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Tor Doubles

In October of 1988, Tor Books released the first Tor Double, a volume that reprinted Arthur C. Clarke’s 1971 novella Meeting with Medusa with Kim Stanley Robinson’s novella Green Mars. Over the next thirty-five months, they would publish a total of thirty-six books in the series.

In general, there was little to link the two short stories that were published in each volume, although in 1990, Tor experimented with the publication of four Tor Doubles that included a classic story, by authors including C.L. Moore, L. Sprague de Camp, Leigh Brackett, and Roger Zelazny, with original stories that were set in the same world. The following year would see addition original stories published in the series.

Similarly, most of the volumes contained stories by two different authors, however four of the books published in 1991 were single author collections, with two stories each by Gordon R. Dickson, Mike Resnick, Damon Knight, and Fritz Leiber.

Modeled after the Ace Doubles series, the books were initially published in a dos-a-dos format, with each story getting its own cover and bound upside down in relation to the other book, so neither story was first (although the presence of an ISBN code on one side had a tendency to make it feel like the “back” of the book). The four volumes that included sequels were published with a single cover and beginning with volume 27, which included Orson Scott Card’s Eye for Eye and Lloyd Biggle, Jr.’s The Tunesmith, all the volumes were published in the more traditional format.

A Mosaic of Tor Doubles covers

The Clarke/Robinson volume was not, actually the first Tor Double, although it states “Tor Double #1” on the cover for the Clarke story. In 1981, Tor published Keith Laumer’s novel The House in November with a “special bonus: complete short novel” The Other Sky as part of their “Jim Baen Presents” series When the book was reprinted in 1985, the two stories were printed in the dos-a-dos format with the words “Tor Double” appearing on both sides.

Although the final volume in the series, a collection of Fritz Leiber’s novels Conjure Wife and Our Lady of Darkness was published in August of 1991, there was at least one more volume scheduled to see print, although it was never published. Instead, Esther M. Friesner’s Yesterday, We Saw Mermaids was published as a stand-alone novel by Tor in 1992 and Lawrence Watt-Evans’ The Final Folly of Captain Dancy was first published by Tor at the back of their printing of his novel The Rebirth of Wonder (along with an excerpt for Watt-Evans and Friesner’s collaboration Split Heirs) and was later included in his collection Crosstime Traffic.

The series includes works by 51 authors (including two collaborations). Sixteen authors are represented by multiple stories, with eight appearing twice (half of those in single author volumes), six appearing three times, Fritz Leiber having four stories in the series (once in a single author volume), and Robert Silverberg having five stories.

Although there were only a handful of original stories published in the Tor Doubles series, many of the works selected to be reprinted were award nominees and winners. The series included 33 Hugo nominated works and 17 winners and 27 Nebula nominated stories and 16 winners. Robinson’s A Short Sharp Shock was nominated for a Hugo Award for the year it appeared in the series, although it had previously been published by Mark V. Zeising and Asimov’s.

Over the next thirty-nine weeks, I intend to look at the books published (or not published, as the case may be) as part of this series.

Steven H Silver is a twenty-time Hugo Award nominee and was the publisher of the Hugo-nominated fanzine Argentus as well as the editor and publisher of ISFiC Press for eight years. He has also edited books for DAW, NESFA Press, and ZNB. His most recent anthology is Alternate Peace and his novel After Hastings was published in 2020. Steven has chaired the first Midwest Construction, Windycon three times, and the SFWA Nebula Conference numerous times. He was programming chair for Chicon 2000 and Vice Chair of Chicon 7.

Very sorry to hear that book four is delayed but family do come first and, as you say, focus is on Book#3 at the moment. I hope that you are able to straighten things out quickly and get back into the routine again.

I am looking forward to the world-building articles, although I have to admit that Judgement of Powers is even more eagerly anticipated!

Good Luck!

Hope the writing goes on well.
I instantly bought the German version of Inharitance of Magic 1 and it was great. I read the thing in a couple of days and I am thrilled for book 2 in German.❤️

They Mostly Pod Out at Night, Mostly, hosted by Graveyard and Salem

One of the best parts of my Black Gate side hustle is the cool people we get to meet, and there’s nothing more exciting than connecting with those who are most definitely “our people.” I am embarrassed to admit that the Fall Days of the Dead show in Chicago last November was my first encounter with the geniuses behind the podcast They Mostly Pod Out at Night, Mostly, who go by the monikers Graveyard and Salem. And after all, who doesn’t love an Aliens reference?

​They Mostly Pod Out at Night, Mostly is a weekly podcast dedicated to all things horror. Each episode features in-depth discussions, covering a range of topics from classic and contemporary horror films to broader themes within the genre. The hosts provide insightful analysis, engaging reviews, and lively conversations that appeal to both casual viewers and die-hard horror enthusiasts. Their passion for horror is on full display as they explore the intricacies of various movies, offering listeners a comprehensive understanding of the genre’s evolution and impact.

Since meeting them in November I’ve become a regular listener, discovering yet another dark and intriguing corner of the horror subculture, and last night I had the honor of being a guest.

Honestly, I had mixed feelings about doing this. Though I loved what I had seen since becoming a fan of TMPOaNM, I am far more comfortable behind the keyboard than in front of a webcam. I have my own horrors of freezing up or saying something stupid, not to mention the fact that for all my many years at Black Gate I have determinedly remained out of any pictures or videos associated with Goth Chick News.

Still, the draw was strong, and the host “Graveyard” (aka Matt Van Bodegraven) went to great lengths to make me feel comfortable. He had done his homework on Black Gate and Goth Chick News so the whole event really felt like “coffee between friends” as he promised.

Check it…

​For his part, Van Bodegraven is a multifaceted figure in the indie horror genre, recognized for his work as a writer, director, actor, as well as podcast creator and co-host. In the realm of filmmaking, Van Bodegraven has contributed to several projects. He is known for The Murder of the Monster (2024), The Ruck March (2025) as well as Vampyre and Tahoe Joe 3: Concrete Wilderness both in pre-production.

He is also the producer of the upcoming ‘found footage’ horror film The Fairfield County Four, directed and written by Joshua Brucker for Horror Dadz Productions.

The Fairfield County Four (Eye4Eye Productions/Gray Sky Pictures)

The narrative follows four individuals — Emma Grove, Amy Hanson, Randy Farris, and Peter Moore — as they venture into the Connecticut woods to investigate the legend of the Wolf of Fairfield County. Their subsequent disappearance leads to the discovery of their recovered footage, unveiling the chilling events they encountered.

As of now, The Fairfield County Four is in pre-production, with filming anticipated to commence in April 2025 and a release date yet to be announced. However, Van Bodegraven did promise to keep me updated so I can tell you all about the process of bringing an indie film to life. For a glimpse into the eerie atmosphere, you can watch the campaign teaser below:

While we wait, definitely check out They Mostly Pod Out at Night, Mostly, for entertaining insights into the horror genre. A huge thank you to Graveyard and Salem for creating such a memorable experience, and one that is truly unique in the Goth Chick universe.

Black Gate photog Chris Z and I are off to the spring version of Days of the Dead on Friday, so watch this space.

The full-cast dramatized adaptation of Small Magics will be released by Graphic Audio on July 2nd and the pre-order is live on the GA website here. Audible and all the other usual audio retailers should have the preorder sometime in the beginning of May.

The release will include the full content of Small Magics: extended Curran POV; Jim POV; Questionable Client prequel; the Julie-POV short Magic Tests; the Kate-world story Retribution Clause, featuring Saiman’s cousin Adam; as well as Of Swine and Roses and Grace of Small Magics, set in independent universes.

Nora is hard at work on the Small Magics script and finishing touches on GA Magic Triumphs, and I have an arm-long list of pronunciations clips and questions for Ilona due back to her. But GA Magic Binds came out just Tuesday and I’m still busy replaying the “I won’t allow it” Deimos reveal scene 476 times a day! A girl has to have priorities.

Speaking of audios (but not Graphic ones), the small chapter data issue in the Hoopla version of the Wilmington Years has been identified and fixed by Dreamscape, so it should now synchronize properly. Thank you so much Teresa for signalling.

