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

3 Feb 2020

Fallen Love is finally here!

Hello intrepid reader!

I am delighted to announce that Fallen Love is now on sale! Head over to the Fallen Love page up top, or click the button below.

You can get Fallen Love as both an eBook and a paperback. What’s more, the eBook has Amazon X-Ray enabled, which lets you see useful information about characters and terms.

Thanks to my Kickstarter backers, I have raised enough money to promote Fallen Love and cover my expenses. So thanks a lot guys! This story has been a long time coming. After two publication date delays (first December, then January, finally February) it feels like a relief to finally have it out there. Read my story on Kickstarter

Next Steps

If you’re just reading this, why not head over to my Facebook page or my Twitter and stay up-to-date with everything going on. If you want to know when book #2 is out—and get a free copy of my short story, the Vampire Eirik—please sign up to the mailing list.

What I’ll be doing

I will be busy over the coming days and weeks with promotion, including guest blogging organised by the gals over at LesCourt & Vibrant Promotions. Aside from that, I will be busy with social media and advertising. The ads will start once the book has its reviews.

Wish me luck! It’s finally coming together.

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!

27 Sept 2019

Change is Coming

Hail readers!

Today, I have some more news for you: following the first consultation with my marketing advisor, I’m making some changes to my online platform. To begin with, I have a new Facebook page, named—curiously enough—Alex Stargazer Writes Books. I recommend you check it out! It contains sales links to my existing books, plus the new books when they go on sale. Eventually, it will also contain stuff like videos, photos of the new paperbacks, and so on.

The next part of my online platform is of course Amazon. That’s where I will get most of my sales, and where a significant part of my marketing efforts will be directed—this will involve keyword and category research, and eventually, ads. But as my marketing advisor explains, I need a solid base to begin with, so I have worked to polish my author profile. You can buy my books on there, leave reviews, and get the feed from my blog. The link is easy to remember: https://www.amazon.com/author/alex-stargazer

I have made updates to Goodreads as well, the most significant being that... Fallen Love is now on the Goodreads platform! This means you can add the book to your to-read shelf, and read the ARC reviews as they come in. It also means you can take a peek at the cover ;) I will be doing the cover reveal here on the Magical Realm very shortly. As part of the reveal, I will also explain the design: how it came about—including previous drafts!—and what the cover represents. Here is the link to the book.

Nor is the Magical Realm immune to the new agenda. I have already redesigned the colour scheme and background, but rest assured that more is coming!

Now, I must leave you, dear reader, for I have one more secret up my sleeve. I will leave you to guess at what it is... Oh, but before you do, why not sign up to my blog? Simply enter your email address up in the top right corner. I promise to turn it into a proper mailing list.

23 Sept 2019

Fallen Love is coming out!

Hail reader!

Following on from my previous post (“Publishing Woes and Other News”) I have some good news for you all: Fallen Love is coming out in December. This was not an easy decision to make, but I think it is the right one, and I hope you’re all as excited as I am to read my new book. It’s been a long time in the making.

Self-publishing isn’t cheap, of course—I am trying to get it done on a €1500 budget, which is basically shoestring. This is without considering the money I’ve paid for editing over the past couple of years, which comes out to about €850. The biggest expense (developmental editing, easily costing €2000 on its own) had to go. Even so, I have high hopes for this book, not least because of the awesome cover and my helpful marketing advisor.

Ah yes, the cover. I shall be revealing that very soon—I have one more little detail to finalise with my designer, which is why I am not showing it to you in this post. The new blog design, however, should give you a clue about the colour scheme and thematic elements.

I can, however, reveal the blurb, which you can also read on the page named Fallen Love, up top:

There are many kinds of monster that walk the Earth. Some are ugly. Some speak beautiful words through forked tongues. Some possess the grace of angels, and the hearts of demons...

Upperclassman Conall is rich, impeccably dressed, and set for a prestigious career in the Party hierarchy. He doesn’t lack for anything—except, maybe, love.

When he finds Mark, alone, abandoned and hurt, he doesn’t expect one act of kindness to alter the course of his life forever. For Mark is more than just beautiful; he has the spirit of a warrior, and his heart is divine. He has the power to save Ireland from the tyranny of the Party—or to to condemn it to something far worse.

