The Ripper Origin Saga Continues

Book Two of The Blackchapel Chronicles is Creeping its Way onto Google Play

Yes it’s true, and no you’re not dreaming; Book Two (A Drowning of Mermaids) really is in its final stages of production – it has a front cover and everything.

Getting this one over the line is proving to be the toughest project I’ve ever worked on. Compared with Book One (A Plague of Murder), its world-building is more complex, the action more hard-hitting, and the consequences of characters’ decisions more heart-breaking.

Beginning immediately where A Plague of Murder ended (and you can get your own free copy of that book here), A Drowning of Mermaids covers a terrifying murder case from 1871. Based on actual case files from the time, it continues Jack the Ripper’s origin story, and follows the London detectives who are destined to chase him through the infamous autumn of 1888.

Without spoiling either Book One or Two, I can honestly say the reason this book has taken so much longer than I originally expected is thanks to the weight I feel to do the characters justice and to keep writing better stories for my readers. I believe any work of fiction exists first and foremost to entertain. My goal with any of my books is to pluck a reader from their surroundings and drop them in a time and place that exists only in their imagination.

And a big part of that process is authenticity.

This second book contains a tonne of intricate details that make up the world and help bring it to life from the page; whether its the location of real buildings and their floor plans, biographies of historical characters, or details on the various communities that made up Whitechapel back in the 1870’s. The greatest challenge of all this is to make it invisible when reading. Like a magician guarding their secrets, I have to scatter these authentic details lightly throughout the book to keep it a page turning ride and not a boring slog!

A Drowning of Mermaids also sees the return of our favourite characters who survived A Plague of Murder, and after an initial stop/start writing process, I felt like I was meeting up with old friends as I continued their stories and motivations. But make no mistake, this is not a humdrum sequel that treads water (no pun intended). Heartbreak drapes itself heavily over this book, and no main character is safe from their own actions (or the actions of others). The oft-used term ‘plot-armour’ does not exist in this series, and some outcomes may shock you. After all, Victorian London was as brutal and nasty a place for the destitute as it was a luxurious playground for those in wealth and power. And at both ends of the scale, death could arrive as quick as a knife in the dark.

As always, I am immensely grateful to all those who come across this humble website and decide to grab a copy of any of my works (did i mention they were available for free?). You are the reason I write.

A New Victorian Crime Thriller Released Free on Google Books…

…and I wrote it.

young woman reading a book in a library
Photo by Rick Han

Concluding my 2023 new year’s resolution to give away my works for free, I have placed my debut novel, A Plague of Murder, on the Google Play Book Store where you can download a copy and keep forever (you lucky devils). It’s the first installment of my Blackchapel Chronicles series that charts the origin of the serial killer destined to become Jack the Ripper. With my efforts continuing on its second installment, now is the perfect time to dive into this lost world I’ve recreated over the span of nearly half a million words (yes, you read that right).


BOOK ONE: A PLAGUE OF MURDER

England, 1870

A woman is murdered, her child taken. For residents of a small railway town, such a crime in their midst is as shocking as it is terrifying.

Yet for local Police Constable John Tanner, the nightmare is only just beginning when he follows the trail to Whitechapel, home of the Metropolitan Police Force’s legendary H Division. There he will meet Detective Sergeant Henry Lofthouse, a disillusioned officer of Scotland Yard’s reorganised Detective Branch. Confronted with murders unlike any yet seen, these two very different men must grapple with deception, mistrust and their own demons if they are to stop a relentless killer from fulfilling a horrifying ambition…


For those with a Kindle, I’m keeping my Amazon listing, and have reduced its price to the lowest Amazon will allow (currently a modest £0.77). I’ve also fixed the few typos and grammatical errors that slipped through the original manuscript so you’re getting the very best version, regardless of whether you use Amazon or Google.

From the beginning, I’ve always written the sort of book that I’ve always wanted to read, not what I think might sell. And I’ve always wanted my works to be accessible to everyone, not just those with a spare bit of money in their back pocket. Making my works free to read and own feels like a milestone reached at long last. As a result, I’ll be taking a few weeks away from my blog to focus on existing projects and real life stuff – but don’t worry, I’ll return bright-eyed, and with a new book release not far behind.

Until next time; happy reading, writing, living

MA

Why Can’t We Make Beautiful Things Anymore?

For the first time in a long time, I returned to my old family home for a fleeting visit last week, and I was reminded just how much time, effort and craftsmanship had been put into all its fixtures and fittings. Everything down to its old brass bathroom taps have an ornate design that the chrome-effect ones at my own home just can’t compete with.

The door frames have hand-carved motifs in the top corners, and the original doors themselves are solid, unlike my own new-build plywood-esque ones. Returning to my own home nestled amongst a warren of identical brick boxes, I realised just how soulless our modern environment is.

Just a few days ago, I attended a friend’s wedding and was struck (not literally) by the car whisking the bride and groom away to their new life together (or at least as far as the reception venue). It was a 1950’s Cadillac, and it was absolutely beautiful. For my own wedding, my wife chose us a 1960’s Rolls Royce Silver Shadow in all its impeccable glory. She could have chosen any one of a plethora of shiny modern cars-to-hire like a Mercedes SLK or a brand-spanking new Bentley. But like most brides, she went for something old. What makes us harken to the past at the most important events of our life? Could it be that its relics we’re left with were built with a passion and a heart we no longer have?

The more I look around at our modern world, I can’t help but notice how wrong things are. Our streets are dirty and choked with litter. The people are walking around in jogging bottoms and pyjamas. Watching vintage footage of London, it’s almost painful to see how clean it all looks, how well-dressed the people are, even those we would consider poor today. Where and why did it come crashing down?

