Have you thought about writing a non-spice romantasy? Do you like character-driven narrative where world-building is incorporated in the story? If yes, you will like Elisabeth Wheatley’s Daindreth’s Assassin. It is book one of her five-book series that follows Amira, who is the assassin.

What I really like about this novel is that the author incorporated the world-building into the story. The world is unique with new races, cities, and conflict. And we learn them all gradually through the story itself. There is no long introduction; we dive straight into action with Amira and her quest. Modern writers are truly getting better in hooking the reader not only from the first chapter but from the first sentence. Wheatley did a really good job presenting the world and her characters alongside the story without us feeling the effort to learn them all. She keeps the narrative going forward without side quests or unnecessary characters. Each one has a part to play, and they play it well. Look at this example where she tells us about Amira’s curse:

‘She gripped the trellis to the left side of her window and swung to the outside of the wall. Almost immediately, the tightness vanished. So long as she obeyed her father, the curse was her friend. It made her stronger, faster, and more powerful, but only if she served well. Unfortunately, Amira’s tendency to hunt for loopholes and gaps in her father’s commands meant that the curse had done little for her in the decade and a half that she’d been subject to it.’

See how we know everything we need from such a short paragraph? The action doesn’t stop for long to explain what we need to know. We get little pieces of the world and information about her heroine as we progress through the story.

Looking at her prose, I need to mention how accessible it is. The narrative flows smoothly from one event to the next. The language is easy and her descriptions are vivid. The author pays so much attention to detail and setting without dragging the narrative. She makes us see what her protagonist sees. Wheatley uses third-person, but we never lose the immersion in the story. Here is an example:

‘Through the opened door of the bedroom, Amira glimpsed a periwinkle canopy spanning a massive bed draped in a sapphire coverlet. Tapestries done in varying shades of blue with decorative white runes hung the walls. Part of a body length mirror shone from near what appeared to be the boudoir, stuffed full of gowns and dresses.’

The author uses not only sight, but also smell, taste, touch, and hearing. For instance: ‘She still smelled his burning flesh.’ Many writers use sight as their main window to their story and forget that they can use other senses to make us feel the world, not just see it. It is really important to mix all five senses so that we get to be a part of that world.

Taking a look at her magic system I have to say that I truly like it. It is well thought-out, and the word ‘Ka’ represents it beautifully; the overall mix of curses and magic made sense.

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On the other hand, as much as I enjoyed reading this story, I found some repetitive patterns throughout the novel. Take this example: ‘Amira pushed herself up, carefully, surprised she wasn’t dizzy. She pulled herself to her feet.’ The ‘pushed herself up’ serves the same meaning as ‘pulled herself to her feet’. These repetitive phrases weren’t common, but if they were cleaned, the novel would have been so much stronger. I always advise writers to line-edit their novel after they finish the development editing. Completing the story arc and its theme doesn’t mean it is ready for publication; the final line edit is just as important.

Another point that pulled me from the story is her use of modern terms. Wheatley uses the term ‘lawyer’ in a fantasy narrative. It is not a deadly mistake but I think that she should have found another non-modern term to describe her medieval politicians. The use of these words usually breaks the immersion in the story and makes us see the author’s hand instead of the characters.

The ending is somehow cliché. The “love will conquer all” trope has been done so many times. However, I think it still has an appeal for romance readers as they read these stories for that feeling in the first place. It is very important to know your audience and what they would expect from your story in order to give them that experience they are looking for when reading your book. For instance, it is not okay to have a sad ending in a romantic novel as the reader will be furious. Write what you love to read, but always keep the reader in mind.

Overall, should you read Daindreth’s Assassin? Is it worth your time? I say yes, if you like to read a love story with no spice; if you like a character-driven narrative without complicated themes; if you like world-building without having to study the world beforehand, then this story is for you.

My rating for Daindreth’s Assassin is: 4 Stars.

P.S: Did you know that Elisabeth Wheatley has a YouTube channel with fun short videos? She also has the whole audiobook of this novel narrated by herself on her channel for free.

If you are interested, here is the link to her channel:

https://youtube.com/@elisabeth_wheatley?si=enOHvmFvCwumqH-O

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Check out my previous review of A Game of Thrones, in which I break down Martin's techniques, his characters, and the secrets behind his success:

Grimdark Worlds, Broken People

Do you know what I absolutely love about A Game of Thrones? What makes it stand out from other grimdark novels? It is in the way George R. R. Martin puts us straight into his world. We don’t get a long prologue about the history of the world, nor do we get an introduction to the characters or what they do. We actually inhabit his world alongside his characters; the novel starts with a dialogue line (as you can see from the first line I shared above); and we get to see, hear, feel, and taste the world he created.

You might wonder, is this his secret? Is it in the detailed world he carefully created over 10 years? I say no. Westeros, Essos, and the other parts of his world play an important role in delivering his story, but they are not the main parts. We don’t get hooked on reading about an interesting world (although it definitely makes it more appealing); we read because we want to see what will happen next to the characters we can relate to. Many writers try to focus on world-building or an exciting plot with action and events, and sometimes forget that we read to connect to the characters that live in that world. Readers forget city names or war events, but they can never forget what happened to Daenerys Targaryen after she married Khal Drogo, or Sansa Stark after she left the north, nor will they forget how Jon Snow felt as a bastard. These emotional character beats are what keeps us reading.

So, how can you create interesting characters that people will never forget? I say, first, each character should possess strengths and weaknesses. In other words, the protagonist shouldn’t be able to do everything perfectly, and each character should have a skill that distinguishes them from everyone else. For example, Tyrion Lannister is smart, but he is a dwarf and can’t use a sword to fight his enemies. Another example is Sansa Stark. She is beautiful and graceful, which made her survive her time in King’s Landing, but it was also her downfall later (this example shows that sometimes even one feature can become both a weakness and a strength).

Second, it is about making the characters relate to our real human struggles. No one can relate to a god-like man or woman; we might love imagining being like them (this is a topic for another article). The limitations these characters have will make us sympathise with them and relate to their journey. For example, so many people who lived not knowing their real parents would relate to Jon Snow’s struggle in finding out who his mother was. Another example, so many women would connect with Brienne of Tarth and her struggle with her lack of confidence in her appearance. Therefore, presenting a character with personal issues will make the reader see themselves in these characters.

You may think that Martin’s slow and deliberate writing might be the key to his success? Also, no. Martin is a slow writer (he admits it in one of his interviews) but slow doesn’t mean better. Stephen King is known to finish a novel in three months, but that also doesn’t mean his work is superior. Every writer should write at their own pace. If you rush yourself, you might burn out; if you write too slowly, you might get bored and abandon the manuscript. Always remember to work at your own pace. The more relaxed you are about your writing, the better the results will be when you actually sit down and write. Martin and King write because they love the process of writing; they enjoy making the story. So, it is not just the end result; it is the journey itself.

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Now, let us take a look at his language use. Many people who haven’t read A Game of Thrones think that it is a hard-read because many people call Martin “The American Tolkien”. So, they assume his language is as hard. Let me tell you, it is not true. His descriptions are actually simple and reader-friendly. Take a look at this example:

‘Ser Waymar Royce was the youngest son of an ancient house with too many heirs. He was a handsome youth of eighteen, grey-eyed and graceful and slender as a knife. Mounted on his huge black destrier, the knight towered above Will and Gared on their smaller garrons. He wore black leather boots, black woolen pants, black moleskin gloves, and a fine supple coat of gleaming black ringmail over layers of black wool and boiled leather.’

See how his prose is straightforward? Martin doesn’t use lyrical or poetic prose to describe his characters. He simply states their appearance so that we can see them alongside him. This is actually a very good strategy if you are writing a story with high stakes and sequential events. Readers will not stop to appreciate the beauty of the words, but actually immerse themselves in the narrative and world.

Another observation I need to mention is that Martin used the fade-to-black technique very well. Many modern writers like to present sensual scenes right on the page, forgetting that they could simply imply it without actually describing what is happening. I believe many grimdark readers would prefer this over explicit scenes. It keeps the story going without focusing on the romantic part. But then, you might think, can’t I have romance in my grimdark novel? You absolutely can, but don’t let it take over the main plot, which should focus on war, political conflict, and personal struggles.

My last point is about his use of plot twists. Martin is brilliant in them! He knows exactly where to insert a twist. In one of his interviews, he mentioned that the reason he decided to kill one of his characters (not going to mention his name to keep this review spoiler free) was because this character became so important and the plot was starting to rely on him. So, Martin said to himself that ‘he has to go’. Some writers think that the more plot twists they have, the more interesting their story will be, which is very wrong. If the twist doesn’t earn its place in the narrative, don’t use it. You will ask me, how do I know when to use a plot twist? You will know when you feel reluctant to write it; when you feel uncomfortable about hitting the reader with such a reveal, that is when it will be right. Some readers might hate you (or love you) for it, and this is exactly what you should aim for.

Therefore, should you read A Game of Thrones (if you haven’t already)? I say yes if you enjoy grimdark fantasy with high stakes; if you like complex characters with grey morality; if you like unexpected story twists; if you like flowing narrative with minimal ornamental prose, then this series is for you.

My rating for A Game of Thrones is: 5 Stars.

P.S: Did you know that A Game of Thrones is ranked as the number one book on Goodreads’ “The Best Epic Fantasy” list?

P.P.S: Do you know that Martin still hasn’t finished this series, and might never finish it? I will discuss the reasons (in my opinion) in a later review.

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Have you wondered how a book can go viral even if it was considered poorly written? Check out my previous review about Twilight, and how Stephanie Meyer managed to attract so many teenage readers:

The Rise of Twilight

Have you ever wondered how a book can go viral and attract so many people? Have you noticed that some of these books are poorly written, but gained so much popularity? If you are wondering how these writers managed to do it, read this review about Twilight by Stephanie Meyer.

