Posts Tagged Middle-Grade Fantasy

MAGICAL STORIES WITH TRANS AND NONBINARY HEROES

By Jen Kraar on July 16, 2025 / Book Lists, Fiction

Summertime! A time to dream of adventures, heroes, magic, and saving the world – all ingredients found in a good book.

“Trans kids lives, not only matter, but their lives and stories are magical.” – Aiden Thomas

In this list, you will discover stories that feature trans and nonbinary characters who champion loyalty, self-worth, kindness, friendship and, especially, the power of community. These entertaining titles affirm the experience of queer and trans readers.

For an extensive list of titles featuring trans and queer heroes check out We Need Diverse BooksThey have launched MAGICAL STORIES FOR EVERYONE, a program offering trans and nonbinary communities Magic Care Packages containing a diverse magical book from their curated list, messages of hope from authors, and swag.

Consider supporting their efforts. Link: https://diversebooks.networkforgood.com/projects/251105-magical-stories-are-for-everyone

A World Worth Saving by Kyle Lukoff, Penguin Random House, 2025.

A., with the help of a golem and a band of queer friends, is chosen to fight demons. The Save Our Sons and Daughters believe trans kids are going through a craze and resort to ‘alternative treatments’ to get their children ‘back’. As A. uncovers the larger motives behind the increasing anti-trans actions, he is joined with spirits from Jewish Mythology. A gripping adventure full of wisdom and surprises.

Ice Apprentices by Jacob North, Simon and Schuster, 2025.

Oswin Fields wants to prove he belongs in Tundra, the only stable place in the harsh world of ice and snow. He is transgender, a stray, disliked by his fellow students at the Magic school, resented for using up scarce resources, and he’s got asthma. Overcoming these obstacles, Oswin is driven to battle the monsters threatening the community’s survival.

Splinter & Ash by Marieke Nijkamp, Harper Collins, 2025.

What do you get when a disabled princess teams up with a gender-nonconforming squire? A page-turning quest to save the kingdom. The entertainment factor of hidden tunnels and unexpected secrets is non-stop, while the themes of bravery and loyalty will stick with readers.

Wishbone by Justine Pucella Winans, Macmillan, 2024.

At first Ollie’s biggest challenge is dealing with his anger over begin bullied by his ex-BFF and coping with parents’ never ending fighting. After Ollie gets sucked into the Backward Place, a demonic realm, he meets Wishbone, the two-tailed cat who grants his wishes, but at a price. Readers wishing for a horror fantasy with a trans hero who, with the help of his sister and newly found friends, a magical cat, and battles against an evil wizard trying to take over the world, need look no further.

Tales From Beyond the Rainbow collected and Adapted by Pete Jordi Wood, Penguin 2025.

Ten LGBTQ+ tales as old as time span ten world cultures are told with sensitivity, knowledge, humor and love. These stories full of princes and princesses, sorcerers and soldiers, all feature positive portrayals of queer characters and delve into themes of transformation, identity and hope. Each story features artwork created by an artist whose heritage matches the country of their origin. A gorgeous, accessible book that encourages readers to seek out forgotten stories to retell and share.

WNDMG Interview with Annie McCann, Debut Author of MY HARIMAU KING

By Patchree Jones on May 14, 2025 / Author Interviews, WNDMG

wndmg logo

DEBUT MG NOVEL for AAPI Heritage Month

I had the pleasure of meeting Annie when she reached out to me after reading an ARC for SKYLIGHT, my own MG debut last summer. Over the past year, I’ve had several opportunities to chat with Annie and learn about the amazing writing community she’s created in Western Sydney. The moment I came across her debut announcement, I knew I had to support my fellow Southeast Asian author.

As if the stars aligned, I jumped at the chance to interview her for WNDMG! Check out the summary for her book:

MY HARIMAU KING

My Harimau King

An ancient king, a modern-day kid, and a life-changing prophecy that binds them.

13-year-old Sumaiyah Jackson is living her best life in Parramatta until a family drama spirals out of control, mysterious events start happening, and loved ones begin to disappear.

Suddenly, Sumaiyah and her friends find themselves trapped in the ancient kingdom of Pajajaran, Indonesia, where Sumaiyah discovers she is “the chosen one” from descendants of ancient royalty. But this doesn’t mean fun and untold riches. Instead, she needs to break a mystifying curse and prevent a prophecy from destroying her family.

Now Sumaiyah’s in a race against time to discover her true purpose, combat terrifying creatures, and fulfil her destiny, or risk losing her family and friends forever!

I’m so proud to be a part of Annie’s debut tour and am delighted to be a part of this journey with her. So, enough fangirling ~ let’s hear from the author herself!

READER TO WRITER

Patchree: I know you are very involved with the writing community and serve as a moderator and advocate for so many different events and organizations! But, I’d love to hear more about your personal journey as a writer.