Tesla car, the design of which has been widely described as ugly
Say what you like about the technology – this has no character at all…
A quintessential red Chevrolet. Guaranteed to bring a smile
…Whereas this has bags of it without even trying

I think the answer is simple; it’s down to two things – pride and purpose. Case in point – Crossness Pumping Station in London. Designed by James Watt & Co in the 19th Century, it has a simple purpose – to pump raw human sewage up 12 metres from the south of the River Thames to a reservoir. Below is an image showing what it looks like.

This was made for the sole purpose of pumping human faeces from one place to another

Incredibly, it has the Monarch’s initials cast into its metalwork – VR, Victoria Regina, and its opening was attended by the Archbishop of Canterbury. People had so much pride in their work back then, it seems completely alien to us now. When was the last time our current Archbishop attended the opening of a shit-pumping station?

Big Ben London. Recently restored
We would never dream of building this today

It’s bewildering to the point of depression having to live in the shadow of previous generations’ efforts that we struggle simply to maintain today. I’m starting to hate how ugly our current creations are, how little creativity there is, and this laziness is poisoning our culture. Look at the movies we flock to see – how many of them are remakes of old classics? How many are retellings of old stories? Whether it’s superhero blockbusters or period dramas, we seem to have forgotten how to tell new tales, how to create something truly unique, something with a soul.

old photograph of a well-dressed child playing with his pet dog

Is it any wonder we’re living through an epidemic of mental illness here in the West? We wake up on polyester bedsheets only to get dressed in polyester clothes before making a morning coffee in a plastic machine. Going to work on the public transit system is about as inspiring as getting root canal treatment at the dentist, and when we do finally get to work, our environment is drab and utilitarian.

Public transport system. Cramped, dirty, soulless
There is nothing healthy about this
A sterile office space without decoration
…Or this

I’ve pinpointed this decline to somewhere at the end of the 1970s. Around this time, we decided to churn out mass-produced rubbish to the point where our devices are designed to fail after a period of 5 years. Things have gotten so bad, the UK Government has had to introduce a law that prevents designed obsolescence in white goods. Craftsmanship has been replaced by profit, and pride replaced by convenience. And all of us are suffering for it.

Sony Walkman, now in museums
This plastic box is in museums now...
A vintage gramophone
…While craftsmanship like this is gathering dust in a knock-down antique shop

Bit by bit, I’m pushing back on the encroachment of this uglification by surrounding myself with beautiful things from the past. Whether it’s something as simple as an old writing desk or an antique cabinet repurposed as a TV stand, I’m finding solace in the idea that if our ancestors understood the importance of beauty in their environment, perhaps we can get it back. The problem is, I’m firmly in the minority, and while hoards of today’s youth would rather experience a music festival through the screen of a smartphone than actually live it, I fear we’re all doomed to an ugly future.

Concert-goers watching the perforamce through a smarphone
We’re all done for, I tell you

Did Mary Kelly Survive Jack the Ripper?

At the age of just 25, she was the Ripper’s youngest, and last known victim. Or was she?

Not actually Mary Kelly. Photo by Suzy Hazelwood

It’s the morning of November 9th, 1888 in the East End of London. Think bowler hats, flamboyant moustaches and a young Michael Caine.

During these final years of the Nineteenth Century, London’s East End, but particularly the district of Whitechapel, is known for its slum dwellings where people on the edge of poverty are living cheek-by-jowl (sometimes literally). Disease is rife, life expectancy hovers around the mid forties, and somewhere, out there on the smog-choked streets, a serial killer is abroad. And his name is Jack the Ripper.

We’ve all heard the story of Jack The Ripper; the elusive killer who was never caught despite a massive manhunt by England’s finest Metropolitan Police Force. Many criminologists today believe he killed five women, others four, and there are some who think he killed a lot more than that. Today though, I want to examine the woman who most people agree was his final victim; Mary Jane Kelly. And I want to answer a very uncomfortable question; did she actually survive the attack?

But before we can delve head-first into the mystery, we have to understand what had been happening in the days leading up to that fateful night of the 9th November 1888.

Throughout that autumn, a series of brutal murders on unsuspecting women had gripped the residents of the East End. Whipped up by media speculation via the huge abundance of cheap newspapers, people had grown scared at the devilish perpetrator who seemed able to slip through the shadows, killing at whim before melting into the night. Some began reporting on their neighbours, others their own family members. By the night of Mary Kelly’s murder, there were already four victims that it’s generally agreed the Ripper had killed;

Mary Anne Nicholls

Annie Chapman

Elizabeth Stride

Catherine Eddows.

All of them were desperate women living in absolute poverty who the newspapers described as unfortunates, which was Victorian code for sex workers. In the early hours of November 9th, one such woman, Mary Kelly, was returning to her bedsit at 13 Miller’s Court in the company of a man. Less than 12 hours later, she’d be discovered murdered, her body horrendously mutilated and left lying in state on a blood-drenched bed.

As the sun rises over Whitechapel on that morning of November 9th, the Landlord of Miller’s Court, a man called John McCarthy, wakes up and goes through his rent book to find one of his tenants, Mary Kelly, is behind on her rent for room 13.

Now McCarthy owns so many of the dwellings in Miller’s Court that it’s known locally as McCarthy’s Rents. The court itself is rather small, and the rooms are as you’d expect for Whitechapel at this time. They’re small, basic, and pretty mucky.

By 10.45am on the morning of November 9th, McCarthy asks his rent collector, Thomas Bowyer, to go round and collect the overdue rent that Mary owes.

