Author and Illustrator Roberto Calas stops by the Blog

For those who like my Snow World map for Romulus Buckle and the Luminiferous Aether plus the wonderfully mysterious cover and ancient Egyptian map for my League of the Sphinx: The Purple Scarab novel, you need to meet Roberto Calas, who created both. He is a writer and illustrator and a member of the Westmarch Publishing collective I am also a part of. He writes of the bloody, fabulous Middle Ages, loves a girl in England and I’m finally going to get to have a beer with him at AnomalyCon this spring. So, let’s chat with Roberto, seen below in full, dashingly-sweaty plate armor.

AuthorPic_ArmorRichard: Thanks so much for taking the time for this blog, Roberto! How about you introduce us to the magnificent writer/artist/soothsayer Sir Roberto Calas and what you do:

Roberto: Thanks very much for inviting me to speak on your blog, Richard. As you mentioned, I am, indeed, a soothsayer. That is my primary calling, and I have worked at it for years. I’ve never actually predicted anything properly, but I’ve been really, really close at times. For example, the other day, I *almost* predicted which line at the supermarket would *not* move the slowest. And, once, I very nearly picked the winner of a football game. When I’m not making faulty prophesies, I am an author, and when I’m not writing, I am a graphic artist. And when I’m not a graphic artist, I am sleeping.

Richard: Sleep is never overrated. You designed and created the Snow World map for me in my new steampunk novel, Romulus Buckle and the Luminiferous Aether. Could you tell us about your technique and process as you built the map?

TheSnowWorldMap_Final_HiResRoberto: The Snow World map was a tricky one to design, mostly because the author I was working with was a pain in the ass. Wait… I mean, this map was a tricky one because of the complexity of the world, and the scale of the map. Seriously, though, we did a lot of back and forth on this one, and the many revisions we went through helped to make this map one of my favorites ever. I started with a map of California and recreated it in Illustrator. I added hand-drawn mountains, cities, places of interest, waterlines and a few other basics, then brought the whole thing into Photoshop and began adding layer after layer of detail and color and effects. I think I had about eighty or ninety layers when the map was finally finished. That’s a bit of a challenge in itself, as I work with an older laptop and opening files like that can take ages.

Richard: Wow. I didn’t know it was that much work. I am an ass. Ah, well, it’s your fault. Moving on. What special artistic concerns do you face when creating a map for a novel? (Below is the map Roberto created for my “The League of the Sphinx: The Purple Scarab” Young Adult Adventure Novel)

Map_PurpleScarab_Final_1500Roberto: The main challenge I face is trying to tap into the author’s vision. It’s a bit like someone saying to you, “Hey, I had this awesome dream last night. I’m not going to tell you what it was, but it involved Aborigines and mayonnaise jars. Can you make a sketch of my dream for me?” It takes a few passes usually to get in sync.

Richard: LOL! For readers who don’t know you, can we look at some examples of your book cover art? Can you tell us a bit about the atmosphere you wanted to create with each image? (Pick a few of your favorites here)

Roberto: I have a lot of favorites, but I’ll limit myself to three.

The first is a cover I did for Scott Magner’s wonderful Seasons of Truth historical fantasy series. I did four covers for that series, each featuring a tree, each depicting a season, and each with blood somewhere in the picture. For Spring, I used a blossoming tree, but blood dripped from all the branches on the bottom and spattered onto the ground. I had to hand paint the blood and many of the tree blossoms, and I think the effect came out kinda nice.

Spring_1000The second is the cover for book three of my historical fantasy series, The Scourge—a book called Emaculum. I like this one for a variety of reasons. First and foremost, because I used my fiancée as the model for the main character’s wife. She dressed up in a medieval dress that her mother made for her and we went to Bodiam Castle, in Sussex, and I took scores of pictures. But the cover just works for me. It shows the pressing drive of a knight trying to reach his wife, stone crosses all around (some of them bleeding), and his wife looking down on him benevolently from above.

Final_Digital_2000To pick a third is difficult because there are so many that I like. But if I had to pick one, it would probably one of the many that I did for Stant Litore’s novels and short stories. Just to pick one at Random, I’ll point out the cover for The Running of the Tyrannosaurs. This was a sci-fi story about women being objectified in the distant future. The women are athletes, and they are made to run from Tyrannosaurs. It’s a very deep, philosophical and emotional story, but when he approached me and started talking to me about it, I stopped him halfway through and said, “Stant, you had me at naked women being chased by dinosaurs.” The problem, as I learned, is that it’s actually really hard to make a classy cover featuring naked women being chased by dinosaurs. They all ended up looking like Cinemax After Dark prehistoric erotica. But I think I finally found the right mood to reflect the profound sensibilities of the book—the sense of sadness and futility, the frustration of those trapped in a system of abuse. And, I got to put a hot chick on the cover with two dinosaurs behind her. Score!