This novel was controversial in the year it was released (2005). I still remember my teenage cousin (at that time) recommending me to read it and describing it as “the best love story she had ever read.” So, why did teens love reading Twilight? What is so special about the story? First, I would say it is in the way Meyer used simple language that is accessible to teenage readers. As kids, we loved to read a story that is straightforward, easy to understand, and filled with emotion. You wouldn’t see a 16-year-old grabbing The Silmarillion (check out my review about it at the end of this article) and committing to reading it. And even if they did, they would drop it halfway (if not earlier).

Therefore, Meyer might not be aware of this fact (as she was an inexperienced writer at that time) that her simple narrative and adventurous story would attract such a large audience. Let me give you an example of her simple narrative and her clear emotional declaration:

‘It was to Forks that I now exiled myself—an action that I took with great horror. I detested Forks. I loved Phoenix. I loved the sun and the blistering heat. I loved the vigorous, sprawling city.’

See the use of ‘I loved’ and ‘I detested’? Most experienced writers will tell you not to state emotions but to “show, don’t tell” what the character is feeling. However, Meyer used simple language that would reach young readers (especially lazy ones) who want to enjoy reading a love story without deciphering the hidden meaning of body language or an action.

You might think that is considered bad writing these days, and I agree. Now readers seem to notice these phrases. But you know what keeps them reading? It is the continuous escalation of the story, which is my next point.

Meyer drops Bella (her protagonist) into a town where everything is new to her. She fears rejection by this new environment. Then she meets this strange guy who keeps staring at her, which makes things more interesting, then he saves her with his powers, and so on. See how the story doesn’t go on a straight line, but it accumulates more events, more struggle, and gets more complicated as we go through the story. Young readers love action with emotional consequences. Teenagers love to rebel, to find their perfect place, and to fight for it. This was the string Meyer very cleverly pulled.

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You might think that her story was “original” and hadn’t really been explored before. I will tell you that it already existed in the T.V show Buffy the Vampire Slayer. The idea of a vampire loving a human was already so popular, so why did Meyer get so much attention? My third point is that she presented a “perfect boyfriend” character. Every teenager’s dream (especially for girls) is to have someone who would die for them, sacrifice for them, put them before their needs, be obsessed with them, be overprotective, and be extremely rich (Childish, I know, but haven’t we all gone through the hormones!) Edward Cullen represents all of this. This is why the majority of Twilight readers were girls. Meyer managed to present a perfect MMC who captivated the minds of female readers. If you watch or read some reviews about the novel, you will notice how many readers describe Bella as ‘annoying’ and ‘an idiot’. This suggests that some readers were actually jealous of her and imagined themselves in her position. I think this is a win for the writer because as simple as this story is, she managed to make some readers angry and somehow love and hate her characters.

Another important point I should mention is that Meyer used minimal speech tags in her dialogue. Take a look at this example:

‘“When did he buy it?”

“He bought it in 1984, I think.”

“Did he buy it new?”

“Well, no. I think it was new in the early sixties.’

Some writers think that they should tag every line. If you have only two characters talking, please don’t. Less is more here. Speech tags will slow the pacing of the scene, making it lag. If the character is not doing something significant, just drop the tag and keep the conversation going.

So, you might wonder, will a story like Twilight be successful in 2026? I will have to say that I don’t know. The publishing industry is very unpredictable and even publishers cannot tell you which will take off and which will fail. Readers’ appetite for books changes from generation to generation. Romantasy has a much larger fan base nowadays than paranormal romance or urban fantasy. But things could change quickly, and remember that one book might not be for everyone.

My rating for Twilight is: 4 stars. (Because I loved it as a teenager, and I am not going to lie about it, Haha.)

P.S: Did you know that Meyer had four kids when she wrote Twilight?! Her sister was the one to encourage her to publish it; she never intended to publish the story but rather wrote it for herself and to ease the demands of motherhood.

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Check out my previous review about The Silmarillion, where I analyse Tolkien's style, and what it is like to build a new universe:

World-building and the Story

Do you have endless notes about your fantasy world? Have you thought about writing a book about it? Did you go so far in your world-building to the point where it feels like a history book of your world? If yes, then you will enjoy reading about J. R. R. Tolkien’s book The Silmarillion.

The Silmarillion is not a novel where you can read a sequence of events or follow certain characters. It is more of a record of Middle-earth, its lore and history. In other words, it is separate stories put together to create the history of Middle-earth. Tolkien presents us with three ages of his world; the first age where it all began (the Valar and the war of the Silmarils); the second age where high elves, men, and the forces of evil conflicted (the rise and fall of Númenor); the third age, when the Rings of Power were made, and their makers.

This book started as a letter from Tolkien to his friend Milton Waldman, telling him about his world. I can truly feel his excitement and enthusiasm about Middle-earth. What makes a writer great isn’t just about talent; it is about passion. Tolkien was so deep into his world that he talked about it as if it was a piece of history. The more we fall in love with the world we create as writers, the more readers will immerse in our world and love being there with us.

However, there is something that we should be aware of. Tolkien spent seventeen years writing The Lord of the Rings; it took him fifty years to build Middle-earth! He spent his entire life writing about one world! Would you like to spend your life working on one project, especially in the modern world where everything disappears faster than it appears? Therefore, you should be aware of what Brandon Sanderson called “worldbuilders’ disease” where writers fall into the trap of world-building and never write the actual story.

Nevertheless, does that mean The Silmarillion is just world-building? Absolutely not! It is a combination of a story and a rich world you can almost touch. But I have to say it isn’t for everyone. The book follows a poetic style where events are narrated by a narrator (omniscient third person). We never connect to any of the characters; we are rather observing their stories. His lyrical prose is attractive but primarily informative; Tolkien relies on direct description of events (telling) rather than showing us what is happening. Take a look at this example:

‘The dwelling of the Valar upon Almaren was utterly destroyed, and they had no abiding place upon the face of the Earth. Therefore they departed from Middle-earth and went to the Land of Aman, the westernmost of all lands upon the borders of the world; for its west shores looked upon the Outer Sea, that is called by the Elves Ekkaia, encircling the Kingdom of Arda.’

Most writers will tell you to “show, don’t tell”. However, Tolkien doesn’t follow this rule in this book. We are mostly told what is going on without showing the emotional conflict of the characters. I am not saying his writing is like a textbook (although sometimes it feels like it) but that he relies on telling the events and letting us feel what is happening. He doesn’t infer emotions; he just presents the events and lets us do the rest. So, is this a good writing technique? Maybe, and maybe not. Many modern readers want to be told what to feel. Therefore, presenting them with events and consequences will not satisfy them. Writing has changed so much since Tolkien. And as hard as it feels, we have to admit that his style is no longer as much in demand as it was before.

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Another observation I need to note is his use of names. The Silmarillion probably contains hundreds of names of characters, places, and battles. Tolkien even gave the same characters multiple names (Melkor = Morgoth). This really made me struggle with the book. I was confused by the number of characters and names that I sometimes lost track of. One needs a notebook when reading The Silmarillion (for real).

A piece of advice concerning names. I always suggest that writers start their novel with only one to two characters. When a writer dumps five or six at once, the reader will start to mix them and will not relate to any of them, eventually closing the book. Starting with two is best in my opinion; it will give the reader time to connect with the characters emotionally and understand the story and world dynamics. In other words, the novel will be far easier to follow and understand.

Now, putting aside the hardship I went through while reading The Silmarillion, let me tell you where it mostly shines. It is in the last third of the book. ‘Beren and Lúthien’ is probably the best story in the book, alongside the story of Sauron and the making of the Rings of Power. The love story between Beren and Lúthien reminded me of Sumerian mythology, when love conquers, but at a price. The hardship they went through made me sympathise with their journey and made the story so beautiful and pure. This proves that when the narrative focuses on characters, we enjoy the story and relate to it more.

Therefore, should you read The Silmarillion? Is it worth your time? I say it is, if you enjoy lore, world-building, mythical history; if you read The Lord of the Rings and wondered about the world’s origins and its gods; if you like an omniscient narrative where characters aren’t centred, the world is; then this book is for you.

My rating for The Silmarillion is: 4 Stars.

P.S: Did you know that The Silmarillion wasn’t published until years after Tolkien’s passing? His editor refused to publish it. Afterwards, his son Christopher Tolkien edited it and published it in 1977.

This proves that not everyone will like your book, and this is completely normal and fine.

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Check out my previous review where I talk about and analyse Stephen King's debut novel Carrie:

When Horror Feels Real

Do you like to write horror? Are you drawn to dark themes and human suffering? Have you tried to use a report-style narrative to write your story? If yes, you will enjoy reading my review of Carrie by Stephen King.

If you didn’t know, this is Stephen King’s debut novel, and the one that made him famous. He wrote it in 1974, and I always wanted to read it to find the “formula” of his success. I have to say that I found it. It is in his unique style and voice, especially when it was released, where people weren’t used to reading a story written like this.

Let me break it down. Carrie is written in a series of police reports, fictional book quotations, questionnaires, and events narrated by multiple POVs. This mix raises the believability of the novel to the roof; it feels like a newspaper report mixed with an exclusive interview with the characters. Look at these examples:

‘Mrs. White could not be reached for comment.’

‘From The Shadow Exploded: Documented Facts and Specific Conclusions Derived from the Case of Carietta White, by David R. Congress (Tulane University Press: 1981), p. 34:’

‘Found written repeatedly on one page of a Ewen Consolidated High School notebook owned by Carrie White: *1 Everybody’s guessed/that baby can’t be blessed/’til she finally sees that she’s like all the rest.’

See how these examples imply that this story was documented, and these serve as evidence. King paid so much attention to detail, names, reports and dates that you start to believe it actually happened. His realistic approach made his novel sound so real that the reader becomes a part of that world. However, let me tell you that this style is very hard to pull off because as realistic as it sounds, it breaks the reader’s immersion in the story. We no longer connect with the characters, but with the plot itself. We are not emotionally invested in her because this style creates a distance between the character and the reader.

Nevertheless, King actually did something brilliant to overcome this problem. He let us access the internal thoughts of his characters, making us feel the struggles they are experiencing. Take this example: ‘She lay (i am not afraid not afraid of her) on her bed with an arm thrown over her eyes.’ King uses brackets to indicate internal thoughts, which is unlike the traditional use of italics. I think he chose this because most of these thoughts interrupt actions or exist in the middle of a sentence. It shows us the disturbed mind of his protagonist (Carrie) and her mental health issues.

