This year, I’m doing a new series: Fantasy Focus. Each month will have a week-long focus on a different fantasy subgenre- fantasy is as varied as its creators’ imaginations! If you’ve missed them, here are links to my fantasy focuses on comedic fantasy , grimdark and romantic fantasy.
This month I’m focusing on High and Epic Fantasy. I’ve been privileged to chat with Coby Zucker author of the epic fantasy, Nomads of the Sea.
Thank you for being willing to talk about high fantasy and epic fantasy with me!
Thanks for having me!
Will you introduce yourself?
My name’s Coby Zucker. I’m a 24-year-old debut fantasy author from Toronto, Canada. For my 9-5, I’m a journalist. Currently I work in the wild west of gaming and esports.
Can you talk a little bit about Nomads of the Sea?
I can talk a lot about Nomads of the Sea but for the sake of your sanity I’ll keep it brief.
Nomads is an adult fantasy epic that spans continents and multiple POVs. The setting for the main plot is heavily inspired by Southeast Asia, though the world is big and also encompasses a more traditional medieval fantasy world. It’s a bit grim, occasionally funny, and—hopefully—an all-around decent read (especially if you like giant shapeshifting bears, the interplay of medicine and magic, and big beefy tomes with lots of worldbuilding).
Have I sold it hard enough?
But yeah, Nomads is really just a passion product from a bored grad student whose summer job was cancelled during the first wave of COVID. It was my first, but certainly not my last, foray into writing novels.
What were some obstacles to writing Nomads of the Sea?
Amazingly, writing Nomads went pretty smooth. Since it was my first book I had to learn my personal writing cadence and style, but I settled into those things fairly quick. If we really want to get into the nitty gritty, one of my biggest challenges as an author was writing compelling characters that didn’t think the way I think, or act the way I act.
Also romance. I’m not a romance person by nature so that took some trial and error.
Really most of the obstacles came after I’d finished writing the book. Learning how to revise, compose, publish, and market a book was way harder than writing it.
What are some successes?
To be honest, just getting the novel into the world was a huge personal success. As for the book itself? I guess I’m happy with how it all came together. I like the characters, I like the world, and I’m honestly just excited with how the whole writing process went. Creating a full novel was something I’d always wanted to do, but I never knew if I had the chops.
Nomads of the Sea has been called epic fantasy. Can you explain what epic fantasy is?
Well Wikipedia defines epic fantasy as…
I’m just messing with you.
Basically, epic fantasy is, at its core, a subgenre of fantasy defined by its scale. Epic fantasy is expansive worlds with full casts of characters, huge plots that span years, and big ol’ chonky books. Occasionally, it’s none of those things. That’s probably not a helpful answer but everyone has their own definition of epic fantasy so it’s hard to give a catch-all. For me, if it’s fantasy and it has a big scope, that’s epic fantasy.
I’ve heard the terms “epic fantasy” and “high fantasy” used interchangeably. Do you see them as two separate subgenres?
I actually do, even though you’re right and they are often lumped together.
In your opinion, how is epic fantasy different from high fantasy?
You already know how I define epic fantasy so I would contrast it against high fantasy, which, in my mind, is more a comment on the world of the book itself. Whereas epic fantasy is about the scale of the book.
High fantasy is often seen as “Tolkien fantasy” with elves and dwarves and dragons and all that good stuff. Really it’s a little broader and many phenomenal authors are drawing on diverse mythologies to create unique high fantasy worlds (that’s not a knock on elves and dwarves and dragons by the way. They’re still dope.)
People will use the term “secondary world” to characterize high fantasy. Basically it just means a world that’s not too Earth-y. And yes, high fantasy is often epic fantasy, which makes it all the more confusing.
Take all this with a grain of salt. I’m by no means an expert. Just a guy who likes to read and write fantasy books.
What drew you to writing epic fantasy?
It’s right there in the name. It’s freakin’ epic.
All respect to people who want to write a slice-of-life novel about Elmer, whose biggest problem in life is he’s run out of yarn (great idea for a book by the way, someone hop on it), but if I’m writing, it’s going to be about monsters and heroes and giant battles and high stakes plots.
Also, as someone who comes from academia, there’s nothing more liberating than making shit up (am I allowed to curse?) Obviously epic fantasy still requires research but it’s nice to not feel beholden to detailed footnotes or the laws of physics.
Are you a plotter or a pantser?
Little of column A, little of column B. But I’d say I’m mostly a plotter. I definitely need to know the beginning, the middle, and the end before I start writing. But part of the joy of making a book for me is discovering new things about the story along the way, solving problems as they crop up, and confronting situations from my characters’ POVs.
Who are some of your favorite authors?
Anne McCaffrey, Joe Abercrombie, Jack Whyte, Christian Cameron, Fonda Lee, Robin Hobb, Brandon Sanderson, Mark Lawrence…
There’s probably others but I’ll stop myself before I just name every amazing author I can think of.
What/who inspired you to start writing epic fantasy?
There’s not really a “who”, unless you count my family, who helped foster my love of reading sci-fi and fantasy books.
The “what” is a desire to create something wholly my own. It’s fun to delve into another author’s world but building something from the ground up was an entirely new experience. One I’m now addicted to.
Do you have anything on the horizon that you would like to share?
Nothing in particular. I’ve been able to get Nomads of the Sea into the hands of a few awesome bloggers and vloggers so keep an eye out for their reviews. Maybe they’ll be able to convince you to get Nomads where my unhinged ramblings have failed.
There will be more books coming from me in the future. Hopefully not the distant future.
About the Author:
Coby Zucker is a 24-year-old part-time fantasy writer who lives in Toronto, Canada. He writes about more mundane subjects for his day job. Follow him on socials for updates about his writing. Nomads of the Sea is Coby’s debut novel.
There are many instances of readers not getting around to the sequel of a series, even if they enjoyed book one. I think there are several reasons for this, many that have nothing to do with the enjoyment of the book, but that doesn’t make it any less discouraging for authors. However, Sue from the excellent blog Sue’s Musings, has issued the call: let’s read and (and review, if you happen to be a reviewer) sequels this month!
Without further ado, here are some sequels that I think have continued a series magnificently:
Dead Man in a Ditch (Fetch Phillips Archive #2) by Luke Arnold- Review found here. “This is a fantasy like no other. It’s gritty and dark, but still has an undercurrent of hope running through it. It showcases how wonderfully broad the fantasy genre really is. “
The Reluctant Queen (The Queens of Renthia #2) by Sarah Beth Durst- Review found here. “The Reluctant Queen is an engrossing addition to the Queens of Renthia trilogy.”
The Crossover Paradox (Justice Academy #2) by Rob Edwards- Review to come. The Crossover Paradox raised the stakes and never let up on the gas.
A Kingdom for a Stage (For a Muse of Fire #2) by Heidi Heilig- Review found here. “I raced through this book, enjoying every moment of it.”
The Unready Queen (The Oddmire #2) by William Ritter. Review found here. “The series continues wonderfully, combining the fantastical with the everyday wonder of childhood.”
The Isle of Battle (The Swans’ War #2) by Sean Russell- Far from being merely a setup for book three, The Isle of Battle added so much to the storyline of the series! It also created a sense of urgency, which I loved.
