Secrets of the Past

Is it possible that some amazing things happened in historical times, but never made it in the history books? Today I’ll discuss the subgenre of fiction known as secret histories.

Wikipedia’s entry provides a good definition: “A secret history (or shadow history) is a revisionist interpretation of either fictional or real (or known) history which is claimed to have been deliberately suppressed, forgotten, or ignored by established scholars. Secret history is also used to describe a type or genre of fiction which portrays a substantially different motivation or backstory from established historical events.”

With secret histories the author can deviate from actual history as far as she’d like, but she must return things to status quo or else explain why historical accounts don’t align with her story.

For this reason, secret histories are not to be classified as alternate histories (as I mistakenly did here.  There is no permanent altering of history. Rather the world returns to the one we know. The thrill for the reader is seeing how close the world came to actually changing in some dramatic way.

Secret histories work well as thriller stories with assassins or spies, since they work in secret anyway. Frederick Forsyth’s The Day of the Jackal and Ken Follett’s Eye of the Needle are two examples.

I’ve written secret histories myself, but my stories involve technology, not spies or assassins. In each one I leave it to the reader to speculate how much further ahead we’d be if some inventions had occurred earlier.

9781926704012In “The Sea-Wagon of Yantai,” an inventor creates a submarine in China in 200 B.C. There are obscure references asserting that something of that sort actually happened, and those references inspired my story. The tale ends in a way that explains why more submarines weren’t made as a result of this invention.

steamcover5My story “The Steam Elephant” (which appeared in Steampunk Tales magazine) is a secret history in which a traveling group of Britons and one Frenchman are enjoying a safari from the vantage of a steam-powered elephant invited by one of the Brits. They get caught up in the Anglo-Zulu war of 1879. This is intended as a sequel to the two books of Jules Verne’s Steam House series.

WindSphereShip4In “The Wind-Sphere Ship,” Heron of Alexandria takes his simple steam-powered toy and uses it to power a ship. If there had been a steamship in the 1st Century A.D., it boggles the mind to think we could have had the Industrial Revolution seventeen hundred years early and skipped the Dark Ages.

LeonardosLion3fAnother secret history is “Leonardo’s Lion” which answers what happened to the mechanical clockwork lion built by Leonardo da Vinci in 1515. In the story, humanity comes very close to seeing all of da Vinci’s designs made real, which would have advanced science and engineering by centuries.

TheSixHundredDollarMan3fI’d categorize “The Six Hundred Dollar Man” as secret history too, when a man fits steam-powered limbs on another man who’d been injured in a stampede. The story takes place in 1870 in Wyoming and it’s pretty clear by the story’s end why that technology didn’t catch on.

RallyingCry3fRallying Cry” is a tale about a young man who learns there have been secret high-technology regiments and brigades in wars going back at least to World War I. Members of these teams cannot reveal their group’s existence, so it fits the secret history genre.

ToBeFirstWheels5In “Wheels of Heaven” I take what is factually known about the Antikythera Mechanism, and weave a fictional tale to explain it.

As you can see, I like writing in this sub-genre. Imagine something interesting and imaginative happened in history, write about it, then tie up all the loose ends so that our modern historical accounts remain unchanged. Leave the reader wondering if the story could have really happened. History that might have been, courtesy of—

Poseidon’s Scribe

December 7, 2014Permalink

What a Disaster!

Today I’m exploring the world of disaster fiction. There are many, many stories dealing with disasters, from local misadventures to world-wide calamities. I’ll discuss frequently occurring themes in disaster fiction, as well as the reasons people read it. That might help you decide if you want to write such a tale.

DisasterFirst, no disaster story is truly about the disaster. If you want to write about disasters, try non-fiction. As I’ve said before, fiction is about the human condition, so your disaster story is really about the characters, their attempts to cope with the disaster, and how they grow or change as a result.

I’ll make a distinction between disaster stories and post-apocalyptic stories. In the latter, the disaster has already occurred and people are trying to handle the aftermath. In the former, the disaster occurs during the story. I’ll discuss post-apocalyptic fiction in a future blog post.


Though disaster stories are about people, we can still classify them by the type of disaster that occurs, and there are plenty to choose from. You might think all the best disasters have been taken already and the reading public won’t go for one more disaster novel. You’d be wrong; since the stories are about people, there are always infinitely more stories to write.

