THE CRIMSON CAMPAIGN (US | UK | AUS), Book 2 of the Powder Mage Trilogy, releases today! In The Crimson Campaign, all your favorite characters are back (plus a few new faces!), and there will be bloody times ahead for everyone.
If you’re new to the series, check out the beginning of PROMISE OF BLOOD (US | UK | AUS)—available now in ebook, audio, and tradepaperback formats!
Below, Brian McClellan names his five favorite side characters. We’d love to hear who your favorites are in the comments!
Side characters are often the most fun for me to write. I can give them little quirks and write them with more freedom than point-of-view characters. Their lives are more “off-screen” than those of our heroes, and that can make them more mysterious and interesting to both myself and the reader. Here are five of my favorite side characters from Promise of Blood and The Crimson Campaign.
Be warned, there will be minor spoilers from Promise of Blood!
A red-headed, freckled “savage” from the distant country of Fatrasta, very little of Ka-poel’s history is known. She uses a sorcery outside the recognized schools of magic in the Nine Nations, and the mystery of her motives and powers are compounded because she was born a mute. She only communicates through hand gestures and facial expressions.
This last bit has proved a challenge to write. It limits what I can do to build her character and has forced me to, quite literally, “show” instead of “tell.” But I love how mysterious her character is and she has turned out to be delightful to write. Ka-poel is an example of a side character who develops into an integral part of the story during the writing process.
Olem and Field Marshal Tamas meet at the beginning of Promise of Blood, when the field marshal is in need of a new bodyguard. They develop an immediate mutual respect for each other, and Olem’s skills as a soldier and his Knack–the ability to go without sleep–make him a natural choice for a bodyguard.
Field Marshal Tamas tends to take himself very seriously. Maybe too seriously. Lucky for us, Olem is there to watch his back and remind him, often in a rather sardonic manner, that there is more to life than pride and duty. Olem is deeply loyal, and while he often stretches the bounds of what would normally be appropriate to say to a field marshal, Tamas tolerates his familiarity for the sake of their friendship.
In The Crimson Campaign, however, we’ll discover that even Olem can go too far with Field Marshal Tamas.
The ex-fiancée of Taniel Two-shot, Vlora is in the awkward position working alongside Taniel’s father. In original drafts of Promise of Blood, she had a lot more screen time that wound up getting cut along the way and it was fun to explore her character in more depth in The Crimson Campaign.
Vlora resonates with readers because she is complicated and conflicted, her most important relationships destroyed by a single mistake just before the start of Promise of Blood. Next to Taniel and Tamas, she is one of the most gifted Powder Mages in the world. In The Crimson Campaign, we get to discover her side of the story and see her in action. Read the rest of this entry »
- - May 6th, 2014
Charlie Fletcher’s gothic fantasy THE OVERSIGHT publishes today! Grab yourself a copy in print, digital or audiobook, and embark upon an adventure through a Dickensian London and wild British countryside filled with monsters, danger and intrigue. If you like Neil Gaiman or Terry Pratchett, you’re sure to enjoy this tale of dark deeds and even darker magics.
The book’s fans already include authors Mike Carey, Adam Roberts, Frances Hardinge and Cory Doctorow, it’s taken Twitter by storm, and here’s just a sample of some of the fantastic reviews we’ve seen so far:
‘The Oversight is – and let’s be clear here – something very special . . . It’s oh so moreish a morsel. I’d read a prequel this evening, a sequel as soon as.’ – Niall Alexander, Tor.com
‘Told in a kind of compelling and hypnotic poesie that I just lapped up . . . I’ll certainly be reading the next one.’ – Cory Doctorow, BoingBoing.net
‘A highly entertaining fantasy that promises a trilogy worth sinking your teeth into.’ – SciFiNow
‘A remarkable combination of British folklore, brisk pacing and wide-ranging imagination.’ – Kirkus Reviews
‘Richly atmospheric (the evil lurks in the background of every paragraph), the book should be a big hit with supernatural-fantasy readers . . . the second book can’t come soon enough.’ – Booklist (starred review)
Listen to an audio sample at Soundcloud today.
- - April 24th, 2014
Orbit recently acquired a debut epic fantasy trilogy by British author Stephen Aryan. The first book in the series, BATTLEMAGE, tells the story of mages treated as living weapons during a war between empires. It’s chock full of magic, scheming and truly epic battle scenes as these mages fight hard for an army that fears and distrusts them.