Nectar for the God (Mennik Thorn #2) by Patrick Samphire- Review found here. “Once again, author Patrick Samphire crafted a book that is impossible to put down.”
The Bone Shard Emperor (Drowning Empire #2) by Andrea Stewart- Review found here. “Book two in the Drowning Empire series, The Bone Shard Emperor was a wild ride full of action, betrayal, and heart-in-your-throat plot twists.”
The Cursed Titans (The Tempest Blades #2) by Ricardo Victoria- Review found here. “The Cursed Titans managed to again bring a deeper meaning into an action-packed storyline. In this case, it was mental illness.”
Dragons of Winter Night ( Dragonlance Chronicles #2) by Margaret Weis and Tracey Hickman – More on Dragonlance found here. “I open the pages, breathe in the smell, and am immediately whisked far and away- to a place that I both love and appreciate.”
This month I am doing a Fantasy Focus on Romantic Fantasy. This is a subgenre that I have had a great time learning more about. Today I am privileged to have L. Krauch, author of the The 13th Zodiac series, talk about her experience with romantic fantasy.
While I classify The 13th Zodiac as “Final” Fantasy in aesthetic, it also has elements of romantic fantasy. The core of the story revolves around the two main characters, Jase and Liya, finding one another.
It begins with happenstance (or is it?). Jase Raion is set on a mission by his father, the King of Chall, to track down someone he was certain was dead. Low and behold, he finds her. Well, she runs into him and drops his apple in the process. What follows it is a whirlwind of longing touches, a distant prince who had been burned in the past, and a plot to not only end her life but all life on Gaea. I would say that The 13th Zodiac is Star-crossed lovers with a dash of One True Pairing.
When I set out to write The 13th Zodiac I didn’t do so planning to write a love story. It was just one part of a much larger story. Twenty years ago it was a comic book that mostly consisted of cute anime boys that my friends thought were hot. (Jase being the hottest, of course). But twenty years and one pandemic later, I sat down and wrote my first novel.
The love story within wasn’t the first thing on my mind. Yes, I wanted to get them together, but I wanted it to feel real and not just because they were meant to be. The hardest part I found with writing it was trying to keep it real. That the love between them grew in a natural way, and I wasn’t just throwing them together for a “Hey I just met you, let’s totally do it” type feel.
Jase is distant and scorned by an ex-girlfriend and he tries to keep his feelings hidden from even himself. While Liya does fall for the first guy she met that wasn’t her adoptive brothers. There are, of course, roadblocks in the way of them being together. Jiroo (one of Liya’s adoptive brothers) sees her as his, even though she would never see him the same. This causes a rift and puts into motion a series of events where the reader is actually happy someone is kidnapped.
Our lives tell stories just like we tell in our books. I drew from real-life inspiration for my romance and the obstacles within. Which also included some of the more negative sides to it (infatuation).
Romance can also be anything, from love between two people, the love between siblings (or in my case love from a sibling that is misdirected), love of family, and love of self. (Or even love of something dear to you) There isn’t one right way to write it. And it doesn’t always end in happily ever after. You do what feels right, and natural to you. Someone will connect with it on a level you never expected.
I certainly didn’t expect to write romantic fantasy, but after all was said and done I discovered I had. I always planned to get my characters together. I am glad I wrote it the way I did and wouldn’t try to change it.
About the Author:
The 13th Zodiac is an Epic Fantasy, slow-burn romance with a hint of Anime. Originally, L. Krauch wrote it as a comic book in high school. Back then, it was merely pages drawn on computer paper to bring smiles to her audience of thirteen. The problem was, it had no plot. Now, twenty years, and three kids later, she sat down, gave that plotless comic a plot, and turned it into a sprawling multi-pov fantasy novel.
Her day job is sticking things to newborns, and by sticking things to newborns, she means hearing screens.
In her free time, she hangs out with her black cat, Luna, and keeps three small humans from killing each other. She and her husband have been happily married for twelve years and originally met in an MMO. To maintain her sanity, she now writes. And she may or may not have a thing for apples.
This week my blog is focusing on romantic fantasy. I’ve had several wonderful authors kindly share their time with me, to talk about their writing and about romantic fantasy as a subgenre. Today, Carissa Broadbent, author of The War of Lost Hearts series, talks a little bit about the stigma surrounding romantic fantasy.
The strange, wonderful, ever-evolving world of romantic fantasy – or, stuff to think about before smack-talking romance books
Here’s the interesting dichotomy about fantasy: it pulls us into a world utterly foreign from our own, full of quite literally limitless possibility, and yet, the things that we connect most to in those stories are almost always the most mundane, human elements. The things that are larger than life marvel us, but it’s the things that reflect the qualities we see in ourselves that make us feel stuff. And hey, that’s what I’m in this business for: feelings. Lots and lots and lots of feelings.
My name is Carissa Broadbent and I’m an author. I’m best known for The War of Lost Hearts trilogy, which, at time of publishing, should have just concluded with the release of its third book, Mother of Death and Dawn! I am delighted to spend my days in the wonderful world of romantic fantasy – or, as I often put it, magic-and-kissing books.
But what does “romantic fantasy” mean, exactly?
What exactly qualifies? I’m going to start with the big caveat that no one has carved these definitions into some sacred tablets somewhere – undoubtedly, some people out there have very different definitions of what constitutes romantic fantasy than I do, and I’m in no position to tell them they’re wrong! But here’s how I define it:
Romantic fantasy books focus on a fantasy story and arc, and have a romantic element that is inextricable from that story – meaning, if you were to remove the love interest and romance, the story would no longer exist. That said, fantasy is still the primary genre, so the characters may go on epic multi-book arcs. A great example of romantic fantasy is Sarah J Maas’s A Court of Thorns and Roses series.
Closely linked to romantic fantasy but ever-so-slightly different is fantasy romance – in which romance is the primary genre, and the romantic relationship is the story. These books follow romance novel conventions and requirements in a fantasy world, meaning that each individual book gives each couple a HEA (happily-ever-after). A great example of fantasy romance is JD Evans’ SPFBO7 finalist Reign & Ruin, which you should read if you haven’t because it’s fabulous.
Most casual readers use these terms interchangeably, and anecdotally I’ve noticed the lines blurring between them significantly as the subgenres enter the mainstream.
Being an author active in the world of romantic fantasy in this era has, to put it lightly, been an interesting ride. It’s such a unique subgenre that straddles two very different worlds, at least one of which has a history of being, frankly, a bit hostile to its existence.
I know! Those are some strong words. Let me explain what I mean.
For a long time, romantic fantasy didn’t quite exist as a defined genre. SFF – particularly adult SFF — was seen primarily as a man’s genre, while romance is predominantly read by women. In the aughts and 2010s, young adult fantasy exploded, and it was here that many women found the female-led SFF stories that they were unable to find in SFF shelves. Readership of YA SFF blew up, not only in teenagers, but with adult women who simply connected more with these stories.
