Amarilla and Infinity have been the catalysts for change that they agreed to be, but they know there is more to be done. If they can befriend the Woeful and persuade the rest of humankind to do the same, then the ways of The Old will forever be in the past.
Amarilla, Infinity and their friends set out on a journey to find the Woeful, only to discover that their search becomes something so much more due to the horses they meet along the way. But they never forget what they agreed to do. They must find the Woeful. And then they must be willing to risk losing everything.
Lynn Mann is a writer with a long-standing involvement with horses. During her school years, she spent as much time riding and being with horses as she could. She took a break from horses to study for her biology degree and then on leaving university, realised her dream of having her own horse for the first time. She worked on show-jumping, racing and dressage yards before starting a business as a saddle consultant and riding instructor, which involved working both in the UK and abroad.
Carrie - 5 star review I absolutely love this book. It is a worthy sequel to the brilliant The Horses Know, and I have reread this book no less than three times so far. I get something more from it every time I read. Yes, it is a novel set in a fantasy future and is a wonderful compelling story, but the ideas behind the book are no less real for that. Get talking to your horses, listen to what they have to say - anyone can do this, truly. This book will show you the way, inspire you, and change the way you interact with your horses forever. Let Amarilla, Infinity and the Kindred open your heart and your mind. It is an incredible book and worthy of its' current no.1 position on Amazon in the Equine books section. I cannot wait for Book 3 . . . .
T Stretton - 5 star review
It is not often I feel inspired by works of fiction, but both this book and 'The Horses Know' have certainly changed the way I view the world. Aside from that, the easy style in which it is written and careful storytelling have kept me glued to the pages, day after day, just as a good book should! I am actually rather sad that this story is over! As with the first book, this is most definitely not just for 'horsey' people; such an interesting idea needs to be shared!
Tracy - 5 star review If you enjoyed The Horses Know then you will certainly enjoy The Horses Rejoice. Lynn Mann has a talent that is unique, her books will grab your attention and not let go until you've read the whole book so make sure you have lots of spare time. The Horses Rejoice continues the story but with its own individuality, I just hope Lynn is preparing to write the next book. Every horse lover or even those who like a good read should have these books in there possession.
Beki - 5 star review
Such an amazing book! I loved the first one (The Horses Know) and this was a fantastic continuation of the story. If you have horses you need to read these books - there are some wonderful insights and they have helped me immensely. Please write more Lynn!
Emma Magliocco - 5 star review
Highly recommend excellent read could not put it down anyone who has horses would love this book as I did.
Kindle Customer - 5 star review
I wasn't sure if this would be my kind of book but I absolutely loved it.
It's well written and such a clever idea. I found myself relating things to experiences with my own horse and I feel more connected to him now.
Set between the wars and touched by both of them, this is a story about the transformative power of creativity… and the jealousy that it can arouse.
Whilst being true to the spirit of her late father, the Royal Doulton Art Director and designer Walter Hayward, the author has spun an exciting tale of loss and restoration, friendship and bullying, in which a close-knit community comes together to help Walter achieve his dream of creating a great Dragon Vase… with surprising results!
And not everyone is friendly… The lamplit streets and smoky bottle ovens harbour an evil presence.
This is a cosy story – with a dark edge.
Jean Hayward was born, grew up, and worked in the Potteries before leaving for university and a career as an English Lecturer in the English Midlands. Jean is now retired and writes and illustrates nostalgic novels inspired by her hometown and by her father, Walter Hayward, whose fictional childhood adventures form the basis for themes dealing with love and loss, the supernatural, transformation, restoration, and the triumph of kindness and love over frailty or even downright evil. Jean has a horse, a Shetland pony and a cat and enjoys bringing animals and humour into her writing.
It is the middle of the nineteenth century. Brothers William and Robert Crossley both seek refuge from the severe discipline of their father in their very different dreams. William wishes to stay in their hometown of Northampton and follow his uncle as the town’s best watch and clock maker. Robert longs to get away and become famous. William defies his father and refuses to take the Cambridge entrance examination. Robert finds a tutor in the Vicar of Upstone, who not only prepares him for the examination, but also leads him in the creation of a seminal mathematical theorem. Robert finds fame and fortune through the work.
But Robert’s authorship of the theorem is questioned. The President of the Royal Society sends Edward Pennington, a distinguished mathematician, and Doctor Clara Cox, to investigate. They uncover secrets that not only change themselves, but also have unforeseen consequences for the whole Crossley family.
