Scott Lynch and Elizabeth Bear named in SFF misconduct allegations

Author Alexandra Rowland has accused fellow writers Scott Lynch and Elizabeth Bear (who are married) of abusing them, claims which they have vigorously denied. This story follows several other accusations of harassment in both the SFF lit field and in video gaming over the past two weeks.

This is a developing story and one facts are in some dispute. However, there has been enough discussion of it in the public sphere that at least a bald recounting of the events and claims is possible.

On Friday 26 June, author Alexandra Rowland wrote a blog post in which they accused fantasy author Scott Lynch and Elizabeth Bear, of abusing and grooming them for several years. Their full post can be read here. To summarise, Rowland contends that, in 2015 and at the age of 25 (twelve years younger than Lynch), they were propositioned by Lynch into having a relationship with him on the basis that he was talking his wife into having an open relationship. Rowland agreed but this subsequently triggered a series of hostile confrontations with Bear, who (in Rowland's contention) put the blame for the event on Rowland and not Lynch, and they subsequently walked away from the situation and cut all contact. Rowland also contends that this kind of problem has happened before with several other young writers (there have been several anonymous allegations of this type supporting Rowland's claim, but no other writer has come forward publicly).

Scott Lynch's initial response was angry and threatened legal action. A subsequent and more measured response rejected the claims in greater detail, although agreeing that he had a consensual relationship with Rowland with his wife's knowledge. Lynch rejected any notion of this being a pattern of behaviour on his part and he has had no contact with Rowland in three years.

Elizabeth Bear also gave a lengthy response (after Lynch's initial response but before his second) in which she categorised Rowland's behaviour as part of a pattern of inserting themselves, unwanted, into other people's spaces and not respecting boundaries. Writers CD Covington, Arkady Martine and Devin Singer provided some support for this assertion.

Writer Kurt Panakau also claimed that Rowland is acting in bad faith, and posted screenshots confirming a similar event happened with another married author three years before the Lynch relationship took place. It should be noted, of course, that bad things can happen to the same person twice. The other married author has not yet been identified.

An anonymous Twitter account provided support for Rowland's account of events, alleging that Lynch behaved towards the account-holder inappropriately at a convention.

Elizabeth Bear has further posted a claim that this issue has reignited long-standing Twitter feuds dating back a decade to previous clashes between SFF writers over other issues (particularly the RaceFail controversy of 2009-10), and anonymous accounts may be posting false information to further their own agenda and even scores. Other commentators have accused this of being deflection.

Many of the previous stories of abusive behaviour and taking advantage of power dynamics in the SFF field have had multiple witnesses and the alleged perpetrators have owned up to their own bad behaviour. This story is much more contentious and contended, and involves multiple allegations and denials on both sides, which is why I was more reluctant to cover it versus other allegations since the facts are in much more dispute. However, the story has become dominant in the SFF field in the last few days.

For my part, I have met Scott Lynch three times and Elizabeth Bear once (briefly on all occasions), and have had positive but brief online interactions with both. I have reviewed some of their books positively in the past. I had not heard of Alexandra Rowland prior to this story breaking.

Further developments are expected.

Gratuitous Lists: Twenty Great Complete Fantasy Series

When writing articles about “the best fantasy series ever”, it’s inevitable that 1) the list will feature a lot of incomplete series, and 2) the list will feature a lot of complaints about “how can you call this series great when it’s incomplete, the next book might be rubbish?” This is a fair criticism. In fact, given that some of the biggest and most-namechecked modern fantasy series are incomplete (including A Song of Ice and Fire, The Kingkiller Chronicle, The Stormlight Archive and more), removing them from such a list immediately adds a lot of lesser-known series, which makes the list more interesting.

So here is a list of twenty great completed fantasy series. The criteria I used was as follows: the series can have sequels, but the core series itself must be done. You can read more books set in the world, but the story told has to be a complete entity with a beginning, middle and end. Hence the presence of Memory, Sorrow and Thorn even though Tad Williams has written an incomplete sequel trilogy, two short stories and two short novels set in the same world. The same thing for Steven Erikson’s Malazan sequence (although this was a little more dubious, given the presence of sequel and prequel series and complementary books written by his co-creator Ian Esslemont).