There are, of course, a plethora of reasons why people read YA SFF during this time, and the breadth and variety of stories coming out of this genre go far beyond romantic fantasy. But, in general, a number of women turned to this subgenre during this time because it was simply where female-led or romantic fantasy existed.And that, my friends, created a vicious self-fulfilling cycle in traditional publishing, which went something like this:
Lots of romantic fantasy titles were published as YA.
2. Lots of adult women started reading these books because it was, largely, the only place that romantic fantasy existed.
3. As many of these readers grew into their 20s and wanted, to put it bluntly, sex in their romance novels, there was a brief push by publishers to create the subgenre of “NA”, or “New Adult”, fantasy – but it never took off, largely because bookstores were not creating entirely new shelves for this subgenre, and this seemed to reinforce the belief that there was “no market” for adult romantic fantasy.
4. But, there very much was a market! Publishers simply kept relegating it to YA. YA fantasy becomes the place where “girl fantasy” goes, while adult SFF shelves were left to more traditionally-male-oriented fantasy books. And because now, even adult readers of romantic fantasy had been trained to look in YA shelves for the sorts of stories they liked, it became even more difficult for adult-oriented romantic fantasy to break out.
5. More and more romantic fantasy titles are published in YA that are clearly aimed at a much older audience, often with spicier sexual content than one might expect in a YA novel. A Court of Thorns and Roses, which has since been rebranded and re-shelved in adult, is a great example. But the downside is that now, so much of the money in YA publishing was in fact going towards elevating and marketing stories really intended for adults, while actual teenagers in the 13-16 range were increasingly neglected as the audience for young adult books.
6. Meanwhile, indie publishing really starts to take off, and romantic fantasy finds its footing as a genre that thrives in an indie environment not bound by the challenges of traditional publishing shelving.
It’s only very recently – as in, within the last two years – that I’ve seen this cycle start to break, with books like Sarah J Maas’s ACOTAR and Jennifer L Armentrout’s From Blood and Ash series now (rightfully) shelved in adult SFF.
But why did we face this problem at all? Why did publishers feel the need to create “New Adult” as a new subgenre, instead of moving these series to regular old SFF shelves? I can’t see into anyone’s mind here, so I’m theorizing, but… well, sexism probably had something to do with it!
The perception was that adult SFF is where the boys hang out, with their big chonky dragon books and grimdark stabby things and throne games. And those books are just so different from this girly stuff over here, with, you know, kissing and whatnot. No, those things aren’t for real grown ups.
Look, I don’t think anyone was sitting around twirling a mustache while scheming over these things! But I really do believe that many people felt that those two things were incompatible. And can anyone blame them? Historically, SFF circles have been a bit hostile to romance. Describing something as “like a romance novel” or “basically a Harlequin romance in disguise” was considered a blatant insult. I would frequently see SFF authors try to describe their romance plots as “not like other romance,” attempting to elevate their own work by diminishing the craft of romance novels. Many SFF readers and even authors made it very clear that they had little respect for the artistry or craft of romance books.
Of course, I will never ever fault anyone for personal taste – we all like different stuff, and life would be really boring if we didn’t! And so many of us – long ago, even myself included – have been trained by society to see traditional romance novels as “lesser than.” It’s such an ingrained perspective that I guarantee that most of the people who say things like the examples above don’t at all consider it sexist.
I’m thrilled to say that I have been seeing these attitudes shifting so much in a very short period of time. I was a bit nervous to enter my book Daughter of No Worlds into the Self-Publishing Fantasy Blog-Off, because I feared that I was putting my book in front of an audience that was simply not interested in what it had to offer, which is always a little scary as an author.
But not only did Daughter of No Worlds perform quite well, gaining a semi-finalist title, this was also a banner year for romantic fantasy in general in the competition! I was delighted that Reign & Ruin took a well-deserved finalist slot, and I have also heard the Legacy of the Brightwash, another highly-lauded SPFBO finalist, has a strong romantic subplot (coming up on my TBR!).
Even just the fact that so many SFF blogs – like this one! – are doing features on romantic fantasy says a lot to me about shifting attitudes towards romantic fantasy in the broader SFF community.
There is so much beauty in romances. I love the genre – in fantasy, and in every other subgenre – because it’s all about people connecting. And if you’ve never read a romance or romantic fantasy book, maybe it’s time to give it a shot!
A well-done romance novel is a masterclass in character writing. And those lessons are core themes that carry over into every other type of book – whether it be sci-fi, fantasy, historical, literary fiction… pick your poison.
After all, is there any more universal human experience than to fall in love?
About the author:
Carissa Broadbent has been concerning teachers and parents with mercilessly grim tales since she was roughly nine years old. Since then, her stories have gotten (slightly) less depressing and (hopefully a lot?) more readable. Today, she writes fantasy novels with a heaping dose of badass ladies and a big pinch of romance. She lives with her husband, one very well-behaved rabbit, one very poorly behaved rabbit, and one perpetually skeptical cat in Rhode Island.
Each month this year, I’ll have a week where I focus on a different subgenre of fantasy. Last month’s Fantasy Focus was comedic fantasy. This month I’m shining a spotlight on romantic fantasy, a subgenre that I don’t know much about. Thankfully, Dan Fitzgerald, author of the Weirdwater Confluence, is here to help!
Effing the Ineffable: Intimate Discourse in Romantic Fiction
Every so often, the discourse surrounding sex scenes in books gets my blood boiling. I’m not talking about folks who say they don’t like to read them, or that they skim them or skip them. That’s absolutely fine and wonderful. There are many excellent reasons why readers may prefer not to read explicit material, and no one needs to explain why it’s not their jam. People can like what they like.
I’m talking about something else: the idea that sex scenes are “empty titillation.” That they add no value to a book. That they “must advance the plot or characterization” or they should be cut. I would agree that sex scenes must show us something about the characters, but there’s this assumption that they generally don’t, which grates my cheese to the point that I’m writing this mini essay. In fantasy particularly, where readers often embrace all manner of horrific violence, why do scenes of intimate sharing cause such strong negative reactions? We seldom question the narrative value of graphic fight scenes or pulse-pounding chases, but sex scenes are somehow seen as extraneous?
Books tell stories and reveal character in a variety of ways, using different forms of discourse. We have narration, where we see descriptions of the world, often filtered through one or more character’s perceptions. What the writer decides to show and how they choose to show it communicates something important. Dialogue between characters shows us something entirely different, pure verbal communication, but often with little peeks at what’s behind their words, shown directly through revealing their thoughts, or indirectly through their gestures and actions as they speak. Gestures and actions can do a lot of narrative work even in the absence of dialogue; body language is just as expressive as spoken language. And body language in a public setting can be very different from what happens when two (or more) characters come together in an intimate setting, which is what has brought me to the keyboard today.
No one disputes that interior monologue or narrative voice play an important role in building character and story. The narrative value of dialogue speaks for itself, pun intended. And who doesn’t love the way the smallest gesture shows us a world of nuance that a thousand words of interior monologue could not capture? These forms of discourse are relatively easy to grasp, though they may be challenging to write effectively. But intimate physical discourse is seldom seen as such. We have this idea that what happens in the bedroom, or the couch, or on a pile of straw in an abandoned dragon’s lair, is somehow less of a means of communication than the others. Or perhaps we see it as communication but have been trained not to study it too closely, for fear of feeling voyeuristic or vulgar.
