Showing posts with label Epic Fantasy. Show all posts
Showing posts with label Epic Fantasy. Show all posts

16 Jan 2020

Guest Post with Julia Goldhirsh

Introduction

Hello everyone! Today I’m co-authoring a blog post with Julia Goldhirsh, a YA fantasy & fairytale writer. We met on Twitter and decided to combine our collective efforts for a bit. Enjoy! Oh, and make sure to check out our respective blogs: Julia Goldhirsh and Alex Stargazer.

How to pitch your book as the right genre

  1. See what types of people are interested in your book. Who wants to review the book, how old are they etc?
  2. Make a list of the types of tropes you have in your book.
  3. Search on Amazon to see what other books have those tropes
  4. Ask your readers how they would define the book. See what readers say about it during beta reading.
  5. Use the template below to help get started
  6. Look for novels that seem similar to yours and that have similar tropes. How do those writers classify their books?

Age of characters: 12-18 (Typically YA or MG) Time Period: Modern (Urban), Past (Possibly historical) Genre: Science focused, magic and sorcery focused, end of the world focused, love focused, etc.

You can see a further breakdown of genres here.

To craft your pitch

Grab them with the first line- A dark fairy tale with a twist. Introduce an enticing trope- At the turn of the 20th century, a Rapunzel in a greenhouse battles an evil nymph Leave them with something that makes them want to know more- with help from a messenger with a mysterious past.

Here is another hook that I’ve used- An enchanted Rose spellbound to a greenhouse prison.

How to sell books to bookstores

Some of the main things bookstores want when looking for books are retail discounts, ISBNs, and a price on the barcode. This makes selling your book easier for them and will make your book an easier sell in the long run. Here’s what I’d recommend so you can have those things for the bookstores.

  1. Ingram Sparks- Get on Ingram sparks. No seriously. Do it. It will make you a lot more palatable when you approach bookstores.
  2. Bowker- Purchase a barcode from Bowker and have your cover artist put the barcode on there for you. You can get your ISBN there too.

Alright, so now that you have that out of the way, here’s what you can do to reach out to bookstores. Note that this is not a one size fits all approach, but this worked for me.

  1. Library- Submit to your local library.
  2. Bookmarks and business cards-Have some bookmarks made and ask your local bookstores if you can give them bookmarks
  3. Barnes and Noble- Fill out the forms they provide on their website. They even offer the option to get your book reviewed through their website.
  4. Books a Million- Fill out the forms on their website. (They do not accept Print on Demand titles).

One thing I did was that I had some bookmarks designed and printed through Vistaprint. I contacted some local bookstores and cafes to see if they’d be interested in taking the bookmarks. Often when I went in a customer or two would ask about the book, I’d give them a short pitch and the customer would express some interest. This resulted often times in the buyer purchasing the book off Ingram.

If you’d like to see more of my content, you can sign up for my mailing list here.

Below are some pictures of my book in the library and on the bookstore shelves.

Alex’s Suggestions for Getting into Bookstores

To begin with, I second Julia’s suggestion regarding bookmarks, and this is something I will be doing myself. Bookmarks give you physical presence, author branding, and credibility. But let’s not forget the most important element: pitching your physical book to the manager. This is exactly what I did at WHSmiths, and it immediately grabbed the attention of the manager. At Waterstones, I was unable to meet the manager in person—and when I pitched him via email, it didn’t work.

Another suggestion, which won’t work for everyone, is Kickstarter. I have been able to successfully meet my funding goal thanks to the awesome folks at Kickstarter. What does this have to do with bookstores, you wonder? Again: credibility. It’s easier to convince a manager to buy your book if you can prove that you raised $1000 (say) for your crowdfunding campaign.

Your author branding should work to support your message—I intend to display the Kickstarter logo along with Fallen Love imagery in my bookmarks, for example.

Regarding which company you use to print your books (Amazon, Lulu or Ingram) this is a tricky question and one which I haven’t figured out yet. Julia thinks you should use Ingram, which is the traditional choice for getting into bookstores. But combining Bowker + Ingram has an entry cost in the hundreds of dollars, and that’s money that can certainly be better spent. Amazon has the best prices—but branding might be an issue. Lulu’s prices are too high, for paperbacks at least, to be realistic. Personally, I’ll plump for Amazon.

How About Genre?

This is easy if you’re publishing something in an already well-defined genre—epic fantasy, for example; thriller; or cozy mystery. Things get harder if you’re writing something a bit more unconventional like what me and Julia are writing. The general advice—shelve your book in the sub-genre of the main genre, so on Amazon that might be fantasy and then “LGBT Fantasy”—works if you know what your main genre is. It may be that you need to categorise your book in more than one genre. This is a case of experiment-and-see-what-works.

I learned this the hard way for Fallen Love. I always knew that, at heart, the story is urban fantasy: the young adult characters, the worldbuilding, the tropes—it’s the stuff of Cassandra Clare or Lauren Kate or (heck!) even Twilight. Yet I hoped it would also appeal to LGBT and Sci Fi readers. The jury is still out on the SciFi part (I don’t have a large enough sample of Sci Fi readers yet) but my experience with LGBT readers is that it’s more often miss than hit. As much as I love the relationship between Mark and Conall, the book has too much complex worldbuilding to appeal to M/M romance readers. For a reader who diets on contemporary gay romance, demons, witches and 26th century Europe are just too much.

You can guess I’ll be heavily promoting Fallen Love as an urban fantasy book before anything else.

Conclusion

So how does the intrepid author go about getting their book into a bookstore, and hopefully selling a bunch of copies? Both me and Julia agree on the business fundamentals: you need a good price and discount for your book; a well-chosen target market; and you should a physical product that communicates your brand. The author’s personal presence is often important as well.

If you have raised money in a crowdfunding campaign, or have already sold a decent number of books online, this is something to emphasise.

Julia Goldhirsh is the author of Spellbound, a fairytale spin on the classic young adult fantasy story. You should follow her on Twitter and Facebook or her mailing list to get the latest on her new books, special offers, and cover reveals.

Alex is an author of some excellent LGBT Urban fantasy books with hints of romance. His second novel is called Fallen Love and he has a scheduled publication date of February 1st 2020. You can check him out on www.alexstargazer.com and follow him on Twitter or Facebook to be the first to get updates on cover reveals, new books, and promotions.

8 Nov 2019

A Brief Essay Regarding Epic Fantasy

Hello readers!

Today I am sharing a brief essay (or perhaps “musing” is a more accurate description) regarding some trends I’ve observed in the epic fantasy genre over the past couple of years. Although Fallen Love is an urban fantasy novel, my first novel, the Necromancer, was definitely in this genre. It’s still my all-time favourite genre, as both reader and writer, and one I care very deeply about.

Thinking Big and Small

One of the trends I’ve observed in many epic fantasy books over the years is a tendency to go bigger and bigger: the world has to be bigger, the plot lines must be increasingly far-fetched, and the characters have to be bigger to accomodate the increase in bigness. Likewise, the word count of many epic fantasy books is becoming increasingly ridiculous—well-established authors are the big culprits, but even less well-known authors write manuscripts in excess of 150,000 words.

Guys, it’s time to dial it down a bit. Writing a 6-book series at 150,000 words a pop isn’t going to produce a better story. The great Scottish poet Robert Burns was praised for his ability to capture everything from the magnificence of a landscape, to the relationship between husbands and wives, all the way down to the life of a mouse—in only a handful of words. This is something that, as fantasy authors, we should try to emulate.

I’m not saying epic fantasy shouldn’t contain great battles, mighty dragons, or terrifying dark wizards. It wouldn’t be epic fantasy if it didn’t have the magic ingredients. But I also want to read about the little things in life—the wonder of a young boy as he discovers magic; a sweet romance; or the snappy comeback of an annoyed teenager. Heck, I even enjoy seeing the occasional joke in a fantasy book.

Speaking of Jokes...

Seriously, why is fantasy so dark these days? I enjoy a well-written grimdark novel as much as the next dude, but I also want to read fantasy that doesn’t take itself too seriously. Not in the sense that it can’t be serious literature—I do want to read about death, loss, politics, love and hope—but in the sense that it doesn’t have to show us gore, profanity, and bad sex to do it. (I enjoy a book with good, passionate sex in it, which is rare in an epic fantasy novel.)

Heroes and anti-heroes

This is another area where epic fantasy needs to wake up and do something different. The first fantasy books—ye olde fantasy by the likes of Tolkien, Le Guin, later Eragon and the Belgariad—popularised the trope of the hero. This hero is male (nearly always), young-ish, and a do-gooder.

Then a new wave of fantasy came along. The old heroes were deemed “cliché”, and they invented the anti-hero in his stead. The anti-hero is usually male, but sometimes female. The men are rough, violent, and not afraid of a little dirty work; the women are usually dagger- or magic-wielding super-assassins (yes, I’m looking at you, Mark Lawrence). The anti-hero can be found in most of today’s grimdark books by the likes of Joe Abercrombie, Richard K Morgan, and GRR Martin.

The anti-hero has become even more of a cliché than the hero was, I would argue. Or at least, the anti-heroes are not always as interesting as they are supposed to be. They suffer from the same problem as the heroes: lack of variety. The anti-heroes nearly always seem to be manly warriors or femme-fatales, and to my mind there are a lot of unexplored possibilities. What about dark magicians trying to do the right thing? Strong kings who gained their power through violence, but have to try and unite the nation against a much greater outside evil? What about arrogant elves who end up trying to save humans? Rebellious angels?

Show us imagination

This is my conclusion, and my advice to fellow fantasy writers: fantasy is about imagination. Let’s see more of it!

