ryanmayodaily

Over the last few months, The Lost Hero has taken on a life of its own. From chats with veterans over breakfast to messages from readers who’ve connected with Michael and William’s story, I’m incredibly grateful for the support so far.

But this is just the beginning.

I’m now working on a couple of new projects that I’m really excited to share with you:

1. Unsung Hero – A New Military Thriller

Unsung Hero is a standalone story set in the near future, following Sarah Clarke, a British Army combat medic and granddaughter of the Clarke family you met in The Lost Hero.

Deployed with a NATO force to a remote region torn apart by a brutal uprising, Sarah’s patrol is ambushed and she finds herself stranded, alone and behind enemy lines. With limited supplies and danger in every direction, she must use her training, courage and sheer will to survive – while still trying to live up to her oath to save lives.

This story will carry the same themes of duty, sacrifice and resilience, but from a modern, frontline perspective – and through the eyes of a woman fighting to be heard and to stay alive.

2. The Sky Lantern Saga – Children’s Adventure Series

Alongside the heavier stuff, I’m also working on something magical and family-friendly: The Sky Lantern Saga – a series of children’s books based on Pops and his grandchildren going on incredible adventures in a flying sky lantern airship.

Together they’ll visit different countries, meet mythical creatures, and learn important lessons about kindness, courage and looking after each other. The heart of the story is a special heart compass – one point to North, the other pointing always to kindness.

Each country will become its own short, illustrated adventure, perfect for bedtime stories and for children (and grandparents!) to enjoy together.

These projects are still in development, but I’ll be sharing updates, sneak peeks and progress here on the blog, as well as on my social media.

Thank you again for walking this path with me – as a veteran, a writer, and now an author building new worlds and new stories.

Watch this space.

I wrote The Lost Hero so veterans would nod—and civilians wouldn’t need a translator. That meant two promises: keep the soldiering real and tune the language so anyone can follow the heart of the scene.

What I Kept Gritty (the soldier bit)

Kit behaves like kit. Webbing snags, bergens drag, boots bite, SLRs feel like they weigh the same as small planets. Radio cadence. Orders are short, clear, and barked like they mean it. Admin matters. Dry socks, folded jumpers, squared-away berets—competence is character. Humour as armour. Banter cuts the fear down to size (used like a tourniquet, not a laugh track).

What I Tidied (the reader bit)

Profanity dialled down. British soldiers can swear to Olympic standard. I trimmed the F-bomb forest so the story breathes—and so families can read without blushing. Acronyms translated. First use gets a plain-English gloss; after that, we crack on. Slang in moderation. Enough to taste authentic, not enough to require a field linguist. Gore implied, not dwelt on. Consequence over spectacle.

Why I Did It

Pace: Cleaner lines move faster under fire. Reach: I want veterans, families, and general readers at the same table. Respect: Real people live behind these pages. Truth first; shock last.

Soldier-to-Civilian Pocket Guide (with a grin)

Basha → Makeshift shelter Bergen → The rucksack that thinks it’s your commanding officer Brew → Tea (also morale) Admin → Personal organisation (how you show you care) Stag on → Guard duty Tab → Loaded march (bring feet) NAAFI → Canteen/tea-and-snacks salvation Scran → Food Gash → Rubbish/unusable kit Oppos → Mates/battle buddies Ally → Looks cool and works Biff → Temporarily unfit/held back

How the Dialogue Works (Spice Levels)

Think of it like tea strength:

“Brew weak” for bedside tenderness—plain speech, soft edges. “NAAFI strong” for contact scenes—short, clipped, a little salt. “Sergeant’s flask” exists, but I’ve kept the lid on. If your inner NCO thinks there should be more swearing… feel free to mentally supply it.

A Tiny Before/After (tone, not content)

Barracks-real: “Get your *&%$ kit squared away and move!” Book-real: “Square your kit. Move.” Same urgency, less static on the net.

Bottom Line

The soldiering stays true; the language stays welcoming. Rated 12A on swearing, 18 on heart.

—

Read the book: The Lost Hero is out now on Kindle (link in my bio/profile).