And finally, I am so sorry to be the bearer of p*tience-requiring news, but to everyone who is emailing in dismay that Maggie the Undying first installment, This Kingdom Will Not Kill Me, is being released in 5 days and there’s complete radio silence about it on the blog…it’s 369 days, beloved. The date is indeed 31st of March, but the year on the announcement is 2026. Sorrows, sorrows, prayers. We will weather that storm and This Year of W*it Will Not Kill Us!

I won’t allow it! ::Deimos flight::

The post Small Magics and Small Housework first appeared on ILONA ANDREWS.

In The Fantasies of Future Things, two men in Atlanta reconcile their human dignity against…

The post Spotlight on “The Fantasies of Future Things” by Doug Jones appeared first on LitStack.

Here are 7 Author Shoutouts for this week. Find your favorite author or discover and…

The post 7 Author Shoutouts | Authors We Love To Recommend appeared first on LitStack.

 Sitrep:

So, yesterday I was at the hospital waiting on dad's pacemaker install and heart checkup. He's good, ignoring doctor/nurse's orders as usual so... normal. That is a relief? Maybe? 

Anyway, while I was out Rea finished Jethro 9's edits and shot it back to me. I just dealt with the final edits and shot it off to Goodlifeguide.

On to the next snippet!

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Chapter 2

 

Antigua

 

Jethro called a family meeting. Cleo and Shy were on their way home and arrived before the Cadre members did.

Bagheera complained about the interruption when Cleo went into his room and practically dragged him out by his ear.

“Will you sit down and shut up? This is important,” Cleo growled.

“How do you know that?” Bagheera demanded as the toilet flushed in the hallway bathroom. The sink turned on for a moment.

“I can tell just from looking at them,” Cleo retorted, nodding her chin at the Sabu, Suqi, the holograms of their AI, and Jethro.

“This isn’t another lecture about getting a job or going to school is it? I mean, I am taking classes …” Bagheera insisted.

“Believe it or not this isn’t about you,” Sabu rumbled quietly. Bagheera glanced at him and then fell into a pensive silence when he started to pick up on the vibes in the room.

“Yes, well, Zuhura and Ember will be joining us in a bit. But …,” Jethro broke off and glanced to the side as Shy left the bathroom and sank into the seat next to Cleo. Suqi reached out and grabbed her hand and squeezed it.

She looked at her and noted that Suqi was looking grave and sad. Her ears were back. She looked to Sabu and saw similar looks coming from him. She felt her ears go back as trepidation mounted. “What’s wrong? What happened?” she asked.

“Did the cancer come back in White?” Cleo asked suddenly. Bagheera felt the mood shift and slowly sank into a chair. Sabu reached out and patted his shoulder gruffly.

“No …,” Jethro said slowly.

“I’ve got a class in an hour and a half …,” Cleo warned.

“You may want to skip it,” Suqi said softly. She looked expectantly to Jethro.

Jethro felt his insides twist. Bast gave him a sympathetic look.

“There is no easy way of saying this,” he said. He wiped at his eyes. The kittens all stared at him. The ones who didn’t know suddenly had an inkling. All of their ears were back and eyes wide.

“There was a crash on ET …”

“Mom!” Cleo wailed, lunging to her feet.

Jethro and Suqi immediately shook their heads. Suqi pushed Cleo down gently. Slowly she sank back into her chair. “If not mom …?”

“I’m afraid Red was killed by a fighter that crashed into their apartment complex. Your mom is fine,” Jethro said roughly. He paused as there was a knock at the door and then it opened to reveal Zuhura and Ember. Zuhura was somber and Ember had clearly picked up on the vibes and was looking troubled and confused.

Cleo and Shy teared up as Suqi tried to comfort them. Sabu hugged Bagheera. Jethro got up and hugged Zuhura, squeezing Ember between them until she nipped him.

He chuffed in amusement and felt her little arms wrap around his neck. He took her from her adopted mother and hugged her for a moment. “Sorry, sweetie, we just got some bad news,” he murmured.

“I’ll say,” Bagheera said. He got up and went to his room and slammed the door. The others watched him go and then gave out a soft collective sigh.

“We each deal with grief in our own way,” Sabu said as he still looked at the door.

“Give him a moment. We’ll talk to him in a bit,” Jethro said.

<<(O)>>

Jethro had to deal with the flood of sympathy from friends and colleagues.

Hurranna texted him that she had received the news. She sent her condolences to Jethro and the family and stated that she’d be by later for a hug.

He appreciated that.

<<(O)>>

Chief Warrant Officer Ox and his dwarf counterpart Warrant Officer Mariah Willow were putting their finishing touches on some of the robots when he received an email about Riley. He shook his head.

“What?” Willow asked. Minotaur and Peggy were busy going through lines of code with their respective debug bots to clean it up.

“Riley will be in town shortly. But she said she has a gig and can’t chat tonight. Oh, well,” Ox said with a flap of his ears as his hands continued to assemble a robotic leg. There were some delicate connections but his massive fingers handled them easily.

It helped that he and Minotaur had a master grade level of control over his implants and nanites.

Minotaur and Peggy looked up and then both turned to their respective partners.

“What?” Willow asked. “Finished all ready?” she asked.

“No. We have news,” Peggy said.

“Out with it,” Ox said absently.

“There has been a death in the McClintock family,” Minotaur said in a bass rumble. Ox stopped what he was doing and looked up sharply.

“Suqi and Sabu?”

“No. Lil Red was killed on Epsilon Triangula.”

“Oh, damn,” Willow said. “Isn’t that Jethro’s adopted daughter?”

“Yes,” Peggy replied.

“Please send our condolences,” Willow said.

“Done,” Peggy said.

“Minotaur, do the same. And tell Jethro I’ll check in with him when he’s ready,” Ox said gruffly.

“Understood,” Minotaur replied.

Ox went back to working, but after a moment, he pushed the robot leg aside and sat down heavily.

Willow patted him on the shoulder gently.

<<(O)>>

Social interaction is a minefield, isn’t it? Whether it’s gathering with the family for the holidays, relating to people at the workplace, or making small talk with the checker at the supermarket, any encounter with other people, no matter how casual or seemingly benign, is fraught with uncertainty and even, sometimes, menace. That may be why such interactions have so often been depicted as a form of combat. (It may also be why the trend towards “contactless” social transactions that reached warp speed with the advent of COVID isn’t going anywhere, but just continues to gain ground even as the Coronavirus era recedes.)

Of all the opportunities for social victory and defeat, triumph and humiliation, the party may be the most hazardous, but no party has ever been such an ordeal as the one endured by the hapless dinner guests in Luis Buñuel’s merciless 1962 nightmare, The Exterminating Angel (in its original Spanish, El ángel exterminador).

Filmed in Mexico and set in a “wealthy district” in an unnamed country (Roger Ebert declares that it’s Spain and that the movie is an attack on the regime of Francisco Franco, but I know of no statement by Buñuel that places the film so specifically or that defines its meaning so narrowly), The Exterminating Angel is the blackest of black comedies; I have no doubt that it would have made the chap who invented the rack and thumbscrews giggle uncontrollably.

Buñuel was one of the original cinematic surrealists, beginning his career in the mid 1920’s and earning his first fame — or notoriety — with two films made in collaboration with Salvador Dalí: that bane of unsuspecting college film students, Un Chien Andalou (1929), with its sudden, shock shot of an eye being sliced open by a razor blade (it was actually a cow’s eye) and 1930’s L’Age d’Or, which provoked scandal and rioting with its unbridled attacks on the Catholic Church.

Buñuel spent the next three decades bouncing between his native Spain, the United States, Mexico, and France, all the while producing work that was unconventional, to say the least. This period culminated with The Exterminating Angel, a film which inaugurated his final and greatest phase, a period which saw him produce his subversive masterpieces Belle de Jour, The Discreet Charm of the Bourgeoisie, The Phantom of Liberty, and That Obscure Object of Desire.

The Exterminating Angel opens on a beautiful and tranquil night on the Calle de la Providencia, an elegant, upper-class street, as Edmundo Nóbile (Enrique Rambal) and his wife Lucia (Lucy Gallardo) return from an evening at the opera, bringing with them seventeen guests, artists and professional people whom they have invited to join them for a post-performance dinner party. As the gay and sparkling group walks in the luxurious mansion’s front door, the Nóbile’s large domestic staff is rushing out the back; spurred by some obscure impulse that they scarcely understand, cooks, maids, and servers all flee into the night with no intention of ever returning.