Bowyer trudges up to number 13, and we can only imagine his reluctance at having to undertake such an unwanted – but necessary – confrontation on behalf of his boss. Clenching his calloused hand into a fist, he knocks on the door once, twice, thrice. But there’s no answer.

He tries to look through the window around the corner but there’s a curtain blocking the view inside. However, one of the window panes close to the locked door has been broken for some time. So Thomas Bowyer pokes his hand through the hole in the window, carefully lifts the curtain away to peer inside, and what he sees makes his blood run cold. 

It’s the body of Mary Kelly lying on the room’s only bed, torn to bits. There’s blood daubed up the walls, soaked through the mattress, clotted on the floor. Internal organs have been removed and are seemingly lying on every surface the rent collector sets his terrified eyes on. Mary’s face has been disfigured so much, she’s unrecognisable. Her lips have been cut off, her nose and ears hacked off, even her cheeks have been sliced away. 

A horrified Bowyer dashes back to McCarthy and tells him what he’s found. McCarthy goes to take a look himself, and he describes the scene as “beyond all comprehension, beyond words.” The two men raise the alarm, and the police soon arrive. But they don’t make any immediate attempt to go inside the room of 13 Miller’s Court. In fact, several hours go by with the officers waiting outside maintaining a cordon. What are they hesitating for? What possible reason can they have for dragging their feet? Is it fear?

Partly – but not fear of what they might find inside. What’s preying on their minds is a fear for their jobs. Because these officers are waiting for bloodhounds.

At his wits end and getting increasingly desperate, the Police Commissioner had previously made a strict order that no suspected Ripper crime scene was to be touched until bloodhounds had first arrived. The idea being that this would give the dogs a chance of picking up any scent trail the killer might have left behind.

So we now have this farcical situation where the body inside the room is cooling down, allowing rigor mortis to set-in, making it that much harder for any estimate of the time of death to be made. Yet outside is a group of police officers doing little more than crowd management against a mass of curious onlookers whose numbers have only been growing out in the courtyard since rumours of the dead body began flying around.

Eventually, Superintendent Thomas Arnold arrives, tells the men the bloodhounds aren’t coming, and orders the officers to gain entry to room 13. 

That leads us to another problem. The door to Mary Kelly’s room is locked, and seemingly no-one has the key. Allegedly it’s gone missing, presumed either stolen or simply dropped on the filth-strewn cobbles. A lot has been made about this missing key over the years by many amateur sleuths. How can a door be locked without a key? Did the killer take it with them after committing the murder? Did he have possession of it before the murder?

Like many real-world mysteries, the truth is rather mundane; it turns out the lock was a latch type, and would always engage whenever the door was fully closed. It didn’t need a key to lock, but did need one to unlock. Apparently, Mary Kelly had gotten used to unlocking the door by threading a slender arm through the hole in the window from where she could reach the latch on the inside.

But right now on that cold November day, this doesn’t help the police. Faced with the locked door, a pick axe is found and it’s used to break in. I’ve read two separate sources over who exactly gained entry with the axe. One states that Inspector Abberline had been the person who broke the door down, while a newspaper clipping unequivocally named the landlord, McCarthy. Whoever did break down the door, it doesn’t change the facts around the murder as we know it. So let’s move on.

With the door broken open, the police finally gain entry, and they take in the absolute massacre that’s occurred. Mary Kelly’s clothes have been neatly piled on the seat of a chair, and she’s left wearing the remains of a chemise, which is essentially a modest undergarment worn by most women of the time.

A police surgeon called Thomas Bond is next to arrive, and he performs a medical assessment. He’s accompanied by another police surgeon called George Bagster Phillips. Because of the state of the body, the two men can’t accurately work out the time of death, but come to the conlcusion it had to be around 4.00am. Remember that time because I’ll be coming back to it later. Rigor mortis had already set in by the time the official autopsy was conducted at 2pm that afternoon, and Thomas Bond stated it got more pronounced throughout the examination.

George Bagster Phillips is recorded as stating he believed that, despite the mutilations, Mary Kelly was killed much like the other Ripper victims; by laceration of the throat, in this case down to the vertebrae.

So far it’s uncontroversial. That’s until the police start taking witness statements, and more questions than answers pile up over the whereabouts of Mary Kelly – both before – and after the time she is supposed to have been killed.

Firstly, who was Mary Kelly? The short answer is; we don’t know. There are no official records that survive with her name on them, not even a birth certificate. All we have are testimonies from those who knew her. One friend of hers thought she might have been Irish, another believed she was from Wales. We’re not even sure her name is accurate. There’s a high probability it’s an alias. 

At the time of her death, she was believed to be twenty five, making her the youngest of the ripper victims by a large margin. The room in which she was found was sparsely decorated. It had a bed in the corner, it had a single chair, and a fireplace where police found remains of burnt clothing. Who exactly they belonged to and why they were burned, is still a mystery. What’s not a mystery is the man she had until about a week prior, been cohabitating with. That man was Joseph Barnett.

At the time of Kelly’s murder, Barnett was down on his luck. He was out of work, and he’d walked out on Kelly a week previous because, according to him, he was unhappy with the other women she associated with, and often had round in the room. But that disagreement didn’t stop him from visiting most nights for an hour or so, and on the night she was killed, he followed the same routine.

From eyewitness reports and Barnett’s own testimony, he had visited her at Miller’s Court at around 7pm, and had left by 8pm. 

After that, there are no confirmed sightings of Kelly until 11 o’clock that night where she’s seen drinking in a local pub with a well-dressed man who appears respectable (or at least respectable for the East End).

