Q&A with Katelynsam

Author of Last Masquerade at the Carousel House

🦀 What authors, people, or stories inspired you to start writing?

Growing up, I stayed up far too many late nights reading fantasy authors, such as Cassandra Clare, Roshani Chokshi, and Sarah J. Maas among others. I loved how the stories transported me to other worlds and other lives, and so I began to write stories of my own that I hoped would do the same for my readers someday. 

🦀 What does your creative process consist of? Do ideas for a story just come to you or is there anything specific that you have to do in order to create a story and its characters?

Ideas for my stories often arrive at the most random of times. Sometimes, I will see a beautiful piece of art, a scene from a movie or TV show, or something in my own life that will inspire the kernel of a story that takes days or weeks to fully develop into a story idea. When the story idea at last arrives, it does like a flash of lightning, sizzling with promise and potential. I’m usually in the middle of another project when it does, so I keep a list of future story ideas that I’m always adding to. 

🦀 You submitted a story to a traditional publisher and it was rejected. What story was it? Do you feel like going independent is the way to go moving forward?

I wrote my first book at 12 and started querying agents (for another story) when I was 15. It took me 10 years, 6 books, and hundreds of agency rejections to finally find my first agent. 

For 4 years, I worked with my first and second agent (both from big well-known agencies) to publish my debut fantasy novel THE FATED, which I’m releasing next month. I worked with my first agent when the novel was classified as Young Adult. When we ultimately weren’t able to sell, I revised the novel to be adult and worked with my second agent to go on several rounds of more submissions. The feedback from the publishers on all the submission rounds was kind and flattering, but each publisher and editor had different reasons for why they felt they couldn’t take on the project. To give you an idea, one editor said they enjoyed the story, but that it fit too much between the area of fantasy and magic realism for the publishing house to be able to market. Another editor adored the book, but her colleagues didn’t share the same enthusiasm, so the book never made it any further in the acquisition process. 

Unsurprisingly, facing so much repeated rejection for over a decade was very disheartening. I spent months of my life waiting for my “big break” to come, and when it didn’t, I would tell myself that the next book would do it, and then the next one after that. When it became clear THE FATED would never be traditionally published, I was heartbroken. For the hundredth time, I considered giving up writing altogether, but of course, like always when this thought had crossed my mind, I kept going. I’ve written for so many years that it has become a part of me, and to sever myself from it would be like losing my voice and my anchor in an already chaotic and confusing world. 

So instead of locking THE FATED away in a drawer, I decided to self-publish it. The book was already polished since I had revised it at least 6 times with my previous agents over the last 4 years. It would be as ready now as it would ever be–and I was tired of relying on anyone else to fulfill my lifelong dream of being published. Looking back, I’m grateful to my agents because they took a chance on an unknown writer and spent many hours giving me editing notes. I learned a lot from them about how to tell a story. I also am deeply thankful for the prior experience I gained about the publishing industry through both the agents that represented me as well as several agencies I interned for in college. 

I am, however, also grateful for all the amazing tools now available for authors to publish their works themselves. As the marketing and other budgets for even the biggest publishers continue to shrink, I believe self-publishing will play an even greater role in the industry moving forward. With the rise of booktok and self-published authors landing hybrid or traditional book deals after they made tons of sales on their own, we’ve already seen a lot of the stigma that previously surrounded self-publishing dissipate in the winds of change. 

🦀 Where did the concept of this carousel house originate from?

To be honest, I’m not really sure. I just knew I wanted the setting to be luxurious and magical–a characteristic that my debut novel THE FATED also shares. I also think that the concept of a lavish mansion that can spin like a carousel reinforces how powerful of a sorcerer the owner (Raidenn) is, which plays an integral role in setting up the stakes for the story. 

🦀 Are you Yuina, the main character of this short story? 

What a fun question! No, I would definitely say Yuina is a bit edgier than me. She’s also quite as glamorous as she is bitter, which are both traits with which I don’t particularly resonate. I do strive to make every main character I write relatable though in some way. So I would say I relate to Yuina’s desperation to change the circumstances around her and take her power back. 

🦀 In the story there is this line:

“The jazz music and opulent surroundings washed over our senses like the most intoxicating plume of opium smoke”

Is that suggesting that Yuina smokes opium, therefore she is familiar with its effects? 

