Diana
Spencer’s original publishing themes were extremely simplistic and stylized; and,
she felt that her story was about ‘The Livestockery’ (as she characterized her
family and the associated Class structure), her induction into ‘The Windsor
Herd’ (as she described the agrarian enterprise which acquired her for
reproductive purposes), and then her treatment by ‘The Germans’ (as she
denoted her oppressors).
Diana’s
original themes were to be The Crown (The Windsors)meets Game of Thrones (the Diana Spencer
drama) meets an American Minuteman (the arrival of Theodore Forstmann); and latterly the possible sequel, House of the Dragon (the sibling
rivalries of William and Harry Windsor). The narrative timeline of these series are arguably 1960 to date.
However,
soon after Diana’s various researchers and managers started their
investigations, it became clear that the corruption of the self-appointed
Elites and the criminal conspiracy of the Establishment characters were so
entrenched and immoral as to mirror not so much a Dickensian England, but a
Medieval and Feudal reality. Diana felt ashamed and alarmed at being part of
that social and societal system; and she feared that her sons would be trapped
by that system, and have a miserable and superficial life.
The first
tranche of (scene setting) publications has been prepared in 3 formats (PDF,
eBook and hardcopy manuscript). These will actually be prototypes for the
publishing methodology and formats to enable the refining of the output as the
project advances. Thereafter, about 20 new titles will be published annually.
From Book 5
of the first 15 Diana Series titles, a novel tactic will be adopted to silence any
vested interests in the United Kingdom; namely, that (where necessary) the
publication of each book will be preceded with the introduction of legal
proceedings in either the Court of Justice of the European Union (CJEU) in
Luxembourg or the European Court of Human Rights (ECtHR) in Strasbourg. For
some of the titles, the publishing strategy will include the use of ‘Absolute
Privilege’ in order to reproduce (in some of the publications) British
government documents. Those are documents from various Government ministries
and agencies, Metropolitan Police (Special Branch, Specialist Operations, et
al), MI5, MI6, Ministry of Defence, and from various Government ministers and
officials. What will happen is that proceedings will be introduced either into
the European Court of Human Rights or the Court of Justice of the European
Union (depending on jurisdictional considerations), and those proceedings will
cite and contain the British government documents. The retail publications will
then simply quote and reproduce the ECtHR or CJEU pleadings and documents; and
those documents thereby enjoy ‘Absolute Privilege’ in publishing terms.
It might be noticed that the titles for the publications listed below have a tendency to use the letter ‘H’. This is explained in one of the paragraphs of the first ‘scene setting’ book, Diana and the Livestockery:
Diana’s decision to seek some sort of career in book writing was perhaps a bit far-fetched, given her intellect; however, she did have others who could help her and guide her. The alliterations were one of the tools used to concentrate Diana’s mind, and introduce to her the possibility that simple words could have a tangible outcome; and Hopefully, a financially Helpful outcome for her. The use of the ‘H’ headings, or possible book titles, was Bridget’s idea, supported by Victor who could see the up-hill struggle to get Diana into print. It was often simply a method to get Diana to sit down with a dictionary and start to understand the words that she was not writing, but to which she would ultimately put her name. It was often a Heinous, Hideous, Hateful at-times, task for Bridget and the others; and often, very often, simply Hilarious. When Diana, the budding author - of at least the book titles - failed to find a suitable alliteration, that glaring omission annoyed her, and indeed caused her to think. Anything that could actually provoke logical thought in Diana’s brain was to be welcomed. Thinking was not something frequently employed in the Windsor Herd, or those in Diana’s environment, and the proposed book titles which lacked the alliteration were fingers pointing at Diana, and focused her mind on the job in hand. The logic of the ‘H’ alliterations was that each of the ‘Hanging Files’ in the filing cabinets represented the potential contents of a book, and thereby one needed to find a label for the hanging file, and thereafter a title for that book. The task given to Diana was to find a title starting with ‘H’; it would prove challenging for her.
The Forstmann Series was based on the discussions between Ted Forstmann and a number of ghost-writers; most of whom are well-known. The manuscripts are being updated to include new evidence and more contemporary issues and concerns.