By 11.45, a woman by the name of Mary Anne Cox, who lives at 5 Miller’s Court, is returning home to get warm by her fireplace since it’s begun to rain. Cox is a widow who’s also turned to sex work in order to make ends meet. She states very clearly that she recognises Kelly walking ahead of her on the arm of a stout man who’s well dressed in shabby clothes. She thought him to be in his mid-thirties and about 5ft 5 inches tall.

Cox follows the couple into Miller’s Court and finds them standing outside room 13. As she passes them, she wishes Kelly goodnight, and from the response she gets, she believes the younger woman to be heavily intoxicated. A few minutes later, Cox can hear Kelly singing a song from inside her room. By the time Cox leaves her own room to go back outside, Kelly is still singing in her room.

At around 12.30am, a flower seller called Catherine Pickett is disturbed from sleep by the singing. Living in one of the rooms above Kelly’s, she makes to go downstairs to complain about the noise when her husband stops her and sleepily calls her back to bed. 

1am rolls along as the temperature continues to drop. Mary Anne Cox is returning home through the rain once again to warm herself by her fire, and she hears Kelly still singing, or at least singing again, and she sees a light coming from inside.

Then by 2am, things really start to get interesting. A man called George Hutchinson stated to police that he meets Kelly at this time out on the street some distance from Miller’s Court. According to him, she asks for money but he doesn’t have any to give. Perhaps annoyed at being brushed off so easily, she leaves and walks off down the street telling him she needs to make some money.

Not far on what becomes a very short journey, she meets a man whom Hutchinson is able to describe down to the buttons on his jacket. Standing in the shadows, he watches as this stranger places an arm around Kelly’s shoulders, and he decides to tail them when they walk off in the direction of Miller’s Court, laughing and joking on the way. From a distance, Hutchinson continues to watch as the couple linger at the entrance of Millers Court for about 3 minutes. At this point, he hears Kelly agree to a request from the stranger, and she leads him inside her room.

Contemporary sketch from The Illustrated London News October 13th, 1888

The level of detail that Hutchinson is able to give when describing the stranger to the police later on is suspicious by itself. Now, I’ve been questioned by police as a witness, and I’ve been asked to give a description of someone. If you’re an innocent bystander (which I was – honest), often the police have to drag the information out of you. This is especially true where visibility is a factor (such as at night time). Much like Hutchinson, I saw a man at night, illuminated by a single light source from a distance, and I can tell you it’s almost impossible in those conditions to give information as accurately as Hutchinson could. 

In fact, he is able to give everything down to the trim of the man’s coat. And remember – this is with 19th century outdoor lighting in the rain. He can even describe a horseshoe pin on the stranger’s necktie. Couple it with his description of the man carrying a wrapped parcel under his arm, and it’s almost too perfect a fit for how we would expect the Ripper to look. As far as I’m aware, we only know the existence of this man who Mary Kelly took inside her room from Hutchinson himself. And he lingers at the entrance to Miller’s Court without an alibi until he hears the local clock bells strike for 3 in the morning. By his own testimony, he could have been out there in the rain for forty minutes, perhaps more.

So it’s now 3:00 AM: Mary Anne Cox returns home yet again. It’s begun raining hard. There is no sound or light coming from Kelly’s room. Cox doesn’t go back out but neither does she go to sleep. Throughout the early hours she occasionally hears men going in and out of Miller’s Court in order to start work at the local market. She later told the inquest;

“I heard someone go out at a quarter to six. I do not know what house he went out of (as) I heard no door shut.”

She added that a quarter to six is too late for any of the men working at the market to be leaving home. The coroner asked her whether it could have been a policeman, although this is purely speculation.

But back to the night of the murder, and it’s 4:00 AM: Elizabeth Prater, a woman living in the room directly above Kelly, is awakened by a faint cry of “Murder!” but since the cry of murder is common in the district, she pays no attention to it. Another woman who happens to be staying with friends in Miller’s Court also hears the cry, but she too goes back to sleep.

These two accounts match with the time of death that Phillips estimated, and police are confident they’ve got their timeline nice and accurate. But then along comes Caroline Maxwell to ruin it completely.

Caroline Maxwell is a really interesting witness. At the time, she was living in a lodging house at 14 Dorset Street, and at 8.30 in the morning, she’s on her way to visit a neighbour when she comes across Mary Kelly standing at the entrance to Miller’s Court looking decidedly ill. She was able to describe Kelly in depth, and actually called out to her by name. According to her, Kelly replied that she was feeling sick and pointed to a pool of vomit she’d made on the ground. Caroline Maxwell continues on and never sees Mary Kelly again.

10:00 AM then rolls around: Maurice Lewis, a tailor also living in Dorset Street, told newspapers he had seen Kelly outside her room at this time, some six hours after her official time of death. Because of this discrepancy, he was never called to the inquest and was virtually ignored by police.

Yet Lewis claimed to have known Mary Kelly for five years, and shortly after 10.00am, he and a few friends went to the local pub. While they were in there, he saw her drinking with some other women, but wasn’t sure if any man was with them. This is less than 45 minutes until her body is supposedly discovered by the rent collector, Thomas Bowyer, and more than six hours after her official time of death.

How can we explain this discrepancy?

Photo by Pixabay

Firstly, let’s look at the cry of murder the neighbours heard at 4am. In 1888, Cries like that were common at nighttime in Whitechapel. Shouts of murder would go out in an attempt to alert as many people as possible during an assault or a robbery. And even around the time of one of the other Ripper murders, similar cries were heard by others woken out of bed. Contempory sources state that shouts of murder could be heard ringing out like church bells, three, four, even five times a night in some areas.

