.’

Thereupon, the lady on horseback drew level. The boy then mounted his horse, but before he had [even] settled in the saddle, she had already gone past, and there was a distance between them. Her pace was no different from the day before. He [too] put his pace at an amble, supposing as he did that however slowly his horse went, he might be able to overtake her. But it was no use. He loosed his at the reins, but got no nearer than if he had been on foot; and the more he beat his horse, the further away she became. [Yet] her pace was no greater than before. Since he saw it was useless [trying] to follow her, he returned, coming back to Pwyll.

‘Lord,’ said he ‘there is no more this horse can do than what you have seen.’

‘[So] I saw’ replied [Pwyll] ‘ its pointless anyone pursuing her. But between me and God,’ he continued ‘she has a message for someone on this plain, if obstinacy would [only] allow her to say it. Let us go back to the court.’

They came [back] to the court and spent the evening in song and carousel as they pleased.

The next morning, they passed the day until it was the hour to eat. When they had finished the meal Pwyll announced ‘Where is that group of us that went up on the mound yesterday and the day before?’

‘Here [we are], my Lord’ said they.

‘Let us go [then],’ said he ‘to sit upon the mound. And you’ he said to his stable-boy ‘saddle my horse well and bring him to the path, and bring my spurs with you.’ And that the boy did.

They came to sit on the mound. They had hardly been there any time before they caught sight of the lady on horseback, coming along the same path, with the same apparel, at the same pace.

‘Ah, boy, I can see the lady on horseback coming!’ said Pwyll ‘Bring me my horse.’

Pwyll mounted his horse, and no sooner than he had done so, she had passed him by. He turned after her, and let his lively horse prance at its own pace. He guessed that he would catch her up on the second or third bound. [But] no nearer did he get to her than [any of the times] before. He spurred on the horse as fast as it could go. But he saw it was useless following her [in this way].

Then Pwyll spoke: ‘Maiden,’ he said ‘for the sake of the man you love the best, wait for me!’

‘Gladly I’ll wait’ said she ‘but it might have been better for the horse if you had asked me a good while before.’

The maiden stopped and waited and drew aside the part of her headdress that was there to cover her face. She looked him in the eye, initiating conversation with him.

‘Lady,’ he asked ‘where are you from? And where are you going?’

‘Going about my business’ said she ‘and glad I am to see you.’

‘And you are also welcome to me,’ said he.

And he realized at that moment the faces of every woman and girl he had ever seen were dull in comparison to her face.

Rhiannon – Illustrated by Alan Lee

The first time I read this passage, it was like a spell was cast over me, just as Rhiannon’s beauty overcame Pwyll in the tale.

Epona, in the guise of this otherworldly woman, has been in my thoughts ever since, and so beautiful goddess of horses has finally come into the Eagles and Dragons story as a mother and protector of Lucius and his elite group of horse warriors.

They will certainly need her in the battles to come…

Warriors of Epona (Eagles and Dragons – Book III) is out now!

To pique your interest, here is the synopsis of this new adventure with Lucius Metellus Anguis:

At the peak of Rome’s might a dragon is born among eagles, an heir to a line both blessed and cursed by the Gods for ages.

It is the year A.D. 208, and Emperor Septimius Severus’ legions are set to invade Caledonia in an effort to subdue the rebellious tribes north of Hadrian’s Wall once and for all.

Ahead of the legions, the emperor has sent Lucius Metellus Anguis, prefect of an elite force of Sarmatian cavalry, to re-establish contact with Rome’s old allies and begin waging bloody war on the rebel tribes. As the guerilla war rages on the edge of the highlands, the legions, the imperial court, and Lucius’ own family draw nearer to the front he was commanded to secure.

With the help of his horse warriors, can Lucius snatch victory from the chaos and blood of war? Can he keep the family he has not seen in years safe? As Lucius is drawn into a mysterious world of violence and despair, he discovers that his greatest enemy may well be the one within.

Find out if the Gods will turn their backs on Lucius, or if they will pull him out of the darkness before it is too late…

Roman Cavalry (Comitatus re-enactment group)

Stay tuned for Part II of The World of Warriors of Epona.