Soon the only ones left are several sheep and a bear that the hostess is planning to use for some strange and never-to-be-enacted entertainment, and the Nóbile’s butler, Julio (Claudio Brook), whose total identification with his employers apparently inoculates him against the “running sickness” that is affecting the other servants.

The festivities begin in the time-honored way — the guests sit around the huge table, and oozing well-mannered malice, lean toward their neighbors and cheerfully gossip about the other people at the party, the sexual proclivities and perversions of their “friends” being an especially popular topic. (Other people’s medical conditions are also freely discussed, and an army colonel casually confides to the woman next to him that he doesn’t give a damn about the Fatherland he ostensibly serves.)

After Julio has served the meal, the group repairs to the spacious drawing room, which is only separated from the dining room by an open archway (which looks suspiciously like a theater proscenium), where one of the guests entertains everyone by playing a classical piano piece. More socializing ensues, masks of politesse and good breeding barely concealing the contempt and jealousy that lie beneath. (More than the usual spite and backbiting are hiding behind the polished social surface, however; during the piano recital, a woman opens her purse and has to dig beneath its other contents to reach her handkerchief. What has this elegant society lady brought with her? Lipstick and a compact? No, the feathers and feet of a chicken, the elements of a Cabbalistic ritual.) Finally, as the hour grows late, the partygoers begin to gather coats and purses, in preparation for their leave-taking. Only…

No one leaves. A few people hesitantly walk up to the archway leading to the dining room, which they must pass through in order to reach the cavernous entry hall and the front door, but they pause at the threshold, seemingly unable to take a step further. They stand bemused, expressions of confusion and even fear flickering across their faces, like skydivers at the door of an airplane who suddenly realize that they’re not wearing parachutes (or people standing at the brink of “The undiscovered country from whose bourn / No traveler returns”, perhaps?) They mutter a few weak justifications for staying just a little longer, and retreat back into the drawing room.

It soon becomes obvious that no one is going to leave, as people settle down for the night on couches (the lucky ones), in chairs, or on the floor. At first, the Nóbiles are outraged at this shocking breach of etiquette, but when they realize that they too are powerless to walk out of the drawing room, they find their own places to bed down for the night.

In the morning, Julio wheels in a tray with some breakfast… and finds that he too cannot leave the drawing room, and the new day has brought no change for anyone else, either — no one can leave. The group fumblingly tries to figure out what is happening; almost as frustrating as their inability to leave the room is their inability to understand why they cannot leave the room. Dr. Carlos Conde (Augusto Benedicio), the party’s leading rationalist, counsels that only “dispassionate analysis” can solve the problem, but no one seems much interested in that approach, not that there’s any indication that it would work if they tried it. In the meantime, people are making what arrangements they can — a closet in which large ornamental vases are stored becomes the de facto bathroom, and a pair of young lovers finds another closet where they can be alone; Buñuel allows you to imagine for yourself exactly what they’re up to in there.

As the days pass, territory is staked out, accusations are made and recriminations are hurled, and hunger grows. The lower-class Julio takes to eating paper as he did when a schoolboy and recommends it to the others; it’s better than nothing. An ornamental axe is used to chop through the wall to get to a water pipe; anarchy briefly reigns when water spurts from the pipe, but order is quickly restored — ladies first.

As the prisoners wonder why no one has come to rescue them, we are able to see outside the mansion, where police and crowds of onlookers have gathered, powerless; the same strange force that prevents exit also prevents entrance.

Inside, some react with hysteria, some with lethargy; some fight to maintain hope, some give way to despair. Some people cling to rationality while others call on occult powers, seek help through Masonic rituals, or promise a special mass for their deliverance. All the while, death is a force to be reckoned with inside the house just as it on the outside; lacking his medication, one of the older guests who was in poor health dies after the first night. (Just before the end, he mutters, “I’m happy I won’t see the extermination.”) They put him in the lovers’ closet, which is only fitting, as the pair — who were to be married later in the week — eventually commit suicide together in their trysting place.

An overpowering stench from the improvised lavatory (and morgue) and sweaty, unwashed bodies soon makes the air in the crowded room fetid and foul, and though they can toss their trash into the dining room (despite not being able to enter it), after a few days the drawing room is a filthy, cluttered shambles. Under these conditions, the thin veneer of civilization flakes off as people grate against each other physically and emotionally. Insults and fists fly, and the last tattered remnants of civility begin to disintegrate.

When the erstwhile members of the upper crust are approaching the last extremity, starvation is fended off when the animals escape from the kitchen. While the bear roams the upper floors, emitting eerie moans and cries, the sheep providentially trot into the drawing room; whatever sardonic divinity presides over this hell, he is at least willing to provide manna for his erring children. A fire is made from smashed furniture and soon roast mutton is being devoured by people indistinguishable from their primitive ancestors, who also squatted around open fires, eagerly tearing meat off of bones with their teeth.

Full stomachs only sharpen the edge of the guests’ desire to escape their prison, however, and a group of women (among them the devotee of Kabbalah) begin to push the idea that only a sacrifice — a human one — will free them. Who should the victim be? Who better than their host, the man who got them all into this mess with his impertinent dinner party invitation, Edmundo Nóbile? (Who, it must be said, has lived up to his name by comporting himself with more dignity and self-control than almost anyone else.) Some oppose this move, the ever-reasonable doctor most prominent among them (for his pains, someone shouts that they should get rid of him too) and the two sides, those for human sacrifice and those against it, wind up wrestling in the middle of the ruined room.

Just as the pro-sacrifice faction seems to be getting the upper hand and someone is reaching for the same knife that was used on the sheep, Nóbile tells them all that it won’t be necessary — taking a pistol from a drawer, he says that he can easily solve their problem for them. But before he can use the gun on himself, one of the women, Leticia (the wonderful Silvia Pinal, a Buñuel regular) tells everyone to stop where they are — she has realized that are all in the exact same places they occupied when the nightmare began, countless ages ago. If everything is repeated — positions, music, words, gestures, might that not free them from this spell? (Buñuel has slyly prepared for this by repeating several shots in the film; for instance, the shot of the guests first entering the house, along with the accompanying dialogue, is shown twice in succession. The only difference is a slightly different camera angle. Buñuel claimed that there are about twenty of these repetitions in the film.)

Everyone (except the dead) exactly repositions themselves as they were that unlucky night. The last few bars of the piano piece are played, followed by the same words that were spoken, and the doors of the sorcerer’s castle (“after all, this is not a sorcerer’s castle” someone rashly declared after the first night) are miraculously unlocked, and the captives are free. They immediately sense that whatever was restraining them has disappeared, and they ecstatically rush out the front door to meet the people waiting outside, who are also now freed to run to meet them. (Even the servants are there, seemingly drawn back by the same force that impelled them to run away.)

The curse has been lifted and the evil dream can fade from memory as all dreams do.

Well, if you think that, you don’t know Luis Buñuel. Of course, this deliverance is illusory; the torture master has withdrawn the knife only to reinsert it, merely repositioning the blade for the final, fatal twist.

The last scene of The Exterminating Angel shows all the dinner guests, again clean and fresh, immaculately groomed and expensively dressed, gathered together in church along with hundreds of other worshippers, attending the special mass that they promised to celebrate if they were saved from their ordeal.

As the service ends and the bells toll, the priests start to walk out of the nave… and stop.

They cannot leave, and neither can anyone else; they all stand paralyzed, new captives and old alike unable to walk through the door in front of them, and not long afterward, as panic mounts inside the church, shouts are heard from the outside, where mounted police are clashing with a large crowd. Rioters or the merely curious? Does it matter? The disorder and chaos that leaked from the human heart into an elegant upper-class drawing room has now overflowed into the wider world, spreading through the streets like a plague.

But have no fear; the degraded human race, corrupt and corrupting, will be looked after. The final shot of this extraordinary film shows a large flock of sheep, placidly trotting through the doors of the church while the city outside echoes with screams and gunfire. FIN.