Annie: This was a wonderful learning experience in not only the craft of storytelling but the discipline in balancing a full-time job, home responsibilities, friends, emcee events all while meeting deadlines for my passion project. Having embarked on the writing journey, it feels like I finally got to see what’s behind the mystery door after all my years of reading and hearing from amazing authors. It’s not until you experience it yourself, you don’t fully understand an author’s journey – what a ride!

I founded a network of readers, Read3r’z Re-Vu 16 years ago, over the years it was all about reader friends getting together and enjoying books but, in that time, writers emerged including me and this journey gave me the opportunity to form what I like to call a Read3r’z Writers Subdivision where the writers came together from far and wide to support one another and even enjoy in person writing days.

I have learnt a lot but key takeaways are mastering the art of showing not telling and the responsibility with creative license, to ensure my stories are accessible and respectful.

My Harimau King was 5 years in the making, and in the meantime, I published 6 short stories. Writing is a marathon not a sprint and I didn’t realize I had so many stories inside I needed to get out to the world. This journey is one I hold close to my heart. Publication aside, I am proud of how much I learnt in creative writing and truly consider myself blessed with the wonderful friends I met along the way.

REAL LIFE AS INSPIRATION

Patchree: As a debut MG author, what was your main inspiration for MY HARIMAU KING?

Annie: I am an avid reader of fantasy fiction, particularly of books that infuse or are inspired by cultural legends and mythology from around the world. Having enjoyed a lot of these types of books, I spent years in search of fantasy fiction with representation of my own Indonesian culture. Despite being rich in myth and legend, I found none on the Western bookshelves. I saw this as an opportunity to not wait for someone else to write the story I want told – do it myself and it all started with one question I asked myself “why not me?”

While Indonesia is rich with mythology and legends the world needs to know, I had to start with what I knew – and that is the legend associated with my own West Javanese, Indonesian family. This was my chance to put West Java, Indonesia on the map – to tell the world that West Java is only one of many provinces in Indonesia that is rich with culture and intriguing stories to tell. It was also my opportunity to pay homage to my ancestors and family as well as leave a legacy.

Patchree: Besides sharing a biracial identity, how similar are you to your female lead Sumaiyah Jackson?

Annie McCann

Annie: This goes back to starting with what you know. Yes, Sumaiyah is loosely based on me. We are both Indonesian-Australian, Muslim from Western Sydney. We are both born to a West Javanese, Indonesian and Australian father and are an only child. However, the key differences between Sumaiyah and I are the family dynamics and how much she does not know about her true heritage.

Growing up, I always knew about my mother’s heritage, identity and I have always been very connected with the West Javanese culture and language. This was a gap in Sumaiyah’s life as her mother was not open about her true identity and Sumaiyah knew very little of her culture except the language. As for the family, Sumaiyah is very close with her cousin from her mum’s side, Alif. He goes to the same school and lives nearby – this was something I never had growing up with all Mamah’s family in Indonesia and Dad’s family in Central West, NSW or interstate, I never had relatives nearby and being an only child, I guess this was a dynamic I craved growing up.

When writing Sumaiyah and watching her develop and navigate as the chosen one, I felt we shared the same pressures that come with being an only child in a traditional family. Bound by expectation and to be the one to pay it forward for the sake of family. I also feel Sumaiyah and I relate in the ability to act/perform under pressure – when you only have one right choice to make without direction, you need to lead the way and still be the voice of reason in the time of calamity.

POWER OF CULTURE & LANGUAGE

Map of Southeast Asia

Patchree: I loved discovering so many commonalities between Thai and Indonesian cultures while reading your book. What are some key cultural elements or traditions from Indonesia you knew you had to include in your story?

Annie: In addition to Indonesian mythology and legend, it was important to me to include strong cultural elements that were not just Indonesian but from the province of West Java. There are variations in culture and traditions across the provinces, so I wanted strong ties to the West Javanese culture. From West Javanese food to the batik designed fabrics found in a box or as worn by some of the characters. One piece that was also very important was the suling; the traditional West Javanese flute made of bamboo. Its sound is so distinct, and normally part of a Gamelan ensemble played at special occasions in West Java, I wanted a connection between the legend of my ancestor and the story itself. Lastly, I want to mention the culture of family. Many books feature early teens embarking on adventures without parents or family. However, traditionally in Indonesia, family is very important and stick together even through adulthood and having Sumaiyah’s parents and Uncles significantly involved in her story is a cultural norm so I wanted to present a story where the parents and Uncles were very much part of Sumaiyah’s adventure.

Patchree: Language is a big draw for me, and I was captivated with infusion of various Indonesian dialects throughout the book. What was your research process like and are you fluent in these dialects?