91SmLM+LtiLRichard: That is a great list. I also thought the covers you did for Scott were immensely emotive. “Emaculum” is great. And yes, I say SCORE on Stant’s book! I’m gonna add a look at the cover you did for my The League of the Sphinx: the Purple Scarab because I love it and hey, it is my blog.

rev1_LeagueOfSphinxFINAL_1000Okay, so ummmmm, let’s dig a bit deeper into your inner Rembrandt. Who are your favorite artists? Which artists tend to influence your work?

Roberto: My favorites growing up were the fantasy artists. Frank Frazetta will always be my favorite. I also still revere artists like Michael Whelan, John Howe, and Alan Lee. More recently, I’ve really enjoyed some of Victoria Frances’ work. But there is so much artwork out there. I spend hours on Deviant Art and CGNetworks sometimes. The internet is awesome for stealing hours and hours of time, just moving from one piece of art to the next.

Frank Frazetta - Calendrier 1996 - 06Richard: I love that Frank Frazetta painting. I once wrote an entire screenplay looking at that image. It didn’t sell. But I do want to turn the idea into a novel someday. Tell us about your novels and what’s coming up next.

Roberto: My most popular series is The Scourge trilogy (Scourge, Nostrum, Emaculum–ed.) It’s about 14th century knight (Edward Dallingridge, who actually existed and actually built Bodiam Castle, in Sussex) who is trying to reach his wife amid a horrible new plague that turns its victims into demons. The two of them are a hundred miles apart, separated by geography and the masses of violent plague victims. Sir Edward and two of his knights travel across this nightmarish landscape, finding that the survivors of the plague tend to be worse than the plague victims. It’s a love story, with lots of black humor, lots of action, and a healthy dose of history.

I’m currently working on a new fantasy novel, tentatively called The Madness of Valatriste. It’s about an insane thief named Tercero who finds the slaughtered caravan of a duke and his court. Tercero—who has powers that are either real or imagined—decides to impersonate the duke and rule over the province of Valatriste. There’s much, much more to the story, but if you boil it down, those are the bones.

51K7wcJkkTL._SX332_BO1,204,203,200_Richard: I love the new title. You come up with great titles. You go back and forth to England a lot, I know. I’m a bit of an anglophile too, having been there twice. You do a lot of research on the Emerald Isle—can you tell us a bit about that? Can you show us a few photos of the real locations that appear in your novels?

Roberto: I’ve been traveling to England quite often for the past six years. I could say that it’s my meticulous attention to detail that takes me there, but the real reason I go there is to see my fiancée, Annabelle. It’s the ultimate long-distance relationship, but when you find the right person, distance is only a minor hurdle. When I am with Annabelle, I get to tour the English countryside, and do research for my books. But it’s more than that. My visits to England actually inspire my work. Those who know me sometimes spot the similarities between my life and the storyline in The Scourge. I learned about Edward Dallingridge (hero of The Scourge, if you haven’t been paying attention) while visiting Bodiam Castle with my fiancée, and he kind of stuck in my mind. The Scourge storyline is about Sir Edward traveling a long distance, through dozens of obstacles, to reach his love, Elizabeth. Kind of a microcosm of what I do to see Annabelle. Interestingly, Elizabeth waits for Edward in the same city that my fiancée lives in. And, also interestingly, I fight zombie-like plague victims all the time in my life. See? Lots of parallels. (Author’s photo of the superb Bodiam Castle, below)

Bodiam Castle Calas The ScourgeRichard: Love will make a man travel many miles, and that the added creative bonus of England obviously helps your creative sensibilities. And now, a few oddball questions for you to show off your wit and glowing personality. First, what is your favorite restaurant and your favorite dish there?

Roberto: I have two favorite restaurants, one in the US and one in the UK. Domestically, there’s a place here in Norwalk, Connecticut, called Barcelona. They have the best meat parillada I’ve ever tasted. The UK equivalent to Barcelona is an Argentinian steakhouse called Gaucho, located in London, near Tower Bridge. Both are awesome, and both cater to my carnivore diet. I also have a fondness for a restaurant called Middletons, in Norwich, UK. It’s become a favorite spot for Annabelle and me.