More arguable was a series which is ostensibly complete but more blatantly stands as part of an inter-connected whole. This immediately invalidated Scott Bakker’s Second Apocalypse series, which comprises two complete sub-series but requires the upcoming third series to complete its narrative arc, and Joe Abercrombie’s First Law trilogy, where the story finishes but key thematic and character stories continue into three stand-alone novels and the incoming sequel trilogy. Brandon Sanderson was particularly difficult to juggle with this, although ultimately the original Mistborn trilogy was omitted from the list more for comparative quality purposes (it’s just bubbling under) rather than being an incomplete narrative itself.

This is list is also not presented in any kind of numerical order, as doing so would simply invite arguments about the order rather than discussion of the books themselves, and when you’re talking about this quality level the differences are going to be somewhat slight. This is also not a list of the twenty "best series ever" (which is too big a claim), but merely twenty really good completed series. There are many others.

The Middle-earth Series by J.R.R. Tolkien

The Hobbit (1937) • The Lord of the Rings (1954-55) • The Silmarillion (1977) • Unfinished Tales (1980)

Further reading: The Adventures of Tom Bombadil (1962) • The Road Goes Ever On (1967) • The History of Middle-earth series (12 volumes, 1983-96) • The Children of Húrin (2007) • Beren and Lúthien (2017) • The Fall of Gondolin (2018)

J.R.R. Tolkien created – or at least defined – the entire modern field of epic fantasy with The Lord of the Rings, a vast tome chronicling the War of the Ring between the free peoples of Middle-earth and the Dark Lord Sauron, as seen through the eyes of four modest hobbits. The novel was written as a sequel to his much simpler earlier story, The Hobbit, but grew in the telling to a huge story about the meaning of simple heroism and the passing of an age. Together, The Hobbit and The Lord of the Rings form a complete story, but fans wanting more can read The Silmarillion, the vast history and mythology of the entire world that Tolkien spent most of his life writing (he started working on it in 1917 and it was published sixty years later, four years after his own death). The oft-overlooked Unfinished Tales collects his other extant canonical writings on the subject of Middle-earth, including short stories and worldbuilding essays, some of which (like Gandalf’s account of the Quest of Erebor and a more detailed history of Númenor) are essential reading.

Hardcore fans can also read every single surviving draft, memo and note Tolkien wrote on the subject of Middle-earth, collected in The History of Middle-earth, as well as curiosities such as a collection of sheet music and songs about Middle-earth (The Road Goes Ever On) and some poems about tertiary characters (The Adventures of Tom Bombadil). There’s also The Children of Húrin, Beren and Lúthien and The Fall of Gondolin, episodes from Unfinished Tales and The Silmarillion which have been edited into stand-alone novellas.

Tolkien wrote with poetry and skill, creating an entirely new type of literature on the fly. More to the point, he wrote epic and personal stories which continue to resonate today.

MANY MORE AFTER THE JUMP

A History of Epic Fantasy - Part 34

In 2015 epic fantasy is in the best health it's been for a long time. Game of Thrones is the most popular drama in the world, publishers are putting out more books and series than ever before and fantasy video games are shifting vast quantities. Even better, the genre is evolving and getting more original, casting aside the trappings of the past to explore ever more interesting ideas about people, magic and worlds.

God's War & The Mirror Empire

Few authors have arrived with such ferocity as Kameron Hurley. Her first novel, God's War (2010), is an SF-fantasy hybrid where technology is replaced by the use of magically-controlled, genetically-engineered bugs, who are manipulated and directed by wizards. Her world is gripped in a centuries-long war between two rival cultures both following radically different, differently-descended versions of Islam (one male-dominated, the other female). Cultural and gender issues are explored against the backdrop of an action-packed, well-realised story featuring Nyx, the most conflicted and amoral protagonist to be seen in many a year. Two sequels followed.

