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Do you rely on detailed outlines, or do you prefer to discover the story as you write?
I’m a planner through and through. At this point, I don’t even call them outlines—they’re more like blueprints. Before I start writing, I want to have a clear grasp of the world, its history, and the characters. That said, even with a structured plan, there are moments when I let things unfold organically, filling in the gaps between plotted events with whatever comes to mind in the moment.
How has your approach to writing evolved over time?
I’ve become more intentional—both about what I write and how I balance it with life. I’m focusing on the kind of books I truly enjoy creating, and at the same time, I’ve reworked my schedule to make space for things outside of writing. Exploring Canada, for example, has been a big part of that shift.
What keeps you motivated in an unpredictable industry like publishing?
Persistence. There are plenty of challenges, from writing itself to marketing and connecting with readers, and progress doesn’t always happen as quickly as you’d like. But consistency is everything. The publishing world moves at its own pace, and sometimes your ambitions don’t align with industry timelines—but you keep going regardless.
What initially drew you to fantasy?
The sheer freedom of it. Fantasy allows you to build worlds with limitless possibilities—strange landscapes, unique creatures, and characters from every background imaginable. As long as the story has strong emotional beats and engaging characters, the reader will follow you anywhere.
What role does music play in your writing process?
It’s crucial. I’m always curating playlists, replaying certain tracks to set the right tone for a scene. It helps establish mood, especially for action-heavy moments. Metal, for example, is a natural fit for battles. Headphones are a must—otherwise, I’d probably drive my partner up the wall with the constant repetition.
What’s the least “writerly” thing about you?
Probably the way I fumble for words in everyday conversation. If I can’t remember the name of an object, I’ll blurt out something like “thingy” or “whatsit” instead of coming up with a proper phrase. Outside of that, I have a habit of obsessing over things like kitchen gadgets, sneakers, and pinball machines—none of which have much to do with writing.
How did you find your voice as a writer?
It’s a blend of everything I read as a kid and my early attempts at fantasy. I’ve always gravitated toward a style that’s immersive and visual—detailed enough to paint a vivid picture, but (hopefully) without bogging things down. Tolkien was my introduction to the genre, so worldbuilding has always been a central part of my writing. That early exposure shaped how I think about crafting a story, and finishing multiple books as a teenager helped me understand how to maintain a consistent voice across an entire novel.
Who are your biggest literary influences?
Books and films have had an equal impact on me. Cinema has shaped my storytelling just as much as authors have. Stylistically, my biggest influences range from Robin Hobb and Joe Abercrombie to Brandon Sanderson, Mark Lawrence, Neil Gaiman, and Anthony Ryan. Before that, it was the Brothers Grimm and mythology—Norse, Aztec, Japanese, and more. History also plays a big role in how I shape my worlds, particularly human behavior and patterns that repeat across civilizations.
How do you ensure that real-world cultures and myths inspire your work rather than just being borrowed?
Respect is key. I try to stay inspired rather than simply lifting elements from different cultures. Learning from other authors, readers, and friends has been important in making sure my influences are handled thoughtfully. I want to create something that feels fresh rather than just repackaging existing folklore.
What’s one of your favorite scenes from The Forever King?
Without spoiling too much, there’s a moment where Mithrid, the protagonist, rides a dragon for the first time. It’s an absurd but fun scene, and I loved writing it. Another favorite is a battle scene that begins as a prisoner exchange but quickly unravels into chaos. That one was complex to structure, but I was really happy with how it turned out.
Can you give us a quick rundown of The Forever King?
It’s a dark, Norse-inspired epic about a girl seeking vengeance, only to realize the world is far more dangerous and complicated than she ever imagined. Mithrid finds herself entangled in the underbelly of an empire that has outlawed magic. It plays with the “chosen one” trope—but in this case, the chosen one isn’t necessarily a hero. The story also weaves in elements of a siege and a magic academy, and while it serves as an entry point into this world, it also acts as a continuation of my Emaneska series, bringing back some familiar faces.
Why did you choose self-publishing?
Speed and control. In 2009, I was stuck in a series of dead-end jobs and knew I wanted out. My dream was always to write full-time, so I took the leap, publishing The Written in 2010. Self-publishing gave me the ability to control my timeline, choose my cover artists, work with the professionals I wanted—and, of course, retain a bigger share of my royalties. I’ve never regretted it.
Outside of writing itself, what has the biggest impact on your work?
Two things: sleep and staying hydrated. Writing isn’t just about the creative process—it’s also about managing everything else that comes with being an author, from marketing to finances. A lack of sleep makes everything harder, and dehydration kills focus. So while it sounds simple, keeping those two things in check actually makes a huge difference.
If you could go back ten years and give yourself advice, what would it be?
Stick to one genre or series before branching out. Early on, I jumped from Norse-inspired high fantasy (Emaneska) to a weird west alternate history series (Scarlet Star), and while I love experimenting, shifting between vastly different worlds made it harder to build a consistent audience. That’s why I eventually returned to epic fantasy and the Emaneska world with The Forever King.
How does writing a series differ from a standalone novel?
With a series, you have more room to develop the story over multiple books, but that also means managing a sprawling narrative without losing momentum. A standalone, on the other hand, has to be self-contained, with a satisfying resolution in one book. It was a challenge to balance depth with pacing when I wrote The Heart of Stone, my only standalone. With series, I tend to go all in on worldbuilding, which isn’t always necessary for a single novel—but I find it hard to resist.
