Intent: A Review of Blood Like Magic, by Liselle Sambury

            Witchcraft in fiction is an incredible variable, mutable tool in storytelling, although not every fantasy story, or story with magic present, contains witchcraft.  It is one of those things where no one can agree on a single definition, aside from witches mostly being female or female led.  Even region of the world has its own folklore regarding witches, going back thousands of years.  In some, witches are benevolent, helping their communities with potions and spells.  In others, witches made deals with the devil in the pursuit of power and influence.  While authors do pull on some of that, depending on where they decide to set their stories, the lack of a single definition of witchcraft allows writers to create new takes on it, iterating and innovating from story to story. 

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Mechanized Love: A Review of Gearbreakers, by Zoe Hana Mikuta

            Genre can be a tricky thing in writing.  Some authors are very strict about sticking within certain genres, and abiding by the various common plots or tropes that come along with those genres.  For example, ask three different people about what the cyberpunk genre is and you will receive three different answers.  Science-fiction and fantasy are often seen as distinct genres, and many do not think the romance genre could cross over with a noir story.  However, genres are not set in stone.  There is no comprehensive set of rules stating what you can or cannot do as a writer, even the most traditional authors subconsciously mix and match genres all the time.  The terminology is meant less as a set of rules and more as a set of guidelines.  There are common tropes associated with science-fiction, certainly, but there is absolutely nothing stopping an author from combining those with romance.  Many times, the best stories are the ones where authors pick and choose the parts of a genre they like the most, combining them with aspect of other genres until an engaging fusion emerges.

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Chosen: A Review of Cast in Secrets and Shadow, by Andrea Robertson

            One of the oldest genres, whether it be fiction or non-fiction, is the coming-of-age story.  A tale concerned with the transitions between eras of life.  Child to teenager, teenager to young adult, young adult to adult.  People are constantly changing and, hopefully, maturing as they grow older, and we all have stories that exemplify these transitional spaces.  Within storytelling, there are so many ways to handle this story, and it has been handled by nearly every author throughout history.  Characters spend the arcs of their stories learning from their experiences, ending the story wiser than they began.  There can be starts and stops across the journey, as we are all familiar with the concept that we have become our perfect selves, only for that notion to be proven false very quickly.  Sometimes, there are even characters who believe to have found the correct path, only to require course correction from a trusted voice.

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Hogwarts Department of Human Resources, a Harry Potter Fanfiction Novel, is Now Up on Archive of our Own

My project for National Novel Writing Month is finally complete! Capping out at over 57,000 words, Hogwarts Department of Human Resources is a Harry Potter fanfiction novel that images what would happen if, after the conclusion of the Harry Potter novels, Hogwarts finally established an HR department. Read all 30 chapters for free on Archive of our Own using the following link. Enjoy!

https://archiveofourown.org/works/35453086/chapters/88371739

National Novel Writing Month Announcement and Excerpt

This is a post I should have made at the beginning of November, but am finally getting around to now! This year, I decided to participate in National Novel Writing Month, and I am happy to announce that I did hit my 50,000 word count and finished the project I set out to write. Unfortunately, this meant that I have not yet finished a single book this month, which is why there have not been any book reviews all November. I am very close to finishing the book I’ve been reading, Cast in Secrets and Shadow, by Andrea Robertson, and will have that review up in early December.

This past summer, I went to go see Harry Potter and the Half-Blood Prince at the Hollywood Bowl with some friends, and the events of that movie made us realize that so many conflicts in the Harry Potter universe could have been avoided simply with background checks, verifying references, and other basic hiring practices. With that conversation fresh in my mind, I decided to write a Harry Potter fanctiction novel for nanowrimo this year, resulted in Hogwarts Department of Human Resources.

I will be posting Hogwarts Department of Human Resources on Archive of Our Own (also known as Ao3), by the end of the week for all to read. Expect another post with the link when that happens!

For now, please enjoy this excerpt–Chapter 3: The Muggle Life of Jasmine Sunder.


Lamps Lamps Lamps was not a large company.  Nor was it a small company by any means.  Rather, Lamps Lamps Lamps was perfectly situated right in the middle.  Just small enough to fall under the radar when people decided to protest sexual harassment of low pay, but just large enough to have general brand awareness.  Everyone had heard of Lamps Lamps Lamps, even if it took them several minutes to remember which exact company it was, and, even then, they only knew of it as a series of retail stores, completely ignoring the big new website that had been set up.  So, Lamps Lamps Lamps was neither a small nor a large company, which was exactly how Jasmine Sunder liked it.