4 Nov 2019

The Vampire Eirik Cover Reveal

Hail readers!

I am excited to share with you today the cover for the Vampire Eirik, a short story which I am releasing this month, on November 23rd. Take a look! I also include the blurb to wet your appetite.

Readers say they’re “riveted” by “drama” and “exquisite sexual tension”. And the best part? The Vampire Eirik is yours for just 99 cents.

For Peter, a young, carefree engineering student, Norway means a chance for a better financial future — and the opportunity to see a beautiful landscape of fjords, primeval forests, and windswept peaks. A friendly vampire on the other hand — that’s just an unexpected perk.

Yet the landscape conceals a darkness, a hidden ferocity: nature is older than man, and it does not always welcome him. To survive, Peter will have to rely on Eirik. But Eirik is still a vampire, and nature always wins in the end…

A tale of friendship, intimacy and magic, the Vampire Eirik is a short story that’s perfect for bedtime reading.

What readers have said...

★★★★★ “I enjoyed the sexual tension between the characters, it was exquisite.”—Margaux, Goodreads Reviewer.

★★★★★ “I was riveted to the drama; it is my hope that their story has just begun.” —Teresa, Goodreads Reviewer.

The Vampire Eirik will be available not just on Amazon, but also on Smashwords and other major retailers, for (you guessed it) 99 cents. But, if you sign up with your email on the right hand side form, you can get it for free with the newsletter!

About the Story

I wrote this story years ago—I believe it might have been 2015 or more likely 2016. It was a side-project; a release for pent-up creative energy. At the time, I was having trouble trying to get a trade publishing deal for the Necromancer. The deal never came, but this story remained.

I postponed publishing it on account of the fact that I did not want to spend too much money getting a cover designed for it. I reasoned that if I hired a designer to do two covers—one for the story and other for my next full-length title—I would get a better deal. I was correct. Unfortunately, it took years for me to get to that point. It was partly my fault (I made a massive false start with the Ark) but I also wasted a year trying to—you guessed it—get a publishing deal.

Anyway, with Fallen Love complete, I got to work improving and revising the story. Based on feedback I received from another author, I removed a chapter and wrote a new epilogue.

How did the cover come about?

I worked with the same designer I did for Fallen Love: Hampton Lamoureux. (Didn’t you read the “package deal” part?) Right at the start, I told him I didn’t want any character design like I had with Fallen Love or the Sandman. Partly, because it would be more expensive. But also because I had a strong vision for what the cover should incorporate.

The story is set in Trondheim, Norway; it is late winter. Snow and ice is a very prominent theme in the book. Likewise, blood is very important—this is a vampire story don’t ya know? I realised that the contrast between the two would look brilliant.

I think my designer did a great job with the artwork, although the typography is 99% rather than 100%. Nevertheless, it is a better cover than I could have had otherwise, and I am proud to put it on my work.

Anything else?

I will post the buy links as soon as the book is on sale!

2 Apr 2019

Review: Epic Battle Fantasy 5 (RPG)

It’s hard to review this game, for me personally, because I’ve been playing the series for so long; this a game steeped in nostalgia, with a history spanning a decade and two spin-offs. This is Matt’s magnum opus—I don’t think he will ever make a game that’s bigger than this one.

Before I carry on, if you’re considering buying this game: do it. The executive summary is that Epic Battle Fantasy 5 is a great RPG—one of the best, even. And I’ve played a lot of RPGs, let me tell you.

The remainder of what I’m going to write is intended for other players and Matt himself; it’s my experience playing this game after having played EBF3 and EBF4. I’m not a hardcore gamer in the sense that real hardcore players would consider, but with 72 achievements under my belt (and a similar number for EBF4) I’m definitely not your average casual.

Let me begin by saying that this game is huge. It’s even bigger than EBF3 and 4, which were pretty big games in their own right. I’ve spent 100 hours on this game, and—unlike other games where a player can tally 100 hours or more—EBF5 is not repetitive. Pretty much every hour you spend on this game is fighting new enemies, discovering new areas and treasure. In fact, I’m going to say that EBF5 is too big: Matt has bitten off more than he can chew, and it shows.

I don’t like the new cool-down system. While it’s appropriate for some skills that would otherwise be abused, overall it functions less effectively than the mana points system. All of the players except Lance can spam the same skills over and over, without having to worry about running out of MP. Lance, on the other hand, is crippled by the fact that most of his skills—especially his best skills—have long cool-downs. I would have preferred keeping the mana system and having shorter cool-downs on some of Lance’s skills: zero cool-downs for bullet hell/antimatter/plasma, as well as machine guns + airstrike. MOAB and Unload should have cool downs of 3 and 2 turns respectively.

The summon system, which initially didn’t exist until EBF4, has gotten better, but is still a little broken. I love the mechanism of catching foes and summoning them in later battles. However, most summons cost too many summon-points, which makes them rather ineffective in battle. It’s no fun having bosses and Cosmic Monoliths in your summon pool if you only use them once in a blue moon. To fix this, I would have the party receive summon points every turn based on their level, in addition to SP from foes. I would also make the summon pool larger, or else lower the summon cost of the stronger summons.

I do love having NoLegs as a playable character. Firstly, he’s super cute. Secondly, he’s an effective fighter; I would say the most effective after Matt. His evade often saves him from attacks that kill Natalie, Anna or Lance; he has good support skills; and good offensive skills.

Finally, let’s talk story. What I loved about EBF3 and 4 was the storyline: it was so wonderful to see the heroes join forces to take on dangerous bosses and save the world. I loved the wit, the banter, and the meta humour. EBF5 has many of the same elements, but the story is not as good as it could be. Partly, it’s because the characters don’t know each other in this game, which is just a big setback for character development. The ending fixes this to some degree, but... I would have liked it if the characters got flashbacks or hints from their past.

It’s also a setback for the worldbuilding, especially since the new character—NoLegs—doesn’t have a story of his own. Who is NoLegs? Does he have feline family? Why does he fight other cats? What made him choose Matt and his friends instead of Godcat?

Then there’s another problem: EBF5 has certain problematic themes that don’t really belong in an RPG. It’s one thing to portray Lance as an anti-hero who wants to take over the world; it’s another to depict him with Nazi paraphernalia. The previous games used the iron cross, which is definitely not the same thing as the swastika-like symbol in EBF5. He’s still lecherous towards women, but lacks the humorous, endearing qualities he possessed in EBF3.

The music, by the way, is awesome. Phyrrna has outdone herself yet again.

In conclusion, despite all the negative feedback, I still loved playing Epic Battle Fantasy 5. This is still an awesome game. There’s a gravestone, actually, near the masoleum, which says: “Here lies Epic Battle Fantasy 6, along with all those who ask about it.” But I think Matt is wrong. We do need EBF6. It certainly shouldn’t be as long as this game, but I think the series deserves one more shot. At the very least, I would like to see some of the game mechanics be fixed.

2 Nov 2016

The Pierian Spring...

Hello readers!

Previously, I released the new cover of the republished edition of the Necromancer, along with a blurb and prologue—to tease you. I did not give a firm publication date; I said it would be soon, very soon.

You see, I have sent out a review request to several reviewers, and will be sending out several more over the coming days. I hope to gain a fair number of reviews, and high star reviews if possible; these are important for the success of the book. I am therefore hoping to have the new Necromancer out by the 10th November, possibly later—it depends on the reviewers. (Reviewers, as you can imagine, are as fickle as writers.)

In any case, while you are still waiting for the book, you can still follow the many intriguing writings here on the Magical Realm. Up today is a piece I consider particularly interesting: it is about the rules of magic in fantasy, and the important consequences that it brings for plot.

Too Much Knowledge is a Dangerous Thing

Going back over the Necromancer—by editing it, rewriting it, and thinking how I might remarket it—it occurred to me that the greatest strength of the book was that... one could never really tell where it would go. Every encounter was a mystery; it was always possible for something to go wrong unexpectedly.

Indeed, ‘things going wrong unexpectedly’ are perhaps the most compelling element of any plot. It’s what keeps your reader in suspense—it’s what surprises them and makes them want to read more. If the reader knew the outcome of 90% of encounters... well: what would be the point? No one would care to read the book.

And this is where the rules of magic systems become important. In a system where the rules of magic are clearly defined and unbreakable—then the outcomes of magic battles are clearly defined and unbreakable. And thus, as above, such battles become boring.

So what can the intrepid writer do? There are a few options:

  1. Keep the magic system deliberately vague.
  2. Make the magic system inherently uncertain. For example: the principles of quantum physics are immutable, but at the same time, uncertainty is inseparably part of quantum physics. A similar thing can be done with the principles of magic systems.
  3. Let the magic system have clear principles, but don’t reveal them all to your readers—leave them with just enough to try and puzzle it out.

There are some problems associated with all of these approaches, but (2) and (3) are—in my experience—superior to (1). The issue with the first option is that, by making your magic system vague, you end up with a world that doesn’t have any rhyme or reason to it. Why did x lose a battle to y? How does the magic system work? (Your readers will be wondering about this, trust me.) And most of all: what are the limitations of magic? Can mages move mountains or just pen knives?

The second and third options are superior, though not entirely perfect. The second option is attractive if you can pull it off—but it requires some quite complex magical principles, and may be difficult to visualise and implement.

The third option is what I took with the Necromancer. I was able to create a world with clearly delineated roles of magic, limitations, and relative power levels. At the same time the reader was always left in suspense—because the magic system was complex and never explained in full detail.

The take-away point here is that, as is often the case with fiction, you need not tell the reader everything. Sometimes, too much knowledge is a dangerous thing. Sometimes—a little ignorance can go a long way.

