Monday, October 24, 2016

Bastard Reaction: Gunmetal Magic by Ilona Andrews

It was some years ago that I came across Ilona Andrews' interest in writing some spin-off novels in their Kate Daniels urban fantasy universe, a favorite of mine. As much as I would've liked to explore more of Kate Daniels' world, I was quite hesitant about a spin-off since, even though they have a myriad of great characters, I thought they'd have a tough time writing about someone who could measure up to that of Kate or Curran. I also recall that they looked for fan input to see which character we'd be most interested in; my choice was Julie (who I thought had a lot of potential). The one I wanted the least was Andrea... go figure.

Along came the authors' decision to write Gunmetal Magic, an Andrea-centric novel who's also Kate Daniels' best friend. I wasn't really excited about the news, in part because I really dislike Andrea's love interest Raphael in addition to my trepidation I just explained. It took some time to make peace with the idea, but I really got excited about this project eventually. I'm glad to say that my worries were for naught because Ilona Andrews wrote one kickass spin-off worthy of being included in their Kate Daniels sequence. As it happens, one of my favorites urban fantasy novels of 2012; best read after Magic Slays, the 5th Kate Daniels novel.

Gunmetal Magic follows Andrea Nash who's an emotional wreck now that she's lost her support, the rock she leaned-on in the form of The Order of the Knights of Merciful Aid ever since they found out she's a shifter. On top of that she's also dealing with her break-up with Raphael, which wasn't all that clean. She's been kicked out of The Order, dealing with her break-up, and due the particular nature of her shifting, she hasn't joined The Pack. For all intents and purposes alone with few exceptions. For the time being Kate and Andrea are working on their own new independent investigation company, and as "luck" will have it, Andrea has been hired to investigate some deaths at a location which Raphael is overseeing. And the fun goes from there.

Andrea's narrative voice is not that dissimilar from Kate's, which makes sense since they're not that different when you get down to the basics. And I'm not complaining. From that regard it brought some good continuity to the narrative style already present in the series. Andrea is a bit more unstable and emotionally expressive though, and more trigger happy...if you'll excuse the pun, which is good in my book.

I don't recall as much as I'd like since I read this 4 years ago (the above written back then as well), but I'll just say that I loved this novel. I thought the first half was stronger though, as Andrea was unhinged, kicking ass and taking names, including some sequences that are right at the top of my favorites in the whole Kate Daniels series.

I'll say though that I hate Raphael with a passion, not only his personality and his actions, but the actual character. More than that I hated how he influenced Andrea and changed her. There's a big contrast, at least to me, of the coolness and badassness when Andrea is by herself doing her thing, and her lesser form she somehow transforms into when Raphael is around. This was a big part of why I preferred the first half of the novel, since the later part featured their dynamic in a much more pronounced manner. Even more so when you compare it to the relationship of Kate and Curran, who are awesome by themselves but just as good (if not better) when they share a scene.

Needless to say, Raphael has been on my list of characters that need to die since his introduction.

Andrea is a good enough character to surpass these perceived limitations, and I'll certainly welcome another story about her. It certainly surpassed my expectations, and if not her, another spin-off novel might be more than welcomed...*cough* *cough* non-YA Badass Julie #FreeJulieLennartDaniels *cough* *cough*.

We managed to witness this world through a different set of circumstances, through a different character's eyes with different wants, worries, and challenges. That alone was worth the ticket of admission, but the novel satisfied more than that while retaining the formula that has worked so well and made Kate Daniels the success it's been.

Well, that's all I have for you guys. Gunmetal Magic is a very strong entry in the Kate Daniels series, and easily one of the best urban fantasy novels of 2012; action packed, badass, with plenty of humor... what else do you want?

Well of course, how about a signed copy! Suck it!

You can buy Gunmetal Magic on Amazon.

Make sure to follow @ilona_andrews & @GordonSm3 on Twitter and their website for more information.

Monday, November 4, 2013

Guest Post & Giveaway: Making Different Cities by Max Gladstone, author of the Craft Sequence

Each city has its own music.

I mean that literally—blues and hip hop and jazz and rock differ from town to town—but also figuratively.  Cities have different rhythms, different styles of driving, different prides and language patterns.  Writing urban fantasy is at its best an exercise in writing the city's music, transcribing its crazycool dreams and sometimes nightmares into monsters, magic, and mayhem.

