We have a book cover

It is with joy that I present to you...


...my first book cover! (It's a bit clearer if you click on it.)

I have it printed and hanging above my desk, where it distracts me day and night.

The characters on the cover are our heroes of course, Nicolaos and Diotima. The building in the background is the Painted Stoa, which was under construction at the time of the story. The art director, David Rotstein (thank you!), has pulled the background from the third scene, in which the Painted Stoa makes an appearance:

This was the site of the new Stoa Poikile: the Painted Porch. The Stoa was a long portico with columns on the side facing the Agora, and a flat wall at the back. Two painters were using charcoal to sketch on the wall, far apart from each other, ignoring the chatter of the excited crowd about them. One had enough detail in that I could see he was about to paint a battle between the Hellenes and the Amazons; the other had barely begun.

“What’s it to be?” I asked the second man.

“The Fall of Troy,” he said, not turning. His eyes stayed on his work and his arm didn’t stop moving.

His lines were simple and direct, no fancy touches, not much detail, I marveled as the strong walls of Troy suddenly appeared beneath his confident hand. Without a pause he left the walls and began on a figure, a woman who I guessed to be Helen.

I said, “Well, don’t put me in it.”

That stopped him. He gnashed his teeth and said, “Gaah! Why must onlookers always say that?”

He threw a dirty rag at me, which I dodged, and skipped out of the porch.

Nicolaos was talking to a famous artist called Polygnotus, who really did paint a Fall of Troy on the Painted Stoa.

I have restyled the blog to match the book. I haven't done my actual web site yet, but this blog is where the action is and as soon as I had it remodelled I put it online. It'll be a small miracle if it works perfectly so please let me know if you have any problems.

You'll notice there is now a series name at the top of the blog. Welcome to The Hellene Mysteries. The jacket line on the cover however is A Mystery of Ancient Greece. You would not believe how much time went into considering those combined 8 words! A Mystery of Ancient Greece is instantly recognisable by anyone. That and the visual clues makes it instantly obvious to the casual browser what the book and the series is about. The Hellene Mysteries is something I can easily write in sentences and makes sense to you, the people who know history.

To add to my happiness, another milestone has also been reached as of last night. If you hop onto Amazon and search for my name or the title, you'll find The Pericles Commission is now up there. The Amazon page is missing a few things, such as a cover image and the blurb, but they'll come soon, and the book is there, and available for pre-order. Yay!

The book will appear on B&N, Borders, Books-a-Million, Book Depository.com and others from this point on as each store does its updates. I've therefore put a Buy the Book section at the top of the sidebar, and as stores come online with the book I'll add links to each of their pages.

The cover and the first bookstore page have made it all seem very much more real. It's like waking from a pleasant dream to discover that, actually, it's not a dream.

Yay!

Loose women of ancient Athens

There were three kinds:

Street girls and girls working the brothels;
Flute girls who attended parties; and,
at the top their profession, the courtesans.

The girls at the bottom level had a very hard life. They walked the streets, just as such women do today, and for the same reason, for which they were known as walkers.

In Ancient Greek, the word walker is pornê. The plural is pornoi. Yes, our modern word pornography is derived from the word for a common hooker in Ancient Athens.

It was forbidden for the pornoi to speak with a man in public. Instead they wore sandals with FOLLOW ME carved backwards into the soles. The words would be imprinted into the dust as they walked, and a man could then walk behind the pornê without speaking to her. When she picked up a follower the pornê would lead her customer directly back to the brothel in which she worked.

The pornoi charged not by time, but by sexual position! Some positions were considered better than others and rates varied accordingly.

The flute girls by comparison were effectively paid party goers. Athenian men frequently held parties called symposia. The wives didn't get an invite, but the flute girls did. The order of events was: eat, drink a lot, and then party. Everyone together in the same room. These days we'd call it an orgy. Flute girls were actually accomplished entertainers on top of any other duties which might...er...arise. Flute girls were paid per event, and they were paid a whole lot more than the pornoi.

Yes, this is where we get the modern word symposium. If you're an academic reading this, next time you attend a symposium, you can keep in mind that you're just not doing it right.