The way characters act and communicate in public can be very different from what they do in intimate spaces, or it can be quite similar. In either case, it shows us something important that hints at larger truths about them. Do they make the first move? Do they show confidence? Hesitation? Do they struggle with their inhibitions, or do they cut loose once free of prying eyes? Do they seek their own pleasure first, or that of their partners? Do they tease, dominate, submit, withhold, give in? Every moment of a good intimate scene reveals something about a character and their relation to others.
It is true that many of the things described above can be shown to some extent in non-intimate scenes, but there is something unique about what happens when two (or more) people exist in a space that is uniquely theirs. How fast and how fully can they strip away the expectations and roles society casts them into? Do they find freedom in this private universe to be someone they can’t be in the confines of the world at large? The way they move together, the way they express, with their bodies, the conflicting tensions and desires swirling inside them, all of it is discourse. It is communication beyond words of things that cannot be expressed verbally.
Sex scenes are a way of effing the ineffable.
It’s fine if you don’t like to read or write them. It’s fine if you hate them. Just don’t say they add no value to a story.
About the author:
Dan Fitzgerald is the fantasy author of the Maer Cycle trilogy (character-driven low fantasy) and the Weirdwater Confluence duology (sword-free fantasy with unusual love stories), both from Shadow Spark Publishing.
He lives in Washington, DC with his wife, twin boys, and two cats. When not writing he might be found doing yoga, gardening, cooking, or listening to French music.
This month’s Fantasy Focus is on the romantic fantasy, a subgenre that seamlessly combines magic, wonder, and romance. Today I’m happy to have Emmaline Strange, author of Crown of Aster, talk about her journey into writing romantic fantasy.
My journey toward fantasy romance was a weird one. It began, like many weird journeys have of late, in the dark days of 2020. Without going into the whole thing, because we all know how that year went, let’s just say it was rough.
I was home, out of work, scared in that vague “is the world going to end or am I just going to get used to it” sort of way, and scared in the much more acute way that came from several family members being hospitalized, and me suddenly in charge of everyone’s finances. Trust, anyone with me in charge of their finances—also terrified.
With not a lot to fill my days except a crushing sense of dread, a friend in a similar position suggested we make a writing challenge for ourselves. Both of us had advanced degrees in creative writing, and had spent a while doing precisely bupkiss with them. So we came up with a list of prompts, and pushed each other to write at least one thousand words per day, and fill one of the prompts. When I first began to write Crown of Aster—then known as The Aster Queen’s Court—I’d envisioned a set of loosely interconnected erotic shorts, each with a dreamy, faerie-tale like quality, with different couplings (or throuplings or…group…lings) in each segment. However, the first short I began with a guileless young human man stumbling upon the drunken bacchanal that passed for the fae court, I became hopelessly, irretrievably, ensnared.
Just like my character Nathaniel when he set eyes his faun prince. These two characters came together and gripped me in a way that I truthfully had never felt. The words flew, and soon the focus shifted from the Aster Queen to her son, Adair, and his love for a sweet and innocent human he encountered in his forest. Exploring their love story let writing become again a place of joy for me, one of the only ones in a very dreary time.
As the story began to take shape, and Adair and Nathaniel’s love story at its heart, I began to wonder what this final piece would really look like. So, I tried to guide these two boys into something resembling a plot. I Saved the Cat! , I Romanced the Beat, and found myself stuck.
I had about seventy thousand words of love, of sex, and yes, of magic. Seventy thousand words of two people coming from vastly different worlds and finding each other—and now that they had each other they wouldn’t let go. Based on my knowledge of the romance genre (very limited, at that time), I knew I had to give them some kind of Dark Night of the Soul ™, but Adair and Nathaniel really and truly would not budge from each other’s side.
I tried dozens of ways to break them up, and every attempt, every argument, every scene, every misunderstanding fell horribly flat. None of it felt believable—not for them. A few times I tried to make them discuss the challenges facing their relationship and they ended up taking each other’s clothes off and doing other things instead.
I truly don’t know how that kept happening!
So, I went back to the proverbial drawing board. What else could go wrong? What could test their love, put their relationship under serious, gut-wrenching strain and allow their Happy Ever After to feel earned, in the end.
I also went back to my roots. Like many of us, I cut my teeth on fanfiction. A lot of queer love stories took shape in the fan fiction world with some truly gorgeous prose (don’t hate). I don’t want to speak for others of course, but in my own exploration, I’ve found a lot of fantastic stories told that way because those beloved characters weren’t allowed that HEA in canon (See TV tropes “bury your gays,” for examples). They were killed off, broken up, vilified, or the actors baited us with their natural chemistry and the creators fanned the flames without actually committing to getting them together, only to slam dunk one of the lovers right into super hell right after his big confession in the show’s final season (Yes, Supernatural, I’m looking at you).
So a lot of heartsick fans took to online communities to write and read the stories these characters never got, for one reason or another. The stories had a lot of the “Plot” action of the original canon, but opened windows we did not originally get a chance to peer into. That really resonated with me, and when I started branching out and reading more original romance by queer authors, I found that they didn’t always follow the genre rules. In fact, more often than not, they didn’t follow the rules at all.
That’s when things really began to click with me. There was a whole scary world in that fae forest full of tragedies that would test them, full of other characters with their own agendas, magic and danger and grief and loss. A whole entire fantasy plot sprung up around this simple tale of two lovers from different walks of life, and how they bridged that gap to save their shared world.
If my characters didn’t want to follow the rules, why should I force them to? I didn’t want to follow the rules either! I’d sought some advice from more experienced authors, who said I needed to pick romance, or pick fantasy. Crown of Aster had too much romance for fantasy fans, and too much fantasy for romance fans.
Honestly before becoming so stuck like that, I’d literally never heard of the genre Fantasy Romance (or romantic fantasy) before.
There’s a lot of reasons I could go into for why self-publishing made sense for me, but I think that’s one of the biggest ones.
Like Adair when he found a sweet, neurotic human wandering through his forest and thought “Huh. That’s a whole-ass husband!” I simply did not want to let go, to surrender, I didn’t want to go with the bland expectations of the genre (or, what I understood at the time to be expectations of the genre. I have learned a lot since then. And by that I mean, found some amazing authors telling some truly beautiful and unique love stories).
In the end, I was truly just as stubborn as the characters I had been cursing for months. I kept all the sex, all the mushy gushy stuff, and the sweet kisses on forest hilltops. But I kept the sorceress nursing a four-hundred-year grudge, the undead shade, and the grizzly injuries too. Trying to wrangle characters can sometimes feel like herding cats, and I think sometimes, it takes a stubborn cat to get that job done.
Stumbling into this strange little niche genre was how I found my way back to writing. It’s how I found my way into the indie author community, how I re discovered my love of reading—I devoured over one hundred books in 2021, compared with less than five in each recent year leading up to it.
Where I hadn’t created work in years, I suddenly found myself with more ideas than I knew what to do with.
So, Adair, Nathaniel and I got there in the end, finding our own way through fantasy, through romance, to an HEA that worked for all of us.