Carrie is telekinetic and she knows it. The horror element in this story is not just blood and gore. It leans more towards psychological horror of an abused teenager in a cruel world. This is what makes his novel amazing; it is King’s ability to make us sympathise with Carrie but still hate what she had done. We get to inhabit her unwell thoughts and feel what she was feeling. I believe this is the key to great storytelling. It is when you manage to make the reader have this internal debate about your characters. To love them, hate them, cry with them. This is what makes fiction turn into reality.

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However, there was one scene that didn’t feel believable (spoiler alert: if you don’t want spoilers, skip this paragraph). It was either because King didn’t know how to write it as he wasn’t as experienced or because he intended to write it like that to show the ugly side of people. It is when Carrie was drenched in pig blood, and the school (including the teachers) started laughing at her. This felt unrealistic, because I think the first reaction would be shouting, anger, disgust, confusion, not laughter. King tried to explain their reaction in this paragraph: ‘And so there was nothing else to do. It was either laugh or cry, and who could bring himself to cry over Carrie after all those years? She just sat there, staring out at them, and the laughter kept swelling, getting louder and louder. People were holding their bellies and doubling up and pointing at her.’ This was the only time when I felt like the story drifted from its realistic narrative. The natural reaction of these kids should have been horrified by the blood and the smell, laughing should be the last thing on their mind. This was a turning point for Carrie and I think it should have been written differently.

Another interesting aspect of his novel is the ending. I have to say that King managed to write the perfect ending for this story. Not because the events align, but because the emotional core felt intact and real. Carrie’s final emotional struggle was earned and understandable. She didn’t triumph over her enemies and walk away healed like many contemporary revenge stories. Her end was quiet and suited her age. I will not spoil the ending for those who want to read it. However, let me just say that this ending surpassed the ending of Carrie the movie.

Let me give a very important piece of advice. The beginning and end are the most important parts of your story. Looking at this novel, the first scene in the showers and the last scene are what really stuck in my mind. They were so memorable that whenever a school shower is mentioned, I will always remember this scene. You, as a writer, should try to do the same; to leave an imprint on the reader after they have read your story. I always advise writers to spend more time on the first and last chapters; try to revise them the most; they are what the reader will remember after finishing your book.

Therefore, should you read Carrie? Is it worth your time? I say it is, if you enjoy reading a style that is a mix of report and narrative; if you like horror that focuses on the ugly side of human nature; if you want to expand your knowledge about a famous writer and know where he started. Then, this novel is for you.

My rating for Carrie is: 4 Stars.

P.S: Did you know that King used to have a nail on his wall where he hung all the rejection letters from magazines? One time, it fell from the weight of those papers. Do you know what he did? He got a bigger nail.

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Check out my previous review, where I talk about grimdark narrative through the novella An Inkling of Flame:

The World Within the War.

Do you like grimdark fantasy novels (or novellas)? Have you considered writing one? If you are unfamiliar with the term, grimdark is a subgenre of dark fantasy where horror is the central drive of the story. However, grimdark doesn’t usually focus only on gore; it has a deeper theme and a moral behind the horror. Steele presents war and its aftermath from the perspective of the soldiers in his novella An Inkling of Flame; how it affects them emotionally, physically, and psychologically. We get to live the details of conflict with his characters and feel their struggle and pain.

Look at this example: ‘The sound of chains rattling did nothing to stifle his desperate gasps. They were shrill, needy. A fitting sound for not only the ruined man he was now, but for the seedy room.’ This opening paragraph of the novella shows the chilling narrative of grimdark in comparison with the long-standing tradition of epic fantasy writing, where the hero always wins and the world is healed and restored. Steele’s narrative traps you in fear, loss, and moral uncertainty, portraying war as an experience that condemns individuals and communities rather than forging heroes.

Halfway through the novella, I realised that I could not picture the map of Steele’s world, but I could feel the presence of his protagonist (Layne)’s thoughts. Steele never uses his characters to reveal his world’s geography or atmosphere; he rarely introduces descriptive exposition. We only learn that they worship a fire god (the fox) and the rest seems irrelevant to the narrative’s emotional focus. I noticed how world-building fades behind the characters’ interpretation of the world, and I was forced to imagine the rest for myself. I was drawn into Layne’s worldview and how his choices shaped his personality. Steele presents Layne as a troublemaking kid who grew up with a broken mother after his father died, but he constantly changes throughout the novella. I can see the world through Layne’s eyes, his gods and morals, but I cannot truly see his world. This narrative deliberately limits us to his perspective. Therefore, should you abandon world-building when you write a character-driven grimdark novel? Absolutely not. A Game of Thrones is considered a grimdark, but it has a complex world. You just need to choose the best approach that fits your narrative purpose.

Usually in fantasy, immersion comes from environmental density, but here Steele redirects immersion into consciousness. Look at this example: ‘He looked to his newly-gained stump with hopes it was all a bad dream.’ This bodily mutilation becomes psychological horror rather than something purely visual. Steele mostly uses first-person narrative, and occasionally third-person, but he manages to keep us in the character’s mind and thoughts. So, rather than expanding the world outward, Steele compresses it inward, which makes An Inkling of Flame an example of a grimdark narrative that focuses on reader-character intimacy rather than observations.

Throughout the novella, one characteristic I have noticed in Steele’s main character is the confessional and self-accusing tone. For example, Layne repeats this phrase twice in the same chapter: ‘I’m a fucking coward’, which indicates his self-condemning nature. It turns Layne into his own judge before anyone else can accuse him. The use of language is a crucial part of helping the reader observe the character’s perspective alongside making him special. In other words, in order for your character not to feel flat, try adding a distinct feature to each character. This way, a reader could recognise the speaker without needing a dialogue tag.

Furthermore, Steele presents moral ambiguity through his world’s religion. Layne and his friends worship a divine fire, but Steele keeps showing us the destructive side of this faith. In one scene, I can see the fire as safety, warmth, and purification. In another, it turns into an inferno that eats away his dead friend. Look at this example, ‘We will purge this land of its wrongness. Remember, with the gods behind us, each step we take is the right one.’ He exposes how sacred language can legitimise destruction, blurring the line between devotion and prejudice. Steele presents a religious system that appears both good and evil, yet seeks power and domination. You might wonder, religious systems are considered world-building and I just said that he has very little of it. Yes, Steele doesn’t show us any details about the gods or how their faith works; we only see glimpses of it, which makes it more intriguing!

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Another interesting aspect of this novella is the use of metaphors. For example, ‘racing to his neck like an addict grabbing for another hit’ and ‘I was like a stray cat’. The ‘addict’ and ‘stray cat’ imagery relate to our modern world. This stylistic choice blends the fantastic elements with the real world, which grounds us in a familiar experience. His sentences are mostly long, but the dialogue uses simple language, which actually works very well for his purpose, as his characters are uneducated villagers. So, should you use metaphors or similes? I say use them sparingly, because too much will confuse the reader and break the immersion in the narrative.

I also noticed the overall tone of the novella and the use of curse words. In my opinion, it makes the dialogue sharper and harsher. It indicates the intense emotional beats he tries to deliver. Steele wants to reinforce the strong exterior appearance of the characters, while inside, they are weak and vulnerable. This made me sympathise more with the characters. Consequently, his tone and language are effective in creating an emotional connection with the characters.

The pacing of the novella is generally strong, except at the end. The final acceleration is delivered abruptly without enough interior reflection, compressing the end result into a narrative summary. This might be because Steele wants to convey the feeling of sudden trauma and how fast things could get messy. Still, I believe he could have spent more time on his ending and his protagonist’s inner world, as he did throughout the novella. Also, the interrogation with the inquisitor ends too quickly. The emotional and psychological results need more space to breathe. I always advise writers to deliver the final result in the best way possible; it is what resonates with the reader.

Another interesting observation is that Steele uses his novella as a teaser for his novel Whispers of the Storm. We get a taste of the protagonist of his novel at the beginning and at the end of the novella (The Assassin in Grey); this is a brilliant technique to make the reader reach out to his longer work and read it. I think many writers dismiss the strength of short works (especially novellas) and how effective they are at attracting people to read more of our stories.

Therefore, should you read An Inkling of Flame? Is it worth your time? I say it is, if you enjoy grimdark and war narratives; a story with character depth rather than world-building; an emotional story that ends horribly wrong.

My rating for An Inkling of Flame is: 4.5 Stars.

P.S: Did you know that many readers think that grimdark is secretly driven by hope? This genre highlights that when everything is broken, a small act of kindness shines much brighter; this novella’s final lines reflect this fact.

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Have you considered writing a novella (or novel) with multiple points of view? Have you tried mixing genres in one setting? Have you thought about a magic system that is both simple but effective? Jed Herne did a great job writing his novella Fires of the Dead. He introduces us to Wisp, a Pyromancer (a person who draws energy from fires to make his own flames) who is doing his last heist with his crew before retirement.

We follow the main character for a few chapters before something horrible happens. Herne did really well in preserving the element of surprise throughout the novella. Even though it gets a bit predictable towards the end, it is still enjoyable and eventful. The fast-paced narrative works well because Herne blends fantasy with modern heist narrative, which requires moving fast between events. Take a look at this dialogue:

‘“State your business,” said a guard.

“Passage into the woods, good sir,” said Wisp.

“For what purpose?”

“Painting.” Beside Wisp, Marogan smirked. He elbowed her to shut her up.’

See the short sentences and the quick dialogue? This method builds urgency and danger in the story. These thieves are going to steal something and their movements, conversations, and observations are all fast. We don’t get long descriptive paragraphs; when the author is describing the scene, it is quick and efficient. Here is an example:

‘The river crossing was no easy path. More a place where the water ran shallow enough to wade through, so long as you kept your balance. Four huts and a low wall protected the bank on Wisp’s side. Nothing on the Ashwood side. Why would there be? It’d been lifeless since the Gutting.’

See how the description of the river is combined with a reflection from the character? This all helps keep the reader immersed in the action and the storyline.

