#high vaultage

[gollancz]

Guys. Christmas is coming. Consumerism is in the driver's seat and GAWD don't I know about the existential ennui of all these faceless corporations trying to schill you their wares. It's cold. Impersonal. Bleak.

So I, a fellow tumblr user, will instead try to schill you MY wares, so that when you purchase these items you can say "Hey, that person from tumblr worked on this", and feel the warmth of HUMAN CONNECTION in a way that is completely normal and not parasocial at all. We really are friends. I promise. Yes, you. Love you, bestie. Remember the boop war? Good times. Fond memories.

THIRTEEN STOREYS and FAMILY BUSINESS by Jonathan Sims

Tumblr's favourite Nightmare Factory @jonnywaistcoat has two novels out and they're phenomenal horror that also punch you in the throat with SOCIAL COMMENTARY and FEELINGS. He's so adept at tapping into the specific part of my brain that feels fear like a small child - not the adult creepy scared that I normally get around horror, but specifically the kind of fear that almost freezes your limbs and vocal chords with a terror you don't quite understand because there is so much in the world that you don't know, but you know that somehow this thing might be quick enough or smart enough or sneaky enough to get you before you can get to the safety of your parents sort of fear.

THIRTEEN STOREYS is a haunted house novel, but set in a refurbished block of flats. Each chapter follows a different resident being haunted in a different way, with a style to match the flavour of ghost. It's all tied together phenomenally and brutally.

FAMILY BUSINESS is a story about ghosts in a different way, following a woman who joins a post-mortem house cleaning service while grieving the death of her best friend. But as she removes the stains from the houses of the dead, she begins to suspect something else is removing even more.

Both of these titles are available from Gollancz worldwide!

THE LAST UNICORN, THE WAY HOME, THE INNKEEPER'S SONG and A FINE AND PRIVATE PLACE by Peter S. Beagle

Obviously Peter's work needs no introduction, and our editions aren't available in the US and Canada, but I've had a wonderful time working with Peter and his team to bring these beautiful books back to the UK. Meeting him at Worldcon this year was such a magical moment, and he was jet-lagged and I had gone through sleep deprived into hyper and was bringing an Extremely Weird Energy to every interaction I had that day, resulting in this photo:

THE LAST UNICORN and THE WAY HOME are a matched pair of wonderful fairy stories. THE WAY HOME has two novellettes in it, and the first - 'Two Hearts' - won the Hugo award. It will also destroy you.

A FINE AND PRIVATE PLACE was Peter's first ever novel, and it's wistful and romantic and so beautiful.

THE INNKEEPER'S SONG is his epic fantasy quest, it's an adventure story that reads almost lyrically. Also there's an orgy in the middle which caught me by surprise when I was reading it for the first time on the train into work.

HIGH VAULTAGE by Chris and Jen Sugden

It's possible that someone on this website doesn't know I was involved with this book but don't worry, I will HUNT THEM DOWN AND TELL THEM. This is the first book I took all the way through the editorial process from end to end and I am SO PROUD of it and Chris and Jen and their wonderful world of @victoriocity. Officially one of the seven funniest books published in the UK this year, shortlisted for the Wodehouse Prize for Comic Fiction. It's a chaotic, bonkers murder mystery set in an alternate Victorian London which is the most gleeful dystopia I have ever encountered.

Featuring:

Grumpy Sunshine besties

The Victorian Equivalent of the Chuck Norris Meme

A robot who undertook a course in People Management

An indefatigable beagle

This is another book that you can get from Gollancz all over the world, and you SHOULD because it's amazing. Go into your local bookshop and ask them to order it into stock. It's a great Christmas present. It's my firstborn book baby (like that's a completely normal thing to say when I didn't even write it). Also if you're a fan of the podcast, why not tell the Guardian how great it is, and make a nuisance of yourself until they review. (I would, but the form asks for your name and then they'd know I didn't suddenly discover Victoriocity this year. Either that or think I was a very careless editor.) If you've not listened to the podcast yet, you absolutely should. It pings all my Douglas Adams receptors in the best way. If you like HITCHHIKER'S GUIDE, if you like CABIN PRESSURE, VICTORIOCITY is the perfect addition.

HAMMAJANG LUCK by Makana Yamamoto

SLIGHTLY cheating because HAMMAJANG LUCK isn't out in North America until January (pre-orders make great Christmas presents guys), but it IS out in the UK and the rest of the world next week! This is my second big editorial project and it's a Big Gay Space Heist ft. disaster lesbians, trans characters, and a tech billionaire getting put in his place. It's joyous and energetic and crammed full of Hawaiian pidgin as a love letter to the diaspora. @makana-yama is a phenomenal writer and this is their love letter to their communities, families both born and found, while also a statement on the victims of gentrification (and how those are disproportionally BIPOC communities). PLUS:

friends to enemies to cautious allies to lovers

trans cyborgs

Suck It Space Elon

You know that One Scene in Charlie's Angels where Cameron Diaz is in the white body suit and breaking into the safe and has to stretch out to hit two buttons at once? Yeah. That's the vibe.