More traditional in its epic fantasy construction - if only nominally - is The Worldbreaker Saga, which commenced with The Mirror Empire (2014). This chronicles a fantasy world that is being invaded by forces from its own parallel universe, where invaders can only cross over if their counterpart in the other timeline is dead or never existed in the first place. Angry matriarchs do battle, armies clash and massive plant-monsters abound. It's a fantasy series that does things differently to the norm whilst also ensuring the more basic tropes of the genre are engaged with.

In between, Hurley has found time to write insightful and passionate essays on the nature of genre fiction. The most notable of these is the Hugh Award-winning "We Have Always Fought: Challenging the Women, Cattle and Slaves Narrative", which argues for a more nuanced and complex view of the role of women in history, and in genre fiction which apes it.

The Hundred Thousand Kingdoms & The Killing Moon

Nora Jemisin exploded onto the scene in 2010 with The Hundred Thousand Kingdoms, a mind-bending story of floating cities, gods imprisoned to be used as weapons, and a young woman searching for her destiny. Original and thought-provoking, The Hundred Thousand Kingdoms and its two sequels in The Inheritance Trilogy (2010-11) are representative of a new breed of epic fantasy which is more bizarre, strange and original whilst also delivering fascinating characters and a well-described secondary world.

Jemisin's second published work (although written earlier), The Dreamblood duology (2012), is set in a fantasy kingdom heavily inspired by Ancient Egypt but which also steers clear of cliche: no pyramids or mummies here. The duology revolves around a form of magic that is drawn from people when they sleep, but when a contagion is relased that kills people as they sleep the sect known as the Gatherers must investigate. The result is a more traditional epic fantasy (if only relatively) than The Inheritance Trilogy but one that still riffs of different cultures and fuses elements of religion and war to a murder mystery investigation.

Jemisin's latest work is The Broken Earth Trilogy.

Prince of Thorns

Released in 2011, Prince of Thorns achieved almost immediate success. The UK publishers packaged free copies of the book alongside George R.R. Martin's A Dance with Dragons and canny use of social media was made to promote the novel. The book gained an unfair degree of notoriety when on early review criticised it for graphic sexual violence which simply does not exist in the novel, but it went on to become hugely successful.

The novel is set in a post-apocalyptic future where Europe has been partially drowned by rising sea levels. Magic exists, but is apparently a form of highly advanced technology. Computer AIs play a key role in the story. At a key point, a horrific magical weapon turns out to be nuclear device. This is the traditional "rationalised fantasy" story, where the magic is actually explained by science. But the setting takes a back seat compared to the thorough exploration of the main character, Jorg Ancrath.

Jorg is an unapologetically amoral murdering prince who holds no qualms about killing those who stand between him and his goals. He has a rough loyalty to his men and a highly idealised obsession with the woman he loves. As the initial Broken Empire trilogy (2011-13) progresses, Jorg seems to learn and grow, but not necessarily in the healthiest or most positive of ways. His politicking, ruthlessness and military acumen leads to success, of sorts. He is an easy character to despise, even if you admire his ingenuity. It's a difficult balancing act with Mark Lawrence pulls off with huge success.

His subsequent series, The Red Queen's War (2014-16), follows a Flashman-esque coward and fop who is thrust into the middle of epic events (some of them crossing over with the Broken Empire series) against his will. His next series, The Red Sister, will be set in a new world with a female protagonist.

Range of Ghosts

Elizabeth Bear published her first SF novel, Hammerhead, in 2005, after several years of writing acclaimed short fiction. She won the John W. Campbell Award for Best New Writer in 2005 and has gone to win many further awards, including three Hugos. She has written in multiple generes, including science fiction, cyberpunk and general fantasy, but her most notable work of epic fantasy is The Eternal Sky Trilogy (2012-14).

This trilogy is set in a world that echoes the Middle and Near East during the Middle Ages, revolving around the struggle for power and dominance in a Mongol-esque horde. At the same time, events are unfolding beyond the Khaganate's borders which gradually engulf multiple people from radically different cultures. As epic fantasy set-ups go, it's a fairly standard. However, the author uses excellent, original prose and vivid characters to create a story about different cultural groups learning to work together for a common goal. The setting, with a sky that shifts depending on the dominant socio-religious make-up of the land, is original and interesting despite its echoes from our own history.