We’re sure you’re curious to meet the newest addition to Orbit, so we’ve created a mini-interview here with Stephen where you can get to know each other!
JH: Hi Stephen! Welcome to the Orbit gang!
SA: It’s a gang?
JH: Yep, we hang around on street corners, publishing books and scaring the neighbours. So what can you tell us about BATTLEMAGE, your very first novel?
SA: It’s an epic fantasy story set during a massive war and told from three main points of view; the front line warriors, the Heads of State and Generals conducting the war, and the Battlemages, wizards trained to fight and kill with their magic. Expect chopping off of limbs, political and espionage shenanigans, and black humour.
JH: Magicians, witches, wizards, we’ve read about them before – what’s different about your Battlemages?
SA: They’re a dying breed and are in demand all over the world. The Grey Council, the people in charge of magical training, abandoned their post years ago: the result is the majority of those born with a sensitivity to magic receive no training at all. Some have a little, which makes them unstable and, quite possibly, explosive as they don’t know how to control their power. Accidents happen quite often which has made a lot of people afraid of magic. So Battlemages are both feared and respected because they have immense power that makes them seem superhuman to most people, but they’re also necessary.
JH: Which books and authors influenced you in the writing of this series?
SA: The Earthsea novels by Ursula Le Guin was one early influence, which focus on Ged, a wizard who has several painful events that shape him as an adult. The other series that really made me think about wizards and magic were the Belgariad and the Malloreon novels by David Eddings. In both series there are only a handful of really powerful magic users who are also demi-gods and they walk that fine line between using their power to guide and protect humanity versus letting events run their natural course. LEGEND by David Gemmell was a big influence in terms of characterisation and my approach to story. Also the the work of Margaret Weis and Tracy Hickman, in particular their Dragonlance novels, as they have magic, non-human races and diverse characters which I have in my books as well.
JH: If there’s one reason that readers should be looking forward to BATTLEMAGE, it is:
SA: Only one? Hmm, because it’s a rollicking good story with plenty of action, memorable characters, epic battles and a sense of humour throughout.
BATTLEMAGE will be out in October 2015, with the sequels to follow six months after. If you’d like to hear more from Stephen in the meantime, you can follow him on twitter at @SteveAryan or check out his website.
- - April 9th, 2014
What happens when two writers from different genres come together to talk about science fiction, fantasy, and story crafting? You’re about to find out!
Rachel Bach grew up wanting to be an author and a super villain. Unfortunately, super villainy proved surprisingly difficult to break into, so she stuck to writing and everything worked out great. Her current project, the Paradox series, is a high-octane SF adventure across many fascinating alien worlds. Look for the third novel, HEAVEN’S QUEEN (US | UK | AUS), online and in stores on April 22nd or start at the beginning with FORTUNE’S PAWN.
Elizabeth Moon has degrees in history and biology, and served as a commissioned officer in the U.S. Marine Corps. CROWN OF RENEWAL (UK | AUS) is the final installment of her Paladin’s Legacy series. This gripping epic should be on every fantasy reader’s To Read List. Expect it to be hitting bookshelves on May 27th.
Elizabeth: You’re well known as someone who can write very fast without loss of quality, and your recommendations for increasing speed–both in your blog and in your book–make good sense. (In fact, I’d been using only two legs of your “triangle” for years and after adding the third had such good days with a new story that it slowed me down in getting these questions ready.) I’ve had 10K word days in the past, but I’ve also experienced increasing physical difficulty–arthritis in my hands, neck, and back that limited how much I could write in a day. Have you considered expanding your advice to include the ergonomic issues arising from very fast writing? How to generalize the skills to using alternate input methods, such as using a speech input? (I’m waiting for the direct brain-to-page technology. Visualize the scene: boom, it’s in the file or on the page, ready for editing. Hear the conversation between characters: there it is, with all the uh, um, er…but nothing vital missed.
Rachel: I can’t tell you how thrilled I am to hear my writing triangle helped you have a good writing day! Best thing ever.
I’m not at all surprised to hear you’d already figured parts of the triangle out. I’ve heard the same thing from several experienced authors, and I’m starting to think that all I did here was put words to what’s actually a universal writing concept. Can’t stop the signal, Mal!
