Making good progress

It’s been a couple of weeks, so time for another quick writing update.

I’m happy to report that I’m making good progress on Captive of the Falconstar. Still just plugging away at it, refining the AI draft and steadily rewriting it to bring out my voice.

Right now, I’m about two thirds of the way done with the AI draft itself, and a quarter of the way through the human draft. If I really pushed, I could probably finish the AI draft by the first week of March, but I’m trying to spread it out in order to catch up with the human draft. Ideally, I would like to finish them both at about the same time. Right now, it’s looking like that’ll happen sometime in the end of March.

So for the next couple of weeks, I’m going to prioritize the human draft itself, and hopefully advance it up past the halfway mark. Which should actually be quite doable, even with watching the kids and only getting an hour or two each night to write.

One of the advantages of doing an AI draft first is that it makes it much easier to write when I’m tired or emotionally exhausted or otherwise just not feeling it. Instead of having to confront the blank page in such a state, I’ve already got a crappy first draft to fall back on for guidance. Sure, it’s clearly written by AI, but in some ways that actually spurs me on to write, since I can see what needs to be done to fix it.

Ironically, it’s almost like the AI is prompting me. Not exactly, since I put a lot of human input into the AI draft, from prewriting and prompt engineering down to revising the generated output into something that more closely fits my vision. Heck, I probably put more into my AI drafts than most AI slop writers (like the one recently featured in the NY Times) put into their finished, published AI-generated books. But it still makes for more efficient writing, since I’m spending less time working through writing blocks and more time just pushing it out.

So that’s what I’ve been up to lately. I’ve also got an idea for a new fantasy trilogy, but I’m going to keep that one close to my chest for the time being. After I’ve passed the 50% mark in the human draft of Captive of the Falconstar, hopefully sometime next week, I’ll start to put some work into that one, maybe even work out a rough AI draft of the first book.

What Brandon Sanderson gets wrong about AI and writing

Last week, Brandon Sanderson posted a video from a conference where he gave a talk titled “The Hidden Cost of AI Art.” In it, he argues that writers who use AI are not true artists, because the act of creating true art is something that changes the artist. This is true even if AI becomes good enough to write books that are technically better than human-written books. Therefore, aspiring authors should not use AI, because it’s not going to turn them into true artists. Journey before destination. You are the art.

Obviously, I disagree very strongly with Brandon on this point. For the past several years, I’ve been reworking my creative process from the ground up, in an effort to figure out how best to use AI to not only write faster, but to write better books. I’ve experimented with a lot of different things, some of which have worked, most of which haven’t. And I’ve published several AI-assisted books, many of which have a higher star rating than most of my human-written books. So I think it’s safe to say that I have some experience on this subject, at least as much as Brandon himself, if not more.

Brandon compares the rise of generative AI with the story of John Henry and the steam-powered rock drill, where John Henry beat the machine but died from overexertion. So he showed that man can still beat the machine, but the machine still went on to change the world.

But I don’t think that’s the right story when it comes to AI. It’s far too simplistic, pitting the AI against the artist. Instead, I think it’s better to look at how AI has changed the world of chess. For a long time, people thought that a computer would never be able to beat a human at chess. Then, in the 80s, an artificial intelligence dubbed “Deep Blue” beat Garry Kasparov at chess, proving that computers can beat even the best humans at the game. So now, all of our chess tournaments are played by AI, and humans don’t play chess at all. Right?

Of course not. Because here’s the thing: even though a strong AI can always beat a human at chess, a human who uses AI can consistently beat even the strongest AI chess engines. In fact, there are tournaments where teams of humans and AIs play against each other. They aren’t as popular as the human-only tournaments, since we prefer to watch humans play other humans, and the best human chess players prefer to play the game traditionally. But when they train, all of the top grandmasters rely on AI to hone their craft and sharpen their skills.

Chess is a great example of a field that has incorporated AI. And even though AI can play chess better than a human, AI chess players have not and never will replace human chess players. Because ultimately, asking whether humans or AI are better at chess is the wrong way of looking at it. AI is better at some things, and humans are better at other things. The best results happen when humans use AI as a tool, either in training or in actual play. And because of how they’ve incorporated AI, the game of chess is more popular now than ever.

Brandon spends a lot of time angsting about whether AI writing can be considered art. Perhaps when I’m also the #1 writer in my genre, and have amassed enough wealth through my book sales that I never have to work another day in my life, I can also spend my days philosophizing about what is and is not art. But right now, I prefer a more practical approach. I’m much less concerned about what art is than I am about what it does. And the best art, in my opinion, should point us to the good, the true, and the beautiful.

Can AI do that? Can it point us to the good, the true, and the beautiful? Yes, it can, just like a photograph or a video game can—both examples of counterpoints that Brandon brings up. But as with the game of chess, a human + AI can create better art than a pure AI left to its own devices. I suspect this will remain true, even if we reach the point where AI art surpasses pure human-made art. Because at the end of the day, AI is just a tool.

But what about Brandon’s point that “we are the art”? Isn’t it “cheating” to write a book with AI? Doesn’t that demean both the artist and the creative act?

It can, if all you do is ask ChatGPT to write you a fantasy story. Just like duct-taping a banana to a wall and calling it “art” is pretty demeaning (though you’ll still get plenty of armchair philosophers debating about whether or not it counts, highlighting again how useless the question is). But if you spend enough time with AI to really dig into what it can do, you’ll find that it’s no less “cheating” than pointing a camera and pushing a button.

One of the first AI-written fantasy stories I generated was a story about a half-orc. I wrote it using ChatGPT while my wife was in labor with our second child. We were both at the hospital, and I had a lot of down time before the action really began, so I used those few hours to write a 15k word novelette. It was fun, but the story itself was pretty generic, which is why I’ve never published it.

Basically, it read like an average D&D fanfic—which is exactly what every AI-generated fantasy story turns into if you don’t give it the proper constraints. If all you do is ask ChatGPT to tell you a story, it will give you a very average-feeling story. Every fantasy turns into a Tolkien clone or a D&D fanfic. Every science fiction turns into Star Trek. It may be fun, but it’s not very good. Just average.

My first AI novel was The Riches of Xulthar, and I wrote it quite differently. Instead of just running with whatever the AI gave me, I picked and chose what I wanted to keep, discarding the stuff that didn’t work very well. But I still didn’t constrain the AI very much, so it went off in some pretty wild directions, which made it a challenge to decide what was good. As a result, it went in some very different directions than I would have taken it, but the end result was something that I could still feel good about putting my name on. And of course, after generating the AI draft, I rewrote the whole book to make sure it was in my own words. That also helped to smooth out the story and make it my own.

Since writing The Riches of Xulthar, I’ve written (or attempted to write) some two dozen AI written novels and novellas. Most of them are unfinished. Some of them are spectacular failures. I’ve published another half-dozen of them, most in the Sea Mage Cycle.

