Clarendon House Publications

Clarendon House Publications Clarendon House Publications is all about writing and getting published, providing readers with exci Hi, I’m Grant P. Hudson, an author, just like you.

This is the home of the 'How to Write Stories That Work -And Get Them Published!' e-course and a huge number of other resources to help you write, publish and market your book, and much more! On this site I share what I have learned about creative writing and publishing over thirty years of study and teaching. The idea is to save you time, money and frustration in writing and publishing your own w

ork. You'll find many articles here about writing and creativity, publishing and marketing. You'll also find material to help you run your writing life like a business, and much more!

In most people’s minds today, there is a common misunderstanding about the Middle Ages, based on two or three accepted ‘...
26/09/2025

In most people’s minds today, there is a common misunderstanding about the Middle Ages, based on two or three accepted ‘facts’ which are not actually true. Most people believe that mediaeval thinkers considered that the world was flat; most think that religion was vehemently opposed to scientific discovery; and many believe that ideas like other universes or life on other planets are strictly modern ideas which would never have appeared in mediaeval thought.

This, along with many other things, creates what Lewis called a ‘chronological snobbery’, the notion that because we have moved on from the Middle Ages and made various scientific discoveries which have changed our perceptions of the world, we are somehow ‘better’ and that the Middle Ages were ‘inferior’. But this conclusion, often unquestioned, is very uncertain in reality…

In most people’s minds today, there is a common misunderstanding about the Middle Ages, based on two or three accepted ‘facts’ which are not actually true. Most people believe that mediaeval thinkers considered that the world was flat; most think that religion was vehemently opposed to scienti...

In the first chapters of The Magician's Nephew, Lewis touches upon the Twentieth Century notion of the nature of the uni...
25/09/2025

In the first chapters of The Magician's Nephew, Lewis touches upon the Twentieth Century notion of the nature of the universe, and comes as close as he can to explain the ‘scientific’ basis for the Narnia universe. For Uncle Andrew, of course, other worlds may exist, but they cannot be reached in an ordinary way…

In the first chapters of The Magician's Nephew, Lewis touches upon the Twentieth Century notion of the nature of the universe, and comes as close as he can to explain the ‘scientific’ basis for the Narnia universe. For Uncle Andrew, of course, other worlds may exist, but they cannot be reached i...

NEW RELEASE FROM CLARENDON HOUSE PUBLICATIONS!Galaxy  # 24: An Inner Circle Writers' Group Science Fiction and Fantasy A...
25/09/2025

NEW RELEASE FROM CLARENDON HOUSE PUBLICATIONS!
Galaxy # 24: An Inner Circle Writers' Group Science Fiction and Fantasy Anthology
https://www.clarendonhousebooks.com/anthologies
Alien assassin squads, cyber-rebirths, sexual relations on other planets, escape from underground cities, time paradoxes, invisible genies, space immigrants and much more can be found in the pages of Galaxy # 24, including two bonus features: ‘The Fall of the Sapphire Sentinel’ by Alexander Marshall and ‘The Kith of the Elf Folk’ by fantasy legend Lord Dunsany.

Galaxy # 24 features the work of the Birch Twins, Tony Fyler, Gareth Macready, Gabriella Balcom, Jim Bates, David Painter, Timothy Law, Dawn DeBraal, DJ Elton, Linda Sparks, Allan Tierney, Maria J. Estrada, Alexander Marshall and Lord Dunsany.

Grab your paperback or Kindle version here:
https://www.clarendonhousebooks.com/anthologies

While The Lion, the Witch and the Wardrobe leapt into life in Lewis’s imagination as a fully-fledged tale in its own rig...
24/09/2025

While The Lion, the Witch and the Wardrobe leapt into life in Lewis’s imagination as a fully-fledged tale in its own right, Lewis temporarily struggled with the mechanics of his own creation in the sequel, Prince Caspian. But the following books, The Voyage of the Dawn Treader, The Silver Chair and A Horse and His Boy showed a remarkable maturation of the process of inventing and sustaining a fictive world. Lewis rapidly built on the foundations of symbolism that he had stumbled upon in the first book, transforming Aslan from a straightforward re-imagined Christ figure initially into a providential force, whose repeated answer to Shasta in A Horse and His Boy was intended to reflect the trinity of the Father, Son and Holy Spirit…

While The Lion, the Witch and the Wardrobe leapt into life in Lewis’s imagination as a fully-fledged tale in its own right, Lewis temporarily struggled with the mechanics of his own creation in the sequel, Prince Caspian. But the following books, The Voyage of the Dawn Treader, The Silver Chair an...