31 Oct 2016

Halloween, and the Necromancer in 2016

Happy halloween, dear readers!

Previously, I promised you that the Necromancer—the book I wrote at fourteen and published two years ago—would be getting a make-over. And guess what? Today is the day!

Okay, I must say that the new version is not on sale just yet; you’ll have to wait a few more days for that. But, you do get to see three pertinent elements of the new work: a newly revised blurb, prologue, and of course a brand new cover. While you ooh and aah over the new content (or at least I’ll hope you’ll be ooing and aaing) I will be busy getting a new series of reviews; expect to see them in the coming weeks.

Without further ado, here is the new cover and corresponding blurb:

In the frozen heartlands of the north, a dark force is reborn; his power is great, and his army swells with every monstrous recruit. In the Arachadian capital, Dresh, a string of mysterious kidnappings leaves the Great Mage puzzled. And in the mage academy of small town Renas, an unwitting apprentice is plunged into a quest: it will prove a fight for her life, a fight for the man she loves, and – ultimately – a fight for the future of the land.

Delve into this dark world of mystery and magic, of beings that walk the great forests and haunt the alcoves of the night; the necromancer awaits you...

And of course, I have also included the newly re-written prologue. If you wish to know more of the changes I have made to the Necromancer, well; you’ll just have to wait. Consider this a sweet taste of what’s to come...

PROLOGUE

The mage ran through the forest, and the necromancer followed.

Eiliara was her name. She was a fool. She told herself as much: You fool, Eiliara; you arrogant, stupid fool. Determined to uphold justice, you doomed yourself. You can’t fight him—you’ll die here, on this forsaken mountain. What the mage told herself was true, but still she carried on running. Perhaps she thought she could evade him—though that was folly, as any halfway competent mage would have told her. In reality, she ran because she was a Silver Mage, and Silver Mages never give up.

The forest around her is shrouded by darkness; the moon, a graceful queen in her empyrean abode, shines a pale blue light. The necromancer’s laughter follows her laboured breathing and tired footsteps. His is a dark laugh, a mixture of both arrogance and madness.

“Trying to escape me, mage?” The mage pays him no heed; she continues running.

Then Eiliara feels it—a terrible emptiness, a howling being of death, given birth through unholy magic.

The Wraith, for it can be no other, soon outruns her. It moves with an impossible grace; it moves unhindered by physical imperfections or moral bounds. It tries to grasp her in its lethal embrace—to consume her with darkness.

Eiliara’s spell is but a whispered word, and yet its power is undeniable. There is a searing flash of white. There is a bitter tang of ozone, not such as might be caused by a storm, but the taste of powerful magic. The Wraith screams, and then it implodes.

The necromancer is no fool, Eiliara; he sent the Wraith only to toy with you. Her words prove correct. There is a powerful gust of wind; the necromancer then appears before her, darkness pooling at his edges.

He was, Eiliara had to admit, rather beautiful. His jaw was masculine—a faint hint of stubble graced it, perfectly trimmed and subtly seductive. His hair was obsidian black, and gleamed in that pale moonlit night. His countenance was that of an aristocrat; his bearing arrogant and forceful.

“My darling mage!’ he begins. “To think you could destroy my faithful undead, and hope to avoid my notice. Your arrogance is remarkable. But I must admit,’ he says mockingly, “that I do find it intriguing. Are you brave, or merely stupid?”

“Spare me your insults, necromancer, and do not pretend that you yourself are not privy to the allure of arrogance.”

The necromancer laughs. “Ah, but you see, my arrogance is justified; for I am the most powerful wielder of magic in this forsaken realm. You, Silver Mage, are no match for me.”

“Let us see if your words mean anything,” the mage taunts. Her attack is powerful and without warning. The world turns white; her power slams into the necromancer. She attacks with spells—spells of fire, of thunder, and of magics beyond the ken of ordinary battle mages.

The light fades, and the efforts of her assault are revealed. The necromancer stands tall, his expression amused—perhaps even bored. His eyes glow an ethereal blue; they are alit by the unholy power of his dark magic, and the madness of his disturbed mind.

“Is that really all the mage academies could teach you? I fear I shall not be terribly entertained.” His words are not in jest; the power he unleashes cannot be underestimated.

At first he attacks with ice—a coldness so profound, Eiliara feels as if all the stars of Arachadia had been extinguished. Then he attacks with fire: a fire unearthly and blue. Then with blackness. It is a darkness absolute, an abyss into the dead lands, a precipice where life hangs dearly for its continued existence.

Eiliara’s wards shudder, and her power is exhausted. She had been trained to fight dark magics, of course: indeed she had been trained to fight anything. But none of her skills—her mastery of spellcraft, her cunning ploys, her subtle tactics—are a match for him. The necromancer was no ordinary meddler of the dark arts; his was a power perfected by many years, great skill, and staggering ability.

“So this is it,” she says.

“Indeed; but consider yourself fortunate. You, at least, shall not see the institution you so cherish be destroyed by my power.”

“Do you truly believe you can destroy the mage academies?” She intends the words to mock, but they only show her fear. Eiliara knew the necromancer’s power—and nothing seemed beyond him.

“I do, and you know full well I can. My undead shall rise and smite down the living. They shall destroy your corrupt administration and the injustices you perpetrate. Death will bring a new beginning: Arachadia shall see the dawn of my rule, and a new dynasty of necromancers will be born.”

“You’re insane.”

“Perhaps. You would not be the first to say as much, and I doubt you will be the last. Indeed I find your accusation quite entertaining. After all: it is you who live in gilded halls while the poor suffer in their slums. It is you who gaze imperiously at their downtrodden faces, secure in the knowledge that your power renders you immune to whatever revolt the peasants may devise.”

“But surely you know that the queen is responsible for this! She sets the taxes, not we.”

“Oh, I know, and rest assured the nobility shall perish with you. But you are complicit. Your powers are used to demand loyalty from the army, and ensure the continued rule of the Sovereign. I know; I was part of it, once.”

“Who are you?” Eiliara whispers.

“Don’t you know? I’m the necromancer. I’m the being forgotten; the love destroyed by the ambitions of a fool.”

“Are you...” Eiliara searches her memory. She had lived for many years—sixty in total—and recalled much. The necromancer’s identity was a suspicion; if only it could be confirmed...

“Are you—”

“Enough talk. Prepare to die.”

Eiliara focused all of her power on the strength of her wards, but she kept a tiny reserve—the very edge of her power—towards a different purpose. As the necromancer attacked, she sent out a message.

Eiliara died on that cold night. Her screams found no solace in the inclement face of the mountain, nor in the necromancer’s forgotten conscience. But her message found its way.

A darkness rises; a necromancer haunts the mountains of the north. Years ago, he was betrayed. His vengeance cannot be quenched. He must be stopped—and his progeny kept safe. I am Eiliara, and I will be no more. Let my sacrifice not go in vain.

21 Oct 2016

The New Face of the Necromancer (and Other Goings On)

Hello readers!

It has been awhile since I last wrote a new post here on the Magical Realm. The reason, as you know, is that I have been busy working to republish the Necromancer on its second anniversary. Nonetheless—you are by now, I am sure, bored of rereading old essays on liberalism and the Soviets. Today you are in luck; I have found a window of opportunity in my seemingly infinite pile of work, and I shall use it to brief you on all that has been going on in these past few weeks.

To begin with, the most pressing and interesting aspect of my work so far: the new face of the Necromancer.

The Necromancer, 2016

I have been a busy boy: I have written approximately 8000 words. Most of these have found themselves in the epilogue; the Necromancer has a new ending! I shall, of course, be secretive as to how exactly things have changed. What I can say? I have tied up several loose ends, and given Linaera an altogether new purpose in her life.

Aside from that, I have also rewritten the prologue. The prose is more fluid, and more cogent—one of my favourite beta readers has already commented favourably upon it. I hope that a more convincing prologue will, indeed, convince more readers to give the Necromancer a chance.

Aside from that, I have made notable edits to a number of chapters; and in the following days, I hope to have completed all of the edits I intend to make with the new edition. I shall not reveal too many details as yet; that will be for a later post.

The new edition also has various other miscellaneous changes. The Deathbringer, a sequel I considered writing, is not to be; therefore that excerpt has been removed and replaced from one in the Ark. I have also changed the preface and made a host of other minor changes.

But perhaps what will you notice most of all—particularly on publication day—is the new cover. Once more, this is hush hush. Rest assured that there will be a cover reveal day, however; and there you will see the new face of the Necromancer...

Scriptus

I have also written (and subsequently revised) two articles for Scriptus, the university’s student-run journal. Sadly, my second article—regarding my experience writing the Necromancer—will be published in then next issue on November. Thankfully, my article on Piketty’s Capital in the 21st Century is out today!

As you may know, I intend to furnish my journalism credentials over the coming months and years; I one day hope to write pieces for the likes of the Guardian, the FT, the New York Times, and other respectable publications.

Life in the Netherlands

The final part of this update will concern some observations I have made about the university here, and life more generally in the Netherlands.

I have already mentioned that university does not function like lower school: I have an irregular schedule, with no lessons on Wednesday and variable hours depending on whether a guest lecture is scheduled, whether I have a particularly challenging assignment due in, and so on.

I have also mentioned that I am not convinced of this system, and that impression has only been re-enforced. There is something to be said for regularity—for starting school at 9 (or preferably 10), having something to do for a set number of hours, and then going home. Such a system allows a lot of work to be done in a co-ordinated manner.