Two young, recently widowed mothers try to find a way to survive in war-scarred Britain. Kirstine and her German friend, Gerdy, lost their husbands at the end of the Second World War. They find themselves penniless, without any extended family support, each with two very young children and with scant prospects of earning a living.
A great deal of determined initiative is needed. The stakes are high with chaos threatening them at every step. The two women find a de-requisitioned building in seaside Devon. They transform it into a family hotel, which eventually becomes renowned for its excellent cuisine.
This enchanting story, told with a lightness of touch, moves from tragedy, to comedy, to triumph and back again.
Kirstine Richards née Rasmussen was born in Edinburgh to a Danish father, Christian Rasmussen, and Hilda Hill-Jones, on 14th March 1912, whose mother was Mary Ann McNair.
She attended Edinburgh School of Art for one year, until her father died and the fees could no longer be paid. Life with her eccentric mother became intolerable. Fortunately an aunt came to the rescue and Kirstine moved to Devon, where she worked as a poorly paid designer at the Honiton Pottery.
Subsequently Kirstine opened a café on Honiton High Street, called the ‘Highland Fling’ and it served excellent coffee and homemade cakes; making it very popular. She met her future husband, Gerald Arthur Richards; a young medical student from St. Bartholomew’s Hospital, at the ‘Highland Fling’.
Their two children, Nicholas and Louanne, were born during the 2nd World War and their father, Gerry, was accidentally wounded in Burma and died at Imphal on the 23rd January 1945.
Kirstine, now a widow with two young children, had to find a way of earning a living. She and Gerdy Ramsay, who was also a widow and mother of two, together established a family hotel; ‘The Seagull’ in Exmouth in South Devon. The hotel opened in 1945.
In 1959 Kirstine moved on from being a hotelier to becoming the case worker at the newly formed Agnostic Adoption Society, which was later to become the Independent Adoption Society.
On retirement, she went to live near her cousin in the South of France, where she rented a small house; paying for her keep by hosting summer guests. A secondary breast cancer made her decide to move back to England, where she found an apartment at Queen Alexandra’s Court in Wimbledon; an attractive establishment for the widows of officers who had served in the forces.
Kirstine died at St. Raphael’s hospice in London on the 25th February 1989.
Reader Reviews...
Review by Richard Moss The Seagull Hotel offers a fascinating, moving and heart-warming first hand account of the struggles of two young mothers widowed during World War II. Told with candour and humour we hear about the conditions at the time and about the characters who worked at the hotel, and those who were guests. How would you turn a semi-derelict building into a thriving business when just getting hold of linen, furniture and food needed a special sort of daring and guile?
Review by Jane Dunbar
A truly inspiring book. A story of perseverance in the face of amazing difficulties., in which the author manages to infuse one disaster after another with humour.
Oh how I enjoyed it.
Amazon review by Mrs Rivers
I have just romped through The Seagull Hotel in 3 sittings- I loved it!
What a very special woman Kirstine was, so full of determination, courage and enthusiasm, undaunted, it seems by anything.
Reading her story, she emerges as a precursor to 60’s feminism; widowed towards the end of WW2, mother of two small children with virtually no money, she navigates a path through what was then very much a man’s world of bankers and builders, discovering en route the thrills and spills of the black market in order to beat the post-war rationing system. With her friend Gerdy, also a young widow with children, she battles to establish The Seagull Hotel not just as a viable business but also as a loving home for the two families. What could have been just another drab seaside hotel on the English coast develops into a truly creative enterprise and becomes widely known for its excellent gourmet food.
This splendid book is a hymn and testament to these two young women who refused to let misfortune, or men, get the better of them but don’t get the idea that it is in any way heavy going or gloomy. It is written with a lightness of touch, masses of humour - I laughed till I cried over the chapter about her mother - and, above all, humanity.
Amazon review by nettiek50
This is a beautifully written memoir
About two young widows struggling in a male dominated post war era.
A very easy and enlightening read. Parts of Exmouth remain the same to this day.
The Swinging Pendulum of the Tide
Tom is an Anglican clergyman battling with his beliefs. He can’t come to terms with his wife’s tragic death in a car accident. He’s on his way to the remote Welsh island of Bardsey where he hopes to rekindle his faith away from the rush and demands of everyday life.
Beth is an Arthurian scholar on a quest to uncover the truth behind Bardsey Island’s claim to be Arthur’s Avalon. But, abandoned by her former lover, she too has her demons.