Being able to work with Makana is a delight, and HAMMAJANG tapped into all the feelings I got watching LEVERAGE for the first time, so I went to watch it again while I was editing. Also OCEAN'S 8.

DEEP BLACK by Miles Cameron

So, barring Branderson, Miles Cameron may be one of our most prolific authors. He writes a minimum two books a year, one SFF and one historical fiction (as Christian Cameron) and he is... An absolute phenomenon. He IS the Chuck Norris meme. I'm obsessed with him. He's former US military intelligence turned naturalised Canadian Hippy, has written over fifty novels, can turn his hand to any genre and write it fantastically, is a practical archaeologist - running large scale re-enactments from a variety of periods ranging from Bronze Age right the way up to the Victorian era, using traditional techniques to allow academics to study how the practicalities of weapons, clothes, food etc. would have worked in practice. Two years ago he won a medieval combat tournament in Verona, a clear ten years older at least than the next oldest competitor, he teaches Historical European Martial Arts, but ties it into the history of martial arts globally. He can make his own clothes, ink, leatherwork. He's a ballet dancer. I once took him for a day out and he ended it in a different shirt and shoes from the ones he'd started in. I asked him for an author photo and he sent me this:

DEEP BLACK is the sequel to his critically acclaimed SF debut ARTIFACT SPACE, where he has taken his research and experience of global historical cultures and extrapolated to create an interplanetary future where the best of all are celebrated. And then Aliens Happen. And then, in reaction, Capitalism Happens (which is covered in the short story collection BEYOND THE FRINGE).

He's such a thoughtful and erudite speaker, if you're curious about his work, I'd recommend listening to his episodes on the Friends Talking Fantasy podcast, and also his appearance on The Publishing Rodeo.

If SF isn't your bag, he's also got:

Arthurian fantasy

Bronze Age fantasy

Medieval Mages fantasy

A CURSE OF CROWS - Lauren Dedroog

I actually inherited Lauren when a colleague of mine departed for fresh pastures, which gave me the great opportunity to work on this series which is so vastly different from my usual fare. It's epic, sweeping, romantic and lush, with such detailed description and complex political machinations, while also being brutal, dark and heavy (tw: for sexual assault, torture etc, etc.). If you like Sarah J Maas and Cassandra Clare, this should hit the sweet spot. Lauren is an ICU nurse when not writing, and this was somehow created when she was putting in a million hours in hospitals during COVID. The feat boggles my mind.

A CURSE OF CROWS is out now in the UK, Australia and Europe, and it won the People's Choice for Standaard Boek's Book of the Year award in 2023, in her home country of Belgium. It will be hitting shelves in North America next September! A DANCE OF SERPENTS is where I get to pick up the editorial mantle, and that has just landed in my inbox this week so I am excited to dig in.

Featuring:

Harold, they're lesbians

Murder baby is actually a cinnamon roll

Sensitive wings are sexy

For serious, though, I'm lucky enough to work with a lot of authors I'm genuinely obsessed and astounded by. And yes, I do get to work on Joe Abercrombie, Brandon Sanderson and Andrzej Sapkowski, but they're not MY authors - they're led by the incredible Gillian and Marcus who I'm not 100% certain sleep. There are so many people on the Gollancz list who I could recommend for DAYS (and will, if you so request), but this is my stable of superstars.

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

[the-sage-of-dissolution]

Clara Entwhistle is so funny, she straight up starts a sincere apology by pretending to be an attacker and jumpscaring the one she wants to apologize to in order to lighten the mood

10/10, never seen a better approach

[marymjarvis]

I haven’t fallen in love with fictional characters and the world that they inhabit the way I have with Victoriocity in YEARS. It genuinely makes me feel like a kid again, the way I got when I was reading Harry Potter for the first time and the universe just was slowly unfolding and I wanted to know everything about it outside of the main storyline. And then you have the pitch perfect humor and characters I AM VERY DEEPLY INVESTED IN that are in the most perfect Victorian slow burn of all time where I KNOW SOMETHING IS GOING TO HAPPEN EVENTUALLY BUT ITS GOING TO TAKE YEARS AND ILL BE HANGING ON TO A DARCY HAND FLEX MOMENT FOR DEAR LIFE UNTIL IT DOES, and you got me hook, line and sinker.

But seriously, it’s well written. It engages in some trope but does so in a way that only good writing can where expectation is subverted and then not that that is surprising and delightful, The pacing is excellent. The world they’ve created is completely original but totally familiar which grounds the characters and the plot.

