I’m going to use this illustration as the cover for the second story arc of The Demon King, which I plan to start posting on AO3 beginning on August 1. Being able to work on collaborative illustrations and my own silly comics fills me with inspiration, and I’m excited to share the next segment of the story!
Gin and cranberry juice is a healthy way to start a magical day.
Ceres is my take on magical video game princesses, and it is my headcanon that all of these ladies are consummate day drinkers. I think you’d probably have to be in order to summon the emotional fortitude to deal with the shenanigans of heroes and villains on top of the everyday business of running a moderately large kingdom.
I’m going to start writing my query letter for The Demon King soon, so I’ve been thinking about how to describe the story, which has two parallel threads that unspool in alternating chapters. The eponymous “demon king” Balthazar (he’s not really a demon king) is the main point-of-view character, as it’s his actions that push the larger narrative forward, but the role of his “nemesis” Princess Ceres (she’s not really his nemesis) as a deuteragonist is equally important and will only become more important as the story progresses.
Balthazar’s plot arc in the first novella is simple: he says he will go to a temple and find a magical artifact, and he goes to a temple and finds a magical artifact.
Meanwhile, what’s going on with Ceres is more complicated and can’t be succinctly summarized.
Ceres opens the story by sending a hero to fight Balthazar. This “hero” is actually a convict whom she has effectively exiled, and she intends for Balthazar to dispose of him. He does so, but not before the hero kills two people and injures a third.
Back in Whitespire, Ceres grants a private audience to a viscount from an outlying territory who essentially asks to stop paying taxes. Ceres dismisses him, but she allows herself to be seduced by his daughter, who wants the viscount to step down so that she can manage her family’s estate. While engaging in an openly sexual relationship with the viscount’s daughter, Ceres realizes that the viscount is being manipulated by a shadowy anti-monarchist political faction. In an attempt to provoke the members of the faction to reveal themselves, Ceres orders the head of her intelligence staff to direct a covert attack on the viscount’s estate.
Members of a separate anti-monarchist faction, fearing that they will be blamed for this attack, offer a scapegoat in the form of an advanced student of magic – a grad student, basically – who has been distributing seditious tracts. Ceres has actually discussed the matter beforehand with one of the leaders of the grad student’s faction, who is her close friend (and happens to be the author of the ongoing series of romance novels that Balthazar is addicted to). She therefore exiles the student, ostensibly to die at the hands of the demon king but actually to study with his friend Melchior, a wizard from a foreign kingdom who has strong anti-monarchist leanings of his own.
Ceres has grown fond of the viscount’s daughter, and she doesn’t want her or her father to become pawns of court politics in the way that the grad student did. She therefore engineers a minor scandal involving the viscount, which serves as the excuse the daughter needs to transfer power away from her father.
At the end of the first story arc, the viscount and his daughter leave the castle alive and unharmed. Ceres hasn’t been able to figure out who was manipulating the viscount at court, but she’s content to have secured an ally in the viscount’s daughter, who will almost certainly manage her family’s estate better than her father.
All’s well that ends well, but the reader is left with the dangling thread of why Ceres is so amenable to the idea of deposing herself from her own throne. In addition, how does she know Balthazar, and why is she so friendly with him? There’s also the matter of Ceres having sent Balthazar a “hero” that he was given no choice but to murder. Balthazar alludes to the fact that this isn’t the first time Ceres has done this, which is even more disturbing.
At the beginning of the second story arc, probably at the end of the second chapter, Ceres is going to address this matter directly and reflect the main theme of the story back on Balthazar by saying that these “heroes” have a choice. What she means is that no one is forcing them to attack the people they see as their enemies, but this raises the question of whether Ceres is giving Balthazar a choice in how he handles the circumstances she has created. This digs even deeper into the story’s theme by suggesting that some choices aren’t so simple, and that people suffer when they try to deal with making these choices on their own.
Also I intend for Ceres to make a lot of jokes about oral sex in her second story arc.
This summary is much more complicated than the story itself, hopefully. Ceres is not an unreliable viewpoint character, and none of these plot elements are supposed to be confusing or mysterious to the reader.
In the end, the goal of all this political intrigue is to set up Ceres’s kingdom as a battleground while establishing that it is primarily a battleground of relationships and feelings.
If Balthazar is a means to look at high fantasy heroic quest narratives from a different perspective, then Ceres is my take on the traditional “pure-hearted princess” trope. Ceres is in her early thirties, and I don’t think a princess can survive that long in a position of near-absolute power without being extremely clever and at least a little evil.
The above illustration of Ceres was created by the stylish and magical Fernanda V. (@artesiants on Instagram and on Twitter + @artesiant on Tumblr), who draws bold and fashionable designs of witchy characters. The prompt I gave her was “an elven princess who is beautiful and ethereal but delights in destroying her enemies,” and I love how she’s mixed diaphanous skirts and delicate jewelry with a lightly armored Amazonian halter that leaves Ceres’s arms free and ready to handle any conflict that comes her way.
It’s so interesting to see how various artists interpret this character, and every illustration of her makes me even more committed to telling her story despite the occasionally stress-inducing intricacies of its twists and turns.