Richard: Second, if you were reincarnated as an animal, what would you be?

Roberto: It would have to be some sort of carnivorous animal that sleeps a lot. A lion maybe. Although lions probably aren’t scared of spiders.

Feeding the GodsRichard: Lol! Lastly, if you had to select a line from one of your novels to be your tombstone epitaph, what would it be?

Roberto: There’s probably two that would fit equally well:

1. In these times of madness, only madness will save us.
2. Our bodies turn to shit when they have passed through the bowels of life, and the spice of hatred only makes us smell worse.

Richard: Okay, well I’d crack up at your headstone if you selected #2. Great discussion and great answers! Thanks, Roberto Calas!


Roberto Calas NYCCRoberto Calas (in armor, again, as always, above) is an author and lover of history. His serial trilogy (The Scourge) is about a 14th century knight fighting his way through a demon-infested England to reunite with the woman he loves. And every bit of it is true except for the made up parts.

In addition to The Scourge series, Roberto has written The Beast of Maug Maurai (fantasy), and Kingdom of Glass (historical fiction in the Foreworld universe). He lives in Sandy Hook, Connecticut with his two children, and visits the United Kingdom on occasion to be with his woman, Annabelle. Sometimes he fights demons to reach her.

You can learn more about Roberto on his website:
He’d be most appreciative if you liked his facebook page, too:
And if you feel you can only take 140 characters worth of him at a time, his twitter handle is @robertocalas.


Release Day for “Romulus Buckle & the Luminiferous Aether”

So, here we are at last! Release Day for Romulus Buckle and the Luminiferous Aether has arrived and I am thrilled with the support I’ve received from family, fellow authors and readers. I hope everyone enjoys the book, and the paperback version will be available mid-January. Thank you!

Also, please remember there are a couple of Giveaways for free Kindle copies out there, attached to my first three chapter sneak peek at SFSignal and my character art reveal at The Qwillery! You can check both articles out further in the blog posts preceding this one.

Romulus Buckle III Final Luminiferous Aether


Romulus Buckle and the Luminiferous Aether is up for Pre-Order

Hi all! Well, the very-slow-to-arrive 3rd installment in my Chronicles of the Pneumatic Zeppelin series is finally breaching the surface of the molasses time warp. “Romulus Buckle and the Luiniferous Aether” can be pre-ordered as of now, and official RELEASE DAY (Kindle version) is December 22, 2015. The paperback version will become available a few weeks later. Also, if you don’t have the first two books (Romulus Buckle & the City of the Founders) (Romulus Buckle and the Engines of War), they’re on a $2.00 each special from Amazon for the month of December (Kindle only).

Romulus Buckle III Final Luminiferous AetherSouthern Reach trilogy author Jeff VanderMeer has kindly provided a wonderful blurb for the series and I’m jazzed about it: “Preston’s Steampunk series is not just entertaining and fun but full of great characters who deepen and change over the course of the books. Expect amazing Steampunk scenes, yes, but also people you care about and a lovely mix of the comic and serious. Just pure storytelling at its best.”—Jeff VanderMeer, author of the Southern Reach novels

Thanks to everyone for being so patient and encouraging on this one. I hope you enjoy the book(s).

P.S. I also have a Romulus Buckle universe short story out, entitled “An Officer and a Gentleman,” which offers a quick peek into an earlier event in Buckle’s life.

Author Angela D. Mitchell Interview & Her New Novella, “Dancing Days”

It’s my honor and privilege to welcome author Angela D. Mitchell as a guest on my Bag of Good Writing Blog today. She is an accomplished author and she’s here to talk writing, author PR, “Falada,” fairy tales and her new novella, “Dancing Days.” Let’s get to it!

Q: Welcome to the blog, Angela!
A: Thank you! It’s great to be here.

Q: First things first, so please introduce us to your new fantasy novella, “Dancing Days,” and perhaps let us in on the genesis of your story idea.IMG_2027A: My novella Dancing Days was inspired by the Hans Christian Andersen fairy tale “The Red Shoes.” The original story is about vanity and punishment (especially female vanity) – Karen, a little girl, lies and schemes for the beautiful red shoes, and eventually finds that she can’t remove them – and that wearing them, she is cursed to dance without stopping, leading her to a brutal repentance.