I didn’t intend it that way, but readers are welcome to interpret those words for themselves. With this line, I was striving to solidify how intoxicatingly luxurious and carefree the setting of the Carousel House was. I also think it hints or at least might question how much Raidenn’s magic might be enhancing the already lavish decorations of the mansion in order to further dazzle and disarm his guests. 

🦀 I know you have a full novel coming out soon. Can you tell us what it’s about and what in your mind will make it worth it for readers to buy it and read it?

Sure, would love to! Here is the pitch: 

Every sixteen years a luxurious ocean liner known as The Fated appears at the docks of Abeon City to carry a few lucky passengers to paradise. Yet when people onboard begin disappearing, one woman soon discovers their destination might not be paradise after all.

Amarra Obrel never expects to receive a ticket in the mail. Ever since failing her chance at becoming a concert pianist three years ago, she has spent her days as an elevator operator, resigned to the uninteresting future that seems set before her. When given the opportunity to embark on The Fated, however, she boards with the hope of starting a new life. Yet she soon senses something dark and sinister lurks beneath the ship’s decadent halls, ornate ballrooms, and opulent jazz clubs. When people close to her begin disappearing, she is left with no other choice than to set out and uncover the vessel’s secrets along with fellow passenger Kye-Shin Hura. But instead of providing answers, every discovery leads to more questions—questions about why they were selected for this voyage in the first place and more disturbingly: If not to paradise, then where exactly is The Fated taking them?  

With cinematic and haunting prose, The Fated is the perfect suspenseful and atmospheric read for fans of The Night Circus, Titanic, The Great Gatsby, and The Midnight Library. 

This novel is for anyone who is looking for a luxurious and magical setting infused with mystery, romance, and suspense. While I am marketing it as a fantasy since it takes place in an alternative world, it has elements of magic realism as well as historical fantasy given the world of THE FATED resembles the glamor and undercurrent of tension in the 1920s-30s. 

🦀 I always see you posting on Substack and you always come off as a very driven and motivated writer. Where do you find that motivation in an industry where it seems so hard to make your books known to the general audience?

I believe every rejection I’ve received has made my resolve and determination to share my work with the world even stronger, so I’m willing to put in more hours and work than I likely would have had I never faced any obstacles. Writing is also just a part of my way of life, so while it can be difficult and frustrating at times, it never feels like the kind of work that is draining. In fact, writing and the purpose and love I infuse behind it is what motivates so much of my life. 

🦀 Your favorite writer today? Your least favorite one?

I can’t think of a least favorite writer, but I have so many I enjoy reading. In addition to the writers that I mentioned earlier who inspired me, I love reading Danielle L. Jensen, Donna Tartt, Kelly Link, and Leigh Bardugo among others.  

🦀 Does eating chocolate help write better books? If so, any specific type of chocolate you would recommend that writers should eat more often? I personally enjoy drinking hot cocoa before I go to bed. It gives me weird dreams.

I firmly believe eating chocolate helps with writing books along with many other things in life! I love milk chocolate truffles with the raspberry or strawberry filling, you know, the kind that you have to hunt for in the holiday chocolate boxes (which sometimes results in  a disastrous mis-selection). Also I agree that eating sugar right before bed can induce the strangest dreams. I should know as I’ve been guilty of this multiple times. 

🦀 Thank you for taking this time to give us an insight on yourself and your passion for storytelling. Look forward to great things coming up!

Thank you for reaching out as well as taking the time to read my work and speak with me! 

For anyone who is interested in following my writing journey further, I regularly give behind-the-scenes looks at my writing, publishing, and cover design process through my Dear Writing Diary series on Substack: katelynsam.substack.com. 

I also regularly post on Instagram @_katelynsam_, and my website is katelynsam.com

INFAMOUS🦀 REVIEWER Short Story Contest Winner:

MOTHER

by Sarah Kirk Pierzchala

Q1: Sarah, first of all let me tell you that choosing a winner was no easy task for us, but in the end I was very happy it was your story for a few reasons. Can you tell us more about the origins of Mother?

Sarah: First, let me thank you for offering this opportunity for us writers to participate in such a fun contest! I’ve never had much success writing stories to prompts, but as soon as I read the parameters for this competition, the setting swiftly formed in my mind’s eye and the different elements fell into place pretty soon after that.