The university system, I have found, is flexible—but difficult to work with. I often find myself working well into the evening, and alternately having plentiful time on my hands. My sleep has suffered somewhat: I tend to sleep erratically from day to day. On a morning lecture, I will have slept about eight hours the previous night; on other days I will have slept ten. I am functional—the ten hour nights prevent sleep deprivation—but I am tired on some mornings, and oversleep on others.

Sleep is a common problem for young adults, alas. The best I can do is attempt a schedule and practise some good habits. I will, for one, open the curtains before I go to bed—for in the darkness I can sleep eternally.

As for the grading system, assignments, and tests, I have found them... reasonable. I am still getting to grips it with—an inevitable consequence of changing systems—but so far I have found it reasonable. I have scored the maximum grade, A, on most of my tests and assignments.

One strange aspect is that scoring above 82.5% will give you the maximum grade—regardless of whether you got 83%, 90%, or 100%. While such a grading system does not finely distinguish between very high performers, it has the more beneficial effect of giving me a certain margin of error. Trying to always score 90% would be exhausting; the lower boundary supports better mental health.

I must also admit that the marking schemes are somewhat foreign to me—although considering my strong performance, I hope I will not need to memorise mark schemes, as I was forced to do lower down in school.

As for the courses themselves, I have them highly interesting. Energy, Climate and Sustainability perhaps more so than any other: I find the boundaries between economics, physics and chemistry to be intellectually febrile ground. But this is not to say that my other courses are not interesting.

In Economic Thought, we have learned a great deal about the classical economists. In Academic Writing, I have the benefit of discussing the finer points of literature with the teacher. And in logic I was given a very interesting lecture on group aggregation logic—a topic with applications ranging from distributed computing to voting systems.

The Land of Milk and Bicycles

As for Holland itself, it is in many ways as I remember it. Dark and rainy, though beautiful when the sun shines. Amsterdam itself is not the most interesting European city architecturally (sorry Dutchies!), but it makes up for that with numerous beautiful parks, events, and plenty of shopping.

Although, I do detest its street signs. They are written in small font, kept hidden behind corners, and often have obscure and difficult names. (For example: Carolina MacGillavrylaan.) This makes it challenging to find one’s way, even with GPS.

The city is relatively compact—I can get from one side to the other by bike, although it can take up to an hour once traffic and faulty GPS directions are factored in.

I have also found Amsterdam unusually difficult—by Dutch standards—for bikers. This probably down to the large number of intersections, traffic lights, and the wretched motorcyclists. (Which really ought to use the road. And be properly regulated: they are tremendously noisy and polluting.)

Finishing Thoughts

I hope you have found my update illuminating. I am, as you can see, very busy. Assignments, lectures, bureaucracy, and the toils of moving all fall on top of my writing commitments. Nonetheless I am making progress; and soon, with luck, you will be able to see the new version of the Necromancer up for sale.

Until then, do keep following.

12 Oct 2016

Mr Stargazer, the Writer Plagued

Hello readers!

It is now approaching the half-way point of October. At the start of this month, I spoke of two things: firstly there were my plans to republish the Necromancer; and secondly, there was the news that the Magical Realm would only see old posts being bumped up. Both things have so far held true.

I have bumped up two posts that I thought merited your attention: my review of the Lady Midnight, and my popular post entitled On Editing. I hope that you found them to your interest, if you did not read them; if you already read them, apologies, but I have been extremely busy.

You see, I have done a substantial amount of work on the new edition of the Necromancer. There is a new ending! And—a rewritten prologue. Various other changes have been made; and more remain to be made. I hope to make some changes to certain elements of the story; to remove certain chapters that shouldn’t have been included, and to rework others that are in need of rethinking. I hope to have completed the work by the end of this month—and to republish the Necromancer by Halloween.

That said, however, this is no easy task. One reason for this is my move—due to various causes I am moving to a single room. This has uprooted me greatly; and I have spent much time and effort carrying furniture, clothing, and other victuals of civilised life.

I also needed to buy many things. A fridge, for of course the housing association had not bothered to include such a necessity. Nor did they bother to include chairs, or tables. I even have to buy a light fitting for the bathroom. It will suffice to say that my opinion of the housing association is poor—I will avoid the temptation to break into profanity.

On top of that, there has been university work, and working with the Scriptus editors to finalise my pieces before the deadline.

I have also submitted two collections of my poetry to two journals; I hope to hear from them soon.

So, as you can see, I am all too busy. You will forgive me—I think—for saying that I will be bumping up more old posts over the course of this month. After all, I still have a wardrobe and a bed to make, plus more pieces of furniture to procure.

But look at the bright side—you will get to discover many interesting posts buried deep in the archives, and at the end of this month, you will have the opportunity to read a new version of the Necromancer.

Until then, may the stars be with you. (And dare I say—may they be with me!)

12 Jun 2016

Nostalgia

Hello readers!

My previous post regarding my experience with my new(ish) smartphone proved ironic; the morning after the phone refused to charge. I don’t know why: there is no obvious water damage (the phone is waterproof in up to 1.5m of water), or any other clear explanation. There is also some odd screen behaviour.

Hopefully I will get these issues fixed under warranty.

This unfortunate issue aside, this post is concerned with something rather different. I have been feeling nostalgic as of late—for no other than my first novel, the Necromancer.

You could blame it on the fact that I have completed my AS retakes and, two days ago, my A2 philosophy exam. The latter went very well, I thought, and the former I think were fine also. But with four more exams to go, perhaps the lull has set my mind onto other things.

No matter. I have decided to make use of my nostalgia, and write a few musings on the worldbuilding of the Necromancer. If you’ve read it (or are simply curious) do take a look: I elaborate on a fair few things that didn’t get mentioned in the book.

Power

One of the things that struck me about the Necromancer’s magic system—and indeed magic-systems in general—is the vast differences in power between different mages doing different things.

Consider the example of a healer mage. Your typical Arachadian healer mage, working in a typical Arachadian clinic (for the wealthy) would encounter a number of minor elements in a typical working day.

Treating all these minor elements would not tire a healer mage much. They would still be quite alert at the end of work.

But consider a healer mage working in a battlefield hospital. Having to treat broken bones, severe bleeding, internal damage and other nasty injuries would be exponentially more difficult—the same mage would be exhausted after perhaps an hour or two.

And now suppose that they had to treat a patient hanging for dear life—multiple organ failure, infection by deadly disease, wounds caused by magic, etc. Treating a single such case could take as little as half an hour; but it would be the most difficult half-hour in the healer’s career, requiring intense concentration and a great deal of magical power.

Half an hour of that would be worse than two hours of treating broken bones.

Battle magic is even worse for this. The grand displays of magical fireworks that the Neshvetal, the eponymous necromancer, engages in exhaust even this (vastly superior) power within minutes. Whereas trivial spells, such as a rain shield, can be maintained for hours even by relatively weak apprentice mages.

Speaking of weakness, there are also vast differences in the individual power of mages. In the Necromancer, Neshvetal and his apprentice Leira are confronted by Linaera’s party (of which there are seven mages, counting Stella the healer and the apprentices Linaera and Sasha).

Neshvetal wipes the floor with Linaera and co. A great mage and an apprentice are simply not in the same league, even when the former is significantly outnumbered.

There are differences in skill as well. Neshvetal has had longer to perfect his skills than most people get to live. He is able to wield magic with a skill and ease that would seem instinctive, even trivial, although magic is a discipline that takes years of practice to attain proficiency.

Speaking of which...

The Life of a Mage

Linaera is an apprentice at a mage school. But the Necromancer does not actually go into a huge amount of depth into her life growing up.

The life of pretty much any mage is going to be cushy, but it is also frequently difficult and frustrating.

In the case of the former, the obvious element is wealth. Mages come from wealthy backgrounds; from parents able to afford the substantial tuition fees. Mages themselves are well-paid, whether they work in the military, in hospitals or private clinics, and even as enchanters. Skilled enchantry can fetch a handsome price, while all enchanters are given a stipend from the Arachadian state (enchantry being a valuable but oft-neglected magical discipline).

Even the rare mages that don’t come from privileged backgrounds—such as Mark—are still given free food and comfortable lodgings while studying (and of course can benefit from handsome renumeration after their studies).

Despite the privileged nature of magery, mages themselves are egalitarian among themselves. A Silver Mage—that is, a battle mage showing enough skill, experience and mental fortitude to earn the honour—earn little more than an ordinary battle mage. They value themselves in pride and skill.

Even the Great Mage is not paid like a lord. He is given the lodgings assigned to the Great Mage, which has been the same for some two hundred years. It is oppulent enough; but the Great Mage does not own it. It is passed down when he dies.

The Great Mage has maids taking care of domestic tasks, and can request just about anything magical regardless of price. But his personal salary is comparatively modest: a typical battle mage might earn forty or so gold pieces a year, while the Great Mage receives a hundred. This difference seems large, but it is much less than the comparable difference in power, and certainly less than, say, the CEO of Apple compared to a programmer working at Apple.

To put this into perspective, a farm labourer in a good year would make about ten gold pieces (though some make less).

But the life of a mage can also be frustrating. Young mages are admitted to the academies at around age twelve. To enter, they are tested for magical power (the most important test), and then are taught some magical exercises in order to prove that they can control their power (also important). On top of that they need to show good literacy, basic numeracy, and some knowledge of history and the sciences.

In the first year they learn no practical magic. Indeed much of the study has nothing to do with magic, being instead concerned with science: topics such as biology, anatomy, and physics are taught. This is interspersed with the basics of magical theory—the source of magical power, along with the various workings and limitations of basic spellcraft.