You’re also not the first person to mention the physical difficulty of writing ten thousand words a day. The most extreme example of this was when I did my an annual open Q&A on the NaNoWriMo forums. One of the writers I talked to had stared out as a professional musician, but she had to stop when she injured her hands through repeated stress caused by playing. This injury effected her writing as well. She wasn’t even able to type two thousand words a day before her hands gave out, much less ten. It’s an admittedly extreme example, but it highlights the fact that writing is much more of a physical activity than most people give it credit for, especially if you have a pre-existing injury or ailment, like arthritis.
So, yes, I think this is a very valid point and I will be updating my book and blog to include it. Even with my healthy hands, it is physically exhausting to type that much, and it would be very easy to seriously injure yourself if you’re not careful. That said, though, I don’t actually know what to recommend as a solution. Right now my best advice is to listen to your body and stop if something hurts. Likewise, you should pay attention to your writing position and invest in a keyboard that’s comfortable for your hands over long periords. Speech to text programs have also come a long way in recent history (prolific author Lynn Viehl swears by Dragon Speaking Naturally), but I’ve never personally used them as anything other than a novelty.
Anyway, long story short, you make a very good point and I will be definitely be amending my process to include this issue. After all, my hands might be good now, but I intend to be in this writing business for as long as I can, and at ten thousand words a day, I’ve got a lot of typing in my future.
When can we expect that brain to page interface, science?
Elizabeth: You decided on a writing career early, but then found an English degree not particularly helpful. Writing our kind of fiction demands skills–for worldbuilding, for inventing new technology, for creating invented cultures that “work” in story terms–not taught in English classes. Have you ever wished you majored in something else, and what do you think would be the perfect degree plan for a spec fic writer? What research sources do you like to use when creating the surrounding cultural environment and technology for your invented worlds? What’s been your favorite thing to research in each of your genres? What was hardest to find or understand? Have you had life experiences that you feel were particularly important in expanding your writing scope? Do you schedule specific time for research and general reading, or is it “grab it when you need it?” (Yes, I know, I packed too many questions into one. Pick one or a few…)
Rachel: Actually, I think all of these questions interrelate beautifully! Like a lot of writers, I already knew what I wanted to be when I went to college, and English Major seemed like the most logical choice. How better to learn about writing books than by studying how the best are put together?
The reality of my experience was very different. This is not to disparage the University of Georgia’s English program, which is actually very good, it just wasn’t what I wanted it to be. College English programs are excellent at teaching you how to be a good non-fiction writer: how to properly use sources and make solid arguments and write thoughtful essays. But fiction writing is a different beast all together, and even though I took several creative writing classes, they were all focused on literary short story writing, which is about as far from genre novels as it’s possible to get and still be called fiction. Even worse, I was in an environment that actively looked down on the sort of commercial books I enjoyed and wanted to write. So yeah, not a good choice for me in hind sight.
If I had it to do over again, I would have majored in something much broader, like history or sociology, or even Comparative Lit, which focuses on international fiction instead of the Western Euro-centric literary cannon. I would also have taken a lot more electives, because the most useful thing I’ve found as a novelist is having as wide and diverse a base of knowledge and interests as possible. The more you learn about the boarder human experience, the deeper the well of ideas you can draw from becomes.
As to the more specific of your questions about what research or experiences I’ve found most important or difficult, I’m afraid I couldn’t tell you. I’m not dodging the question, I just can’t remember the individual acts, because for me writing has always been a process of running the entire sum of my knowledge and experience through the grinder. The Paradox novels, for example, pull ideas from everything: books I’ve read, jobs I’ve worked, that essay on binary gender I wrote for my one sociology class, a picture I saw on Deviant Art, video games, a role playing game my husband ran in middle school ten years before I even met him. All of these seemingly unrelated experiences and influences get mashed together as I write, and I couldn’t separate them out again if you paid me.
People have actually asked me what degree or life experience they should get in order to become a genre writer before, and my answer to them has always been that writing genre stories makes you a genre writer, nothing else required. But if I had to recommend something, I’d say you’re best off studying whatever you find most interesting. Go wherever your passion leads, whether it’s in formal schooling, a challenging job, or just something you do for fun. Whatever you do, though, make sure you’re paying attention, because it’s these memorable, seemingly random notes of experience that you’re going be drawing from later as a writer. They’re the fuel that will keep your idea furnace blazing bright. All the other stuff—story structure, pacing, characterization, and so forth—is just a matter of practice.