Next post: “Behind the Scenes — Research Sources, Kit Lists, and Why the Compass Matters.”

Yesterday I visited Care for Veterans in Worthing with my brother Kerry Mayo, who serves as an ambassador for the charity. Watching him in that role made me proud—his commitment honours our family’s service, from my own years in uniform to my son who’s serving today.

We spent time with Ron, a World War II veteran now in his 102nd year. I read him a few paragraphs from The Lost Hero—quiet, steady minutes that felt like a handshake across generations. Before I left, I was invited back to give a talk about the book, why I wrote it, and the people who shaped it. Huge thanks to Clare Silva (High Value Events & Corporate Manager) and Nick Francis (Veteran Network Liaison Officer) for the warm welcome and the invitation.

Event note: I’ll be at the Care for Veterans Christmas Fayre on Saturday, 29 November 2025, with a stall—happy to chat and sign copies of The Lost Hero if you’re looking for a meaningful gift and a way to support the charity.

I didn’t write The Lost Hero from a library seat. I wrote it with drill-square dust still in my bones. I joined young, passed P Company, served in the Royal Artillery through the ’90s as a signaller and driver, and learned the simple truth that carries a soldier through: do the simple things right.

What My Service Gave the Story

Time discipline. Five minutes early, always. That rhythm sets the pace of scenes—the way men move, wait, and act. Kit realism. Webbing digs, boots bite, bergens pull. The book treats equipment like characters, because soldiers live inside their kit. Humour as armour. The banter that cuts fear down to size shows up in every tight moment. It’s not decoration; it’s survival. Radio ears. Years on the net tuned me to how orders actually sound—short, precise, no fluff. That cadence lives in the flashbacks. Map-and-compass thinking. Bearing, checkpoint, resection; keep a line and adjust as needed. It’s how I built the narrative, and why the compass matters so much in the book.

From the Square to the Page (Specific Passes)

Bedside chapters: The tidiness—beret squared, jumper folded, boots aligned—comes from inspections that never quite leave you. Care is shown through admin. Contact scenes: Movement by bounds, short sharp orders, that split-second where training chooses for you—all lifted from muscle memory. Aftermath: The quiet jobs—counting heads, checking kit, making brews—because the end of danger is never the end of work.

The Veterans Who Shaped the Truth

I built the storyline on conversations with veterans from different eras—over breakfasts, long walks, and recorded chats. Some names I can share, some I keep back out of respect. Fred, a legend into his late 80s, gave me the steady tone of old soldiers: plain speech, no theatrics. Others filled in textures I couldn’t know first-hand:

Belfast patrols (’70s): Beat patterns, kit carried, what a doorway feels like when your back’s against it. Jungle routine (’60s Borneo): Wet kit vs dry kit, leeches, the discipline of silence. Falklands cold (’82): Bog, wind, weight, and what happens to hands when metal freezes.

I don’t lift whole lives. I build composites: a glance from one man, a phrase from another, a habit from a third—stitched into a truthful scene that names no one and honours everyone.

Guardrails I Kept

No stolen valour. If I couldn’t verify it, I cut it. Anonymity first. I changed names, units, timings when needed. The point is respect, not credit. Emotional accuracy over spectacle. Real courage is often quiet—holding a line, watching a mate’s back, making the brew after.

What Writing Gave Back

Service taught me to carry weight; writing taught me to carry stories. Sitting with veterans reminded me that memory is a communal act—we keep each other’s pages from blowing away. If The Lost Hero works, it’s because of the men and women who trusted me with their truth.

To everyone who shared a memory: thank you. I hope I carried it steady.

—

Read the book: The Lost Hero is out now on Kindle (link in my bio/profile).

Tomorrow’s post: “Themes That Carried Me—Memory, Duty, Love (without tipping into melodrama).”

The Lost Hero lives or dies on two hearts beating in time: a father whose memories are slipping and a son determined to hold the line. Here’s how I built them.

William Clarke — “The Cost”

Logline: A once-unyielding paratrooper facing dementia, William fights his last campaign against forgetting—where courage looks like letting his son lead.

