Subscribe now

Getting into indie sci-fi can feel overwhelming at first. Unlike traditionally published books, where a handful of major titles dominate visibility, the indie space is vast, fast-moving, and highly fragmented. Thousands of new titles release every year across subgenres, tones, and styles. That variety is its greatest strength, but it also means new readers often don’t know where to begin.

The key is to stop thinking of indie sci-fi as one category and start treating it as an ecosystem.

The first step is identifying what kind of sci-fi you actually enjoy. Indie authors tend to write with a much sharper focus on niche audiences, so whether you’re into military sci-fi, space opera, cyberpunk, first contact, or AI-driven narratives, there will be entire clusters of books tailored to that interest. If you enjoy large-scale adventure with clear stakes and momentum, space opera is often the easiest entry point. If you prefer grounded realism and technical depth, hard sci-fi may be a better fit. The mistake many new readers make is sampling randomly rather than targeting their preferences.

Once you’ve identified your lane, series should be your priority. Indie sci-fi thrives on long-form storytelling. Authors build worlds over multiple books, and the real value comes from read-through rather than standalone experiences. A strong first book will hook you, but it’s the continuation that delivers the payoff. This is particularly important because many indie authors optimise their pricing around series entry. First books are often discounted or even free, making it easy to try without commitment.

Discovery is where most readers struggle, but there are a few reliable entry points. Platforms like Kindle Unlimited remain one of the most efficient ways to explore indie sci-fi at scale. For a fixed monthly cost, you can sample multiple series without upfront risk. Outside of that, newsletters and reader communities play a significant role. Many indie authors run their own mailing lists, offering free starter books or exclusive content in exchange for sign-ups. This creates a direct relationship between reader and writer, something that is far less common in traditional publishing.

Another effective strategy is to follow recommendation chains. When you find an author you like, look at who they collaborate with, who they mention, and which books are recommended to their audience. Indie sci-fi operates as a network, and readers often move through it via these connections. This is particularly useful because quality can vary, and curated pathways help filter the noise.

why indie sci-fi unlocks true creative freedom

One of the most compelling reasons to explore indie sci-fi is the level of creative freedom it gives authors, and by extension, readers. Without the constraints of traditional publishing, indie writers are not bound by market trends, editorial mandates, or risk-averse decision-making. That freedom fundamentally changes the type of stories being told.

In traditional publishing, sci-fi concepts are often filtered through commercial viability. Ideas that are too niche, too unconventional, or too difficult to categorise can struggle to get approval. Indie authors do not face those same barriers. They can take risks, blend genres, experiment with structure, and explore concepts that would otherwise be considered too speculative or too narrow for a mass audience.

This is where indie sci-fi becomes genuinely interesting. You will find stories that push boundaries, whether that is through unique alien perspectives, unconventional timelines, or worlds built on entirely new scientific premises. Authors are free to follow ideas to their logical conclusion, rather than reshaping them to fit a publishing mould. That often results in narratives that feel fresher, less predictable, and more aligned with the original vision behind them.

It also allows authors to respond quickly to emerging ideas. As technology evolves and cultural conversations shift, indie writers can incorporate those changes in real time. There is no multi-year delay between writing and release. This immediacy means indie sci-fi is often at the forefront of exploring new concepts, particularly around AI, space exploration, and future societies.

For readers, this translates into a more diverse and dynamic experience. Not every experiment will land, but when it does, it delivers something you are unlikely to find anywhere else. That unpredictability is part of the appeal. Indie sci-fi is not just about consuming stories, it is about discovering them.

It’s also worth adjusting expectations slightly. Indie sci-fi does not always have the same level of editorial polish or marketing budget as traditionally published work. However, what it offers in return is speed, creativity, and often a stronger connection to what readers actually want. Many indie authors are writing stories specifically designed to entertain, with tighter pacing and clearer hooks.

Ultimately, the best way to get started is simple: pick a subgenre, find a well-reviewed series, and commit to the first book. If it works, you’ve likely found not just a story, but an entire catalogue to explore.

That is where indie sci-fi excels. It doesn’t just give you one book. It gives you a gateway into a much larger universe.

Here’s some of our favourite Indie sci-fi to get you started-

After Moses by Michael F. Kane

Orders of Magnitude by Yuval Kordov

Anomic Bombs by Thomas Norford

Star Core: Wild Space by M.S. Olney

Theft of Fire by Devon Eriksen

For more excellent indie sci-fi books check out our Book Vault with over 200 books written by indie authors! Dive in and take a chance, you never know you might just find your new favourite.

The Book Vault

Subscribe now

For the better part of two decades, sci-fi has been dominated by bleakness with a few rare bright spots of optimism. Oppressive regimes, collapsing civilisations, morally compromised protagonists, and endings that offer little more than survival. From the rise of dystopian fiction in the 2000s through to the darker tone of modern streaming adaptations, the “grimdark future” has felt less like a trend and more like a default setting. Even modern Star Trek went down the dark future route undoing all the opitmism of the Next Generation era shows.

But that may be changing.

There is a growing shift in both indie and mainstream sci-fi towards something that feels noticeably different. Not naïve optimism, but a return to stories where hope, heroism, and forward momentum actually matter. Readers are beginning to push back against relentless cynicism, and the data, both anecdotal and commercial, suggests they are gravitating towards stories that offer something more than despair. Project Hail Mary’s success at the box office shows that people want a positive depiction of the future where alien contact doesn’t result in death and destruction but friendship and cooperation.

Part of this shift is cultural fatigue. Audiences have spent years consuming narratives where institutions are corrupt, heroes fail, and the future is something to fear. Layer on top real-world uncertainty, economic pressure, geopolitical tensions, and rapid technological change, and it becomes clear why readers might not want their escapism to mirror their anxieties. Sci-fi has always been a lens through which we process the future, but increasingly, readers are looking for stories that offer direction rather than just reflection and depression.

Share EPIC Indie

Indie sci-fi has been particularly quick to respond. Without the inertia of traditional publishing cycles, independent authors can pivot faster, experimenting with tone and structure. What we are seeing is a resurgence of space opera and adventure-driven narratives that lean into scale, discovery, and clear stakes. These stories still acknowledge danger and complexity, but they are not defined by nihilism. The difference is subtle but important. Conflict exists, but it is there to be overcome, not to reinforce inevitability.

This does not mean grimdark is disappearing entirely. There will always be a place for darker storytelling, particularly when it is executed with purpose rather than as aesthetic shorthand. The issue is that, for a time, grimdark became a crutch. Darkness was often mistaken for depth, and moral ambiguity became a substitute for meaningful character development. Readers are becoming more discerning. They are not rejecting complexity, but they are rejecting emptiness.

What is replacing it is a recalibration. Stories that balance realism with aspiration. Protagonists who struggle, but ultimately act with intent. Futures that are dangerous, but not devoid of possibility. This is where modern sci-fi has the most room to evolve. Not by abandoning stakes, but by reintroducing meaning.

There is also a structural advantage to this shift. Hopeful or forward-looking sci-fi tends to lend itself better to long-form storytelling. Series benefit from momentum, from the sense that each instalment builds towards something rather than simply revealing further layers of decay. For indie authors especially, this is critical. Read-through is driven not just by plot, but by emotional investment in the trajectory of the world and its characters.

In that sense, the decline of grimdark is less about rejection and more about correction. Sci-fi is rediscovering one of its core functions: to imagine futures worth striving for, not just ones worth surviving. The recent Artemus 2 moon mission has inspired a new generation to be optimisitic over space and the potential glorious future it can bring.

The question is not whether grimdark will vanish. It won’t. The real question is whether it will remain dominant. Right now, all signs suggest its grip is loosening, and in its place, a more balanced, and arguably more powerful, vision of the future is taking hold.

Subscribe now

Author name: Kate Kelly

Book entered: Dragons of Dunmoray

Sale link to book: https://amzn.to/3NQKTdJ

If you were telling a fellow fantasy reader about your book over a drink, how would you describe it?

Dragons of Dunmoray is a story about the dragon war set in modern day Scotland. The war has been raging as long as the world has existed. And now the dragons are stirring again.

Alba MacGregor can see the dragons. She thinks she is alone in this. But she is not. But she is alone in one respect – for only she can stop the war.

What made you decide to enter IBOR, and what are you hoping this competition gives your book?

I spotted it on X. I had entered SPFBO for the first time but missed out on the lottery. To see someone taking an initiative like this was so refreshing. I couldn’t pass the opportunity by.

Who do you think your book is really for?
This isn’t your typical fantasy, and although there is a romantic sub plot its very much not Romantasy. I think it will appeal best to readers who don’t have any strong preset expectations from the genre and are willing to open their minds and embrace the different.

What do you think your book does best?
A tricky question. I would say it’s the worldbuilding. I’m a scientist by trade, specifically geophysics, and this story blends the science of Earth, geology, vulcanology, oceanography and meteorology with dragons. But don’t expect the science to be realistic. This is pure fantasy, with dragons, lots of dragons

What kind of experience are you trying to give the reader?
I hope the reader enjoys the ride. It’s going to be wild.

Are there any fantasy books that feel like a good ‘neighbour’ for yours on a shelf?
I would say Anne McCaffrey’s dragons would sit well beside mine. They’re very different but are definitely an influence.

Has the book changed since it was first released?
I haven’t changed it since release but one thing I did learn was that maybe I didn’t target the right ARC readers, since from their reviews they were expecting something a bit more traditional.

Is this a standalone or part of something bigger?
Dragons of Dunmoray is very much a standalone. The resolution is complete, so there really isn’t scope for a sequel.

What’s a piece of feedback you’ve had that made you stop and think, “Yeah, that’s fair”?
Some of the readers have remarked that they didn’t really warm to Alba, but that’s fair enough. She’s a complex and flawed character, dealing with childhood trauma and taking on a huge burden in her life. She doesn’t always handle situations perfectly. She’s very human in that respect.

Where do you find your inspiration?

Inspiration is all around. You just have to learn to look. For me it’s often a scientific article, or a snippet of history, or even just a place, that triggers a chain of thought that can spiral off in all sorts of directions if I let it.