Fallen Love is packed full of magical action, futuristic technology, and diverse characters. Demons and unscrupulous politicians face off against witches and ordinary, determined humans. If you like romance that’s dark and funny at the same time, this is the story for you!

What readers have said...

★★★★★ “This was an incredible story and I will be waiting for the next book in the series.” —Teresa, aka Fallen Angel.

Stay tuned for more updates! And before I forget to add, the publication date is set for 23 December. But if things go well, I may move it a bit earlier, so hope for the best!

8 Aug 2019

Review: the Queen of Air and Darkness

The Queen of Air and Darkness is a great book that just goes on for too long. Cassandra Clare’s third book in the series is over 200,000 words—and a fourth book, a short story, is coming. Can the plot really support going over half a million words?

The Queen of Air and Darkness is undeniably a stunning work of fiction: the vast array of characters, relationships, conflict and magic is enough to keep this poor reader awake till the dark hours of the night. To cover all this ground in a review feels onerous; I can only summarise the key points, and reflect on my personal impressions. I assume the reader has already read the previous two books in the series, as well as the Mortal Instruments books. You are going to have a tough time reading this book otherwise.

Characterisation takes up most of the immense word count; this is partly a good thing, and partly a bad thing. Emma and Julian are great characters, of course, and we’ve come to know them well—the devoted and protective Julian, so beautiful yet so tortured; and fierce Emma, trusty Cortana at her side. There are many, many other characters in this book, however. Some, such as Jace and Clary—or my favourites, Alec and Magnus—are well-loved favourites from the Mortal Instruments. In fact, let me be honest: Alec and Magnus broke my heart, in all the best ways.

The remaining character cast is not as important to the narrative, but still take up too much “screentime”, so to speak. The number of pages dedicated to Drusilla and Jaime/Diego; to Rayan and Divya; Kit and Ty; and yes, even to the Mark–Kieran–Cristina nexus, is out of proportion. It slows down the plot, and weakens the story. Emma and Julian are the real protagonists in this tale.

Don’t get me wrong: I enjoyed Mark, Kieran and Cristina’s relationship immensely. It’s rare to get a bisexual love triangle in a fantasy book! Even so, I feel Cassy drew out their subplot way too much. Every romance story needs to have a reason for why two (or three) people can’t be together—and the biggest problem with any romance story is when those reasons become contrived. These three were like a seesaw: always up, always down. At some point you have to wonder: “Why don’t they just get together already?”

The plot is certainly interesting: Cassie has woven twists and turns between the angst-driven relationships, and her skill as a plot writer is, by this point, undeniable. The problem, really, is that there’s just too much—the story loses focus and starts to confuse the reader. The real antagonist is not Annabelle Blackthorn, as the title alludes to; it’s actually Horace Dearborn and his Cohort. Nor was it Annabelle in the first book (Malcolm Fade gets that honour).

I’ll try not to spoil this too much, but in part two of the book, Emma and Julian head to an alternate dimension known as Thule. I think this was probably a mistake for the story. This section seems separate from the rest of the book—aside from a few plot points, the entirety of this section could have been removed without affecting the main story too much. There’s some good characterisation, but the re-introduction (and subsequent death) of Sebastian Morgenstern is just anti-climatic.

The subplot between Kit, Ty and Drusilla is underdeveloped, because it does too little to affect the resolution of the story. Cassy could have given this rather important subplot much greater significance, with a bit of imagination: Livvy could have done something important in the final battle.

I would also like to comment on a few things that personally drew my eye. Cassy understands politics incredibly well—I almost wonder if she majored in political science or history at college. She’s certainly read the history books: the Cohort’s rise to power mirrors the Nazis, from the false flag attacks; the political theatre; and the Hitlerjugend. I also enjoyed the political realism displayed by the Seelie and Unseelie rulers; I think Machiavelli and Bismarck would approve.

Despite my criticisms of this book—really, it needed a better developmental edit—I still enjoyed the book tremendously. Emma and Julian are a great love story; Alec and Magnus are wonderful; likewise the Blackthorn family, which is one of the best examples of family I’ve read. The plot twists and turns, sometimes in horrible, unpredictable directions.

I will be reading the next book—a short story anthology named “Ghosts of the Shadow Market”—which will, at least, be shorter.

Rating: 4/5

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.

16 Jul 2017

Fantasy versus Science Fiction

Hello readers!