Starting in April, I’m going to begin putting together a formal query letter for The Demon King. I’d like to participate in the #PitMad event on Twitter at the beginning of June, and I’d also like to finish up this portion of the project so that I can go ahead and get started on the next novella in the series.
If you’re interested, this is my fifty-word Twitter pitch:
The Demon King is a high fantasy adventure comedy about a garbage wizard named Balthazar who seeks to claim a magical relic sleeping within the castle of a powerful and devious princess. Until then, he would prefer to be left alone so he can read trashy romance novels in peace.
I’m going to put the first novella through another round of intense editing in May, but I just wrapped up the initial set of major edits. I’ve been fixing typos and other minor second-draft awkwardness, but I’ve also been thinking about tone and structure, as well as how I relate to the genre of fantasy in general.
Although this will change as the story progresses, the beginning of The Demon King is largely an episodic comedy that plays with tropes from epic fantasy novels and video games. Instead of exaggerating or subverting these tropes, I’m interested in looking at them from the perspective of rational adult characters who fit their assigned archetypes poorly at best.
Each chapter is prefaced by a short introductory section modeled on the sort of “lore” or “flavor text” that a player can unlock in a video game by defeating a certain number of enemies, collecting a certain number of items, and so on. This isn’t made explicitly clear in the first novella, but these intro sections are written by Balthazar, the eponymous Demon King, who is addicted to romance novels and secretly aspires to be a writer himself.
I’ve been putting a lot of work into crafting an appropriately epic language for these sections. What I’m aiming for is a needlessly fancy style that borders on purple prose without being actually poorly written or obnoxious. In addition, I’d like for readers who come back to these passages after they know more about the world of the story to be able to see where Balthazar is being ironic, where he’s being sincere, and where he’s flat-out lying.
I had initially rendered these sections in italics, but I think we can all collectively agree that italics are difficult to read. I therefore reformatted the text to remove all the italics on the chapter intro sections. I might put them back in to demonstrate that these are excerpts from “found sources” and not part of the main body of narration, but I think the character-specific perspectives of the chapters are clear enough that third-person omniscient narration stands out strongly on its own.
I also decided is that everyone is going to be represented as speaking English. If the viewpoint character – usually Balthazar – can understand what someone is saying, it won’t be accented with italics. Perhaps other characters might comment on the fact that he understands speech they don’t, but I don’t want to play games with fantasy languages. Along the same lines, I deleted all mentions of fantasy language names. Nobody needs that.
One of my most hated of all sci-fi and fantasy tropes is when a story gluts itself on constructed terminology, especially in lieu of meaningful worldbuilding. I therefore tried to keep fantasy words at an absolute minimum. The crow people (called starags, after the Gaelic word for “crow”) have their own name because it would be silly to call them “crow people,” and the concept of a “gaesh” (a type of semi-telepathic soul bond that facilitates magic sharing) is something that I want to feel strange and alien to the reader, but I think that’s it.
I leaned into this by using common words for elements that are native to the story. For example, Balthazar is not a “demon” in the usual sense of the word, the “gargoyles” who appear about halfway through the story are actually bat people, the “artifact” Balthazar is seeking is something highly unusual and specific, and the creatures that Balthazar calls “dogs” and “horses” are not dogs and horses, not by a long shot.
As the story continues, I think it’s going to be fun to play with the disconnect between what various characters take for granted as common knowledge, but I want this to remain comfortably in the realm of comedy and not venture into the territory of “who knows what secrets at what point in the story.” If anyone asks, you didn’t hear this from me, but plot is overrated. The plot of The Demon King is going to become more interesting and intricate as more layers of the story are revealed, but I want the reader to care about the characters before the plot ever becomes a concern.
That being said, there are major conflicts between the characters that have no easy resolutions, so I took care in my edits to make sure that each of the main characters states their goals clearly. Figuring out why these characters insist on pursuing these goals is the story’s primary source of forward momentum, so I’m doing my best to set up these mysteries while also providing ample clues and a healthy dose of foreshadowing.
Hopefully the process of writing a query letter will help me clarify the themes and narrative structure so that I can continue to hone the story when I return to it in May for another set of edits.
For the time being, I’m hosting the first novella in The Demon King on AO3, and you can find it (here).
This post’s illustration of Balthazar is by the lovely @Lemonscribs on Instagram, who was kind enough to compare the character’s aesthetic to Katie O’Neill’s fantasy slice-of-life comic The Tea Dragon Society. What an apt observation, and what an incredible compliment!
It is an anime truism that a villain is evil in direct proportion to how stylish and attractive they are.
We can therefore infer that Balthazar is neither good nor evil, as he is not particularly attractive and wears the high fantasy equivalent of a track suit jacket over pajamas.
The Demon King has ten chapters, and I’m a little more than halfway done with the first round of edits. I should be able to meet my projection of finishing by March 15, a month after I completed the first draft. The draft is only about 30k words, but progress is slow. The psychic damage I’m taking from finding typos and inconsistencies and unintended repetitions cannot be exaggerated.