Q2: The 1st act, as Henry also pointed out, very much reminds me of that 20-ish minute intro in the original Planet of The Apes (1968). We were both taken by how you handled that part of the story: the lone adventurer exploring a new world. What or who inspired you to go that route?

Sarah: This story is more ‘pulpy’ than I normally write, so I definitely wanted to capture that sense of mystery, adventure and survival. There was certainly some influence from ‘60’s films like Jules Verne’s “Mysterious Island”, but I also just imagined what I might feel as that character in that situation. Also, since I’ve written an entire novel that mostly takes place on a small island with limited characters, I knew how important it is to make the story location itself almost as developed as its own character.

Q3: The main character is a woman who apparently was not at the top of her class in the academy. What then drove her to keep going and stay alive in such dire circumstances?

Sarah: Obviously, anyone who made it through an exobiologist program would meet some minimum psychological requirements to survive in a situation like that. Think how rigorously NASA selects and trains their astronauts! Also, her natural curiosity about the location helped her to not panic and give up.

Q4: For me the deciding factor to award your story 1st place was how you combined the ‘crab’ element with the ‘island’ element in such a creative way I personally didn’t see it coming until the very end. Where did that specific idea come from or was that something you had already brewing in the back of your mind?

Sarah: For me, seeing those words in proximity just handed the premise to me without requiring much effort on my part. The main challenge was to develop the drama and sense of wonder within the space constraints.

Q5: The big question now is, can we hope to see more of this universe come to life? I feel like between the MC, the island, the crabs, and the entire element of mystery there could be a lot more to explore here.

Sarah: I hadn’t really thought about that, but I’m delighted it made such an impression on you! I really enjoyed crafting the protagonist and creating the relationship between her and her environment, so who knows—there could be more to come some day!

Note from Henry: Gio is right–it was very difficult to pick a winner. All the submissions were solid and fun. We have showcased the work of these talented authors (and many others) on Virtual Pulp, and from our interactions with them came this contest. The quality of these entries reflects on how good Gio is at sniffing out the literary treasures in the colossal slush pile that is the e-book market of today.

(Author of BRIDGEHOUSE)

by

Q1: First thing that strikes me most about Bridgehouse is how professional it comes across when reading its content. Hard to believe this is your first publication. Can you tell us more about your writing background?

King: I’ve always been into storytelling, especially in movies.  I went to film school (both theory and production) because it offered the broadest applicability.  The rules of good screenwriting and stage direction, blocking, etc., apply to all the forms, whether it’s a novel, comic, moving image or interactive experience.  I didn’t go into the film industry (blech), but I got what I wanted out of the degree.

As for actual writing, I did NaNoWriMo for a few years until I got bored of it.  I wouldn’t show off any of that work, but it taught me how to crank out a serious word count on a daily basis.  That put something on Bridgehouse‘s scale within grasping distance.

That’s about it for background, really.

Putting aside the novel’s development (a story in itself), I just wanted it to be as good as I could make it, and being broke means I have to wear all the hats.  Paying customers expecting quality won’t accept excuses like not being able to afford an editor or typesetter or whoever, so I had to become proficient at all of it.

Mostly, I just didn’t allow myself to get away with being lazy or dishonest about problems.

Still, Bridgehouse does have some rough patches that a pro editor would likely balk at.  I’ve already corrected those bad habits in my current work, and I’d love to some day do a revised edition of the novel with that extra half-percent of polish applied, and maybe with illustrations just for fun.

Q2: Here we have three main storylines which ever so slowly begin to converge in ways that leave the reader in awe, to say the least. How did that concept come about?

King: The narrative braid was a central conceit from relatively early on.

Catherine’s story is the oldest part both in fiction and truth, since I began working on it circa 2014, but it got set aside for a while.

Pon’s story came next, beginning sometime in 2015 or 2016, and was initially unrelated to Catherine’s altogether.  His story went through the greatest evolution, growing in scope and scale the more I poked at it.  I’d originally envisioned it only needing around 25k words to tell!  Hilarious, given that just his introduction chapter in the Overture is nearly 10k.

Also, it was more obviously science fiction in its earliest form.  Proto-Pon lived on a standard-issue sci-fi colony world, though the intelligence arc and overall journey plots were the same.