That's difficult enough for cities that actually exist, places a person can walk around and breathe and come to know.  New York's real; you can taste it like wine on your tongue.  Boston you shoot more than sample.  London rolls smoky in the mouth.  Beijing you drink like baijiu: raise it in toast with your friends in thimble-sized cups and slam it down and exhale to avoid as much of the taste as possible, then do it all again, and probably light a cigarette because you're dying already aren't you?  The country kills you.

It's possible, I mean, to know a real city.

But I had to go set my books in a world that's not Earth.  I did that for good reasons—I wanted to depict a society where magic is woven through life, rather than Something Scary Out There.  For my first book, THREE PARTS DEAD, the task was pretty straightforward.  I imagined a city, and built it.  But I wanted the next book, TWO SERPENTS RISE, to focus on a different city in the same world, so that city had to feel different from the one in the first book.  I couldn't just go there to walk around.

Alt Coulumb, where THREE PARTS DEAD took place, had a very Northeastern feel: vertical lines, skyscrapers and tight alleys and central city parks and the like.  I drew off New York and Boston and London and Shanghai.  So, for the next book, why not go to the opposite extreme?  Which meant a horizontal city, a city that sprawled, a city of low roofs and occasional massive buildings, a city of heat and open space.  My wife's from Los Angeles, so I'd visited before, and, Tennessee boy as I am at heart, the place bowled me over with difference; Beijing did the same when I lived there.  And both cities had trouble with water, which fed into ideas I'd been worrying over about debt and dependency.

So far, so good.  I started paying more attention to Los Angeles when I visited, and I dredged up old memories of Beijing, some pleasant.  I stole stuff wholesale, reconfigured, warped, revised.  Cackled, sometimes, to myself, when I thought no one could hear.

What can I say?  I wrote this book in stolen half hours when any reasonable person would have been sleeping.  If you can't cackle at your own work at one o'clock in the morning before a long day at the office, when, I ask, are you allowed to so cackle?

 And at the end of all that cackling and warping and cutting and rearranging, I found myself with a city that owned its own rhythm, and its own horror.  A city in which my characters could live—which Caleb and his friends could love, hate, and want to defend.

Excellent, I thought.  Now I have something to destroy.

I read Three Parts Dead recently and really enjoyed it, a good combination of urban fantasy mystery set in a secondary world. One of the aspects I liked most of it was the world building, so glad that Max visited here and touched a bit upon his approach on creating societies and cities for his stories; thanks for stopping by.

Hope to read the sequel soon.

Well, let's get on with the giveaway, one winner for physical copies the two books of the Craft Sequence: Three Parts Dead and Two Serpents Rise.

Participants have to be 18 years of age or older to participate. Void where prohibited by law. Giveaway rules are subject to change. 

The giveaway is open for US and Canada shipping addresses only, and it will run from November 4, 2013 until 11:59 pm ET on November 15, 2013.

How to participate:
  • To participate simply log-in into to the Rafflecopter and "Enter" through the easy entry.
  • One entry per person, or face disqualification.
  • Entries accepted until 11:59pm ET on November 15, 2013.
  • There'll be ONE winner only for a physical copy of Three Parts Dead and Two Serpents Rise.
  • Will have to confirm email to be considered a winner within 48 hours.
  • Additional entries may be had by following the steps provided in the Rafflecopter instructions, and only by doing those steps. 
  • Winners will be chosen by random selection using the Rafflecopter.
Good luck!
a Rafflecopter giveaway

You can buy Two Serpents Rise at:

 Amazon, IndieBound, Barnes and Noble, Powell's, and The Book Depository.

For more information follow Max Gladstone on his blog or on Twitter @maxgladstone.

Monday, October 7, 2013

Guest Post & Giveaway: Discovering the Inclusive Badass in Urban Fantasy by Teresa Frohock author of Miserere

When I first saw Tim Marquitz's call for stories for Manifesto: UF, I read it and thought I couldn't possibly write an urban fantasy short story. I mean, what did I know about the genre? I was totally intimidated by the blurb: "The time has come to make a statement, to define a genre. This is our manifesto ..."

"... to define a genre."

How could I help define a genre I didn't understand at all? Were they looking for something like Ilona Andrews's Kate Daniels series? Alex Bledsoe's Tufa series? Clive Barker's Cabal stories? Romance, angels, demons, fairies, and cities? What ... what ... what were they looking for in terms of stories?