They meet in the bar of a hotel on the mainland where they are staying, before setting off to Bardsey on their separate quests. It is the beginning of a long and tortuous path which they must both tread. But it is a meeting that is destined to change their lives for ever.
After an early career in broadcasting (Granada TV) and PR (Britain in Europe Campaign 1975 and Queens’ Silver Jubilee 1977) Chris Green has worked in the cultural industries for 40 years. He was Popular Events Director of the City of London Festival (1978-1991), Director of The Poetry Society (1989-1993) and Chief Executive of the British Academy of Songwriters, Composers & Authors (1998-2008). He co-chaired the Music Industry’s Broadcasting Committee at the time of the 2006 BBC Charter Review. He contested Hereford and South Herefordshire for the Liberals (Liberal Democrats) in 1979, 1983 and 1987 when he came within 1200 votes of winning. He currently works as an independent arts consultant from his home in rural Herefordshire. He is chair of the Education Charity ‘Learning Skills Research’, a board member of Hereford’s Courtyard Arts Centre, a member of the newly formed Herefordshire Cultural Partnership and chair of the Francis W Reckitt Arts Trust. He is a Fellow of the Royal Society of Arts and a Freeman of the City of London. He was awarded the BASCA Gold Badge of Merit for service to the Music Industry in 2009. ‘The Swinging Pendulum of the Tide’ is his first novel.
The most profound mystery of Christian theism is the affirmation that the man Jesus of Nazareth was also Divine. Exactly what that means has been a matter of constant debate for two millennia. Christian theologians have made use of a great variety of physical analogies and metaphysical concepts in the attempt to give a rational account of this belief, but the metaphysical algebra no longer has much traction for most people and divinity is not within the reach of materialist rationality. In order to emphasise the presence of the exceptional in him it has been natural to give greater narrative weight to the Divinity of Jesus of Nazareth than to his humanity, which has effectively been shrouded in the glow of the Divine The purpose of this brief essay in imagination is the belief that unless we grasp the biological earthiness of Jesus we cannot fully understand his the Incarnation.
The Very Revd. Hugh Dickinson, Dean Emeritus of Salisbury: Queen’s Scholar at Westminster. MA Oxford, Chaplain Trinity College Cambridge, Chaplain Winchester College, Bishops Adviser in Adult Education Coventry Cathedral, Vicar of St Michaels St Albans, formerly Dean of Salisbury, retired in the Cotswolds, distinguished poet and painter.
F. Scott Fitzgerald’s The Great Gatsby is one of the most enduring novels of the twentieth century for two almost contradictory reasons.
While being a precise and graphic depiction of the society which Fitzgerald himself relished and named ‘the Jazz Age’, its leading character is a person of ambiguity and uncertainty. It is reasonable to suppose that Fitzgerald meant this to be both a parable of the American Dream as well as a selfless love story.
From the novel we know something of Gatsby’s past: his humble origins, his early experiences as Jimmy Gatz, that he was decorated in the Great War and also that he went to Trinity College, Oxford. These truths emerge despite the fantasies and fictions he also adopts.
The time at Trinity College in Oxford would have been crucial for Jay Gatsby between his war time in France, his devotion to Daisy Fay, and his amassing of a huge fortune to secure her love.
Gatsby at Trinity tells the story of his days in Oxford.
It has been carefully researched from both historical archives and contemporary records, with all the evidences of Fitzgerald’s own novel fully taken into account.
Ian Flintoff was a Modern Languages Scholar at Trinity College, Oxford, before becoming a professional actor, writer and director, and is a long-standing devotee of the works of F. Scott Fitzgerald.
Readers' comments...
"The substance and nuance of your book continues to amaze me. Thanks so much for the scholarly effort you put into it. I'm sure it's bound to be a classic."
"It's obviously been a tremendous labour of love for you, and displays loads of ingenuity and wit, for example your solution to the photographic mystery of the multitude of spires glimpsed through the chapel archway."
The human race has all but destroyed itself and those who remain know that they must avoid repeating the mistakes of their ancestors. Life is a struggle but just when it seems as though all may be lost, the horses intervene. Through the bonds that develop between humans and their horses, people learn what the horses know, ensuring the advancement of humanity. And the horses wait for the person who will be able to help them in return ...
Lynn Mann is a writer with a long-standing involvement with horses. During her school years, she spent as much time riding and being with horses as she could. She took a break from horses to study for her biology degree and then on leaving university, realised her dream of having her own horse for the first time. She worked on show-jumping, racing and dressage yards before starting a business as a saddle consultant and riding instructor, which involved working both in the UK and abroad.