The most famous flute girl ever is probably the one mentioned in Plato's Symposium. In that book, the men, fresh from an exhilirating day of watching tragedy at the theatre, decide they want to discuss the meaning of Love. So they toss out the one and only flute girl present because her music is disturbing their philosophic discussion. I'll bet it's the only time in history that ever happened. I've written a short story about what happened to her afterwards, which needs a little bit more work before I can send it somewhere.

I confess loose women tend to make regular appearances in my stories, because...er...let me see if I can think of a decent reason...er...because they had much more social freedom than respectable women. Yeah, that's it.

Which in fact they did. It was unheard of for a respectable married woman to wander about the way the working girls could.

At the top were the courtesans. They were much like the salon hostesses of the 17th and 18th centuries: highly educated, able to discuss any subject, quote poetry, play music, and in addition they were really good in bed. A courtesan was called a hetaera. In plural, hetaerae. Powerful men clamoured for an invite to their parties. Only the wealthy could afford them.

The most famous hetaera ever was Phryne, of whom I've written in the past.

The top hetaerae had celebrity status. The women who reached such dizzy heights adopted what were known as hetaera-names, much as a celebrity today might adopt a stage name to enhance their image. Often these were taken from the Muses or were fine sounding phrases. One common hetaera name for example was Euterpe, who not only was one of the Muses, but whose name means delightfully pleasing.

Here's an excerpt from The Pericles Commission. Nicolaos, our hero and a young man, has turned up to interview Euterpe the Hetaera...

The house slave sniffed at me when I knocked, as if I were too verminous to cross her threshold. The name Ephialtes got me as far as the public receiving room, where I had been left to linger long enough to have inspected every art piece in the room, and there were a lot of them. I had never before been in the salon of a hetaera. The murals were short on Homeric battle scenes but gratifyingly long on sporting nymphs, satyrs and priapic Gods. I peered at them closely, my nose almost pressed to the wall.

“Educational, aren’t they?”

I turned, startled, and crashed my knee against a nearby table. Trying not to swear, and clutching my knee, I saw framed in the doorway the most beautiful woman I have ever laid eyes on.

Euterpe had reddish brown hair that flowed down her lovely neck and over her shoulder to her breasts. She was wearing a dress that, even if it were not made of fabric I could see through, would have been considered scandalously immodest. As it was, she had my body’s full and immediate attention. The dress was tied in some way so that the material flowed with her skin. My mind ceased functioning since it was not required for the moment.

“Oh! Are you hurt?”

She knelt before me and touched my knee where I’d banged it. Waves of pleasure coursed up me.

Euterpe looked a little higher, and smiled. She stood, swayed to a couch and reclined, arching her back so that her nipples pressed out against the material and her legs were exposed.

“So, what may I do for you, young man?”

I collapsed back against the nearest couch, unable to speak and agonizingly aware how I must look to her.

Euterpe let me recover. She clapped her hands. A young woman appeared, whom I barely noticed.

“Would you bring me wine? And a carafe of cool water for our guest.”

The young woman reappeared with an exquisite thin pottery water cooler. I took it and thankfully let it rest in my lap, where it did me a lot of good...

What's your story about?

I had an interesting discussion the other night about the difference between a plot summary, and what a story's about. Being able to say what a story's about is the more important of the two, because anyone can repeat a plot, but it takes ability to understand what drives 90,000 words. It means not knowing what happens, but why it happens.

Often when people ask what a story's about, they hear in reply a blow-by-blow account of the plot; because plot is easy, but plot is the wrong answer.

To say what the story's about, describe what happens, but mention not more than one line of plot.

My only hints for doing it are to write a blurb that would fit on the back cover. Then think really hard about what's the core of the blurb. The one line of plot you're allowed is the crucial event, whatever it might be. I make no claims for expertise on this by the way, except that I've had to do it a few times. Eleven times, actually, only a few weeks ago.

Here's an example for Macbeth.

What happens:

Well, there are these three witches, and they meet a guy called Macbeth, and...Macbeth and his wife murder the King, and then...bubble bubble boil and trouble...and then there's a killing spree...then a ghost turns up at dinner...then they get attacked by walking trees...


Here's what the story is about:

A respected power couple of the Scottish nobility are so consumed by ambition, that they throw away their ethics to murder their King and sieze the throne. Their crime creates an imbalance in the world which drags themselves and all of Scotland into tragedy.