Emmaline Strange is the author of Crown of Aster, A Walrus & A Gentleman, and the upcoming Mighty Quill. She loves to write and read about smooching. She lives in Boston with her husband, dog, and cat, all of whom she loves to smooch. When not smooching, she can usually be found doting on her plants, baking, or watching far too much television. Ms. Strange is a lover of all things nerdy, from Dungeons & Dragons to Lord of the Rings, to the MCU. She enjoys iced coffee, long walks on the beach, complaining about her feet after long walks on the beach, and long sits on the couch to recover from long walks on the beach. For updates on upcoming projects, come say hello on Twitter (@EmmalineStrange) where she’s always talking about writin’, readin’, and… well, not so much ‘rithmetic.
This week I’m focusing on comedic fantasy, that subgenre that reminds a person that not everything in life is horrible. D.H. Willison, author of several comedic fantasy novels, discusses humor in fantasy.
Hello! I’m D.H. Willison, and I love writing (and reading) humorous fantasy. Why? In contrast to real life, you never have to be funny on cue. Which I rarely am. Also you can edit. A lot.
Something many people may not realize about humorous fantasy is that there are different styles. In the before times, were you ever in a movie theater, broke out laughing, and realized you were the only one? I had a horribly embarrassing situation when I was on a long flight while sitting next to a rather elegant and proper individual. Who was very nice–we had a great conversation. Then as I was watching a film, I broke out laughing. And it was… well… not a particularly sophisticated scene I was laughing at. The individual in question was mortified. But I couldn’t stop laughing. Welcome to my life.
The point is, not everyone finds the same things funny, so as you learn about the various authors who feature comedic/humorous fantasy during this event, keep in mind that even within this admittedly very niche genre, there may be some that work for you, while others do not.
So what’s my style? Extreme and often outlandish situations, coupled with a diverse cast of characters. My world of Arvia is populated by giant mythical monsters, while my human characters are frequently marginally competent at best. Some of the mythic monsters are POV characters with vastly different perspectives and cultures than human norms. So you’ll find a lot of “throwing wildly different characters into a strange scene, and letting the sparks fly.”
Here’s an example. In this scene, Rinloh, a 35’ tall harpy, tries so very hard to make small talk with a pair of human villagers after mistaking their donkey for a light snack.
I see that I managed to surprise the two humans that were with this creature. A female human with long black hair in a single braid down her back, and an off-white cotton dress, has her back against the nearby willow tree, while the male, with light-brown hair and a maroon tunic, is on his back staring up at me. Oops. I might have accidentally knocked him over. But fortunately it looks like I didn’t hurt him.
“Please don’t kill our donkey,” the young male squeaks.
“A donkey? Is that what these things are called? Hmm… OK, but it looks far too large for you to eat. And why do you have it tied to the box? To keep it from getting away?”
“I… no… you see…”
The young male doesn’t seem very coherent, so maybe I’ll talk to the female human. Hmm. This “donkey” shouldn’t be able to get very far tied to the box, as long as I break off these pesky wheels to prevent it from rolling. I put it down, and can chase it again later if need be. I hop closer to the female, to see if she is able to talk any better than that male. Hey! This is the perfect time for me to practice speaking “human.” Darin told me all about the funny human greetings and customs and such. If I do it right, maybe she will be friendly and want to play with me! Let’s see if I can remember. He said it was considered rude to speak to someone if you are too far away. And when introducing yourself, it was best to tell them your name, and something about yourself.
I hop over to the willow tree that the female human has her back against, lean over so that my face is about at her level, and say in my friendliest voice, “Hi, I’m Rinloh, and I’m looking for something to eat.”
She just stares back at me with a strange look of terror in her eyes. Hmm. Maybe I didn’t remember the introduction correctly. Or perhaps I’m not close enough and I’m being rude. I need to think like a human. I had my face at the correct distance if we were both big, so let me lean in farther so that my face is about one of her arm’s lengths away. There, that’s the right distance for a human—she should feel more comfortable now!
She’s still just sitting there shaking and won’t respond. What am I doing wrong? Wait! She’s female. Darin said that human females like it if you compliment them. Maybe she’ll want to be friends with me if I compliment her.
“You look good!” I say, with a wide, friendly grin.
She starts crying. Now I feel bad. It’s hard to believe that Darin would be wrong about human greetings. Maybe they do it differently in this village.
That was just a misunderstanding, but one of the joys for me is if I’m able to blend a subtle social commentary, or get readers to look at things from a different perspective. The thing about fantasy humor is that it’s often not just about the humor. It’s about something else too. And it’s the incorporation of that something else that’s both rewarding and challenging. I often touch on themes of empathy, how people treat others, especially people (or creatures) they consider “lesser beings.”
A lot of things on my world are specifically designed to subvert some of the common fantasy tropes. Arvia is a dangerous world full of strange creatures, gnomes, elves, cat people, talking rodents, and all sorts of mythical creatures that are almost exclusively larger than humans. But many are not mindless beasts–they belong to whole societies of monsters, have their own issues and insecurities. So diplomacy and understanding tend to go a lot further than swords and fireballs. And there the fun begins.
Which brings me to one of the big challenges: striking the right balance between humor, and all of the other things that go into one of my stories. Have I made a scene too outlandish? Diminished the impact of a dramatic moment? But most importantly, are the characters still being themselves: conveying genuine emotions is my highest goal–I need them to feel like living, breathing people (or harpies, or mermen) with unique desires, fears, insecurities. And any humor should enhance this.
So, if I’m not able to be funny on cue, how do I go about it? Sometimes I have an idea for a scene or chapter that’s hilarious on the first draft, but a lot of my ideas trickle in after I let a work stew for a while. I tend to have a long edit cycle, and frequently come up with a new (and amusing) way to look at a particular situation. And finally, I love Easter eggs, references to characters in other media and other fun little details that perhaps not every reader would get at a first glance. Look closely, and you’ll find references to everything from classic mythology, to modern SFF, manga, and games both video and table top. Such as the LOTR quip in the map below (from Hazelhearth Hires Heroes).
Will my humorous fantasies tickle your funny bone? All of my books are heavily character-driven, with witty banter, and quite a bit of adventuring.
Hazelhearth Hires Heroes (hardcover here) is more of a classic tale of adventure with themes of trust, loyalty and found family. What, and for whom would you risk your life? Would they do the same for you? Does it matter?
The Tales of Arvia series (hardcovers here) is more relationship driven, or as one reviewer put it, “a quirky, strange, yet beautiful friendship and the exploration of the way we can be different, and yet still understand and love one another.” There are two books in the series, with a third being drafted.
And if you’re on the fence, why not take a free test drive. The first three chapters (no cliffhangers, promise!) of Love, Death, or Mermaid?are available here. This novella is a shorter adventure, featuring the search for lost pirate treasure, a not-so-little mermaid, and a cute, sweet romance.
Wishing everybody a brighter 2022!