At the time of the coroner’s inquiry, Caroline Maxwell, the woman who claimed to have seen Mary Kelly outside at 8.30, was warned about her testimony because it didn’t match the timeline the police had built. A simple explanation is she got the date wrong or mistook Mary Kelly for someone else.

Yet under questioning, she was adamant that she called Mary by name, and had a full conversation with her. And she was certain of the time and date. Would anyone forget the date that someone they knew was found viciously killed and mutilated mere yards from their front door? It’s unlikely. And other witnesses had seen Maxwell out on the street at around 8.30am on the day in question, so there seems to be at least a plausable truth to what she’s saying.

When you consider that police didn’t gain access to the room because of the several hours wait for bloodhounds that never arrived, it’s easy to see how the task of coming up with a time of death would have been made all the harder by that delay. And this was the nineteenth century, when determining time of death was more an artform than an exact science.

Then there’s Maurice Lewis seeing Kelly at the pub after 10 o’clock – police questioned him, then disregarded his witness testimony. Let’s give them the benefit of the doubt since they were there and we were not. Let’s say it was a case of mistaken identity, despite Lewis claiming he’d known Mary Kelly for five years. That still leaves Caroline Maxwell standing outside her home at 8.30 chatting with a sick-looking Kelly in broad daylight.

Could Kelly have been sick not because of a hangover, but because she had wandered upon the gruesome murder scene of some other poor woman at 13 Miller’s Court? Afterall, the broken window allowed anyone access inside if they knew the trick of slipping their hand through a hole in the window. Could the killer have seen how Kelly had unlocked the door on a previous visit? Could he have returned with another woman, another victim, knowing how easy it was to gain access and get off the street?

It’s no big leap to assume Mary Kelly would have been frightened out of her wits at the narrow escape when she returned to that room and looked upon the carnage left behind. She might have been too frightened to tell Caroline Maxwell about the horror she’d seen and gone instead to the pub where she was noticed by Maurice Lewis and his friends. People can react in seemingly strange ways to an outsider when they’re gripped in shock. It’s why some people laugh at funerals.

Perhaps the whole ordeal scared her enough to leave Whitechapel behind? Perhaps she left the whole city in her wake and led a quiet life of peace out in the country? Perhaps.

Photo by Pedro Dias

Or perhaps not. 

There is another outcome between the two extremes of Mary Kelly being murdered by her mystery client at 4am, and Mary Kelly not being murdered at all.

George Hutchinson, the man who claimed he’d tailed Kelly with her mystery gentleman at 3am in the morning. The man who had given such a detailed description down to a necktie pin. The man who had waited outside for half an hour, perhaps more. What if he had spent that time inside, carving up Kelly’s body? If we disregard Caroline Maxwell’s testimony, it’s a possibility that he could have been the killer.

Afterall, what could his motivations have been when giving his evidence to the police?

  • He could have been telling the truth about what he saw, and implausible as it may seem, gave us the best eyewitness description we have of Jack the Ripper.
  • He could have exaggerated parts of his statement to please the press and police.
  • He lied and was in fact himself Jack the Ripper.
  • Hutchinson, realising the strange man looked wealthy, hung around waiting for him to reappear on his own, with the intention of mugging him.
  • Perhaps the reason he hung around so long was that it was Mary Kelly he was keeping an eye on. Perhaps he was besotted with her, possibly even stalking her. She had said on a previous occasion that she was frightened of someone other than the Ripper, though did not dare say who.
  • Possibly the reason he hung around for so long was because he had no money for a bed and was just passing time. He did say to Kelly that he had spent all his money and had none to give her.

Hutchinson said he hung around for so long because he was suspicious of a man so well dressed wandering the streets of Whitechapel, especially while there was a serial killer abroad. So why did he leave at 3am without so much as sneaking a peek through the window to check on Mary?

To this day, we don’t know how old Hutchinson was. We don’t know anything about him because after the inquest into Kelly’s murder, he simply disappeared. There is no date of birth, there is no date of death. It’s like he vanished into thin air.

And what about Joseph Barnett, the man who’d lived with Kelly? Did he hold onto his key and use it to gain entrance later that morning? He would have heard all the stories about the Ripper’s Modus Operandi. Fuelled with anger at his ex-partner, could he have murdered her in cold blood and copied the real Ripper’s methods to hide his tracks? Afterall, Mary Kelly was the only victim to have been murdered inside – all the other victims met their end under the stars. By inserting himself so early into the timeline that night, he would also have given police no cause to suspect him when weighed against Mary’s time of death.

There are so many possibilities, it’s almost a fool’s errand to try and fix these contradictions. The Ripper case is nothing if not stuffed full of contradictions, and a brief glance at Mary Kelly’s case brings up a slew of them. It’s a fascinating and slightly romantic suggestion to consider she survived whatever horrors occurred in Room 13 of Miller’s Court. Yet while we have witness testimony of her standing larger than life long after her supposed death – whether out on the streets or safe inside a pub – the tantalising hope that she lived out her life far from the slums of London will endure.

There is one depressing thing we can be sure of, though. Someone was brutally killed at 13 Miller’s Court, and the culprit vanished without a trace, never to be brought to justice, and never to be unmasked.

Photo by AaDil

Read Part 1 Of My Upcoming Adventure Novel

Contains violence, threat and bad words

Holy text

I have a small confession – ever since I picked up River God in my local bookstore while skipping school one rainy summer’s day, I’ve been a massive Wilbur Smith fan. Just thinking back to that time reading his ancient Egypt series, no other writer seemed to come close to the epic scale his words conveyed. Even now, there seems a limitless expanse his books can effortlessly conjure that no other author might hope to reach.