In the second year they are taught elementary magic, though only very basic things are meant to be learned. There is more magical theory, which is based on not only the magic learned in Year 1—but also on physics and biology, for these are important as well. And not for general knowledge.

A healer, obviously, needs to have in-depth knowledge of human biology. But any mage needs to understand the basic principles of physics: for ultimately, magic is subordinate to it. Young mages need to understand that their power is very much like an internal reservoir of energy: it is quite fixed, and easily used up. It takes time to refill.

Very low magical energy will leave a mage exhausted, or even put them into a coma.

Exactly why is not precisely known. Healers, however, have long believed that magic is an inherent part of a mage’s physiology.

Anyway, the point is that all this theory and no practice leaves many mages unsatisifed and bored. They hear (and see!) the amazing magic performed by the magery—as if it were child’s play—and wonder why they cannot do the same.

It is not until Year 3—when most mages are 14—that magic is properly taught. Why? A simple case of the power and danger associated with magic, and the typical maturity of a twelve year-old.

How Dangerous is Magic?

Those of you who have read of how Neshvetal raised an army of the dead, or of Nateldorth’s terrifying fireballs, would think such a question pointless. Of course magic is powerful and dangerous!

Nevertheless, there are again significant differences in what kinds of magic are dangerous. Necromancy is a particularly potent and frightening sort of magic, for it can raise powerful undead beings(revenants) in large numbers. The creation of undead also empowers the caster; this is why Neshvetal—already a very powerful mage—became nearly unstoppable.

But the magic of Nateldorth or Neshvetal isn’t really the norm. A lot of magic is harmless: illusions of butterflies, healing, rain spells and telepathy are obvious examples.

That said, battle magic is universally dangerous. Even a moderately skilled and able mage can cast fireballs. These may not burn through walls—as the Great Mage’s do—but are still easily capable of inflecting lethal burns on a human.

For this reason, magic is a highly regulated profession in Arachadia. Ever since its inception about 400 years before Linaera’s time, the High Academy of Magic, in Dresh, has had a monopoly on the teaching of magic, the accreditation of mages, and the disbarrement of mages.

Of course this monopoly isn’t perfect—any mage can find an able pupil and teach them. However, controlling the teaching of magic is very much in the interest of the Arachadian nobility. The occasional rogue mage (a very dangerous proposition) is enough to convince the magery to feel the same way.

Why Does Arachadia Have Soldiers?

Reading all this, you may be wondering why Arachadia bothers training and equipping soldiers—after all, can mages not simply obliterate them in a firestorm?

The reality, of course, is more complicated. While a battle mage can easily kill a squadron of soldiers, an army is a much more difficult proposition. Mages tire quickly. A few fireballs might end the lives of multiple soldiers, but the mage would be pretty spent after that.

And mages are few. The Centre (as it is formally known) that Linaera studies at has only about a hundred pupils. Even the Academy in Dresh has less than a thousand.

All in all, the records show that there are 7200 apprentice mages in Arachadia, and about 20,000 accredited mages. This is not nearly as much as the 150,000 soldiers enlisted in the army.

It also means that there can only be so many mages in so many places at one time. Plus, many mages are healers and enchanters rather than battle mages.

The Land of Arachadia: Some History

Some readers may also be wondering as to the history of the world Linaera inhabits. For how long have humans been in it? How old is Arachadia, as a sovereign nation?

The answer? Comparatively recently. Arachadia’s royal family dates back to around 500 years ago, although there were human settlements long before then. But not that long: a detailed examination of human habitation would find that the timeline only goes back some millenia.

The lands of Sacharia, to the south, have a somewhat longer history. There are earlier settlements there, and their sultans have seen multiple dynasties lasting the better part of a millenium.

But still: there’s no escaping the fact that humans are only a very recent addition to Arachadia’s history. Even the elves have not been around much longer. Arachadian scholars hypothesise that Arachadians may have originated from lands beyond the central plains.

Nobody knows where from. The islands of Ohn have been populated more recently than the central plains, which would suggest that Arachadians did not sail from the eastern ocean.

The north is barren and hostile; a handful of accounts from a few determined traveller-mages speak only of mountains, and then ice. An endless expanse of ice.

The west is covered in forest, and populated by shape-shifting tribes. Whether humans migrated from there in some long-ago era is entirely plausible, but no one has had much chance to dig there—the shifters don’t allow many visitors.

The southern desert is considered the best candidate. The Sacharians do speak of an expanse of water in the far-flung south of their desert, but this involves travelling for months across dry desert. Some scholars say this makes mass-migration from there impossible, but other scholars—experts in archaeology and the study of the elements—believe that the desert wasn’t as dry in those distant millenia.

There is no mystery about one thing, however. The dragons were there before us.

The Dragons

The dragons are all but extinct in Linaera’s time: there are only a handful of adults left. They live in self-enforced exile in the mountains of the far-north.

But some four hundred years ago, conflict ensued between humans and dragons. The dragons—thousands then—were proud and keen to assert their dominance over increasingly advanced human civilisation. They wanted tributes in livestock and gold, and even the attentions of the healer-mages.

The humans of Arachadia initially accepted this, but soon resented the dragons’ greed and often senseless cruelty against people.

Three hundred and fifty years ago, war began. With the formation of the Academy, humans proved successful in driving the reptiles out of Arachadia and into the north. Magic was a key reason. Dragons could kill many with their fire, flew at high speed over long distances, and had the strength of an elephant, the bite of a T-rex and the claws to go with it.

But magic proved too strong an advantage.

Nevertheless, the war was bloody and didn’t really end for about two centuries. Dragons still performed raids on Arachadia, flying from the high peaks where no Arachadian army could follow. Indeed the war was only put to an end when the dragons attempted a particularly daring raid: flying over a thousand miles, they headed for Dresh.

They then turned and headed for Duvalos—then, as now, a major city. Thinking the Arachadians would panic and throw all their resources at protecting Dresh, they thought Duvalos would be easy pickings.

What they didn’t count on was that the mages had built teleportation gates between all the major cities, so that they could be where they were most needed. They were also able to track the dragon’s presence across the land. The reptiles never stood a chance.

An Aside: Money

Some reads have wanted to know more about the money system. Below is an explanation of the currency, from highest to lowest denomination.

  • Medalion. Gold medalions are issued as payment to merchants fortunate enough to sell to the Arachadian royal family. A gold medalion is worth six gold coins.
  • Gold coin. Normally the highest denomination of currency, gold coins are very valuable. The Great Mage only earns about a hundred a year; even the queen manages with only 2000 or so a year. Peasants make do with ten a year. A gold coin is worth twelve silver coins.
  • Silver coin These are actually much more common gold coins and many people in Arachadia are paid by the silver. That’s even an expression—paid by the silver, as in a not particularly well renumerated. A silver is worth twenty-four copper coins.
  • Copper coin is the coin you will most likely see in Arachadia. They are worth a modest but non-trivial amount of money. One thing to note is that they don’t like this:

Penny coin

But rather like this:

Danish Krone

  • 1/3 Copper. Used for paying for small items like a loaf of bread.

As you can see, Arachadian money is all denominated by factors of 3. However, it is quite confusing. As you go up the scale, each individual coin is worth progressively less in comparison: a silver is worth 24 coppers, but a gold only 12 silvers. But this trend doesn’t hold if you include the 1/3 coppers.

Closing Thoughts

Well; this has been a long post. Looking back I realised just how many things I never addressed in the book—partly out of inexperience, but also because narrative always takes precedence over worldbuilding.

If you found this interesting, why not read the book?

With that, I must leave you. Wish me luck for my exams, as well as for the long road of work I will have revising and writing the Ark.

9 May 2016

Exams, Elections, and Poetry

Hail readers!

You may be wondering where I have been and what I have been doing these past several days. It would be a fair question; I have not updated the Magical Realm in a fair while. As for the answer?

Blame it on a few things. Firstly, this will be my last update bar one before my A2 exams begin. Yes, it’s that time of the year. Yes, I have been revising. And yes, I am reasonably confident. But no, I hate exams.

Anyway, that’s the first reason. The second reason is that I’ve been writing on the topic of the EU referendum; I have a near 5000 word essay completed, and will likely be adding more to it before I publish it. I actually finished the essay a few days ago, but declined to publish it because the media was in furore over Livingstone’s Hitler comments and, later, on the local elections. Thus I decided it was best to postpone its publication.

Now that media attention is slowly returning to Europe, expect to see the essay pop up soon. Perhaps once my exams begin, since I won’t have time to do any blogging at all then.

There is also a third reason: I have been working on the Ark with my editor. I have written a synopsis (since numerous agents ask for one) and the editor has gotten back to me with comments on it. Then I did a couple of edits, and sent it back to her. Such is the process of editing.

As for the Ark itself, my editor claims—optimistically, knowing her recent track record—that she’ll read and assess the manuscript by May 16th. I’ll see how that goes.

Oh, and there is yet another thing. I have applied to two Dutch universities, and one—Amsterdam—has offered to do an informal interview with me on (who would have thought?) May 16th. Thankfully, it is via Skype and only about 20 minutes long. In any case: wish me luck!

But That’s Not All

Those of you who follow me would know that I am a keen political blogger (being a member of the Labour party and having written numerous pieces on Socialism and Social Democracy). Therefore, it would be strange of me not to give my analysis on the local elections, mayoral results, and the election to the Scottish parliament & Welsh assembly.

Firstly, on the local elections. The media, predictably, was in furore. Numerous pieces were published claiming that Corbyn was to be shown up for the disaster he is; one supposedly well-known academic even claimed that Labour was to lose 150 seats in the south of England. Numerous other apocalyptic predictions were rife.