Blood Song

One of the biggest shifts in writing in the 2010s has been the explosion of self-publishing. At the vanguard of this in genre fiction were SF author Hugh Howey (writer of the Silo series starting with Wool) and fantasy author Michael J. Sullivan, whose Ririya Revelations series, throwing back to an older, more traditional form of fantasy, was a major success.

The success of the Ririya series inspired the publishers, Orbit, to take another look at the self-publishing sphere. With collaborative websites where self-publishing writers could look for feedback and Amazon providing avenues for self-publishing to work, there was lots to choose from but one book stood out. Blood Song (2012) by Anthony Ryan is a fairly traditional epic fantasy, with a band of brother warriors, feuding empires, massive battles and so on, but it is notable for its above-average prose and rich characterisation. The perceived wisdom about self-publishing was that books that couldn't get a publishing deal were inevitably rubbish, badly-written or self-indulgent. Blood Song proved this was not the case, and along with its sequels in the Raven's Shadow series has been a huge success.


Other recent fantasy series of note include Helen Lowe's Wall of Night series, John Gwynne's Faithful and the Fallen quartet, Brian McCellan's Powder Mage series, Luke Scull's Grim Company, Sam Sykes's Aeon's Gate trilogy and Brian Staveley's Chronicles of the Unhewn Throne.

If the way epic fantasy writers release their series is changing, so is the way fantasy readers are consuming them. Forums and blogs drove a lot of readers to good new books in the 2000s, but this decade social media has come to the fore. Thriving communities on Facebook, Twitter and Reddit allow readers to find recommendations and pick up books, and the Goodreads site has been hugely successful in getting readers to compare their bookshelves and talk about their finds. Writers of all stripes need to engage with these resources to publicise their books and spread the word, and fantasy writers in particular seem to be very adept at this.

From the dawn of the modern genre of epic fantasy over a century ago to the current explosion of creativity, epic fantasy has always been a hugely popular but critically under-appreciated genre, despite the creativity and intelligence many writers have brought to it (others, who have just wanted to ape Tolkien or Martin, not so much). But today it feels like the genre has finally come of age, no longer shackled to just retelling the same story of farmboys and kings and wizards in a vaguely medieval world again and again. In print, in the cinema, on TV screens and in video games, the genre is being used to tell increasingly interesting and challenging stories. Long may this continue.

Steles of the Sky by Elizabeth Bear

Temur has raised his standard at Dragon Lake, gathering forces together for a final showdown with Al-Sephehr before he can bring about his plan to resurrect the Carrion Prince. Unexpected allies join Temur, but his army is still dwarfed by that of the enemy.

Steles of the Sky concludes The Eternal Sky, Elizabeth Bear's thoughtful and intelligent epic. Inspired by the history and vistas of Central Asia, The Eternal Sky puts character and dialogue ahead of carnage and mayhem and, for those of a cliched bent, could be described as a thinking reader's fantasy. It's a restrained novel that dwells on the humanity of its characters as much as the magic and mystery, and far moreso than the action. Certainly fans of authors like Guy Gavriel Kay will find much to reward them here.

That is not to say that action is not present, and what there is well-presented, but Bear's focus lies elsewhere. The rich tapestry of varied characters that we have enjoyed in previous volumes is back, and as the storylines dovetail into one another it's interesting to see characters reacquainting themselves with one another or meeting for the first time. It's a more balanced book, with the Temur/Samarkar 'main' strolling having equal weight here with the likes of Edene, Tsering and Saadet. Bear's enviable ability to create cultures with distinct customs that are influenced by real history but are also original creations also reaches its apex here, with the differences between these groups strengthening rather than dividing them.

The characterisation is rich and nuanced (particularly of Edene, whose storyline takes a more humane turn than I was expecting) and Bear skirts the edges of 'dark' fiction without either pulling her punches or digressing into needless violence. What Bear does instead, especially with Al-Sephehr and Saadet, is hints at the darkness of the souls of her antagonists which is more difficult but ultimately more rewarding.