When he first appears Aslan is a clear-cut character within a story. In The Lion, the Witch and the Wardrobe, he adopts ...
23/09/2025

When he first appears Aslan is a clear-cut character within a story. In The Lion, the Witch and the Wardrobe, he adopts a central role and plays out a part, albeit a fundamentally important one. He is Lewis’s attempt to ‘re-invent God’ for readers who have grown up in a culture from which God has either been removed or degraded. Aslan makes the four Pevensie children kings and queens, and banishes all traces of evil from his kingdom, before pulling the children back to Earth, their views invigorated.

By the time we reach the third book, The Voyage of the Dawn Treader, Aslan is more distant, appearing in other forms, such as a lamb and an albatross. He is even present but invisible, as the incident on the island of the Dufflepuds reveals. Lewis deepens our spiritual experience by making Aslan harder to find, and by changing his role. Faith - belief without seeing - becomes important. The character of the mouse Reepicheep, full of noble ideals, who is determined to find Aslan's Country, even if he has to swim to the end of the world to do so, is an embodiment of this. The Voyage of the Dawn Treader also introduces a non-believer, Eustace Clarence Scrubb. Eustace’s transformation from the dragon into which he is magically changed back into a boy, as Aslan peels away the layers of dragon skin, is a metaphor for conversion. This isn’t simply a Christian conversion, though, and the result is not merely ‘another Christian’: the whole point of the Chronicles is to ‘peel away’ the layers of a pervasive Ironic culture in order to show the reader a different way of looking at everything…

When he first appears Aslan is a clear-cut character within a story. In The Lion, the Witch and the Wardrobe, he adopts a central role and plays out a part, albeit a fundamentally important one. He is Lewis’s attempt to ‘re-invent God’ for readers who have grown up in a culture from which God ...

Though The Voyage of the Dawn Treader and The Silver Chair are two separate novels, penned by Lewis at unspecified times...
22/09/2025

Though The Voyage of the Dawn Treader and The Silver Chair are two separate novels, penned by Lewis at unspecified times, as far as the symbology of Narnia is concerned they form a continuous narrative. Lewis, now fully restored to confidence in his attempt to create a realm laden with effective symbols, carries on the story of Narnia through another new child protagonist, Jill. Again seeking to move his readers out of their modern cultural framework and into a freshly spiritual one, Lewis opens the tale at a contemporary school…

Though The Voyage of the Dawn Treader and The Silver Chair are two separate novels, penned by Lewis at unspecified times, as far as the symbology of Narnia is concerned they form a continuous narrative. Lewis, now fully restored to confidence in his attempt to create a realm laden with effective sym...

Lewis, compelled by his mission to bring modern readers out of the Ironic culture in which they were immersed, and to sh...
20/09/2025

Lewis, compelled by his mission to bring modern readers out of the Ironic culture in which they were immersed, and to show them a different world, was exploring what could be done with symbolism in the Narnia books…

Lewis, compelled by his mission to bring modern readers out of the Ironic culture in which they were immersed, and to show them a different world, was exploring what could be done with symbolism in the Narnia books. In The Lion, the Witch and the Wardrobe, Lewis had reimagined things in the form of....

The attention of the literary world has always been fixed, understandably, upon the works of fiction which have already ...
19/09/2025

The attention of the literary world has always been fixed, understandably, upon the works of fiction which have already been written. Stories as they were were considered to be all that there was. But when stories were looked at in the light of whether or not they were successful, it became possible to spot where they deviated from success…

The attention of the literary world has always been fixed, understandably, upon the works of fiction which have already been written. Stories as they were were considered to be all that there was. But when stories were looked at in the light of whether or not they were successful, it became possible...

If you were building a perfect story, how would you design it?
18/09/2025

If you were building a perfect story, how would you design it?

If you were building a perfect story, how would you design it? First, it would have to be able to immediately grab and then hold at least one reader’s attention, and preferably whole hosts of readers’ attention. Second, the story would have to move that attention along towards a goal which the w...

The difference between allegory and symbolism, which Lewis labours in The Allegory of Love, turns out to be central to o...
17/09/2025

The difference between allegory and symbolism, which Lewis labours in The Allegory of Love, turns out to be central to our argument: the notion that a writer takes a subjective idea and gives it a fictive shape is allegorical and centred on the writer and what is occurring in his or her mind; the opposite notion, that a writer seeks an objective reality and tries to find the earthly form which represents it -symbolism- is not centred in the writer at all but in a ‘more real’ cosmos beyond our own. One way of looking at things (allegory) makes the inner, subjective, psychological world real and the world in which we live a projection; the other (symbolism) places the centre of reality outside our world - we live in its projection. The Ironic Twentieth Century culture surrounding Lewis was of the former kind; his intention was to revive or restore the latter…

The difference between allegory and symbolism, which Lewis labours in The Allegory of Love, turns out to be central to our argument: the notion that a writer takes a subjective idea and gives it a fictive shape is allegorical and centred on the writer and what is occurring in his or her mind; the op...

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