If you have not yet read any of the Eagles and Dragons novels, and if you want to get stuck in, you can start with the #1 Best Selling prequel novel, A Dragon among the Eagles. It is a FREE DOWNLOAD on Amazon, Apple iTunes/iBooks, and Kobo.

Thank you for reading.



Hero of Rome: An Interview with Author Douglas Jackson

Douglas Jackson banner

It’s always a thrill to stumble upon a new work of historical fiction that really meets your needs and expectations as a reader.

I’ve been working on my own books so much lately that I haven’t been taking the time I should to read in my chosen genre. Time is precious, of course, but as writers we need to remember to keep reading.

So, I went in search of a new series and found Douglas Jackson’s Gaius Valerius Verrens series.

I’ve just finished the first book, Hero of Rome, and what an adventure! I couldn’t put this book down.

The reader, writer, and historian in me was greatly impressed at how Douglas Jackson melded all the elements for a great read together. I decided right away that I wanted to interview the man behind the story.

Fortunately for us, he said yes!

So, sit back and enjoy hearing from Mr. Jackson about historical fiction and writing, inspiration, Roman Britain, and much more…

Douglas Jackson

Douglas Jackson

What got you interested in historical fiction in the first place? Was it a particular book?

History has always fascinated me, I’m a voracious reader and I always wanted to be a writer, so I suppose it was inevitable I’d end up either reading or writing historical fiction. My first HF love was Robert Louis Stevenson’s ‘Kidnapped’, which is a fantastic boy’s own adventure with sweeping landscapes and fascinating characters set on my own turf in Scotland. Looking back, the greatest influence would be George MacDonald Fraser’s ‘Flashman’ novels, which not only entertain brilliantly, but taught me more history than any of my teachers ever did.



Have you travelled to all the places you have written about? How important do you think travelling is for writing historical fiction?

I’d love to have travelled to the exotic places I’ve written about, but the twin constraints of time and money mean that I’ve had to use my imagination and Google Earth to create many of them. That said, I’ve been to Rome several times, Pompeii, Herculaneum and the Villa Oplontis, and it added hugely to my understanding of time and place. Likewise, a research trip to Colchester a few years ago gave me a feel for the landscape that enormously enhanced ‘Claudius” and ‘Hero of Rome’. I’ve just finished ‘Scourge of Rome’ which is set in Judaea, with the climax in Jerusalem, and it would have helped greatly if I’d been able to travel there and been able to appreciate the scale of the city, as it is I depended upon the above said Google and ancient maps and paintings I found on the internet. One place I’d really have liked to visit is the Cepha Gap, in a rather dangerous area of eastern Turkey, where I sited the entirely fictional battle that ends ‘Avenger of Rome’. It’s close to the fascinating city of Hasankeyf, home to archaeological treasures thousands of years old. The entire place is going to be drowned beneath an enormous dam that the Turkish government seems to be using to keep the local Kurds in their place.

When it comes to Roman Britain, which sites had the most influence on you, and why?

Over the years I’ve been to hundreds of Roman sites across the UK. Sometimes I can look at a town or a set of fields and tell by experience just about exactly where a Roman fort is sited because of the topography. Hadrian’s Wall, which is just down the road from the town where I grew up, is an obvious one. It has given me endless fascination, especially the discovery of the Vindolanda tablets, the slivers of wood shavings that have given us a unique insight into the way Roman auxiliaries on the frontier worked and lived, even played. But my greatest influence lies beneath a field just outside Melrose, in the Borders, where I lived for a few years. It’s a Roman fort called Trimontium and was, in turn, an outpost of the Wall, a staging post between the Hadrianic and Antonine Walls, and a legionary camping ground for at least two invasions of Scotland. The fort was excavated in 1911 by a local historian called James Curle. He was an amateur, but his excavations are regarded as a masterpiece of their time. He wrote a book called ‘A Roman Frontier Fort and Its People’, an astonishing record of his dig that is as intriguing as any novel. His finds were astonishing, including three cavalry parade masks (one of them iron, which is unique) and thousands of other Roman artefacts. I was fortunate enough to interview Curle’s niece and she had a host of fascinating stories about her uncle.