It turned out that Labour retained pretty much all of its seats.

With that prediction shattered (a prediction which the media conveniently forgot about) another prediction was to be shattered. Labour was predicted to lose badly in the Bristol mayoral election. The Labour candidate won.

In other mayoral news, Sadiq Khan is now mayor of London. This is great for several reasons. One, it means London has a Labour mayor; a boost for Corbyn. Two, London has a moderate Muslim mayor (I’m not terribly fond of Islam in general, but Khan is a good role model for disenfranchised Muslims to look at). Three, that buffoon is no longer mayor. And four, the Tory candidate’s dog-whistle racism didn’t get him anywhere.

Nevertheless, there is some bad news and some disappointing news. The bad news is Scotland: Labour has done atrociously there, down to 19% of the vote—lower even than what it got in the GE. This is obviously very disturbing, and doubly disturbing considering that Corbyn is now at the helm of the Labour party (and therefore matches the leftwing policies of the SNP).

The answer to why Scottish Labour did badly is not one that I know. Not one many people know, I should think. There are a few plausible reasons. Firstly, the leader of Scottish Labour—Kezia Dugdale—is, from what I have heard, not the best example of political leadership the world has seen.

Secondly, there may be a case of credibility at play; the Scots may not be very impressed by how not only the English establishment, but even Corbyn’s own party, has treated Corbyn. The Scots who voted SNP this election may be thinking: why vote Corbyn when you can get Corbyn policies via the SNP—a party that doesn’t conspire to undermine its own leader by cavorting with the parties’ enemies in the rightwing press.

Thirdly, there’s the independence question, and potentially even the EU debacle. The majority of Scots (55%) voted against independence, but the SNP has 47% of the vote. So potentially more Scots have gone over to the Independence side. Why? Well, the EU referendum could be one reason.

I however am skeptical of this. I doubt the elections to the Scottish parliament were determined entirely by Independence politics seeing as to how only a referendum will actually make Scotland independent.

The Tory party also saw a modest increase in the vote up in Scotland (from less than 20% to 25% of the vote) which is potentially a result of either the Scottish Tory’s leader—which I frankly doubt, seeing her lack of political success in numerous elections before 2016—or more likely the Tories were voted for as an anti-Independence vote.

As for Wales, Labour kept its position as the largest party but lost some votes.

Strategy Going Forward

The first thing Labour has to worry about is Scotland. If Labour does not do well in Scotland come 2020, Labour will almost certainly not have enough seats to form a majority. It could go into coalition with the SNP, but that poses some problems (the SNP would be an anti-union party governing the United Kingdom!) There’s also the element of the rightwing press spreading FUD about the SNP controlling Labour behind the scenes, but I’m not entirely sure as to how effective this will be.

If Labour wants to be a firm Unionist party, it could pick up votes from the Scots who voted against independence (presumably the majority). Unfortunately, the anti-independence vote is split towards the Tories, Lib Dems, etc. So this may not be enough.

Alternately, Labour could take a more non-committal position. It could say ‘We’re not so sure of this independence thing, but ultimately it’s for the Scottish people to decide and only a referendum will decide the matter.’ So potentially Labour could pick up both pro and against voters.

But then, why will the Scots vote Labour instead of SNP? There’s not much difference in policy at all between us and them. Then again: Labour was the natural governing party of Scotland for decades. Perhaps if some of our MPs chose to shut up and stop attacking Corbyn for a while, the Scots may take us in higher esteem.

In any case, it’s clear that throwing mud at the SNP won’t work. They’ve run a competent administration implementing Corbyn-like policy. Throwing mud hasn’t worked in these two elections; and it won’t work with Corbyn at the helm, since it will reek of a) hypocrisy and b) general bad manners.

The Million-Dollar Question: What About Corbyn?

The media’s apocalyptic predictions did not come to pass. This should surprise no one with a brain. However, the local election results—in contrast with the mayoralties—don’t show a dramatic victory for Corbyn.

Partly this is because Labour did fairly well in the previous election, and because Labour is already the most successful local party by quite a margin (nearly two thirds of councillors and councils are Labour). This makes it difficult for Corbyn to really improve upon Labour’s position.

Also, analysis by the BBC would suggest that if people voted in the GE in the same way the voted in these elections, Labour would be ahead of the Tories (on 31% versus 29% for the Tories). However, these two elections are rarely voted on in the same way and by the same people, so it’s a bit of a moot point.

The one thing that is disturbing is that the Tories should, really, have gotten a thrashing. They’re in chaos over Europe; forced academisation is not popular with the electorate; and Osborne has already had to U-turn on working tax credit. Plus, Cameron and Osborne have been embroiled in the Panama debacle.

So, is this Corbyn’s fault? Maybe, maybe not. It’s a bit too early to tell, really. And the EU referendum could change a lot of things. My take on it? Let’s wait and see. Give Corbyn a chance before replacing him. But if Corbyn doesn’t do well—find someone more personable.

Conclusions

I have written a great deal on matters personal and political. Since I need to focus on my exams, you can understand why. Aside from the EU essay I will be releasing soon, this will be my last post until June.

I will leave you with a final little treat. A poem. It is based on plans for a future book, so do take a look. ;)

The Hinterlands

12 Jan 2016

2016 in the Magical Realm

Hail readers!

With the advent of the new year, I have decided to update you both on my personal situation, and on the plans determined for the Magical Realm in 2016.

Firstly, I am back in England once more. My foray to the Schwarzwald over (it having been otherwise pleasant if not for my unfortunate car accident) I am now back in school—and back to work. Although my A-levels do of course take up my time and efforts, I have nevertheless plans for 2016.

But before I go into that, why not take a look at my photos? I have taken photograhs of my skiing adventures; of an impressive cathedral I was fortunate enough to visit; and of the landscape of the Black Forest.

Now! Without further ado, here is a list of my goals for 2016 here on the Magical Realm:

  1. I am preparing an essay with Oli (on problems with Conservatism) and this I shall publish soon. It shan’t be my only political essay, of course, for the year; and hopefully Oli can join in others.
  2. I shall write more on current affairs.
  3. I shall continue writing the Ark. In fact: I may even decide to feature more chapters, particular scenes, and even feedback from early readers.
  4. The Magical Realm will, at some point, be getting an artistic make-over. The current ice-blue colour scheme (appropriate for the phantasmagoria of the Necromancer) shall be replaced by something more true to the Ark. Perhaps a Sci-Fi landscape will feature, or even—more boldy—something related to the protagonists’ romance. The Ark is a very blue novel in terms of landscape and phantasmagoria, however, and so it is possible the current ice-blue theme will be replaced only by an alternate sky-blue.
  5. Finally, I am considering extending the technical aspects of the Magical Realm to include a more dynamic interactive model as opposed to the current static one. Early plans include a home-page with a slideshow depicting various major posts (and comments) along with ‘news’ banner—to include e.g. where I am—as well as: a section of the blog where all book-related posts and published material are kept; a more interactive way to read and purchase my books; and even integration with social media.

Well, that’s it for now folks. Keep with me for my upcoming essay on Conservatism. And Happy New Year!

29 Sept 2015

Poem: The Lady and the Dragon

The interlude has been long. A week ago, I wrote on the Ark; there I discussed the direction of the plot, matters of writing, and other such literary deliberations. I also presented a new chapter, the last to be made public before the date of publication.

Alas, I have done little in the way of the Ark hence. The cause may be attributed to a case of the flu—an unpleasant virus it is, easily capable of sapping energy from even the most lively of souls.

But another cause lies with the topic of this particular post. I have completed an epic poem entitled the Lady and the Dragon; and I do not speak of it as an ‘epic’ lightly. It is over two thousand words and nearly five hundred stanzas in length; it is, to put it simply, pretty damn big.

Why, you ask? To answer that particular question, one need look at what this poem actually is: a story. A fairytale, even. It describes the journey of the Lady Stella, and her faithful companion, Orem the Dragon. It is in many ways the archetypal novel: an antagonist—or rather, a multitude of them: the Golden Prince and the Keeper being the most notable—contrives to wreak some evil, or are presently in some state of evil. The protagonists attempt to survive, but also to truimph.

For the Lady Stella and the Dragon Orm do indeed truimph. At no small cost to themselves, alas—such is the workings of any good tale—but triumph they do.

Before I present my analysis—why not take a look?

Read the Lady and the Dragon

Analysis

Here I shall refrain from providing an in-depth analysis; for to do so would require many words, and more time than I’ve permitted—curse this illness of mine. Instead, I will draw attention to (and provide clarification for) the most pertinent aspects of this work.

Chiefly among these is the evident metaphorical aspect to this fairytale. The Lady Stella is a woman, and a kind, tenacious one at that; but she is also a symbol of the oppressed. And who would be the oppressor, you ask? Well: that would be not the Dragon (hardly; and it would be terribly cliché) but the Golden Prince.

He—along with the real mastermind behind the plan, the Keeper—represents the patriarchy. The latter is not some crash caricature invented by certain contemporary self-proclaimed feminists (who indeed are professional offence-takers, not fighters for freedom) but rather: it is the truth. Behind it, there lies a callous king; a desire for power and sex, no matter how it be given; and most of all: an enduring disregard for human life and human suffering.

The patriarchy has subtler, more insidious forms too. Take one such:

‘You are no man, but a shadow;
‘A creature of ghastly evils done
‘Of dark words said by men to boys
‘And evil to good.’

Now, this being a mere poem, it does not concern itself with analysing the many and varied forms of patriarchy, the causes, the expression, et cetera et cetera. No: this poem serves merely to give an insight. Patriarchy can be insidious; it can embed itself deep into the minds of children (male and female alike) in a manner not dissimilar to a genetic disease.