The Exterminating Angel is one of the greatest films ever made, bursting with resonant, unforgettably suggestive images — a bear climbing the pillar of a chandeliered hall, crying with what sounds like anguish; sheep roaming up the wide stairways and through the deserted rooms of a richly-appointed mansion; ragged people listlessly standing around in the shattered ruins of what was once an elegant drawing room, hopeless as damned souls in hell; Nóbile and Leticia sitting with a sheep between them — as Leticia blindfolds the animal and hands Nóbile a knife, the doomed creature tenderly lays its head on its executioner’s shoulder. (Buñuel later said he wished that he had left the animals out of the film, because then he would have been able to make his people resort to cannibalism. Fun guy, that Luis.) Though there are a few other works it brings to mind (Jean-Paul Sartre’s play No Exit, which came before the film, and J.G. Ballard’s novel High Rise and Jean–Luc Godard’s film Weekend, which came after) The Exterminating Angel is very much its own thing, a bracingly original achievement, a ticking time bomb placed under the padded chairs of the complacent.

What is the meaning of this savage allegory? Does it say that hypocrisy and malice constitute the irreducible baselines of human behavior? That the comfort and luxury that we almost all desire are nothing but degrading prisons? That life is defined by its frustrations? (Later, in The Discreet Charm of the Bourgeoisie, Buñuel plays a variation on the impediment faced in the earlier film; in Discreet Charm the people of the privileged class can go where they want, but every time they sit down to dinner, something prevents them from eating; they are never allowed to complete a meal.) Does it say that the world is nothing but a desert island where we are all shipwrecked? (In 1954, Buñuel had filmed his own version of Robinson Crusoe.) Is it about the loss of belief that can suddenly undermine the most powerful regime? (Buñuel didn’t live to see the Soviet Union collapse overnight, but if he had, I can’t imagine that he would have been very surprised.) Is it a parody of the Book of Exodus? (When the Destroying Angel passed over Egypt, the Children of Israel couldn’t leave their houses.) Is it a monument to misanthropy, a horror movie in which the monsters are other people?

Hell, maybe if you could have administered a truth serum to the cagey Spaniard, he would have told you that the movie isn’t about the people at all — it’s about the sheep.

All respect to Roger Ebert, but whatever this singular film is, it has to be more than just a declaration that under Francisco Franco, Spain was oppressed by a corrupt and evil government. We know that already, and having grasped that fact, there’s nothing more to add. But The Exterminating Angel is deep enough to convey that specific meaning and many, many more. Like all the greatest works of art, it’s almost limitlessly expansive; it contains more and means more every time you see it. (Watching in 2025, it’s hard not to attach a meaning to it that it couldn’t have had for its director or original audience in 1962; the film works perfectly as an allegory of the anxiety and isolation of the COVID era.)

In watching this eccentric masterpiece, you may find yourself appalled, shocked into bitter laughter, filled with pity and dismay at the irremediably tainted human race and its benighted condition. What you won’t be is bored or dismissive; you’ll have no doubt that you’ve seen something absolutely unique and uncomfortably pertinent to the human dilemma, and you’ll find yourself turning it over and over in your mind long after the final credits have rolled, looking for a way out.

Really, what more could we poor, stupid sheep ask for?

Thomas Parker is a native Southern Californian and a lifelong science fiction, fantasy, and mystery fan. When not corrupting the next generation as a fourth grade teacher, he collects Roger Corman movies, Silver Age comic books, Ace doubles, and despairing looks from his wife. His last article for us was The Beating Heart of Science Fiction: Poul Anderson and Tau Zero

 

Buy LAST CHANCE TO SAVE THE WORLD
Read the review of Book One: Full Speed to a Crash Landing

OFFICIAL AUTHOR BIO: Beth Revis grew up in the Appalachian Mountains with a cemetery in her backyard, which is probably why she prefers her stories to be dark and full of twists. She’s the New York Times bestselling author of the Across the Universe trilogy, which has been translated into more than 20 languages. Beth lives in a house full of boys—her husband, son, and two massive dogs—and she forces them all to watch reruns of Firefly and Doctor Who. Visit her at bethrevis.com.

FORMAT/INFO: Last Chance to Save the World will be published on April 8th, 2025 from DAW Books. It is 133 pages and available in hardcover and ebook formats.

OVERVIEW/ANALYSIS: It's a race against time as con artist Ada pulls off her most daring escapade yet. The target: the launching facility of a fleet of nanodrones during one of the most publicized (and secured) events in the galaxy. The mission: upload a code that will delete the secret planned obsolescence code in the nanobots planted by the company that built them, ensuring the bots fulfill their mission to clean the environmental damage on Earth. Ada's convinced government agent Rian to help her, but can she count on him not to betray her at the last minute?

Last Chance to Save the World is a fun and frenetic finale, even if it does lose a bit of the chemistry between its leads along the way. While all the books in this novella series revolve around individual capers, they've all been part of one overarching arc that we see play out in this last adventure. Once again, we're treated to the unreliable narrator of Ada, who doesn't always tell the reader everything that's going on. Is everything going according to her plan? Only Ada knows until the final chapter plays out.

I do love seeing a well-executed plan, and there's plenty of that here. Seeds planted in previous books blossom into fruition for the finale and there's always one more ace up Ada's sleeve. It's a slick Hollywood heist film ending where the real bad guys get their just desserts.

But I also love seeing evenly matched opponents in these kinds of stories, and that's where Last Chance to Save the World fell a bit flat. In the first book, Rian was a worthy foil to Ada, with his own counter-moves that she had to outfox. Here, he's little more than helpless eye-candy. Sure, we're teased that he has a plan of his own, but he never surprises Ada or has the upper hand. She's always one step ahead and we know it, which takes away the chemistry between the two characters. The heat in the romance came from the danger of knowing that Rian COULD outsmart Ada if she's not careful, and that's just not showcased here.

CONCLUSION: From start to finish, the Chaotic Orbits novellas are a rollicking fun time that will leave you grinning. Now that the trilogy is complete, readers can watch Ada's plans unfold from start to finish in just a few sittings. I will always be a fan of Ada's chaotic energy, her constant shifting of conversational topics and goals designed to put her opponents on their back feet. If you're looking for a quick and easy entertaining adventure, these are just the reading snack to bite into.

 

I received a review copy from the publisher. This does not affect the contents of my review and all opinions are my own.

Once Was Willem by M.R. Carey

Mogsy’s Rating: 3 of 5 stars

Genre: Horror, Historical Fiction

Series: Stand Alone

Publisher: Orbit (March 4, 2025)

Length: 320 pages

Author Information: Website | Twitter

I think I may be in the minority on this one, but while I generally love the dark, thought-provoking works of M.R. Carey, I struggled to get into Once Was Willem. Granted, the novel was another testament to the author’s storytelling abilities, tackling a medieval horror fantasy told in a unique narrative voice. However, the style and structure of the book also made it difficult to parse at times, and this is something you have to get used to, or—if you’re like me—you just can’t.

Set in the mid-12th century, the story begins in a poor peasant village where the untimely death of a young boy named Willem leads his parents on a misguided attempt to bring him back. They turn to a powerful sorcerer named Cain Caradoc, who promises that he can help resurrect their son. However, what he failed to mention is that he will also be taking a piece of Willem’s soul as his price, and that the boy will come back as a grotesque shell of who he once was, becoming a monstrosity lingering between life and undeath. Horrified by the creature that once was their beloved son, his mother and father are joined by the rest of the villagers in driving Willem out.

Exiled, Willem makes his home in the surrounding woods, but he finds he is not alone. Others like him have taken refuge in the wilderness, among them individuals deemed oddities who have also been cast out—shapeshifters, elemental creatures, monsters, and spirits. Together, they form a band of seven to keep each other safe, eventually bringing the fight to Caradoc, whose nefarious plans have led him to set his sights on more than the souls of dead children. As the sorcerer’s magic threatens the villages and the residents turn to those they’ve cast out for assistance, Willem and his companions must confront the enemy in a final battle that not only determines the fates of the villagers but of the afterlife itself.

To be honest, although I appreciated the folklore and found family themes of Once of Willem, the book starts off slowly, and its ponderous pacing is further exacerbated by the archaic writing style. Indeed, the novel’s distinct narrative style is a double-edged sword, at once its greatest strength and greatest weakness. The story reads like a memoir told by Willem himself, but much like his physical body, his mind is also neither here nor there. He jumps around, meanders, inserting fragments of memory or asides at seemingly random places. Like the old-timey, period-appropriate prose, Willem’s voice makes this story feel authentic and immersive, but it is also very demanding on readers.

