There is a passage in one of my novels where a prince stages his own death at a woman’s feet. He enters the feast hall not as a lord but as a stag—darting, pausing, tossing his head to scent the wind—and when the drum thunders to its crescendo, he falls before her, bares his throat, […]
On Writing Desire Without Writing Romance Read More »
I knew some of this before I began. Not in depth, and not as a coherent body of knowledge—more as fragments encountered at random, in craft books read out of sequence, in advice absorbed before I had the experience to evaluate it. What the novels themselves taught me was different in kind: not information, but
Lessons Learned Writing Novels: What Each Book Taught Me Read More »
People sometimes tell me that archaic English is unnecessary. That it creates distance. That modern readers want transparency, immediacy, a prose that gets out of the way of the story. I understand the argument. I disagree with it not on grounds of taste, but of accuracy. When you set a novel in the fifteenth century,
Dead Languages and Living Prose: Why Archaic English Is Not an Affectation Read More »
To this day I have not written a villain who is purely evil. I do not believe such a creature exists—not in life, not in honest fiction. At some point even the worst among us had a parent or a sibling who loved them, a pet that did, a life punctuated by trauma and loss
Writing Villains Who Show Their Human Side Read More »
I confess at the outset that my experience of other kinds of readers is limited, and what little I have is not encouraging. My dearest friend Yolis, whose loyalty and warmth I would not trade for anything this world has to offer, finds my novels a considerable trial. She endures them when I give her
Why Historical Fiction Readers Are the Best Readers To Write For Read More »
Do you miss stories that feel alive, where the world breathes, where every word has been chosen by a human hand that hesitated, reconsidered, and chose again? Have you grown weary of fiction that tells instead of shows, of worlds that feel thin and formulaic, assembled rather than imagined? In an era when AI-generated content
Support Human Authors: Four Tales by Edmond Thornfield, Available Now Read More »
Every few months I set aside the novelist’s desk and return to the reader’s chair. These are six books I return to, recommend without hesitation, or simply cannot stop thinking about. They span centuries, continents, and registers—Gothic Louisiana, medieval Cornwall, the towers of Notre-Dame, Revolutionary France, the streets of Salvador da Bahia—but they share the
Six Novels to Read in June 2026 Read More »
The question of point of view is the first serious decision a novelist makes, and it shapes everything that follows—the texture of the prose, the range of the story, the emotional distance between reader and character. Writers have many options: first-person, second-person, omniscient third, limited third, close third, or some combination of these. For my
Why I Write in Close Third-Person POV Read More »
FEB 2026 Literary Titan Gold Book Award Winner Asterios and the Labyrinth follows Prince Asterios of Knossos as his father dies, political rivals rise against him, foreign powers threaten the island, and love pulls him in directions that the laws of his world barely allow. The story blends palace intrigue, war, prophecy, and a passionate
Asterios and the Labyrinth | Gold Book Award Winner, Reviewed by Literary Titan Read More »
William Morris believed the book as physical object was itself a work of art, that typography, layout, and illustration were not secondary to the text but coequal with it. I agree with him. Unconditionally. This is not a fashionable position. The publishing industry has spent decades treating book design as a downstream function. It is
On Being Your Own Designer, Typesetter, and Publisher Read More »