Hero of Rome

Hero of Rome

Your bio says you grew up in the Borders. How would you say the Borders differ from other areas in Britain? What sets them apart?

What makes the Borders different is its people. They’re a hardy breed, because history has made them that way: you have to be hardy to survive in country that was fought over by two nations for five hundred years like two dogs fighting over a bone. They also have a dry sense of humour that makes outsiders look at them strangely, but is hilarious if you take it the right way. What sets the area apart is that there’s no central focus. It’s made up of small towns set far enough apart to be completely different, but close enough to have a common purpose. They’re bitter rivals on the rugby pitch, but ask them who they are and they’ll tell you they’re proud to be a Borderer.

Defender of Rome

Defender of Rome

Boudicca is a larger-than-life character of history that many people have written about. What do you believe is the appeal of the queen of the Iceni to writers and readers alike?

Manda Scott, who wrote the Dreaming series, would be better placed to answer this one. I deliberately made Boudicca a peripheral character in ‘Hero of Rome’ because her story has been told so often and so well (see Ms Scott, above). Her obvious appeal is in the heroic myth that’s grown up around her as a great warrior queen who led men into battle and came close to pushing the Romans out of Britain. We’ll never know how much of it is truth. She probably owes her existence to a report sent to Rome by Suetonius Paulinus in the aftermath of the rebellion, which was later enhanced and embellished by a series of historians, including Cassius Dio, who’s not the most dependable record keeper. Paulinus, and the procurator Catus Decianus, brought the rebellion on themselves, and Paulinus may have painted a larger than life picture of his enemy in order to further his own reputation. The words that are supposed to have emerged from her mouth were written by Romans and I wish historians would remember that.

Where do you stand on the notion that a place has memory? Are there any experiences you would like to share about when a place really ‘spoke’ to you?

I think every place with a history has a memory if you’re patient enough to tune in to it. The first place I can remember ‘talking’ to me is Jedburgh Abbey in the town where I was born. The abbey was burned down five times by English raiding parties. It’s a magnificent 12th century building that soars above the town and I passed it on the way to school every day. You have to pay to get in now, but when I was a boy you were able to roam at will among the ruins. I can remember sitting there for hours just steeping myself in the mystique of the place and imagining what happened there. Folk must have thought I was mad.

Jedburgh Abbey

Jedburgh Abbey

What is your favourite historical fiction novel, and why?

‘Flashman and the Great Game’ by the above George Macdonald Fraser. Flashman is the adult version of the character in Tom Brown’s Schooldays, and he’s added coward, rogue, seducer and scoundrel to his original bullying repertoire. Yet Macdonald Fraser manages to make him curiously likeable as he relates tales of cutting and running his way to fame, glory and fortune with a sardonic wit. This is the story of Flashman ‘s incredible adventures during the Indian Mutiny as he blunders from heroic defence to massacre and mayhem and the final incredible climax which is as tense an ending as I’ve ever read in a book. Great stuff.

How has your experience as a reporter helped your novel writing? Has it ever hindered you in some way?

My 36 years as a reporter, sub-editor and editor have been an enormous help in my writing. I discovered I could write succinctly enough that I didn’t need a great deal of editing, that I could hold a 100,000 word story in my head as easily as I could a double page feature and that I could write fast and accurately. I’ve never missed a deadline. There’s no down side.

Avenger of Rome

Avenger of Rome

Most of your novels are set in the Roman Empire, but you have written some thrillers under the name of James Douglas. What made you want to change tack and write modern thrillers?

The need to make a living. I got into thrillers by mistake, but it’s refreshing to be able to kill someone with a gun for a change rather than a sword, and to live in a world where you don’t have to research every little detail as you walk down a street. I knew I had to write two books a year to make ends meet, so I pitched a second historical series to my editor. He liked it, but someone else had just sold Transworld a series set in the same period. Instead, he asked if I fancied trying a Dan Brown-type thriller. I said no, but he said ‘think about it’ and over the weekend I came up with three great ideas that I managed to turn into the first three Jamie Saintclair novels

The Isis Covenant - James Douglas

The Isis Covenant – James Douglas

You’ve also self-published a novel called War Games, which is the first Glen Savage Mystery. The publishing landscape has changed drastically in the last few years, and some would say there is no better time to be a writer. Tell us about the Glen Savage Mystery series and your indie-publishing experience thus far.