I have taken a break from my writing on Fallen Love in order to update to you on my latest comings and goings, including my now published essay, Fantasy versus Science Fiction: A Curious Divergence.

You may be aware that I wrote this essay a while back; I did so in order to submit it to a competition run by Issues in Earth Science. I subsequently won that competition—but some edits were requested, and it took a wee while until the essay was finally published (along with me receiving the money!)

Anyway, it’s here now: Fantasy versus Science Fiction

If you have any questions, comments, arguments, whatever—just put them in the comments section below. I always appreciate a bit of healthy intellectual debate.

In other news, I have read and reviewed two books—as usual, you can find them on the Reviews page, though for your convenience, here is the link to the book I enjoyed and the one I hated.

Now, I must return to my work. I will update you with my progress on Fallen Love, along with some photos of my time here in Vatra Dornei, in a few days. Until then!

4 Apr 2017

Twilight: A Review

Hello readers!

Although, as I have already warned you, I am immensely busy both with university life and with my continued efforts on Fallen Love, I have managed to find a window of opportunity for something else: a book review. As you may be able to guess, it concerns Twilight, that most hated—and loved—of vampire novels. Here are my thoughts...

The world’s most loved vampire novel; the world’s most hated vampire novel. Revered with religious zealotry by its fans—and hated with equal zeal by its detractors. It’s Twilight, and... well, I love it. But you already knew that. The question I want to answer is: why?

This question is not as simple as it may first appear. Many have been mystified by the enormous success of these books (according to the publisher, over 100 million copies have been sold) and while many explanations have been put forward, they are—to my mind—highly superficial. So: allow me to provide my own theory.

As you can guess, this review will not be written in the usual style. Normally, I would address the book from the perspective of plot and pacing; characterisation; setting; and of course, writing prowess. By this formulaic account, Twilight is a perfectly good book. The plot is strong and for the most part well paced (albeit a little slow at times). The setting—Forks: a grey, rainy, and strangely phantasmagoric place—is excellent. Characterisation is fine, with character roles being clearly defined and compelling. The writing is clear and occasionally poetic.

Since the critics are probably frothing at the mouth by this point, I will delay the onset of my main argument to counter the points they raise. First off: no, the writing is not bad. It is clear, well-punctuated, and successfully paints both the pallid landscape of Forks and the beautifully seductive Edward. To peruse some examples:

Phoenix—the palm trees, the scrubby creosote, the haphazard lines of the intersecting freeways, the green swaths of golf courses and turquoise splotches of swimming pools, all submerged in a thin smog and embraced by the short, rocky ridges that weren’t really big enough to be called mountains.
The shadows of the palm trees slanted across the freeway—defined, sharper than I remembered, paler than they should be. Nothing could hide in these shadows. The bright, open freeway seemed benign enough.

Regarding Edward:

His liquid topaz eyes were penetrating
He laughed a soft, enchanting laugh.

(You get the picture.)

As for the claim that Bella is an idiotic teenage girl dangerously obsessed with a killer: sure, that’s true in a very superficial sense. But I don’t think the critics are giving them enough credit. Bella is hardly a fool, for one; she’s intelligent, an avid reader of the classics, taking AP classes and planning on going to university. Edward is a vampire, yes, and a monster; but he is also selfless, urbane, capable of kindness, and willing to go against his nature in order to save human lives.

And this leads me nicely onto my main argument. The reason why Twilight has millions of adoring fans, and the reason why it draws such a storm of criticism, is the same for both groups. In Twilight, vampires are not cuddly. They may sparkle, they may be beautiful and charming—but they are monsters. Impossibly strong, indestructible to bullets, venomous; these abilities fuse together with something altogether more frightening.

Bloodlust. Vampires kill in Twilight, and they kill a lot.

So where does this put Bella and Edward? Meyer has a pithy set of lines:

“And so the lion fell in love with the lamb . . .” he murmured. I looked away, hiding my eyes as I thrilled to the word.
“What a stupid lamb,” I sighed.
“What a sick, masochistic lion.”

The beauty of this book—and what draws its readers in—is this conflict. Love and death; human and vampire. Edward isn’t seductive just because he’s beautiful (as every other vampire is). In the forest grove scene, quoted above, the answer is clear: it’s because he does, despite being a monster, try to hold onto his humanity. It’s why Bella—and the millions of girls and women in her feet—fall so hard for him.