Are you working on anything currently?

At the moment I’m dabbling in crime, which is a bit of a digression for me, but a lot of fun.

Why do you think IBOR is the right place for this book?
Having missed out on the SPSFBO lottery this competition is a great opportunity, not just to reach more potential readers, but to network with other fantasy authors. I’m discovering a lovely community which for me is the biggest bonus.

Subscribe now

The life of an indie author is often filled with the juggle of trying to balance writing with finding events and locations where you can sell your book in person. Some authors have managed to find a niche with bookstores and are seeing success with that, but many others write in genres that may not result in large sales at any bookstore that’s willing to provide a signing table. On top of that, larger events that are great for exposure, like Comic-cons and reader conventions like DragonSteel Nexus and Dragon Con, have become extremely expensive.

This has led authors to begin to team up to make these events more viable and provide a team that only the booths run by larger publishers and authors have. These groups of authors come in several different formats depending on the goals they want to achieve. Let’s break down why this is happening and talk about whether it’s a good fit for you.

Why are Authors Teaming Up?

As Indie authors, we’re constantly in a battle to balance our desire for exposure with the need to make a net profit year over year. Early in your indie career, you likely will lean more heavily on the exposure side of the equation, but after the first 2-3 years, priorities seem to always shift. This is when authors are forced to decide if their author’s journey will be a hobby that maybe helps pay for vacations or provide a little spending cash, or a career that could potentially take over as their primary income.

Either way, analyzing what your money is spent on and if it’s worth the expense becomes a major question. The first place I looked was my marketing, and which ads were actually working, but the next major expense that I could control was the event cost. Almost every event you attend as a vendor will cost you money, and trying to make a net profit is a very careful juggle.

For example an author based near me could attend several paid event including a farmers market that cost $50 every first Saturday of the month from May to October, a library event that had a $10 table charge, our local Comic Con (FanX) with a table charge of about $600 for three days, and DragonSteel Nexus with a booth fee of about $900. That means that just in local events here in Utah, an author would spend at least $1810 for these events. To cover booth fees alone for these events, you would need to sell at least 121 books based on normal Ingram Spark margins if you charge retail for your novels at these events.

This doesn’t account for fuel, food, parking, and other costs that come with these events and can quickly cost an additional 25-33% of the table costs. If you decide to travel to additional locations outside of your local area, there are additional costs that can likely push the cost of the event up to $5000 or more. For an up-and-coming author, this can be a heavy burden in addition to all of the publication costs of the novels.

Over the last two years, I’ve seen several authors looking at these costs and realizing that there is an easy way to cut these costs without actually cutting back on the number of events. The key to this is finding two to three other authors with whom you get along and who may not be writing the same genre as you, but are close enough to share a general audience. With this group, you then split a booth at these events and split your booth fees and sometimes other costs between all of you.

Is This Right For You

At a base level, this seems like it might be a great option for pretty much every author, especially now that the major publishers seem to be pulling back to their cash cows more and more. When you attend author events, the number of indie authors grows exponentially. At the surface level, this is a great thing; it means that there are more people to team up with.

Despite this, the hardest part of this deal is to pick a group that will actually be worth working with. These events mean that you will be spending 14+ hours a day for several days at a time with these people. On top of that, you don’t want your books to compete with the people you share a table with, but you do want them close enough that the table isn’t awkward.

The next important thing is to actually like the books these people have written. At book events, there are always groups of authors from various genres that will work loosely together. It’s always nice to have authors you can point to when someone says that they like to read genres that you don’t write, and often those authors will do the same for you.

This tactic of guiding people to your fellow authors will be even more important when you’re sharing a table. You need to be able to pitch your partner’s books, and they need to be able to pitch yours. With more people at the table, it often means that you won’t be selling your book, but one of the others will be at the larger events.

All of this probably seems like a lot, and you might be wondering where to start. The answer is easy. Start going to free or cheap events and make friends, while also watching how they sell their own books.

Once you have your team, other hurdles are unique to the group you join and the events you attend. With a good group, though, the logistics will get figured out, and you’ll be underway quickly. Also, keep in mind that you can walk away from a group if they end up not being a good fit for you.

Good luck and happy selling.

Subscribe now

Many people have fallen prey to the allure of piracy. Most keep this to a halloween costume or being a fan of the Pirates of the Caribbean films, but others take this much further. They turn to the piracy of media.

As an author, I’ve seen this first hand with my books. The first time I saw this was when a friend who tracks these things found one of my novella’s on a piracy website, but unfortunately this was only the beginning. My stories quickly found their way into the stories used to unwillingly train Meta’s AI. They even found their way onto fan story sites without my permission.

The worst was when I was at Dragonsteel Nexus and someone approached my booth and told me that he’d read my books on a piracy website. When I asked him if he knew what type of website it was, he was proud of the fact that he’d pirated my books. I was left stunned by the brazen confidence that he’d had and I didn’t press further at the moment.

In the green room and vendor halls I had several conversations with other authors, including several of the major names in fiction. They had experienced a lot of the same conversations like the one I mentioned earlier. Over the years, I’ve had this conversation several times and it never gets easier.

The life of a modern author is one of tight budgets and very little profits as organizations like Amazon take up to 70% of the earnings. Unless the author is one of the largest producing authors, they often are barely making enough to live on if they’re in the top 25% of producing writers. That means that every single pirated book is a punch to a struggling artist, hoping to make a living through their art.

I understand the desire to get things for free, especially when books and media prices have been driven up by a lot of different factors. But the sad reality is that a lot of these pirates wouldn’t do this with any other industry. They wouldn’t likely steal a candy bar from a store and then send the wrapper back to Reese’s with a note about how good it tasted after they stole it.

That example may seem extreme, but it’s not too far off from what really happens anytime an author hears about their book being stolen. We’ll never get that copy of the book back and we’ll never see any income from it. The only difference is that it hits the author’s bottom line harder.

For many people the detached faceless nature of authors makes this much easier than stealing from a local store where they know the clerk and the owner. Some of the bigger fans of authors will find us at conventions and events, but our average reader will only see a picture of us on the back of our book or our website. This seems to make it easier, but not any better.

On top of that people see authors like Stephen King or Brandon Sanderson who have teams of people working for them with millions of dollars coming in from a single book and assume this is how most of the successful authors operate. They start to see authors as major corporations that won’t be hurt much by the loss of a single book, not realizing that 75% or more of these authors make as much per year as the high school kid, flipping burgers at McDonalds.

I know that I’m likely preaching to the mega fans of authors here, the people who have shelves filled with books and a kindle that would rival libraries in quantity. For you, I have to say thank you for supporting us and sharing our journey. I would only ask that you spread the word on this and share this with your friends that may be more inclined to take to piracy.

For those of you that may be tempted by the allure of the proverbial “high seas” of the internet, please don’t do it. As authors we love to share our stories with the world, but by even buying the ebook copy, you’re helping us keep going and making it viable for us. On top of that we never see that you picked up our book, so our reporting takes a ding as well, making it look like our book is less popular then it is.

I’ve been a reader for most of my life, spending a lot of time in the library as I grew up. This led to many epic adventures across many different worlds. Whether it was riding with the Rohiram on the plains of Rohan or walking the halls of the Battle School with Endor, I enjoyed every second of it.

The authors that shaped those worlds quickly became heroes to me. I enjoyed the journeys they took me on and was even inspired to begin writing myself. Despite all of that I tended to stick with a single series by these authors or the same genre if they were on the same shelf at the library.

Until the last five or so years, this is how I always operated. I’d find a series I’d like on my ereader, a local bookstore or audiobook platform and I’d devour it and then move on. But then I ventured into a historical fiction series you might know, “The Last Kingdom” by Bernard Cornwell.

I loved the series and when it came to an end, I happened to find another short series by him. The “Warlord Chronicles” series was an even more enthralling series for me and I was hooked. For nearly a year, I worked through most of Bernard Cornwell’s catalog of books and I thoroughly enjoyed every minute of this.

After that, I began to wonder what else I’d missed. This led to a tour of other books by some of my favorite authors and found other gems. I found many other gems including several Warhammer 40k books, the Convergence series by Craig Alanson.

My reading path changed from that day on. I then started looking for authors that I enjoyed reading or that challenged me as an author. After giving a book or a series a chance, I’d dive further into the catalog of any author I’d enjoyed no matter what the genre was.

This new way of reading has helped me find new books and genres that I never knew I’d enjoy. It’s even led to opportunities that I’d never expected as an author and pushed me to write in genres I never would have touched before. As a reader, letting myself follow authors and pursuing their novels has been the best decision I’ve made in years.

With all of that said, I’d highly recommend taking that journey as well. Some books in the catalog may not be a fit for you, but you may also be surprised by how much you like something that’s normally outside your comfort zone. Give it a try and let us know what fun new adventures you find in the comments or when you see me at book events.

Subscribe now

Author name: Kate Kelly

Book entered: Dragons of Dunmoray

Sale link to book: https://amzn.to/3NQKTdJ

If you were telling a fellow fantasy reader about your book over a drink, how would you describe it?

Dragons of Dunmoray is a story about the dragon war set in modern day Scotland. The war has been raging as long as the world has existed. And now the dragons are stirring again.

Alba MacGregor can see the dragons. She thinks she is alone in this. But she is not. But she is alone in one respect – for only she can stop the war.

What made you decide to enter IBOR, and what are you hoping this competition gives your book?

I spotted it on X. I had entered SPFBO for the first time but missed out on the lottery. To see someone taking an initiative like this was so refreshing. I couldn’t pass the opportunity by.

Who do you think your book is really for?
This isn’t your typical fantasy, and although there is a romantic sub plot its very much not Romantasy. I think it will appeal best to readers who don’t have any strong preset expectations from the genre and are willing to open their minds and embrace the different.

What do you think your book does best?
A tricky question. I would say it’s the worldbuilding. I’m a scientist by trade, specifically geophysics, and this story blends the science of Earth, geology, vulcanology, oceanography and meteorology with dragons. But don’t expect the science to be realistic. This is pure fantasy, with dragons, lots of dragons

What kind of experience are you trying to give the reader?
I hope the reader enjoys the ride. It’s going to be wild.