In my own take, I wanted to go beyond the cautionary fairy tale and its spoiled little Karen and bring it into today’s world, to the urban fantasy niche, telling the story of a girl who is so warped by her own poverty and need that there is no price she won’t pay to escape them.

Enter the red shoes. But they come with a heavy price. And she continues to pay that price right into adulthood, hiding the curse of the red shoes because she loves them just as much as she hates them, and they have blessed her life just as greatly as they’ve cursed it. I also wanted to let her tell her story herself, in the first person, so that it reads almost like a confessional.

I was really excited by the possibilities of my new take on the story – I’d originally written it as a short story that was published in Fables Magazine years back, where I was very proud that it won the Reader’s Choice Award for that year, but the idea never left me, and over the last few years I kept thinking of my Karen, and I felt there was more to say. So I decided to really tell the story I wanted to tell, and expanded that original short into a full-length novella. I loved the idea that vanity and greed weren’t just there to curse Karen, but also to empower and drive her in her struggle to escape extreme poverty. Being able to explore those ideas in a novella allowed me to develop Karen as a complex and eventually sympathetic character, and her will, relentlessness, and yearning became the foundation for “Dancing Days.”

It’s a tragic and very gothic take on the story, but there’s also suspense, romance, and unexpected magic, and I really hope people enjoy it.

Q: ‘Gothic’ is always up my alley. You have also recently released another novella, titled “Falada.” Can you tell us a bit about that story as well?

FaladaA: Falada is directly inspired by the Brothers Grimm fairy tale, “The Goose Girl.” In that story, the heroine is set up to marry a distant king, but is victimized almost immediately by an evil maid. Everything that follows happens because she is unable to (or afraid to) speak up. I always loved the story (and especially the character of Falada, the talking horse), but I was frustrated with the heroine’s passivity.

So as with “Dancing Days,” I wanted to use some of the original story’s major elements, but spin them to create what I felt might be richer and more complex motivations for everyone from the heroine (named Géanna in my story, from the Irish for ‘goose’), to her mother (a powerful witch-queen), to the maid Marah, and to Falada himself. And most especially, to turn the original idea of simple cruelty and betrayal on its head, so that in fact it is actually ultimately a story of love and sacrifice.

Q: You certainly seem to feel comfortable in the wild, wooly and weird realms of fairy tales. Which fairy tales are your favorites and how did those lead to Dancing Days and Falada?

A: I was always inspired by fairy tales as a child, and alongside Tolkien and Lewis, they were my first real exposure to fantasy as a genre. I especially loved the combination of savagery and innocence, the idea of going into the forest to find the magic, and that a happy ending wasn’t a guarantee. I also loved that fairy tales are predominantly about girls and women, as heroines and as villains. As a little girl who loved Tolkien’s Eowyn and who kept looking for more fantasy heroines, fairy tales provided an unexpected glimpse of girls and women who faced danger and found strength and empowerment.
My favorite fairy tales tended to be the darker ones – in addition to “The Red Shoes” and “The Goose Girl,” I especially loved “Allerleirauh” (and the Perrault take on this same motif in “Donkeyskin”) “The Wild Swans,” “King Thrushbeard,” and “The Snow Queen.”

Q: As writers we all have our imaginary environments which haunt us and continually seem to demand that our story appear within their snowglobes. For you, what is the great attraction of writing inside the fairy tale realm, and have you written other stories in other genres?

Betrayals of WomenA: My primary genre is fantasy, but I’ve also written some darker, horror-tinged pieces like “The Bridge,” (a gothic, twisted “Beauty and the Beast” exploration with a female troll at the center) or the story “Safe,” from my short story collection The Betrayals of Women., in which a little girl chooses to knowingly get in the car with a predator rather than sit there one more hour alone and waiting in the rain.

For me, the power of a myth or fairy tale archetype is the excitement of exploring why a certain aspect has remained so fascinating or powerful through the ages. It’s not so much wanting to retell a story we already know, as it is about my becoming inspired by a particular idea and then wanting to spin that idea into something new and original.
For instance, I was always frustrated by the common trope of the woman who is forbidden like a child from doing something (usually one specific thing), but who then always cracks, often leading to the ruin of herself and even of mankind as a whole. These kinds of tales include Eve and the apple, Pandora and the box, Bluebeard’s bride, Psyche and Cupid, and others.