When I learned of his death at the age of eighty eight after a life well-lived, it felt like a door into the past had been closed forever. Yet his works remain, capturing countless imaginations for many, many years to come.

For a long time I’ve wanted to write an adventure novel that has even half the depth, character and page-turning intrigue that Wilbur Smith had in spades as a master storyteller. While my attempt may fall short of that lofty ambition, I’m no less elated at what will be the end result. Especially after completing the many hours of research it took to ensure that, while it belongs in the fiction section of any library, the knowledge underpinning its bold assertions are very much based in fact.

It’s called The Ninth Quran, and the ebook version will be made freely available (once I’ve finished all the damned editing). For now, I’ll introduce the story by beginning at the end – at the back cover, to be precise, and the book’s blurb;

Facing career suicide after publishing a controversial research paper in Islamic Studies, a dejected Dr Bijan Karimi considers turning his back on the profession he loves when his life is shattered by the arrival of brilliant archaeologist, Dr Zahra Gamil.

Having uncovered an ancient riddle buried in the desert sands, Zahra has an incredible story to tell, and a perilous opportunity for the quiet academic. Thrust into danger and chased by a deadly secret society, the pair uncover a trail that could rewrite history and rock the Islamic faith to its very core.

Based on the latest discoveries by fearless academics, Michael Averon brings his meticulously researched adventure thriller to a mainstream audience for the first time. From the scorching sands of Arabia to the rainswept streets of England, The Ninth Quran grips from the start and doesn’t let go through every revelatory page.

And if that’s not enough to pique your interest, I’m releasing Part One right here. Containing the prologue, chapter one and the first half of chapter two, it’s a huge preview of the final book, and I can’t wait for you to read it. So go on – get yourself a tea or coffee, take a break and lose yourself in a good ol’ adventure yarn for half an hour. Or download it to your phone and share it with your friends, family, or pet goldfish. I’m sure they’ll appreciate it. Just bear in mind, it does contain violence, threat and some rude words.

Whether you enjoy it or hate it, I’m ever-grateful to anyone who reads my work. I spend a lot of time on my writing trying to make it as entertaining as I can, and being able to create a bit of escapism in these difficult times many of us are enduring, is a privilege I never take for granted.

As always, until next time – stay safe!

I’m not dead, I’m just writing a new work of adventure fiction.

And I can’t wait to unveil it

Photo by Pixabay

“Great story, reminds me of The Da Vinci Code,” the agent told me down the phone. I could detect her wide grin on the other end as she delivered her next remark. “But there’s no way I’m touching it. And no publishing house on earth is going to get within a hundred yards of it, either.”

“Uh huh,” I simply replied, trying to keep the disappointment out of my voice. Thanking her for her time, I ended the call and sat back to let my frustration simmer down over the next ten minutes.

I didn’t need to ask her why I’d been rejected; like every other email and phone call I’ve ever had with a publisher about my works, the response was a firm no. My other book, A Plague of Murder, was once turned away because of my stubborn refusal to allow it to be cut down from its 480,000 word count. “Would Tolstoy have butchered War and Peace to fit with a publisher’s expectations?!” I once flippantly declared.

But my latest book has an altogether different issue. It’s set almost entirely in the present day and is loaded with modern technology. It’s also a globetrotting adventure novel featuring a desperate treasure hunt, a vengeful secret society, and a strong female lead. On top of that, it’s based on years of academic research and scientific studies to keep it rooted in reality. In short, it’s a perfect holiday escape.

So why the curt rejection?

Well, the best reply I can give is the feedback I got from a friend who kindly read my first 40,000 words over the course of a rainy afternoon;

“It’s an adventure novel that explores the very origins of Islam, and if the research it’s based on is true, it reveals a secret that’s been in plain sight for almost fifteen hundred years. Forget Dan Brown; have you ever heard of Salman Rushdie, and of what happened to him?”

And therein lies the problem for any publisher gazing at such a manuscript over a strong cup of tea. Perhaps I’m being ridiculously naive with my “glad tidings, good stranger” attitude whenever it comes to discussing any form or style of literature – for me, nothing is ever off the table. Here in the West, we have thousands of fictional stories all taking inspiration from various religions. Yet so far, I haven’t read one that delves into the origins of Islam with anything like the breadth and depth of a good adventure novel (but I’m happy to be corrected in the comments below). So I’ve decided to write my own.

I have to stress, this book doesn’t pretend to be anything other than a fast-paced work of fiction, and neither does it seek to cause offence – far from it. I think it treats the whole concept of religion with great respect and doesn’t go stomping around making wild-eyed speculations. Yet it’s undeniable there is a largely untapped historical world out there – some of it is located in the Quran itself, while much is carved into monuments like the Dome of the Rock – and all of it just waiting to be explored by an author’s imagination.

Like I alluded to earlier, this part of human history is an on-off obsession I’ve had for the past three years. When I began delving into the founding of Islam, I expected to find something similar to what I was taught in school about this fascinating but well-recorded religion and its beginnings. But what I’ve found from experts in the field is endless possibilities branching out in every direction.

At the moment, I’m continuing the book’s editing, and still have its final chapters to complete. But for now, I’ll end with its introduction that I think sets the scene and gives you an idea on what to expect. I’m incredibly excited to get this project over the finish line as I believe it’s my best work yet, and I’ve got plenty more updates to come. My self-imposed deadline for publication is 1st September 2022, and there is every expectation the ebook will be absolutely free!

Until next time, stay safe!

Introduction – untitled work in progress

There exists a story, rarely ever spoken.