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Rage: A Review of Iron Widow, by Xiran Jay Zhao

Revolution has always been a major theme across literature, and nearly every young adult novel features the concept in some way.  Stories are full of characters challenging the status quo and pushing back against injustice.  However, there is usually a limit, a disconnect, which separates the injustices on the page from the injustices in the real world.  Mainstream readers can enjoy a series such as The Hunger Games without connecting the dots between the world in the novels to the real world.  Whenever a book comes along that does challenge its readers to think critically about our own reality and history, there can be hesitancy.  Publishers do not think it would sell well, publicists worry about potential backlash, and more.  Yet, there is an audience for literature such as that, literature that combines entertainment with real revolution, and that audience is getting larger and more vocal every year, hungry for more.

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Class President: A Review of The Last Graduate, by Naomi Novik

Telling a serialized story—a story where each installment is explicitly connected to the next, forming a cohesive tale across multiple chapters—is nothing new to the world of books, especially for those of us who read fantasy or science-fiction.  This format has also been steadily taking over the world of television shows and movies to the point where, when a movie ends, watchers immediately start asking about the sequel.  The concept of a serialized story also pairs well with the cliffhanger, where a book ends upon a revelation, twist, or in the middle of a conflict.  While this format can make it appear daunting for new people to get into the story if they arrive late, it also serves to hook readers and keep them invested and excited for each new chapter.  Naomi Novik’s latest novel certainly keeps us wanting more.

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Graduation: A Review of Goodbye, Battle Princess Peony, by Mira Ong Chua

Comic books are an overlooked form of storytelling when it comes to literary discussions, with most of the conversation revolving around the books put out there by the large publishers.  Comic books struggle with a reputation tied to superheroes in the United States, but it only takes looking at the indie art scene, or the books published in other parts of the world, to see the real potential of the comic book and graphic novel forms. Rather than reading exposition describing a city, a talented artist can show it to us through spreads and background art.  Authors do not have to struggle with trying to accurately convey what emotion a character is feeling when it can be drawn on the page.  A good artist can convey pages worth of narration in a single frame.  There are so many good comic books out there, in a multitude of genres, and the subject of today’s review is here to prove just how impactful and engrossing a comic can be.

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Spycraft and Romance: A Review of Capture the Crown, by Jennifer Estep

There is an art to be found when crafting a sequel, a careful balance to be struck, which I talked about in several opening paragraphs in other reviews.  When it comes to creating not just a sequel, but a sequel series, however, that requires a completely different skillset and outlook.  Sometimes, after a series has concluded the story it wished to tell, there is room for additional stories.  Many authors will shift focus to a different character or a different region of their world entirely.  Often, the writer employs a time jump, catching up to characters and worlds many years after the original ending.  When writing a sequel series, a careful balance must be struck; a balance between retaining old readers and drawing in new ones.  Tip that balance, and you risk alienating one or both of these groups.  For the perfect example, look no farther than the Star Wars sequel trilogy.  The first movie, The Force Awakens, achieved this balance easily, introducing new characters and keeping one or two old ones.  However, the final movie, The Rise of Skywalker, wrapped itself in misplace nostalgia to everyone’s detriment, creating a finale that satisfied no one.  The balance was not maintained.

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Heroes of the Ward: A Review of Realm Breaker, by Victoria Aveyard

Stopping, or surviving, the end of the world has become standard fare in fiction, from novels to movies, that it is essentially its own trope now.  A quick and easy way to set enormous stakes and justify any action set piece one could think of.  However, despite the proliferation of this plot building block, or maybe because of it, the end of the world is actually a rather difficult plot to pull off and keep your audience invested.  As seen in many movies, once the stakes become too big, too large scale, it can be hard to empathize with the widespread destruction seen on screen.  This trend is not even unique to fiction.  It is more difficult for humans to empathize with large-scale tragedies simply because they are too big to make sense of.  However, just like in real world news coverage, there is a way to keep people interested and invested when plotting and end of the world story; make it personal.

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