Disasters can be natural, as with floods or tsunamis, hurricanes, tornadoes, other significant storms, earthquakes, volcanoes, extreme climate change, asteroid or comet collisions, etc.

The disaster could be an accident, such as a shipwreck, airplane crash, train wreck, industrial accident, etc. A car crash probably wouldn’t count, since the disaster really should involve a large number of people.

There are other disasters that aren’t natural, and aren’t really accidents either. Let’s call them calamities, and separate them into plausible and less-plausible scenarios. The plausible ones include pandemics, terrorist attacks, major wars, economic collapse, and loss of electricity.

The less-plausible calamities (my own risk assessment; yours might differ) include: alien invasion, uncontrolled release of technology (such as nanotechnology, robot uprising, creation of a black hole, creation of a super-disease or super-creature, etc.), zombie apocalypse, “return” of vampires or werewolves, and attacks by menacing (usually gigantic) animals.


You’ll find some common themes in disaster stories. Here’s a partial list.

• Despite how far humans have progressed, we need reminding we are small and weak creatures in a big, dangerous universe.
• As disaster looms, people will react differently, going through the Kübler-Ross ‘Five Stages of Grief’ at different rates.
• A large-scale disaster will collapse the normal societal structure, and other structures will form.
• A disaster brings together strangers who must form a team with a common purpose, such as survival.
• A main character must overcome a personal fear or other psychological flaw and rise to the situation.
• A former leader cannot cope with the disaster; a new and unlikely leader must take charge.
• Often the protagonist’s main goal is either survival (of a group) or rescue of others.
• There are good and bad human reactions to disasters, and the characters who react badly often (though not always) meet a bad end. For example, preparation is better than assuming an unchanging future; clear thinking is better than panic, teamwork is better than uncaring self-centeredness; natural leadership is better than using a chaotic situation to claim power; focusing on the goal is more productive than blaming or finding fault.


Why do people read disaster stories? These are among the reasons:

• It’s a chance to “experience” the disaster in a safe way, without having to endure it for real.
• The stories can be taken as metaphors for how we can deal with the smaller-scale mishaps of daily life.
• The tales can be metaphors for some perceived societal defect, as in H.G. Wells’ War of the Worlds.
• The stories offer lessons in preparation as old as the ant & grasshopper fable.


51aDCvEwjvLI would classify only one of my stories as a true disaster tale. “The Finality” appeared in the anthology 2012 AD by Severed Press. In it, a scientist discovers that time itself is coming to an end, not just on Earth but throughout the universe, and there’s nothing anyone can do about it. But just maybe the Mayans were trying to tell us something about that.

May all your disasters be the written kind; that’s the hope of—

Poseidon’s Scribe

November 30, 2014Permalink

Time for a Story to Launch

I just learned my next story, “Time’s Deformèd Hand,” is scheduled to be launched by Gypsy Shadow Publishing in just three days, on November 15th. It’s the 12th book in that What Man Hath Wrought series everyone’s talking about.

Here’s the blurb: It’s 1600 in an alternate Switzerland, a world where Da Vinci’s mechanical automatons and human-powered flight almost work, thanks to magic trees. Long-separated twins, Georg the reluctant groom and Georg the clock thief, roam the clocklike village of Spätbourg, beset by more time and date errors than you can shake an hour hand at. Will Georg get married after all, and repair the town’s central tower clock? Will Georg—the other one—purloin more timepieces, or give up his pilfering ways? Will William Shakespeare lend a hand, and some iambic pentameter poetry, to reset the cogs and gears of this zany comedy? Only time will tell…or maybe not, in this ultimate clockpunk tale of mistaken identity and temporal mix-ups.

I’ll be sure to let you know when “Time’s Deformèd Hand” is launched and where you can buy it. You know if there’s one person who’d never leave you uninformed, it’s—

Poseidon’s Scribe

November 13, 2014Permalink

Emotional Roller-coaster

As you and the story you’re writing go through time together, do you find yourself on the same type of emotional roller-coaster as with a personal relationship? Do you feel elated by positive events and dejected by negative ones? I’ve been through the process enough to detect a repeatable pattern. Maybe it will be the same for you.

Let’s follow through as I experience the highs and lows of writing a story and getting it published. This is my relationship with a single story, so the line will overlap with other stories in various stages.