That said, Willem’s character arc is deeply moving, driven by his relatable need for acceptance and purpose. Afterall, everyone understands what it means to belong and to be accepted. It is universal, and it is human. Brought back to life only to be discarded by his own people, Willem also struggles with the meaning of his existence. Later, he finds solace in his group of companions that he meets in the wilderness. Bound not by blood but by a shared understanding, their camaraderie is truly the heart and soul of the story, bringing warmth and depth to an otherwise bleak tale. These characters shine whenever they are on the page, and unfortunately, their togetherness feels underused, making me wish we saw more of those connections.

In various reviews, I’ve seen Once Was Willem described as medieval Frankenstein meets The Magnificent Seven. Given its elements, I have to say these are good comparisons, and you should definitely check it out if you are interested in a unique blend of horror, folklore, and adventure. However, it can also be a frustrating read, especially if you prefer your stories to be more structured and organized. The dense prose can also present a challenge, and in fact, I found it more enjoyable after a while to switch to the audiobook, which made it easier to get into the story. Ultimately, I was glad I finished this, but it doesn’t quite reach the heights of M.R. Carey’s more readable books.

That’s right! 38 ebooks, all fantasy by amazing authors, available in a bundle of bundles for $30.

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https://kriswrites.com/wp-content/uploads/2025/03/Storybundle-Fantasy-Bundle.mp4

 

LitStack is excited to present Allie Coker’s review of A Tiny Piece of Blue, Charlotte…

The post The Impact of Fortitude in Charlotte Whitney’s “A Tiny Piece of Blue” appeared first on LitStack.

 

ABOUT THE AUTHOR: Joaquín Baldwin writes epic fantasy with a queer touch. As a multidisciplinary artist, he’s been recognized for his work in cinematography, photography, 3D design, and illustration, and his animated shorts have won over 100 awards. He unadvisedly decided that writing novels was the next thing on his list. While at Disney, he worked on films such as Zootopia, Encanto, Frozen and Moana. He spends an inordinate amount of time crafting the complex world of the Noss Saga. Visit him at joaquinbaldwin.com.

Wolf of Withervale links: Amazon, Goodreads
ESMAY

Wolf of Withervale is pitched as “An ambitious, sweeping saga—as epic as it is queer.”, and I honestly think that sums it up more perfectly than I ever could. It’s got ancient relics, mystifying magic, shape-shifting powers, diverse races and rich cultures, wholesome found family vibes, epic quests, all the queer love, and more mystery, intrigue and heart than you ever knew you needed.
As with any good start to an epic fantasy series, Wolf of Withervale is quite the slow-burn set-up book, but not in the boring way. From the moment I met Lago, I found him to be an extremely likeable and compelling protagonist, and I absolutely loved exploring all the mysteries and intricacies of the world together with him. I mean, I always love me a good morally grey anti-hero, but sometimes you just want to follow genuinely good people doing their best to do good things for the world and the people around them, and that is exactly what Baldwin offers.

Don’t get me wrong, Wolf of Withervale definitely has some dark aspects and there is no lack of conflict and stakes, but somehow I found this entire story to just be inexplicably cozy (which the wonderfully narrated audiobook probably also contributed to). For me, the nuanced interpersonal relationships and authentic personal inner journeys just kept me quite engaged, and I loved the found family vibes that started to develop between these loveable misfits. I mean, Alaia truly deserves the award for best friend in the world, and Bear is just the goodest boy ever.
I really enjoyed that they each have such a different background, because that allowed us to naturally get to learn all about this fascinating world as they share their own experiences and knowledge. And what a world it is! To me, the world of Noss is up there with The Wheel of Time or Stormlight Archive in both the breadth and depth of the world building, and I found myself fascinated by all the post-cataclysmic mysteries, the intricacies of the tense political landscape, and the level of rich diversity, be that on a racial, cultural or sexual level.

I mean, there is absolutely no denying that there were quite a few overwhelming info-dumps that went in one ear and out the other for me, but for the most part I think Baldwin actually did a pretty good job of balancing and interweaving the world building with the characters’ personal journeys. Especially the mysterious influence that the ancient wolf-like mask relic had on Lago kept me glued to the page, and I loved how his new-found shape-shifting powers and his transformative journey highlighted the story’s core themes of human connection, nature, empathy, belonging, and queerness.
And speaking of queerness, Wolf of Withervale is just hella gay, and I was mostly all here for it. That said, although I enjoyed the soul-deep connection between Banook and Lago, I am personally not the biggest fan of age-gap romances, and especially the whole ‘cub’ as a term of endearment made me feel deeply uncomfortable. Moreover, while I really liked Baldwin’s lush and descriptive prose in most sections of the story, I personally found the blunt and graphic way that most of the explicit scenes were written to be a bit off-putting.
Still, those quibbles didn’t end up hindering my enjoyment all that much, and I was just happily plodding along on this epic adventure. Sure, the pacing is quite wobbly, and I can’t sit here and pretend that I was really invested in the macro plot with the escalating war, but somehow I was just along for the ride (which the audiobook once again probably also helped with). And between the occasional intriguing non-Lago POV chapters and the ominously enticing (if slightly abrupt) ending, I am quite curious to see what Baldwin has in store in the rest of the Noss saga.
If you are sick and tired of all the bleak worlds filled with morally gray anti-heroes, then Wolf of Withervale will be a wonderful breath of fresh air. It’s somehow both comfortingly familiar and refreshingly diverse, and I can’t recommend it highly enough to anyone who likes their fantasy epic, slow, indulgent, character-driven, and unapologetically queer.
ŁUKASZ
The Wolf of Withervale is a curious beast. On one hand, it’s a dazzling display of creativity, worldbuilding, and queerness. On the other, it can feel like a bit of a slog if you don't have patience for dense storytelling, detailed romances, and some eyebrow-raising narrative choices.  
The story follows Lago Vaari, a young outcast who gets a magical wolf mask that changes the course of his life and his very identity. Others want it too, so Lago has to run from an empire hungry for mask's power. The setup is fantastic,  and aetheric magic system is a standout feature (well thought-out, combines science and magic, nerdy in the best way.) 
But here’s the rub: while the first half moves briskly, the story slams the brakes about midway through. The focus shifts to a romance between Lago (now going by his wolf-form name, Sterjall) and Banook, a bear shapeshifter and literal “bear” in gay culture. Now, I'm sure some readers will be here for this relationship and graphic sex scenes, but to me it dragged the pace down and sidelined the main plot. 
Still, there’s plenty to appreciate here: Baldwin’s passion, detailed world, the stunning illustrations, and the depth of thought behind every detail. The Wolf of Withervale is queer, nerdy, and unapologetically itself. It’s not perfect but it’s undeniably memorable. 
A subjective opinion: with the help of a berserker editor and some merciless tightening, this could be a true standout. As for today, I would say it's 100 -150 pages too long. 
Anyway, give it a try if you’re in the mood for something ambitious and out of the ordinary.  
OFFICIAL SPFBO SCORE

 

Live ladybugs and squashed dead ones tumbled to the floor.

(Okay, I admit it, even as a dedicated insect aficionado, this was wavering between alarming and gross.)

(page 80, A House with Good Bones by T. Kingfisher)
---------
Teaser Tuesdays is a weekly bookish meme, previously hosted by MizB of Should Be Reading. Anyone can play along! Just do the following: - Grab your current read - Open to a random page - Share two (2) “teaser” sentences from somewhere on that page BE CAREFUL NOT TO INCLUDE SPOILERS! (make sure that what you share doesn’t give too much away! You don’t want to ruin the book for others!) - Share the title & author, too, so that other TT participants can add the book to their  TBR Lists if they like your teasers!

Hi, everyone

This is just a short update – things are likely to get hectic over the next few weeks, so I’m just publishing it now.

I’ve had two releases recently, the long-awaited sequel to Sufficiently Advanced Technology – Sufficiently Analysed Magic – and The Princess Exile, which I hope will be the first in a series of stand-alone novels set in the Schooled In Magic universe. I have several ideas for other stories, from a exiled Prince hiring mercenaries to recover his kingdom (occupied and destroyed by the necromancers), to a story featuring the gentleman thieves (who first appeared in The Princess Exile) and an expansion of The Blademaster’s Tale, which is currently published in Fantastic Schools War. Let me know which one you would Like to see first.