Feel free to disagree with my about, but even if you do it's clear this is not plot, or if it is, it's the very core with the emphasis on motivation and consequence.

My dear agent has threatened to manually strangle me if I ever dare give anyone advice on how to get published because, you know, I am famous for my skills at querying. However I will risk almost certain harm by pointing out that in a query it's probably better to say what your story's about, and not try to summarise the entire plot.

Dear Ms Reid,

The Cawdor Crisis is a paranormal political thriller set in mediaeval Scotland [yeah, like that's ever going to sell]. A respected power couple of the Scottish nobility are so consumed by ambition, that they throw away their ethics to murder their King and sieze the throne. Their crime creates an imbalance in the world which drags themselves and all of Scotland into tragedy.

...then carry on with the mechanical bits of the query...

Here's an exercise to try. Feel free to use the comments. If you're writing one, tell us what your book is about.

Mary Renault

I regularly refer in my posts to the historical author Mary Renault, usually in close association with adjectives such as brilliant, amazing, fantastic etc.

Mary Renault was the first person to write ancient Greek historical novels. If you don't count Homer, that is, and frankly, it's a toss up which of them is the better writer, especially since she's much more accessible to the modern reader. I don't always agree with the way she portrays some of the history, but there's no doubting the scholarship or the quality of the writing.

Renault began her Greek books in the 1950s and produced one every 3 or 4 years. But they're not a series. In each she picks an important period in Greek history and then writes an eyewitness account.

If you haven't read any of her books, please give one a go!

Our friend Robert Greaves sent me an email a short while ago with a link to a blog called The Toynbee convector. To my shame I'd never heard of it before; now that I have, I've added it to my list of must-read blogs. The current post has an embedded youtube video which is the beginning of a BBC documentary about Mary Renault. It reflects my own view so well that I'm linking it here too.



Thank you to Toynbee convector for finding that!

Why America is more like Athens than Rome

I've been having an interesting email conversation with Elizabeth Bowen, who's been lurking on this site for some time, I suspect, without ever making a comment. I'm going to out her (with permission) because she had some interesting things to say about why people learn Roman history more than Greek, the core of which is:
That prevalence -- at least, in the United States -- probably has a lot to do with the parallels between Rome and America. History teachers here (the ones who still bother to teach the classics) tend to drive home this point that the Romans were the Americans of antiquity. (Modest, I know.) So Rome is something people feel they can relate to, whereas Greece can seem a little more remote.
Here are my reasons why America is closer to Athens than Rome. Feel free to tell me how totally wrong I am! (In fact, I'm sort of looking forward to it.)
  1. America is a very strong democracy. Athens was a very strong full democracy. Rome wasn't. (Yes, they had elections, which did have some effect. But the Senate was essentially an oligarchy, and come the Roman Empire, any democratic pretense was gone.)

  2. Any modern democracy has a lot to learn from how the course of the democracy ran in Athens. It's hard to say the same of Rome. Fun though it might be to study the power politics, the correspondence just isn't there.

  3. Pax Romana was implemented by conquering and subsuming anyone who caused trouble. Pax Americana (such as it is) is implemented through economic dominance and diplomatic alliances. This is much closer to how Athens dominated its world. America+NATO is structurally most similar to Athens+Delian League.

  4. The geographic influence of Rome was vast. So also for America. Score one for the Romans. In fact, this is the only close similarity between the two. But also the one everyone notices.

  5. The Athenians were hyper-enthusiastic about their system of government and their culture. So too Americans! The Athenians usually liked to install democracies in any city they conquered (with a few notable exceptions). American behaviour is virtually the same. The Romans were sort of meh on the whole thing and simply imposed their own rule on the countries they captured and never left. (Yes I realize there are some sensitivities with current issues, but if you think back over the last 100 years, particularly around WW2, it's clear US policy is Athens-like, not Roman.)

  6. Athens was a hugely innovative and artistic culture. So too America. Rome was outstanding at implementing stuff, but innovative is not an adjective most people would apply.

  7. America has the most powerful navy in the world. Athens had the most powerful navy in the world. Romans loathed getting wet.
I therefore claim modern America has more lessons to learn from Athens than Rome.

Okay, your turn...