It was while I was working on the latest Sea Mage Cycle book, Bloodfire Legacy, that I finally felt I was getting a handle on how to write something really great with AI. The key is constraints. AI does best when you give it constraints that are clear and specific. The more you constrain it, the more likely you are to get something that rises above the average and approaches something great.

But to do that, you have to have a very clear and specific idea of what you want your story to look like. Which means you have to have a solid outline (or at least some really solid prewriting), and a deep understanding of story structure.

I think the real reason Brandon is so opposed to AI writing is that it negates his competitive advantage—the thing that has made him the #1 fantasy writer. Without AI, the biggest bottleneck for new and established writers is putting words on a page. Brandon made a name for himself with his ability to write a lot of words relatively quickly. Where other fantasy writers like Martin and Rothfuss have utterly failed to finish what they start, Brandon finishes everything that he starts, and he starts more series than most other writers finish. This is why he’s known as Brandon Sanderson, and not just “the guy who finished Wheel of Time.”

But generative AI removes this bottleneck. Suddenly, putting words on the page is quite easy. They might not be good words, but they might be as good as Brandon Sanderson’s words. After all, his prose isn’t exactly the most brilliant of our time. Deep down, I think Brandon feels this, which is why he sees AI as such a threat.

Will writing with AI make you lose some of your writing skills? Probably. I suspect it’s much like how using AI to code will make you weaker at coding, at least on a line-by-line level. But coding with AI will make you a much better programming architect and designer, since it frees you up to focus on the higher-level stuff.

In a similar way, I expect that the new bottleneck for writing will have to do with the higher level stuff: things like story structure and archetypes. The writers who will stand out in an AI-dominated writing field will be the ones with a deep and intuitive understanding of story structure, who can use that understanding to get the AI to produce something truly great. Because if you understand story structure, you can write better constraints for the AI. Pair that with a good sense of taste, and you’ve got an artist who can make some really great stuff with AI.

This is why I think Brandon’s views on AI art are not only misguided, but actually toxic. Love it or hate it, AI is just a tool. Using it doesn’t make you any less of an artist, just like using a camera vs. using a paintbrush doesn’t make you any less of an artist.

How about a book on AI writing?

For the last two and a half years, I’ve been reworking my creative writing process to incorporate AI in a way that doesn’t diminish my voice or humanity while taking advantage of all of the ways that AI can make my writing faster and more efficient. I’ve got it down to a point where my books only take weeks or months to write, instead of months or years, and I’d really like to write a writing book where I can share all of that.

As with the other non-fiction that I’ve done, I’ll probably post it all here on the blog before combining it into a book. But there are a lot of different directions I could take this. Should I write this more for an amateur hobby/weekend writer, or an aspiring professional kind of like I was 15+ years ago? Should I focus more on how to preserve elements of humanity like authorial voice, creative vision, etc, or should I focus more on the AI side like prompt engineering and common AI-isms? Should I go into depth about philosophical and ethical concerns, or ignore that stuff altogether and focus on what I’ve found works for me?

What I need is to come up with a rough chapter outline. Once I’ve got that, I can turn this into a weekly blogging thing, until I’ve got enough posts for a book. And while I can run this brianstorming exercise through ChatGPT to come up with a good outline (and I probably will, at some point), I’d like to throw it out there and hear from some of you.

So what do you think? What’s the angle you’d really like to see me take with this?

By the way, here’s a mock-up of the cover:

Third time’s the charm

We have a new baby! This one’s our third, and our second boy. The birth itself went quite smoothly, though he was having some minor breathing problems and had to spend a couple of hours in the NICU until they resolved. For that reason (and also because of some medication that made her shiver uncontrollably for nearly an hour), my wife said the immediate recovery from this birth was much more difficult than the other two. But he came out in one push, just like our other son. The staff wasn’t expecting that, and had to scramble to get another nurse in to help with everything.

While my wife and I were both in the hospital for the birth, my in-laws kept our other two kids overnight and watched them all day. But things got a little crazy when my father-in-law almost sawed his fingers off on a table saw, and had to go into the hospital for that. Then my mother-in-law came down with a cold, which quickly turned into walking pneumonia, so we took the kids back and all drove back home together after Mommy and baby were discharged from the hospital.

Right now, everyone in the family has a cold except for me and the baby. Hopefully it stays that way, though it is just a common cold, not RSV or anything worse. Still, we really don’t want the baby to get sick in his first week of life, which is why I’m watching him today. He’s currently sleeping on a pillow next to my writing computer.

Honestly, it’s been kind of nice—with my wife running around with the other two kids, I’m free to write and catch up on publishing tasks. The baby is super chill, and actually sleeps for four hours at a time, which ironically means that we’re sleeping better now than we were in the last few weeks of the pregnancy, since my wife had to get up almost every hour to empty her bladder. He also burps really well—so well, in fact, that sometimes we don’t realize that he’s already burped, and try forever to get another burp out of him only to give him the hiccups. But so far, he’s only spit up once (though he has peed on the changing pad table maybe half a dozen times).

Hopefully the cold runs its course in the next couple of days. And hopefully my in-laws recover from all the craziness soon, because they really would like to finally hold this new baby (and we would really like them to help watch our other kids). In the meantime, we’re just taking it a day at a time, doing our best to keep up on things without overstretching ourselves too much.

My current WIP is The Unknown Sea, and it’s coming along fairly well. I’m working on the AI draft simultaneously while humanizing it for the rough human draft, which is actually working out surprisingly well. AI writing and human writing work two different sets of mental muscles, so it’s kind of nice to switch off between the two. Keeps from burning out too much on any one thing. Also, the fact that I’m doing it all in the same WIP means that I don’t need to switch gears for a different book/series/genre. That switching can be tough.

It looks like The Unknown Sea is going to be a bit longer than my other Sea Mage Cycle books, though how much longer, I’m not yet sure. Still more fantasy adventure than epic fantasy. My hope is to finish the revised AI draft in the next four weeks, and the rough human draft another week or two after that, though with the new baby in the house, that is probably a wildly unrealistic goal. Still, he is a surprisingly mellow baby, so there is a chance.

Of course, the most important thing right now is to make sure the family is doing well, especially my wife. So that’s going to be the focus, until we can finally get settled into something of a new routine. Not sure how long that will take or what that will look like. But overall, we’re doing quite well.

Without AI, I would probably not be writing

I recently got another anti-AI one-star review that I want to pull apart, because it’s pertinent to what I want to say. I actually came up with the title for this post before I received the one-star review, so I’m not just fisking this one for the sake of fisking. With that said, though, there is definitely a lot to pull apart.

I was prepared to rate this as 2 stars. It is repetitive with no real character depth or development and a sincere lack of dynamic or engaging writing. 

Two stars… so magnanimous! In all seriousness, though, it’s worth pointing out that in spite of all the book’s flaws, she did read it all the way through. That’s important for later.

Then I read the “author” note at the end of the book that was defending their use of generative AI in their writing process…. not only that but also seemingly insulting other writers who are anti-AI claiming that readers dont seem to care about it.