As always, reviews, feedback, and suchlike are very welcome.

I’ve also finished the first draft of The Counterfactual War, which is the direct sequel to Conquistadors. It is being edited now, and I have hopes of getting it out in a month or so. I’ve also written Caleb’s Tale, a short novella set in the Heart’s Eye University between Mirror Image and The Cunning Man, which will be included in Fantastic Schools Universities. We are still looking for more submissions for both Universities and Familiars, so if any of you want to contribute a story please feel free to do so. Guidelines on the page.

My current project is The King’s Secret, which is more or less a direct sequel to The Alchemist’s Secret. Like I said, things have got rather hectic, but I am hopeful of finishing the first draft by the end of April.

This raises an obvious question. What do you want to see next?

There are two options. Tarnished Glory, which is the next Morningstar book, and Wolf in the Fold, which is the next Schooled In Magic book. Which one do you want to see?

As always, I would like to take advantage of this moment to remind you of my mailing list. It is used to let you know when I have a new book and nothing else. (And it also avoids the problem of Facebook et al. hiding posts.) You can also follow me through any of the links here.

Thank you for your time, and I hope you enjoy reading the new books.

Chris

Interesting, quite a lot of expertise & ‘facilities’ needed to get the most out of unwanted sigls. I was wondering what the Best Case would be when reshaping a Sigl into a replacement one (Same sigl just adapted to a different person). Perhaps to drop down one ‘level’? (eg From a ‘C’ to a ‘D’)

 

ABOUT THE AUTHOR: Joaquín Baldwin writes epic fantasy with a queer touch. As a multidisciplinary artist, he’s been recognized for his work in cinematography, photography, 3D design, and illustration, and his animated shorts have won over 100 awards. He unadvisedly decided that writing novels was the next thing on his list. While at Disney, he worked on films such as Zootopia, Encanto, Frozen and Moana. He spends an inordinate amount of time crafting the complex world of the Noss Saga. Visit him at joaquinbaldwin.com.

Wolf of Withervale links: Amazon, Goodreads


Thank you for agreeing to this interview. Before we start, tell us a little about yourself.
I was born in Paraguay and came to the USA to study art right after finishing high school. I’ve always been obsessed with nature, with light, and with story. The Noss Saga became this single big project where I could dump all my skills and passions, from the storytelling side, to creating maps, sculptures, photographs, illustrations, conlangs, and a whole bunch of other nerdy things. I’ve always spent my free time doing art anyway, but I was bouncing around without a particular focus, and this is bringing it all into something cohesive.
Do you have a day job? If so, what is it?
I’m an animator at Walt Disney Animation Studios (well, I’m a layout artist, sometimes director of cinematography, focusing on the camera work for animated features, which involves animating as well as other things). That’s been the day job for over a decade. I got that job thanks to my animated shorts, which were quite popular for a time and got lots of attention in the industry. As much as I love animation though, I do enough of it daily, so in my free time I want to do anything but that.

Who are some of your favorite writers, and why is their work important to you?
This list always changes depending on mood, but I draw inspiration from fiction and non-fiction.
On the fiction side, the obvious is Tolkien, but also Neil Gaiman, Stephen King, N.K. Jemisin, Jorge Luis Borges, Philip Pullman, Kim Stanley Robinson, Octavia Butler, and Patrick Rothfuss. I enjoy personal stories that dig into deeper meanings but also that transport us into well thought-out worlds, into magical places that are imperfect but beautiful.
On the non-fiction side, my biggest inspiration is Carl Sagan, but also Richand Feynman, Douglas Hofstadter, John Muir, and Robert Macfarlane. Anyone reading the Noss Saga might pick up on these influences—the entirety of it is filled with a sense of wonder toward nature, with a yearning to understand the universe.
What do you like most about the act of writing?
I enjoy the unexpected when I have a perfect plan, and then suddenly a character decides to do something different from what I intended, and they become their own living being that evolves into something unique, uncontrollable. The same goes with story itself, how the plot and even themes end up shifting as you write, and you find more depth and just let it happen. Letting it happen and entering that state of flow is amazing (if I remember to eat, at least, otherwise I realize it’s late at night already and I’m hangry).
Can you lead us through your creative process? What works and doesn’t work for you? How long do you need to finish a book?
I’m a bit obsessive, so I ended up writing 2,000 words average for the first year, till I reached a million words for the six books of the saga. To me (and this is just to me, everyone has their own way), making sure I wrote every day was important, even if it was just a few hundred words. Otherwise I could lapse into an undefined break and lose the flow. But at the same time, I do not like setting limits such as a specific word count limit, otherwise I’d be writing trash just to match an abstract number.
Another thing that was important to me was to write just to myself. I could not sustain writing this much while thinking of what people might like or not like, what would sell, what’s marketable. Fuck that. This is my passion project. I’ll make it the best thing I can, but it has to come from my heart.

What made you decide to self-publish Wolf of Withervale as opposed to traditional publishing?
I actually sent queries out to agents! But this was way before the manuscript was ready, way before I learned how to write a proper query, and before I learned how vicious the publishing industry can be. I was brand new to all this. In hindsight, I am so glad that I didn’t get any responses. If Wolf of Withervale had been published back then, it would not have been polished enough, it would’ve had some plot holes I could no longer fix, and it would’ve likely changed too much in the editing process in order to make it marketable to wider audiences, to the point it would not be the kind of book I wanted it to be. I’m much happier self-publishing. I get so much more control, I get to deal with the fans in a more personal way, and I can plan ahead a lot better, with my own timeline. I’m also publishing these quite fast (about every 8 months), while with trad pub I likely would’ve had to wait a decade to see the entire series out, and they could’ve always canceled it right in the middle and ruin it all. Self-pub forever <3
Contrary to many self-published authors, you went wide instead of being kindle exclusive. Why? Did it pay off?
I know my door-stopper books would do well in KU, but I despise Amazon and everything it stands for, and I have a huge respect for my readers no matter what platform or device they use to read or listen. I am probably losing a big chunk of money by not being in KU right now, but in the long run, it is about training the readers to buy direct, and once that scales up, it will compensate for the loss of income. Right now I’m still building the audience so it hasn’t reached that point, but it’s a long-term plan.
Another reason is that I never planned this project as a commercial one. I know it has commercial potential, but I will not focus my efforts that way or I’ll be trying to make money instead of making art. This way I have more control and I can deliver exactly what I want, and I’m not caged by an evil monopoly.
Your book is available in audiobook format. Can you share your experience producing it and a reflection if it was worth it?
Totally worth it! It’s been the most fun experience. Audiobooks are expensive, and it takes a while to make that investment back, but it’s something I always wanted to do. Not only did I get a killer narrator (Magnus Carlssen, who I love working with and who totally gets the mood and level of detail this world requires), but I also worked with a composer, Iain James Armour, who wrote the melodies that Magnus sings in a few spots of the book, and he also wrote the intro/outro for the audiobook as well, and is even working on a full album trilogy based on the books. This is a big project, and I wanted the audiobook to feel like its own complete piece of art, not just an additional format for consumption.
One thing I did not expect is how time-consuming the audiobook would be for me. I have to listen to so many recordings, provide notes, and use a tracking system we developed with Magnus to track the extensive amount of notes and rerecordings. But every time I get to sit down and listen to a new recording is wonderful.
Why did you enter SPFBO?
I currently have a passionate but small fan base. I need to branch out, and awards that are not exclusive to self-published books are nearly impossible to compete in since most of them are about popularity/visibility, something a publisher can handle with enough of a budget, but a single author could not. SPFBO was an award that came to my attention as soon as I got into this self-pub world, and I saw how some titles that won in previous years ended up reaching a much wider audience right away. To me, it’s about exposure, about finding people beyond my current circles that will enjoy this vast project. It’s also cool to keep track of the finalists and find new books to love.
How would you describe the plot of Wolf of Withervale if you had to do so in just one or two sentences?
When the wolf-like mask fell into the hands of young Lago, he could not guess at its powers. Now that the empire has scented the relic’s trail, Lago’s only hope of escape is to learn to wield the mask, uncover its secrets, and accept the change it brings.That’s the pre-written short blurb though. If I had to pitch it myself in an elevator I’d totally butcher it into something like, “It’s, um, about this kid who gets this cool mask, and like, magic and transformation, and like sexuality and all kinds of cool epic stuff. I made lots of maps! Did you see my maps?!?”
What was your initial inspiration for Wolf of Withervale? How long have you been working on it? Has it evolved from its original idea?
There are many ideas that coalesced into it, but the core that holds it all together came on October 3rd, 2020. I wrote a tweet that morning, which said, “Woke up at 4am with a breakthrough story idea, and makes me excited to start writing. It feels big, world-building big. I've never written anything long form, this could be it. Sending this tweet in the hopes I'll find it again a few years from now, when the story has taken form.”
I cannot tell you what that core idea was because it is massively spoilery, but it is what got me so obsessed. One month later, for NaNoWriMo (RIP, fuck AI “writers”), I began writing daily (I took that whole month to prep, outline, etc). My first draft was shit. My second one was decent. My eight or so was ready.