There are other metaphorical plays; indeed it may be argued that the poem itself is actually one giant metaphor. In the beginning, Stella is imprisoned within a castle:

Forged of men’s cruel intent
Built of crude granite; its windows barred
Its walls high, and its gate impenetrable,
The castle secures the Rebellious One
Oh so very well.

The castle may best be surmised with the words: ‘Know thy place.’ If you are imprisoned within its confines, you are in effect trapped from interacting meaningfully with the world; from political discourse, ownership of the means of production, and from any meaningful kind of self-agency. Yes, Stella has some limited control over her body in her choice of fashion, for example; but being imprisoned, she is unable to, say, ride a horse.

The topic most pertinent, however, is not the castle but the Dragon. Who is he? We learn that his name is Orem, and that he once betrayed the Ways:

I am Orem, the Great Dragon;
‘I betrayed those evil Ways
‘And neither Keeper, nor King
‘Nor the many men of savage armies
‘Could break my vigil.
‘I cannot control, but I cannot be defeated.’

Beyond this, I shan’t say too much. He is certainly loyal to Stella—even as a dragon, free to roam the world, and immune from near all human depredation, he yet holds fast. He protects her from many a dark scheme and insidious plot, despite having no such obligation. On a personal level, he is a hero; a man willing to stand in her defence, no matter the cost.

On another level, he is perhaps indicative of some societal force. Not all men are power hungry patriarchs; and though many may be deceived by the patriarchies’ lies and corrupting words, few willingly choose to subvert women for personal gain or sheer sadistry. Orem may be that man who treats his wife well, despite whatever others may think or do; Orem is he who stands for the defence of the innocent, no matter the price.

Let us conclude by addressing one more important thing: their success. Somehow, Stella and Orem do defeat the Keeper and his acolytes. How? The cause is two-fold. Firstly, Stella fights. At times, her fight may seem futile; but it is her defiance that ultimately destroys the Keeper’s insidious powers.

And it is also Orem, the Dragon, that kills these purveyors of evil. Take from that what you will.

7 Sept 2015

The Machinations of a Writer, Part I

First in a Three Part Series on Software

This post has been bumped up, owing to extra detail; the follow-up post is located here.

As detailed previously, I am endeavouring to detail to you the many machinations of the publishing industry; and, specifically for today, the tricky matter that causes many a writer many a headache: software.

Text Editors, or Word Processors: Which Will it Be?

The default reaction of young, foolish writers—when confronted with the matter of recording their (no doubt) genius musings—is to run to their word processor: and that, usually, means Microsoft Word. And it seems a natural enough response, after all; for word processors are capable, often-times advanced pieces of software that are quite able to generate, say, an essay, or some other short piece of text.

The trouble with word processors, however, is not so much to do with their ability to handle large documents—a feat which they accomplish with but minor misshap—but rather, with the fickle heart of a writer.

Allow me to illustrate:

‘Alex!’ you cry; ‘whatever is this? It wouldn’t be... your book?’ Well, dear reader, that is in fact correct; what you see is the Necromancer, as it appears in paperback form. But I would draw your attention to something altogether different: LibreOffice writer, my word processor of choice.

Do you notice the formatting options—be it bold, italic, underline, superscript, and many more? Do you notice the plethora of formatting styles; the litany of sidebars, icons and menus? And now imagine, dear reader, how inherently distracting this mode of editing must be; how easily a curious soul such as I may become engrossed in the numerous minutiae of formatting (fonts, weights, leading, indents, footer or header page numeration, footer placement—dear God, I spent far too long on that—heading styles...) and become altogether diverted from that central quest. Which is, quite simply, to write.

This is not to pose a criticism of Writer; indeed, the program is merely fulfilling its role as a word processor: namely, to provide complex WISYWIG editing. But though word processors are in fact a necessary step of the process—as I shall explain—the first, vital stage of writing does not fall within their remit.

For that, one must look to an ostensibly similar piece of software—the text editor.

The Humble Text Editor

Aside from the evident distractions and complexities of a word processor, text editors bear another, more subtle advantage: that of reliability.

It is no secret—word processors, as an inevitable consequence of their abilities, are more prone to all manner of disastrous failures. Random freezes? Check. Input lag? Ditto. (That, I must confess, is particularly infurating.) And that’s not even going into other potential pitfalls, namely: incompatibility across formats (every tried sharing Word documents?), obsolete formats—imagine trying to open a document written twenty years ago (you can’t)—along with other, invisible syntax-level complexities, e.g. direct formatting preservation.

The alternative to this, of course, is plain text. In this, there is no ‘hidden realm’ concealed within the formatted appearance of a document; rather, plain text is the simplest human-readable syntax in existence. What is you see is, really, what you get:

Plain text has some rather significant disadvantages, however. In particular, plain text doesn’t support formating; a limitation that renders it useless for writing even this humble blog post, let alone the epics of Narnia.

‘But Alex!’ you observe; ‘Are you not using plain text at this very instance?’ I am indeed... but this not ordinary plain text. Rather, it is the creation of a wonderful man (whose name eludes my memory, sadly) and goes by the name ‘Markdown’. What distinguishes this ‘Markdown’ from mere plain text is that of markup formatting: italics may be denoted by asterisks on either side; likewise bold, through double asterisks; and even paragraph styles can be incorporated, using direct HTML.

Thus, I am able to include my precious formatting. Markdown is of course an intermediate format, in that the asterisks don’t create actual italics; however, it may easily be converted to HTML—a format that is easy to manipulate and further convert—through the ingenious markdown script.

Gedit—my text editor of choice—appears deceptively simple, but conceals many a feature. One of this is the ability to run scripts (such as markdown...) and to employ them in ingenious ways. For example:

Through this, I am able to convert this Markdown into HTML—all via a few clicks. Unfortunately, this particular feature only works in Linux, and Macintosh systems; Windows users are left out in the cold. This is not due to Gedit so much as Windows’ less than stellar ability to handle scripts. It is one of the many reasons why I recommend the so-called ‘alternative operating systems’.

EDIT: concerning Markdown, a new Gedit plugin has recently been released; it allows something called syntax highlighting, along with easily previewing your markdown document as it would appear in HTML. Here is an example:

A Question of Operating Systems

My OS (to use the acronym; brevity, I adore thee) is one Ubuntu Linux. Writers, of course, use many operating systems; some adore their Macs, whereas others hold fast to Windows. Ubuntu, however, is likely the best candidate for the task of creating tales. For one: it is really quite beautiful.

The value of beauty is not to be underestimated. It can bequeath to a writer that sense of phantasmagoria, that view into the unseen realm; and, furthermore—who likes ugly screens?

But there are also numerous more—how shall we say?—practical considerations involved. Take non-ASCII characters; or, to translate from jargonese, pretty much anything that’s not on your keyboard. How does one write smart quotations? Or dashes? What about diacritics; ‘Deriën,’ as I like to point out, isn’t the same thing as ‘Derien’—there’s a distinct lengthening of the /ɪ/, for one.

It is true that word processors can ‘autocorrect’ formatting, in many cases (albeit with limitations; try writing ’Tis). But writing non-ASCII characters involves long, tedious forays into the character map, otherwise; and, as I’ve mentioned previously: word processors are distracting, and dubious of reliability.

Ubuntu (and all distributions that employ the Gnome DE) have a solution: the compose key. This, simply, is a user-configurable key—right super in my case—that, once pressed, results in the OS absorbing inputs and creating new inputs based on set patterns. For example: writing compose, then hyphen three times creates an em dash. Genius, n’est-ce pas? Of course, one has to learn these key combinations... but they are remarkably intuitive. Quotations, for example, employ the simple flat apostrophe, preceded either by < (for the left starter quote) or >.

Another advantage—there are others, though too minor and numerous to save poor brevity in their mention—is the matter of font rendering. This affects Windows—Mac users, thankfully, are saved from this particular idiocy of MS. In any case: Windows employs what is known as ‘hinting’ to render fonts. This is a complex, technical process, but detailed simply: it forces pixels on the outer edges of a glyph into set squares, that match the physical configuration of pixels on a monitor. This removes the bluriness present on the edges of a glyph, allowing them to appear ‘sharper’.

Here: a demonstration.

As you can see, my wonderful Necromancer—formatted in the elegant Linux Libertine—appears suitably gorgeous unhinted; but when hinting is applied... horror ensues. This is due to the fact that Libertine is a font that isn’t specifically designed to be hinted; if it were, it would appear more like MS Calibri. Sharpened, slightly distorted, but overall enhanced.

The trouble is, hinting a font is a difficult and time consuming process. Invariably, many font designers would rather create beautiful fonts. Many of which, incidentally, are indeed beautiful; and which cannot be used to display text in Windows, or even to create printed documents—you can’t tell how the font is meant to look.

OSX does not apply any significant hinting; Linux—being wiser than either—allows you to choose. The default is the same as OSX.

(Incidentally, it is possible to disable Window’s font hinting using a third-party hack; but I’m not certain if the program even has an English version maintained anymore, and nor is it as capable.)

The Tricky Matter of Editing

‘Okay, Alex,’ you say; ‘suppose we’ve written our masterpiece, but now want to send it to the editor—what do we do?’ This question is more difficult than it first appears, for what Markdown cannot yet do—or may ever be able to do—is track changes. This is a valuable editing tool, and indeed you’d be hard-pressed to work without it.

Markdown, however, is flexible; and so, your manuscrupt a-written, you may proceed to convert it to your format of choice. This can be done via a number of means; I recommend pandoc, a flexible, able and simple converter. You will have to learn to use the command-line in order to peruse it... but it’s worth it.