Emotional RollercoasterGetting a story idea is enjoyable, having it mature in my mind while I imagine the possibilities, the characters, the plotline, the settings, and some of the dramatic scenes. It’s a good feeling to go through that, because that imaginary, unwritten story is as good as it’s ever going to be. Once the reality starts and I put words down, the story never reaches the exalted heights of perfection that it achieved when just a dream.

Still, putting words down has a gratification all its own. I feel I’m making progress, producing product, assembling widgets on my keyboard / word / sentence / paragraph assembly line.

Until I get stuck with writer’s block. Here I mean the minor writer’s block I’ve described before, where I can’t get out of a plot hole, or I need a character to act contrary to his or her motivations, etc. Although temporary, this is a real downer. I don’t always experience this, (as shown by the reddish line) but there’s usually some drop-off in enthusiasm as the glow of the original idea fades a bit.

Reaching THE END of the first draft is a definite up-tic in satisfaction for me. The mad rush of getting words down is over. It’s good to know I can start the reviewing-editing-improving phase.

For simplicity, my graph only shows two drafts, but there may be more, with minor wave crests for completing each one. I get to the highest emotional state so far when I consider the story done and submit it for publication. “Here, Dear Editor, this is my newborn! Don’t you love it as much as I do?”

That emotional high fades, as they all do, while waiting for a response. Usually I’ve begun another story by then, so I get an overlap with a similar-looking graph displaced in time.

My graph depicts two paths here, one showing a rejection. Despite my earlier advice to look at rejections positively, I still find that hard to do. Rejections stink. Maybe not as much now as my first one, but still…

An acceptance of a story is a very high emotional state, especially the first time. It’s time to celebrate, indulge, and surrender to the grandeur and magnificence of me.

No one can maintain a very high or very low state forever, so I do descend from the grand summit as I get through the rewrites and signing of the contract, though these are not unpleasant.

The launch of a story is another sublime pinnacle of emotional ecstasy, and that’s no hyperbole. “For all human history, readers have awaited a story like this, and today, I, yes I, grant your wish and launch this masterpiece, this seminal work of ultimate prose, so you may purchase and read it. You’re quite welcome.”

After the story is launched, you’ll get occasional uplifting moments, such as favorable reviews, or book signings, etc. These are never quite as exciting as acceptance or launching, but they’re gratifying anyway.

I’ve not gotten through all these stages with a novel yet, but I suppose a novel’s graph is longer in time, and has many more ups and downs than that of a short story.

Also, your mileage may vary such that your graph looks quite different from mine. Leave me a comment and let me know about the emotional stages of your writing experience.

Remember, when on a roller-coaster (emotional or state fair-type), it sometimes helps to raise your hands in the air and scream. Whee! Here goes—

Poseidon’s Scribe

October 26, 2014Permalink

Your Writing Voice

Writers VoiceWe call it laryngitis when you lose your voice, but what if you never found it in the first place? To be clear, I’m not writing about a medical condition of the larynx, but rather about your writing voice.


What is a writing voice? I liken it to your vocal voice in that it is distinctively yours, an individual indicator like your fingerprints, your retina patterns, and your signature. It’s a marker that can be used to identify you.

In other words, a few paragraphs could be taken at random from your published stories, and a reader might be able to recognize that you’re the author.

Is your writing that identifiable? Is it unique? If not, how can you get to that point?

Two Elements

Before we arrive at a way to answer those questions, I’ll cover what I believe to be the two elements of a writer’s voice.

The first is the subject, the topic about which you commonly write. This can take the form of a genre or themeSomeday when you have compiled a full body of work and your name comes up, if people say, “That’s the author who writes about ______,” it’s that ‘______’ that forms part of your voice.

The other element has to do with style. It’s not just the subjects you write about, it’s how you do it. The Wikipedia article on Writer’s Voice suggests that this element; a combination of character development, dialogue, diction, punctuation, and syntax; is all there is to a writing voice. I’m not willing to discount the subject/topic element, though.


How do you find your voice? This marvelous blog post by author Todd Henry provides a great way to help you find your voice by answering ten questions. These questions help you reach your inner passions and hopes. In this way you’ll touch the deep emotions and motivations inside.

Why does that method work, for discovering your voice? Certainly the answers will help you determine the subject half of your voice. The answers will suggest topics you should write about or genres to write in. Only by tapping in to your central core of strong enthusiasms will you be able to sustain the discipline to complete what you start to write. If you work at it, those deep hopes and passions will become evident in your writing.