You know what’s insulting to any author, whether or not they are “anti-AI”? Putting scare quotes around the word “author” when referring to them Though I suspect that she did that on purpose, fully intending to insult me, whereas I did not intentionally insult anyone. For the record, this is the passage from the author’s note that she claims is “insulting” to authors by saying that “readers dont [sic] seem to care about [AI writing]”:

Besides which, after sharing The Riches of Xulthar with lots of readers, I’ve found that most of the rage and vitriol against AI-assisted writing is on the writer side of things, not the reader side.

The other thing is that I was not trying to “defend” my pro-AI stance through the author’s note, just explaining my writing process and sharing the story behind the story like I do in the author’s notes I write in the back of all my books. That’s not me being “defensive,” that just me sharing my story.

But there is something profoundly narcissistic about the way this reader is framing her review. Because I stated something about readers that contradicts her anti-AI worldview, I must be intentionally “insulting” her (or the anti-AI authors she’s white knighting for, which amounts to the same thing). Because I wrote about how I used AI to help write the book, I must be “defending” myself against her anti-AI views. This kind of narcissism can only really come from someone who lives in an echo chamber and is not used to having their worldview challenged.

Well Joe, you are wrong. This book was lifeless and dull and the use of AI showed. Everything was one dimensinal and flat. Word choises were even static. We (readers) get it… FMC had auburn hair. There are other words besides auburn to describe it….

I’m not going to deny, there is some legitimate criticism here. Rescuer’s Reward was one of my earlier AI-assisted books, when I was still experimenting a lot and learning how to incorporate AI into my creative process while still preserving my voice and writing multi-“dimensinal” [sic] characters and stories. So it doesn’t surprise me all that much that I missed the mark with this particular reader for this particular book. Lesson learned. Thanks for the feedback and the useful data point.

With all of that said, though… I can’t help but notice that she read the whole book.

I have yet to hear a compelling AI argument in the reralm of artistic expression and this “book” just exemplified everything yet again. No heart. No depth. Not good.

This is the crux of the issue, and the reason I wanted to frame this post as a line-by-line response to this review. Is there “a compelling AI argument in the reralm [sic] of artistic expression”? Or is any author who uses AI committing an unforgivable transgression against their art?

Here’s the thing: most of the other authors I know gave up writing a long time ago. We all started out with bright-eyed dreams about telling great stories and creating great art, but the hard truth is that it’s almost impossible to make it as an author.

There are many reasons for this: people don’t read very much in today’s culture (I personally blame the public school system for that), and the publishing industry has always been brutally rapacious and exploitive of writers (just read The Untold Story of Books by Michael Castleman—it’s a really fantastic history of the written word).

But the writing itself is also very hard. There’s a reason why even many succesful writers are like this guy, single and living in what amounts to a glorified shack. Most of my writing friends quit when they got married and starting having kids. I sincerely hope that they’re just on a 20+ year hiatus, and plan to get back to writing again someday, because some of the stuff they wrote was really, really good (I’m looking at you, Nathan Major!) But sadly, that won’t make up for the stuff they would have written, but never did.

My wife and I just had our third child. Writing with small children is very difficult, especially when your wife has a full-time job. I love them all to death, though. If I had to choose between being a single writer, or putting my writing on hold for 20+ years and having to restart my whole writing career from zero, just to be able to raise a family, I wouldn’t hesitate for a moment to make that choice. But it would put a huge burden of guilt on my wife, because my writing was one of the key things that drew her to me back when we were dating. And while our marriage is probably strong enough to survive that, I can’t deny that it would be an incredible strain.

Without AI, I probably would be facing this choice right now. Even though I had managed to streamline my writing process in the last few years, I’ve never been an especially fast writer. Without AI, it took me about a year to write each novel—and that’s before all the demands on my time and energy that come with having small children.

But AI has enabled me to continue to pursue my career and my art, even through this period of life. Not only does this help me to be a better husband and father (which is ultimately the most important thing), but it also means that my readers don’t have to wonder about the things I would have written, but never did. I can write those books now. I can give those stories to the world.

I’m not talking about AI slop. I’m talking about incorporating AI into the creative process deeply enough that it enhances, rather than replaces, my human creativity. We don’t have to be afraid of AI. It makes so many things possible—including running a profitable indie author business while raising (and soon homeschooling) 3+ small children. But it takes a lot of practice to get to that point. And generative AI is still so new that I don’t think there’s anyone who’s truly mastered the art of AI-assisted writing.

My Sea Mage Cycle books are mostly for practice. They’re meant to be fun, light reading. If it gives my readers a satisfying respite from all the doom and gloom in the world these days, I consider that book a success. The experience of writing each of them has helped me to be a better AI-assisted writer. And while the earlier ones may read like AI slop, that won’t be the case for long.

Excerpt: The Unknown Sea, Chapter 1

I’m working on another Sea Mage Cycle book right now, alternating between the AI revisions (where I generate multiple iterations of each chapter using the same prompts, and combine the best parts for the final AI draft) and humanizing the AI draft to produce the rough human draft. So far, it’s working out really well. I do a little bit of work each day: maybe a chapter of the AI draft, or a scene of the human draft, but it’s steady progress and the kind of thing that I can probably keep up to some degree, even with the demands of a newborn baby, which is sure to throw things off in the coming weeks.

In any case, here is an excerpt from the first scene of the first chapter of The Unknown Sea. This is the rough human draft, so the writing is all mine and not AI-generated, though there may be some AI-isms because I used the AI draft as a guide. I’m going to write a post next week detailing my current AI-assisted writing process, so if any of that is confusing, check out my post there. In the meantime, enjoy!


The sea-soaked wood of the pier groaned under Enoch’s boots as he walked out onto the dock. He squinted, eyes stinging a little in the salty breeze as he peered out across the bustling harbor. Fat merchant caravels sat low in the water as they crawled into port, dockhands rushing to secure them. Elsewhere, sailors hauled heavy sacks of trade goods down to the docks, or rolled barrels of supplies up the narrow gangplanks for the ships that were preparing to depart. 

Enoch Ashenford took a deep breath. Few ports on the Azure Sea buzzed with the raw, desperate energy of the capital of the kingdom of Caravelia. Many a merchant prince had made his fortune here, and many a man with little to his name had rewritten his own story.

So why did he feel so thoroughly out of place?

He fished the letter of introduction from his waistcoat pocket. The elegant script had smudged a little at the corners from nervous handling, but the words on the parchment were still clear. Our son is of sound mind and steady hand, he read, taking encouragement from the words. He has a promising magical talent and will serve you well in the position of sea mage.

Of course, it wasn’t just the endorsement that had landed him the position. His father had had to pull some high-placed favors to get it. Not that Enoch wasn’t qualified, of course—as the only one in his family to be born with magical talent, he had worked hard to cultivate it with what meager resources the dwindling family wealth could acquire. But few young mages landed a berth quite so lucrative as a merchant caravel so early in their apprenticeship.