The most interesting element of his story is the magic system. Herne made it hard for his protagonist to use fire by needing to drop some of his blood to bond with the flame, which is not always an easy task. I always advise writers that when they come up with a magic system, don’t let it be easy to use with no consequences. The harder and the more it costs the hero to use it, the better. Readers love tension and drama. Delivering this tension will elevate your story and the believability of it. Even fantasy needs to feel believable. When something is too easy to overcome, or something completely out of place happens, it pulls the reader out of the world. I am not saying don’t use strange magic or elements; I am just saying use them wisely. Make things complicated for the protagonist; make things progress and feel real even in an imaginative world.

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I also enjoyed his morally-grey characters. Herne didn’t present us with heroes; he gives us people with bad choices and a protagonist who has darkness. Look at this example:

‘“Listen, Ben,” he said. “What I said before – I ain’t ever killed a fellow countryman.”

The boy nodded.

“Thing is,” said Wisp. “I ain’t from your country.”’

This scene shows the ugly side of Wisp, which makes his character feel realistic. Most modern writers are trying to present morally-grey characters. Should you follow in their footsteps? I say it depends on your story and what you are looking for. If you want a story that feels magical and out of this world with characters that feel painted rather than real, then this path is not for you. Tolkien has never used this technique; but again his books are old. Ask yourself this: do you want your readers to relate to these characters? Or just to daydream about them?

Taking a look at the ending, Herne concludes his novella with a happy ending. I really like this approach because after all the death throughout the story, to conclude in hope is a satisfying ending. Brandon Sanderson said in one of his interviews that his books always have ‘light in the distance’; Herne did the same by presenting the dark aspects of human nature and that some people are still good and are worth saving.

Therefore, should you read Fires of the Dead? Is it worth your time? I say if you enjoy a light story with simple phrases and fast-paced narrative, a dark story with a happy and satisfying ending, and if you want a quick-read with a mix of fantasy and the heist genre, this novella is for you.

My rating for Fires of the Dead is: 4.5 Stars. Why not five? Because as enjoyable as it was, it was still predictable towards the end and it wasn’t as layered as it should have been; the characters felt a bit too simple.

P.S: Did you know that Jed Herne has a YouTube channel where he gives advice to writers and helps them improve their craft? His insights are valuable; I suggest checking out his channel.

Here is the link of ’s YouTube channel:

https://youtube.com/@jed_herne?si=VS6xXiip1F82_JID

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Have you considered writing a science fiction novel using letters? Can a story be told through an exchange of messages between two enemies? This is what Amal El-Mohtar and Max Gladstone did in their novel This Is How You Lose the Time War.

What I really find fascinating about this novel is the going back and forth between events and letters. We get to see two characters in their own world, trying to survive, but we also get to see their relationship develop. Red and Blue are their names; they are enemies in a world where time can be easily manipulated. There are advanced technologies and what feels like magic. What is interesting is that we don’t get to know or see what exactly the world’s logic is. In other words, the authors present us with “soft magic” where we don’t fully understand the technical environment of the world or how time exactly works. This technique lets us interpret the world; it lets our imagination go wild.

You might wonder: this might be confusing, right? And in places, it definitely was. The storyline doesn’t feel like it follows a coherent start-to-end logic. It is more like a pile of events that are connected. However, the letters make complete sense because they are written in a poetic, almost lyrical language, which is really surprising for a sci-fi novel. Look at this example: ‘I must tell you it gives me great pleasure to think of you reading these words in licks and whorls of flame, your eyes unable to work backwards, unable to keep the letters on a page; instead you must absorb them, admit them into your memory. In order to recall them you must seek my presence in your thoughts, tangled among them like sunlight in water.’ Notice the poetic language and metaphor? This makes their letters flow, which works well as this story has an enemies-to-lovers trope (with zero spice).

However, this style made it stand out for me. It doesn’t follow the chronological order of other sci-fi books, which made it unique. I always advise writers to try and experiment with techniques until they find the one that they enjoy writing. You don’t have to follow a standard writing style. Experimentation is what makes you discover your own voice and story. Don’t let rules guide you; you guide them until you find your story and your writing voice.

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Another interesting aspect of this novel is the way each of them receives her letter (I should note that both main characters are women). They don’t read them from pages; they mostly receive them in the strangest ways. Look at this example: ‘she lingers by the MRI machine, musing as she does on the agonies of symmetry recording the water’s randomness—the magnetic bones settled like reading glasses on the thermodynamic face of the universe, registering each bloom and burst of molecule before it transforms. Once it translates the last of the water’s heat into numbers, she takes the printout in her right hand and fits the key of it into the lock of the letter-strewn sheet in her left.’

This is a brilliant idea and very creative. The authors created a unique way for each letter to be received by the other (in a liquid, inside the rings of a tree, and many other ways). However, sometimes it becomes illogical and abstract. Look at this example: ‘A rush of wind splits the earth, a roar in darkness. Red clutches the petrified trunk closer than a lover. The wind peaks, screams, tosses bones about. A new note rises above the ossuary clatter, woken by the cavern’s wind whistling over precise fluted pits in the bones Red has hung. The note grows, shifts, and swells into a voice.’ I am not sure how Red received this letter; was it in the wind? In the bones? The trunk? (It is more likely in the wind, but it is not clear because the previous paragraph was about the bones and how Red hung them on the tree). There is no logical explanation of what is happening, which makes it hard to follow and understand.

Another observation is that the writing becomes too lyrical sometimes. I have praised this technique in the previous section, especially in the letters. However, it gets annoying in the narrative sections. The authors use third-person narrative in these parts. Therefore, too many metaphors, similes, and emotions make it hard to read as a science fiction novel. I believe if the authors considered using poetic language in the letters themselves and using a more direct writing technique in the events, it would have been much more enjoyable. In many places, I couldn’t understand what was happening. Some events were not even clear (like the example mentioned above), which is why I gave the novel a lower rating than it might otherwise deserve.

Therefore, should you read This Is How You Lose the Time War? Is it worth your time? I say if you enjoy queer sci-fi, poetic language, literary storytelling, and fragmented narrative, you will truly enjoy reading this novel.

My rating for This Is How You Lose the Time War is: 3 Stars.

P.S: The ending of this novel is particularly good; it brings back the sci-fi elements where time is the main theme. However, some might consider this novel a love story, but I think it goes beyond that into a chaotic and poetic world.

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This is the first line of Fonda Lee’s fantasy novella Untethered Sky. We follow a ruhker (a giant bird trainer who risks her life to hunt wild animals with her roc) and take a look at her life, her past, and the world where she lives and survives.

Have you considered using other cultures as a base for your fantasy world? Did you notice how your own culture and influences seep into your writing? Fonda Lee was obviously influenced by Arab culture when she wrote this novella. Her use of Arabic names and the race of the giant birds ‘roc’, after the mythological bird described in The Arabian Nights makes it obvious. I really like it when writers use names from their own or other cultures. It feels like modern writers are leaning towards exceptional and weird names with no reference to something specific. I think that this technique brings depth to the world without doing intense world-building in your novel because readers will automatically relate to that culture without you having to explain it.

You might wonder, since this is a fantasy world, how can real-life cultures influence my fiction? It can in various ways. For instance, the Arab world is associated with deserts. An example that comes to mind is Dune by Frank Herbert where he created a desert planet. His use of the Arabic language makes it even more subtle. Lee is influenced by names and animals more than atmosphere, but the effects are the same; we get to see a world that feels real and alive.

Another interesting aspect of her writing is her (as I call it) easy-going language. You may ask me, what does that mean? It means her prose flows easily and naturally without any decorations or poetic language. Is that a good thing? I say it depends. Lee tries to focus on the plot and story itself rather than presenting metaphors. Look at this example: ‘Zahra stepped calmly into the mews pen without coaxing. Babak and the gathered ruhkers watching from behind the bars nodded approvingly. The fledgling hadn’t hunched in the crate in fear, nor exploded out of it screaming with rage. She was healthy, calm, and brave—the most anyone could ask for.’ See how informative and descriptive that paragraph is? Lee isn’t giving us images; she gives us information. The story flows from point A to point B.

So, does that mean we don’t get internal thoughts and feelings in the novella? We actually do! Having a straightforward writing style doesn’t mean you only present the plot. Characters are as important as the story itself. Look at this example: ‘His expression suggested he didn’t think I was worthy of the roc he’d risked his life to bring to the mews.’ Lee uses observation in order for us to see other characters’ inner thoughts and feelings. The story is told from her protagonist’s perspective (Ester), and we get to feel and observe everything she does. It is a character-driven narrative that focuses on both her character and the story itself.

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Looking at the structure of the novella, I noticed how Lee uses flashbacks to introduce Ester’s past. She separates these chapters by using three centred stars; they are integrated in the narrative. We don’t get long backstory all at once; we see glimpses of her past which is a very good technique for keeping the story going. Some writers tend to use epilogues to introduce the history of the world or characters. I think this is a bad idea. Readers like to get to know your world as they read the story. Dumping historical records of the fictional world alongside characters’ backstory will bore them if there is no story there yet. I always suggest that writers start with an event and build up the world and any important information from there; it will keep the reader interested and engaged with your story.

However, there is one point that felt underdeveloped in Ester’s past; her trauma. We get to see what happened to her family but we don’t really see the effect it had on her. Lee didn’t focus on this sensitive theme, which is a weak point in her novella. A person with a traumatised past should act differently from other people or at least feel affected by it. The effect felt minimal to me; she only leaves everything behind (even though she acts on it at the end), which felt shallow and unconvincing. I suggest that writers focus on doing research before committing to such subjects. Readers will notice when writers haven’t done their research and present a character that doesn’t feel real.

One last note about the title. I really liked the idea of foreshadowing the ending in her title. This creative approach makes her novella more satisfying; she pulls it off nicely. I won’t spoil the ending, but I would really recommend that you read it and judge for yourself.

Therefore, should you read Untethered Sky? Is it worth your time? I say if you are looking for an easy read; a light story that you can finish quickly; a fast-paced narrative and plot with no purple prose or decorative language, then this story is for you.