I got out of there before my brain exploded. Sometimes I overthink things and that is precisely what I did with the Manifesto anthology. Other projects took my attention and I more or less forgot about the anthology until my little message bar popped up on Facebook one evening and it was Tim. He had seen an earlier status update about a short story that I had written, and he invited me to submit a story to Manifesto. I told him I didn't know anything about urban fantasy, but he wasn’t put off. He offered me several very broad suggestions, and I realized that I might be able to write something for him.

I looked at the guidelines again. The word "badass" kept jumping out at me. I realigned my thinking and put urban fantasy in the context of badass. It was then that I realized that the Kate Daniels series has snappy dialogue along with a badass protagonist who is wicked-sharp; Alex's Tufa are badass in a low-slung southern kind of way; and Clive Barker's Cabal stories were so badass they straddled the line between urban fantasy and horror.

I had an idea for a traditional fantasy story, but I thought that the story could work just as well in the present day. I reshaped the background and the characters to write "Naked the Night Sings." I didn't try to ram the story into any guidelines and I just had fun with the concept. I allowed convention to fall by the wayside and let the story run free.

When I was done, I saw that my story slid closer to Barker's style of badass--urban fantasy mixed with horror. As a matter of fact, I thought the story edged a little too close to horror to fit in the Manifesto anthology, but I offered it up to Tim nevertheless.

That was how "Naked the Night Sings" found its way into the anthology, and how I rethought my misconceptions about urban fantasy.

Definitions and categories are utilized by marketing and bookstores to show people where to look for the stories that they like. However, definitions usually present a narrow view, a statement of exact meaning or context. The short stories in Manifesto: UF defies the confines of a definition by showing the reader the absolute beauty and breadth of the urban fantasy genre. 

The very inclusiveness of urban fantasy is what makes it so much fun. This inhibition turns each story, each novel into a brand new adventure. Urban fantasy opens the door to the fantastic and the reader is never quite certain where the path will lead. The emphasis, however, is on fun and I like that, because enjoyment and wonder are what stories are about.

I know we take our genres and ourselves quite seriously at times. We passionately defend our viewpoints and why this story or that story may or may not be within the guidelines of urban fantasy or paranormal romance or traditional fantasy or dark fantasy or whatever new and amazing thing we discover next.

Yet there really are no rules, no definitions, and the only manifesto is the manifesto of fun.

Urban fantasy may contain aspects of horror; angels and demons and fae and all sorts of creatures wondrous and new; romance and pleasure and songs; stories may take place in cities or in small towns ...

Urban fantasy holds all of these things, some of these things, none of these things, you never know what you will find. That is the beauty of discovery.

So I've decided to make a manifesto of my own: to read for the joy of reading and to explore new genres without prejudice. I'll find some stories that I don't care for, but I'll also find a gem or two. All that is required of me is to remain open to the possibilities.


Teresa Frohock has turned her love of dark fantasy and horror into tales of deliciously creepy fiction. She is the author of Miserere: An Autumn Tale and has a short story, “Naked the Night Sings,” in the urban fantasy anthology Manifesto: UF. Teresa has long been accused of telling stories, which is a southern colloquialism for lying. Visit her at her website:

Thanks for visiting Teresa and welcome to the Urban Fantasy family. For those that don't know, I'm a big fan of Teresa Frohock since I loved her debut Miserere: An Autumn Tale which I reviewed here. In it, I made mention of how Miserere made me feel as if I was reading a story that's not urban fantasy, but what occurs behind the curtains of such a story. Highly recommended.

Make sure to follow Teresa on her website or on Twitter @TeresaFrohock.

And now for the giveaway, it'll be for 5 ecopies of the Manifesto: UF anthology edited by Tim Marquitz and Tyson Mauermann which includes Teresa Frohock's short story Naked the Night Sings.
From angels to vampires, dragons to wizards, Manifesto brings together twenty-three stories full of action, snark, and unadulterated badassery.
Featuring stories from Lucy A. Snyder, Jeff Salyards, William Meikle, Teresa Frohock, Zachary Jernigan, Betsy Dornbusch, Kirk Dougal, Karina Fabian, Adam Millard, Timothy Baker, Ryan Lawler, Andrew Moczulski, R.L. Treadway, Abhinav Jain, TSP Sweeney, Nickolas Sharps, Jonathan Pine, Kenny Soward, Joshua S. Hill, Jake Elliot, Lincoln Crisler, J.M. Martin, & Wilson Geiger.
The time has come to make a statement, to define a genre. This is our manifesto.

Participants have to be 18 years of age or older to participate. Void where prohibited by law. Giveaway rules are subject to change. 