He tucked the letter away, hoping it would dutifully impress the captain. The morning air was thick with the stench of old fish and burning pitch, the unlovely aroma of commerce. Enoch drew another sharp breath and squared his shoulders before setting out to find the ship.

He pretended not to notice the stares and glances aimed his way. It was rare for a noble scion to set foot on these docks, let alone seek employment on a common merchant. His mother had insisted on dressing him well, in fine leather boots and a silk tunic, but these made him stand out almost as much as his pale, untanned skin and soft hands. He also had all his teeth, which was more than he could say of many of the men he passed.

It was frustrating, because if any of these gawkers looked closer, they would see the threadbare patches on his tunic and pants, the cracks and creases in the ageworn leather of his belt and boots. A noble son he might be, but the battered satchel slung over his shoulder held little of real value. 

He stopped to get his bearings. It seemed like the forest of masts and sails stretched almost to the horizon. Somewhere among them was the merchant ship that would be his ticket to wealth and glory—if he could only find the blasted thing.

“Make way,” a grizzled sailor shouted, carrying a large barrel on one shoulder. Enoch tried to get out of his way, but the man still nearly knocked him off his feet, swearing as he did so.

“Ouch!”

“Watch yourself, young lordling. This is no place for soft hands and slippered feet.”

Blood rushed to Enoch’s cheeks. “I’m not a ‘lordling,’” he muttered under his breath. “Just the seventh son of a penniless house.”

It was no use, of course. These common folk probably all thought that all nobles were rich. But Enoch’s noble birth had been more of a burden than a blessing. His older brothers had already divided up the Ashenford house’s few minor titles, barely managing to secure respectable positions and marriages for themselves. Even Carl, the second youngest in the family, had received a captain’s commission in the King’s Fleet. But by the time Enoch had come of age, the Ashenford house’s coffers had run as dry as a salt pan at high noon.

The manor still stood, of course. One couldn’t exactly pawn bricks and stone. But the paintings and tapestries had been sold, then the family silver, then most of the furniture. His mother wore the same gown to every court function, cleverly disguising the fact with slight alterations made by her own hands. As for his father, he spent most of his days in the family library, poring over the same old tomes—as if the secret to restoring the family’s fortune could be found in books alone.

No. Enoch had had enough of that dusty old manor, and he had no patience for the duties and pretenses of the court. He’d be damned before he gave up and turned around, even with all the snickering glances and gawking stares. He thought again of the letter of recommendation in his pocket, resisting the urge to take it out. If he could just find that blasted ship…

“You look a bit lost, lad,” a voice called out. “You wouldn’t happen to be young Master Ashenford, would you?”

Enoch turned to see a burly clean-shaven man in a leather apron, a crooked grin splitting his wind-chapped face. Sun and sea had tanned his skin to the color of old rope, which was almost as tough and leathery as the apron he wore. He swayed a little where he stood, and his shrewd eyes shone with the keenness of a man who had spent most of his life at sea.

“I might be,” Enoch hedged. “Who’s asking?”

“Marcus Reed, ship’s cook of the Waverunner. Captain sent me to fetch our new sea mage. That’d be you, I’d reckon?”

Enoch nodded, extending his hand. “That’s right. Pleased to meet you, Marcus.”

The man took it and gave him a single shake before gesturing toward the dock. Enoch quickly fell into step with his confident gait, grateful to have a guide to his new berth. 

“So,” Marcus asked, breaking the silence between them, “what brings a young nobleman to life at sea? Chasing adventure? Seeking your fortune?”

“A little of both,” Enoch admitted. “As the seventh son, it’s not like I’ve got much of an inheritance.”

“Ah,” said Marcus, chuckling dryly. “Well, the sea’s a great leveler, lad. Noble or commonfolk, it’s all the same when the storms hit.”

“Yes, sir.”

“Call me Marcus. We’re mates now, after all.”

“Right,” said Enoch, nodding. “And I guess you can call me Enoch. Like you said, the sea’s a great leveler.”

Marcus raised an eyebrow at him and smiled.

The Waverunner sat moored at one of the last piers. Enoch felt his breath catch as his eyes fell upon it. The sturdy single-masted caravel creaked a little as it swayed gently at the dock. Sixty feet of weathered oak, with a dark, waterlogged hull that had clearly seen many voyages. Despite her elegant curves, the salt and sun had clearly had their way with the wood.

“You there!” a commanding voice rang out from the upper deck. “The new mage?”

Enoch looked upward, meeting the gray eyes of a woman whose gaze held the relentless intensity of a hawk. She stood with confident poise, her graying hair pulled back into a tight braid, and her weather-beaten face held the sort of authority that needed no crown or title.

“Enoch Ashenford, Ma’am,” he answered, straightening his posture. “I’m to be your new sea mage.”

“Don’t just stand there, lad. Come let me get a look at you.”

He quickly climbed the narrow gangplank, ignoring how his stomach lurched. Once on board, he withdrew the letter of introduction and handed it to her.

“For you, Ma’am.”

Captain Maren Black plucked the letter from his hands and stuffed it into her waistcoat, barely giving it a glance. Instead, she looked him over from head to toe. Her eyes narrowed, making Enoch swallow.

“Hmm,” she muttered—a sound that could have meant anything. “Ever worked a ship before?”

“I’ve studied maritime magic extensively, ma’am. My family’s library—”

“That’s a no, then.” She turned away. “Marcus! Show the boy where to stow his gear. Thaddeus, check those lines again. They look slack.”

The pit in Enoch’s stomach fell—a pit that until now, he hadn’t realized was there. Like a dog with his tail between his legs, he quickly followed Marcus across the wooden deck and down into the hold.

“How large is the crew?” he asked the burly.

“Just five of us,” Marcus answered cheerily, ducking as they passed through the door. “Captain Black, First mate Thaddeus, Felix, yourself, and me. But what we lack in manpower, we’ll more than make up for in your magic. Right?”

“Right,” said Enoch, swallowing nervously. Just what had he gotten himself into? Seeing his discomfort, Marcus chuckled and clapped a hand on his shoulder.

“You’ll do fine, friend. Think of it this way: the fewer of us to crew the ship, the greater each man’s share of the profits.”

That was a good point, though it did little to quell Enoch’s growing anxiety. He also couldn’t help but notice how rough and calloused Marcus’s hands were to his own. With only five of them, he’d have to work hard to earn his keep, and not just with book learning and magic.

“This is where you’ll bunk,” Marcus announced, pointing to a cramped berth with a nod of his head. He leaned casually against the doorframe, folding his arms atop his leather apron. “This your first time at sea?”

Enoch’s cheeks burned. “Is it that obvious?”

“Don’t worry, lad. You’ll find your sea legs soon enough. The sea’s a harsh mistress, and an even harsher teacher.”

Enoch drew a sharp breath and nodded. A harsh mistress indeed, he told himself silently, but one I intend to master. As Marcus watched, he quickly unpacked his meager belongings, making space near the head of his bunk for the two most valuable pieces.