My rating for Untethered Sky is: 4 Stars.

P.S: Did you know that plot-driven stories are in demand as much as character-driven ones? The use of a combination of both will make your story shine.

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Brandon Sanderson is one of the best authors in our modern time. His most well-known work is his novel Mistborn. He wrote The Stormlight Archive series and The Way of Kings. He has many dedicated fans all around the world. Does that mean all of his books are loved by everyone? Absolutely not. His novella Edgedancer has some good elements and other bad ones that made some people dislike it (including me). In this review, I will be pointing out the strong and weak places in his novella.

First of all, let me talk about his characters. His protagonist (Lift) is a 14-year-old girl who has the power (stormlight) that she can use when consuming food. The magic she has is about making her body slick; she calls it "awesomeness”, which is really interesting. However, many readers have noticed how annoying Lift is. She constantly makes insulting comments; she is rude and reckless. This made her so unlikeable as a main character. I believe that writers should create characters very carefully, especially main ones. They are the heart and soul of the narrative. If we can't relate to a character, or worse, hate them; it will make the narrative boring even if the plot is good. Look at this example: '“I’ll bite you,” she said. “I’ll gnaw on you, Voidbringer. You’re a vine, right? I eat plants. Sometimes.”' This is how she talks to her companion who we see as a loyal being. Her attitude and carelessness towards everything are just irritating. I couldn't sympathise with her case or relate to her in any way.

Some people might say, she is just a teenager and many are like that; let me say that this is correct. But here, we are exploring an epic fantasy novella with heroic elements, not a rom-com. The main character who would save the world should at least be decent for readers to sympathise with. When a writer fails to deliver such a character, many readers would pass.

Another character I want to talk about is her companion, Voidbringer. He is a vine-like creature that no one can see but her. This is a cool concept. This image is strong and most readers will remember it. However, Sanderson keeps repeating throughout the novella how 'He grew along the road beside her'. Sanderson uses the verb "grew" 22 times throughout the novella, which means he is absolutely using it more than he should have. Some writers make this mistake, thinking that readers might forget, or maybe they didn't understand. I say, trust the reader more. Always trust the reader to see the image and remember it. Repetition in fantasy (or any other genre) especially in descriptions is a kill-joy. It pulls us out of the story. One mention is enough for us to see the setting, character description, and the magical system of the world.

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Now, looking at the narrative itself, I should point out that it has too much exposition. We are told so many things particularly in the first few chapters. Look at this example: 'It was in Tashikk, a strange place even compared to Azir. She’d always found everyone here too polite and reserved. They also wore clothing that made them hard to read.' Instead of telling us, Sanderson could have shown us an encounter between Lift and these people. He continues, 'But everyone said that you had to see Yeddaw. It was the closest you could get to seeing Sesemalex Dar—and considering that place had been a war zone for basically a billion years, she wasn’t likely to ever get there.' Some telling never hurts, but I always prefer to see the characters interacting with their environment rather than being told what is going on. But of course, the "show don't tell" rule can be broken, and sometimes it should. Because showing too much might confuse the reader and prevent them from following the storyline. Therefore, balance is key.

On the other hand, Sanderson has such good description paragraphs. They are vivid and filled with beautiful images. Here is an example, 'They passed through a small forest, really just a corpse of trees, which was a strange term, since she never seemed to find any bodies in them. These weren’t even drop-deads; those tended to grow in small patches, but each apart from the others. These had branches that wound around one another as they grew, dense and intertwined to face the highstorms.' See the flow of sentences and metaphors? Metaphors in fantasy can work with or against you. Writers should approach them with care (unless you have a poetic style, then it is fine) because epic and high fantasy mostly focus on plot and characters. Therefore, using lyrical language with metaphors should be sprinkled throughout the narrative.

The two points of view are working well in this novella. Although we only get one chapter from Hauka's POV (chapter 3), it is enough to set us in the chaos of this world and the outsider's perspective of events. Some writers use too many POVs or none, which is fine because every story is different and requires different approaches. However, I think multiple POVs are a very good idea to enrich the story when used correctly. You might wonder: how do I know I am using POVs correctly? It is when the narrative is not lagging and the added POV is actually giving an important perspective of the story. Just like the way Sanderson used this single chapter to give us the feeling of the world and how the people of that world see the main character; he didn’t overuse it.

An interesting aspect of the novella is the various chapter lengths. The chapters range between 2 and 20 pages. This big gap creates confusion for some readers; others like this technique as it mirrors the chaotic feeling of the world itself. For me, it felt inconvenient. I like following a rhythm in the narrative. However, this is a personal preference which writers debate about. I don't think you should follow a rule; just stop when you think it is appropriate. A rule of thumb you can consider is that chapters usually end on cliff-hangers or a calm observation. You should never end a chapter in an unnatural way (like in the middle of a dialogue). A good example you can take is when you look at movies, look at the places where the scene is cut; there is your cue.

Therefore, should you read Edgedancer? Is it worth your time? I say it is. It can be finished quickly; you get a feeling of the world to consider investing in reading the rest of the series or not; you get to see what works for your own writing and what is not.

My rating for Edgedancer is : 3 Stars.

P.S: Do you know that Brandon Sanderson has a complete Creative Writing lectures on YouTube that you can watch for free? He is particularly talking about fantasy and science fiction. I think every writer should consider watching them; they are very informative.

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Have you ever wondered why some novels managed to build a huge fan-base even though there are many other books that are as good? What makes readers actually read a book, not just buy it? (It is actually harder to make a person read a book than to buy one). In this review, I will be discussing Fourth Wing by Rebecca Yarros, the first book in the Empyrean series. We will look at her voice, her narrative choices, and what makes her story so compelling for readers.

First, let me say that many people are split on how to feel about this book. Some say it isn’t good; others are obsessed with it. I think that Yarros is a smart writer who knows how to hook readers into her narrative, keeping them flipping pages even if they don’t like the story.

You may wonder, how did she do that? I say, she uses two techniques, the first is using action and constant struggle throughout the story. Yarros drops her protagonist (Violet) into a war college where everyone is in danger. Look at the first sentence of the first chapter, ‘Conscription Day is always the deadliest.’ See how she uses danger and anticipation to draw us into the narrative? She did that very well by diving straight into fear, the struggle to survive, an ominous atmosphere, and fragile characters.

The second is a very simple technique that is hard to apply. It is by giving just enough information for the reader to follow what is happening without revealing too much. In other words, she holds information. Look at this example, ‘Basgiath War College isn’t known for being kind to…well, anyone, even those of us whose mothers are in command.’ Yarros here introduces us to the atmosphere and the protagonist’s background in one sentence. We don’t get much more than a hint of the world beyond the war college. But when we do, we mostly see it through Violet’s perspective. The limited information plays an important role in drawing us into the story. This keeps the reader wondering about the world’s dynamics and what will happen next.

Some might think: what about world-building, lore, and magic rules? Yarros did an amazing job by weaving them into the narrative. We never see long descriptive paragraphs of Navarre. The world-building and the magical system are revealed gradually as we go into the story. Lore is also present, but it is shown in the conversation between characters. However, you should be careful when using dialogue to deliver information. It is tempting to have two characters say “as you know” and place something about the world where they both already know it. Genuine conversation should feel natural and real; this line breaks the immersion in the narrative.

So, what should you do instead? Here is where reflection and internal thought come into play. Look at this example, ‘She’s everything I’m not, and the disapproving shake of Mom’s head says she agrees. I’m too short. Too frail. What curves I do have should be muscle, and my traitorous body makes me embarrassingly vulnerable.’ See how Violet’s reflection on herself tells us her physical description without actually hearing the voice of the author? Look at this other example for world-building, ‘No one has dared to mention Brennan or his dragon in the five years since they died fighting the Tyrrish rebellion in the south.’ Through this technique, we can guide the reader through the world without info-dumping long, boring paragraphs on them.

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Now, looking at the pacing of this novel, it is fast-paced with a lot going on. Yarros makes sure that no chapter goes by without a new event happening. It is either a character discovers something, or a character dies, or the protagonist finds herself in an even worse situation than before. This constant tension keeps readers hooked. She particularly uses cliff-hangers well. Look at the end of this chapter, ‘“Run, Violet,” Dain orders me. “Now.” I bolt.’ We want to know how she will survive. The succession of events makes the novel hard to put down.

Having a look at the language used, Yarros uses strong language with so many curse words. I don’t usually enjoy reading that, but she used them well and in a believable way. Imagine yourself in a place where anyone anywhere could die in an instant. This gives characters permission to act aggressive, impolite, and rude. It makes them feel real.

Another aspect I noticed is her use of first-person narrative. Some writers don’t like to use it because it feels less “literary”. I say it makes the narrative more intimate. It is not easy as many people would think. First-person limits you to one character; you will have to see, hear, feel, and taste everything from their perspective. If a writer reveals even a hint of other characters’ inner thoughts, it will break the immersion. Yarros stays firmly within Violet’s perspective. We see other characters through her eyes and feelings. Here is an example: ‘His eyes are the shade of gold-flecked onyx. The contrast is startling, jaw-dropping even— everything about him is.’ Here, Yarros sets up the enemies-to-lovers trope by using Violet’s internal thoughts about Xaden (the seemingly antagonist). We learn about her attraction to him and his description at the same time.

However, this is a romantasy novel after all, so why am I praising the execution that much? It is because the author didn’t just write a love story in a fantasy world; she wrote a complete world where political systems, geography, rules, and war feel lived-in. We are a part of the world and its conflict, just like the characters. Dragons are not decorative in the story; they are the heart of magic. The protagonist has flaws that we can relate to (she is weak and fragile). We can hear the struggle of characters in a harsh world. We even long to have a dragon of our own (who doesn’t! Haha).

Therefore, should you read Fourth Wing? Is it worth your time? It is a long novel with 611 pages. I say it is worth it. You get to follow characters that feel alive; a world where danger rules; a place where everything happens quickly and anyone can die.

My rating for Fourth Wing is: 5 stars.