If you had to describe it in 3 adjectives, which would you choose?
Queer. Epic. Nerdy.
Is it part of the series or a standalone? If series, how many books have you planned for it?
It is a six-book series, all of which are written already, but in different stages of editing. Books 1 and 2 are out already (Wolf of Withervale and Masks of the Miscam). Book 3, titled Relinquished Realms, will be out early 2025 (we are working on the final edit/proofread now). Book 4 just went through all the beta readers (I need to sit with their notes and do an extensive edit) and books 5 and 6 are still with the beta readers and will require lots of work to clean up.
I published the first book only after I had already written all six. This allowed me to do retroactive edits to fit things better and to add lots of callbacks, setups, and payoffs that work through all six books. Each book averages around 190,000 words.
Who are the key players in this story? Could you introduce us to Wolf of Withervale’s protagonists/antagonists?
Lago Vaari is the protagonist, a young man who inherits the magical mask that kickstarts the adventure. He is passionate, studious, but also impulsive and a bit hot-headed.
Alaia is Lago’s best friend. She is an optimistic and opportunistic mine worker who keeps Lago in check, making sure his heart is in the right place.
The Red Stag is the main antagonist. Not really a spoiler, but there is more than one magical mask, and the Red Stag (a half human, half elk) has control of the mask of cervids, and wants control of the other masks.
There is also Ockam, a scout who comes to Lago’s aid when the empire finally catches up to him, and who becomes a kind of father figure.
And there’s a M/M love interest, a character whose name I won’t mention due to spoilers, who is my favorite character in the entire saga :)

Does your book feature a magic/magic system? If yes, can you describe it?
The magic system is tightly grounded in scientific concepts. I needed it to feel believable, particularly since we are already dealing with some impossible things like transformation. The system relies on the aetheric elements:
Imagine that some elements (Or perhaps all? Who knows?) have an “aetheric” variant, a kind that chemically reacts to other elements in the same way as expected, but they also have one particular extraordinary property. So, for iron you would have magnium (or “aetheric iron”), which provides magnetic properties to the metals it alloys with. For carbon you have soot, which is a sort of hallucinogen that allows you a glimpse into the connections between carbon-based lifeforms. Sulphur has a variant called brime, which constantly expels heat. To silver there is galvanum, which has electrical properties. And there are many more, including aether (the aetheric variant of hydrogen), which is [REDACTED, TOP SECRET]. Now imagine what it would be like to combine these precious and rare elements together, and you have an entire world of non-magical magic to explore.

Have you written the book with a particular audience in mind?
Yes. Me! But also any other queer nerds. I love geology, paleontology, chemistry, zoology, and I’m dropping all these passions into this series. It’s already finding a lot of fans among scientists and sci-artists. Furries are also a core audience, with the anthro/transformation themes being so prevalent, and with the themes of gender and sexuality being so intrinsic to the story. But overall, I first had to write it for myself.

What’s new or unique about your book that we don’t see much in speculative fiction these days?
The way sexuality is woven into the plot is rare, and one of the main reasons I wanted to write this story. Yes, there are a ton of books out there now with queer casts, but sexuality as part of the worldbuilding and development of the core plot is not common. The magical masks in the Noss Saga are a medium through which to express ideas of gender, of change, of finding one’s true self or selves. The sexuality of the characters is not merely incidental, it’s extremely consequential with how the plot flows and how the major themes develop.
There is also an exceedingly large number of illustrations and behind-the-scenes worldbuilding, all available for free in the extras pages for each of the books. This is not so uncommon, but I think the Noss Saga goes way beyond what one would expect to find for extras in how extensive and polished they are.(Łukasz, feel free to add any of the images from that extras page to your post. I think readers might enjoy seeing the world map in particular)

Cover art is always an important factor in book sales. Can you tell us about the idea behind the cover of Wolf of Withervale and the artist?
The artist is the wonderful Ilse Gort, who is just fantastic. I had her in mind since the very start, and I’m so happy she was willing to read the books and do such amazing art for the covers. I actually just happen to have written a detailed post showcasing the process of the book’s cover, including Ilse’s many sketches, so you can check those sketches out here.
Although I love doing the interior illustrations for my books, I think leaving the cover to someone like Ilse really paid off. She’s the best, I love how the covers turned out, and how the clean illustrations stand on their own as their unique pieces of art.




What are you currently working on that readers might be interested in learning more about, and when can we expect to see it released?
I’m working on the final edit of Relinquished Realms, Book 3 of the Noss Saga. I’m not naming dates yet, since I want the print, audio, and ebook versions released all at the same time, and planning that is tricky, but I’m aiming for early 2025. I’m also starting work in Zootopia 2 at Disney, which also comes out in 2025 :)

Thank you for taking the time to answer all the questions. In closing, do you have any parting thoughts or comments you would like to share with our readers?
Thank you!
I’d ask your readers to check out the other finalists in SPFBOX! I’m just getting to know some of the authors now, and just placed their books in my to-be-read list. Check them all out, and if you like their books, tell your friends about it—word of mouth is how indie authors find new readers.

Image by Gaertringen from Pixabay

Good afterevenmorn!

Let’s talk self-publishing. Particularly, print on demand options.

In this particular climate, I know a number of book buyers and independent and self publishers looking to make an impact by being more mindful of where they spend their money and with whom they do business. It is, however, incredibly difficult to do any kind of individual action, given the absolute chokehold Amazon has in the book space. Those of us who are self-published know it well. Amazon is where most book buyers go when shopping online. And it’s where a large number of independent publishers go to have their books printed and shipped. Print on demand is a great technology, especially for those of us who do not have the funds to do an entire print run, and no space to store the books in any case.

It’s perfect, too, because no book is wasted. Only the exact number of books sold are printed. There is no pulping of piles of unsold books. Paper is not wasted. I really like print on demand for that reason alone.

There are, of course, many other print on demand options. Nowhere is it written that one must use Kindle Direct (the print on demand arm of Amazon). However, Amazon has been such a behemoth for so long, it does seem like that if one has any hope of making a living from their self-publishing efforts, you must be on Amazon. Plenty of self-published writers make a very decent living on there, thank you very much.

Image by Gerald Friedrich from Pixabay

However, I, like many others (both buyers and publishers) do not like the way Amazon operates. We don’t like the way they treat their employees. We don’t like the way they treat their authors. We don’t like how they bully the little guy. Or what they do with the money we make for them. It has had me searching for alternatives for a long while now.

Draft2Digital is one. It operates the usual way; you upload the book and cover, decide which channels you wish to sell on, and Draft2Digital will print and ship off your books to all those markets. You can order author copies should you ever need a bunch for an event.They operate as both a printer and distributor, which is quite nice. They pay for this by taking a cut of the proceeds of each sale, in much the same way Amazon, and other options do.

Lulu and Ingram Sparks are a couple of others that are names with recognition. But there are a bunch of print on demand services. They all operate in more or less the same way. As a bonus, there aren’t any issues with the manner in which they treat their workers, near as I know. So they’re not a bad option if you’re looking for a print on demand option.

Image by Dmitriy from Pixabay

Recently, I’ve seen another player jump on the scene. This is a new print on demand option that operates a little differently. Books.by is a print on demand service and online shopfront that works on a subscription model. Essentially, the author/publisher pays a yearly fee, and they get print on demand services as well as a shopfront for their physical books.