The BridgeSo I began to think about these ‘betrayals’ of women, and what they were actually saying, and thought it would be interesting to weave them all together into my own tapestry, in which I gave the women what I felt might be more understandable motivations than sudden impulse – and that became the title story for my short story collection. In my take, Eve isn’t weak when she eats the apple, she’s actively choosing knowledge over innocence, and when Pandora opens the box, she does so in knowing retribution against those who shun and fear her. Meanwhile, in my version, Bluebeard’s bride never opens the door of the bloody chamber at all. He asked her for one thing, she agreed, and she sticks to the bargain (and so she never finds out who or what her husband may be capable of).

What’s great about these kinds of explorations is that they have become a whole subgenre in fantasy fiction now. So I was exhilarated when I reached adolescence and discovered wonderful authors like Angela Carter and Robin McKinley, who used some of those classic motifs to create brand-new stories, villains and brave heroines, and complex worlds. Carter brought a grown-up sensuality and horror to the fairy tale universe, while McKinley showed me complex and powerful yet vulnerable heroines who inhabited those worlds in brand-new ways, in gorgeous books like The Hero and the Crown, Rose Daughter, Spindle’s End, Sunshine, and others. McKinley also did a gorgeous novel based on the “Donkeyskin” fable in her story Deerskin, and as with Sunshine, it’s a great example of a fantasy story that’s as much horror tale as it is fairy tale.

Even just this year, Naomi Novik made the New York Times bestseller list by exploring a host of classic fairy tale elements (especially “Beauty and the Beast”) in her wonderful fantasy novel Uprooted.

So there’s always a new way to explore those old archetypes and ideas – they persist for a reason. While I do occasionally branch out into urban fantasy and horror, I’ll probably always sneak in a fairy tale or classical myth reference here or there.

Q: You have written a lot of plays. What is the biggest difference, as you first sit down to write your story, between attacking a play format and that of a novel/novella?

A: With me, I always know right away if it’s going to be a play because I’ll just hear the dialogue, the rhythmic back-and-forth cadence between specific voices. I’ll get the idea shakespeare-spoilersfor the first scene or two simply because I can already hear the conversation in my head. I wrote my two-act comedy Aggro, for instance, because I could already hear the first conversation in my head – the one in which a woman tells her husband she’s just lost her job.

Plays are typically about revealing story and motivation through a kind of pure dance of dialogue, while fiction is really about getting that big idea and wanting to move in, explore it, paint the world, describe it, and bring it to life. And then live there awhile.

Q: As a full-time publicist and media expert, I’d like to zero in on a topic close to the heart of many indie writers: in this day and age of our indie-book-saturated internet, could you tell us a self-PR book strategy (outside of hiring you to do it, of course) that seems to be working well for indie authors an perhaps another one which is proving to be an ineffective waste of energy and time?

A: First off, one of the ironies of my 15 years as an independent publicist is that despite my experiences promoting wonderful creatives, artists, studios, festivals, photographers and musicians, I’m just really getting a feel for the world of literary and book publicity over the past year, so I’m not as much of an expert as I’d like to be. It’s incredibly complex and challenging, but also very exciting right now, because there are so many new opportunities for authors to simply get their work seen on their own terms.

I think the biggest challenge for most authors today – especially for indie authors – is that self-promotion can be a massive undertaking – it’s exhaustive and can easily become a full-time job that overtakes your writing time if you let it. But on the other hand, it’s so crucial – promoting your work is the only thing that’s going to build your audience and get you that readership that will continue to grow as your body of work does. Unfortunately, day by day, with the constant white noise of the web, all that self-promotion work is more important than ever, from blog tours, giveaways, and discounts, to social media and maintaining those constant review submissions. They’re all are just as important as that wonderful story or that perfect line of beautiful prose.

With that said, in terms of PR tools that can’t go wrong? Be prepared. You may not be a New York Times bestseller yet, but you ought to look like you are. This means that you should have a press kit that you keep up to date on a constant basis, and that includes one-page promotional pieces on each book or major work you’ve published. Spotlight the great reviews, promote accolades and awards, and use social media in a way that makes readers feel appreciated. Maintain connections with past and potential reviewers, and be respectful and appreciative of their time and attention. Promote each positive review you get on social media, and make sure you add mentions of them to the appropriate areas on sites like Amazon and Goodreads, etc.

In addition, it’s vital to have a clean, attractive and easy to navigate website (even better if you’re blogging about your work, or even generally about the kind of fiction you yourself like to write), and most of all, make sure your site, materials and releases always include a way for editors and reporters to reach you quickly and easily, even if it’s just via a dedicated Gmail address.