“Those look interesting,” Marcus remarked. “Family heirlooms?”

“Gifts from my parents,” Enoch explained. He unsheathed the dagger his father had given him and tilted it in the gleam of the candlelight. “The edge is inlaid with silver. It’s supposed to let it cut through magical shields and wards.”

Marcus raised an eyebrow. “And the amulet?”

He pulled out his mother’s amulet, fashioned from a spiral shell and hanging from a leather cord. “This one is called the Whispering Shell. It doesn’t look like much, but it’s enchanted with a powerful spell that helps the one who wears it to translate foreign speech.”

“So it lets you understand what the people around you are saying?”

“That, and it makes the bearer’s speech intelligible to all who hear. Like I said, it’s a powerful spell.”

Marcus whistled appreciatively. “Now that’s a rare piece of work. Must have cost a pretty penny.”

More than my family could afford, Enoch thought but didn’t say. His mother had pawned her grandmother’s emerald brooch to raise the funds, one of the last valuable pieces the family possessed. Instead of saying that, though, he simply nodded.

“My family wanted me to have every advantage.”

“Aye—and they’ll serve you well, I’d wager. Though not half as well as a sturdy pair of sea legs and a strong stomach.” Marcus grinned and slapped his back. “Though we’ll be giving you those in no time.”

“Thanks. I’ll keep that in mind.”

Marcus turned and left then, his footsteps creaking along the old, wooden floor of the deck. Enoch watched him for a moment, then carefully tucked the dagger and amulet away.

He thought of his mother, pawning a priceless family heirloom to buy him this chance. His father, struggling to maintain the fiction of their wealth while the walls grew bare around him. Seven sons, and the seventh was their last hope for something more than genteel poverty.

The thought hardened Enoch’s will until the pit in his stomach no longer seemed so terrible. He would not fail them. He could not afford to. He would stay on this ship and win his own fortune, restoring the family name and making his own way in this world. All of his doubts, all of his misgivings—it was time to throw those away. He was not just the overlooked son. It was time to become something more.

My spicy take on the ethics of AI art

There is nothing unethical about using generative AI to write or make art. Those who say otherwise either haven’t thought through their position, or they are lying for rhetorical effect. Or both.

If Andrew Tate wrote a book titled How To Enslave Your Woman For Fun and Profit, would he be within his rights to demand that no woman ever read that book? If you believe that AI is unethical because it was trained on writers’ and artists’ work without their consent, congratulations—that is exactly the position you have taken. You can’t pick up one end of the stick without also picking up the other.

Whether or not writers and artists were fairly compensated for the use of their work is a separate issue. Many of these AI companies obtained their training data by indescriminately scraping the internet, which means the used a lot of pirated work. But if using copyrighted material to train an AI system is fair use—and here in the US, the courts have ruled that it is—then all that they owe you is the cost of your book. So if your book is $2.99 on Kindle, that is what OpenAI owes you. Congratulations.

Does Brandon Sanderson owe Barbara Hambly royalties? Brandon Sanderson has sold something like $45 million in books, comics, and other media. Barbara Hambly struggles to pay her bills. Barbara Hambly wrote Dragonsbane, the young adult book that inspired Brandon Sanderson to write fantasy. Clearly, her work had a deep and lasting influence on him. So does he owe her?

If you believe that AI companies owe artists and writers more than simply the price of their own published work, this is a question that you must wrestle with. If it counts as “stealing” to train an AI on artists’ and writers’ work, then every artist and writer is also a thief, and owes royalties to the people who inspired them. Which is why the word “plagiarism” has a tight definition, and why our legal code recognizes fair use.

There is nothing unethical about using generative AI to write or make art. Almost everyone who says otherwise is either lying to themselves about that fact, or lying to you.

Why would someone lie about that? For the same reason people accuse you of being a racist, or a sexist, or a fascist, or a white supremacist, or a Christian nationalist… because using that term gives them power. They don’t actually want to make a reasoned argument. They just want to “win” the argument without ever having to make it in the first place. They use words that they know will get the reaction that they want, and they scream them as loudly as they can until they get it. That’s what the public discourse looks like in 2025.

To be fair, this is not just something that happens on the left. Plenty of people on the right will scream “woke” or “based” or “demonic” to cow people into accepting their point of view. These words do have meaning, and can be used to make a well-reasoned argument—just like “racist” and “fascist” have meaning. But most of the people who use these words are just wielding them like rhetorical clubs to bully their way around.

There is nothing unethical about using generative AI to write or make art. Most of the people who say otherwise are just using the word “ethical” to mean “things I don’t like.” They don’t believe in objective good or objective evil, and instead believe that things like truth and morality are relative. In other words, they think that good and evil change depending on who’s looking at it. This is why so many writers today can’t write a compelling villain (or a compelling hero, for that matter). They just don’t understand how good and evil work.

So why should you listen to them when they scream at you for using AI? You shouldn’t. They don’t know what they’re talking about. Or worse, they do, but they’re lying to you, because they want to compel you not to use AI in your art. Why? Because they’re afraid that if you do, you’ll create something better than what they can create. And on that point, they’re probably right.

Getting ready for the baby

Things are fairly quiet around here, though that’s going to change soon. The baby is nearly full term, and the doctors want to induce labor in just a few days, so that’s the plan. We’re just trying to get things ready for that.

Writing-wise, things are going very well. I recently finished the AI draft of The Soulbond and the Sling, and started work on The Unknown Sea again. My goal is to have the final draft ready to send to my editor by Thanksgiving, so that I can publish it in January. That’s going to be a tall order with the baby, though, so I may have to push the publication date back by a month or two.

Moving forward, I really want to publish a new novel at least every quarter. Some of those are going to be short, like the Sea Mage Cycle books, but eventually I hope to get up to epic fantasy length. And of course, I plan to finish my three unfinished trilogies in the next year or two. I’ve been taking the last couple of years to really figure out my AI-assisted writing process, and I think I’ve got that mostly down now, so it’s time to apply those lessons to these books and get them done.

One thing I’ve done recently was pull out all of my books from InAudio, formerly Findaway Voices. I was crunching the numbers from the last year, and I only made something like $12 during that twelve-month period, averaging something like $.04 per sale. Those numbers are skewed by all of the free audiobooks that get downloaded, but when I drilled into the reports, I found a bunch of places that were literally paying me only $.01 per sale. Literally just a penny. For an audiobook that a reader paid money for. Someone got paid in that transaction, and it sure as hell wasn’t me. Since InAudio doesn’t let you pick and choose which distributors you can send to—it’s literally all or nothing—I made the choice to just drop them. There’s no way I can sustain a career if I’m only getting pennies (if that much!) per sale.

I know that Audible has been in the news a lot recently, and for good reason—they really have been playing dirty, simply because they can get away with it. And while I don’t like the way they’re screwing authors over, I don’t think they’ve been screwing me nearly as bad as some of the places where InAudio distributes their books. For one thing, all of my audiobooks are AI narrated, so it’s not like I have a lot of production costs to make back. It’s literally just a value-add on top of the ebooks. For another thing, the least amount of royalties they’ve paid me is $.80 per book, which is more than what I get from just about every library service for audiobooks.