P.S: Did you know that the term “shadow daddy” was widely used in romantasy after Yarros's character, Xaden? Many new authors are using the shadow daddy trope in their novels.

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Also, please be warned that this review has spoilers of the novel.

'At first, in the flurrying snow, he thought the soldier stumbling in front of him, through the icy mud of the Frostmarch Road, had been wounded, that the man’s neck and shoulders were spattered with blood.'

This is the first sentence Tad Williams starts his novel The Heart of What Was Lost. As compelling as this first line feels, the story didn't go on as I thought it would. The first chapter is one of his strongest and most memorable. Many writers neglect their first chapter, thinking it is only the warmup of their story. I will say that the first page (even the first sentence sometimes) is what you should focus on; I can't say that enough. Modern readers have short attention spans which makes it crucial for writers to deliver a compelling first chapter in order to hook the reader to the story and make them keep reading. Williams managed to deliver that in the first chapter, but failed in the rest of the novel.

This novel is the fourth book of Williams's Osten Ard saga. It can be read as a standalone because the events follow different characters from the other series. The novel is pure fantasy, which encouraged me to give it a go. There are races, wars, conflict, and multiple POVs throughout the novel (which I very much enjoy). The theme is strong and meaningful, the prose is well written, and the narrative is smooth and understandable.

You might wonder, why did I put the disclaimer if I am praising the novel? It is because I struggled to finish it. This might be the only book that I almost DNF several times while I was reading. So, why didn't I like it?! Looking closely at the novel, I managed to figure out the reasons. Other people will disagree, and this is absolutely fine.

First, let me talk about his POVs. Williams uses multiple closed third-person narratives, following his characters. The three main ones are Duke Isgrimnur (human war leader), Viyeki (Norn race, which is being attacked by humans), and Porto (mercenary in the human army). Each one is playing a part in showing their point of view of the war. This is a brilliant idea, but the execution wasn't successful. The POVs moved too fast between the three; it felt random, not deliberate. It was like watching a movie clipped in the wrong places. I didn't relate or sympathise with any of the characters (maybe only Viyeki because he was the emotional centre of the narrative, I will get back to that later). Although I love multiple POVs, this novel didn't feel coherent. If I were to compare it to A Game of Thrones (we feel close to them despite the fact that some of them are not related to each other) it would prove that multiple POVs work when done correctly.

How do you do it correctly? You may ask. I say it is through the emotional arc. Many writers focus on the plot, events, moral themes, and forget that we read in the first place in order to feel. The high stakes need to be associated with emotional gain or loss. In other words, characters should make us feel what it is like to be in their shoes, not only observe their surroundings. Williams does that in his novel to some extent, but he didn't make me feel attached to his characters. I was distant from them, emotionally.

I would suggest that he focus on one POV (Viyeki) or at most two (Viyeki and Duke Isgrimnur). The mercenary felt distant from the main narrative although he intended us to see the perspective of the soldiers. We shouldn't let the theme rule our story. Sometimes, less is more.

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Now looking at the pacing of the novel. I have to say it is so slow that I fell asleep several times after reading a few pages. Many literary novels have slow and descriptive narratives; it is used to deliver the utmost experience of reading a meaningful theme with depth. The theme of war is present and the moral consequence is there, but the snail-like story and the rhythmic sentences made finishing this novel a burden. Look at this example:

'In the hush of the ruined great hall, the only noise beside the murmur of the funeral Celebrants repeating their death-prayers was that of the wind keening in the broken ramparts above. Viyeki wondered why his master would say such a thing, especially about a personage as important as the late Ekisuno. It seemed almost a sardonic joke, but it was never possible to be certain with the order’s high magister, who was deep as the innermost chasms of Nakkiga. All Viyeki could do was nod and hope that he did not offend.'

See how redundant that paragraph is? The sentences are very long. This gives a dozing feeling to the narrative and slows the story even more. I always suggest that writers vary their sentence length; it makes the descriptions more attractive and easier to follow and read.

Let me talk about the ending, which was the worst part. I always say that writing an average story with a great ending will make it great. If Williams had delivered that ending, I might not have written this review. But the end was so unrealistic that it made me dislike the story even more. He ended the story with the death of the Norn general, Suno'ku. She was presented as a strong leader with clear vision. There was a grey morality behind her death, showing how leadership chooses to sacrifice their elite for the greater good. But as a strong character with abilities, for her to die in a rockfall?! She has speed and power; why would she just stand there like she had a death wish? Knowing that she was planning the future of her people and her city, Nakkiga.

Also, Yaarike (another leader in the Norn race) placed his family heritage which is called 'The Heart of What Was Lost' on general Suno'ku's grave. This gesture shows respect for her and Yaarike's responsibility of her death; it felt like a cliché. This character in particular felt flat and underdeveloped. He was a mentor to Viyeki, which should have carried depth and measured actions. For him to act like that and raise suspicion around him by placing the stone on her grave felt like an amateur act. No great leader would expose himself like that, which made him feel unrealistic.

So, as writers, what should we do to avoid falling into the trap of flat endings and characters? I suggest in the editing stage, the writer should focus on what feels real and believable over moral themes. Readers relate to realistic stories more than thematic ones. Therefore, delivering a fantasy story that combines theme, realistic characters, satisfying ending, a world that feels real, and enjoyable narrative is hard work. However, if a writer manages to combine them all, it will be satisfying for passionate readers like me who enjoy the story and relate to characters more than thematic focus and real-world issues that feel empty.

My rating for The Heart of What Was Lost is: 2 stars.

P.S: Did you know that one successful book in a series doesn't mean the rest will be as successful? Many well-known writers fall into that trap and rush their second book, losing many fans along the way.

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This is how Adrian Tchaikovsky opens his novella Ogres. Have you ever considered using second-person narrative in your story? Many writers fear the use of second-person narrative. I have to agree as it requires so much attention to detail. However, Tchaikovsky mastered the technique by addressing the reader, making us a part of his narrative, without us knowing who the speaker is (until the end of the novella).

If you are unfamiliar with second-person narrative, I will give you an example of how Tchaikovsky handles it. He uses a character to talk about the main male character (Torquell) by addressing him using direct speech. Look at this example: 'You’re not a villain, only a charming rogue. Nobody’s going to give you up to the Landlord’s justice for a few apples.' Notice how we are informed about the main character's characteristics through the eyes of the other character. You might think this is an easier technique to use since you can state emotions and actions equally without worrying about the "show, don't tell" rule. I say it is deceivingly simple, because what is truly tricky about it is how to keep the story in conversation with the reader. Look at this other example: 'They don’t laugh like you thought they might. You forget the difference between you sometimes. They’re real outlaws.' See how we are a part of that conversation? Tchaikovsky assumes that we aren't real outlaws, so we become the ones he is talking to, not only the protagonist. In other words, he talks to us directly through his characters.

You might ask, why does the author want to talk to us directly? What does he want to say other than telling a compelling story? Tchaikovsky is delivering a message to the reader alongside the story. His political themes are present throughout the narrative. He portrays the ogres as "Masters" of the world; they control humans and their lives. But the political theme goes beyond that level. He is trying to make the reader see the flaw in our own real world. Look at this example: 'You find that, before that braying crowd of other ogres, you want to make her proud of you.' In this scene, we watch the protagonist fighting another human to please his Ogress master. Tchaikovsky implies how leadership exploits its people and uses them for their personal gain and amusement. Another example is when he talks about the "generals" and their war games. These political themes add depth to the story, making it more universal and relatable.

Therefore, is it worth it to consider adding a political theme? I say that if executed well, it will add so much depth to your story, but if it was shallow and underdeveloped, it will work against you. Tchaikovsky implies the ideas without actually boring us with the political issues of his world. The "Masters" act and their conversations tell us so much about their intentions. Look at this description of an Ogre meeting:

'Another is talking machines and mechanics of some sort, a third speaks of pathways that are somehow inside the body and can be manipulated to conjure pleasure and pain. A fourth loves only insects and speaks of raising and quelling plagues, of places you never heard of stripped bare in the name of scientific enquiry. “All got a bit out of hand,” he smirks'.

See the last sentence? (All got a bit out of hand). This is what he wants us to know: how chaos engulfs our world and only a handful of "ogres" are controlling what is left. Their main goal? It is to experiment and get smarter. Humans are their tools, and they use them wherever they feel fit.

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Another fascinating aspect of the novella is that it blends fantasy and sci-fi. At the beginning of the story, we see the protagonist living in a simple village that looks like a medieval setting. However, we gradually realise the advancement of the world. Tchaikovsky uses the word "magic" to describe the technology because the protagonist has never seen them until he ran off from his village. Therefore, this blend of the two genres gives dimension to the story, making us see the old and the new at the same time. You may wonder if you should try such an approach. I will say, go for it! If you love both fantasy and science fiction, you can always blend genres (like romantasy) and produce a story that is uniquely yours. But remember, you should always know what genres you are working with in order to know how to market your book to the correct audience. Having a specific audience doesn't limit your book. On the contrary, it reaches the right people who would enjoy it!

As I was talking about the people who would enjoy the story, I need to talk about how to keep the reader hooked on the story. In Ogres, Tchaikovsky doesn't make us wait long for the inciting incident. The narrative moves quickly from the beginning. We barely get to know the characters in the first chapter when something horrible happens. This fast-paced narrative keeps the reader turning the pages. As the novella has a compressed form, it needs to work fast and to deliver new action or information in each chapter. This is relatively a modern technique in writing (in novels and novellas) and I believe it is effective in keeping the reader attached to the story. You may wonder, does this work for all novels!? I say no. Some stories need to breathe. Some readers love slow narrative with low stakes (cosy fantasy for instance). We can't apply the fast-paced rule to every novel and discard the rest. So, what should you go for? I advise you to look at your story. Does it feel that it needs a bit of acceleration? Does it feel slow? Or do the descriptions and events play an emotional and atmospheric role in the narrative?

Now, looking at the ending; it is particularly strong (I will not spoil it here). The idea of resolving the conflict by using a dark ending is brilliant! Tchaikovsky manages to haunt us in this story, making it unforgettable. I always suggest that writers contemplate their ending and never rush it; it is the part that stays with the reader. Writing a great story with a good ending will make your novel feel lovely; writing a good story with a brilliant ending will make it memorable.