Core Wound: Years of service carved him into reliability itself; losing memory feels like losing honour.

Want vs Need: He wants to stand on his own; he needs to accept help, so love can do what strength no longer can.

Public Face: Dry humour, economy of words, soldier’s posture even in a chair.

Private Truth: Afraid of becoming a burden. Hates blanks in his own story.

Strengths: Calm under pressure, loyalty, instinct for the right thing when it costs.

Flaws/Blind Spots: Stubborn pride; bottles pain; deflects with understatement.

Triggers: Pitying tones, over-explaining, people moving kit “out of place.”

Soothers: Rituals (polished boots, folded jumper), familiar smells (Brasso, boot polish, tea), the weight of an old SLR sling in memory.

Symbolic Objects: The marching compass (steady north), a maroon beret, a dog-eared paybook, the creak of good leather boots.

Body Language: Chin up, hands still; when lost, thumb rubs the compass lid, eyes scan doorways like they’re arcs to be covered.

Voice Notes: Understated, clipped, black humour. “Aye,” “Steady on,” “Do the job in front of you.”

Arc (spoiler-light):

Ordinary World: A good man in a narrowing room. Tests: Memories arrive out of order; pride fights care. Grace Notes: Moments of perfect clarity—names, smells, weather before contact. Shift: Trusts Michael to “carry the weight” when he can’t. Final Image: Not defeated—simply handed the map to his son.

Scene Seeds:

Michael lays out the beret and William’s hands remember the shape before his mind does. A bedside silence breaks with William’s small nod: “Go on, lad.” Parade-ground memory returns with the sound of rain on glass—William calls the cadence, softly.

Michael Clarke — “The Keeper”

Logline: A son reading his father back to himself, Michael learns that remembrance is an action—steady, patient, and brave.

Core Wound: Watching a strong parent fade; fear that love won’t be enough.

Want vs Need: He wants to fix what can’t be fixed; he needs to bear witness and keep the stories true.

Public Face: Capable, warm, practical; a doer who turns up early and brings a flask.

Private Truth: Carries his own shadows; some he shares, some he doesn’t.

Strengths: Empathy, humour, refusal to quit.

Flaws/Blind Spots: Over-shoulders responsibility; forgets to ask for help.

Triggers: Dismissive comments about “just stories,” bureaucracy that treats his dad like a number.

Soothers: Routine—set time, same chair, pages marked with discreet tabs.

Symbolic Objects: The reading copy (battered corners), a wreath poppy pressed in a page, visitor’s lanyard, a Thermos that never runs dry.

Body Language: Leans in, forearm to forearm; when bracing for a hard passage, breathes out through the nose, steadying.

Voice Notes: Gentle, plain-spoken, lightly teasing. “Right then, Dad,” “Shall we?” “We’re here together.”

Arc (spoiler-light):

Ordinary World: The car park, the long walk, the chair by the bed. Tests: Hard chapters; days when William isn’t there to meet him. Shift: Realises the reading is not to restore the past but to honour it. Final Image: Michael still reading—because love keeps time when memory can’t.

Relationship Dynamic (the heartbeat):

Friction: Pride vs protection. Bond: Shared humour; soldierly shorthand; silences that say everything. Theme in Action: Service doesn’t end when the uniform comes off—and remembrance is a living duty passed hand to hand.

Dialogue Cheat-Sheet (for authenticity)

William: “Light kit, long day.” / “Seen worse weather on a Tuesday.” / “Do the simple things right.” Michael: “Tea first, heroics later.” / “We’ll take it one page at a time.” / “I’ve got you.”

Sensory Anchors You’ll See Recur

Sound: Last Post, boot heels on stone, a Thermos cup setting down, rain like distant small-arms. Smell: Brasso, damp wool, mud and soap, fresh polish. Touch: The cold lid of a compass; thumb over enamel cap badge; paper edges catching at a fingertip.

—

Read the book: The Lost Hero is out now on Kindle (link in my bio/profile).

Tomorrow’s post: “Themes That Carried Me—Memory, Duty, and Love (and how I kept them honest without melodrama).”