Critics, of course, provide the superficial explanation that Edward is a girl’s perfect fantasy (in much the same way teenage boys fantasise about hot, available women). After all, Edward doesn’t pressure for sex; he’s charming, protective, and good looking.

All of this is true, but a problem remains for the critics’ account. Why haven’t other books that replicate the same—be it with vampires or any other male protagonist—failed to gain the same success?

Nor does it quite capture the nuances of this book. For one, the duo don’t have sex for the simple reason that Edward would kill her if they tried; but Meyer makes it clear that the attraction is sexual as with any other couple. Maybe Edward, rather than being Bella’s perfect fantasy, is simply a responsible, mature adult, much like she is.

And yes: Bella is an adult, not just a whiny teenage girl. She cooks dinner and drives her own car. She takes responsibility for her schoolwork, and shows a high degree of social awareness. Her poor co-ordination and obsessive interest in Edward is one that many girls of her age (and older) are familiar with.

This brings me, at last, to my conclusion. Twilight is a fine book from a formulaic perspective—it’s competently written (albeit not a work of poetry), the plot keeps the reader tightly engaged, and the characterisation is spot-on. But this book has a magic ingredient that goes beyond all that: vampirism, and more broadly, the line between monster and human.

Critics may scoff at it and dismiss it. They may provide convenient explanations for its success, and wrinkle their nose at its prosaic writing (even though it’s not really that prosaic, and is written better than many ‘literary’ novels that abuse the English language with their logorrhea). Ultimately, though, Twilight stands on its own legs: 100 million copies, four blockbuster films, and an entire social phenomenon.

15 Feb 2017

Conflict and Writing

Hello readers!

Alex must firstly apologise for the rather lengthy interlude in which he has not written here on the Magical Realm. You can blame it on his extensive responsibilities: university, his writing commitments in the field of journalism (firstly with Scriptus and now with Red Pers) and of course his work on Fallen Love.

Speaking of which, the topic of today will in no small part be related to Fallen Love. What am I talking about, you ask? I am of course talking about conflict. I intend to answer what conflict in literature is, and why it’s important.

So: onto business.

Defining Conflict

In principle, the definition of conflict ought to be a simple one: it’s when a character’s aims are being frustrated, and they have to engage in a series of actions in order to resolve this. A romantic conflict may involve resolving relationship difficulties; a paranormal conflict may involve coming to terms with supernatural powers; a historical book would likely involve political conflict; a thriller can be about beating the bad guys.

Nevertheless, conflict in a book is not always so straightforward. For one, it varies by genre—as you can already see, some genres tend to employ different kinds of conflict from others. For two, a distinction can be made between internal conflict (such as doubts about a romantic partner) and external conflict, which usually involves more obvious things like ‘catching the serial killer’.

Where it gets especially complicated is when the multiple types of conflict mix and interact. A character may struggle with inner conflict about identity, romantic passion, or his past; while, at the same time, struggling against an external force. Genre crossing is especially prone to this: a book that combines fantasy, mystery and romance will often feature three distinct conflicts, one internal, two external. The former would be sexual feelings; the latter would be uncovering a mystery and fighting off supernatural beings.

Now that we’ve established the ground rules of what conflict is, let us turn our attention to what conflict does.

Conflict in Fiction

Conflict makes stories. To put it simply: without conflict, there would be no plot, and no reason to write (or read!) a book.

This is the reason why I (and many others) dislike the genre sometimes named ‘literary fiction’. Any work of fiction requires an aim: something to which the characters aspire to, something that makes the reader bite their fingernails and anticipate the next page. Aimless literature is pointless literature. I’m not interested in hearing excuses about ‘oh but my characters are so developed’ or ‘but the world is such an interesting exposition into X’ or—my personal favourite—‘but I’m making social commentary!’

No. Developing characters requires putting them through conflict, and convincing conflict at that; it’s what tests their mettle and shows the reader what kind of person they are. World building is just expositional word vomit without plot. And as for social commentary? Please, write an essay.

Anyway, I am digressing. My point is that conflict is the essential part of a story—it makes plot, it develops characters, it breathes life into unfamiliar worlds.

Conflict in Fallen Love

So far I have written a general account of what conflict is and what purpose it serves. But now, I wish to address the question that is most pertinent to me: conflict specifically in Fallen Love.