Other books in the series by Lynn Mann... Book 1: The Horses Rejoice
Reader Reviews...
Horse Magazine
This book was inspired by a special horse called Pie, a rescue adopted by author Lynn. It has a futuristic setting, where the world has all but destroyed itself. The heroine is Amarilla, whose family want her to develop a useful 'Skill' which will set her in good stead for the future. However, the youngster has other ideas and longs to be one of the 'Horse-Bonded' - someone that is spiritually drawn to a special equine. The bonded then dedicate their life to each other. But will Amarilla find a horse to have a special connection with? This is an enchanting story of preparing for an unknown future and developing a bond with a horse. Plus, 20 percent of royalties will be donated to The Society for the Welfare of Horses and Ponies, which rescued and rehabilitated Pie before Lynn rehomed her.
Paul Salmon - Fantastic book
Absolutely loved this book, a real eye opener and page turner, kept me engaged and hooked until the end. Highly recommended read ******
Susan Wilkinson - A novel for the horse lover and the sci-fi enthusiast
In Amarilla we find our new heroine with much to offer. Hopefully a sequel will follow.
I found the book quite inspirational and heartwarming and was a page turner. The relationship between the horses and the characters was something that the horse enthusiast would recognise.
MJ - Brilliant
This was a great read, very creative and thought provoking.
It was a clear and well thought through story and opened my eyes to a different way of thinking about how important the bond between humans and horses is and can be. A book aimed at adults and children. I will be looking out for the sequel and can't wait!
Bridget Jones - Surprised
I would have said that apart from the equine theme this would not have been to my taste at all but I found it totally engrossing and strangely plausible. I could relate to many of the characters and horses and although I wanted to reach the conclusion of the story I was left wanting more. I look forward to more from this author.
Beki - Amazing. Please read this book
Wow! Amazing. Please read this book. I so hope there will be a sequel?
Amazon Customer - Wonderful story
This fictional story is written in a very creative and beautifully imaginative manner. We know many parts hit on the truth.
It is thought provoking and funny and some parts brought me to tears. Whether we have a horse, or just know they are magnificent and graceful beings the story lifts up our vibration and I am looking forward to reading Lynn's next novel.
When you have produced the final draft of your book, it is always advisable to have the text read and checked by a professional editor or proof reader.
You may have friends that are willing and competent to do this and we can advise you on the type of editing that is required.
We can offer four levels of editing as well as proof-reading.
You choose which, if any, are appropriate in your case: 1. Edit of sample pages and short report (£30)
We will edit a few pages to highlight editorial issues so that you can look for similar problems throughout the book.
This will reduce the amount of further copy-editing required when the book is finished. 2. Broad structural editing and criticism (£5 per thousand words)
A structural review is particularly relevant for works of fiction.
The structural reviewer will address the following main areas and produce a short report for the author ” Read More 3. Copy editing (£10 per thousand words)
A copy-editor takes a close look at your text, line by line, with an eye to grammatical errors, repetition, inconsistency and lack of clarity. The copy editor will make changes to the text, with suggestions for rewriting, grammar, and punctuation. When you receive the edited version, you have the final choice about accepting of rejecting the individual changes. 4. Proof Reading (£8 per thousand words)
Proof reading is a line-by-line check that the book is ready for publication. Proof readers will make small corrections for punctuation, grammar and spelling but they will not make significant changes to the text.
A proof reader will identify any significant issues and add comments to the text so that you can make those corrections yourself. 5. Consistency Scan
If you decide your book doesn’t need a full proof reading, we offer an electronic scan to search for common errors and inconsistencies. This looks at issues such as inconsistent spelling and inconsistencies of hyphenation and capitalisation.
We can also identify inconsistencies in the spelling of proper names. 6. Cover text
The quality of the text on the cover is very important as it indicates the quality of the writing in the book.
The title, sub-title and back-cover blurb are all important elements and we can work with you to make sure that these are correct and effective.
Copy Edit
Copy-editors get the raw material into shape for publication i.e they edit the copy.
When they have finished, the designer can lay out or typeset the book and produce a proof.
It is quite normal for the author to make additional changes after a book has been copy-edited.
Working through the material, the copy-editor may identify errors in spelling, punctuation, grammar, style and usage, but also very long sentences and overuse of italic, bold, capitals and exclamation marks.
They should correct or query doubtful facts, weak arguments, plot holes and gaps in numbering.