About the author:
D.H. Willison is a reader, writer, game enthusiast and developer, engineer, and history buff. He’s lived or worked in over a dozen countries, learning different cultures, viewpoints, and attitudes, which have influenced his writing, contributing to one of his major themes: alternate and creative conflict resolution. The same situations can be viewed by different cultures quite differently. Sometimes it leads to conflict, sometimes to hilarity. Both make for a great story.
He’s also never missed a chance to visit historic sites, from castle dungeons, to catacombs, to the holds of tall ships, to the tunnels of the Maginot Line. It might be considered research, except for the minor fact that his tales are all set on the whimsical and terrifying world of Arvia. Where giant mythic monsters are often more easily overcome with empathy than explosions.
Subscribe to his newsletter for art, stories, and humorous articles (some of which are actually intended to be humorous).
This week I’m focusing on comedic fantasy. Today, I’m privileged to be able to feature Kyle Lockhaven, author of The Conjuring of Zoth-Avarex: The Self-Proclaimed Greatest Dragon in the Multiverse.
Comedic fantasy is kind of niche, and we kind of like it that way. Of course we comedic fantasy authors wouldn’t exactly scoff at the idea of writing best-sellers or buying luxurious beach houses with the money from our book sales, but I think most of us are resigned to the idea that such things are not to be seen in the crystal balls of this world. And now I’ve invoked the idea of the world having balls, and it’s only the first paragraph. Oops.
My path to writing humorous fantasy is a strange one. Not many people know this, but I started out my writing “career” many years ago. My first book was a serious story that fell somewhere in between Middle Grade and Young Adult. My second was an historical fiction, and my third was a crime drama type thing. I kept trying to find “my thing,” and although I loved each of my books, they all lacked…something.
My editor, and the few beta readers I had (my mom, brother, and one friend) all told me the same things. The best parts of my books were the moments of levity and humor. Also, I wrote a fantasy element into the crime story, and they said that part was really good. I had loved fantasy growing up, but, for some stupid reason, I was reluctant to write in the genre.
When not writing, I work as a firefighter at a nuclear site, and I always wanted to satirize the ridiculous governmental bureaucracy there, but I could never find the right angle. Then one day, I thought, “What if this site was here to conjure a dragon from another world?” The silliness of it really took me, and the ideas began to flow. I dropped the idiotic pretense and embraced the silliness of it all, and all of the fun fantasy elements, too.
I had been trying way too hard to be cool, when the best thing I could do was to just be the goofball that I was.
The thing is, I always loved comedic fantasy. Monty Python and the Holy Grail was and is the funniest thing ever, in my opinion. I love the silly social commentary, as well as the complete nonsense. And when I discovered Terry Pratchett, I realized that sort of thing could be consumed in book form, too. But the Discworld books were imbued with deeper meaning, and even more biting social commentary.
All (or at least the vast majority) of us comedic fantasy authors look up to Sir Terry Pratchett, the godfather of the genre. But we have branched off from him in so many different ways. I was heavily inspired by The Bartimaeus Trilogy by Jonathan Stroud, which manifested its humor through the snark of the titular (huh, huh) character. Most of the humor in my books comes from the interaction between characters who are being a bit snarky to each other. Other authors, like Sean Gibson, are kings of puns and clever wordplay, while others, like Bjørn Larssen, are able to somehow bind deep, philosophical topics together with the silliness, and others, like Quenby Olson, use subtle snark, societal observations, and fourth wall breaking to hilarious effect.
I am in the middle of posting a series of interviews about humor in books on my little blog. One of the questions I have asked everyone is, “On a scale from 1 to 10, what level of humor do you usually like to read?” The answers have varied, but I would say the average is right around a 4. That has made me wonder, what level does a book have to be at to be considered Comedic Fantasy?
Many people site Joe Abercrombie when talking about humor in fantasy. His books are the definition of Grimdark, but they’re infused with a lot of humor. I’ve heard people say the humor level is a 3 or 4.
If I had to be honest, I would rank my last book (The Conjuring of Zoth-Avarex) at a 7 or 8. And I fully realize that it is WAY too much for a lot of people. That’s one thing I’ve come to learn about writing humorous fantasy; it’s not for everyone. And that’s okay, because it makes me feel a strong bond with the readers who do like my humor.
It’s tough to “break out” as an author of comedic fantasy. One of the biggest success stories was Orconomics by J. Zachary Pike, which won SPFBO in 2018. Another was Kings of the Wyld, by Nicholas Eames, which currently has 3,697 reviews on Amazon. But those kinds of books are few and far between.
Personally, I’m happy to have any kind of following, and I hope to thoroughly entertain the readers I have found and have yet to find. I want to make them laugh, and think, and even feel while turning the pages of my books. I might not ever grab the world by the crystal balls, but I’ll have a lot of fun reaching for them. Er, let me try that again. I may never reach Mr. Eames’ level of success, but I will have a lot of fun reaching for it!
This year, I want to talk about some of the many types of fantasy you can find (I have a post about fantasy subgenres which can be found here). I think when people hear “fantasy”, their mind immediately goes to serious epics with swords, magic, and dragons. While I happen to love all of those things, there are many ways to tell a story. For the first of my Fantasy Focus series, I want to take a look at comedic fantasy.
Irreverent and witty, fantasy comedy often takes a humorous look at the fantasy genre, either creating new and entertaining fantasy worlds that focus on humor, parodying common fantasy tropes, or even poking lighthearted fun at specific works of fantasy.
Here is a list of some of side-splitting authors and some of the books they’ve written, in case you’re looking for suggestions on where to start! This is by no means anywhere close to a complete list of fantastic comedic fantasy authors that can be found, so please chip in with suggestions!
In case you missed them, I’ve posted links to this week’s interviews and guest articles as well. Enjoy!
This year has been an amazing one for reading! I was planning on doing a top 10 books that I loved in 2021, but I could only narrow it down to 20. Even that was a difficult thing to do. Eventually I managed to get down to 20 books, but it was hard! So, in no particular order, and after a ton of internal wrestling, here’s my top 20 books of 2021.
*These are books that I enjoyed this year, not necessarily books that were published in 2021.
If We Were Villains by M.L. Rio
On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it.
A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras.
But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent.
If We Were Villains was named one of Bustle’s Best Thriller Novels of the Year, and Mystery Scene says, “A well-written and gripping ode to the stage…A fascinating, unorthodox take on rivalry, friendship, and truth.” (taken from Amazon)
“If you’re looking for a book to suck you in and leave you floored, this one is for you.”
The Resurrectionist of Caligoby Wendy Trimboli and Alicia Zaloga
With a murderer on the loose, it’s up to an enlightened bodysnatcher and a rebellious princess to save the city, in this wonderfully inventive Victorian-tinged fantasy noir.
“Man of Science” Roger Weathersby scrapes out a risky living digging up corpses for medical schools. When he’s framed for the murder of one of his cadavers, he’s forced to trust in the superstitions he’s always rejected: his former friend, princess Sibylla, offers to commute Roger’s execution in a blood magic ritual which will bind him to her forever. With little choice, he finds himself indentured to Sibylla and propelled into an investigation. There’s a murderer loose in the city of Caligo, and the duo must navigate science and sorcery, palace intrigue and dank boneyards to catch the butcher before the killings tear their whole country apart. (taken from Amazon)
“A brilliant must-read for fans of books the include grimy, smog-filled streets, shady doings, and ridiculously fun characters.”