What about the style element? How are you supposed to discover that? I’m not sure answering Todd Henry’s ten questions will answer that. I believe your writing style is a matter of imitation early on, then leading to experimentation, and finally perfecting.

No Guarantee

Let me set some expectations about this process of finding your writing voice. In the end, you’ll have a unique voice, one recognizable as you. That doesn’t mean anyone else wants to hear it. This isn’t a recipe for fame or financial success in writing.

I’ll write a blog post sometime laying out the sure-fire, step-by-step formula for how to become famous and rich by writing.

Sure. Keep checking back for that one.

What’s the point, you’re asking, of this voice discovery process? Why go through it? I’d answer that all the authors who are famous, or rich, or whose writing is considered classic, all of them have a distinctive writing voice.

I think finding your voice is necessary, but not sufficient, for success. You might discover your writing voice only to learn it’s not marketable. If high sales numbers are what you’re after, experiment more. Try slight alterations of voice until you hit the combination of subject and style that sells.

Best of luck to you in finding your writing voice. Still searching for mine, I’m—

Poseidon’s Scribe

October 19, 2014Permalink

First to Land on a Comet?

This week the European Space Agency (ESA) announced they will choose from among five sites on Comet 67P/Churyumov-Gerasimenko for the Rosetta spacecraft’s robot laboratory Philae to land, as reported here, here, and here. Crop_from_the_4_August_processed_image_of_comet_67P_Churyumov_Gerasimenko300px-Rosetta

Philae_over_a_comet_(crop)They claim this will be the first time a human-built spacecraft has landed on a comet.

I beg to differ.

I’m aware of an alternate universe very close to our own, a universe in which an actual manned—not robotic—landing has already occurred.

In 1897.

It’s all documented in my story, “The Cometeers,” a story to be launched tomorrow by Gypsy Shadow Publishing. Yes, that’s tomorrow. The 1st of September.TheCometeers72dpi

That means you don’t have to wait for the ESA to take their sweet time choosing a landing site and preparing to send down the Philae probe. They’re not even attempting their landing until mid-November. That’s not for two and a half whole months!

Who wants to wait that long? You can be witness to a manned landing on a comet as soon as tomorrow.

Also, in my story, the comet isn’t some benign rock way out there at some safe distance.  Not at all.  It’s huge, and it’s hurtling toward Earth.

A planet-buster.

Further, the heroes of “The Cometeers” don’t have fancy computers, or Ariane 5 rockets, or robots, let alone nuclear weapons. All they’ve got is gunpowder. And a big cannon. And their ingenuity.

And a few sticks of gum.

I’ve got nothing against the fine folks at the ESA. Really. The Rosetta mission is exciting, and it has the added benefit that it’s really taking place in our own universe.

Sometimes, though, alternate universes can be fun, too. Read “The Cometeers” and see if you agree. Jules Verne said, “Anything one man can imagine, other men can make real.” It looks like the ESA will soon make something real, something that first blasted like a cannon shot from the imagination of—

Poseidon’s Scribe

The Story behind “The Cometeers”

As I mentioned in my News page, Gypsy Shadow Publishing has accepted my story, “The Cometeers” which will be published as part of the What Man Hath Wrought series. The intended launch date is in early September.

TheCometeers72dpiHere’s the marvelous cover, designed by Charlotte Holley.  Yes, that’s a planet-destroying comet headed right toward the Earth.  But if you look closer, you’ll see an silvery man-made projectile on an intercept course.  Just possibly, its occupants might save the entire world.

Inquiries have been streaming in from every corner of the planet (and from some of the comets), asking what this story is about. Far be it from me to deny my fans information about my latest tale.

Here’s the book blurb: A huge comet speeds toward a devastating collision with the Earth, but no one will launch space shuttles filled with nuclear weapons. It’s 1897. Instead they’ll fire projectiles from the Jules Verne cannon and try to deflect the comet with a gunpowder explosion. Commander Hanno Knighthead isn’t sure he can motivate his argumentative, multinational crew of geniuses to work together. It turns out one of them is a saboteur. Then things get worse. Only a truly extraordinary leader could get this group to cooperate, thwart the saboteur, and jury-rig a way to divert the comet. Lucky thing Hanno brought his chewing gum.

Armageddon-poster 1998If you recall the 1998 movie “Armageddon,” then you can think of my story as Steampunk Armageddon.

I don’t recall the exact inspiration for this story. As stated in this post, and this one, I use the “seed and twist” method of coming up with story ideas. In this case the seed is the standard save-Earth-from-destruction idea, and the twist is to set the action in Victorian times.

