Interview with S.W. Kent, Author of The Storyteller from Balincia

Welcome to YAOTL, SW! Please tell us about The Storyteller from Balincia.

Thank you!  The Storyteller from Balincia is a YA epic fantasy novel where a dark prophecy shapes the lives of two generations of witches. At its heart is the journey of Birk, a young Storyteller whose life is turned upside down when a mysterious stranger presents him with a magical book in dire need of an author. As Birk uncovers the shocking truth that the world he knows is merely a fraction of a far grander reality, he sets out on an epic quest to delve into Driftstone’s hidden past and save the future of magic.

The novel begins with a mysterious old woman emerging from a lake with a special book. I’m always so curious about sparks of inspiration. How did this image come to you? 

Living in the PNW, I’ve spent a lot of time in lakehouses and cabins.  When you are out in nature, particularly at dusk or in the evening, it’s not uncommon for your eyes to play tricks on you and your mind to start to daydream.  People emerging from lakes, shadowy creatures lurking in the dark — the outdoors are my constant muse for magic and writing.

Balincia's society is built on six laws that maintain balance and order. How did you go about worldbuilding in this book? Any roadblocks along the way? 

I grew up as a child in the eighties, and was heavily influenced and inspired by the dark fantasy of that decade.  Movies like The Last Unicorn, Return to Oz, and Legend all had a common thread attached to them.  There were elements that payed homage to the cozy fantasy tropes we love to return to, but then within these fantasy worlds each had elements of whimsy, absurdity, quirkiness, and finally outright dark and scary-  things that entice us as both children and adults, and so my approach was largely inspired by nostalgia for this type of fantasy.  I wanted to create a world that felt both familiar and new, weaving in fresh modern ideas, while stirring up what we’ve come to expect in sword and sorcery worlds. 

The magical elements in the story blend wonder with darker implications. Please tell us about balancing these elements–it creates such a complex magical system!

I wanted to play with the notion of respect and intention, something that comes from my origins in Diversity, Equity, and Inclusion.   In Driftstone everything is sentient, so draw energy and magic one must communicate and cooperate with the environment and all living things.  We start to see in this book, and will continue to see through out the series what happens when you command and order other sentient beings vs. showing up with love and respect.  

The ideas of balance will be a constant theme throughout the series.  I think it’s important, particularly in this day and age to ask ourselves what is balance? Does it always mean everything in equal measure? What happens when there is too much of one energy vs. another, and are there contexts or situations that justify us leaning to different extremes?

The fourth law prohibits reading and writing for most citizens. In these times, this idea hits hard. Can you talk a bit about your decision to include it? 

 

Reading and writing tend to represent expression, growth, innovation and progress.  We know throughout history that when different communities, culture, and movements have tried to eliminate, monitor, or remove books they are typically trying to polarize and stagnate a population.  If we can control the narrative, then we can impose what’s beneficial and important.  We’ve seen this over and over again in both governments and religions, where accessibility to information becomes limited and we are told to believe and trust those who do have access. 

I wanted to revisit this, particularly in light of events today, where there are communities and voices who are feeling suppressed.  In my book, I wanted to pose the question- is there ever a reason to withhold information? Do intentions matter? Or is it more complex? 

Morvana has been operating through the Dreamscape, manipulating events from behind the scenes–kind of a Wizard of Oz! How did you develop her character as an antagonist who works through indirect means rather than direct confrontation?

I’ve always intended Morvana to be a slow build, since this is the first book in a series.  I wanted readers to be introduced to her early on, but a great villain can get extremely tiring and boring if you use all their best moves right out of the gate.  There’s a lot of secrets about Morvana’s past and what she’s currently up to that is hinted at in the first book, but she will be far from the only antagonist across the series.  There’s a lot more delicious things in store for Morvana before we see her come in direct confrontation with our protagonists. 

The final chapters reveal an interesting dynamic where the older generation (Edi, Pan, and Sable) chooses to stay behind while sending the younger heroes forward. What were you hoping young readers would feel about this generational handoff of responsibility?

I love exploring generational legacies and divides because you have the juxtaposition of experience versus innovation, again circling back to the theme of balance.  When we are younger we often think we would have made better life choices than the generation before us, and ultimately, that is the opportunity that is laid out.  Given the benefit of new knowledge, can we avoid making the same mistakes?  Will we do any better when faced with adversity? What happens when we ignore experience or when we refuse to listen to new ideas?  Whose responsibility is the future? I hope these will cause both younger and older readers to reflect. 

Birk and Grey's relationship develops organically within the narrative and appears to face no stigma in the world you've created. What inspired your approach to portraying same-sex relationships in your fantasy world?

I wrote this story to be provide healthy role models for the LGBT community.  Fantasy should be an escape, and too many Queer stories or relationships focus on fear, tragedy, and trauma.  We need more stories that focus on Queer joy.  I did not want to create a world where identity, whether by gender, race, expression, or orientation mattered.  There are far more interesting human vices and existential threats to explore than to have young adults constantly be reminded of homophobia or racism. 

How did you develop Indigo's character beyond their gender identity? Can you tell us a bit about how their journey reflects broader themes about identity and self-determination in your novel?

Indigo’s journey is just beginning.  In any epic fantasy, you have an expansive cast of characters.  All we really know about Indigo from Book 1 is that they are a character that chose their own identity and path, and that they are one of the most respected fighters and members of society in Ironspire.  They were always meant to represent a character that is thriving because they were not held back by the definitions and boxes men placed on them.  

With that said, we see Indigo placed in a role and position at the end of the first book, that we don’t know if they are completely comfortable with, but it’s one that comes with a lot of influence and power.  They will be stepping into a much larger role and story arc in the next book which will explore what happens when the path we chose is taken away from us and we are forced to take on another.  

Where can we find you?

swkentbooks.com, @S.W. Kent | Author (TikTok)

What’s next?

The Storyteller from Balincia is set to be released on March 25th. 

Feyluna and the Tidewalker, the second book in my series is due to be released in 2026. 

Order a copy of The Storyteller from Balincia