There are reservations: the climactic battle is over in a handful of pages and some storylines feel a little perfunctory in their resolutions. But perhaps I was expecting a more slavishly traditional fantasy novel than what we got instead, which is far more interesting, rewarding and poetical.

Steles of the Sky (****½) is available now in the UK and USA.

Waterstones fail to recognise female fantasy authors

Fantasy author Foz Meadows recently published this article, in which she challenged the failure of Waterstones (the UK's only remaining nationwide chain of bookstores) to recognise female fantasy authors - or SF authors for that matter - in their 2012 literature on the SFF genre. No less than 113 authors are listed in the booklet but only nine of them are female, which is rather an eyebrow-raising imbalance.

Could do better.

Juliet E. McKenna expands on this by claiming to have seen lots of "If you like George R.R. Martin, why not try..."-style lists in bookshops, almost invariably consisting solely of male authors. Apparently, when she challenged one bookshop on why this was so, she was told "Women don't write epic fantasy." This is blatantly untrue, and it was rather idiotic of them to say so to an author with no less than fifteen epic fantasy novels under her belt. Indeed, when people have asked me what authors they should be reading after getting hooked on the likes of Martin or Abercrombie or Lynch, I often surprise myself with how many of the recommendations that come to mind are women.

So, without further ado, here is a brief list of female epic fantasy authors you should check out if you've gotten hooked on the genre via Martin or Game of Thrones:

Robin Hobb

Robin Hobb, aka Megan Lindholm (both pen-names of Margaret Astrid Lindholm Ogden), writes trilogies featuring epic battles and magical creatures (including dragons), but is resolutely focused on her characters. She enjoys writing characters who have their own motivations which make sense to them, no matter how they are painted as heroes or villains by others. Martin is a huge fan, as is Steven Erikson, and she has enjoyed a lengthy and prolific career. In fact, Martin has cited Hobb's use of animal magic as one of several influences on the warging in A Song of Ice and Fire.

Her best-known works are the five sub-series set in the Realm of the Elderlings, comprising the Farseer, Liveship Traders and Tawny Man trilogies and the Rain Wild Chronicles quartet, plus a forthcoming series currently planned to be a trilogy, The Fitz and the Fool. Hobb broke away from this series to write an unrelated work, The Soldier Son Trilogy, which was not as well-received. Writing under the pen name Megan Lindholm, she also wrote ten earlier books, mostly aimed at younger readers.

Key works
The Farseer Trilogy: Assassin's Apprentice (1995), Royal Assassin (1996), Assassin's Quest (1997)
The Liveship Traders Trilogy: Ship of Magic (1998), The Mad Ship (1999), Ship of Destiny (2000)
The Tawny Man Trilogy: Fool's Errand (2001), The Golden Fool (2002), Fool's Fate (2003)
The Soldier Son Trilogy: Shaman's Crossing (2005), Forest Mage (2006), Renegade's Magic (2008)
The Rain Wild Chronicles: Dragon Keeper (2009), Dragon Haven (2010), City of Dragons (2011), Blood of Dragons (2011)
The Fitz and the Fool: The Fool's Assassin (2014)

Kate Elliott

Kate Elliott is the pen-name of Alis A. Ramussen, under which name she published a fantasy, The Labyrinth Gate and an SF series, The Highroad Trilogy. After apparently disappointing early sales, she changed her writing name and returned with the SF Jaran series in the early 1990s. This was more successful and she has followed it up with a series of epic fantasies, including her more recent work, the Crossroads and Spiritwalker series.

However, Elliott's largest and best-known series is Crown of Stars, a seven-volume epic published between 1997 and 2006. If Martin's Song of Ice and Fire depicts a world set at the tail end of the medieval period, with armies in the tens of thousands, shining knights and full plate armour, Crown of Stars is set at the opposite end, when any army larger than a thousand is huge and kings tour their countries on endless processions rather than being tied to single capitals. Heavily influenced by real medieval European history (to the point where Crown of Stars can also be called an alternate history based on 9th and 10th Century Germany and Eastern Europe), Elliott weaves a large number of storylines focusing on themes such as war, chivalry religion and gender issues without dialling back (though also not over-emphasising) on the brutality of the period. Perhaps slightly overlong, but also genuinely thought-provoking.