Or, at least, that’s how it’s been for me. Every writer works differently, so your mileage may vary.
Elizabeth: You also commented in an interview that you feel your fantasy is informed by an SF sensibility. After reading Dr. James Gunn on writing science fiction, and the difference he sees between how SF and fantasy are approached differently, I realized that although the two genres feel different to me, I use much the same process in writing both. I want the deep logic in both to be similar–everything links together into one coherent system. What do you mean by having that SF sensibility in your fantasy? That leads to the impossible question of “Where do you see the difference between SF and fantasy?” and the closely related “Is there a line between worldbuilding everything but the “people” part of the story and worldbuilding the cultures the characters come from?” And if there is such a line, is that where the divide between science fiction and fantasy lives?
Rachel: I don’t think anyone has ever drawn a line between Science Fiction and Fantasy that we can all agree on. Take Anne McCaffrey’s Pern books. Are they Fantasy or SF? On the one hand, you have dragons with mystical psychic bonds to their riders who can blink through space and time, on the other, humans are only on Pern because of space colonization and the Thread they ride dragons to burn is itself a space born spore.
The easy way out of this is to just say “what does it matter? Pern is awesome!” but it does matter to readers. The F and SF parts of SFF attract different audiences with different expectations and tastes. That said, I absolutely agree with you that, from the perspective of a writer looking at her own books, the creation process for each is pretty much the same.
In my own case, I’m a systems oriented, logical sort of person, so when I sat down to write a fantasy series, I took a logical approach to it. I built an internally consistent magic system and a world to contain it, and then I worked out from that framework to determine out how everything else in the story would function. When the time came to write Paradox, I built its universe the same way, only on a much grander scale. Both times, however, I figured out the why of reality first, and then used that to derive the how, who, and what.
This is what I meant when I said I approached my Fantasy with a Science Fiction sensibility, because, as Dr. Gunn says, one of the fundamental elements of Science Fiction is the scientific idea that everything is ultimately knowable and explainable, even if we don’t understand it at the moment. For me, though, this is as true in a fantasy world with an active goddess figure who makes things happen on her whims as with a galaxy that formed by the accidents of nature. Everything is knowable, everything is explainable, everything happens for interlocking reasons, and discovering those reasons is often the whole point of the story.
So at the worldbuilding, story crafting level, I don’t actually think there is a line between Science Fiction and Fantasy, at least not for me. Even when you start talking about characters, both Fantasy and Science Fiction favor larger than life heroes who change the world through significant personal action and sacrifice, be it exploring a new planet and ending up the unlikely champion of the indigenous population against your own corrupt galactic government or journeying to throw the One Ring into Mount Doom. Even the window dressings are somewhat interchangeable, because I’ve read Fantasy with complex machines and written Science Fiction with magic. There are short, lightning paced Fantasies and glacially slow SF epics with thousands of characters. Even the relative perception of time is no guarantee when the most famous Science Fiction story of all time took place long, long ago in a galaxy far, far away.
Personally, I’m inclined to believe the only real, measurable line between Science Fiction and Fantasy is one of flavor and emphasis. Fantasy novels tend to emphasizes the fantastical elements—magic, monsters, fully developed secondary worlds, the sense of being in another place, etc.—while Science Fiction generally places its accent on the products of scientific achievement—gadgets, fast travel, galactic expansion, exploration in the vastness of space, and so forth. Otherwise, the two are so similar as to be almost interchangeable, as evidenced by how easily and often they get lumped together. Both genres tend to be deeply humanist, both reflect and comment on issues present in our own world, both provide a stage for the invention and exploration of alternate cultures, both are given to power fantasies, you get the idea. They’re both wonderful, delicious ice cream, and the only actual question here is which flavor do you prefer in your sundae.
Elizabeth: Thinking ahead, do you imagine yourself delving into each of the various subgenres of our big playground, or do you think you’ll settle into some favorite pair (or quartet) of niches? So far you’ve done witty, rollicking fantasy and hard-edged action-packed SF…what other areas intrigue you and set the writer-vibes going? SF mysteries? Epic fantasy?