In fiction, they should also check that characters haven’t changed their name or hair colour, look for sudden changes from first to third person among other things.
The Copy-editor is not a proof reader and should not be expected to find all of the errors in the text particularly if the text is badly written to start with.
This is the job of the proof reader.
The final proof should be checked by a proof reader or an experienced reader friend before going to print.
It is almost inevitable (and acceptable) to miss a few errors which can be corrected in a later edition.
Proof Reading
Proof reading is a line-by-line check that the book is ready for publication.
Proof readers will make small corrections for punctuation, grammar and spelling but they will not make significant changes to the text.
A proof reader will identify any significant issues and add comments to the text so that you can make those corrections yourself.
If you have decided to complete this stage of the process yourself, we will send a detailed check-list to help you.
We ask you to try and ensure that the book is completely ready before we start the layout.
Once the layout has started, we expect that you might want to to make a small number of amendments but
if there are a significant number, we may need to charge for the extra time it takes to change the layout
so best to discuss this with us first.
Structural Review
In fiction, the main areas that a structural editor will address are:
Plot: Does the plot make sense? Is it believable? Is it satisfying or does it leave the reader frustrated? Themes: Are the themes effectively handled? Are there so many that the book lacks focus? Do they interfere with the plot or complement it?
Characterisation: Are your characters well developed and believable? Are they cast in a role that fits their personality? Do they sometimes behave out of character? Point of view/voice: Is the voice consistent or is it sometimes confused? Is the voice authentic? Are you using too many or too few POVs? Pace: Does the plot move forward at an appropriate pace? Should you cut that preface? Should the action happen sooner or should the tension build more slowly? Dialogue: Do your characters sound real when they speak? Is your dialogue cluttered with adverbs and beats? Do you use clunky dialogue to move the plot forward? Flow: Is the narrative interrupted by dead-ends and tangents? Is there so much back story that the main plot is dwarfed? Are there missing plot points that would give the narrative greater integrity?
In non-fiction, the principle is the same, but the specific issues are slightly different:
Thesis: Is your thesis relevant? Is it clearly defined or is it lost among marginal issues? Exposition: Are your arguments clear and cogent? Are they well researched and properly supported? Do they have a clear relationship with your thesis? Content: Are all the necessary topics sufficiently dealt with? Are the chapters weighted correctly? Is there superfluous content? Organisation: Is the information organised logically? Are tables and illustrations used appropriately? How many levels of subheads do you need and how should they be arranged? Tone: Is the tone appropriate for the audience? Do you need to eliminate jargon? Is the text accessible? Pace: Are there passages that are bogged down in detail? Do you spend too long on detail irrelevant to the main thesis? Are there areas that need further exposition lest they be skipped over?
Cover Text
The quality of the text on the cover is very important as it indicates the quality of the writing in the book.
The title, sub-title and back-cover blurb are all important elements and we work with you to make sure that these are as effective as possible.
Consistency check
If you decide your book doesn’t need a full proof reading, we can run an electronic scan to search for common errors and inconsistencies.
This looks at issues such as inconsistent spelling, hyphenation and capitalisation.
It also checks for consistent formatting of numbers and dates as well as undefined abbreviations.
Subsequent Script Edit
It is very normal and generally beneficial for the script-editing process to go through at least a couple of cycles
i.e. the rewritten draft to be worked through once again by an experienced script practitioner – though this would be entirely at the discretion and behest of the writer.
Full Script Edit
The script that you deliver to us will probably constitute what the industry would classify as the ‘Initial Rough Draft’, i.e. a full screenplay written without any other professional input or advice, and probably without a great deal of rewriting. We work through your draft, line by line, scene by scene, and come back to you with a comprehensive set of notes from which you can then work towards the official ‘1st Draft’. Some of our notes will be broad and general, dealing with such areas as the overall shape and structure, pacing, plot and character development; others will be far more specific, with corrections, clarifications and suggested cuts etc. It is of course entirely up to you whether or not to take these suggestions on board, and to what extent.
Ongoing Support
We aim to make your self-publishing venture an enjoyable and rewarding experience.
Publishing is a complex business and we treat every book as a separate project.
We explain all of the stages at the outset and we manage the project schedule for you. This will include all of the expert services you have requested for editorial, design, printing, distribution and collection of royalties, keeping in close contact with you throughout the process.
You will be allocated a project-sheet on the YouCaxton website so that you can monitor progress and ensure that all stages are properly completed.
If you would like to see an example of a Project-Sheet…
go to My project on the menu and enter…
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