At the beginning of the Islamic conquest of the Middle East, just twelve years after the death of the Prophet Muhammad, there rose a great Caliph known to history as Uthman. Accused of corruption from the earliest days of his reign, his grip on power was tenuous, even as the religion ignited like wildfire throughout his lands.

By 650AD the Caliph had grown concerned at the number of variations appearing in the Quran as his domain spread beyond the Arabian Peninsula, into North Africa and Persia.

Fearing a fragmentation of his fledgling Caliphate, Uthman ordered a standard version of the holy text be prepared and distributed across the urban centres of the Islamic World. Soon, these new copies were dispatched with armed guards to the nine great cities of his growing empire, and local officials were ordered to burn their existing scriptures.

One by one, each city obeyed, and their unique Qurans were consumed by fire, never to survive the ages. 

All except one, held in the City of Alexandria.

The Ninth Quran.

Photo by Thais Cordeiro

My New Book Is Out Now!

It’s called The Air Between Us, and my royalties are going to charity

It took three full weeks of grinding work to make this a reality. I loved every minute

Never am I happier than when I’m storytelling. I love everything about the process (perhaps apart from the editing), and I feel incredibly lucky to be able to spend time on my craft because it never feels like work.

Originally for this project, I had set myself the goal of creating a full length novel in two weeks. Well, it turns out that was a bit optimistic. It took me three to get it to a place where I was happy with the quality of the story. And it was one hell of a roller coaster journey fuelled with coffee and a Jon Bon Jovi playlist on repeat.

But the moment has arrived – It’s out now at Amazon in eBook format and priced at the very reasonable sum of £1.77. Of that, my royalty is around £1.20, and for every purchase made, I’ll be boosting it to £2.00 (which is approx $2.65 USD) and donating it to my chosen charity: The Alzheimer’s Society. It’s also available as a Kindle Unlimited subscription, and likewise, all royalties from there will also be added to the donation pot. I’ve created a dedicated charity page on my website (Link Here) to provide monthly donation totals, and it will include any future books that I add to my charity library.

For me, finishing any piece of literature is always a bittersweet moment. A part of me wants to continue working on the characters and adding new scenes in the world I’ve built. But as a great philosopher once said; anyone can make something more complicated. It takes vision to keep things simple. While I might lack the vision, having the short time frame to produce a full-length novel has been a great lesson in learning to know what’s important to a story. For The Air Between Us, it forced me to keep only the important bits in, and discard those ideas that would have just been window dressing. As a result, the final book has a very taut, very punchy story that is going to stay with me for some time, and I hope that for anyone who decides to take the plunge and read it, you are left with the same feeling.

Now that this project is over, I have an opportunity to start work on something new. I have a couple of ideas in addition to my ongoing commitment with the Blackchapel Chronicles, and once I’ve made them tangible, I’ll be providing an update very soon. The past week, I’ve been recharging my batteries and reconnecting with people after being holed-up in a room typing on a laptop for so long. Already, I can’t wait to start writing again.

To anyone who does buy the book, thank you so much, it means a lot to me to know someone is reading my words. And if you just read the sample, that’s great too. When all is said and done, my motivation is to reach out to people with my words and provide an entertaining set of stories. There is so much going on in the world these days, settling down with a book feels like one of the last refuges we have left to escape for a precious hour or two.

Until next time, happy reading & writing!

Writing a Romance Novel in Two Weeks For Charity – The Final Update

The book is finished, and I’m getting it (self)published

It feels a lot longer than the two-and-a-half weeks it’s actually been since writing the first page of my very first (and possibly last) romance novel. Getting it over the finish line has resulted in a lot of missed sleep, and hours upon hours of writing and editing that felt like it would never come to an end. It’s been a real slog that’s seen me not shower for three days, and sometimes hardly even acknowledge the existence of my wife at times.

Seriously – she’s actually left me to stay with her parents this weekend and keeps messaging me with photos of all the great things they’re doing. What can I say – I suffer for my art.

It will completely blow me away if people do buy this book, not just for me as a writer, but more importantly for the charity I’m supporting – The Alzheimer’s Society (link goes to their website). I’ve put a lot of work into the quality of the final product, and I’ve even made my own map of Northern France from scratch so readers can follow where the story is at any point. For an idea of what to expect, here’s the synopsis;

My dream is for the short deadline to not be noticeable while reading it. In terms of the book’s format, it will be available first in eBook, then (very soon after) in paperback. Regardless, all my royalties will go to charity so it can make a great gift for someone.

The next post I make on this topic will contain the details on where it can be bought and how much it will cost (it won’t be a lot of money because I never charge a lot – I’m terrible at business). It will also have a ‘look inside’ feature so you can take a peek of the first chapter or two.

Until next time, stay safe & happy writing / reading!

What Makes a Good Book Summary / Blurb? And How Can it Help You Sell More Copies?

Here are my humble thoughts…

Since I’ve been writing-up a summary to go on the back cover of my latest book, I’ve been thinking about its purpose, and what makes a good one ultimately sell more books, regardless of the quality of the pages’ contents. Many writers work for days on a punchy, hard-hitting blurb to go on that all important back cover or Amazon store page. Word for word, it probably takes up more time than writing the book itself.

The more I’ve reviewed my old blurbs, the more I realise I must subconsciously keep a pattern, regardless of any of my works’ actual content, because they all fit the same kind of structure. So for anyone out there who’s writing their own, or for those who simply have an interest, I’ve laid out my four-step approach to writing this very important bit of marketing for any book:

Photo by Tim Gouw

1. Go straight-in with the setting, and build outwards.

If you’ve written a taut thriller set in Germany at the beginning of WW2, a simple first line of; Berlin, 1938, will speak more to anyone with an interest in the genre better than any amount of expository background. It will also save on word count, which I always plan to have at around 150. Any more than 200, and people switch off and continue skimming the bookshelf. It helps to keep the first line short and sharp to define a book’s genre like a slap round the face. It allows those readers without an interest to move onto something else, and for those that do, to read more.