Then came the idea to combine the two stories, and Catherine’s tale became the backstory to Pon’s setting.  From there, his turned increasingly fantastical the more I worked on it and the more I took the time scales seriously.

Qona’s story emerged during the development of Pon’s.  Proto-Rado already existed as the typical Magic Helper, but proto-Qona was only a nameless background character, with her role being something like Moses’s sister Miriam.  At that point, Lilia wasn’t much more than a love interest motivation for Pon.

But then, while I was massaging the event that became the Vei’id Wohen, I realized I could do something really cool with the proto-Qona if I promoted her to first-class character with her own arc and setting.

Thus, Qona Itarte was born.

I thought the neatest way to present the resulting super-story was something like a crab canon—which is a kind of musical palindrome where an arrangement and its backwards complement are played at the same time.  So Pon and Qona’s stories began spiraling around each other, and Catherine’s story made the third strand of the braid.

Everything fell into place after that, though it still took several years of pondering and false starts before the first draft began in 2022.

Q3: Qona Itarte is a main character that seems to embrace the mantle of a national hero, a legend, and even a martyr. What inspired this character originally?

King: Qona is something of an Athena; she popped out of my head as a fully-formed symbol, though I didn’t fully understand what that symbol meant until I was approaching the climax in the first draft.

In the particulars, she’s very much my synthesis of the ancient Sumerian goddess Inana/Ishtar and the princesses Nausicaä and Kushana, from Miyazaki’s Nausicaä of the Valley of the Wind (the manga, not the film, which has a very different Kushana).

Symbolically, though I wasn’t thinking in these terms at the time, what I wanted was a kind of Queen David or Solomon, an inspiring, near-superhuman world-shaping leader who is nonetheless fatally human, whose mistakes and failures are as consequential as her victories and whose spirit is greater than her flesh.

She ended up stealing the show, so I think I got it right.

Q4: Essentially this book could be labeled as sci-fi but really incorporates other genres into it. It feels as though you wanted to write science fiction, but also sword and sorcery and perhaps space opera like Star Wars, and Bridgehouse was the result. Is that even close to how you look at it?

King: I subscribe to the notion that fantasy and science fiction are both subcategories of speculative fiction, diverging in one fundamental way: fantasy exists in an unknowable universe, and SF exists in a knowable one.

The setting of Bridgehouse is a knowable universe.

I like to fancy it hard science fiction, but perhaps crunchy science fiction is more honest, and the completed three-volume story will probably be correctly labeled space opera.

I do my best to adhere to known physics; thermodynamics is a first-class concern, relativity applies, etc.  But, especially in Pon’s story, I don’t explain things that way, if I explain them at all.

As an example, in Chapter 15 (Crest), the river leading to Highest-Home is hot and muggy for days, the karst-landscape valley filled with a stinking mist that later clears.  That mist is created by waste heat being pumped into the river by a mysterious process occurring ‘off-screen’, but I only use it as environmental description.  Readers who have reached the end of the book can guess at the nature of that process.

That said, one of my favorite books and biggest inspirations is Vernor Vinge’s A Fire Upon the Deep, and what really struck me was how Vinge used character perspective to achieve a really slick fantasy flair atop a serious sci-fi story.

The genre-jamming in Bridgehouse is a deliberate use of this effect.  Catherine’s story feels like traditional hard sci-fi because that is the world she perceives, Pon’s story feels like fantasy grounded in myth because that is the world he perceives, and Qona’s story carries an operatic mode because she lives in the decline of a post-Singularity galaxy of wonders.

Books Two and Three continue the genre-mixing trend, including proper space opera; I’m hoping to achieve a full Macross moment by the end.

The downside is that it makes explaining the book in a succinct way very difficult.

Q5: What I admire the most is the scope and ‘massiveness’ of this project. It was also what initially made me doubt the outcome. But you proved me wrong. Is there any advice you can give to upcoming independent authors in order to never lose control of their ship, for lack of a better term?

King: I’m still riding this particular boat, and Book Two is a much more ambitious and complex work than Bridgehouse, so any advice I give might be flawed.

Nonetheless, I am an admirer of the aviator and writer Antoine de Saint-Exupéry, author of The Little Prince.  He believed in a beautiful premise, which he stated as, “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.”

Bridgehouse readers will note his full name is Antoine Marie Jean-Baptiste Roger.