The giveaway is open WORLD WIDE, and it will run from October 7, 2013 until 11:59 pm ET on October 14, 2013.

The giveaway is for a chance to win an ecopy of 5 of the Manifesto: UF anthology.

How to participate:
  • To participate simply log-in into to the Rafflecopter and "Enter" through the easy entry.
  • One entry per person, or face disqualification.
  • Entries accepted until 11:59pm ET on October 14, 2013.
  • There'll be 5 winners for 1 ecopy each of Manifesto: UF.
  • Will have to confirm email to be considered a winner within 48 hours.
  • Additional entries may be had by following the steps provided in the Rafflecopter instructions, and only by doing those steps. 
  • Winners will be chosen by random selection using the Rafflecopter.
Good luck!
a Rafflecopter giveaway

Monday, September 30, 2013

Guest Post: Life as a Serial Murderer by Anton Strout author of The Spellmason Chronicles

I confess.  I’m a serial murderer.  I can’t help it.  People have to die, and it’s my hands that do the dark deed.  And you know what?  I’m unapologetic about that.  Frankly, it’s one of the greatest joys I have in life.  It’s true—I love being an urban fantasy writer.

I sold my first book, DEAD TO ME, back in 2007 and at the time it was a standalone urban fantasy written basically because I missed Buffy too much.  What I hadn’t really considered—fledgling author, I—was that the publishers were going to want more Simon Canderous paranormal detective novels from me.  Yet somehow I managed to mentally process that request and somehow produced three more in that series before starting on a second one for them, the Spellmason Chronicles.  As we speak ALCHEMYSTIC and the just released STONECAST are already in the can for that series, and I’m currently fast at work on the third. How the hell did I get two series going?

Looking back, I have to marvel at the fact that I’ve produced seven books and five tie-in stories that spread over two different worlds. None of it came easy, believe me. I mean, I had spent a lot of time learning how to write, how to develop everything that goes into a single book, but the one area none of the classes or workshops I went to ever taught was how does one write an ongoing series?  When Ace asked for more Simon books, I was stumped.

Learning how to write a continuing series was something I was absolutely unfamiliar with, and since there was no class I could enroll myself in, my education came in trial by fire and learning through my mistakes as I went.

The first step was in adjusting how I thought about my next book, which at the time was DEADER STILL.  My thinking went from figuring out not just the short term goals for my characters but what the long term ones were for the book beyond DEADER STILL.

Luckily, I tend to write cinematically thanks to years of rampant geekery and viewing, so I began to think of each book in a series as episodes of a season.  They had their individual episodic goals as well as the longer term ones a television season usually has.  For instance, there are a lot of individual adventures that make up season three of BUFFY THE VAMPIRE SLAYER, but the goal of the whole season was to graduate and take down the Big Bad, Mayor Wilkins (whose Ascension into snake form does not go quite as he planned). 

In order to get that depth into my own work as a newfound book series writer, I came up with what I like to call The LOST Approach.

Love it or hate it, the LOST television series did things that really were unprecedented, and fan loyalty ran high.  What I specifically loved—and stole—from the series, however, was the short and long term goals of the show.  Along the way the writers of LOST planted a lot of what I call story seeds.  These gave the show room to grow in a variety of directions.

And like all gardens, not all things grew.  Some of them died on the vine, as they will when you plant a lot of seeds.  They can’t all survive, especially for the sake of the story.  You have to let them die.  Otherwise readers will think every last thing means something in your book, and well… where’s the fun in figuring out all the mysteries ahead of time? You don’t want your series to become predictable, after all.

By both giving your characters a variety of traits and setting up a detailed world, yes, you add a richness to your word, but it also gives you a vast pool of sneaky opportunities to mine for connective tissue when you’re scrambling to put together the larger arc of your story.

With the Simon Canderous series I had dropped some unsolved mysteries into DEAD TO ME that I could use to tie in to later books, and because your job as a writer is to hide all the seams where you’ve stitched your monster together, the reader ends up none the wiser.  In the end, you want it to seem like you cleverly planned it all along when the truth is sometimes you’re working like hell to shove square pegs into round holes. It’s a tricky business disguising all that, but with practice, book by book, you get more seasoned at it.

By the time I began writing the Spellmason Chronicles I was well primed to get a head start working on my long term goals for that new series.  In turn, knowing some of these secrets has made it easier to steer the overall course of each book.  I think I’ve become a better gardener after seven books, one who is better at planting good seeds and seeing what lives and what dies.