2. Start personal, you can always explain your book’s world towards the end.

The setting / genre is defined in the first line. Now it’s time to introduce the main character(s). Whether it’s children’s fiction or adult, everyone wants to know who the characters are as soon as possible. They want to know why they should be invested in your character over the course of four hundred pages or sometimes more, and why they should root for them, sympathise with them, laugh with them. The best way I’ve found to achieve this, is to lay out that character’s motivation. If they’re a disgraced hero, put that down. If they’re setting out for vengeance or a lost love, write that in.

Imagine you’re in a lift with Christopher Nolan on your way to the tenth floor. You’ve got twenty seconds to give him a spoiler-free summary of the manuscript you really want him to turn into a movie. He’s not going to care that your main character has a cat called Stanley, works out at the gym four days a week, and has an intolerance to gluten (the main character, not Stanley). He is going to care that the same character was left for dead by her best friend who’s since run off with her husband. So tell him that.

I’ve been cringing at an old summary I once made for a short story I’m now determined will never see the light of day. In it, I described how the main character looked – in the summary. I actually put that in. Since then, I’ve grown up a bit, and I see characters in a blurb as store mannequins that people can project themselves onto. They want the outline of a human being they can care about, so give them one.

3. Don’t give away the plot

Some of the best blurbs I’ve seen hardly give anything away. They’ll grudgingly throw you some morsels before threatening to mug you and kick you out the bookshop. Check out George RR Martin’s Game of Thrones summary next chance you get. It mentions some guy called Eddard Stark who’s Warden of the North. There’s betrayal and vengeance mentioned, along with an Iron Throne, and a Dragon King. And that’s it. Outside the low-fantasy genre setting, you’re left with no idea what’s going on. It makes you want to read more.

Sometimes it’s tempting to show off the hard work you’ve put in with a certain plot twist, and I’ve had to delete entire paragraphs from a summary because I’m getting close to revealing too much without a single page being turned. Less is more, and creating the setting or main character’s motivation is often enough right there in terms of any plot explanation. The reader’s imagination will do the rest.

4. When you end it, don’t just end it

I recently read the summaries of a particular author’s romantic fiction serial since I’m writing my first and was looking for inspiration when it came to my own blurb for this strange and varied genre (my personal opinion). I was a bit put out when the summaries for every book in the series (I think there were four), just…ended. There was no wrap-up, no cliff-hanging teaser, nothing. It just ended after a connecting sentence as though the printer had missed off the last twenty words.

The blurb’s end is probably as important as the beginning, since it’s the last words any potential reader will see before they (might) turn to the first page of your book. For mine, I always stick to the same formula, and it may not be the best, but here goes; I essentially remind any future cherished reader why I think they should buy my book. I draw them from the bowels of the plot and give a wide-ranging view of the body of work. Maybe the setting changes from the wet and rainy streets of modern London to the dusty plains of the Australian outback? Maybe there are twists and turns along the way? Maybe the book is going to evoke feelings of nostalgia, or a sense of loss? If I was ever given an award for my writing (never gonna happen), I’d remind them of that. In short, I’m trying to give a closing argument on why they should take a risk with my book instead of going for the safe option from tried and tested James Patterson.

And that’s it. That’s what I think through when creating a book summary.

To illustrate the above points, here’s the blurb for my new book that will be getting put to market just as soon as I’ve finished the damned editing today. You can probably see the four rules I’ve followed in order to create it.

My method might not be the best way to create the most compelling summary, and it certainly won’t work for every genre and style. If you happen to be a wordsmith yourself, drop me a note on how you tackle this thorny issue – I’m always interested to see how other writers overcome the problems we all face, often alone.

Until next time, happy writing!

Writing a Romance Novel In Two Weeks For Charity – BOOK COVER UNVEILING

Drum roll, please…

Going to bed last night, I was really, really worried. I had no book blurb, I had no front cover, I wasn’t even happy with the title I’d decided on for my completed manuscript. In short, I had a completely blank slate for a brain after 10 o’clock.

My wife was already fast asleep by the time I slid under the covers and drifted off, thoughts of failure etched on my mind. Then 2.30am rolled along. I snapped awake. My mind was on fire; I knew exactly how the cover was going to look, I had a better title – I even had a tagline. Whipping back the cover, I leapt out of bed, dashed into my study, turned on the computer, and…and…

It didn’t f***ing work! My computer had died during the night like my pet hamster from childhood. Painful flashbacks ensued.

So I got out my old Chromebook that has a broken ‘up arrow’ on the keyboard, and the ‘a’ and ‘s’ letters worn off their keys. And with it, I produced this…

For someone who failed Art & Design at school, I’m a little bit proud of it, and I feel it fits the mood of the book really well. Now that this project has an actual cover, it also feels a lot more real, and my biggest fear has gone from being; “will I be able to complete this?” to “will anyone like this book enough to actually pay money for it?”

Any and all royalties will be going to a charity close to my heart, and to ensure every penny gets to where it needs to be, I’m not recouping any incurred costs. Having begun this whole thing as a bit of a fun joke, I really want this book to stand as a good story in its own right. To that end, my philosophy in writing has always been the same; keep trying, don’t give up, and if you produce something that is entertaining, people will buy it.

And for any chance of that to happen, I have to get back to the soul-crushing work of editing.

Happy designing / writing / everybody!