In the beginning, there was the protagonist, and the author saw that it was good.
My worldbuilding process starts after the creation of the protagonist, never before. I write novels to tell the story of a person, not the story of a world, and all of my novels have sprung from a first impression of the main character. For The Empress Game trilogy it was an image of Kayla holding a kris dagger in each hand, fighting another woman in a pit while criminals cheered her on.
Once I have that first impression of a character, the worldbuilding begins. Who is she? (The exiled princess from a rival planet) Where is she? (Hidden on the slum side of her hated enemy’s border planet) Why is she there? (Trying to raise credits to buy passage back to her homeworld) And, most importantly, why is she special? Why are we telling her story, and not someone else’s? Continue reading
The horror genre is in fine fettle at the moment. In fact, I can’t remember a time when the work being produced has been more wide-ranging, inventive and exciting. This is not only due to the fact that established names like Stephen King, Ramsey Campbell, Tim Lebbon, Joe R. Lansdale, Adam Nevill and Stephen Volk are continuing to produce excellent work, but is also because a huge influx of new writers has ensured that if the genre was a bar or a club, then it would be the coolest, most vibrant place in town in which to hang out.
As part of the blog tour celebrating the release of Kate Moretti‘s The Vanishing Year,
Let’s start with an introduction: Who is Bennett R. Coles?
Today, we have an excerpt from William Sutton‘s second Victorian crime novel, Lawless and the Flowers of Sin. Recently published by
My first encounter with
Let’s start with an introduction: Who is Christopher Husberg?
Following our interview with Andrew Cartmel, yesterday, Titan Books has sent us an excerpt from