I write queer fantasy that discusses serious topics like ableism, cissexism, amatonormativity and mental illness while attempting a little quirky setting-based humour. You know–giant rhubarb, walking corn cobs, a witch with demons in her root cellar, an annoying talking sword belt.
Most works feature trans or non-binary, autistic and aromantic narrating protagonists. Everybody is queer in some way, and while I won’t annoy the writing gods by claiming that I’ll never write another neurotypical protagonist, it is exceptionally unlikely.
Many stories feature intersecting plots and characters; more information about chronology is available at each book’s master page.
Necromancer Mara Hill has waited weeks for the Thinning: the one night the dead walk freely amongst the living. Her wandering great-aunt, Rosie, was wise in the way of magic and the world, and Mara knows of none other to ask. Books and magic alike haven’t restored her fading love, and Benjamin Lisabet is too wonderful to risk losing. Why can’t Mara keep herself from falling out of love whenever the girl she yearns for dares love her back?
She’s sure that Aunt Rosie’s spirit will offer up needed advice. She just doesn’t expect a deluge of deceased villagers set on unravelling everything Mara knows about what it means to love and be in love.
After a night of revelations to her dead aunt Rosie and her living brother Esher, Mara Hill must dare another with Benjamin Lisbet. If she’s truly the woman Mara hopes, surely Benjamin will be receptive to a conversation of the “I love you and want to be with you, just not romantically” sort? Surely this afternoon won’t stray beyond Mara’s preparations of a picnic basket, chives, rehearsed speeches and less-rumpled clothing?
Yet her months of searching for magic to refresh her fading love means there’s too much she doesn’t know about Benjamin. Too much Mara needs to know to hold this conversation without losing Benjamin’s friendship.
Mara thought speaking of her fading love under cover of dark difficult enough … but speaking of romance in daylight is another challenge entirely.
His sister Mara, the village witch, made sure he didn’t.
Two and a half years later, Esher owns two dogs, a blade, a career and a new body—the shape of masculinity he always felt he should be. A miracle Mara refuses to explain. A miracle the Sojourner’s priests reject and fear. A miracle, say the Grey Mages, that cannot exist without something precious sacrificed in exchange: a soul.
Returning home in search of his sister and the truth isn’t just a matter of enduring stares, whispers, explanations and the condescending pity from those he left behind.
Love holds edges sharper than Esher’s sword, for nobody wins but demons in the sale of souls.
Amelia March is tired of suitors breaking into her house after dark to express their undying love. Sure, it might be the fashion, but whatever happened to getting to know someone first? Why won’t they listen to her when she says she isn’t interested? And what does it mean that her cousin Kit thinks there’s a word for her approach to romantic relationships?
Old Fashioned is a story about finding words and the importance of fake cobwebs in the windows.
With Kit gone to the Greensward, Amelia March is content with her faked witchery, the ailments of her villagers and romance confined to a novel. She isn’t pleased, therefore, to find her cousin darkening her doorway—her cousin with two feet, a belly, a sword of some distinction, a story, a young girl named Osprey, a beaming smile and an undying hatred for the elves. Still, Amelia thinks she can survive the chaos, at least until Kit announces a grand plan to start a school for divergent magicians…
Newly-graduated, divergent magician Darius Liviu has scoured half the world in search of the rarest of rare magical artefacts: a tolerable talking sword. After a year of failure, one last rumour sees him risk Rajad’s chaotic, cluttered, terrifying Great Souk. The noise, the smells, the people and his inability to move without provoking disaster make everything difficult, but Darius dares the nightmare of chaos and conversations in hope of an item will draw the eye of the man he thinks he loves.
The sword he finds isn’t elegant. It isn’t tolerable. It has no intention of being gifted as a lover’s token. It is, however, set on destroying Darius’s acceptance that awkwardness and a life of misunderstandings is the best he can hope for.
Certain Eldritch Artefacts is a story about autism, adulthood and the reasons why one should never enchant inanimate objects…
After seven years in Rajad, Darius has fallen out of love with the unattainable and failed to fall in love with the companionate. When the right person offers a romantic relationship and he doesn’t understand why yes won’t grace his tongue, the only thing an autistic man can do is ask the Ravens–and hope he can survive the word they give him in return.
Love in the House of the Ravens is a story about what it means to be aromantic when one is also autistic and the world isn’t accepting of either.