Are there any fantasy books that feel like a good ‘neighbour’ for yours on a shelf?
I would say Anne McCaffrey’s dragons would sit well beside mine. They’re very different but are definitely an influence.

Has the book changed since it was first released?
I haven’t changed it since release but one thing I did learn was that maybe I didn’t target the right ARC readers, since from their reviews they were expecting something a bit more traditional.

Is this a standalone or part of something bigger?
Dragons of Dunmoray is very much a standalone. The resolution is complete, so there really isn’t scope for a sequel.

What’s a piece of feedback you’ve had that made you stop and think, “Yeah, that’s fair”?
Some of the readers have remarked that they didn’t really warm to Alba, but that’s fair enough. She’s a complex and flawed character, dealing with childhood trauma and taking on a huge burden in her life. She doesn’t always handle situations perfectly. She’s very human in that respect.

Where do you find your inspiration?

Inspiration is all around. You just have to learn to look. For me it’s often a scientific article, or a snippet of history, or even just a place, that triggers a chain of thought that can spiral off in all sorts of directions if I let it.

Are you working on anything currently?

At the moment I’m dabbling in crime, which is a bit of a digression for me, but a lot of fun.

Why do you think IBOR is the right place for this book?
Having missed out on the SPSFBO lottery this competition is a great opportunity, not just to reach more potential readers, but to network with other fantasy authors. I’m discovering a lovely community which for me is the biggest bonus.

As a reader, one of the most enchanting aspects of a fantasy novel is the creation of a whole new world, complete with unique names for its characters. These names can serve as the doorway into the author’s universe, sparking curiosity and intrigue. But have you ever wondered how authors come up with these fantastical names for their characters? In this blog, we’ll explore the different methods and techniques that authors use to create captivating names for their fantasy characters.

Subscribe now

Real-life Inspiration

It’s not uncommon for authors to draw inspiration from the world around them when naming their characters. Historical figures, places, and even everyday objects can be the foundation for a fantasy name. For example, J.R.R. Tolkien was a philologist and was heavily influenced by ancient languages such as Old Norse, Old English, and Welsh when creating names for characters in his Middle-earth series. By studying and adapting real-world languages, authors can create names that feel authentic and grounded in reality.

Wordplay and Puns

Wordplay is an essential tool for authors when crafting names that are both memorable and meaningful. Clever use of puns, anagrams, and palindromes can result in unique and witty character names. For example, the character name “Tom Marvolo Riddle” from J.K. Rowling’s Harry Potter series is an anagram of “I am Lord Voldemort,” a detail that adds depth to the character’s backstory. By playing with words and their meanings, authors can create names that are not only fun but also serve to reveal something about the character’s personality or story.

Combining and Modifying Existing Names

Another popular technique for generating fantasy names is to combine and modify existing names. Authors might take parts of real-life names or even borrow names from other fictional works and tweak them to create something fresh and unique. This method allows the author to create a sense of familiarity while still maintaining an air of mystery and intrigue. For example, George R.R. Martin’s A Song of Ice and Fire series features a character named Daenerys Targaryen, a name that combines elements of familiar-sounding names like “Diana” and “Aerys” with a unique twist.

Borrowing from Mythology and Folklore

Many fantasy authors look to the rich tapestry of mythology and folklore from various cultures to find inspiration for character names. These stories are filled with gods, heroes, and creatures that already have a sense of mystique and otherworldliness. By borrowing names from these ancient tales, authors can instantly imbue their characters with a sense of history and depth. For instance, Rick Riordan’s Percy Jackson series is inspired by Greek mythology, and many of the characters’ names are derived from the gods, heroes, and creatures found in these ancient stories.

Phonetic Resonance and Connotations

When crafting a name for a fantasy character, authors often pay close attention to the way the name sounds and the connotations it may carry. Names that have a pleasing sound or evoke a specific emotion can be particularly memorable and effective. For example, Ursula K. Le Guin’s Earthsea series features a character named Ged, a simple name that carries a sense of strength and determination. By focusing on the phonetic qualities of a name, authors can create a strong emotional connection between the reader and the character.

Using Random Name Generators

In the digital age, authors have a variety of tools at their disposal to help generate unique names for their characters. Random name generators, which can be found online or as standalone software, offer countless combinations of names based on specified criteria such as length, origin, or theme. While these generators can be a great source of inspiration, authors often use them as a starting point and then modify the suggested names to better suit their characters and the story’s context. By using a name generator, authors can quickly generate a wide range of names and spark creativity, making it easier to find the perfect moniker for their fantasy characters.

Inventing New Languages and Naming Conventions

For some authors, creating a completely new language is an essential part of world-building in their fantasy novels. By inventing unique languages and naming conventions, they can add depth and cultural context to their stories. J.R.R. Tolkien, for instance, developed several languages for his Middle-earth series, including Elvish and Dwarvish, with specific naming conventions for each race. By creating new languages and understanding the linguistic rules, authors can generate authentic-sounding names that reinforce the cultural background of their characters.

The Importance of Character Traits and Backstory

An essential aspect of creating compelling character names is understanding the character’s traits, personality, and backstory. Names can be used to convey information about the character’s past, their role in the story, or their temperament. For example, in Robert Jordan’s Wheel of Time series, the character Rand al’Thor carries the surname “al’Thor,” which means “son of the storm” in the Old Tongue, a language used in the series’ world. This name foreshadows the character’s tumultuous journey and his connection to elemental forces. By choosing names that reflect the character’s essence, authors can create a deeper connection between the reader and the story.

Symbolism and Allegory

Using names that have symbolic or allegorical meaning can add an extra layer of depth to a character and their story. By selecting names that carry a hidden message or reference a specific theme, authors can create names that resonate with the reader on a deeper level. For example, in C.S. Lewis’s The Chronicles of Narnia series, the character Aslan, a wise and powerful lion, represents the figure of Jesus Christ in Christian theology. Aslan’s name is derived from the Turkish word for “lion,” connecting the character to the symbolic representation of Jesus as the “Lion of Judah.”

Trusting Intuition

Finally, sometimes authors trust their intuition when it comes to naming their fantasy characters. The perfect name might come to them in a dream, during a conversation, or while walking down the street. By remaining open to inspiration and trusting their instincts, authors can discover unique and memorable names that truly embody their characters.

Naming fantasy characters is a complex and creative process that combines elements of linguistics, history, culture, and personal inspiration. By drawing from real-life sources, playing with words, exploring mythology, and using symbolism, authors can craft names that captivate readers and draw them into the fantastical worlds they’ve created. So, the next time you come across a character with a peculiar name in a fantasy novel, remember that there’s likely a story behind that name, and the author has carefully chosen it to enhance the reader’s experience.

Author name: Mike Cahoon

Book entered:The Scion Conspiracy

Sale link to book: https://amzn.to/4jJI1vb

If you were telling a fellow fantasy reader about your book over a drink, how would you describe it?

During a burgeoning Age of Exploration, a vast, dangerous conspiracy that is slowly revealed after a daring heist reveals its existence. The protagonists find themselves caught up in its twisted web of violence and danger and must come to terms with how it threatens to change the world as they know it.

What made you decide to enter IBOR, and what are you hoping this competition gives your book?

IBOR is a chance to get involved with the indie community, meet and support my fellow authors and creators and let other people know more about my own book.

Who do you think your book is really for?

My book is for fans of Grimdark and Epic Fantasy, anyone who enjoys political intrigue, character driven narratives and intricate worldbuilding.

What do you think your book does best?

Personally, I am a character first reader and author and I think my work on building strong, engaging characters is my strongest single selling point in my book.

What kind of experience are you trying to give the reader?

I want my readers to feel like they’ve gotten lost in a visceral journey through my world and my characters, one which will leave them excited about the future and the next steps in these stories.

Are there any fantasy books that feel like a good ‘neighbour’ for yours on a shelf?

The works of Joe Abercrombie in his First Law series and George RR Martin in his A Song of Ice and Fire are good neighbors. I would also nod toward the likes of the Licanius Trilogy, The Powder Mage series and Memory, Sorrow and Thorn.

Has the book changed since it was first released?

This is the first and only printing of the book.

Is this a standalone or part of something bigger?

This is the first book in the Crucible of Legacy series, it is meant to start that journey.

What’s a piece of feedback you’ve had that made you stop and think, “Yeah, that’s fair”?

As this is the first in the series, I’ve had several reviews state that character arcs aren’t satisfyingly concluded. Which I agree with and think is a totally valid point. But, I do plan to continue the series, so I feel those complaints will be addressed.

Where do you find your inspiration?

The complexities and challenging questions life presents us with and that we have to find a way to face.

Are you working on anything currently?

A prequel novella and the sequel to The Scion Conspiracy.

Why do you think IBOR is the right place for this book?

IBOR is all about a second chance for the indie books to show they’re worth paying attention to. I believe in my book, think it is a high quality and I believe it will resonate with a large audience given a chance to.

Subscribe now

Author name: JCM Berne

Book entered: Partial Function

Sale link to book: https://amzn.to/4b5kOl4

If you were telling a fellow fantasy reader about your book over a drink, how would you describe it?

I usually describe this book as “what if Taken had starred Michelle Yeoh instead of Liam Neeson, took place on Cradle, and involved undead dinosaurs and high magic wu shu?”

I think it’s distinguished in a few ways. The action sequences are heavily based on themed, high magic martial arts, more like a campy Hong Kong fantasy flick than Lord of the Rings or most of Europe-based modern fantasy. Similar to a progression story, but without the progression, if that makes sense!

My protagonist is 40+ year old mother of two, which is not the typical fantasy hero, and apparently her pet, Dog, is quite lovable (based on reader feedback).

What made you decide to enter IBOR, and what are you hoping this competition gives your book?

I wrote this book specifically to enter into SPFBO – when my science fantasy Wistful Ascending lost in the first round I was determined to see how far a strict fantasy novel might get, so I wrote this book! I’ve been unable to get it past the SPFBO lottery two contests running, and I’d just be very happy to see more eyeballs on this story after a couple of years. It resonates strongly with some readers and I want more people to spend time with this cast of characters.