So for the time being, I’m going to keep my AI-narrated audiobooks up on Audible, even though I wish they would treat their authors better. But I’m not going to shell out the money for a human narrator at this time. It just doesn’t make sense, especially with the way that Audible squeezes us. With AI-narrated audiobooks, there really is no reason not to put them out, so long as they don’t drop the royalties any further. But it would take a hell of a long time to earn back an investment of several thousand dollars if all they’re paying me is $.80 per listen.

If you want to listen to my books on audio, the best way to do it is to click on the link at the top of the page and visit my online store. You also have the added bonus of owning the files, not just licensing them. And Bookfunnel is really good at delivering the audiobook to whatever app or device you prefer—or even opening it up in your browser, if you don’t have an audiobook app.

Soulbond and the Sling AI draft complete!

Last week, I finished the AI draft of The Soulbond and the Sling, the first book in my new epic fantasy series! Here are the stats:

  • 20 chapters (including prologue and epilogue)
  • 80 scenes
  • 136,294 words

So it’s a little short for an epic fantasy novel, but this is only the AI draft. As I rewrite it into the human draft, I will add more details and nuance that will hopefully flesh it out, bringing it closer to the 150k – 180k word range.

I started the AI draft in March, but I wasn’t working on it continuously all that time. I worked on it in about four separate bursts, each one lasting a few weeks. In total, it took 70 working days, or approximately 12 working weeks to write it.

The next stage is the human draft, where I rewrite the whole thing from scratch to make sure it’s entirely in my own words. I’ll keep the AI draft on-screen as a reference, and may use some turns of phrase that I like, but I’m not going to copy-paste from it. This way, the resulting work will be entirely my own.

I don’t know how long it will take to finish the rough human draft, but I expect it will take longer than the AI draft, perhaps even 2x or 3x as long. Then again, if the AI draft is clean enough, it might even take less time than that. I’ve been getting pretty good at these AI drafts, and it’s already at least partially in my own voice, given how my personal taste guided which parts of which AI generated iterations I decided to keep. I also did a revision pass with no AI whatsoever, mostly just to smooth out inconsistencies.

But the AI draft is complete! This is the longest book I have ever written with AI, and one of the longest ones I have written in general. I hope it is the first of many more to come!

(And also, I really need to get a better book cover!)

The Soulbond and the Sling: Prologue

This is the prologue of my epic fantasy novel, The Soulbond and the Sling. It’s a fantasy retelling of the story of David and Goliath, in a world where magical powers can only be unlocked through marriage. I used AI to write the rough draft, but everything here has been rewritten in my own words. I will probably revise it a couple more times before the book is published, but this is close enough that I think it’s worth posting. Enjoy!


Madoc leaned against the rough-hewn timber of the palisade, his breath forming ghost-like wisps in the cold night air. Another uneventful night on the eastern borderlands—though of course, almost anything could be lurking in the darkness below. He took a deep breath, fighting sleep, and began to pace, the wooden floorboards creaking beneath his weight.

For nearly six years, he’d been stationed at this frontier outpost that guarded the high road between the kingdoms of Zyonna and Edumar. In that time, he’d seen a distinct drop in the number of merchants who frequented the roads by day. And by night, the road was so empty, they could have been stationed in the wilderness. Beyond the palisade walls, the chill wind swept down from the rugged heights of Zyonna’s northern plateau, carrying the crisp, earthy scent of highland heather with its promise of the coming spring.

He paused his pacing to peer into the darkness. Tonight, the stars seemed to blaze more brilliantly than usual, though the gently rolling contours of the land were barely visible against the moonless sky. The trees had been cleared for several hundred yards, but the lands beyond were thickly forested. At this time of year, rain and sleet were all too common, so the star-strewn sky was a welcome relief, though it only seemed to multiply the shadows below.

He slowly made his way toward a cluster of soldiers huddled around a small brazier, their cloaks wrapped tightly against the chill late-winter breeze. Their words carried easily to his ears.

“My cousin trades with the rivermen from Edumar,” said Ferris, a stocky young bowman with a thick red beard. “He says half of the villages he used to frequent are empty now. It’s like that throughout the whole kingdom.”

“The Fellspawn, no doubt,” grunted Pete, a wiry veteran with a patch over one eye. “It’s been getting worse on the other side of the border for years. Nothing for us to worry about, though. Our king isn’t a wicked soulbond mage like Gardomir.”

“Nothing to worry about?” Ferris retorted, his eyebrows knitting in disbelief. “The Fellspawn knows no borders. They may spawn out there in Edumar, but they’ll come out here right as—”

“They’ll do no such thing, so long as our mages keep the corruption at bay. It’s all just a part of the natural cycle. We might get an occasional direwolf or two, but you don’t need magic to deal with those.” He spat over the edge of the stockade for emphasis.

Ferris shook his head. “My cousin says there’s nothing natural about the Fellspawn out there in Edumar. The abominations he’s heard about don’t just pop up on their own. They’re being summoned by something—or someone.” He glanced around the circle, looking for support.

“Your cousin says a lot of things,” the one-eyed veteran grunted.

Madoc paused, curious to see how his men would react. Few of them were greenhorns like Ferris, though tensions had been gradually rising in the fort these last few months. But whether that was due to mere cabin fever or the rumors from the other side of the border was difficult to gauge. He turned to the side, facing the wall, and let the men’s voices carry.

“I don’t know, Pete,” said Tom, another old-timer who’d been stationed here longer than Madoc. “They call King Gardomire the Many-Bonded now. They say he’s taken five soulbound concubines. If anything can stir up the Fellspawn, it’s that.”

“Trader’s tales,” Pete scoffed. “Next they’ll be saying King Gardomire breathes fire and has horns.”

“No, it’s true,” Tom insisted. “He really has bonded five slave women to his will, raping them for all the magic that they can give him. It’s made him more powerful than any of our soulbound mages. But that isn’t all. They say he’s taken up with dark unnatural dark magics too—wielding the Fellspawn himself, even.”

“Like hell it has,” spat Pete. “Kings forge alliances with other kings, not with the forces of nature. You can’t trust everything that you hear.”

“But what if there’s some truth to the rumors?” Ferris chimed in, his voice tinged with concern. “They can’t all be wrong.”

“Aye,” said Tom. “The lad has a point. King Gardomir’s always been a power-mad tyrant, but lately, the stories out of Edumar have been getting downright grim.”

Madoc had heard enough. He pushed off from the rough-hewn timbers, stepping with deliberate heaviness as he walked toward his men. The quiet murmur of conversation ceased as the floorboards creaked beneath his thick leather boots.

“Enough with the ghost stories, lads. Speculating without facts is as pointless as trying to shoe a fish. Are we soldiers, or idle gossips at market day?”