It’s always invaluable to quantify where you fit. Which authors would your book most likely sit beside on a shelf? And it goes beyond the literary — is there a television show, movie franchise, or band that has the same sensibilities, style, or storytelling approach? You can use that knowledge in so many ways to expand your own readership and fanbase.

Meanwhile, although I’m a big PR fan over advertising, I do think that savvy advertising can be useful and powerful, even on a budget, but you just want to be careful that you’re not preaching to the choir. Thus far, I’ve found that some indie ad promotions and services aren’t as useful as they might be because they’re really focused on reaching writers, not readers. This isn’t everyone, but it is a fair number, so it’s always best to really do your research, check out stats, and when in doubt, go with avenues that are dedicated to reaching wide reader bases, alongside very focused and keyword-centric Facebook and Twitter campaigns.

Q: Which social media platform do you think is working best for indie authors right now? Twitter? Facebook?

A: I think Twitter is incredibly valuable for staying in touch with your readership and for keeping the information flowing. But I actually think Facebook is more powerful for finding new readers and audiences overall. Facebook is a slower and more thoughtful environment that’s all about reading, scrolling, posting, etc., while Twitter is more brief and of the moment. We don’t tend to leisure over Twitter the way we might over Facebook.

Both Twitter and Facebook are great places to get your readers excited about helping get the word out about your work, so giveaways, special promotions and discounts always work especially well on those platforms too. The main thing is to build your brand while encouraging interaction and sharing – each share gets you in front of a new potential audience, a new potential reader.

Q: You (and I) are both fully participating in a new (2014) author publishing collective called Westmarch publishing. How would you describe your experiences with Westmarch so far?

A: Really remarkable – the best of all worlds. It’s a tremendous mix of writing, editing, and creative talent, and I’ve found it to be one of the richest and most rewarding WestmarchFinal_greenexperiences of my life as a writer. It’s been such a treat to work alongside some of the best and most dedicated authors I know (yourself included!), and to exchange ideas, strategies, support, appreciation, and more.

I think the best aspect of Westmarch for me is not only the continuous source of joy, fellowship and encouragement I’ve received, but also the ongoing and continuous exchange of ideas and strategies in today’s ever-changing world, on everything from literary sales, marketing, and promotion, to audience and readership development, and more.

Q: Thanks, Angela–it has been wonderful to get to work with you as well! Now, just a few of my Actor’s Studio questions you need to answer, and then you may escape back to your writing desk.

1) What is your favorite restaurant? Either Antoine’s in New Orleans, Agnanti in Astoria, New York, or Les Halles in NYC.

2) If you could be reincarnated as an animal, which one would you choose? A wild orca. Seeing them in the wild is one of the most wonderful experiences I’ve had while living in the Pacific Northwest, and they’re magnificent creatures. And they’re so connected – there’s such a sense of life, vitality, language, and connectedness among the wild orca families, it’s a really special thing. So yeah, that’s what I’d come back as.

3) If you could pick one line from one of your novels as your tombstone epitaph, what would it be? From Falada: “I was free—a creature of the wide world—and I could only be what I was.”

Richard: I learned a lot today–this was great! Thanks so much, Angela D. Mitchell!

Angela: Thank you – it was a pleasure and a privilege.


Angela D MitchellAngela Mitchell is a writer, columnist and playwright whose stories have appeared in FABLES MAGAZINE, ANOTHEREALM, TERROR TALES, and more. Her story “Until My Dancing Days Are Done,” received the Reader’s Choice Award from FABLES MAGAZINE and will soon be released as the expanded novella DANCING DAYS. Her book of short stories THE BETRAYALS OF WOMEN is available now, along with her story THE BRIDGE, and her just-released novella FALADA.

Angela has always been inspired by fairy tales and legends, as well as by authors like Robin McKinley, Angela Carter, Gregory Maguire, Peter S. Beagle, and others who found new magic in the oldest of stories. She brings to her worlds a delicate sense of dread and enchantment, and of beauty and beastliness around every corner.

Other works soon to be released by Angela via Westmarch Publishing include the novella DANCING DAYS, the novel VAN GOGH SKY, and a memoir of her childhood experiences in crossing the Atlantic Basin, entitled 1001 POTENTIAL CATASTROPHES AT SEA. Her plays include AGGRO, BETWEEN THE WISH AND THE THING LIFE, and MISSING THE COMET.