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BOOKS > Books in Print > The Swordsman

gay books in print, from Mel Keegan

the 2008 cover for THE SWORDSMAN

Cover by Jade,
2008 jacket.

THE SWORDSMAN
by Mel Keegan



284pp
cover by Jade


US$22.50 (Paperback)
US$32.50 (hardcover) + postage.

Order the Paperback:
Support independent publishing: buy this book on Lulu.
Order the Hardcover:
Support independent publishing: buy this book on Lulu.



FOR YOUR KINDLE:

attention, readers!Readings...
Read the first 10% of this novel online!
READER ALERT / CAVEAT: the sample readings offered here encompass about the first 10% of these works, and they're uncensored, unabridged. If you will be disturbed by candid descriptions of same-gender romance, or by realistic violence, please don't download! These samples are not intended for younger readers. By clicking to open these documents, you agree that you are of age in your local jurisdiction; you know what you are about to read; and the material will not disturb you ... 'nuff said.

Any "content warning" to readers?
Murder,'chiller' material, realistic violence, frank description of same-gender relationships.


RESEARCH TALES:
Designing a fantasy world ... What, research for a fantasy novel?! Scroll on down...



PUBLISHING HISTORY:


2004 edition: art by Jade

Three editions:
DreamCraft edition: 2002.
Lulu.com edition, December, 2007.
eBook edition, mid-2008.

IN PRINT? Yes.
Bookseller...
If you are interested in stocking this title, please see our
notes on distribution and supply. Please do contact us!

THE SWORDSMAN

Jack Leigh is a soldier of fortune, far from home. He's a brilliant "sword for hire," but in the dangerous Riverlands dukedom of Rhondia he gets more than he bargained for...

Treachery, treason and dark magic form swirling, powerful undercurrents in Rhondia. Along the canals and in the menacing heart of Nimmenwald forest lurk unimaginable threats — the bo'zhe, the Lappai, barbarians from Saihabara and the unknowable forces out of Nimmenwald Deep itself.

At the crux of the vortex of magic and treachery is the heir to Rhondia, Michael Sebastian — "Seb" — d'Astaghir. Haughty, moody ... haunted by the goblins of memory, Seb is in terrible jeopardy. It's only by luck that his old friend, old lover, Luc Redmayne, happens upon a streetfight in a tavern yard, and a "hired sword" enters the fortress of Rhondia as Seb's bodyguard.

With the fresh eyes of an "outlander," the shrewdness of a soldier of fortune from Yulminster, and the help of a young gypsy shaman, Jack Leigh uncovers the pitch-black, treasonous magic which is simmering just beneath the surface of Rhondia.

And when Jack, Seb, Luc and gypsy, Janos Zaparasti, finally lay their hands on the Basilisk ring, the symbol of the great houses of Rhondia, they unleash the very forces they have feared.

From page one, it's mystery, action, gay romance — and more than a dash of the sensual in this new, and entirely original fantasy novel.




The dustjacket of the 2008 hardcover edition





The wraparound cover of the 2008 paperback [Who's Lulu?]



Pullquote:
Mel Keegan’s name is a byword for thrilling gay adventure in the past, present and future — MILLIVRES on Aquamarine.

The Historical List
Reader reviews of this title
Read the first segment online!

(Note: see our caveat.)



Reader reviews for this novel are online on our Review Page. (You can post your own comments to this site via the Readers Review page. Please note that this is a "moderated forum," where comments will be monitored, and may be edited prior to posting to prevent burned fingers and trodden toes!)





MEL KEEGAN COMMENTS ON
THE SWORDSMAN

As a long-time fantasy reader, I reach this point in my association with DreamCraft with great joy. Finally! The day has arrived when one of my fantasy worlds is going into print. It was always something of a sore spot, that GMP (which was in its day the leading gay publisher in Europe, with, at one point, over 250 books on its list and 26 new titles per year being issued) had no space for fantasy fiction. Fantasy has been popular for decades, and for as long as I've been writing gay novels, I've wanted to explore gay dimensions in fantasy realms.