Crossroads, which will eventually encompass at least seven novels set across three generations, is also interesting. Set in a world not based explicitly on any period of real history, it features a number of carefully-created original cultures clashing for control of a land called the Hundred. The original Crossroads trilogy will be followed by a new book later this year, The Black Wolves, set some years later.

Key works
The Golden Key (1996, with Melanie Rawn and Jennifer Roberson)
The Jaran Series: Jaran (1992), An Earthly Crown (1993), His Conquering Sword (1993), The Law of Becoming (1994)
Crown of Stars: King's Dragon (1997), Prince of Dogs (1998), The Burning Stone (1999), Child of Flame (2000), The Gathering Storm (2003), In the Ruins (2005), Crown of Stars (2006)
Crossroads: Spirit Gate (2007), Shadow Gate (2008), Traitors' Gate (2009), The Black Wolves (2014)
Spiritwalker: Cold Magic (2010), Cold Fire (2011), Cold Steel (2013)

Elizabeth Bear

Elizabeth Bear is an author I'm only recently acquainted with, thanks to her superb Eternal Sky Trilogy. However, she has published many novels in several different subgenres (including SF and urban fantasy), including her acclaimed Iskryne series, co-written with Sarah Monette.

The Eternal Sky trilogy is an epic fantasy set on an alternate version of the central Asian steppes, with a race of nomadic tribesmen who recall George R.R. Martin's Dothraki. However, whilst the Dothraki are (partly) based on the Asian nomads at the very start of their expansion and rise to power, Bear's series deals with a far more sophisticated and subtle people, depicted as intelligent warriors and capable engineers rather than just hordes of plunderers and rapists. It also features some intriguingly weird magic (the skies over each nation and culture are somehow different) and deliciously rich characterisation.

Key works
The Eternal Sky Trilogy: Range of Ghosts (2012), Shattered Pillars (2013), Steles of the Sky (2014)

J.V. Jones

Julie Victoria Jones hit the ground running with The Baker's Boy in 1995. Boosted by a Robert Jordan cover quote, it rapidly became one of the biggest-selling fantasy novels of the year and propelled her onto the bestseller lists. It was a rough novel, not unexpectedly for a debut, and she improved in leaps and bounds over the remainder of the Book of Words trilogy and a further stand-alone novel, The Barbed Coil. However, Jones found a different and far more sophisticated level of writing ability with her Sword of Shadows series, a decade and a half in the making and still incomplete.

Sword of Shadows is a (very loose) sequel to The Book of Words and picks up the story of the daughter of the previous trilogy's hero, as well as a whole host of new characters. It is set beyond the northern mountains in a bleak subarctic wilderness, heavily influenced by Scandinavia and the Inuit tribes. If you enjoyed those parts of A Song of Ice and Fire set beyond the Wall, this series is for you, with descriptions of snow and ice so vivid you may want to wrap up warm before reading. Unfortunately, Jones also seems to be emulating Martin's five-year gaps between volumes, but this is one of those series where the books are worth the long waits.

Key works
The Barbed Coil (1998)
The Book of Words: The Baker's Boy (1995), A Man Betrayed (1996), Master and Fool (1997)
The Sword of Shadows: A Cavern of Black Ice (1999), A Fortress of Grey Ice (2002), A Sword from Red Ice (2007), Watcher of the Dead (2010), Endlords (forthcoming)

Kameron Hurley

A relative newcomer, Hurley's works are challenging, direct and different. Her first trilogy is apparently SF, but magic (based around the manipulation of different kings of bugs) is liberally used. Her current series is an epic fantasy with a difference, set in a world which is being invaded by forces from its own parallel dimension, with the twist that only people whose doppelgangers are dead in the other universe can pass through. Hurley's books are complex, thought-provoking and vitally infused with life and action.