But still, even now?  There ought to be a crash course offered on creating an ongoing series.  I have a feeling that classroom would fill up fast.

I swear this was completely unplanned, as it now appears I am having a series of guest posts on the topic of "writing sequels and series". Not that I'm complaining, I find it quite interesting.

Thanks Anton for coming over and giving us your perspective on how you approach writing a series, and good luck with your new release.

Stonecast is the second novel in The Spellmason Chronicles which is available now.

For more information you can visit Anton Strout's website or follow him on Twitter @AntonStrout.

Tuesday, September 24, 2013

Guest Post: Going from Debut to Series by Michael J. Martinez author of The Daedalus Incident

When I wrote The Daedalus Incident, my debut novel, I had no idea whether a space opera/historical fantasy mashup would work, or whether folks would be as jazzed as I was about sailing ships in space. Heck, I had no idea if I was even capable of writing a good novel. 

Well, apparently I am. It worked, folks were jazzed. I am a for-real author now. And I’m now contracted to write two more novels in the Daedalus series.

I interviewed Peter V. Brett last spring, and at the time I was surprised at the tack his attitude toward writing had taken since his success. He approached writing his books as a job, and a difficult one at that, whereas I was still of the dude-I’m-getting-a-novel-published-squee-awesome-yay mindset. 

I totally get it now, Peat. 

The next novel in the series, The Enceladus Crisis, is coming out next spring, with the third book (yet-to-be named, let alone written) due toward the end of 2014. While writing The Daedalus Incident was something of a lark, and a lot of fun to write, this is a business now. I have contracts. Deadlines. Obligations. These books have to be written.

And I also have fans. Like, at least two, possibly more. But seriously, people have read and generally enjoyed The Daedalus Incident, and they’ll have expectations for the next two. They’ll want to see more of the stuff that the loved about the first book, and they’ll all have opinions on where the story should go and what they want to see. 

No pressure.

Finally, as utterly pretentious as it sounds, I want to grow as a writer. I know, I know…I hesitate typing it. But I do indeed want to challenge myself. Writing Daedalus in the first place was a personal challenge, so why stop? I think most writers want to see just how much they have in the tank. So do I. That means The Enceladus Crisis will be more complex. It’ll have more characters, more POVs, more subplots. And not just more of the big stuff, but more nuance as well. More interesting bits. Better writing, even. 

I also want to play off any expectations set up in The Daedalus Incident. Yes, there will be sailing ships in space, because, you know, that’s still cool. And I’m playing with how those ships maneuver and fight in space, which means some pretty cool battles. There will also be different settings. A fair chunk of the story will happen on Earth. There will be intrigue. More setting exploration. More backstory. More of the stuff that folks commented on and liked.

And then, there’s also subverting expectations. I mean, I don’t want to treat Daedalus like a paint-by-numbers kit. Think about how The Empire Strikes Back was so much better than Star Wars, even though it was a very different movie. Same thing here. I want The Enceladus Crisis to have the same relationship to Daedalus. Difference within continuity is probably the best way to describe it.

There are definitely days where I look at what I’m writing and ponder exactly what I got myself into. But it’s totally worth it. It’s still fun, too. Turns out I created a pretty nifty sandbox, and I’m enjoying the new castles. 

Plus, unlike Peat, I still have my day job, and will for the foreseeable future. I can afford to fail miserably, even though I’d quite prefer not to. That’s freeing. My kid’s going to college whether or not these are awesome successes. So I feel like I can take some risks and see how it goes. 

In the end, though, there’s an edge to writing these new novels. I’m writing from a different place than I was. It’s not a bad thing, but it’ll be interesting to see what comes of it. I hope you enjoy the ride with me.

Let me be the first to point out that I have two Mikes in a row for guest posts on the blog. Don't know yet if that's a good thing, or a sign of the Apocalypse. Time will tell I guess. In any case, thanks Mike (Martinez) for stopping by. Good luck with your debut and with your series.

You can buy The Daedalus Incident on The Book Depository, Amazon, Audible, Barnes & Noble, IndieBound.

For more information please follow Michael J. Martinez on his website or on Twitter @mikemartinez72.