Perhaps the most unsettling thing about Ogres is not its world, but how easily we step into it. By the end, you are no longer just reading about Torquell. You are standing where he stands, making choices you would rather not claim as your own. That is where Tchaikovsky’s brilliance lies. He does not simply tell a story; he hands it to you and quietly asks: what would you have done?

Final take, should you consider reading Ogres? I will say, absolutely. It will introduce you to a rare style of narrative (second-person); it will make you consider adding political themes; the ending and narrative pace are compelling and enjoyable; you get to read fantasy and science fiction at the same time.

My rating of Ogres by Adrian Tchaikovsky is: 5 stars.

PS: Did you know that Adrian Tchaikovsky said in one of his interviews that he almost gave up on writing after so many rejections? He gave himself a deadline and right before it was done, he got a deal!

Never give up; you never know when your star will shine.

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One Ring to bring them all and in the darkness bind them'.

Most people believe that The Lord of the Rings is the greatest fantasy novel of all time (I said most because, believe it or not, some people think otherwise, you can see the comments on Goodreads). However, it was written nearly 90 years ago. What does that mean for us as modern writers? Should we be influenced by Tolkien's work? Let it guide us through our worlds? In this review essay, I will try to give you a clear vision of The Lord of the Rings and you can decide for yourself.

First, let me tell you that Tolkien spent more than 10 years working on Middle-earth and the Elvish language. He studied philology and his passion for languages led him to create this musical language that captivated many people into actually learning it. You might think that every fantasy writer should create a detailed world and a foreign language in their novel. I will say, no. You don't have to unless you want to. Creating a language or a complete world requires a lot of work; you have to think about grammar, spelling, and dialects (for languages); political system, history, and religions (for the fantasy world). Eventually, you might use only a few words or aspects of the world in your novel. Therefore, I usually create portions of what I would actually use in my novel, not a complete language or world. This way, you can give the reader the "feeling" of lore and world-building without actually having one.

Unlike Tolkien’s deep world-building, Brandon Sanderson talks about the concept of ‘the empty iceberg’, where we give the reader just enough information about our world. In other words, we create a "hollow" mountain where the world has languages, lore, history, religions ...etc, but they are not fully developed. This way, you get to spend more time on character development, plot, pacing, and other elements of the story.

Now, you may wonder how I said that The Lord of the Rings was the best, but I am talking you into not following Tolkien's footsteps. I am actually doing the opposite. I love world-building. I think it is what makes any fantasy novel feel alive. But in our modern life, time flies more quickly. If a writer spends years on one novel, people will eventually move on (there are some exceptions of course). Also, many writers fall into what Sanderson calls ‘worldbuilders’ disease’, where they spend their time building the world but never write the actual story. Therefore, this totally depends on what you are aiming for. Do you want a complete world where you can imagine it? Or do you want a world where your characters can inhabit without so many complications?

Now, what about Tolkien's style? Should we use long paragraphs of descriptions? Let me give you a few examples to make that clear. Here is the first:

'Away high in the East swung Remmirath, the Netted Stars, and slowly above the mists red Borgil rose, glowing like a jewel of fire. Then by some shift of airs all the mist was drawn away like a veil, and there leaned up, as he climbed over the rim of the world, the Swordsman of the Sky, Menelvagor with his shining belt. The Elves all burst into song. Suddenly under the trees a fire sprang up with a red light.'

Tolkien uses lyrical description to immerse us in his world. His technique works well in the "soft" moments; it gives us the feeling of magic and wonder. On the other hand, look at this description of an action scene:

'The Riders were still in the low valley before the mouth of the Coomb, when cries and hornblasts were heard from their scouts that went in front. Out of the darkness arrows whistled. Swiftly a scout rode back and reported that wolf-riders were abroad in the valley, and that a host of Orcs and wild men were hurrying southward from the Fords of Isen and seemed to be making for Helm’s Deep.'

Notice the shift in tone? The urgency and danger of the phrases? The poetic language was replaced by fast-paced descriptions to match the mood of the scene. This shift is what makes immersion in Tolkien's books not a coincidence, but a fact.

So, coming to the most important question: should you use long descriptions and paragraphs? I say it depends on your story. Even a slow-paced story's descriptions have to be measured. Too many, and you will bore the reader, too little, and the feeling of the setting will be lost. You have to find the perfect balance of descriptions to bring the reader along into your world. Tolkien uses long descriptions because they carry the history of Middle-earth mixed with emotion. If you could deliver such depth in your descriptions, it is a strong strategy for pulling the reader into your story.

You might ask, how do we do that? I say there are three things you should do. First, it is to practice and keep writing. Tolkien has written dozens of stories before he became famous. Second, it is to read widely in your genre. And third, it is to have a professional beta reader to look at your work. Beta readers can do wonders. As writers, we might overlook some parts of our writing because we read it so many times. That is why having another set of eyes (especially experienced ones) will help you develop your story into something unforgettable. They can point out any long or unnecessary descriptions and tell you where the pacing lagged or jumped.

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Looking at Tolkien's characters, here is where it gets really interesting. His characters are morally centred. To make it clear, each character is built around a central moral idea. For example: Frodo represents burden; Samwise represents loyalty; Boromir represents temptation; Aragorn represents honour and so on. They all suffer the consequences of their choices. Tolkien built his characters on universal ideas, making his novel timeless. Therefore, should you build your character using such a method? I say it is tricky. Most modern characters are morally grey and they struggle with different moral dilemmas. If you focus on one aspect, it has to be very well executed; the character must feel real and believable.

Another aspect of his characters is that they are not impressive because they win; they are compelling because they choose to go on and fight. Their transformation in the novel doesn't happen overnight, it is slow and deliberate. We can see how Sam becomes braver; Merry and Pippin grow into responsibility. Tolkien never explicitly says how his characters change; he lets us slowly feel that change.

To wrap up, must we use Tolkien's style in our writing? I am not saying we should mimic him. Each one of us has their own voice and style. But should we use something similar? Does his technique work in our modern time? I say it depends on your audience. On your intentions. What feeling or a story do you want to convey? Do you like reading long descriptions as much as writing them? Do you love world-building? Do you want to focus on one moral idea per character? Answering these questions will give you a clear idea on what to take from The Lord of the Rings and what to leave. Tolkien offers tools, not rules.

My rating for The Lord of the Rings is (of course) 5 stars.

P.S: Did you know that Tolkien was a soldier in World War I and some people accused him of implying war events in his narrative? He denied it in the Foreword to The Lord of the Rings, but this subject is still debatable. Tell me what you think in the comments below.

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Did you ever consider writing poetry? Did you ever feel that metaphors and images speak to you more than other descriptions and convey meaning? If yes, this is the right book for you. In The Empress of Salt and Fortune, Nghi Vo blends storytelling with lyrical language. She uses a unique structure where objects are the main anchors of the story. In other words, her protagonist tells her story through objects, remembering what each one meant and where she got it from.

What is special about this novella is that Vo doesn't follow chronological order of events. We see the main character, Chih, talking to an old woman. In each chapter, the "Grandmother" uncovers an object and tells its story. You may wonder, if there is no chronological order, where is the story? I say it is in Vo's capability to link all the objects to one person (which is the Empress in this case), and tell the important events of her life through them. What I find fascinating is that most of us link important events with objects but we rarely think about writing a story using one. Some of you might have a dry rose, a ring, a piece of clothing that reminds you of a person or a happy or sad event.

You might ask: how did Vo manage to introduce each item? Easy! At the beginning of each chapter, she says something like this: 'Robe. Silk, silk thread, ruby bead. Green background embroidered with darker green leaves. A single red ruby beetle bead rests on a green leaf on the right arm.' This description is enough for us to see this piece with her protagonist. The events that follow show how this Grandmother came to possess this item.

Now, let’s look at her use of images, metaphors, and lyrical language. Look at this example: 'She walked past with her spine like one of these birch trees, and she wore this dress, which is as white today as it was then.' See the comparison here? And I am not only talking about how her spine was straight like a tree, but also about the whiteness of her dress. Vo implies the good heart of the Empress with how the white dress is still white. These small details guide readers to the writer's intended meaning without explicitly saying it.

An example of lyrical language can be seen here: 'In Chih’s dream, the moon had set, leaving the star path traversed by the dead bright in the sky. The two of them looked up at it for a moment, and then they started to laugh, shaking their heads at the strangeness of the world, pain long behind them.' Vo found the most poetic way to make the two characters end up together through Chih's dream. See the vivid description of their laugh and the stars above? At this point, a question emerges: what makes writing poetic? I say it is the images painted with words; the rhythm of sentences that almost feels like music; the emotional resonance that makes the reader feel it without explicitly saying the feeling. This is the power of poetic language.

Now, taking a look at the names, you might notice that Chih's name indicates Chinese culture. The whole novella is inspired by imperial China, where the emperor rules. The Grandmother's name, Rabbit, is the most obvious indication of her weakness and purity. Her loyalty to the Empress and submission aligns with her name almost perfectly. On the other hand, the talking hoopoe who follows Chih is called Almost Brilliant. His role in the story is to preserve memories and truth. However, truth is not always "brilliant", and remembering does not always mean understanding.

The fragmented narrative of The Empress of Salt and Fortune makes the story stand out for me. As I said earlier, Vo uses objects to tell her story, therefore we only see the important glimpses of the world. Does that mean the story has no world-building? It certainly has! But it is woven into the narrative. Look at this example: 'Here Xao Min, goddess of luck! Here Fei-wu, god of wealth! Here Shao Mu, saint of love! Look upon our hands with kindness, and guide us towards what is right!' In this scene, we see a conversation between Rabbit and Chih where they are playing a game called 'Lucky Sticks'. Vo uses the game to reveal the world's beliefs and history. This technique helped her to deliver lore into the narrative without info-dumping; making the story more engaging and understandable as we go.