You may have inferred that I am of the opinion that conflicts needs to be powerful; it needs to reach into the reader’s heart, and speak to their soul. To that end, Fallen Love has several avenues of conflict. There’s the romance—a Fallen and an Upperclassman, an unlikely and forbidden union. There’s the Party: a malevolent power, its eyes seeing all and its arm as long as the country is wide. And finally, there’s the supernatural powers; the darkness within Casey, the force that animatest the mutants, and the source of Kaylin’s magic.

The trouble is, you see, having multiple avenues of plot also involves multiple avenues of difficulty. Romance is especially tricky: it’s meant to be gentle, and passionate, but also fraught and problematic. The Party is meant to be evil, but rational. And as for the supernatural, well—they have their own agenda.

Striking a balance is no easy task. The book needs to be edgy and dark; but it must also have love and devotion. The light, and the dark.

Anyway, leave yours truly to battle his demons. The Magical Realm will see some more politics next...

Until then!

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!)

4 Oct 2016

A Review of the Lady Midnight

Hello readers! As previously stated, October will see old posts from the Magical Realm reposted. This review I published some seven months ago; I have no doubt some of you have not read it, so consider this a chance to get up to speed with more of my blog writing.

Ah, another day, another Cassandra Clare novel. Or should I say, another year, another Cassandra Clare? Sadly, the author’s writing speed is less than fantastic; which is a pity, but one ought remember the old adage here. Quality not quantity. And if we have to wait close to a year for the sequel, so be it; it makes the Lady Midnight that much sweeter.

Speaking of which, the Lady Midnight is indeed an excellent story. I don’t give out 5* star reviews for nothing, you know. If you want to know why, read on…

Some Background

I feel that before I really begin, I feel it is necessary to share some background into what exactly Lady Midnight is. Those of you familiar with the Mortal Instruments series will certainly know some of the characters—Jace and Clary, Magnus, and others all feature. But the Lady Midnight is concerned with other, hitherto more minor characters: Emma Carstairs and the Blackthorns.

Essentially, the story concerns the mystery of how Emma’s parents died, and if and how they may be related to the string of murders that have just occurred. That is the ostensible side of the story, anyway. But a great deal of the tale is devoted to Emma, and her parabatai, Julian.

The parabatai is basically a kind of bonding magic, held in the form of the parabatai rune, that allows the two parabatai to feel what the other feels; to draw stronger runes on their partners; and, in the case that they happen to fall in love—a thing very much verboten by the Clave—then they are able to wield a power more akin to warlocks.

Anyway, with that out of the way, let’s get down to the nitty-gritty.

Characters

The Lady Midnight excels in many areas, but here it shines most of all. The characters are—masterful. Simply masterful.

Emma, the chief protagonist, is portrayed down to perfection: she is a strong, intelligent, and perceptive woman. Not only is she fierce and rather likable, but Clare manages to capture her personality in her words, actions and thoughts down to a T.

Julian, her parabatai and lover, is more interesting still. He’s remarkably complex, conflicted, and compelling. At twelve years old, he effectively took responsibility for his brothers and sisters; he became, for all intents and purposes, their father.

The person who was meant to be taking care of them was, unfortunately, a lunatic. So not only did Julian have to take care of his siblings—but he also effectively ran the Institute.

To top it all off, his older brother was taken by the Hunt (which I can best describe as kind of like faerie Cossacks) and his older sister was exiled.

These experiences render Julian remarkably old for his age; he wields a maturity and foresight that would shame some adults, never mind a teenager.

What really strikes out from Julian, though—even beyond his maturity—is his love. Firstly, he loves his siblings; he loves them with an intensity that is poignant to experience, and gives the Lady Midnight a powerful family dynamic. But he also loves Emma; loves her as a parabatai, and doubly so as a romantic partner.

The combined effect of this can leave one rather breathtaken.

Beyond Emma and Julian, though, there are a number of immaculately drawn and compelling characters. Malcom Fade—a Warlock, and friends with the Blackthorns—has a curiously eccentric personality intermixed with a stranger, darker nature.

Mark Blackthorn, the exiled brother, is half-faerie and half-Shadowhunter. Both of his natures are captured expertly. He is at once the Shadowhunter: not only fierce, but caring, vulnerable and powerfully attached to his family. But he also the faerie; mysterious, wild, and strangely compelling.