Who do you think your book is really for?
I think all fantasy readers will enjoy this book, but people who are familiar with classic, cheesy, CGI-heavy kung fu movies will get a little extra out of it, as there are a lot of nods to the style of that type of cinema.

Also, anyone who knows some math and martial arts and can figure out why all the techniques have the names they do (there’s a reason for all of it) will get a little extra out of it!

Above all, this book is fun-forward. There are themes to explore and there is character development but the humor and action take center stage. Not all readers are looking for that!

What do you think your book does best?

All of it!

But seriously, I think the action is top notch, as is the humor (but I always think that! Your results may vary). If I was forced to choose, I’d probably put the action first!

What kind of experience are you trying to give the reader?
Joy.

I hope they enjoy the time they spent with these characters, and I hope they want to spend time with them again! (Not that I have definitive plans for a sequel).

Are there any fantasy books that feel like a good ‘neighbour’ for yours on a shelf?
This isn’t about claiming equals, just helping us understand the tone and reading experience.

Probably the closest I can think of would be something like Never Die by Rob J Hayes.

Has the book changed since it was first released?

I had professional editing (both dev and line edit) before the initial release, so nothing that significant. I might have fixed a handful of typos, but to be honest I’m not sure I even did that.

Is this a standalone or part of something bigger?

It’s a standalone, really. I have ideas for two more books to make it a trilogy, but I only came up with them after finishing this book. It’s really meant to be read by itself.

What’s a piece of feedback you’ve had that made you stop and think, “Yeah, that’s fair”?
Quite a few people found the main character a bit too morally gray for their tastes. Her daughters have been kidnapped, and she’s willing to wreak a great deal of havoc to get them back.

Where do you find your inspiration?

I’m inspired by all kinds of fantastical stories. Books of course, from Moorcock to Dinniman. Anime like Naruto. Manga like Berserk. American comics like Dreadstar. Movies like Baahubali and Crouching Tiger, Hidden Dragon. TV shows like Umbrella Academy.

Are you working on anything currently?

Yes! I have an ongoing series, the Hybrid Helix, a space opera. I’ve released 7 books; the manuscript for the eighth is ready and I’m waiting for cover art (that book might be released by the time you’re getting to these interviews). I’m writing book 9, Mortality Gauntlet, which concludes the arc begun in book 4, Shadow of Hyperion.

Why do you think IBOR is the right place for this book?

I mean, it’s a perfect fit, because like the rest of these books, mine was eliminated from SPFBO by lottery! Twice!

I don’t hold any hatred toward Mark Lawrence or SPFBO, but I have to admit losing by lottery leaves a bitter aftertaste. I don’t know any better way to handle the contest, but to have a place like this where the remnants have a chance at a second life is a wonderful thing.

My website:

https://jcmberne.com/

Subscribe now

Since I was a kid, I have been a fan of sci-fi, especially space opera. It didn’t matter what it was, whether it was shows like Space 1999, Battlestar Galactica, Star Trek and Battle of the Planets on tv, or movies like Star Wars and Star Trek in theaters, I was going to see it. When I discovered authors like Robert Heinlein, Jack L. Chalker, and Fred Saberhagen wrote these kind of stories into books, I was hooked again.

Several thousand books later, after a discussion with author CT Phipps, We decided to do lists of must read space opera. Mine are a mix of traditionally published, small press and self published over a wide range of years and sub genres of space opera. I think they will have a lot of appeal for a wide variety of sci-fi fans. They are in no particular order, just the order I thought them up.

The Secret King: Lethao by Dawn Chapman

Buy on Amazon

Dawn Chapman’s The Secret King: Lethao is the first in an epic space opera series. It has so many good elements: Interesting, three dimensional characters, some intriguing world building as well as a fast paced plot that will keep the reader turning pages. It has elements of other space opera properties, such as a race escaping their dying planet, a harrowing journey through space pursued by an implacable foe, and political intrigue and challenges to the leader’s rule. If you like Battlestar Galactica, Kevin J. Anderson’s Seven Suns Saga or even Game of Thrones, you will find something to enjoy in this book.

Atlas by Isaac Hooke

Buy on Amazon

Isaac Hooke’s Atlas is first and foremost a character driven story. It centers around Rade Galal, who ends up in the military of the US under interesting circumstances, and follows him as he goes through the future version of SEAL training as he joins the Navy’s MOTH’s, who are special operators who use a wide variety of futuristic weapons, including Atlas Mechs, in their fight against both human and alien foes across human occupied space. It has lots of realistic action, and some great character building, as well as subtle humor that will keep things from getting too oppressive. With humanity facing a calamitous threat, the MOTH’s may be humanity’s best hope for survival.

The Legion Awakes by J.R. Handley

Buy on Amazon

The Legion Awakes, the first book in J.R. Handley’s Sleeping Legion series, has an interesting premise: Humanity in the future has been conquered and absorbed into an alien empire, where they have become basically space marines in the aliens legions, and are born into it. Failure means death or serving in menial jobs with no chance of advancement. The main character, SGT Lance Scipio, awakens after decades of cold sleep to find the legion very different from the one he las remembered, and he is tasked with bringing his old knowledge of fighting to a new generation, as the winds of political change swirl violently around them. With fast paced action, realistic military action and some intriguing world building, it’s interesting thinking about where the series will go.

The Adventures of Kirk Rogers: Inside the Moon by C.J. Boyle

Buy on Amazon

Inside the Moon is the first book in C.J. Boyle’s Kirk Rogers series, a throwback to pulp era space opera. It is chock full of sci-fi Easter eggs, starting with the main character’s name, which should be a fairly obvious one. It is fairly light in tone, having a lot of humor, but it tells a seriously good story with some fun world building and relatable characters, even the giant alien spider and the android. It should appeal to a wide range of sci-fi fans.

Lucifer’s Star by C.T. Phipps and Michael Suttkus

Buy on Amazon

Lucifer’s Star is C.T. Phipps and Michael Suttkus’s first collaboration on a space opera series. It chronicles the Adventures of Cassius Mass, a former noble on the Planet of Crius, who oppressive society was defeated in a war, and he is now working the fringes of space on a cargo ship, trying to forget about the past. Unfortunately, the past has a way of catching up, and when it does, Cassius and his friends must be willing to fight for their lives and maybe play a part in much larger events.

The authors are obviously familiar with a lot of the tropes of space opera, but not just looking to write a generic story. Instead, they take those tropes and turn them on their heads, making a unique blend of action, humor and character development into something new. This one should have broad appeal as well, especially to fans of more comedic space opera.

Author name: Alex Arch

Book entered: The Source of Strife

Sale link to book: https://a.co/d/hsRGoYz

Subscribe now

If you were telling a fellow fantasy reader about your book over a drink, how would you describe it?

I would say it’s as if John Wick, Red Dead Redemption, and Mistborn had a baby. It’s got magical guns, a unique magic system, and an epic fantasy feel overall. The story doesn’t follow conventions. It’s about two people overcoming their pasts against all odds while forging an unexpected friendship.

What made you decide to enter IBOR, and what are you hoping this competition gives your book?

After being cut at the lottery phase in SPFBO, I was a bit let down by the luck aspect of it all and saw Corey’s post about it. I thought it was such a great idea, one I’m sure many people wanted. He acted on it and I plunged head first. I’m really just hoping people find my book and read it! If I can get a few reviews in the process, it’ll be awesome!

Who do you think your book is really for?
Adult readers who love losing themselves in a new unique world. Those who want something different in terms of story structure, characters, and tropes. If you want a story that explores mature themes where every parcel of the world is thought-out and means something, then this is for you!

What do you think your book does best?

It’s hard to chose just one! I would say, for me, it’s the characters. I work really hard to create believable characters and make them grow through hardships and tribulations. But I’ve also been complimented on my magic system!

What kind of experience are you trying to give the reader?

Usually my goal is to leave my readers asking questions about a deeper meaning. For The Source of Strife though, my wish is that they feel hopeful about the future, that no matter how dark things get, there’s something better awaiting them. I hope they can see how important they are.

Are there any fantasy books that feel like a good ‘neighbour’ for yours on a shelf?

I think it’s a mixed bag. I would say it has the complex magic system of Mistborn, a friendship like Ciri ans Geralt from the Witcher, and a world like The Dark Tower.

Has the book changed since it was first released?

Not yet! But then again, it’s pretty new!

Is this a standalone or part of something bigger?
I’ve made sure this book can be a contained story, but there’s a few loose ends that will be explored in subsequent books. It is currently planned as a trilogy.

What’s a piece of feedback you’ve had that made you stop and think, “Yeah, that’s fair”?

Some beta readers thought my magic system was a bit too complex and wanted a visual help at the beginning of the book. I added it and agree it helps to see it organized in a diagram. That way you can see it’s much simpler than it seems.

Where do you find your inspiration?

I can find it everywhere, really. Sometimes it’s in media like songs, shows, books, etc… But most of the time I write to process my own thoughts and feelings , so I find inspiration in my chaos!

Are you working on anything currently?

Yes! Along the ideas that I write in ever-growing documents, I’m working on a Middle Grade fantasy and the sequel to The Source of Strife.

Why do you think IBOR is the right place for this book?

SPFBO is the first competition it could enter since its release and it got cut in the lottery. It’s an epic fantasy, it’s indie, and it needs more readers. From the magic system that influences every part of the world to the tourmented characters, it’s got a lot of things to like and I think those who want to read a story unlike anything that’s out there will love it!

We sat down with IBOR founder Corey Ratliff and asked him some questions about the new indie book comeptition he’s created.

Subscribe now

What was the moment you realised IBOR needed to exist?

I think the concept of IBOR came about in 2025. SPFBO became big enough that the lottery was needed. I missed the submission window in 2024, then I missed out in the lottery last year. High hopes and low expectations were my mindset for 2026. After all, SPFBO was only growing every year so my chances were probably less this year. I was frustrated. Last year, I said someone should put together another competition for those who simply didn’t make it. This year, I made sure that happened. I don’t think it has anything to do with fairness. It’s all chance. And I wanted to give more people that chance to shine.