Pet grunted in appreciation, though Ferris and Tom straightened uncomfortably. 

“Sorry, sir,” Tom muttered. “Just trying to pass the night.”

Madoc smiled and clapped him on the shoulder. “Just another boring night on the border, eh? That’s how it always is. We tell ourselves stories like wide-eyed children just to pass the time, and the next you know, the stories spread and gain a life of their own.”

“But what if there really is something more out there, sir?” said Ferris, the flickering light of the brazier reflected in his eyes, “More than the usual border reivers, I mean.”

Madoc turned and looked the young man squarely in the eye, though he kept his posture relaxed. “Have any of us seen a creature of the Fellspawn that was more than a match for our spears?”

The men shook their heads. Madoc pointed to the shrouded treeline below.

“Have any of you seen King Gardomir in those shadows, sporting horns and breathing fire?”

Old Pete snorted.

“Whatever’s happening in Edumar,” Madoc continued, “it doesn’t change our duty here. We keep watch, we stay alert, and we don’t let imagined horrors distract us from the real ones. Besides,” he added, gesturing behind them, “we’ve got the orb.”

The men all glanced down to the courtyard of the fort, where a crystalline sphere sat atop a sturdy stone pedestal. Its smooth, dull surface reflected the starry sky, without any hint of the enchantment that lay upon it. If anyone—or any thing, for that matter—approached the outpost with violent intent, the orb would glow a fierce orange, warning the men as surely as a roaring fire. Enchanted orbs like this one had been placed strategically along the length of the eastern frontier, aiding the men of the guard in their watch.

Madoc clapped Ferris’s shoulder. “See, lad? Whatever may lurk in Edumar is no threat to us tonight. Now, keep your eyes open and try not to freeze your arses off.”

The older men chuckled appreciatively, bringing a hint of pink to their cheeks. Even Ferris smiled. At the sight, Madoc felt the knot in his chest ease a little. It wasn’t that he discounted the rumors entirely, but spreading them would serve no one. They all knew their duty. Twenty men on the edge of the kingdom, serving as Zyonna’s first line of defense. The last thing they needed was to start jumping at shadows.

Madoc left them and walked to his preferred spot in the northwest corner of the stockade, where he could watch both the eastern approach from Edumar and the high road back to Caer Zyonna. From here, the distant hills looked a little like sleeping giants, their silhouettes barely visible against the starry sky. He settled in for another quiet night, where the occasional wandering deer would be the only break in the boredom, beside the nightly changing of the watch. His mind began to wander, planning out patrol routes and mess hall duties for the coming week.

In truth, the lack of border activity troubled him more than any rumor about King Gardomir or the Fellspawn. When he had first been posted here, the high road had seen a steady flow of merchant traffic between the two kingdoms, stretching almost from dawn to dusk. Now, even in broad daylight, it was rare to see anyone on the road. The thought made Madoc frown. Smugglers and reivers, he could deal with, but the relative silence was unnatural for these parts. After all, the crown hadn’t posted him on the wilderness. So why did it feel increasingly like they had?

The hour passed slowly. At the end of it, a new group of sentries came up to replace the men who had clustered around the brazier. They made the rounds slowly, checking to make sure all was quiet beyond the rough-hewn palisade. Madoc grunted a little and rose to check in with them, grateful for the distraction from his thoughts.

“How’s it look, Lodan?” he asked as he approached the two men on the southern wall.

“Calm as a spring meadow,” Lodan answered with his northern accent.

“Aye,” said Adam, his companion. “If it weren’t for that persistent northerly wind, it might even be pleasant out here.”

Madoc narrowed his eyes, peering eastward where the shadow outline of Edumar’s rolling hills brooded against the sky. “Aye,” he agreed. “Make sure to stay warm, lads. We need your arms and legs as much as we need your eyes.”

“Wait,” said Lodan, frowning as he lowered his voice. “Listen—what was that?”

The sound was so low that Madoc initially took it for the wind. It was a low, rhythmic thumping, coming from the east. Like footfalls, but spaced too far apart to belong to any man or horse.

“Thunder?” Adam asked.

“Too low for thunder,” Lodan answered, though his voice was tight and uncertain.

Madoc stiffened as he strained to listen. There it was again—a low, reverberating thud that he felt in his chest as much as he heard with his ears. He quickly scanned the horizon, but no rainclouds marred the sky in any direction. The stars shone undisturbed.

He glanced down into the courtyard below and felt his stomach clench. The orb had picked up a faint orange glow, like the last embers of a dying fire. The sight sent a chill snaking down his spine. Sinister shadows danced across the grass, cast by the glowing orb.

“Sound a quiet alert,” Madoc ordered. “All men to their positions. No horns, no shouting.”

Lodan and Adam nodded and moved quickly, hurrying down the ladder with silent feet. They entered the barracks and quickly began to wake the sleeping men, who soon began to emerge. There were only twenty of them, but they woke quickly, scrambling up the wall with their armor half-fastened and their weapons in hand. Within a few minutes, the once-sleepy outpost was transformed, every man in position along the eastern wall.

All the while, Madoc peered into the darkness where the highland meadows gave way to scattered copses of pine and birch. He had an unsettling feeling that something dangerous lurked unseen in those woods, just beyond their sight. Should he send out a scouting party? No—best to keep his men concentrated and wait. The night was too dark to risk sending them out by twos and threes.

Besides, he sensed that whatever was out there was coming straight for them.

“Form up,” he called softly to the archers gathered along the wall. “Nock arrows but hold until my command.”

The men silently obeyed, holding their bows and nocking their arrows in near total silence. There were no torches or light to see by—they had been careful not to show any sign that the fort had been awakened. All of the countless drills had prepared them well for this moment, though Madoc didn’t miss the nervous glances that some of them exchanged. Down in the courtyard behind them, the warning orb began to brighten.

“Do you see anything, sir?” Tom asked, squinting into the night.

Madoc was about to answer when a massive figure suddenly detached itself from the trees. It stood nearly twice the height of a man, with a great, hulking body twisted monstrously by thick, corded muscle. Two curved horns jutted unnaturally from its skull, gleaming like obsidian blades. And its eyes—God, its eyes—glowed with a faint amber light that seemed to pierce Madoc’s very soul.

“Sweet mercy,” whispered one of the archers. “What is that thing?”

The warning orb now blazed like a captured sunset, bathing the entire courtyard in a deep orange light. Madoc’s throat felt suddenly tight.

“Draw!” he heard himself issue the order. “Loose!”

Arrows whistled through the chill night air, shattering the silence. The volley was tight and well-aimed, every arrow flying true. Madoc held his breath.

The volley struck the beast with enough power to drop a line of charging war-horses. But to Madoc’s dismay, most of the shafts bounced harmlessly off of the creature’s hide. Those few that did stick seemed to have no effect, for the beast began to advance toward the fort, its relentless strides devouring the earth beneath it with alarming speed.

“Again!” Madoc yelled. “Draw and loose!”