In practice, don’t worry about hitting every note during the first draft.  Focus on getting the core narrative down first, with clear story beats and a well-defined structure, and resist the urge to overly world-build.

Then, during revisions, you can figure out what the story actually needs.  If it has too much, cut what doesn’t help the story.  If it needs something more, add only the minimum needed to make the story work.

That’s much easier when you’re working backwards from a tangible ending.

As an example, in Bridgehouse, the mechstrosities present a major environmental threat.  Though they were always planned for the story, they never appear in the first draft.  In fact, the first time I wrote them was in an early chapter of Book Two!

Also, Kalas disappeared after Chapter 9, most of the Angel Bay men were nameless background characters, the Sorceress Jevim didn’t exist nor did any of the Anjhall Security soldiers we follow through the war.  Watru only came into being the moment I needed a medic in Chapter 12, and Ladhe appeared in revisions to support his new sections.  Poor Braedh was never seen at all.

If I’d tried to juggle all of that on the first draft I would have been completely bogged down in the details and wasted a lot of time trying to develop characters without a clear goal for many of them.  Each piece was added only after I worked backward from the ending and determined something in the narrative was lacking.

The first draft took three months.  Revisions took over a year.

Q6: As I wrote in my review, your approach to story writing at times reminds me of another indie author, James Krake. You both seem to be very pragmatic and very analytical. Do you make a conscious effort to pay attention to even the slightest details that go into a story?

King: Of course.  Everything is there for a reason, or in some cases many reasons, some of which won’t become clear until the later books.  Even the occasional oblique cultural references are carefully chosen for secret meanings.

Bridgehouse generated about 30k words of notes during revisions, and the glossary features around five thousand words of extraneous details I just thought were fun to include somewhere.

Q7: Finally, I want to thank you for not only blessing me with a new great universe that I thoroughly enjoyed, but for proving me wrong when I was convinced this book was going to be a FAIL! What can we expect in Book Two and can we hope to still see Qona, without giving too much away?

King: I’m glad you enjoyed it.  I know the story’s length is a big reader investment, and I aimed to reward that investment.

Book Two continues right where Bridgehouse leaves off, following Catherine, Lilia, Pon and Amata, and we’ll also meet new main characters in new storylines.

The narrative katamari keeps rolling and the scale keeps increasing.  We’ll explore the Many Worlds and Bridges, meet the Starborne and learn more about the natures of the Vei’id Wohen and what the people of LW642 called the Isema System.  There will be space battles, Deadworld ruin explorers, a cute intrepid space girl, high weirdness, cosmic horror, betrayals, tragic revelations and devastating victories.

And romance, of course.

As for Qona, I’ll point out that the Codetta ends with her rose chapter emblem as a cadence.

Book two’s tentative title is Matron of the Many Worlds.

It will probably be published in 2025.  The first draft is done, but just as with Bridgehouse the bulk of the work is in the revision process.  Even in rough form it can knock your socks off, though!  It’s going to be great.

In the meantime I have two other, much more modest books I’m prioritizing for release this year.

One is the first in a series of planned Bridgehouse-related novels, collectively titled Malin and the Sorcerers of Virsh.  (I call it MatSoV.)  It tells the story of Malin ir Malin and his equine Crashing-Storm as they begin a return home following the events in Pon’s story.  It’s canonical to the other books but outside the scope of the proper sequels, and can be read independent of Bridgehouse.

It will be a pure sword and sorcery pulp serial, with a straightforward and focused narrative.  This first book will be somewhere in the range of 60 to 70k words, so relatively bite-sized.  I’m in revisions now, plan to get it into beta-reader hands in July and will likely publish this autumn at the latest.

The other book is a semi-secret project I’m taking a completely different production approach with.  It’s a fast-paced noble-bright pulp space opera thing that might be comparable in length to the MatSoV book, but I’m still cranking on the first draft so it’s hard to say.  I’d like to get it out this year.

Remember: Virtual Pulp is your go-to website for reviews and interviews of indie fiction, plus movies and comics.

Q1:What inspired The Dweller in Drury Lane? Are there any other related works that precede or follow this that might help further explore these legends you are creating?