As an author yourself, what did SPFBO’s lottery year highlight for you about the current indie fantasy landscape?

Being an author myself, this competition shows me a few things. First, the indie fantasy landscape has changed in terms of quality. Sure, anyone can still technically write an unedited, poorly covered book and publish it. But the stigma behind “indie=bad” is slowly going away. Some of the best books, the most beautiful products, have come from the indie realm. Secondly, it has shown me there is a niche specifically for indies because the gates are wide open. Anything can be written and published. Nobody is gatekeeping to ensure trends and markets are being met before a story goes public. And lastly, it showed me there are good people that want to showcase and highlight indies.

What kind of books is IBOR really trying to champion?

The books that IBOR really wants to showcase are the ones written by authors who are carving their own path. The entire competition is a big spotlight for all contestants. That’s the beauty of it—you don’t have to win to potentially find a reader obsessed with your writing. We want indies to gain farther reach, intake more sales, and grow their network. But the book that wins won’t just be the one that’s cool. It won’t necessarily be the one that’s sold the most. IBOR’s champions will be crowned based on 10 student categories. So the ones we really want to show are those. They’ll be the authors who seek originality, the heart of being an indie. They’ll be professional and their books will draw you in, and never even bring up the idea to the average reader that this book was self published.

What do you think gets lost when good books are filtered out by chance rather than quality?

I think the books that miss out on this competition, and really any type of filtering system, are often the ones that NEED to carve their own path. I’ve seen many authors give up and get disheartened by it. However, I think that generally means they leaned too heavily on the spotlighting opportunities. At the end of the competition, I still believe that the great quality books will rise through the ranks. There will be plenty that don’t even get the chance.

How has being an indie author shaped the way you’ve designed IBOR?

I don’t think, at least on the surface, that being an author myself has shaped the way I’ve designed IBOR. The biggest thing I struggle with is time, so I set the commitment bar rather low at 1 book per month per judge. And I can’t honestly say I’ve paid enough attention to every team that reads and reviews at SPFBO to know how they spotlight. I think I’ve set IBOR up to illuminate in the way that I’d want to see a competition expose these books. That means pushing them and shouting them again and again to catch as many readers as possible. We’re new and small, so our lantern is still a little dim. It’ll grow, though.

What does “success” look like for IBOR in its first year?

Success in IBOR’s first year, to me, looks like increased sales for these authors. Even the ones that won’t make it through the first round. If we do this right, we can get exposure to the smallest, most unknown book in the competition. On the topside, I’d like to see our winner branded a champion in their own right, increasing their sales, their networking, etc. Throughout the competition, we’ll invite interviews, reviews, blog posts and guest posts onto the site to push where we can. Ultimately, the goal is reach.

As both an organiser and an author, how have you approached designing IBOR to ensure fairness, trust, and transparency for everyone involved?

Being an author who doesn’t tediously follow other competitions, I can’t say that I’ve approached things differently. So I rely on my professionalism, which I tend to take more seriously than most things. And with that, I can mostly retain control of things, which means the rules I set are to ensure everyone gets that second chance they sought in SPFBO. We run randomized assignments for our books to the judges so there isn’t a bias in place that will skew the results. And the final round is set with a finite scoring system out of 1000 points.

What do you hope authors feel when they submit to IBOR, even if they don’t win?

I hope every author that submits to IBOR feels heard and seen. There is a large portion of authors who submitted to other competitions and didn’t get in. If a book is written, published, and covered under our requirements for submission, they have a chance here.

If IBOR becomes a fixture in the indie fantasy calendar, what would you like it to represent five years from now?

I think and hope IBOR grows to a point that it becomes a staple as a second chance opportunity. And I believe firmly that we’ll see the champions rising in our competition that’ll shine as bright as other competitions. While the lottery system is fair, it isn’t guaranteed. It’s simple: a book that doesn’t get selected in a random drawing isn’t guaranteed to be the best. But even then, “best” is subjective to the readers, right? So, we will shoot for exposure and illumination on great books.

Finally, what would you say directly to an author who’s feeling disheartened after missing out on SPFBO this year?

Authors who missed out on SPFBO, I feel you. I missed out 3 years running. But IBOR is here to be a relief valve for you. A second chance to get eyes on your stories. To find your readers and fans.

Subscribe now

Sometimes, all an author needs is another shot. Another opportunity to prove that their story deserves to be seen. That belief sits at the very heart of the inaugural IBOR competition, and it is exactly why EPIC Indie is proud to be announced as an official judge for the first ever IBOR.

IBOR exists to offer a second chance. It recognises that talent alone does not always determine outcomes in indie publishing. Timing, visibility, and simple luck can play an outsized role, particularly in highly competitive spaces. This is especially true for authors entering the Self-Published Fantasy Blog-Off, where this year’s lottery system inevitably led to many strong books not making it into the competition proper.

That is where IBOR steps in. Designed as a redemption-focused competition, IBOR gives fantasy authors who missed out on SPFBO this year another route into the spotlight. While the structure and judging process differ, the underlying goal remains the same: to showcase high-quality indie fantasy and help deserving authors reach new readers.

The competition was created by Corey Ratliff, an indie author who himself missed out on getting into the Self-Published Fantasy Blog-Off due to the lottery system. Rather than letting that disappointment close a door, Corey chose to open another one. IBOR was born from a simple but powerful idea: books that miss out on SPFBO still deserve a chance to be seen, read, and championed.

EPIC Indie’s involvement as a judge reflects our commitment to championing independent authors and fairer access to visibility. Since our creation we have sought to help put eyes on indie fantasy and sci-fi books that are less well known and that deserve more attention. With years of experience supporting the indie community, we bring care to the judging process, ensuring that each entry is assessed on its own merits and will do our best to promote the entrants via interviews and shoutouts.

How does it work?

Fantasy authors who have attempted to enter the SPFBO but missed out due to the lottery system have another opportunity to enter the IBOR. We are going to be running this on a trust system, so please…have a care, and some verity.

On February 1st, the IBOR will kick off. The number of authors and books selected, at least for this first year, will depend on how many readers and reviewers we gain. Yes, I realize this is quite short notice to attempt such a competition, but we will do better next year. As such, for the IBOR I, we may not have many available.

Once the competition begins, each judge will be assigned 3 books, with none having the same books. This is a low-commitment competition for the readers who want to join us, so you essentially get 1 month per book. After 3 months, we will have each judge pick their top read to go onto round 2.

Round 2 will be the same as the first round, with each judge getting 3 new books out of the round 1 winners. After 3 months, each judge will select their top read to go onto round 3.

Round 3 will use a x/1000 rating system based on the following categories (each category is rated x/100):

Prose—plot & structure—characters—emotional depth—entertainment—book cover—overall satisfaction—recommendation factor—world building—and originality/creativity.

After one final month of the competition, the judges will crown the champion of IBOR!

Round one of IBOR officially begins on 1 February. For this first year, the number of participating authors and books will be shaped by the level of reader and reviewer support the competition attracts. As the community grows, so too will the opportunity for more authors to take part.

Some of these you might recognize and others they’ll probably be the first time you’ve ever heard of them. However, this is the main point of EPIC, to bring attention to the wealth of talent and great books that otherwise get overlooked. So without further ado here is author M.S Olney’s list in no particular order of his top 5 Indie books.

Subscribe now

1. A Ritual of Bone ( The Dead Sagas Book 1) by Lee C Conley

Although I’m usually not a big fan of grimdark or darker fantasy books, “A Ritual of Bone” by Lee C Conley completely blew me away. The world Conley creates is massive and full of gritty detail, setting up the perfect backdrop for all the hardcore action and ruthless scenes that take place.

The fights in this book are insanely good, with every blow and clash described so vividly, it’s like watching an action movie in your head. What’s really cool about this story is the creeping sense of dread it creates. The way the horror builds up gets under your skin in the best possible way, and you really feel like you’re in the shoes of the characters as they gear up to face the walking dead.

The pacing of the build-up to the horror is just spot on, and it really ramps up the anticipation. You’re right there with the characters, sharing their fears and their resolve as they stare down the undead threat.

So, if you’re into horror mixed with fantasy, or post-apocalyptic stories like “The Walking Dead”, you’ll probably love “A Ritual of Bone”. It’s got killer action scenes, a lot of intense, bone-crushing violence, and some seriously scary moments. So give it a shot - it’s well worth the read.

Buy the book

2. Healer’s Ruin by Chris O’ Mara

This debut skillfully navigates the sombre realities of a world shattered by conflict, immersing the reader in the intense emotions of horror, treachery, valor, and devastating tragedy, all too familiar within the context of war. The book stirs the imagination with its vivid portrayal of majestic mythical creatures and grandiose battle scenes, reminiscent of epic folklore and myth. However, it’s the protagonist’s introspective stance that truly sets the narrative apart.

The central character, a skeptical observer, consistently questions the ethical implications of the ongoing war, provoking the reader to ponder on the often obscured morality of warfare. Every line of this well-crafted work is written with evident expertise, while the narrative’s relentless tempo ensnares readers, pulling them deeper into its gripping storyline. Character development and plot intricacies seamlessly unfurl as the tale advances, culminating in a striking denouement marked by an unforeseen twist.

This book truly deserves place on your to read list. It is a riveting read that effortlessly holds its readers captive from start to finish.

Buy the book

3. Devil’s Night Dawning by Damien Black

Reading this book left me awestruck due to the meticulous attention given to character development and world-building. To me Damien Black’s work is what all indie authors should aspire to. It’s excellent. Each character is perfectly fleshed out, leaping off the page and straight into your imagination. One standout aspect for me was the creation of an intelligent, multi-faceted female lead, defying the tired, stereotypical categories we often see women boxed into in literature.

Comparisons can be drawn between this book and the sweeping, intricate worlds of George R. R. Martin’s “A Song of Ice and Fire” series. The immense effort that’s gone into this level of creation is nothing short of astounding. Furthermore, there are echoes of my all-time favorite, Tolkien’s “LOTR”, which most consider an unparalleled literary masterpiece. Ranking this author alongside Tolkien is high praise, indeed but that’s just how good this book is.

