German copies of Stadt der Verlorenen (or City of Ruin to you old-school English-speakers). You can see the cover art better on Amazon, but it certainly does come out well. I love the mood of theses German editions – they’re evocative, knowingly fantastical, without descending into nonsense.
I am the man of many covers. From the 25th October, Nights of Villjamur and City of Ruin will be reissued with new artwork on the front, to fit in with the rest of the series and to finally have one cohesive look.
There’s more, though: I’ve actually made quite a few (over a hundred) changes to Nights of Villjamur. Call it the ambitions of a first-time author, call it crap writing, but there were a few points of the text in this book that I believed caused a clunky experience. I’ve managed to iron many, many of these out, thankfully. It’s only a word or two here, a line there – not a complete re-edit, mind you, but enough to give me peace of mind that the most ridiculous of the excesses have now been removed.
It’s been a while since I’ve posted any reviews, but here are a couple of City of Ruin that caught my eye recently. First up is at Fantasy Faction, which was particularly pleasing because the reviewer really picked up on something that I was really trying get right after Nights of Villjamur:
And even more fantastic (and sadly far too rare in this male centric genre) is some absolutely fantastic female characters. Take a bow Bellis, Beami, Nanzi, Marysa and Artemisia. None of these are the sadly far too regular victim or princess waiting to be rescued that we still find in fantasy books being published even now, but are all interesting female characters that challenge the traditional female roles.
And a lovely one from last month at Functional Nerds:
More detail, more action, more danger, more romance. More fun. Newton juggles nearly a dozen characters, weaving their story-lines together, but still keeping them distinct. The setting is exotic, easily believable as the layering of thousands of years of history and culture. The stakes are high, and the action intense. Newton draws heavily on economic and social stress, showing the reality of a dying world and a very human reaction to it.