Hurley is also a prolific and essayist. She won a Hugo Award for "We Have Always Fought", an essay challenging the lazy gender assumptions prevalent in epic fantasy and science fiction based on erroneous understandings of history.

Key works
The Stars Are Legion (2016)
The Geek Feminist Revolution (2016)

The Bel Dame Apocrypha: God's War (2010), Rapture (2011), Infidel (2012)
The Mirror Empire: The Mirror Empire (2014), Empire Ascendant (2015), Broken Heavens (2017)

N.K. Jemisin

N.K. Jemisin is a relative newcomer, but made her mark on the genre with The Inheritance Trilogy (no, not that one) and the Dreamblood duology. The latter - which regrettably is so far all I've read - is set in a fantasised take on Egypt that completely avoids cliche: no cat-headed people fighting sphinxes, thankfully. Instead, it's a well-thought-out, intelligent take on the fantasy genre and its conventions about religion, power and gender roles, whilst also being a kick-arse adventure story set in a fantasy world refreshingly not based on Medieval Europe. Her next book, The Fifth Season, is out later this year.

Key works
The Fifth Season (2014)
The Inheritance Trilogy: The Hundred Thousand Kingdoms (2010), The Broken Kingdoms (2010), The Kingdom of Gods (2011)
The Dreamblood: The Killing Moon (2012), The Shadowed Sun (2012)

Juliet E. McKenna

Juliet E. McKenna is a prominent member of the UK SFF community, noted for her role in the writing collective The Write Fantastic. She has penned (as mentioned above) fifteen fantasy novels in four series, though all set on the same world.

I read her debut novel, The Thief's Gamble (featuring a female thief and rogue), when it was first released and found it highly enjoyable. Unfortunately, I haven't read the rest of her books but look forward to doing so.

Key works
The Tales of Einarinn: The Thief's Gamble (1999), The Swordsman's Oath (1999), The Gambler's Fortune (2000), The Warrior's Bond (2001), The Assassin's Edge (2002)

The Aldabreshin Compass: Southern Fire (2003), Northern Storm (2004), Western Shore (2005), Eastern Tide (2006)
The Chronicles of the Lescari Revolution: Irons in the Fire (2009), Blood in the Water (2010), Banners in the Wind (2010)
The Hadrumal Crisis: Dangerous Waters (2011), Darkening Skies (2012), Defiant Peaks (2012)

J.K. Rowling

You may have heard of her. And yes, I count her books as epic fantasy.

This is only scratching the surface here, so hit me with some more epic fantasies (or, sod it, fantasy in general) written by women in the comments.

ETA: When this article was originally published, it included K.J. Parker, at the time widely reported by the publishers to be female. It was later revealed that K.J. Parker is in fact comic fantasy author Tom Holt. As a result, the entry has been removed from the list and replaced by the more than deserving Kameron Hurley.

Shattered Pillars by Elizabeth Bear

The lands of the Celadon Highway are in turmoil. Civil war threatens the Khagante, whilst the city of Tsarepheth is consumed by a horrific plague. Far to the west, Temur and Samarkar continue their quest to find the fortress of Ala-Din and rescue Temur's former beloved, Edene. However, they are unaware that Edene has already left Ala-Din and acquired strange new allies of her own.

Picking up from the end of Range of Ghosts, Shattered Pillars continues Elizabeth Bear's intelligent, measured historical fantasy which melds elements of the fantastical with real history and even a few interesting nods towards science fiction. This is the middle volume of The Eternal Sky Trilogy and as such suffers a little from 'middle book syndrom'. There's no real beginning and the climaxes at the end of the book are somewhat muted (one major plot development amongst the Qersnyk feels quite rushed as well). After the excellently-paced Range of Ghosts there's also a slight feeling of sluggishness, as our major protagonists seem to spend a lot of time in two fairly similar cities getting involved in local politics and fighting off assassins before striking out to finally do what was planned some time before.