It also brilliantly tips its hat to the classics of the Horror genre. For instance, the opening chapter pays a tasteful homage to ‘The Exorcist’. Immersing myself in this universe, with characters you can’t help but adore or despise, is a joy. Rooting for Adelko and Horksram from the onset was an effortless task. It’s a long book, but well worth it.

For fans of Fantasy/Gothic Horror, this is a must-read. Even if you’re new to the genre, dive in and even better Black has completed the series!

Buy the book

4. They Mostly Come Out At Night by Benedict Patrick

I am a huge fan of old tales and folklore and in They Mostly Come Out At Night, author Benedict Patrick does an incredible job of evoking the feelings such tales create. This was one of the few books I’ve read in a single sitting. The book vividly paints a picture reminiscent of the Brothers Grimm’s dark fairy tales, a narrative filled with myths and supernatural beings. Nestled in a dense forest, a village thrives under the protection of a semi-mythical entity, the Magpie King.

What sets this book apart are the mini fairy tales weaved into the end of each chapter, an ingenious concept by Benedict Patrick. He conjures a vibrant mythology that seamlessly integrates into the story, evoking a Brothers Grimm-like aura, with elements borrowed from Native American folk tales.

Adding depth to this universe are the ‘Knacks,’ unique magical gifts granted to people that excel at a particular skill. This sprinkling of magic tastefully enriches the narrative without overcomplicating the system, which is fitting for a book of this size.

The writing style is extraordinary, aligning perfectly with the fairy tale theme and offering clear, vivid imagery. Some characters may appear somewhat one-dimensional, serving more as plot devices, but it’s a natural element in a fairy tale world.

Buy the book

5. The Eighth God by Paul S Lavendar

This book breathes new life into the classic fantasy setting of orcs vs. elves with an unexpected twist. The orcs and elves are portrayed not as mindless savages or high-and-mighty figures, but as human-like entities with their unique quirks and cultures.

The book isn’t for the faint-hearted, featuring some harrowing scenes and a lurking sense of impending doom, primarily caused by the half-orc spy, Bazak. The action is brutal, but there’s also an element of sneaking and scheming, adding a layer of intrigue to the story. Despite all that, however, is that it’s also funny, in some place laugh out loud. The Eighth God is epic in every sense of the word with a well described world, excellent set pieces and genuinely intriguing characters. If you want something new to read that puts a unique spin on established tropes The Eigth God is for you. I also highly recommend the prequel short stories in Tales of Ashen Falls as it further demonstrates Paul’s humour and is a great prelude to this book.

Overall it’s an action-packed, engaging read.

Buy the book

6. Orders of Magnitude by Yuval Kordov

Orders of Magnitude was the best book I read last year—and that’s saying something, considering there were some absolute crackers in 2025. If you enjoy military sci-fi in the vein of Warhammer 40K and have a soft spot for supernatural horror, then this is absolutely the book for you. It blends those elements with a unique flair that sets it apart from anything I’ve picked up recently. Gritty, dark, and deeply unsettling in all the right ways.

One of the most intriguing aspects of Orders of Magnitude is that it introduced me to a genre I’d never heard of before: Incensepunk. This subgenre mixes science fiction, religious themes, and horror into something that feels both ancient and futuristic. Think high-tech meets high ritual, incense, relics, sacred rites, and holy warriors, all set against a grim and unforgiving cosmic backdrop. In this story, it’s Catholic Space Marines sent on a mission to the Moon to investigate a mysterious signal from a colony that was thought to have been long since evacuated. That premise alone is enough to grab attention, but Kordov doesn’t stop there and he absolutely nails the execution.

Buy the book

7. Delk the Uneven by Jess MacCallum

The Chronicle of Delk the Uneven is a refreshingly original fantasy that manages to stand out in a crowded genre. Jess MacCallum introduces us to Delk, a half-ogre with a sharp tongue and a curious place in a world split between brutish ogres and primitive humans. What makes Delk such a compelling protagonist is how he walks the line between these two societies. His half-ogre status isn’t just a physical trait—it defines how he views the world and how the world views him, creating tension, humour, and moments of genuine insight.

One of the book’s standout qualities is its unique lore. MacCallum flips traditional fantasy norms on their head by portraying ogres as civilised and intellectual, while humans are seen as the savages. It’s a clever twist that allows for deeper exploration of prejudice, culture, and belonging without ever feeling preachy. The world-building feels deliberate and well thought out, with enough detail to feel immersive without bogging down the story. The Chronicle of Delk the Uneven is a highly enjoyable read that combines originality, humour, and thoughtful world-building and deserves your attention.

Buy the book

8. This Burdened Clay by Thomas Norford

This Burdened Clay is an extraordinary novel that sneaks up on you starting with a subtle whisper of unease before tightening its grip into a full-blown nightmare. Thomas Norford masterfully crafts a story where the horror simmers just beneath the surface, gradually escalating until you find yourself entirely immersed in a world of dread and desperation. It’s the kind of book that leaves you thinking about it long after you’ve finished reading.

Thomas’s other books The Starved God and Anomic Bombs (both reviewed on EPIC Indie) showcased his skill with words but this one takes it up a notch and really shows off just how talented an author he is. Norford’s style is unique, hilarious and often downright disturbing at times and his book deserve far more attention. This Burdened Clay is an absolutely fantastic horror/scifi and I can’t wait to see what Norford makes next.

Buy the book

Step into the world of cozy fantasy, where enchantment meets warmth and charm, creating a literary haven that is both captivating and comforting. Delving into the cozy fantasy genre can be likened to donning a soft, warm blanket while enjoying a hot cup of cocoa on a cold winter’s day. This genre offers a perfect blend of fantastical elements with the soothing familiarity of small-town life and relatable characters, all wrapped up in a tantalizing and gentle narrative.

Subscribe now

The Essence of Cozy Fantasy

In order to truly appreciate the cozy fantasy genre, one must first understand its defining characteristics. At the core of this genre lies the delicate interplay between the magical and the mundane. Cozy fantasy stories often take place in quaint, idyllic settings, with supernatural elements woven into the fabric of everyday life. These tales generally feature lovable characters who lead ordinary lives, yet find themselves swept up in extraordinary circumstances that highlight the beauty and wonder of the enchanted world around them.

Characteristics of Cozy Fantasy

A Sense of Comfort and Safety

Cozy fantasy novels offer a sense of comfort and safety to readers. This is achieved through the creation of familiar, small-town settings, often nestled in a picturesque countryside, where everyone knows their neighbors and life moves at a gentle pace. Although these settings may house magical beings or supernatural phenomena, they remain grounded in a sense of familiarity and warmth that allows readers to feel at ease and comfortable within their pages.

Gentle Pacing and Engaging Storylines

The cozy fantasy genre thrives on engaging storylines, filled with magical happenings and heartwarming moments. These narratives unfold at a gentle pace, allowing readers to become fully immersed in the enchanting world and its characters. While action and adventure may still be present, they are often secondary to the character-driven plot and the unfolding relationships between the protagonists and their community.

Lovable and Relatable Characters

The heroes and heroines of cozy fantasy novels are typically ordinary people with extraordinary destinies. These characters are endearing and relatable, making it easy for readers to connect with them on a personal level. As they navigate their magical surroundings and confront challenges, these protagonists exemplify bravery, kindness, and a strong sense of community, traits that resonate with readers and make them wish they could be part of the story themselves.

Whimsical and Mystical Elements

At the heart of the cozy fantasy genre lies an enchanting blend of whimsy and magic. These stories are imbued with supernatural elements that manifest in many forms, from talking animals and mystical creatures to magical objects and enchanted landscapes. This sense of wonder and enchantment serves as a captivating backdrop for the characters’ adventures, infusing each tale with a unique and delightful charm.

Themes of Friendship, Love, and Community

Cozy fantasy novels often center on themes of friendship, love, and community, emphasizing the importance of strong interpersonal relationships and the power of unity in overcoming adversity. These stories showcase the value of kindness, empathy, and understanding, reinforcing the notion that even the most ordinary individuals can make a difference in the lives of those around them.

The Cozy Fantasy Subgenres

As the cozy fantasy genre continues to evolve, it has given rise to several subgenres, each with its own distinct flavor and appeal.

Cozy Paranormal Mystery

In cozy paranormal mysteries, the supernatural elements are intertwined with a whodunit plot. The protagonists, often amateur sleuths with a touch of magic, must navigate their enchanted surroundings to solve crimes and uncover secrets. These stories are characterized by a lighthearted tone, engaging puzzles, and a strong focus on community and friendship.

Cozy Witch Fantasy

Cozy witch fantasy stories feature witches, warlocks, or other magical practitioners living in charming, close-knit communities. These enchanting tales often involve the protagonists using their mystical powers to help their neighbors, solve mysteries, or overcome personal obstacles. In these narratives, magic is often approached with a touch of whimsy, and the focus remains on the protagonists’ personal growth and the relationships they forge within their magical community.

Magical Realism

Magical realism is a literary style that combines elements of both cozy fantasy and literary fiction. This subgenre is marked by its integration of the supernatural into the ordinary, everyday world, with magical occurrences presented as natural and unremarkable. The emphasis in magical realism is on the exploration of human emotions, relationships, and personal growth, with the magical elements serving to illuminate the characters’ inner lives and their connections to the world around them.

Fairy Tale Retellings

Fairy tale retellings are a delightful subgenre of cozy fantasy that reimagines classic stories in a fresh, enchanting light. These tales often weave in elements of the original fairy tales while also adding new characters, settings, and plot twists. The result is a captivating blend of familiarity and novelty, with narratives that offer a comforting sense of nostalgia while still providing exciting and engaging storylines.

Myth and Folklore-Inspired Fantasy

Drawing inspiration from myths, legends, and folklore, this subgenre of cozy fantasy explores the rich tapestry of cultural stories and beliefs. These narratives often incorporate magical creatures, deities, and supernatural occurrences rooted in various mythological traditions. The focus in these stories is on the ways in which ancient wisdom and enchantment can be found in the midst of ordinary life, creating a sense of connection between the past and the present.