When I’d finished writing The Emperor’s Elephant, which became Caligula, Claudius, and through a curious metamorphosis, Hero of Rome, I knew it wasn’t good enough, but I didn’t know how to improve it. What to do? The answer was write another book. I had no idea whether I could make a success of historical fiction, so I thought I’d give a crime novel a try. Glen Savage appeared in my head one night and began speaking to me, to the extent that I got up and wrote down what he’d said. By mid-morning I had the novel mapped out and I knew it would be in the first person, with a sort of Sam Spade voiceover and the Borders countryside would be as much a character as Savage himself, in the same way James Lee Burke uses the Bayoux. War Games was actually the second Glen Savage book I wrote, the first, Brothers in Arms, focuses on his Falklands War experiences, but I haven’t had time to upload it yet. My self-publishing experience has been interesting, but ultimately disappointing. War Games got off to a reasonable start and had some great reviews, but it dropped into a black hole both in the UK and America. I always laugh when I see US writers on Twitter boasting about their hundreds of thousands of sales when they’re sitting at around the same Amazon rank I am and I know War Games is selling about four books a month. That said, excellent historical fiction writers like my pals Simon Turney and Gordon Doherty sell well enough to make a living from it, and I’d urge you to give them a try. I think the key is to have a series and build a following.

Many authors struggle for years to break out or get noticed. In hindsight, is there anything you would do differently? Do you have any advice for new historical fiction authors?

I was very fortunate, because I was picked up after just one rejection letter, so no, I wouldn’t do anything differently. One great help to me was the peer review website You upload the first 10,000 words of your book and other writers critique it. It can be a pretty savage environment, but it teaches you to roll with the punches, which is vital further on down the line. I won a professional critique, the editor wanted to see the rest of the book, and the rest is history. My advice to any writer is to be prepared to promote yourself, because unless you’re already a name you’ll get very little help from your publisher. If you need a role model, look no further than Ben Kane of Spartacus, Hannibal and The Forgotten Legion fame. Ben works tirelessly to promote his books and those of other Roman HF writers. He’s also a great guy and deserves all the success he’s achieved.

Do you ever see your work being made into a movie? Who would play Gaius Valerius Verrens?

I think ‘Hero of Rome’ would make a great movie. It has everything. A likeable main character, an explosive start and a beautiful love story, all set around the background of the birth of Roman Britain, and of course an epic, bloody climax that makes the Alamo look like a Tupperware party. That bloke Ross, from Poldark, (UK TV star alert) who makes the ladies swoon would make a brilliant Valerius. Oddly enough I had word recently from a Hollywood film producer who’s talking to an international superstar next week about one of my Jamie Saintclair novels. It’ll make a great story when I can talk about it, and fingers crossed, but it’s like having a ticket in the lottery: just because you’ve got one doesn’t mean you’ll hit the jackpot.

Sword of Rome

Sword of Rome

Do you have any writing rituals that you would like to share? What is a typical ‘writing day’ like for you?

I get up in the morning, breakfast, sit in front of my computer and try to write 1000-1500 words in the morning, lunch, go for a walk, then the same in the afternoon. If I don’t hit my target I’ll write in the evening. I’m not much of a TV watcher and if I wasn’t writing I’d be reading anyway.

Is there a current writer whose work you are really enjoying at the moment?

I love John Le Carre’s work, because he makes it all appear so effortless. He’s managed to survive the end of the Cold War and make a new career for himself by the sheer power of his writing. I also thought CJ Sansom’s Lamentation was a brilliant return to form.

Is there a historic person in particular whose story you would like to tell in the future?