Rachel: I freely admit that I’m an agent’s worst nightmare, because I write everything! In addition to my current roster of Fantasy and SF, I’ve finished the first in a near future Urban Fantasy series about dragons that I’ll be using as an experiment in self publishing this July. I also have an alt history mystery novel about magic in the Industrial Revolution set in Manchester complete with necromantic workhouses and a spell breaker detective that’s currently with my agent. And as if that weren’t enough, I’m also planning a darker military fantasy young adult book, another Paradox novel focusing on the secrets of the Sainted King, an epistolary series of shorts chronicling the tragically comedic and unavoidable fall of a Dark Lord called “Speeches to Orcs,” and about a thousand other things that I may or may not actually finish in 2014.
So yeah, you could say I’m running all over our genre playground like that one weird kid who always eats waaaaay too much sugar. But then, what’s the point of writing fast if you don’t also write far and wide?
Elizabeth: Thanks for being part of this–it’s been a lot of fun learning more about you and your work, and thinking about the questions you proposed.
Rachel: Thank you for taking the time and for talking with me! Again, I can’t stress enough what an honor and a delight it’s been to get the chance to talk with you. (When I told my mother I was doing this, her response was “You’re interviewing Elizabeth Moon? Can I touch you?!”) Thank you again, and I can’t wait to get my hands on The Crown of Renewal later this year!!
Rachel and Elizabeth will be back again soon, and next time the tables will be reversed! In the meantime, check out their novels and get ready for their upcoming releases!
- - March 25th, 2014
“I fell into Wolfhound Century and devoured it in three days.”— Richard Morgan
Today we are proud to release the greatly anticipated TRUTH AND FEAR, Peter Higgins’s enthralling sequel to WOLFHOUND CENTURY. TRUTH AND FEAR is the second novel in the Wolfhound Century trilogy, published by Orbit in the US and Gollancz in the UK.
TRUTH AND FEAR finds Investigator Lom returning to a Mirgorod in crisis, with the war against the Archipelago looking grim for all. Enemy divisions are massing outside the city, air raids are a daily occurrence and the citizens are being conscripted into the desperate defense of the city.
But Lom has other concerns. The police are after him, the mystery of the otherworldly Pollandore remains and the vast Angel is moving, turning all of nature against the city.
As complete destruction looms, Lom must find a way to save the city and save himself – before the horrors of war overtake them all.
Praise for WOLFHOUND CENTURY:
“Like vintage China Mieville, but with all the violent narrative thriller drive of Ian Fleming at his edgiest” RICHARD MORGAN
“An amazing, fast-paced story in a fantasy world poised dangerously on the edge of quantum probability, a world where angels war with reality” PETER F. HAMILTON
“I absolutely loved WOLFHOUND CENTURY. Higgins’s world is a truly original creation, Russian cosmism and Slavic mythology filtered through steampunk and le Carre. What really captured me was his beautiful style and language” HANNU RAJANIEMI
“An alternate history that will grab you by the lapels and snap you to attention.”— io9
“Sentient water, censored artists, mechanical constructs, old-fashioned detective work, and the secret police are all woven together in this rich and fascinating tapestry” — Publishers Weekly
“WOLFHOUND CENTURY merits the attention of Miéville fans looking for something new.” — Far Beyond Reality
“WOLFHOUND CENTURY is a strange, complex, earthy, sometimes violent read, and one of the best debuts I’ve gotten my hands on.” — My Bookish Ways
“This is a great, dark and fantastical thriller. It has the suspense of classic spy thrillers, mixed with the strange and the bizarre found in any number of critically-acclaimed fantasists.” — Civilian Reader
“Higgins doesn’t just build a world, he also thrusts the reader into it thanks to his incredibly adept use of an intense and stark atmosphere.” — Bookworm Blues
“Very dark, very gritty and very atmospheric. WOLFHOUND CENTURY is also a book free of genre constraints, allowing for a great original and entertaining read. Top Notch stuff by Peter Higgins.” — The Founding Fields
“Fans of dystopian fiction, noir, and science fiction and fantasy (especially those weary of tired old world building that always seems to center on English history or Western European norms) will find much of interest in this book.” — Nerds of a Feather
Read an excerpt from TRUTH AND FEAR or start from the beginning with WOLFHOUND CENTURY.
- - March 17th, 2014
Saker appears to be a simple priest, but in truth he’s a spy for the head of his faith. Wounded in the line of duty by a Lascar sailor’s blade, the weapon seems to follow him home. Unable to discard it, nor the sense of responsibility it brings, Saker can only follow its lead. The Lascar’s dagger demands a price, and that price will be paid in blood.