The Enduring Appeal of Cozy Fantasy

The cozy fantasy genre offers readers an enchanting escape from the hustle and bustle of the modern world. With its heartwarming characters, whimsical settings, and engaging storylines, cozy fantasy provides a soothing respite from the stresses of everyday life. In a world that is increasingly fast-paced and demanding, the cozy fantasy genre serves as a reminder of the simple joys and wonders that can be found in the most unexpected of places.

By embracing the enchanting and the mundane, the cozy fantasy genre creates a literary sanctuary that speaks to the human need for warmth, connection, and a touch of magic. As readers continue to seek out stories that offer both comfort and inspiration, the cozy fantasy genre will undoubtedly continue to flourish and enchant new generations of readers with its timeless charm.

The cozy fantasy genre is a delightful and enduring literary realm that combines the allure of magic with the warmth and familiarity of close-knit communities and lovable characters. With its gentle pacing, enchanting settings, and engaging storylines, this genre offers readers a comforting respite from the pressures of the modern world.

As new subgenres emerge and existing ones continue to evolve, the cozy fantasy genre will undoubtedly remain a beloved and cherished literary tradition for years to come. So, next time you are in need of a warm embrace and a touch of magic, look no further than the cozy fantasy genre – your literary sanctuary from the hectic real world awaits.

For years, science fiction and fantasy drifted deep into the shadows. Worlds soaked in blood, heroes who are morally bankrupt, and endings that feel more like warnings than victories had become the norm. Grimdark dominated the genres, shaping reader expectations around suffering, cynicism, and the idea that the world is broken beyond repair.

Subscribe now

Then came hopepunk.

This is the genre that looked at all that darkness and said: no. We are not done believing in better.

Hopepunk is not soft. It is not childish. It does not pretend pain does not exist. Instead, it takes a radical stance in modern speculative fiction by insisting that kindness, community, and defiance through decency are not weaknesses. They are weapons.

where hopepunk came from

The term “hopepunk” was popularised in 2017 by author Alexandra Rowland. It grew out of the family of “punk” subgenres like cyberpunk and steampunk, but with a twist that completely flips expectations.

Traditional “punk” genres tend to focus on systems. Oppressive governments, corrupt corporations, broken social structures. Hopepunk still deals with these things, but shifts the centre of gravity. Instead of rebellion through violence alone, it focuses on emotional resistance. It focuses on connection. It focuses on people refusing to become what the world tries to make of them.

In a hopepunk story, caring is not naïve. It is dangerous, brave, and often the hardest path to walk.

how hopepunk breaks from grimdark

Grimdark fiction is built on the idea that the world is cruel and that survival means compromise. Characters win by becoming more ruthless, more numb, and more willing to do terrible things.

Hopepunk changes the question.

Instead of asking, “how far will this character fall?”, it asks, “how much humanity can they preserve?”

The darkness still exists. The stakes are still real. People still die, and worlds still burn. The difference is that hopepunk refuses to treat compassion as a weakness. It frames it as resistance. When a character chooses mercy over revenge, that choice matters. When they choose to build rather than destroy, that choice matters even more.

Hopepunk does not deny reality. It refuses to surrender to it.

the core themes of hopepunk

At the heart of hopepunk is community. Lone wolves do not win these stories. Isolated geniuses are not the solution. Success comes through alliances, found families, friendships, and shared purpose. People matter. Relationships matter.

Another central theme is moral courage. Not grand speeches, not perfect heroes, but small, hard choices. Telling the truth when it costs you. Protecting someone weaker than you. Refusing to become a monster just because it would be easier.

Hopepunk also thrives in the small moments. A shared meal in a ruined world. A joke told in the middle of chaos. A hand held when everything feels lost. These are not side details. They are the emotional core of the genre.

hopepunk in science fiction

In science fiction, hopepunk often shows up in stories about rebuilding. Civilisations after collapse. Earth after disaster. Humanity facing the unknown and choosing curiosity over conquest.

Artificial intelligence is not just a threat, but a companion. Alien species are not just enemies, but potential allies. Space is terrifying, but it is also full of possibility.

These stories do not ask how badly humanity can fail. They ask how much we can grow. A great example of this are books like The Martian and Project Hail Mary.

hopepunk in fantasy

Fantasy hopepunk trades endless corruption for quiet resilience. The world might be broken, but it is not beyond saving. Magic is not just a tool of domination, but of healing and connection.

Kings can be just. Heroes can be kind. Ordinary people matter more than bloodlines and prophecy. Villages, friendships, and small acts of courage become the foundation of world-changing events.

Even when ancient evils rise, hopepunk insists on one thing: the darkness does not get the final word.

why hopepunk resonates right now

There is a reason hopepunk has gained traction over the last few years. Readers are tired. The real world feels heavy. News cycles are relentless. The future often feels uncertain.

Grimdark feels honest, but it can also feel draining.

Hopepunk offers something different. Not escapism, but resistance. It says you can be afraid and still kind. That you can feel hopeless and still choose to hope. That even if the world breaks, people do not have to.

For modern readers, that message hits hard.

If you are drawn to stories about broken worlds but do not want to surrender to despair, hopepunk might be exactly what you have been looking for. This is the genre for readers who want stakes without nihilism, darkness without hopelessness, and heroes who win not by becoming monsters, but by refusing to become them.

For writers, hopepunk is not easier than grimdark. In many ways, it is harder. Writing despair is simple. Writing believable hope in a world that wants to crush it takes real craft. It demands honesty, emotional depth, and characters who feel real.

But when it works, it can work beautifully.

Hopepunk is not about perfect endings or flawless heroes. It is about ordinary people choosing extraordinary kindness. It is about offering hope to readers in an often crazy and dark reality.

I thought I’d talk about one of my favorite lesser-known genres. Like urban-fantasy, Steampunk is one of the creatures which has grown up in recent years as a counterbalance to more traditional science-fiction and fantasy storytelling settings. But what is Steampunk?

Subscribe now

Honestly, a lot of people don’t know as there’s been complaints that all you must do is place some gears or clockwork on an object to make it part of the genre. Part of the reason for this ambiguity is steampunk began as a contrast to William Gibson’s brief popularity as the originator of the ‘cyberpunk’ style of science fiction.

K.W. Jeter (Morlock Night, the Infernal Devices) apocryphally coined the term in a letter to Locus magazine:

Dear Locus,

Enclosed is a copy of my 1979 novel Morlock Night; I’d appreciate your being so good as to route it Faren Miller, as it’s a prime piece of evidence in the great debate as to who in “the Powers/Blaylock/Jeter fantasy triumvirate” was writing in the “gonzo-historical manner” first. Though of course, I did find her review in the March Locus to be quite flattering.

Personally, I think Victorian fantasies are going to be the next big thing, as long as we can come up with a fitting collective term for Powers, Blaylock and myself. Something based on the appropriate technology of the era; like ‘steam-punks’, perhaps.

—K.W. Jeter

Cyberpunk was very clearly defined by William Gibson as a near-future dystopian style of fiction designed around the idea of being mankind literally ****ed by technology. Steampunk would, by its literal definition, be the Victorian equivalent and there has been numerous works written in this regard. After all, the 19th century is the heyday of imperialism and the culmination of technology’s rapid advancement during this period was the Great War.

From my own flirtations with the genre, however, it’s not necessarily the case. While my favorite Steampunk works use the classicism, racism, and sexism of the period to tell interesting stories about today--a lot of fans are more interested in the romanticism of the period. The idea of gentlemen inventors and a period when the world still had unexplored regions.

In short, Steampunk is retro-science fiction set in the period of time from the 17th to early 20th century with Victorian England and the Wild West being the most common settings. Variants on Steampunk include fantasy worlds resembling the Industrial Revolution and post-apocalyptic situations where humanity has returned to an earlier but still technological level of development.

Retroactively, Jules Verne and H.G. Wells are the fathers of this style of science fiction. While they were simply writing for their time, the two men laid the foundations for all future imitators. Amusingly, given the heavy amount of social satire both men put into their writing, you might suggest they were the kind of individuals to focus on the ‘punk’ element themselves.

Not all period pieces during this time are Steampunk--only those which are deliberately anachronistic technological advances. Cowboys vs. Aliens doesn’t have steam devices but comments on American Imperialism. The Guy Richie Sherlock Holmes movies with their radios and Great War foreshadowing qualifies. Likewise, the Wild Wild West movie is a badly made but accurate example of how the setting’s conflicts work.

Why do Steampunk, though? The answer is multi-fold: it’s a road-less traveled, there’s a lot of values dissonance which is easy to exploit for drama, and it’s a time-period when romanticism clashed heavily with grim reality. A man might build an airship capable of circumnavigating the globe but he’s still surrounded by a society where other races are second-class citizens. We also know much of the downfalls of industrialization, even as we reap its benefits.

Those interested in writing Steampunk should choose what exactly they wish to say about the time-period and/or modern situations. It’s entirely possible to write surface Steampunk, making use of the concepts of it without getting too in-depth on the ramifications of the technology involved but I think this is a poor use of the genre. Part of 20,000 Leagues Under the Sea‘s fun is Jules Verne’s examination of what the electrical submarine does--specifically, provides an unstable man with unlimited ability to murder the rest of the world’s sailors. A similar effect is resulted from Robur the Conqueror’s airship.

Despite this, writers should not constrain themselves from going all out when creating their alternate Early Industrial settings. While examining the consequences of one element is good, you can also create a wholesale fantasyland of clockwork and coal-powered devices. Realism has no necessary relationship to the genre and should never stand in the way of a good story. The Time Machine, after all, is a tale which uses travel to distant centuries in-order to examine the issues of class in the 19th century. Besides, if giant transforming robot-trains are wrong, I don’t want to be right.