The last of a dying breed, a holy warrior must rise up against a growing darkness in Evelium.The most unlikely of heroes, a lowly itinerant mercenary, Umhra the Peacebreaker is shunned by society for his mongrel half-Orc blood. Desperate to find work for himself and his band of fighters, Umhra agrees to help solve a rash of mysterious disappearances, but uncovers a larger, more insidious plot to overthrow the natural order of Evelium in the process. As Umhra journeys into the depths of Telsidor’s Keep to search for the missing people, he confronts an ancient evil and, after suffering a great loss, turns to the god he disavowed for help. Compelled to save the kingdom he loves, can he defeat the enemy while protecting his true identity, or must he risk everything? (taken from Amazon)
“This book would make anyone fall in love with fantasy.“
Aram Raythe has the power to challenge the gods. He just doesn’t know it yet. Aram thinks he’s nothing but a misfit from a small fishing village in a dark corner of the world. As far as Aram knows, he has nothing, with hardly a possession to his name other than a desire to make friends and be accepted by those around him, which is something he’s never known. But Aram is more. Much, much more. Unknown to him, Aram bears within him a gift so old and rare that many people would kill him for it, and there are others who would twist him to use for their own sinister purposes. These magics are so potent that Aram earns a place at an academy for warrior mages training to earn for themselves the greatest place of honor among the armies of men: dragon riders. Aram will have to fight for respect by becoming not just a dragon rider, but a Champion, the caliber of mage that hasn’t existed in the world for hundreds of years. And the land needs a Champion. Because when a dark god out of ancient myth arises to threaten the world of magic, it is Aram the world will turn to in its hour of need.
” It isn’t too often that I call a book perfect, but that’s what Dragon Mage is. It is absolutely perfect.”
Exiled by her despotic brother, Malini spends her days dreaming of vengeance while trapped in the Hirana: an ancient cliffside temple that was once the revered source of the magical deathless waters but is now little more than a decaying ruin. The secrets of the Hirana call to Priya. But in order to keep the truth of her past safely hidden, she works as a servant in the loathed regent’s household, biting her tongue and cleaning Malini’s chambers. But when Malini witnesses Priya’s true nature, their destines become irrevocably tangled. One is a ruthless princess seeking to steal a throne. The other a powerful priestess seeking to save her family. Together, they will set an empire ablaze. (taken from Amazon)
“Savagely beautiful, The Jasmine Throne kept me riveted from the first page all the way through until the last heart-stopping moment.”
In the city of Agatos, nothing stays buried forever.
Only an idiot would ignore his debt to a high mage, and Mennik Thorn is no idiot, despite what anyone might say. He’s just been … distracted. But now he’s left it too late, and if he doesn’t obey the high mage’s commands within the day, his best friends’ lives will be forfeit. So it’s hardly the time to take on an impossible case: proving a woman who murdered a stranger in full view is innocent.
Unfortunately, Mennik can’t resist doing the right thing – and now he’s caught in a deadly rivalry between warring high mages, his witnesses are dying, and something ancient has turned its eyes upon him.
The fate of the city is once again in the hands of a second-rate mage. Mennik Thorn should have stayed in hiding. (taken from Amazon)
Review to Come
We Break Immortals by Thomas Howard Riley
The Render Tracers always say magick users deserve to burn. Aren couldn’t agree more, Keluwen would beg to differ, and Corrin couldn’t care less either way.
In a world where most people use swords for protection, Aren uses tools that let him see what no one else can see, and he takes advantage of loopholes that can undo magick in order to stop the deadliest people in the world. He is a Render Tracer, relentlessly pursuing rogue sorcerers who bend the laws of physics to steal, assault, and kill. But his next hunt will lead him to question his entire life, plunging him into a world where he can’t trust anyone, not even his own eyes.
When Keluwen finally escaped her fourthparents’ home and set out on her own to become a thief, she never thought she would one day be killing her own kind. She honed her magick on the streets, haunted by her past, hunted by Render Tracers, and feared by a society that hates what she is. Now she joins a crew of outcast magicians on a path of vengeance as they race to stop an insane sorcerer who has unlocked the source of all magick and is trying to use it to make himself a god.
Corrin is a sword fighter first, a drinker second, and a…well, there must be something else he is good at. He’ll think of it if you give him enough time. He is a rogue for hire, and he has no special powers of any kind. The most magick he has ever done is piss into the wind without getting any on himself. He is terrible at staying out of trouble, and someone always seems to be chasing him. When he gets caught up in a multi-kingdom manhunt, he finds himself having to care about other people for a change, and he’s not happy about it.
They are about to collide on the trail of a man who is impossible to catch, who is on the verge of plunging the world into ruin, and who can turn loyal people into traitors in a single conversation. They must struggle against their own obsessions, their fears, ancient prophecies, and each other. They will each have to balance the people they love against their missions, and struggle to avoid becoming the very thing they are trying to stop.
All they have to do is stop the unstoppable. Simple. (taken from Amazon)
“We Break Immortals has heart, humor, excellent characters, and violence aplenty. It’s the sort of book that plunges in and never stops to let you catch your breath. It is, in a word, badass.”
Linus Baker is a by-the-book case worker in the Department in Charge of Magical Youth. He’s tasked with determining whether six dangerous magical children are likely to bring about the end of the world.
Arthur Parnassus is the master of the orphanage. He would do anything to keep the children safe, even if it means the world will burn. And his secrets will come to light.
The House in the Cerulean Sea is an enchanting love story, masterfully told, about the profound experience of discovering an unlikely family in an unexpected place―and realizing that family is yours. (taken from Amazon)
“This book is wonderful. It’s comfort in written form. It’s a reminder that happy endings (or maybe happy beginnings) exist, often found in the most unexpected of places, if only we’re brave enough to look.”
Campaigns and Companions by Andi Ewington and Rhianna Pratchett, illustrated by Alexander Watt
Grab your dice and pencil, sit your pets down, teach them to play… and immediately regret your choices.
Hilarious collection of Dungeons & Dragons-themed pet jokes by acclaimed comics creators Andi Ewington, Rhianna Pratchett, Calum Alexander Watt and Alex de Campi
What if your pets could play D&D? And what if they were… kind of jerks about it?
If there are two things all geeks love, it’s roleplaying games, and their pets. So why not fuse the two? It’s time to grab your dice, dust off that character sheet, and let your cat or dog (or guinea pig, or iguana, or budgie) accompany you on an epic adventure! It’ll be great!
…unless your pets are jerks. (taken from Amazon)
“I got a Nat 20 with Campaigns andCompanions (those who know me know that I never roll 20s, so this is a momentous event).”