Wednesday, September 18, 2013

Guest Post: Standing at the Crossroads from Mike Shevdon, author of The Courts of the Feyre series

With the completion of the fourth and final book in The Courts of the Feyre I find myself at a cross-roads. Up until now I’ve styled myself as an Urban Fantasy Author, because that’s what I’ve written and it makes it easier for readers who are likely to enjoy my work to find me. For most people, though, urban fantasy isn’t a genre, and the words urban and fantasy simply don’t mean anything together. I might as well say goldfish collider for all the sense it makes to them. (Now I have an image of two goldfish swimming around a giant toroidal tank in opposite directions until they collide and scales and fins fly off in spiral patterns. That’s what an imagination will do to you. Be warned.)

So, while fans of the sub-genre rejoice in the subtle nuances between paranormal romance and urban fantasy, the rest of the world looks on in bemusement. At best they’ve seen True Blood or Being Human and assume that I write about vampires and werewolves, which isn’t far enough from the truth to be useful for plausible deniability. The last ten years have been spent writing about faeries - not the little darlings with the flower petal hats invented by the Victorians but the sort of faeries that suck the marrow from your bones and leave your head on a hazel spike as a warning to others. There are shape shifters in the Courts of the Feyre, and the Wraithkin might be considered predatory. They’re not vampires, but they do prey on others.

In the courts series I set out to weave together history and folklore and a sense of magic and mystery in the real world, and hopefully I succeeded. I could carry on writing about faeries. There are plenty of stories left to tell, and a willing audience to read them, and though the courts are finished there are some survivors. I’m not ready to do that, though. Not yet. I’m not saying there will never be another story set in that world, or with those characters that still remain, but not now. This is the cross-roads that I’ve reached.

The problem with urban fantasy, or any sub-genre of a similar nature, is that it’s circular. Urban fantasy inspires urban fantasy, which in turn begets urban fantasy. In defining itself it is chained to a rock, and the rock won’t move. That doesn’t mean that there’s no room for innovation or originality - there are authors pushing at the boundaries and rattling the chains, but if they go too far they are no longer part of the genre and they risk ostracising themselves from their fans.

When I set out to write I made a choice. I wanted the sense of wonder that follows you wherever you go, but based in reality. That meant avoiding the love triangles and “will-she, won’t she” dilemmas of paranormal romance and the obligation-free rootless heroes and heroines the populate much of urban fantasy. There’s nothing wrong with any of that - it can make a good story - but I wanted something else.

That meant that just because people had sex it didn’t mean they were in love. It meant characters with complicated messy lives filled with failed relationships, divorces, and responsibilities they would find it hard to walk away from. It meant people who made the same mistakes again and again - because that’s what people do. Redemption is the chance to break the cycle and start again, but while we may change our lives, we may forget to change ourselves, and it’s that struggle that I find interesting.

Ten years ago I was inventing characters - people that grew with me over four books and showed themselves for who they really were. I learned to walk in those people’s shoes and see what was in their hearts. Now I need to do that again, but with new people, taking everything I’ve learned and pouring it into a new mould. It’s hard to start again. It’s hard to walk away from ten years of foundation and structure, rules and constraints that are engraved on the inside of my head. But then it was hard to write about the funeral of a child, or to step into the head of a teenage girl, or to kill characters I’ve come to know and love. Writing’s hard, and when it’s hard it gets better.

As I stand at the crossroads and look back at ten years of work, I think I can be proud of what I’ve achieved. I didn’t revolutionise the genre, but that’s not what I set out to do. I did write four separate and distinct stories, each different from the last, each a development of what came before while standing on its own merits. I know this because I’ve read the reviews of people who started at book three and then went back to books one and two to find out how it came to be. I’ve stretched myself with each successive work, and grown as a writer each time. I’ve learned so much, and yet I can see I have much to learn. It’s a beginning.

I’m still working on what comes next - I’m not short of ideas.  There are some interesting avenues to explore and I want to give myself the time and the freedom to build something new. When I started down this road I wanted to write about magic in the real world. Now I want to do something else, and I haven’t decided yet what that will be. You may think I’m being coy, but I’m not the writer with a drawer full of old manuscripts. Everything is new - it’s all developed from scratch. That’s daunting because I know how much work it is, but at the same time it’s exciting because it’s new and raw.

One thing I can say is that writing has changed me. When I started writing I had no idea how difficult it would be. Becoming a writer has changed the way I see the world - it’s shifted my perspective. 

I can’t undo that - and I wouldn’t want to even if I could.

Thanks Mike for stopping by, and good luck with whatever project you decide to go with next.

You can buy the books from The Courts of the Feyre here:

Sixty-One Nails
The Road to Bedlam
Strangeness and Charm
The Eighth Court

For more information you can visit Mike Shevdon's website or follow him on Twitter @Shevdon.