My problem became one of technology. They just didn’t have sufficient know-how in the Nineteenth Century to divert or destroy a comet. It’s an open question whether we really have the technology today.

640px-From_the_Earth_to_the_Moon_Jules_VerneTherefore, I assumed the world of Jules Verne’s novel From the Earth to the Moon.  In that world, men had already achieved space travel in 1867. With funds from many nations, the Baltimore Gun Club had built a 900 foot long cannon outside Tampa, Florida, and launched a projectile containing three men.

My story is set thirty years later and no one has used the cannon since, due to the enormous expense. With a giant comet on the way, however, something must be done, so every country contributes what it can.

You can’t simply launch projectiles full of gunpowder at the comet and expect to hit it. The target is too small, the distance too great, and the calculations too imprecise. You must send men up also, in separate projectiles, to travel with your gunpowder bombs to make the necessary course corrections along the way.

That plan should work.

Unless something goes wrong.

“The Cometeers” will launch in September. For further updates, keep visiting this blog and reading the posts by—

Poseidon’s Scribe

Avoid the Dreaded POV Wobble

What’s a POV Wobble? Why should you dread it? What happens if you encounter it? How can you avoid it?

POV WobbleFour vital and weighty questions. An average blogger would shrink from the challenge of answering them all in one short post. But you’ve surfed to no ordinary website. I laugh at such challenges, or at least chuckle in a menacing way.

I’ll assume you understand Point of View (POV) already, perhaps by having read this, or some lesser source. The phenomenon of POV Wobble is when the writer shifts to a different character’s POV without a break in the narration. Here’s a blatant example:

Jetta stared at Cliff over the breakfast table and wondered if he was still happy with their marriage. Cliff thought she must have forgotten he preferred grape juice over orange juice.

That’s not so much a POV wobble as a POV fall flat on your face. We shifted right from Jetta’s mind to Cliff’s mind in the same paragraph. Here’s another example:

Jetta looked up toward the window as she heard a loud, warbling sound from outside.   Neither she nor Cliff could have known an alien spaceship had landed in their back yard, nor understood then the consequences for the human race.

Not only did we leap from just Jetta’s mind to encompass both hers and Cliff’s, but that’s very poor foreshadowing, too. Here’s more:

Her heart pounded. Jetta heard the creak of the outside stairs and sensed the grip of the alien’s hand on the kitchen doorknob.

Sure, she knows when her heart is pounding, and she can hear noises. But she can’t sense anyone else’s hand on a doorknob. Another example:

Jetta and Cliff edged their way to the kitchen’s far side, afraid of making any noise. Flat against the wall, Jetta stood with her hand to her mouth, ready to scream, appearing as if posed for a horror movie role.

Here, the first sentence states they’re both afraid, but we shouldn’t know about Cliff’s fear since we’re not in his POV. In the second sentence, we’re seeing Jetta from the outside, posing, which she couldn’t see unless by reflection in a mirrored surface.

The trouble with POV wobbles is, they mark a shift from third-person limited to third-person omniscient. In other words, you’ve gotten the reader comfortable with being in one character’s head, and then suddenly you lift the veil and reveal stuff that character can’t know. You bounce the reader (maybe only briefly and with subtlety) into another character’s head.

It’s possible some readers won’t notice, or will notice but remain unbothered. Why take the chance? First of all, an editor may catch it and that POV wobble might be enough to get your story rejected before a paying reader even sees it.

You’re thinking, “This seems pretty basic stuff. The POV wobble thing will be easy to avoid. I’ll never fall in that trap.”

Good luck. POV wobble is a sneaky problem. As an author, your aim is to tell a story, to provide maximum emotional response in the reader. It’s too easy, as you’re writing along, with your godlike knowledge of the plot and all characters, to forget (even for a moment) that you’re conveying the story—or at least the chapter—from the limited POV of one character alone.

Someday you’ll want the reader to know something the POV character can’t know. Or you’ll need to describe something the POV character can’t sense.

Avoid POV wobble by (1) choosing your POV character wisely, (2) concentrating on staying in that character’s head. Really put yourself in that character’s mind, and (3) making it obvious as soon as you shift to a new character’s POV, at the beginning of a chapter or after a section break.