The archers quickly nocked new arrows and loosed them at the approaching beast. The second volley was a little most scattered than the first, but still flew true—to much the same result. Almost all of their shafts glanced off of the beast’s hide. Those few that stuck seemed merely to anger the colossal intruder.

It surged toward the fort with ferocious speed, lowering its massive horns. “Brace for impact!” Madoc barely managed to yell before the creature slammed into the wooden palisade.

As a young man decades ago, Madoc had fought in the war with Edumar. During one of the sieges in the course of the campaign, he had seen an iron-tipped battering ram reduce the wooden gates of a walled town to kindling. But even that was not enough to prepare him for what he now saw.

The beast’s impact shattered the wall almost totally. Logs as thick as a man’s waist burst inward, splintering into fragments. The adjoining watchtower crumpled in on itself like parchment crushed in a fist. Men screamed, some of them thrown clear by the impact, others caught in the collapsing structure.

Madoc struck the hard-packed earth of the courtyard, driving the air from his lungs. Pain lanced through his shoulder, but his training took over and he quickly rolled, somewhat softening the blow. As soon as he came to a stop, he staggered to his feet.

All around him was chaos. Men ran in every direction, some trying to form a defensive line, others fleeing toward the stables. The monstrous intruder stood amid the wreckage of what had once been the palisade. The bright orange light of the warning orb lit it in terrible detail, like a nightmare given flesh. As it gazed upon the chaos it had spread, its amber eyes held no animal confusion—only calculated, intelligent malice.

“Hold your ground!” Madoc yelled, just as the creature let out a thunderous roar. Men cried out and staggered, and Madoc felt his own ears ring.

The beast stepped fully into the courtyard, its massive head swiveling as it surveyed the panicked humans scattering before its approach. Then its eyes fixed on the glowing orb, which now pulsed with such intensity that it cast the whole outpost in a hellish orange light.

“Rally to me!” Madoc shouted, drawing his sword. The blade felt pitifully inadequate against such a monstrosity, but he raised it nonetheless.

A handful of his most battle-hardened veterans quickly formed a desperate line beside him. Madoc yelled, and they charged at the Fellspawn monster with their swords and spears. Two brave spearmen managed to penetrate the beast’s hide, eliciting a roar of rage. A massive clawed hand swept out, raking the first spearman across the chest and all but disemboweling him. The second man barely had time for a massive step before those gnarled fingers closed around his torso, crushing armor, flesh, and bone with sickening ease.

Madoc swung and slashed at the beast’s leg in an effort to hamstring it. His sword bit into that gray, leathery flesh, to little effect, barely penetrating more than an inch. The creature didn’t even look down.

Instead, it stepped up to the warning orb and wrapped its massive hand around the glowing crystal. The orange light intensified, bleeding through its fingers like rays of dying sunlight. Then it squeezed, and the orb shattered with a sound like glass grinding against stone.

Madoc gasped in shock and horror. The outpost was thrown into sudden darkness, the monster reduced to a looming, shadowy mass. His men fell back in confusion, stumbling over their fallen comrades. From the stables, Madoc heard the panicked whinnying of the horses in their pens.

The beast heard them too. It turned with surprising swiftness, its amber eyes fixating on the door to the stables, where the outpost’s horses stamped and kicked in terror.

“No,” Madoc breathed.

With casual ease, the creature tore off the thatch roof and reached inside. A horrible human scream filled the night as the stable hand met his hand. Then the beast reached a little farther, and pulled out a chestnut gelding in its massive hands. Still alive, the panicked horse thrashed frantically as the creature wrung it like a rag. The animal split in two, splattering the courtyard with blood and steaming entrails.

The last of the men who still held their ground now broke down and ran. Even Madoc fell back, barely keeping a grip on his sword. He felt his gorge rise but quickly forced it down.

“To me!” he bellowed in desperation. “For Zyonna!”

But no one rallied to his call. Their spirits shattered, their courage spent, men scrambled for the rear gate or sought to hide in the barracks and the blacksmith’s shop. And far too many of them now lay motionless on the blood-soaked earth. 

The creature tore methodically through the dead horse, quickly consuming the remains of the once magnificent beast. A few brave souls took potshots at it with their bows, to little effect. It devoured most of the horse’s front half before dropping the remaining carcass and straightening to its full height. Blood dripped from its jaws as it turned to face Madoc with those terrible amber eyes.

Madoc’s gut fell, and for a brief, heart-stopping moment, he thought it would come for him. But then, a sound emerged from deep within its throat—a rhythmic, guttural cry of satisfaction.

“Gol-guh. Gol-guh.”

With casual indifference toward the survivors of the attack, the creature pivoted on its heel and ambled back through the collapsed eastern wall. Its steps were unhurried, making clear that it was leaving on its own terms, and no one else’s. Once outside, it veered away from the dense forest from which it had emerged, heading westward instead. 

Toward the high road. Toward Zyonna.

An awful silence fell over the ruined outpost, broken only by the moans of the wounded and dying, and the crackle of flames where a brazier had spilled and caught on splintered wood. Madoc stood frozen for several heartbeats, struggling to process all that he had just witnessed. The attack had barely lasted longer than a few minutes, but it felt as if half a lifetime had passed.

Then his training quickly asserted itself. He blinked and turned to his men.

“Check for survivors!” he ordered. “Get the wounded out where we can treat them. And someone put out that fire before it spreads!”

Gradually, men staggered back into the courtyard, some emerging from the places they’d hid, others dragging themselves up from where they’d been thrown. Those who were whole moved quickly to carry out their commander’s orders. Soon, they were laying out the wounded on the hard-packed earth.

Madoc made a quick assessment of their losses. Five men dead, including the stable hand. Eight wounded, two critically. Half their horses slain or fled out into the night. The eastern wall was destroyed beyond repair, meaning they’d likely have to abandon the outpost. And the warning orb—their most valuable asset by far—reduced to little more than glittering shards.

He turned and stared in the direction the creature had vanished. Not toward Edumar, he realized with a chill. It was heading west, deeper into Zyonnan lands.

“Ferris!” he called, spotting the stocky highlander. “Can you ride?”

“Yes, sir,” the young man answered. “What would you have me do?”

“Take the fastest horse you can find and ride for Caer Zyonna. That… thing… is headed straight toward our country’s heartland. Every settlement between here and the Western Marches is in danger.”

“Sir,” said Ferris, his face paling in the dim starlight. “What was that thing?”

“I don’t know. But the kingdom must be warned. Tell them…” Madoc struggled to articulate the horror they’d just witnessed. The creature was obviously Fellspawn, though it hadn’t behaved like one. Instead of making a frenzied and indiscriminate attack like any other wild beast, it had shown purpose. Intelligence. As if it had not been merely spawned, but sent.

“Sir?”

He narrowed his eyes, suddenly remembering the beast’s final call. “Tell them the Golga has come.”

Ferris nodded grimly, mounted the nearest horse, and galloped westward down the road toward the kingdom’s distant capital.