This is only the first of five story arcs, so one of my main goals during this round of editing is to ensure that the central conflict is presented clearly and makes sense according to the somewhat limited information available to the reader. This is a short summary:
A powerful wizard named Balthazar wants to find a magical artifact hidden somewhere in the mountains between the kingdom of Whitespire and the ocean, which is highly poisonous. This artifact probably has something to do with the pure water coming down from the mountains and ensuring the prosperity of the kingdom. Balthazar doesn’t mention this artifact to his confidant Ceres, the reigning princess of Whitespire, who is presumably either unaware of its existence or unwilling to discuss it. If Balthazar does manage to find this artifact, the way he plans to use it will result in the downfall of Whitespire.
Balthazar is open with Ceres about his intentions to destroy Whitespire, but he makes no move to attack the kingdom, choosing instead to seek other magical artifacts elsewhere. It’s unclear why Balthazar is taking such a circuitous route toward his goal, but I hope the reader is able to get the sense that he’s not really the sort of person who would harm anyone if he could avoid it. He specifically doesn’t want to harm Ceres, mainly because he likes her.
There’s no significant antagonist in the story aside from Balthazar himself, as he’s going to have to do terrible things and hurt the people he cares about if he insists on achieving his goal. Unfortunately, he’s deadly serious about what he aims to do, so much so that it’s at the core of his sense of identity.
It’s embarrassing to admit this, but I’m inspired by the narrative structure of Homestuck, in which everything seems very silly and trope-driven until the reader gains a better understanding of what’s going on with the world of the story. I think it’s probably a fool’s errand to ask any given writer what themes they’re trying to express, but Balthazar has a line to the effect of “you always have a choice” that’s probably the closest thing to a statement of purpose I have regarding issues of individual freedom and dignity in the face of overwhelmingly horrible circumstances.
Also there are dick jokes, which symbolizes the fact that I like dick jokes.
In any case, once I finish this round of edits, I’m going to let the story sit for another month before writing a formal query. I’ll then do another round of edits before participating in several pitch events starting in late May. I’ll more than likely take the story offline at that point, but you can still read the draft as I edit it on AO3 (here).
Trying to apply real world logic to video games is a fool’s errand, but I don’t think it’s too much of a stretch to suggest that most of what “heroes” do is awfully close to war crimes.
…I write, having just spent two hours leveling up my JRPG adventuring party through wanton murder and environmental destruction.
What would you like to do?
– Make a pot of tea.
– Water your plants.
– Read a trashy romance novel.
– Have a nice chat with your nemesis.
– Take a long nap.
I commissioned this painting to celebrate having finished the first book of The Demon King, which I’m going to call The Temple of Everlasting Autumn. It took me four months to write this 30k-word novella, and I’m going to take another month to edit it. I’d also like to put together some book cover style graphics to showcase each of the ten chapters. After that, it will probably be time to start thinking about where the project can go in the future. In the meantime, you can read the first draft (as I gradually edit it) and check out all the comics and illustrations on AO3 (here).
You are a terrible bog witch dwelling in a haunted swamp forest.
You have just woken up from a three-month nap, and you hate everything.
What do you do?
I’ve been thinking about getting into RPG Maker, and I think I want the player-protagonist of my first game to be a horrible old woman. My ideal project would basically be a 16-bit version of Animal Crossing. You explore a haunted swamp forest, collect materials, and run errands while planting trees and watering flowers. The catch is that all of the dialogue choices will be extraordinarily rude and filthy. You’ll also have dialogue options that encourage murder, but the game will always tell you that killing people is wrong and make you choose something else.
I think it might be neat if the game were set in the world of The Demon King, with the demon king himself being a secondary character. The witch will coerce Balthazar into doing manual labor (like clearing away fallen trees) through shame, bullying, and offering him smutty romance novels, and each encounter will open up more of the map.
The point of the game will be to care for the forest while helping spring transition into summer. I imagine that it will take about two hours to play through the story, with five or six “stages,” or perhaps “chapters.” My main inspiration for gameplay is A Short Hike, but I’d like there to be significantly more text.
I wonder how long a project like this would take to put together?
I just posted Chapter Nine of The Demon King on AO3 (here).
This is the second-to-last chapter of the novella, and it’s meant to function as a narrative climax. At the beginning of the first chapter, Balthazar casually murders someone; and, at the end of this chapter, he destroys an entire ecosystem. He has his reasons for doing what he’s doing, but I want to make it clear to the reader that he’s not fucking around. I also want to make it clear that this story is not YA fiction, so the language I used in this chapter is a bit… tumescent, let’s say.
Even though its narrative arc is complete in itself, this novella is intended to be the first part of a longer story, and I hope this sort of explosive conclusion is equally satisfying and intriguing. I think it can be understood as a natural outgrowth of the concepts that have already been introduced, but my goal is for an astute reader to come out of this chapter with a deeper curiosity about the history and metaphysics of this world.
This illustration of Balthazar is by the brilliant Jennifer So (@hellojennso on Twitter, @jennosaur on Instagram, and @jennlso on Tumblr), who designed the character. This is actually the first character design created for The Demon King (back in November 2018), and I’m excited to finally share it. Jenn nailed the character on the very first draft, and this is how I’ve pictured him since then.