You’ll find more great info about the POV wobble phenomenon here, here, and here. That’s it, from a blogger who will never go wobbly on you—

Poseidon’s Scribe

The Story Behind “To Be First”

ToBeFirstWheels5As the launch date for “To Be First” and “Wheels of Heaven” nears (this Tuesday, July 1st), and excitement builds, I think it’s time for me to reveal the story behind “To Be First.”

A few years ago, I watched an episode of the TV show Mythbusters where they replicated a feat supposedly performed by Lagâri Hasan Çelebi in the Ottoman Empire in 1633. Çelebi is said to have constructed a rocket chair, launched himself into the air, and flown down safely using a wing-like apparatus. The event was intended to commemorate and honor the birth of the Sultan’s daughter.

The Mythbusters team considered the myth busted, but it got me to thinking. What if such a marvelous flight had taken place? What if the Sultan had understood the geopolitical and military implications?

LagariThink of it. Manned rocket flight in the 17th Century. Defensive city walls and high castle walls would mean nothing to a country with armed rocket-men. Rather than expanding and then beginning its slow decline to finally die with the end of World War I, the Ottoman Empire might have spread much more quickly and farther.

Had the Ottomans also embraced the science behind rocketry, they might have hastened other technical achievements, and been the source of those advancements rather than watching America and the rest of Europe prosper.

It seemed like an interesting basis for an alternate history tale, so I wrote one. In my version, it’s 1933, three centuries after Çelebi’s flight, and two Ottoman astronauts (called lunanauts) are returning from the first manned flight to the Moon. Yes, I said 1933, not 1969.

Nuruosmaniye_MosqueI imagined their space capsule being about the same size as the Apollo capsule, but dome-shaped with a central spike like the roof of an Ottoman mosque.  The capsule would have a couple of windows and there would be some of that beautiful, flowing Ottoman Turkish writing on the outside.

As the story commences, the lunanauts encounter a strange ionic storm in space, and their capsule passes into an alternate universe. The tale takes off from there.

My central characters, Yazid and Kemal, hold differing views on what it means to be an explorer. What are the motivations behind those who roam beyond all prior journeys, who probe far into unknown regions? Do they do it for the money? For fame? For love? Or is it something simpler?

If you read my story, perhaps you’ll be motivated to become an explorer, and you’ll write your own gripping story of heroic and fantastic adventure. You, too, can manage ‘To Be First.’ At least, so says—

Poseidon’s Scribe

The Story behind “Wheels of Heaven”

ToBeFirstWheels72dpiWith my story “Wheels of Heaven” about to launch on July 1st, I thought I’d tell you how I got the idea for the tale.

The series What Man Hath Wrought consists of alternate history stories involving technology. Basically, they’re “what if” stories that ask what would have happened if things had gone differently. While doing some research on interesting ancient technologies, I came across the Antikythera Mechanism. Or perhaps I saw a mention of it on a documentary on the Science Channel, Discovery Channel or History Channel.

300px-NAMA_Machine_d'Anticythère_1It’s a fascinating machine, advanced well beyond what anyone gave the ancient Greeks credit for. Moreover, until x-ray tomography was conducted on the device in recent years, no one knew what it was for.

Intrigued by the mechanism, I then had to think of an interesting way to fictionalize it. Some outlandish, but really fun, ideas occurred to me, but other authors had already explored notions such as the device being a time machine, teleportation machine, or even an alien communicator.

My story ended up being more plausible. I portrayed the mechanism as being exactly as it really was, a device for computing the position of the sun and major planets—the wheels of heaven.

In 1900 and 1901, divers discovered the device amid other shipwreck debris off Antikythera Island. “Wheels of Heaven” is my fictional account of how it came to rest there. An arrogant Roman astrologer will discover he can make predictions with greater speed using the device, but will come to question the connections between people and the stars.

rimtradeWhen research revealed the wreck to be a Roman merchant ship, I checked out what those ships were like. They differ from trireme warships in interesting ways. The carved neck and head of a swan which I describe in the story was actually a common feature of these ships.

For the most part, of course, “Wheels of Heaven” is about the struggles people have, the struggles we still have today. If you were certain you were right about something, an idea about which you’d formed a long career, and you found out it was all wrong, could you accept it? Are we all slaves of predetermined fate, or do we have free will?

Go ahead, take a trip through time to about 80 B.C. and voyage with my characters Viator and Abrax aboard the Prospectus. I know you’ll enjoy it; that much has been written in the stars by—

Poseidon’s Scribe