Still, all of Bear's other strengths remain intact. The characterisation is very strong, developing the existing characters in an interesting manner (especially Edene and the 'twins') as more minor characters from the first book (like Tsering) rise to prominence. Bear's use of the traditional epic fantasy narrative to challenge ideas about gender and 'barbarian' societies remains refreshing and is not over-laboured. A subplot about the company's horse even highlights the tiresome fantasy trope that horses are basically the cars of fantasyland and don't need to be fed, watered, rested and looked after, and approaches the subject more realistically. The end of the book also feels like it comes too soon, as the book is fairly short for a fantasy (less than 350 pages) and Bear's narrative leaves the reader wanting more.

Shattered Pillars (****) lacks the full impact of Range of Ghosts, but for the most part is a worthwhile and highly readable sequel. The novel is available now in the UK and USA. The final book in the trilogy, Steles of the Sky, will be published in 2014.

Range of Ghosts by Elizabeth Bear

Qarash, the greatest city of the Khaganate, has been destroyed by treachery. Temur, a grandson of the Great Khagan, survives and goes into exile, knowing his cousin will seek his head to eliminate any rivals. At the same time, in distant Tsarepheth, the Once-Princess Samarkar is set to undergo her testing. She will casting aside her life as a noble to become a wizard, if she has the strength of character needed. The destinies of Temur and Samarkar are linked along with those of others: a half-blind warrior monk, a pregnant princess doomed by politics and a tiger-woman with formidable skills in battle. The destruction of Qarash and the raising of armies of ghosts portends the arising of a great threat which must be faced.

Range of Ghosts is the opening novel of the Eternal Sky Trilogy. This is a work that blends together different fantasy elements, with traditional epic fantasy stylings such as political intrigue and war mixing with both the historical fantasy of Guy Gavriel Kay and moments of offbeat strangeness that recalls the New Weird (though this is the least of the three influences).

The world the book takes place in is reminiscent of our own Central Asia during the Middle Ages, with lands in the book serving as analogues of the Mongol Empire, India, China and Russia. These aren't quite one-for-one correlations, with Bear mixing things up in interesting ways. The skies over each land are different, with the Khaganate skies being filled with small moons which appear or disappear to herald the births and deaths of important figures. The Uthman Caliphate's skies have a sun which rises in the wrong location. These differences extend to constellations as well. It's an odd detail but one that is never dwelt on by the characters, as it's simply the way the world is to them.

The book is divided amongst relatively few POV characters: Temur and Samarkar (whose names are echoes of Timur the Lane/Tamerlane and his capital city of Samarkand) are our primary protagonists, but we also get occasional chapters from Al-Sephehr (our antagonist) and Edene, an innocent woman caught up in events due to a chance meeting with Temur. The restricted POV count keeps the book moving quickly, but Bear is able to lace a lot of characterisation through this small POV count. Other fantasies, even otherwise excellent ones such as A Song of Ice and Fire, have a tendency to portray their 'barbarian' cultures fairly broadly (the Dothraki are rather under-developed and unconvincing compared to their Mongol, Hun and Amerindian inspirations, for example). Bear here flushes out the Qersnyk tribes with much greater nuance, noting their ability to speak many languages, their relaxed approach to religion and their military skills. Temur is widely-travelled and much more than the simple barbarian it would have been easy to portray him as. Bear also uses her characters to analyse issues ranging from gender discrimination to religious co-existence, and does so in each case as an intelligent and natural extension of the story.

Weaknesses are few and are mostly the natural issues that arise with a book being merely the opening section of a much larger tale. The book packs a lot into its 350 pages before ending fairly abruptly, leaving readers wanting more (although this is better than the alternative). There are a few passages which are a bit over-expositionary. I wasn't entirely sold on the romance that develops near the end of the novel with relatively little preamble. And that's about it really. Otherwise, this is a very fine novel.

Range of Ghosts (****½) is an exceptional opening volume to a fantasy trilogy that blends different influences and the author's own impressive prose to great effect. It is available now in the UK and USA. The sequel, Shattered Pillars, is also available now. The already-delivered third book, Steles of the Sky, will follow in early 2014.