The themes of this novella go on a deeper layer. It has many political messages. First, history is written by power, but preserved by the powerless. Rabbit was the maid of the Empress; she is the one who tells her story. Second, Vo makes sure that women's agency exists, even when they are weak. And third, empires and kingdoms depend on exploitation. While reading, we discover these themes through the Empress's memory and her interactions with the political court around her. (I won't spoil any of the events; you can discover them when reading the novella).

You might think: should I have a theme or a deeper meaning in my writing? I will say no. You don't have to unless you want to. You can just write a story that excites you. You never have to follow a specific pattern to write a story; write what you love to read.

You may wonder, is The Empress of Salt and Fortune worth reading? If you enjoy poetic language, fragmented narrative, metaphors, and emotional nuance, this novella is for you. And even if you don't, I always suggest that writers read widely in their genre (fantasy and science fiction in this case); you never know what you like until you try it.

My rating for The Empress of Salt and Fortune is 4 stars.

I didn't rate it higher due to personal preference. Although I love to read all genres of fantasy and science fiction, this one missed the spark that makes it a 5-star rating. (I don't give 5 stars easily haha).

PS: Did you know that poetic language and narrative were dominant in old mythology? For instance, The Iliad and The Odyssey. Almost all stories were carried out using poetry or lyrical prose.

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Have you ever wondered if a science report could be turned into a story? In At the Mountains of Madness Lovecraft pulls us into a world where a group of scientists travel to Antarctica on an expedition to explore the vast snow-covered mountains. It is a science fiction horror where the narrative is a mix of a report and a personal story narrated in the first person.

You might think: a report might be a boring way to narrate such a story. I have to agree to some extent. However, his use of this particular style makes his story feel almost real. While reading, you get the sense of reading something like a news report because of his geological and academic terms. It sounds convincingly real.

Lovecraft's sophisticated vocabulary makes reading this story a challenge even for native speakers. I can only imagine the amount of research he did in order to write this novella (especially during his time where there was no Internet in 1931). However, having all of these scientific terms makes his characters feel like real scientists. Furthermore, Antarctica's description feels menacing; the atmosphere, the cold, the vastness and emptiness make this more of a psychological horror than a monstrous one.

You might wonder: should my story do the same as Lovecraft? Do I need to use academic terms if I am writing science fiction? I would say: it depends on your story and what feeling you want the reader to experience. Do you want something entertaining that would pull the reader into your world to enjoy the characters' experiences? Or do you want a world that feels lived in and the horror is the main objective of your story? If you want the former, then no; Lovecraft's style in this novella is immersive; it focuses on the world rather than characters. You almost get no conversations in the entire story. This lack of conversation and the focus on description and atmosphere makes this horror feel real.

Now, the downside of Lovecraft's style is repetitive pattern structure. In other words, you get the same-length sentences which make readers drift instead of focusing on the events. Here is an example: ‘Through the desolate summits swept ranging, intermittent gusts of the terrible antarctic wind; whose cadences sometimes held vague suggestions of a wild and half-sentient musical piping, with notes extending over a wide range, and which for some subconscious mnemonic reason seemed to me disquieting and even dimly terrible.’ Notice the rhythm of the sentences and how they carry the same "music" in them? This rhythmic narrative is poetic and it is one of the disadvantages of the story. Here is why: the author intended a horror science fiction story where it takes the shape of a report. Therefore, having a poetic, rhythmic language breaks the sense of momentum of the story. It is beautiful but gives the reader a dozing effect.

Now talking about the creatures in the novella, here is where it gets interesting. ‘The Old Ones’, as Lovecraft named them, are star-shaped creatures with high intelligence. They created another species to serve them, but they ended up rebelling against their creators. The ‘Shoggoths’ are shapeless creatures who live underwater and have many eyes and mouths. Lovecraft's description and their uniqueness is what drove me to read this story in the first place. His description is so precise and professional that you can almost see the creatures on the examination table. Take a look at this part:

‘Five slightly longer reddish tubes start from inner angles of starfish-shaped head and end in saclike swellings of same color which, upon pressure, open to bell-shaped orifices two inches maximum diameter and lined with sharp, white tooth like projections—probably mouths. All these tubes, cilia, and points of starfish head, found folded tightly down; tubes and points clinging to bulbous neck and torso. Flexibility surprising despite vast toughness. At bottom of torso, rough but dissimilarly functioning counterparts of head arrangements exist. […] Cannot yet assign positively to animal or vegetable kingdom, but odds now favor animal. […] Wing structure puzzles in view of probable marine habitat, but may have use in water navigation. Symmetry is curiously vegetable like, suggesting vegetable's essential up-and-down structure rather than animal's fore-and-aft structure. Fabulously early date of evolution.’

See how long and detailed this description is? I omitted a large part because it is so long, but you got the picture. At the Mountains of Madness carries the reader to the lab. It is like watching a movie from the scientists' perspective. You live the horror, the adventure, and the thrill of discovering a foreign species at the end of the world.

Furthermore, the city's description is so precise that we can almost see it. He writes:

‘Only the incredible, unhuman massiveness of these vast stone towers and ramparts had saved the frightful things from utter annihilation in the hundreds of thousands— perhaps millions— of years it had brooded there amidst the blasts of a bleak upland. […] The foothills were more sparsely sprinkled with grotesque stone structures, linking the terrible city to the already familiar cubes and ramparts which evidently formed its mountain outposts. […] The nameless stone labyrinth consisted, for the most part, of walls from ten to one hundred and fifty feet in ice-clear height, and of a thickness varying from five to ten feet.’

Notice how Lovecraft relies mostly on sight? While he uses other sensory details in his description, sight is the dominant one. Does that make his writing style wrong? Maybe in modern standards, but in his time, this novella became famous because of its uniqueness; it introduced a new flavour of fear.

Some writers might wonder whether, in modern writing, readers are no longer interested in long paragraphs and description with slow narrative and complex vocabulary. I say it is true to some extent, but there are still readers who enjoy such stories and find them challenging. In the end, there is no right or wrong way to write a book, there is only your version of it. This proves that following writing trends doesn't always result in becoming a published author or becoming famous.

My rating for At the Mountains of Madness is 3 stars.

Why only 3? As haunting and realistic as it was, I still found it difficult to read; the lack of dialogue, long descriptions, slow pacing, and rhythmic sentences makes it even harder to finish. Therefore, it lands in the middle of the scale.

PS: Did you know that some people have associated the AI with the Shoggoth? This is a debatable subject; tell me what do you think in the comments.

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Have you ever wondered how famous writers tend to grab our attention without much effort? How descriptions of places or events seem to flow naturally? In Martin’s novella The Hedge Knight, the first sentence grabs us with its haunting image of rain and death. Martin presents darkness through constant conflict, both internal and external.

So, does that mean as writers we should show the external conflict as much as the internal one? This question is debated among writers and critics. As much as I love to see the internal struggles of a character, I find myself wanting to feel what they are feeling rather than being told what they felt. In other words, the "show don't tell" principle plays an important role in creating a compelling story that would pull us from the first sentence.

You might wonder, what should I do to show? I would suggest a very good technique I have learnt from the Story Grid channel on YouTube. Try to present what is happening rather than telling the characters' feelings or interpretations of a situation. Action always comes first, which allows emotions to emerge naturally. It is exactly like observing an event and telling it to your friend or family. Would you tell them how you felt about it? Maybe, but the main subject would be the event itself. We naturally infer emotions through people’s actions, voice, and body language. This technique makes the reader a participant in the narrative, like they are part of the story. Notice how Martin uses this method:

'The blade was straight and heavy, good castle-forged steel, the grip soft leather wrapped over wood, the pommel a smooth polished black stone. Plain as it was, the sword felt good in his hand, and Dunk knew how sharp it was, having worked it with whetstone and oilcloth many a night before they went to sleep.'

We see the sword's description from Dunk's perspective. We don't inhabit the mind of the protagonist in order to know that he was happy with it. This sentence, 'the sword felt good in his hand', was enough indication to show us. Some might argue that the use of 'felt' is telling, not showing. However, Martin shows us the relief of his protagonist at finally having a good sword in his hand rather than telling us that the sword merely felt good.

You might think: should I completely avoid telling emotions on the page? Should I tell the story like a chatbot? Here comes the use of sensory details. Writers like Martin use the five senses to show characters’ emotions. Here is an example: ‘his ears were turning red’ indicates Dunk’s shyness without explicitly saying it. Another example: ‘Dunk could smell woodsmoke, and bacon as well,’ which sets the atmosphere of the world, immersing the reader in Dunk’s experience and feelings (hunger in this scene). The use of sensory details plays the most important role in storytelling and in making readers inhabit the fantasy world alongside the characters.

The Hedge Knight contains many moments where hinting at information plays an important role in keeping the reader hooked in the narrative. For instance, when Egg refuses to enter the castle, Martin writes, 'The boy had been afraid to enter the castle, which Dunk put down to equal parts shyness and shame.' This foreshadowing, with misleading information about the boy being shy and ashamed, keeps the reader unsure about Egg’s background and whether Dunk's interpretation is correct. Another foreshadowing moment occurs when Egg's brother dreams of a dragon's death. We anticipate the death of a Targaryen without knowing which one, which keeps us hooked to the story.

Another great aspect of Martin's novella is his shocking revelations. He uses twists in the right moments. There are two major ones, in the middle and at the end. Many writers misuse twists by overloading them or avoiding them entirely. Having too many, and the reader becomes lost or unimpressed; having none, and the narrative would feel predictable and familiar. It is this sweet spot where writers should keep the narrative interesting while remaining understandable without overwhelming the reader.

Is The Hedge Knight worth your time? Does it satisfy readers and offer insights for writers? I believe it does. Martin uses simple language in a compelling narrative that holds attention from start to finish. He shows us action, emotions, danger, and relationships in a fantasy setting that takes us away from reality and into a world where everything might happen. Happy Endings are not common in Martin's works, and maybe that is why his writing is so compelling. Everything could happen to anyone, and that is the beauty of his storytelling.

My rating for The Hedge Knight novella is 5 stars.

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PS: It is this balance of simplicity, description, and emotion that makes The Hedge Knight a valuable lesson for writers and an engaging story for readers.

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