When Akash’s former lover refuses to return a family heirloom, Darius knows only one way to help his mate—even if it means ignoring several laws in the process. The magic he mastered in surviving the College and the mercenaries has surprising utility in the art of larceny, at least once he gets past the stomach-knotting anxiety. When Darius makes the mistake of asking Akash why, however, getting caught in a stranger’s third-floor bedroom seems like nothing compared to comprehending the mysteries of romance and friendship.
Seven years ago, Darius Liviu met a talking sword belt in the Great Souk, an eldritch being who changed his life forever. In that time, he has learnt something of the sword, mastered strange magic and survived dangerous jobs, but while he has friends in Rajad, he still feels out of place—too divergent to be welcomed and accepted as mercenary and magician.
When an unexpected meeting with potential employers goes wrong, his first instinct is to flee. But a wandering monarch, Efe Kadri, has an offer that might provide the certainty for which Darius has been searching, if only he has the courage to say yes…
Prince Paide ein Iteme has lost his father, his family, his people and his home to a conquering necromancer queen and her armies of the risen dead. A last horrific battle sees him forced to discuss surrender, but that conversation is no small amount complicated when said conquering necromancer is his mother. Who might not have been entirely wrong in her overthrow of Paide’s father…
Bones interred under the palace, gold given to field-ravaged farmers and Parliament dallying over amendments: war is ended for Prince-Regent Paide ein Iteme. Or so it should be, but returning home to Ihrne in a broken body ensorcelled by a necromancer leaves Paide struggling with politicians who ignore him and servants who condescend to him. What good is a title and purpose when his words and desires have become meaningless to those around him?
Surviving the dismissal of the Eagle Court is harder than facing an army of shambling corpses. How does a dead soldier fight it when he no longer wishes to live?
Einas ein Iteme knew he wasn’t a princess. That first truth provoked violence, murder and war, leaving him the heir to the throne of Ihrne—a throne he doesn’t want and can’t hold. How can he when he struggles to put words together, won’t look courtiers in the eye and avoids people on general principle? Yet the Eyrie, even Zaishne, simply assumes Ein will find a way to become the allistic ruler he can never be.
When his brother Paide invites him to a private discussion, Ein sees a chance to voice the second truth. Paide, though, keeps secrets of his own—and doesn’t seem to recognise the fate bound to him by hundreds of devouring angels.
To begin to save Paide’s soul, Ein will have to learn what the world never stirred itself to teach: trust.
Is it “aay-romantic” or “arrow-mantic”? What if she hears “I’m a romantic” instead of “I’m aromantic”? What if she says “isn’t that just friendship” or “that can’t be real” or, worst of all, “I’m looking for something more”?
Hallo, Aro is a series of flash fiction stories about allosexual aromantic characters navigating friendship, sexual attraction, aromanticism and the weight of amatonormative expectation.
Jessie’s casing an art gallery affords an opportunity to discuss a queerplatonic relationship. The phrase “I don’t love” encompasses more than a prince’s lack of romantic attraction. A gay aromantic makes a game of his alloromantic co-workers’ inability to accept him. Alida finds an accomplice in petty revenge after hir friend sets hir up on a date. An aro-ace wanderer invents their own fairy tales free of weddings as a happily ever after. And a demiromantic witch learns about aromanticism from her allo-aro cousin after an escapade with an unwanted romantic admirer.
When Quiver Meets Quill collects fourteen fantasy and contemporary aromantic stories about amatonormativity, friendship and connection.
True love’s kiss will break any spell. Always be kind to wizened crones. The youngest son is most favoured by wise foxes and crows. Princes save princesses from beastly dragons and towers overgrown with briar brambles. A happily ever after always involves a wedding…
The Wind and the Stars is a short aro-ace fairy tale about heroes, love, adulthood and the worlds we make in the stories we tell.
A young transgender magician travels the world on a quest for a mystical talking sword. A witch wonders why her would-be lovers can’t date her the old-fashioned way. A cross-dressing man meets a suit-clad soul whose gender defies definition. A non-binary zombie wonders why ze is not the hero in science fiction stories. A genderqueer manservant tries to save her mentally-ill lover with a deck of tarot cards. A boy looks at himself in the mirror and ponders the fear of telling his family that his name isn’t Susan.
A collection of short stories by emerging Australian writers. Edited by Emanuel Cachia at Error Proof.
‘The Palace and the Tower’ (fiction): To save her kingdom and set her dying father’s heart at ease, all Lina has to do is choose a prince. The only way to know if her many suitors are kind and worthy gentlemen, of course, is to send them to rescue a princess. The princess, however, has other plans…