—

This morning, Sunday 9 November 2025, I laid a wreath on behalf of the Veterans Volunteer Service. The square was still, the air bright and cold, and the silence settled like a hand on the shoulder. I felt the weight of it—duty, love, the names we carry.

I thought about my sister, and the shape of loss that never quite leaves. I thought about McFarlane, a soldier I trained with—funny, sharp, a good man—who lost his fight with PTSD. I said his name quietly and promised not to let his story fade.

In my pocket I carried my great-grandfather’s marching compass. Its brass is dulled now, but when I hold it, it feels alive—as if it still wants to point somewhere steady. His name was Thomas William Mayo. He served with the Queen’s Regiment (Wessex) and was killed on the Somme on 23 April 1917. Today, the compass felt like a bridge across a century: from mud and wire to poppies and polished stone; from his footsteps to mine.

Today’s Dedication

To Thomas William Mayo, who never came home. To Mcfarlane, who carried more than anyone saw. To my sister, whose absence is a daily ache and a lasting light. To the fallen and the missing, and to the families who keep the watch when the parade has passed.

We say it every year because it has to be said, and because it’s true: We will remember them.

How I Came Up With The Lost Hero

There wasn’t one single “eureka” moment for this book, more a chain of small sparks that finally caught.

One spark came from my own service. I joined the British Army young, passed P Company, and served in the Royal Artillery through the 1990s. Soldiering leaves you with a certain way of seeing the world: how a room sounds when boots hit the floor at first light, how a joke lands after a hard day because it has to, how a mate’s nod can carry more reassurance than a speech. I wanted to bottle that feeling, discipline, camaraderie, fear, pride, and pour it into a story that felt honest.

Another spark was time spent with veterans, from lads my age to legends like “Fred,” 91 and still sharper than most of us. Over breakfasts and long walks, I heard the kind of stories that get lost if someone doesn’t write them down. Not just battles, but the in-betweens: boredom, banter, grit, and quiet acts of courage no one ever sees. Those conversations convinced me this book should be a salute, not just to those who served, but to those who waited at home.

The final spark was closer to the bone: watching someone I love fade into dementia. It changes the shape of memory. You realise how fragile our stories are, and how vital it is to hold on to them. That’s where the heart of The Lost Hero came from: a son reading to his father, knitting together the past so it won’t unravel.

The Concept I Chased

I wanted a father–son story set against the backdrop of British airborne history, intimate in scale, big in feeling. The present-day thread is simple: Michael sits with his dad, William, whose memory is slipping, and reads to him. As the pages turn, we cut to the life William lived: young, sharp, and stubborn; a paratrooper standing his ground when it counted.

Those flashbacks travel through real moments that shaped generations: the jungle fight at Plaman Mapu in 1965, street patrols in Belfast in the early ’70s, and the bitter cold of the Falklands in ’82. I built the scenes around details soldiers will recognise, wet webbing, cam cream, SLR heft, the smell of boot polish, because authenticity isn’t a garnish; it’s the meal.

Structurally, I wanted rhythm: quiet, tender chapters at the bedside; then the heat and noise of soldiering; then back again to the soft light and the creak of a chair. That contrast does the emotional lifting. It says: this is the cost, and this is the love that pays it.

Why Fiction (Not Memoir)

Fiction gave me room to honour truth without naming names. It let me blend the feel of real operations with an original family story, to chase emotional accuracy over documentary detail. The aim wasn’t to write a history textbook, it was to write something that feels true in the chest.

What I Hope You Feel

Pride, for the men and women who’ve worn the uniform, and for the families who carried them. Recognition, for the small, unshowy moments of courage we rarely talk about. Remembrance, because memory matters, especially when it’s slipping away.

A Promise to Readers

The Lost Hero is my salute, to veterans, to spouses and children, to mates we’ll never forget. If you’ve served, I hope you see yourself here. If you haven’t, I hope this book lets you sit in our world for a while and understand why the bonds run so deep.

Read the book: The Lost Hero is available now on Kindle (link in my bio/profile).

Tomorrow’s post: “From Notebook to Novella – How I Structured the Story (and Kept It Honest).”