Oddly, I don’t recommend attempting to address the racism and sexism of the time in-depth unless you have a very deft hand. Not only does it tend to suck the joy out of a subject, the levels of it could vary from place-to-place and even person-to-person. Still, ignoring it is likely to feel inauthentic to readers. Acknowledging these issues and drawing from them helps keep the setting believable even if you’re running around with steam-powered replacement super-limbs. As one commentator said, “I can buy a gigantic mechanical spider. I can’t buy a racism-free 19th century America.”

Steampunk highlights a period which I term to be “The Age of Transition.” In a very real way, the Industrial Revolution up until the Great War represented the period where Old Ideas clashed with the New. Everything from the way war was conducted to travel to the way people interacted changed due to the development of technology. Whether you curse the past world or long for it, Steampunk is about these two ways of looking at the world colliding. I consider World War 1 the end-point for any historical Steampunk story because it’s when the horrors of modernized warfare eradicated any remaining romantic notions of chivalry, monarchy, invention, or warfare.

Take note writers have been known to combine steampunk settings with other genres as well. Arcanum: Of Steamworks and Magic Obscura examines what happens when a bog-standard fantasy setting of dwarves and elves hits the Industrial Revolution. Likewise, Japan’s Sakura Taisen takes a romanticized view of 1920s Japan to have a troupe of actresses fight demons in steam mecha.

It’s also possible to include Steampunk elements in settings which are not actually of the genre. TSR’s Dragonlance setting added flavor to Gnomes by making them capable of creating Industrial Age devices, merely ones too dangerous for common use. Likewise, Firefly is a science fiction series which thrives on adopting 19th century values, clothing, and attitudes to provide contrast.

It should be noted steampunk has inspired other retro-future settings as well. There is now “Dieselpunk” covering the 1920s and Flash Gordon meets Pulp futurism as well as “Clockpunk”, highlighting the introduction of unimaginable inventions into Renaissance or earlier time-periods. I suspect this will continue as the spirit of adventure will always find new settings for the introduction of machines. In this respect, Daedalus of the Icarus wings and mechanical bull was the first Steampunk hero.

In the end, Steampunk is a a style which can be done easily but doing it well is another matter entirely. The Industrial Revolution was a period which changed human history forever, taking mankind into a new age of development. Capturing that feel of excitement and terror is a daunting prospect. For that, a person needs to have the most elusive quality any writer can possess: a well-told story. Once you possess that, everything else will fall into place. Is Steampunk the genre for you? Only you can tell and if it is, perhaps you’ll be one of the defining authors which shapes it.

Thanks for reading!

The rise of AI has created a lot of concerns in the creative space and folks can argue all day long about the benefits and cons of it when it comes to art, writing etc, the real concern, however, should be in how AI has been weaponised to create scams that deliberately target authors.

AI-driven scams are targeting indie authors with fake promotional services, fabricated publishing offers, and bogus awards that are all designed to exploit the hopes and ambitions of writers looking to grow their readership. And trust me when I say, there’s sadly plenty of folks out there desperate enough to try them,

Subscribe now

The rise of AI-powered deception

Traditional scams targeting authors often relied on poorly written emails and generic messages that were easy to spot. But with AI, those red flags are fading fast. Tools like ChatGPT and others allow scammers to craft professional, persuasive messages tailored to an author’s tone, genre, or even recent achievements. They scrape social media, Amazon listings, and author websites to gather details that make their approaches sound credible.

An indie author might receive an email congratulating them on a “bestselling performance” or offering a “discounted BookTok campaign,” complete with convincing branding and a link to a well-designed website. These pages often feature fabricated testimonials and stolen graphics from real marketing firms. Some scammers even use AI to generate video endorsements or fake social media engagement metrics to appear legitimate.

I for one have been receiving emails like below every single day for months now and I know many other indie authors have been getting them too. The question is, how do these scammers know about us? Do they trawl the likes of Amazon? Do they have access to mailing lists like those used by legit book promoters? Chances are they’re using AI to compile such lists and then tailoring AI to the specific target author. Notice how in this example it speaks about MY book. And it’s not just Heir that I’ve had these about but pretty much every single book I’ve ever released.

Fake promotions and awards

One of the most common scams involves fake book promotion services. They promise features on major platforms like BookBub, Goodreads, or The New York Times — all for a modest fee. In reality, these services do nothing or use AI bots to generate fake reviews and engagement, which can damage an author’s reputation and even get their books banned from online marketplaces.

Another growing trend is the “award scam.” AI-generated emails notify authors that their book has been “nominated” for an international prize, requiring only a small entry or verification fee. The awards, judges, and events don’t exist. The scammer’s goal is simple: collect money and move on.

AI-driven impersonation

Scammers are also using AI-generated voices and deepfake technology to impersonate real publishing professionals. Some indie authors have reported receiving voice messages or video calls that appeared to come from representatives of major publishing houses or film production companies. These deepfakes can be alarmingly convincing, leading authors to share personal information, manuscripts, or payment details under false pretences.

AI chatbots are another concern. Some fake “literary agencies” deploy them on their websites to engage potential clients in real time, using natural language models to answer questions and pressure writers into signing up for paid “representation” or “marketing packages.”

How indie authors can protect themselves

Awareness is the best defence. Indie authors should be sceptical of unsolicited offers, especially those promising unrealistic exposure or awards. Always research a company before paying for services — check reviews, verify their social media presence, and confirm contact details through official sources. If a service guarantees results or refuses to provide transparent metrics, that’s a red flag.

Here’s how to spot an AI email

AI tools scrape author websites, Amazon listings, and social media profiles to personalise outreach. They mention your book title, praise your reviews, and drop in your genre — all automatically generated. The goal is to trick you into believing the sender has genuine insight into your work.

They use sophisticated marketing buzzwords — “visibility stacking,” “algorithmic discoverability,” “reader resonance potential” — that sound legitimate but mean absolutely nothing. Some even invent job titles like “Reader Engagement Consultant” or “Goodreads Strategist.” None of these roles exist. Goodreads doesn’t sell “Listopia placements” or charge for visibility of any kind.

Indie authors, stay alert. Share warnings in your writing circles, groups, and forums. The best defence against these scams is collective awareness — and a healthy dose of scepticism for anything that sounds too good to be true.

“Julia was twenty-six years old... and she worked, as he had guessed, on the novel-writing machines in the Fiction Department. She enjoyed her work, which consisted chiefly in running and servicing a powerful but tricky electric motor... She could describe the whole process of composing a novel, from the general directive issued by the Planning Committee down to the final touching-up by the Rewrite Squad. But she was not interested in the final product. She “didn’t much care for reading,” she said. Books were just a commodity that had to be produced, like jam or bootlaces.”

-George Orwell, 1984

One of the more controversial things in our business these days is the use of AI writing. Basically, algorithms that are “trained” on the works of millions of other authors that are given prompts to generate unique manuscripts under the auspices of, “Write me an Agatha Christie novel” or “Write me a Stephen King novel.”

Many authors you wouldn’t expect to be entered into these machines are ones that have been used in the training of AI such as myself. Books pirated from various torrent sites if that makes a difference versus paid for their use (which may or may not make a difference to you, dear reader). According to LibGen, I have several of my books used in the process. AI knows me well enough that if you entered, “Who is CT Phipps” you’d get an answer but might be stunned that you could also ask it to write a story in the style of CT Phipps and get results.

What did it produce?

The Vampire Accountant vs. The Apocalypse Bar Tab

You know you’ve hit rock bottom when your immortal unlife is being threatened by an unpaid bar tab.

“Mr. Drake,” the orc bartender growled, leaning across the mahogany counter like he was about to collect with interest, “it’s been three weeks. Either you cough up the gold, or the Guild’s coming for your fangs.”

Now, I’m a vampire. That comes with a certain reputation—mysterious, elegant, brooding in moonlight, yadda yadda. Truth is, I’m an accountant. And not even a good one, unless you count being really good at hiding from creditors as a marketable skill.

Now, obviously, this isn’t me and it seems like some unholy fusion of me, Drew Hayes, and Travis Baldree. Which is something we need to talk about a community. Which is to say that AI...aren’t. Specifically, they may be artificial but they’re not intelligent. It’s much the same for AI being trained on other authors’ work. No, they’re not. Because an AI isn’t trained, it’s not actually learning but programmed to assemble loose combinations of stories that are “good enough” to pass muster to causal observers.

Yes, dear readers, AI writers are basically all search engines. They don’t know what’s good or what’s bad but are meticulously programmed by real people (let’s call them the real authors of this, plagiarism aside) to have data points that make the millions of data points form into coherent-ish paragraphs. Like the old TV show, Dragnet, the stories are real enough but the names have been changed to protect the innocent. For some value of the word innocent. Okay, to protect the wallet of the people who spent a shit ton of money to make a machine to make a book versus pay someone for writing it.

I’m simplifying and the machines are genuinely impressive in what they can assemble from other people’s work but it’s really a jigsaw puzzle of shredded manuscripts. Sam Spade goes to Whitby in order to kill Dracula and rescue Princess Zelda. Honestly, that probably is a better premise than some authors might have come up with on their own. A lot of work is also needed to make these data-harvested fishing nets’ catch into something vaguely readable. Perhaps less so than actually writing a book, though.

There’s plenty of people who are excited about the possibilities, but I think they should curb their enthusiasm and also realize the downsides. From the artistic side of things, generating an AI book is not actually writing one and you’re depriving yourself of the experience of creation.

There’s nothing wrong with doing it for yourself and fun but it’s basically the Guitar Hero of writing. No one should care if you put it up on your website or send it to your friends or on your mailing list. It’s not really you but AI isn’t going to go Skynet on authors for people playing around with the toy.

I’m much more worried about the people who think they can make a business generating content to push out the people who want to make the content and are invested in it. The guy who thinks he can write 4000 novels with ChatGPT, publish them all, and sit back to enjoy his little empire. Well, aside from the idiocy of trying to become rich by being a writer, it’s even sadder because that sort of effort is stealing from dozens of writers rather than just one. Not every AI generated book will be worse than what a living writer creates, we have the guys who wrote The Rise of Skywalker after all, but it will have less soul.

Is it impossible to turn back the clock? Maybe, maybe not. More likely it’s better to push through. I, for one, am determined to remain 100% organic author and may advertise it on my covers soon.