I'm indebted to DreamCraft for giving me this opportunity ... I'm also even more indebted to the readers who have found us and stayed with us during the first eighteen months of this creative partnership. Stay with us a while longer, guys: there are some surprises around the corner.


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THE COVER ART FOR THE SWORDSMAN
Michael Sebastian As always, Mel created some of the most delicious characters, and each is different from anything we've seen in previous novels ... and Jade produced a stunning cover, to Mel's specifications. The face of Seb d'Astaghir is another composite of various "face models," but for Jack Leigh, the truth is, DreamCraft's own Dave modeled for the figure and Jade painted right over a composite shot made up of several digital photos.See below for a brief cover story from Jade.

There are two couples in this novel: Jack Leigh and Seb d'Astaghir are the focus of the story's romantic inclinations, but in the first chapter the gypsy, Janos Zaparosti, makes his appearance... and to say more would be to risk giving a plot spoiler here!
Jack Leigh The background to the novel is almost "Court of the Medici," or "high magic in the age of Leonardo." The geography of this fantasy world is richly detailed, and there's a lot more to be said on this subject, but ... not till after you've read the novel! In the July upload, which coincides with the publication of SCORPIO, Mel will be be talking at length, in the Members' Area, about the background for THE SWORDSMAN. It's ingenious: keep your wits about you and your eyes wide open as you read!

Says Jade...

This cover was an adventure in itself. Mel had very clear ideas about one of the faces, but not the other: Jack Leigh is more a "physical" presence, and in the end we went with a figure rather than a face to represent Jack. But Seb was always a face in Mel's mind, and it took a Russian ballet dancer, an actor from Vienna and a calendar model from an old photo shoot, circa 1985, to put this face together. By the time I was done, even I was amazed. Seb d'Astaghir has a face you just don't forget ... but what the cover illo doesn't show is his vivid blue eyes. The artwork was done at very large scale, and by the time it was reduced down to the size it must appear on the cover, the blue had become just a general darkness, which will drop out even further in the printing. Rats. Take my wod for it: Seb has big blue eyes.

For the face I started with two digital sketches: one was monochrome (because the photo references were monochrome), the other was color: Seb would be "colorized" using the same "color palette" as was used to paint Jack (which in itself was a palette derived from a painting by Hals). The finished face provided one of eight elements which would be used to construct the painting. Jack was another of these elements; plus the background and the sword:

The digital elements were pieced together from more than a dozen sources. For the figure of Jack and the sword, Dave came to the rescue: he not only modeled for the figure, but he's had the sword in his possession for many years. The hilt was photographed with a masked flash; the image was then sized, scaled, reversed, rotated, masked out and painted in. The background is part of a snapshot of a crypt with Norman curves in the ceiling. This was faded out, a color "cast" was added to the shadows (burgundy red) and a heavy Gaussian blur was applied. Then the whole thing was painted together seamlessly and we were ready for the 3D logos for the title and byline.

We're all delighted with the painting, and it really does "fit" the novel to a "T."

RESEARCH TALES:
DESIGNING A FATASY WORLD, or ...
What, research for a fantasy novel?

Absolutely. One of the most difficult things about fantasy is the "mortar" between the bricks: that is, the stuff sticking the whole thing together! The adhesive is (if this doesn't sound "too Irish" for you) a faux reality that must be rock-solid, or the fantasy will soon fall apart.