Anyway, I bought three copies of High Vaultage (audio, ebook and special edition hard copy of course), finished it, binged season three and now I need the link to the kickstarter for the next project because I NEED MORE. This is just going to be a fan account until then.

[leliesblou]

(I'm having a blast)

[littleladymab]

I read High Vaultage in pretty much one sitting because I could and was DELIGHTED by the Fleet Facts™️ that Clara managed to (maybe?) deduce:

(thank you @luckygandor for the meme even tho you have no idea what's happening)

[coelart]

Anyone: "Oh Coel how was High Vaultage did you like High Vaultage"

Some of the notes in my ebook:

[esidiopesidbanov]

A little something I've noticed while reading High Vaultage:

Julius Bell in the book: mysterious figure, extremely powerful, knows everything about everyone, very fancy suit

Julius Bell in the podcast: Just a little guy, can and will throw a tantrum if you look at him the wrong way

[draculathedansemacabre]

The Count and Mina have the week off, but we're still here to provide you with great audio fiction content to get you through the weekend!

If you haven't fallen in love with it already, DTDM creator Gabriel Urbina is here to tell you why should please check out Chris and Jen Sudgen's steampunk detective comedy adventure, Victoriocity!

Listen to the podcast, read High Vaultage their first tie-in novel, become as obsessed as everyone at DTDM is about it!

[biwonderland98]

Obsessed with Keller. That man is NOT Aesop

[maandarinee]

reading the Victoriocity novel and this is making me insane. Fleet is the piña colada of mental health <3

[gollancz]

Slight risk of this becoming a HIGH VAULTAGE fan blog but I don't care because 1) don't put the editor in charge if you don't want that and 2) HIGH VAULTAGE HAS BEEN SHORTLISTED FOR THE 2024 BOLLINGER EVERYMAN WODEHOUSE PRIZE FOR COMIC FICTION! @victoriocity have once again kicked in the doors of comedy and stomped on the competition.

Want to know who else was shortlisted for this prize? Gollancz legend Sir Terry Pratchett (GNU). Here's a picture of him enjoying his bottle of Bollinger with his pig, two parts of the prize when he won for SNUFF:

So yes, certified: Officially One Of The Funniest Books Of 2024, HIGH VAULTAGE!!

Get your copy here!

[hephaestuscrew]

Favourite Fleet & Clara quotes from High Vaultage 

(Page numbers from my Goldsboro special edition, I'm not sure how they line up with page numbers in other versions. Spoilers for all of High Vaultage.)

p27: Clara had met Fleet only weeks before. She had just arrived in London and started work as a crime reporter, and pursued a murder case alongside Fleet despite his repeated objections, until he eventually conceded - as Clara had known he would - that they were making a good team, and furthermore proposed - as she hadn't a clue he would - that they go into business together.

p51: "There you are, Fleet. Where have you been?" / Fleet paused, made some confused looks between Clara and the room he had just left, and finally pointed at the door. "Isn't this the waiting room for detectives whose partners have run off? They were quite a few of us in there. Quite a lot in common." / Clara suppressed a grin into something more disapproving. "You're not as funny as you think you are, Inspector." (More below the cut.)

p70: [After Clara successfully sneaks into the Iron Bridge Club] [Fleet] should have known Clara would make it in. Her tenacity had been clear to him since she had first left the police roping at a crime scene of his. It was one of the things he admired about her, even if she didn't always check whether there was somewhere to land.

p76: [After Clara's business card strategies work on Cosgrove] Fleet glanced at Clara. She grinned back, eyes wild with pride, before tapping her bag and mouthing the word 'Posner'.

p116: [After Professor McCabe says “Top marks, Miss Entwhistle”] Clara beamed, and flashed her eyebrows at Fleet while elbowing him in the ribs.

p132: "Don't think you can shake me off, Inspector. I'll come with you." / " I'm not trying to shake you off. It's just late, Clara.” / "You're always trying to shake me off. Ever since we met. Despite my constant usefulness." / "I'd say occasional usefulness," replied Fleet, maintaining a straight face. / Clara, with some effort, twisted her grin into something approximating outrage. "Frequent usefulness, surely!" / "No, but I'll agree to "regular usefulness"." / "Deal.” / “And I asked you to join me in business, Clara. If I'd wanted to shake you off, that's a poor way to go about it."

p154: [From Fleet's POV] Clara really was the sort of person - indeed the only person he knew - who could find genuine joy and wonder in a building site.

p172: [When Clara fears for her life at the display of the Lanterns] She thought of her brother, her sister, her parents... Her ridiculous detective.