Jamie is a lonely, anxious kid when he has a run-in with a witch in a remote Somerset village. He’s almost forgotten about it thirteen years later when unpredictable storms and earthquakes hit England – and that’s the least of his worries. Suffering from anxiety, terrible flatmates and returning to his family home after his mother is diagnosed with cancer, he’s got a lot on his mind. But Melusine, the witch of flesh and blood, lures him back with the offer of cold, hard cash in exchange for his help investigating the source of the freak weather; something’s messing with the earth spirit, Gaia, and Mel means to find out who – or what – it is. As they work together, travelling to the bigoted Seelie Court and the paranoid Unseelie Court, meeting stoned fauns and beer-brewing trolls, Jamie must reconcile his feelings about the witch’s intentions and methods all while handling grief, life admin and one singularly uptight estate agent. (taken from Amazon)
“I loved the combination of ordinary and flat-out bizarre, the day-to-day grind and the unexpected.”
Goblinby Eric Grissom, illustrated by Will Perkins
A young, headstrong goblin embarks on a wild journey of danger, loss, self-discovery, and sacrifice in this new graphic novel adventure.
One fateful night a sinister human warrior raids the home of the young goblin Rikt and leaves him orphaned. Angry and alone, Rikt vows to avenge the death of his parents and seeks a way to destroy the man who did this. He finds aid from unlikely allies throughout his journey and learns of a secret power hidden in the heart of the First Tree. Will Rikt survive the trials that await him on his perilous journey to the First Tree? And is Rikt truly prepared for what he may find there? (taken from Amazon)
“Masterfully told and beautifully illustrated, Goblin is an unforgettable journey, full of both action and heart. “
Belfast, 1914. Two years after the sinking of the Titanic, high society has become obsessed with spiritualism, attending séances in the hope they might reach their departed loved ones.
William Jackson Crawford is a man of science and a sceptic, but one night with everyone sitting around the circle, voices come to him – seemingly from beyond the veil – placing doubt in his heart and a seed of obsession in his mind. Could the spirits truly be communicating with him or is this one of Kathleen’s parlour tricks gone too far?
Based on the true story of Professor William Jackson Crawford and famed medium Kathleen Goligher, and with a cast of characters including Sir Arthur Conan Doyle and Harry Houdini, The Spirit Engineer conjures a haunted, twisted tale of power, paranoia and one ultimate, inescapable truth… (taken from Amazon)
” The Spirit Engineer is an engrossing book that delves deep into the subjects of loss, paranoia, belief, and what can happen when a person’s beliefs are questioned.”
The Emperor is Dead. Long live the Emperor. Lin Sukai finally sits on the throne she won at so much cost, but her struggles are only just beginning. Her people don’t trust her. Her political alliances are weak. And in the north-east of the Empire, a rebel army of constructs is gathering, its leader determined to take the throne by force. Yet an even greater threat is on the horizon, for the Alanga–the powerful magicians of legend–have returned to the Empire. They claim they come in peace, and Lin will need their help in order to defeat the rebels and restore peace. But can she trust them? (taken from Amazon)
“… a wild ride full of action, betrayal, and heart-in-your-throat plot twists. Nothing happens as expected, and it’s fantastic.”
Charlie Hall has never found a lock she couldn’t pick, a book she couldn’t steal, or a bad decision she wouldn’t make. She’s spent half her life working for gloamists, magicians who manipulate shadows to peer into locked rooms, strangle people in their beds, or worse. Gloamists guard their secrets greedily, creating an underground economy of grimoires. And to rob their fellow magicians, they need Charlie.
Now, she’s trying to distance herself from past mistakes, but going straight isn’t easy. Bartending at a dive, she’s still entirely too close to the corrupt underbelly of the Berkshires. Not to mention that her sister Posey is desperate for magic, and that her shadowless and possibly soulless boyfriend has been keeping secrets from her. When a terrible figure from her past returns, Charlie descends back into a maelstrom of murder and lies. Determined to survive, she’s up against a cast of doppelgängers, mercurial billionaires, gloamists, and the people she loves best in the world ― all trying to steal a secret that will allow them control of the shadow world and more.
Review to Come
The Infinite Towerby Dorian Hart
Horn’s Company saved the world of Spira.
The Black Circle erased it.
Now Dranko, Morningstar, Kibi, and the rest of the team have a lot of work to do.
In order to mend their broken reality, the company must venture to distant Het Branoi — The Infinite Tower — in search of a third Eye of Moirel. Only then will they be able to travel into the past and stop the Sharshun from changing the course of history.But Het Branoi is a bizarre and deadly place, a baffling construction full of mystery and danger, of magic and chaos, with unexpected allies and terrifying monsters. Horn’s Company will need courage, perseverance, and more than a little luck if they are to find the Eye and discover the terrible secret at the heart of the Infinite Tower.
“Read this series for an escape into a fantastic new world, peopled with some of the best characters you’ll ever read.”
Kell Kressia is a legend, a celebrity, a hero. Aged just seventeen he set out on an epic quest with a band of wizened fighters to slay the Ice Lich and save the world, but only he returned victorious. The Lich was dead, the ice receded and the Five Kingdoms were safe.
Ten years have passed Kell lives a quiet farmer’s life, while stories about his heroism are told in every tavern across the length and breadth of the land. But now a new terror has arisen in the north. Beyond the frozen circle, north of the Frostrunner clans, something has taken up residence in the Lich’s abandoned castle. And the ice is beginning to creep south once more.
For the second time, Kell is called upon to take up his famous sword, Slayer, and battle the forces of darkness. But he has a terrible secret that nobody knows. He’s not a hero – he was just lucky. Everyone puts their faith in Kell the Legend, but he’s a coward who has no intention of risking his life for anyone…(taken from Amazon)
“Author Stephen Aryan crafted an incredible book in The Coward, one that provides an excellent view both of what the fantasy genre can be, and the complicated yet beautiful morass of life.”
An audacious novel of feminine rage about one of the most prolific female serial killers in American history–and the men who drove her to it.
They whisper about her in Chicago. Men come to her with their hopes, their dreams–their fortunes. But no one sees them leave. No one sees them at all after they come to call on the Widow of La Porte.
The good people of Indiana may have their suspicions, but if those fools knew what she’d given up, what was taken from her, how she’d suffered, surely they’d understand. Belle Gunness learned a long time ago that a woman has to make her own way in this world. That’s all it is. A bloody means to an end. A glorious enterprise meant to raise her from the bleak, colorless drudgery of her childhood to the life she deserves. After all, vermin always survive.
“This book combines fact, rumor, and creative license to weave a tale both unsettling and engrossing.”
Adam Binder has the Sight. It’s a power that runs in his bloodline: the ability to see beyond this world and into another, a realm of magic populated by elves, gnomes, and spirits of every kind. But for much of Adam’s life, that power has been a curse, hindering friendships, worrying his backwoods family, and fueling his abusive father’s rage.
Years after his brother, Bobby, had him committed to a psych ward, Adam is ready to come to grips with who he is, to live his life on his terms, to find love, and maybe even use his magic to do some good. Hoping to track down his missing father, Adam follows a trail of cursed artifacts to Denver, only to discover that an ancient and horrifying spirit has taken possession of Bobby’s wife.
It isn’t long before Adam becomes the spirit’s next target. To survive the confrontation, save his sister-in-law, and learn the truth about his father, Adam will have to risk bargaining with very dangerous beings … including his first love. (taken from Amazon)
” White Trash Warlock was a supernatural show-down combined with complicated real-life problems.”