For THE SWORDSMAN, HARBINDANE, MYTHGAARD and other fantasy fiction you'll be seeing in the years to come, I was able to do one body of research and apply it to several novels. And fortunately, most of the research was done around ten years ago, when the original versions of these novels were produced. Not a one was published at the time. GMP were not interested in fantasy at all; Alyson had done WORLDS APART and the anthology, SWORDS OF THE RAINBOW, without much success ... I saw a comment (might have been on Amazon.com; it was certainly on the Web, though I confess, I don't recall exactly where!) that Alyson didn't promote SWORDS OF THE RAINBOW much, if at all. I had a story in that one, and if the book had gone well, I was going to offer Alyson a fantasy novel. However, the anthology passed by without critical interest and apparantly without generating outstanding sales: in retrospect, unsurprising if there was no promotion. At the time, I was left wondering if David Fernbach at GMP might not be right, and though fantasy was popular out yonder in the general marketplace, gay fantasy fiction was a "non-starter." So I never even offered Alyson a novel. The late 1990s were way too busy for me on a personal level to even think about chasing down a new publisher (it's not as easy as many readers think!) and of course I entered discussions with DreamCraft in 2001.

But I digress! Research...

Put yourself back to a time before electricity, before steam. Think through the mechanism of how a city has to work. Lines of communication, routes of trade. Where is agriculture taking place, and how? What's the climate like in this particular region? Is the climate changing? What pressure does the climate, and change of climate, force onto people? And if the climate is changing locally ... say, getting colder ... how does this affect people living five hundred miles closer to the pole? And vice versa?

In fact, the world's climate is constantly changing; we know this now, for a fact, and many of the patterns of human history are driven by it. Before the concreting-in of national borders, history is full of migrations. People have found themselves in the same "flush-crash" cycles as voles and owls, foxes and rabbits. So where you have trackless wastes (as my novel does), and where you have a people who can chart their history over five centuries or more, you could put money on this: bodies of people will be on the move, and it's going to come to armed conflict sooner or later, as the "haves" fight to hang onto their land, food and water.

So I looked at prehistoric agriculture, hunter-gatherer communities, and got some questions asked. Here was a good one: How far can a horse run in a day, and be asked to do it, every day, week in, week out? I had other questions about the temperatures needed to forge decent quality steel (what can primtives in the field do, on the run?) ... and how much land area does it take to feed one family? How many families make a workable gene-pool — which is to say, a viable city that'll actually grow over five hundred years, not stagnate and perish.

If you apply this kind of thinking and do a bit of research, your worlds start to build themselves, like a kind of "SIM Middle Earth." You also catch a glimpse of some apparent oddities in LORD OF THE RINGS ... and I *do* know, JRR Tolkein was a linguist, not a "hard" scientist; he built his incredible fantasy world as a "lingual progression," and he did it in the last decades pre-dating our understanding of climatic shift, so (before anyone assaults me for this!), I'm *not* being critical here, just curious! To the best of my knowledge, the climate hasn't changed over 3500 years in Middle Earth. Lands were devastated by war, but the land itself seems to be eternal ... which in fact it wouldn't be, if Middle Earth is a period in the history of our own world, perhaps 5000 years before the hypothetical fall of Atlantis (the time of Robert Howard's Hyborean Age). The other thing that strikes me as a bit of an odditiy (and I'm sure Tolkein had his reasons) in LOTR is, over 3500 years there's been no advance in technology. Humans and elves fought Sauron in the first War of the Ring, and they're fighting the Dark Lord again with the same weapons, thirty-five centuries later, rather than Mount Doom going down under a brace of MERV Warheads as soon as the shadow began to extend out of Mordor once more. Again, I'm not being critical, merely observant. As I've said, I'm sure Tolkein had his reasons; they may well be buried somewhere in the depths of The Silmarillion. I've read a lot of it, but I have to confess, not all: I'm just a casual reader, not a Tolkein scholar. As I said, it makes me curious.

So, for the opus of fantasies I was working on a decade ago and which are about to go into print at last, I ran through these thinking processes and built my worlds with a lot of attention to the conclusions. I needed a lot of information to feed into the grinder to get my conclusions, and hence ... research, even (or especially) for a fantasy!








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