p176-178: Clara without her usual pep was almost unrecognisable. [...] Normally that sort of reply would at least elicit some playful scolding. Fleet grew concerned. [...] "Do you want to talk about it?" [...] " What do you want to talk about?" [...] He tried to think of more options. Not talking about things was Fleet's speciality, but for Clara this signalled a worrying malaise. Things were dire. He was going to have to resort to small talk. "Would you like to hear about my day?" A brief pause. "Yes," she replied, with a note of hope [...] Fleet remembered the mess he was in before he switched to the task of cheering up Clara.

p184: When he saw her, she noticed his eyes were shining with a rare zeal, and he appeared bursting to explain whatever he was thinking.

p187: Fleet had, after all, taken her under his wing, even if she did have to thrust herself there initially. She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her.

p201: [After Fleet sees a magpie get electrocuted] Fleet looked at Clara, who thankfully had been facing the other way.

p214: [After Fleet falls into the frozen river] Clara, removing her cape and placing it over Fleet's shoulders 

p225: [Clara] had read several books on the subject - Surreptitious Sleuthing, Introduction to Ingression, Undetectable Detection, to name a few - but she always seemed to pick up more from her partner, whose years in the police had left him full of [useful tricks].

p235: [While navigating the Brunellian tunnels for the first time] "I still think my way is more fun." / "Escape, Clara. Escape and then fun." / "That's a promise, Fleet. You've promised it now.”

p259: “That's too much topiary,” said Fleet [...] Clara's eyes lit up at this rare revelation of a personal opinion from her colleague. “I didn't know you had such strong views on topiary, Fleet.”

p293: [When Crowe increases how much he'd be willing to pay them to investigate on his behalf] Fleet knew his answer, but felt he had to see whether Clara was still in agreement. He looked to her, only to be met with an expression of astonishment that he had taken even this long to respond.

p337: [After their falling out] Where do you even begin, she thought, let alone end, with someone you've worked with so closely?

p338: [After they squash the scone Fleet brought Clara as part of his apology] "You want me to eat an exploded scone!" cried Clara, stifling laughter.”/ “I think it says a lot if you refuse.” / “Fine,” she said, grabbing the bag, pulling out the crushed scone and taking an enormous bite. / The corners of Fleet's mouth twitched. Clara was sure he almost laughed.

p341: [Before they go into the Church of the Mechanical Man to look for Helena Evans] Clara smiled, and punched him in the shoulder. / "Ow! What was that for?" / Clara realised that in her excitement at Fleet's plan she had landed her friendly thump with rather more power than intended, so she clarified: "You're a good one, Fleet.”

p371: [After Fleet gets shot in the shoulder] Fleet thought he heard Clara scream his name, but he couldn't be sure. Suddenly she was next to him, checking his shoulder.

p371-372: Clara turned to Fleet. “Now I have an idea.” / “What kind of idea?” / “A terrible idea. Just the worst idea I've ever had.” / Fleet looked towards the distant exit, which could barely be seen beyond the fire, and then back to Clara. “I like it.”

p373: [As they anticipate an oncoming wave of molten metal] Fleet felt a sensation he did not recognise. Something like calm. Then Clara took his hand and turned him towards her. For some insufferable reason she was smiling again. He couldn't help but return it. [...] Fleet realised Clara still had his hand firmly in hers, and she seemed to be saying something at him that he couldn't hear. He tried to listen, but she stopped speaking, shook her head, threw her arms around him and hauled him down onto the ground.

p375: [When Clara won't tell Fleet whether she knew they were going to be saved by Helena Evans] “And you don't think this might affect how likely I am to trust your plans in the future?” / “Does it?” asked Clara. [...] “No,” said Fleet. “It doesn't.”

p381: Clara stiffened her posture, as though she might salute. "Archibald Fleet, I challenge you to a battle of business." / "We're partners, Clara. We're on the same side." / "A point for whoever solves a case first! More for trickier ones!" / "But we work together..." / "Let battle commence!" she cried.

[sarosenna]

Hi everyone!

As many of you may know, @victoriocity recently finished airing its third season, Truth and Claw, and the book High Vaultage came out in March. Now that we've all had time to digest everything, I figured it was time to release my next installment of Audio Fiction I Love!

For those of you unfamiliar with the show, here's the description:

Even Greater London, 1887. In this vast metropolis, Inspector Archibald Fleet and journalist Clara Entwhistle investigate a murder, only to find themselves at the centre of a conspiracy of impossible proportions.

Read the article here.

Long live Queen Victoria!

You can find my previous articles on my Medium.

[littleacebee]

I really loved High Vaultage and I have many thoughts about it but one of the things I extremely enjoyed is how there was a chance to give a descriptions and writers decided to describe 101 chairs Clara and Fleet sat in.

[leliesblou]

Fleet + whether or not he can remember being dead, from the Victoriocity Season 2 transcripts and High Vaultage