I’ve already mentioned the family dynamic between Julian, Emma and the numerous other siblings within the Blackthorn family. But it’s worth making this point explicity: their family is a wonderful creation of sibling love, rivalry, and loyalty.

Aside from all this, there are a number of more miscellaneous elements I’ve picked up on.

Firstly, there are several gay and bisexual characters. There’s Mark; his lover; there’s Helen; and there’s even Kit, a character whom we meet in the beginning and the end. All of them have romantic feelings that are poignant and heartbreakingly romantic—Mark most of all.

I must, however, take issue with the number of gay and bisexual characters. Yes, I know some people will cry mutiny when I say this, but it’s true: gay people—of which I am one—are not common. Bisexual men are very rare indeed, but there are appear to be two of them in Lady Midnight, possibly more.

I love the fact that gay characters feature: but I’m worried that Cassandra Clare (or perhaps more likely Simon & Schuster) are using them as a marketing gimmick. Gay characters are at that strange border line between too controversial to be mainstream and too normal to be taken as particularly noteworthy. They’re controversial; they interest people. Which is great, but it’s not something I’d want taken advantage of.

Anyway, overall, the characters are a work of art.

Plot

The Lady Midnight is not a disappointing novel. The plot, while not quite perfect, is still worthy of my 5*.

The main reason why is to do with its varied and unexpected turns. You can never quite see where it’ll go; it’s as unpredictable as a snake, and just as dangerous. Every piece of action is fast and energetic—and slower scenes are suffused with expectation.

The plot is also paced well. There are no moments when the action begins to overwhelm, and nor does the tale ever drag to a juddering halt. Things progress smoothly.

If there’s anything that falls a little short, it’s really to do with the scope of the book. The Lady Midnight has a fascinating tale to tell, but I can’t help that it both lacks the scope and power of the Mortal Instruments series—and that this is because the real story is yet to come.

The Lady Midnight is to do with more than just the death of Emma’s parents. It’s to do with an ancient Shadowhunter Law; it’s really, at its heart, about Emma and Julian.

Still: considering that this is the first book, I think I can let Clare off the hook.

Worldbuilding

The Mortal Instruments was a fascinating, imaginative and compelling world; the Lady Midnight is no different.

The Shadowhunters are as interesting as ever. There’s something about their fierce, warrior-like culture intermixed with their harsh laws and religious adherence to virtues that inevitably draws the interest. And of course, their magic is fascinating—Clare’s magic-system of runes is both coherent and clearly defined, and yet still manages to surprise you.

But I find the Warlocks especially interesting. Maybe I’m just sucker for magic; for power that amazes and inspires awe.

There are also the usuals. Vampires feature, though only modestly, and so do werewolves.

The faeries are the last piece of the puzzle. The Mortal Instruments, in truth, didn’t really pay that much attention to them; they were more a detail rather than a key feature of the world. But the Lady Midnight brings out a world of faerie detail.

Their personalities are what I find especially grabbing. The faeries, as in the tales of old, are fickle and wild and dangerous; but they are also capable of love, and regret, and have a sense of what is good. If any of you reading have ever read Julie Kagawa, well; you’ll be right at home.

Writing

Cassandra Clare writes with eloquence and skill; there’s a great deal of imagery in the Lady Midnight, and it is… inspiring.

I was particularly fond of the descriptions of the desert—I had a powerful sense that Clare knew what deserts were like. More than that: I understood deserts, and I’ve never had the pleasure of seeing one.

This, however, would make Clare’s writing merely good. What makes it very good is the fact that it can bring a whole new dimensions to that which you thought you knew. The sea, for example, is a wild thing here: a place of magic, of the wild abandon of the elements, and of death.

It’s not quite brilliant. I’ve seen better. But, hey: I only require that 5* books be fantastic, not perfect. There is a difference.

Conclusion

I’ve decided it’s not worth boring you all with a long conclusion when, frankly, the message is simple. The Lady Midnight is a great book written by an obviously talented and experienced story teller. You’d be silly not to read it.

Still, it may be worth waiting. S&S have priced the ebook at £7, which seems a little high for my liking. Then again: if a bad book isn’t worth the paper it’s printed on, and a good book is worth every penny, then a great book is worth its weight in gold.

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