Leone: Both Ya’el and Renee and Innocence appeared in previous stories, and I thought putting their tales (including a few new ones) side by side would make for an interesting contrast. They’re all part of my Immortal Champions setting, which starts off in my novella The Governess of Greenmere and continues in the short story collections The Hungry Dead of Yü-Ching and Other Stories, Kung Fu Antipopes and Other Strange Stories, The Third Crown and Other Weird Tales and Webs and Shadows: Strange Stories of Barsetshire.

Q1/2: So where do we first encounter Ya’el, Renee, and Innocence?

Leone: Ya’el is first mentioned in “The Holy Woman of the West” in The Third Crown, while Renee and Innocence debut in “A Ride in Barsetshire” in Webs and Shadows.

Q2: The first thing one notices when reading The Dweller is your prose. How did you develop such a magnificent prosaic style? How do you manage to completely block out all traces of modern-day euphemisms and urban jargon in your writing?

Leone: I think it’s a combination of reading (a lot) and writing (a lot). Find an author or two who write like you want to, and just immerse yourself in their works. In my case, I aimed to imitate J.R.R. Tolkien’s writing style, especially in the first half of The Return of the King. 

Q3: Who was Ya’el before becoming an Immortal Champion? How did she become an Immortal Champion?

Leone: Ya’el’s background is still a little foggy to me, but she was the daughter of a shepherd in the 2nd century BC. After an encounter with one of the night people (my general term for vampires, witches and other evil beings), she met Nimrod (then the Champion of the Holy Land) and became his student and eventual successor.

Q3/2: What exactly is a Champion and where did the idea come from?

Leone: Immortal Champions are the chosen servants and warriors of the Angels of Limbo (or Sheol, as Ya’el calls it; there’s many different names). Long ago, the ‘neutral angels’ were cast out of Heaven for not taking a side in Satan’s rebellion, and some of them have since decided to atone for their cowardice by helping humanity against the minions of the Devil. There are 72 Champions all around the world who use their powers (immortality, greater physical abilities, and what might be called ‘magic’) to protect mankind. The basic idea has been in my brain for almost 20 years – what if the Slayers from Buffy the Vampire Slayer were put into an explicitly Christian setting? – and grew until I came up with Elise from The Governess of Greenmere and then her various peers.

Q4: I personally fell in love with the character of Coem from Hibernia. She comes from a land where the Gospel hasn’t spread yet (65 AD), but she does wear her heart on her sleeve and comes off as a young girl with a strong mind. Any possible spinoffs featuring her specifically that you might bless us with in the future?

Leone: Thank you! She’s one of my favorites, too. I do have some plans for her adventures in the Roman Empire, possibly with Victoria of Alexandria, or perhaps later on in history when she meets a certain British-born evangelist in early medieval Ireland.

Q5: Renee and Innocence–are they too Immortal Champions of Sheol? And if not, how are they able to fight the forces of evil the way we see it done in the second half of The Dweller? What exactly sets them apart?

Leone: Renee and Innocence are ordinary mortals. Renee is blessed with luck, a quick wit, and being born into a wealthy family with an indulgent father. Innocence, on the other hand, is a poor country girl (and as a Puritan in Restoration England, doubly looked down on), but her devout faith gives her a power over many things they face.

Q6: As I’ve mentioned to you before, I did read another of your novellas a couple of years ago-The Governess of Greenmere-but truthfully I did not see or notice any of the amazing writing I witnessed in The Dweller. Do you think I was distracted and should go back and re-read it or has your writing changed much ever since that book?

Leone: I wrote that several years ago now and like to think I’ve improved, but I definitely recommend giving it another shot! There’s some passages in it that I’m fond of. (I’d also recommend Webs and Shadows, especially the story “Sigriđ Sigdansdohtor and the Wolf of the Lobbeweald”)

Q7: In closing, Paul I can’t stop expressing my gratitude for getting me inspired while reading your book. You embody everything I work and preach (no pun) every day both in my personal life and my social media life. I want to believe that this world, with all its evil, sin, depravity, and THE AGENDA, still hosts men and women who uphold higher standards for everything that is sacred, everything that is holy, everything that is immortal.

What’s next that we can look forward to? And needless to say, I hope this is just the beginning of having you on Virtual Pulp to promote more NEW LEGENDS IN THE MAKING!

Leone: Thank you very much! I’m very glad you hold the book in such regard. As for what’s next, I’ve got a couple more Immortal Champions short story collections coming eventually. Stay tuned and God bless.