That’s actually a very difficult question. There are many stories it would be great to tell, but finding an era that no-one is writing about is almost impossible in such a crowded market. You have to find a combination of a great character and commercial appeal. I’m working on it!

What is your next project?

Jamie Saintclair is taking a rest, so I’m about 80,000 words into a Second World War crime novel called ‘Blood Roses’. It’s chock full of suspense, tension and moral dilemmas, and the hero faces a life or death decision on just about every page. It’s the first book I’ve written ‘on spec’ since The Emperor’s Elephant, which is both exciting and daunting, so if anyone in publishing thinks it sounds interesting, give me a shout. After that it’s back to Roman times. Valerius and Serpentius meet up in the dangerous gold fields of northern Spain, where Valerius is working for Pliny the Elder

I’d like to thank Douglas Jackson for taking the time to answer all of my questions.

If you have any questions or comments, be sure to leave them below.

It’s always fascinating to me to read about what inspires other authors, and hear about the places they’ve been. I’ve spent some time in the Scottish Borders myself, particularly at Trimontium, and I can tell you that it’s a wonderful site set in a beautiful landscape. If you ever get the chance to go, take it. You won’t regret it.

Luckily for those of us who love Roman historical fiction, there are many more books in the Gaius Valerius Verrens series, with more on the way.

Definitely check them out!

If you want to read about Mr. Jackson’s work, be sure to check out his website by clicking HERE or visiting Amazon. You can also connect with him on Facebook and Twitter.

As ever, thank you for reading…


Historical Horror – The Carpathian Interlude Series

dead tree

Summer is dead, it’s golden sun-splashed days relegated to the realm of distant memory.

I’ve been writing a lot, focussing on Eagles and Dragons Book III – Warriors of Epona. The first draft of that book is finished and, like idyllic, warm summer hours, it will now be set aside for a while.

October has arrived and, as is usual, my thoughts have turned dark. What else can you expect from the month in which the trees shed shrivelled leaves, the month in which our ancestors believed the dead walk among us?

It should come as no surprise then that I am now drawn back into the Carpathian Interlude.

Part II of the series is called LYKOI (pronounced ‘LEE-kee’), and it will soon be ready for release. LYKOI promises to take the reader to a dark, horror-filled place that would fill any Roman legionary with fear.

In the ancient world, men of war could be especially superstitious. When major disasters or defeats would occur, many would seek explanations that our modern minds might see as supernatural.

Fear of foreign gods and darker powers beyond the realm of their knowledge was not uncommon. When you control the greatest army the world has ever seen, and you experience a crushing defeat, you naturally look for an explanation.

distraught legionary

It is precisely this fear and superstition that inspired me to write the Carpathian Interlude series which, from the larger perspective of the Empire, revolves around one particular event – the Varus Disaster. I’ll talk about that event next week.

Writing historical horror has allowed me to do something different with historical fantasy. It has allowed me to experiment a little, to explore different types of character trauma and beliefs. It’s a nice change of pace and an opportunity for me, as a writer, to dip into some darker themes.

In IMMORTUI, the first part of the Carpathian Interlude, Gaius Justus Vitalis and his men head into the Carpathian Mountains in search of their comrades who were on a patrol north of the Danube frontier. There they meet an enemy unlike any other they’ve ever met – Zombies.

In LYKOI, Gaius Justus Vitalis and his group of ‘broken’ warriors are ordered to investigate the massacre of thousands of Romans in Germania. But this time, it’s not the undead that Gaius and his men must face.

If you like Werewolves, this is a story you won’t want to miss.

So, when will LYKOI be released?

October 25th, 2014 is the official launch day for this book – something new to add to the Halloween reading list!

For now, I’m very pleased to unveil the cover for LYKOI – Carpathian Interlude Part II…

Lykoi Cover

Many thanks once again to Laura at LLPIX Photography for putting together a suitably-dark cover.

I hope you like it.

For my Newsletter subscribers, stay tuned for a separate e-mail soon with a special offer just for you. Thank you to all of you for your interest and support. You make the Eagles and Dragons Legion strong!

So, off we go on another journey into the past. Be sure to keep your faith and your gladius close, my friends. You’re going to need them.