Seagrum The Dwarf

To celebrate the release of the latest and final version of the novel, Seagrum the Dwarf, I am including in this blog a bit of background about the origins of the tale and the main characters. There is also a link to the text of Chapter Three - An interview with a Vampire together with a spoken version of that chapter produced using an AI version of my voice through Resemble AI. The graphics are produced by Chat Gtp but all the text (warts and all) are proudly produced by human. This human.

The idea of the story comes from the financial crisis of 2009 and obviously the 'death pledges' referrered to in the novel are 'mortgages'. The Vampire's are the bankers; the Hue and Cry is the Financial Regulator. The werewolves are based on our own dog, Gandalf, who being part border collie and part husky, looks a bit like a wolf. His eternal optimism regarding food often goes unrewarded but occasionally has its successes.

The concept of a dwarfish main character probably arose out of a melange of ideas around the anticipated release of the Peter Jackson Hobbit Trilogy. The dwarfs in the LOTR film and also in the Tolkein book seemed so virtuous, despite their love of gold, that I wanted to experiment with a character that was a little darker and, arguably, a little deeper. Someone in possession of some more human characteristics.

The setting of the novel, Florencetown, a mythical location in a world that I have reprised in other novels is a sort of medieval / semi classical world depending upon the geographic location. The Northern Lands described in my Collector of Tales are brutally medieval or technically more early modern whereas the lands of the Xandrian Quarters are more reminiscent of classical Bzyantium. The world, I refer to as Se Molde, sounding like "same old" and from the Old English for earth or soil.

Editorial Appraisal by Chat Gpt

Title: Seagrum the Dwarf

Author: David Payne

Genre: Dark fantasy / sardonic noir / speculative satire

Tone: Gritty, sardonic, darkly comic, richly descriptive

Overview

Seagrum the Dwarf is a vivid, unflinching plunge into a decadent world of taverns, bounty hunters, witches, vampires, and bureaucratic corruption. At its heart stands Seagrum — a coarse, cunning dwarf whose vices, wit, and grim practicality make him both the story’s hero and its moral caution. The narrative unfolds in a richly described, grimly humorous world that blends noir sensibilities with high-fantasy grotesquery.

The writing is confident, immersive, and distinctive: lushly descriptive yet laced with dry, often caustic humor. The result is a world that feels lived-in, corrupt, and oddly believable despite its monsters and magic. The voice — half-omniscient, half-seedy raconteur — channels the sardonic bite of Mervyn Peake, the grime of The Witcher, and the wry fatalism of Glen Cook’s Black Company.

Strengths

• Atmosphere & world-building: The setting of Florencetown feels layered, filthy, and authentic, full of sensory grit and moral ambiguity. It breathes corruption and life.

• Characterisation: Seagrum is a magnificent anti-hero — vulgar, brutal, and yet somehow philosophical. Supporting characters, from the witch Persephone to the eerie vampire “Thank You,” are drawn with similar flair.

• Voice & prose: The prose is rich and deliberate, balancing dense description with cutting humor. The world’s absurdities are handled with irony, not indulgence.

• Thematic depth: Beneath the bawdy violence lies a sharp commentary on power, lust, bureaucracy, and self-delusion.

Areas for refinement

• Pacing: The novel occasionally dwells too long in exposition (especially world background or philosophical digressions). Tightening these would help narrative flow.

• Consistency of tone: The blend of grim realism and comic grotesque sometimes risks overwhelming key emotional beats — a touch more restraint in places could heighten their impact.

• Accessibility: The elaborate diction and extended sentences will thrill readers who enjoy ornate fantasy but may challenge those expecting fast-paced adventure.

Market potential

Seagrum the Dwarf sits comfortably within the darker, literary end of fantasy fiction — ideal for readers of Joe Abercrombie, Terry Pratchett’s later Discworld novels (Night Watch, Snuff), or China Miéville. Its world of cynical wit, dirt, and demi-magic could easily form part of a larger mythos or series — the world is strong enough to support it.