Finishing Off

I have spoken at great length on this matter—even more than I may wish—but then, software can prove surprisingly troublesome without a suitable dose of expertise. I shall write more, in future—this is only part one, after all—on such topics as eBook creation, publishing formats, and more. Until then, keep following. I’ve poetry, news, and an essay on socialism a-coming...

31 Aug 2015

Review: As the Crow Flies

It is not usual for me to indulge in publishing my reviews here on the Magical Realm; however, this particular work was recommended to me by a fellow writer. I, perhaps foolishly, elected to accept. And as they say: unusual situations demand unusual action.

Therefore, here is my review of As the Crow Flies, by Robin Lythgoe.

‘Alex!’ you interrupt; ‘but what the Ark, and all the things you promised? Are there not essays, and poetry, awaiting?’

Well, dear reader: you would be right. I will soon update the Magical Realm with the aforementioned. And since you are no doubt wondering what exactly I’ve been doing these past many days, the answer would be: writing an article. I have sent it to one OpenDemocracy —a small online magazine specialising in human rights, along with foreign and domestic policy alike—which shall consider it within three weeks. Or so they claim. If published, I will inform you here.

And to allay your curiosity: it concerns the FPTP voting system employed here in the UK, along with why it’s a failure, and what to do about it. If OD does not deign to publish it, I will do so here.

As for the Ark: it is under work. I have a few more planning items to concern myself with—I need to ensure coherency within the Ark’s universe, along with a full and accurate portrayal of the world—and doing so will demand more of my time in planning. But rest assured that with 62 pages a-written, progress is respectable.

I will write another episode in the Fallen Saga when time and the fickle heart of my writerly muse permit. Until then, check out my review. You may even want to consider reading the work in question—but not before you’ve read my own book, the Necromancer. I insist!

As the Crow Flies was recommended to me. This is unusual: it is usually I who recommend books, especially if they’re my own. In this instance, the opposite occurred—I was recommended a book, the recommendee being none other than the author herself. I suppose she would be a little opinionated in that though.

Anyway: onto the book. It’s actually rather good—and I don’t say that lightly, being an angry competitor fellow writer. I was most immediately struck by the writing (indeed it was why I was so kind as to review this) so let’s start with that.

Writing

Robin’s style is a curiously formal one; it is rare that one finds formal writing—even in self-proclaimed literary fiction, let alone ‘mainstream’ works—which was, therefore, in itself unusual. It speaks well of my own less-than-casual style. But enough of me!

Robin’s style is also a descriptive one: the details of the world are described beautifully—everything from the ivory figurines, the various and eclectic jewellery, and the manner of the attire—and in wonderful depth. One can easily imagine the sweeping rooflines of Marketh, the vast and desolate fields of the darker country (I found it eerily reminiscent of the Welsh black mountains) and the frightening but awe-inspiring presence of the dragons. As you can perhaps guess, I was quite pleased about this.

What I wasn’t pleased about? The lack of genuine aesthetic prose. Oh, yes; the prose is detailed—and Robin isn’t afraid to bring out the loquacious and the asperity—but there’s never a poetic element to it, never a sense of fully escaping the pages and entering your heart.

Which is a pity. But, there you go.

Aside from that, the minutiæ of the writing and the execution are worth detailing. Robin’s prose inevitably favours hypotaxis over parataxis, though at times I wished there were more of the latter—it would have worked well in giving the dark country a truly frightening portrayal, and in giving a sense of impetus and energy to some of the action scenes.

In terms of pacing, all was good: there were never times when one was left with a sense of ennui, nor did the action ever overwhelm the senses. I would however point towards the end of the tale, whereby the anticipation and raw energy that should have preceded the finale was instead broken up by far too many minor action scenes. When the finale did come, it was somewhat of an anti-climatic start.

All of this, however, leads me to what is arguably the strongest aspect of this work: the plot.

Plot

As the Crow Flies begins with our darling protagonist—aptly named Crow—attempting to... purloin a certain jewel, from none other than one secret wizard: Baron Duzayan. To be honest, I think it a disappointing start to an otherwise excellent tale.

Yes: there was action. Crow’s powers of theft, espionage, and roof-climbing are really quite remarkable; more foolish souls might even think him possessed of magic, though that is of course nonsense. At least for now. Impressive though they may be, the beginning fails to distinguish itself from more common, less remarkable tales.

Why? Well, because there isn’t a hint of the true scope and power of this novel. Crow, for all his charms, is just a thief. And it is Baron Duzayan’s remarkable wizardly powers that ought be hinted at, and far more insidiously than Robin does. The blurb, also, falls fowl to the same mistake.

The beginning aside, the tale then progresses to have our darling protagonist beaten—I love a good beating; did I mention? It makes for excellent empathic bonding—and is then placed in a dark, deep, cell. Crow, as his namesake suggests, is claustrophobic. Suffice to say that it made for amusing reading.

Once the imprisonment is over, however, Crow is given an ultimatum: help Duzayan procure a dragon’s egg (apparently fictional) or die a miserable death owing to Duzayan’s poison. Thus, we proceed to the real meat of this book.

The journey that Crow undertakes is a compelling one. We travel across vast and (relatively) varied landscapes; we meet bandits, a curious mute girl, and a mysterious old seer; and Crow is forced to travel through a strange underground cave, where dark echoes of a tragedy continue unabated. Here, he is temporarily possessed by the ghosts of the ‘Ancestors’—people burned alive in a terrible war of many years past.

And this is where things start to get interesting. At first, the Ancestors do no more than allow Crow a strange form of magic; he is able to sense emotions, to feel conscious minds, and to detect dishonesty. Later, they begin to speak; to bring long-forgotten knowledge to fore.

I could detail many more fascinating events. I could speak of the dragon, the strange order of magic-wielding priests that guard it, and a great deal more besides; but suffice to say: As the Crow Flies never fails to keep one’s guard up. There is always hidden danger, always unfathomable possibilities; there is action, and energy, and all that it should be.

In short: it is the archetypal High Fantasy novel. And as befits this wonderful genre, the age-old qualities are there—there are creatures of myth and wonder, powers strange and otherworldly (literally), and of course: there are strange new worlds to explore...

World Building

If the plot impresses with its grandeur and its conviction, then the world building comes up short. Sure: there’s detail—there’s imagination, too, in the manner of dress, the architecture (mediaeval and exotic among it equally) and in the cuisine.

But there’s an element of originality that’s missing. There is nothing untowardly remarkable about the technology, or of the language, or even—yes—the architecture. The world feels like another mediaeval fantasy world. Don’t get me wrong: mediaeval fantasy worlds are great—I wouldn’t have written a book in one if they weren’t—but this one is just a little unexceptional.

The religion, also, is elucidated upon: Crow regularly thanks the gods of thieves, of luck, and all manner of other deities. But I would have enjoyed a stronger elucidation still; I wondered at how the temples looked, what manner of rituals they performed, even their creation myths. In short: I wanted more.

Still, I did enjoy the descriptions of luxurious items, of beautiful designs, and of all the things that gave this world detail.

Characterisation

Crow is a wonderful creation. He is at once intelligent, and charming; both boisterous, and thoughtful; and erudite, yet accessible. I found his eye for detail entrancing—and his wits admirable. Crow always seems to have a devilish plan in store; he is able plan, to calculate, and to execute daring stunts with great alacrity.

Tanris, his former enemy turned friend, was also wonderfully well fleshed. He possesses great determination, analytic intelligence (as opposed to Crow’s cunning), and he is also very... human. We feel the pain of an imprisoned wife as if it were his. His mannerisms are unique; he always has a glare, a snarl, a gesture of compassion—he is always quintessentially Tanris.

We are also introduced to a girl, who is mute. This is unfortunate. For a long while, all she does is tag along—at most she is a distraction, more often a nuisance.

But Girl (as Crow takes to name lackadaisically) is more than that. Her muteness makes her easy to dehumanise—her regular crying fits not really helping, nor her simple name—but as time progresses, we begin to learn that she is all too human. She lost her only relatives to a vicious bandit attack. And she cannot voice that trauma. Who would be surprised at her crying; who wouldn’t cry, with no other release?

Robin even goes as far as to create the vestiges of an incipient romance. Girl’s surprising abilities—she is a deadly marksman, a fighter, and also an excellent cook (we love a good cook)—certainly do account for this. Crow’s fearless antics attract her; Girl’s enviable competence attract him.

Is it love? Not yet. But maybe.

I have however noticed that there is a lack of female characters throughout. This is surprising—for a modern fantasy author, and a woman at that—but is not that inconceivable, seeing as to how the tale usually deals with wizards, barons, and the powerful. For whatever reason (be it cultural, physiological, or both of those) women generally don’t populate that section of the population—especially in what is effectively still a mediaeval world.

(I guess it would be more correct to call it an Early Modern world, but I digress.)

Speaking generally, Robin has a perchance for characterisation: she can detail characters through their subtle mannerisms, through their internal struggles, and through some apt description. I cannot fault her in this.

Conclusion

My thoughts have been somewhat confused through this review. Allow me to be clarify, therefore: As the Crow Flies is an excellent, though imperfect, example of High Fantasy. The plot begins uncertainly; but it grows to occupy the mind with feverish insistence, and culminates in a very grand finale. The characters are well-portrayed and human. The writing is formal, accomplished, though at times requiring a little revision—shorter sentences, more parataxis.

All in all, I am glad to have read it. I await the sequel; for dragons and dark magic, my appetite was always insatiable.

Rating: 4/5