If used as the author’s online store, it could help in reducing website costs, which can get quite costly. Books.by has printers on practically every continent, making printing and shipping very quick and very easy. The website also boasts marketing tools available to booksellers, though I haven’t yet explored those and so don’t know if there’s the value in them the site claims.

The store fronts look nice and clean. It’s very easy to set up; extremely user friendly on the backend. Added bonus for some of us, the company, like myself, is Australian.

There are some pretty significant drawbacks, however. The first and most immediate is upfront costs. Part of the attraction of Amazon, Draft2Digital, Lulu, Ingram Spark and others is that you don’t require any money upfront. You can just upload the files and start selling. Sure, they tend to take a hefty cut, but the barrier to entry is incredibly low. With books.by, you must have the money upfront, and pay it yearly. However, the amount does not change. It’s not a percentage of your sales. It’s a flat fee (plus printing costs). The author gets to keep 100% of the profits. That can be very attractive; especially for those writers who sell at volume. Still, it’s very rare for anyone to be able to sell those kinds of numbers, especially if one is just starting out.

This may be something a publisher is willing to factor into the cost of doing business, and in the hopes that they grow large enough on the platform to justify that fee.

It will have to be noted that, as of the writing of this, books.by does not offer digital downloads. Less expensive to purchase, digital books are a great way for new readers to discover a new favorite author. The cost isn’t high, comparatively, making it an attractive option for buyers. It would be a really nice feature if they would offer downloads in multiple formats for buyers for those publishers who wish to offer them.

Perhaps that’s a feature that’s in the works for later. The company is relatively new, after all.

Discoverability is also a problem. Each subscriber gets a dedicated shopfront (with a pretty clever URL, actually: books.by/[publisher name]). But there isn’t really a buyer-facing site at all. Which means that someone can’t come to books.by and do a search for a title, author or publisher they way they can with Amazon. People coming to shop at books.by must have the publishers URL, or they’re just out of luck. Alas.

It is my hope that books.by will add that kind of front-end search function in the future so they can better compete with sites like Amazon. As of now, however, this is a considerable failing in my opinion.

Image by Jose Antonio Alba from Pixabay

Do I have a books.by shop? I do! There is only one book on it at the moment, as I’m going through my back catalogue and updating the books before releasing them under my new-ish imprint. Of course, because I’m such an unknown outside of family and friends, I have sold all of one copy; nowhere near the volume required to justify the expense. I am one of those who is running at a loss, hoping that sales pick up enough eventually to justify the cost.

For all of my physical copies, I’ll be using books.by, as they’re a great alternative to Amazon, and I want to be more ethical about where I’m spending my money.

But I’m not one to put all of my eggs in one basket. I also use Draft2Digital for most of my distribution needs, and, yes, my books are still up on Amazon, available through KDP (one of the business practices I detest is the sneaky way Amazon tends to throttle sales that are distributed to them from another provider). Some people haven’t a choice and must use that market. I don’t want to deprive them of their options. I will, however, be directing people to buy from my ko-fi shop or my books.by shop when they can.

It’s not much. I’m just one writer/publisher. Amazon won’t miss my business, I’m sure. Particularly since I hardly sell at all. What I do won’t really matter. Still, it’s better than nothing, and I’m enjoying having options.

I would suggest for new self-publishers to (always) do their research and choose a platform that best suits your and your situation. It might not be the best idea to jump into books.by when you’re first starting out; not least of all because of those upfront costs and lack of discoverability. That might be something to consider more when thinking of opening your own online store… and even then, consider the lack of ebook options (which will hopefully change).

I do think books.by has potential, but they’re too young a company yet to put all one’s stock into.

Are there any new and excited self-publishing options out there that you’ve heard of? I’m sure folks at the start of their journey would love to hear about it. Sound off below!

When S.M. Carrière isn’t brutally killing your favorite characters, she spends her time teaching martial arts, live streaming video games, and cuddling her cat. In other words, she spends her time teaching others to kill, streaming her digital kills, and a cuddling furry murderer. Her most recent titles include Daughters of Britain, Skylark and Human. Her serial The New Haven Incident is free and goes up every Friday on her blog.

 Sitrep:

So, all of the betas are done with J9 and I sent it off to Rea Saturday. So, here is the first snippet!

 

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Antigua

Chief Warrant Officer 5 Jethro McClintock noted the flutter of the wind, picked up on the heat rising and ran mental calculations even as Bast fed him the data. What he saw matched her data roughly so he fed it to the sniper.

The sniper was a new recruit to the Cadre, Sergeant Manoox. The sergeant had sniper qualifications from the army but seemed to struggle with accepting data from his AI.

“Target at two-five-six-one meters. Up one point five. Wind at nine o’clock six clicks.”

“Two-five-six-one up one point five, winds… got it,” the sergeant replied in a text through their implants. The duo was side by side so their respective AI had established a wired nanite link between them. That facilitated conversation so they could not be picked up or overheard.

“Send it,” Jethro growled.

The sergeant gently squeezed the trigger. As always it came as a surprise to them.

The round went down range and slammed into the target.

“High point two,” Jethro observed. “To the right point four.”

“Roger,” the sergeant said as he made adjustments.

Another sniper fired a shot off to their left. A target plinked.

“Send it,” Jethro ordered.

This time the round hit dead center as expected.

“Good shot. New target…” Jethro moved on across their zone as the first target reset.

<<(O)>>

Sergeant Suqi McClintock noted the target hit and smiled. She was dialed in. She quickly made it through the qualifications and then rose when her spotter cleared her. Half muscle memory, half training she cleared her weapon and looked around. Sabu was finishing up his quals to the far left of her. Their father Jethro was in playing spotter for another student.

She glanced to her right to see Hurranna wrapping up her quals. The lynx sat up when she finished and stretched and then scratched at her back.

“Getting old?” Suqi texted.

Hurranna turned to her, stuck out her tongue and then stretched again. Suqi chuckled.

Chief Warrant Officer 1 Hurranna was their ‘aunt’. She had grown up with their father and others on Antigua Prime. She had served with them in Sigma Sector hunting pirates, though she had done so in a fighter as a Marine pilot while Sabu and Suqi had been sergeants in the Marines.

All 3 had been tapped to join the Cadre. They had done a bit of soul searching and then had agreed much to the chagrin of their respective commands. It was that or get rotated home to serve in a training force or standing guard duty at some building somewhere. None of them wanted that.

Hurranna had been threatened with a commission a few times. She had considered it but hadn’t liked dealing with the paperwork and the headaches involved with being a commissioned officer. As a warrant she could get to the rank of a CAG but not much further. She had said that she hadn’t considered getting out of the pilot seat until she had found out that the Cadre also used pilots.

Since she had finished her integration she had taken up duties with the shuttles that occasionally moved the Cadre to distant exercise locations.

Hurranna joined Suqi at the table where the weapons were laid out. “It took a little bit to get my eye back in I admit. But it’s like riding a bicycle.”

“If you don’t practice regularly you forget the tricks,” Suqi retorted.

“Like I said, like riding a bike. Once I had a refresher it all came back,” Hurranna replied.

Suqi flicked her ears.

“So, what’s next?” Hurranna asked.

“The finals for camouflage for the second half of the class. Since you already passed it, you lot can head in and pack it in,” Chief Humble stated. He was a big albino Neogorilla.

“Take your weapons with you,” the chief growled as the duo turned to leave. “Turn them in to the armory and clean them. You know the drill.”

The girls sighed. “I hate getting my nails dirty,” Hurranna mock whined.

“I hate chipping a nail,” Suqi said, pretending to look at her nails. Her claws came out as she examined them.

“My heart bleeds,” the chief said gruffly, rolling his eyes at them.

The girls smirked at each other. “Want to get our nails done after this?” Hurranna suggested.

“Sure,” Suqi answered. She turned to the chief. “What do you say chief? I think hot pink is your color,” she teased.

“Pass,” he growled. “Get out of here before I throw you two out. And you two are small enough that I can do it too,” he said eyeing them.

“I think he means it,” Hurranna chuckled as the duo put their sniper rifles into their carrying cases and then headed off.

“I’m sure he’s just a softy at heart,” Suqi said. The chief roared and both girls startled and turned back to him. He was growling at another student.

“On the other hand…” Suqi drawled.

“Yeah, maybe we should tease him later,” Hurranna agreed with a nod.

<<(O)>>