THE LASCAR’S DAGGER (US | UK | AUS) is the first book of an brand new trilogy by Glenda Larke. Get to know Glenda and find out what her new series is all about in the interview below.
1.) When did you first start writing?
I was still in elementary school when I discovered I could write stories and – better still – I could persuade other kids to listen to them. When a teacher asked us what we would like to be when we grew up, my reply was ‘an authoress’!
2.) What made you want to write fantasy?
My first novel (unpublished!) was actually not fantasy at all. It was a thriller with a strong dash of romance, set in Malaysia, where I was living at the time. I showed it to someone, and to my alarm discovered that she equated the main character’s views with mine simply because the main character was, like me, an Australian living in Malaysia. I figured that the book – if ever it was published – would get me into trouble with the community I was living in at the time, so I shelved it and turned instead to writing fantasy. After all, no one was going to equate me with a woman born in the Keeper Isles and living in a place called Gorthan Spit, were they? (It was no hardship switching genres, of course. I loved reading fantasy and it makes sense to write what you love.)
3.) Who are some of your major influences in the genre?
It’s hard to single out any particular book or writer. I suspect it was Susan Cooper’s ‘The Dark is Rising’ that started me reading fantasy in the first place. The authors I read in the 1980s as I was developing my skills as a writer of fantasy were people like Barbara Hambly, Janny Wurts, Guy Gavriel Kay, Raymond Feist and Ann McCaffrey.
4.) Where did the idea for The Lascar’s Dagger come from?
There’s never a single idea! If I had to sum up the sources for my inspiration, I’d say: the great port cities of the Netherlands and the U.K. in the time of sailing ships, my mother-in-law’s kitchen, the Malay dagger, my ancestor sailing around the world on Captain Cook’s ‘Endeavor’, the spice trade, my husband’s background, privateers, birds of paradise…
The Malay/Indonesian dagger, with its distinct wavy blade, is part of my husband’s culture. Called a kris, it is a traditional weapon of his people, and historically it was thought to contain a spirit or presence (which can be good or evil). Folk tales often tell stories of a kris with magical powers. What fantasy writer can resist the idea of that?
Most of the trilogy, though, is set in my version of Europe about to embark on colonial expansion and trade dominance of the East. There’s a bit of a twist on our history, though: in my books, the East has a novel way of fighting back…
- - March 5th, 2014
Orbit UK has acquired a novel based on WELCOME TO NIGHT VALE, to be written by Jeffrey Cranor and Joseph Fink. The WELCOME TO NIGHT VALE podcast is described by the TELEGRAPH as ‘a cultural phenomenon’, the GUARDIAN calls it ‘extremely addictive’ and it has topped over twenty-three million worldwide downloads since its first episode aired in 2012. The Night Vale book will feature both new characters and beloved favourites from the show.
Commissioning editor Jenni Hill bought UK and Commonwealth rights from Angharad Kowal at Writers House UK, on behalf of Jodi Reamer at Writers House US, in a heated auction last month. Publication is expected for autumn 2015.
WELCOME TO NIGHT VALE is a free, fictional podcast set in a creepy desert town. It takes the form of a radio show full of news reports from Cecil Palmer, the town’s affable radio host who doesn’t quite understand that hooded figures in the dog park and hypnotising glow clouds in the sky are not facts of life anywhere outside Night Vale. As hilarious as it is disturbing, the show can be described as a cross between THE TWILIGHT ZONE and TWIN PEAKS, or your local news report written by Stephen King.
Angharad Kowal said: “Orbit is the perfect home for the WELCOME TO NIGHT VALE novel – their enthusiasm for the project is hard to surpass. I couldn’t be more thrilled.”
Jenni Hill said: “I first listened to WELCOME TO NIGHT VALE last summer, and I fell in love instantly with Jeffrey and Joseph’s smart writing, fascinating characters and comic but wonderfully creepy storylines. I’m overjoyed that Orbit will be publishing this in the UK and I know that the novel is going to absolutely delight both Night Vale’s loyal fans and plenty of new readers.”
And now, the weather.
About WELCOME TO NIGHT VALE: The brainchild of writers Joseph Fink and Jeffrey Cranor, the WELCOME TO NIGHT VALE podcast is narrated by Cecil Baldwin, with music by Disparition. More information, and links to the podcast, can be found at www.commonplacebooks.com/welcome-to-night-vale.