Annie: Thank you, this was one of my learnings when writing the book, to retain authenticity in language without over translating but also making the story accessible to a non-Indonesian, non-West Javanese reader. I am fluent in Bahasa Indonesian as I speak with my family in Indonesian though my Bahasa Sunda dialect could be better. I owe this to Mamah, my patient translator who I bugged constantly while writing the book with Bahasa Indonesian phrases I needed translated to Bahasa Sunda then reviewed in English to ensure we didn’t lose something in translation when providing context. To help improve my Bahasa Sunda, I also acquired a Bahasa Sunda to English dictionary from Bandung, Indonesia during my last visit! It was an unexpected find as I thought I would only find dialect to national language type dictionaries but after searching high and low with my cousins, we managed to find that gem at I place I refer to as ‘Book Road’ – a road full of book stalls.

SPOILER ALERT FOR READERS

(AVERT YOUR EYES IF YOU DON’T WANT TO KNOW!)

Patchree: After reading your Author’s Note, you mention being a direct descendant of an actual Indonesian King! How did you discover this direct ancestry to Indonesian royalty?

Prabu Raja Siliwangi

Annie: Yes, that is true, I am one of the last living descendants of the ancient king: Prabu Raja Siliwangi who was the king of Pajajaran (ancient West Java, Indonesia). The connection is through my mother and her father. This was something I knew since I was a child, as my mum was always very open about her identity and culture and shared stories of Prabu Raja Siliwangi and his affiliation with the harimau: native West Javanese tiger. I was also shown our official family tree that’s certified by the Province Government of West Java which goes all the way back to Prabu Raja Siliwangi himself. It was fascinating to read through. Growing up, my Uncles also shared stories of Prabu Raja Siliwangi and how the golok and kujang once belonging to the king is now safeguarded by a relative in West Java.

My last visit to Indonesia was quite significant as my cousins took me to the very place where Prabu Raja Siliwangi’s palace was in Pura Parahyangan. I also got to touch the remains of his throne in a place now called Batu Tulis which houses a stone tablet chiseled in Sanskrit by Prabu Raja Siliwangi’s son honouring his father who was crowned twice.

WORDS OF ADVICE

Patchree: What advice would you give to aspiring authors of middle grade fantasy?

Annie: I’d like to share the advice I was given when I started writing my book – shout out to my friend, author Jeremy Lachlan, author of the Jane Doe Chronicles who told me to focus on the story you want told, don’t worry who will read it or where it ends up, tell the story you want told and be true to yourself as a writer.

I also want to add that writing is key as you can’t edit a blank page. If you have a story to tell, do not be afraid to share it, the world will always be ready for something new and exciting.

Patchree: Can you tell me about your upcoming projects?

Annie: Next to my book launch this June and subsequent signing events, my newest short story The Moon Shadow Secret will be published in an anthology called Brave New Girls: Tales of Girls who Invent and Imagine. I am honoured to have my story featured in this anthology as the anthology focuses short stories featuring a STEM-savvy teen heroine. My story captures the ancient West Javanese legend of Nyai Anteh, infusing it into an original story of an Indonesian teen who is savvy with Coding. Proceeds from sales for this anthology are donated to the Society of Women Engineers Scholarship Fund which encourage young girls to get into the STEM industry. Keep an eye out for this in July 2025!

WOW! What an amazing journey!

Be sure to preorder MY HARIMAU KING and follow Annie on Instagram @nenganniemenulis!

Annie McCann

AUTHOR BIO

Annie McCann is an Indonesian-Australian emcee and author, from Western Sydney. She has written multiple short stories and is the founder of several literary networks. Annie is passionate about diversity and representation in books, media and pop culture, and aims to ‘bridge the gap’ in the creative space. On her limited days off, Annie is either jamming to Michael Jackson’s greatest hits or cheering on her NRL Football team, Parramatta Eels.

https://linktr.ee/nenganniemenulis

Interview with Kiyash Monsef, acclaimed author of Bird of a Thousand Stories!

By Jason Peterson on March 17, 2025 / Author Interviews

Book cover of BIRD OF A THOUSAND STORIES by Kiyash Monsef

Kiyash Monsef’s much-heralded debut, ONCE THERE WAS, introduced a fascinating concept: what if mythical beasts existed, and they needed veterinary care to survive? That book also introduced the vet-in-training, Marjan, who undergoes a series of trials to find her path in this dangerous and mysterious world. Marjan is back in Kiyash’s incredible new book, BIRD OF A THOUSAND STORIES – but as he details here, readers can dive right in and be richly rewarded.

Kiyash also discusses his writing process, mythological inspirations, and what’s next for Marjan (and him)!

I loved how the back cover lists ONCE THEIR WAS as a “companion” book to BIRD OF A THOUSAND STORIES. While the rich backstory of the first book adds so much to this one, I found that a reader could pick up this book and dive right in. Was that important for you to do, and how did you work to accomplish it?

I call the two books siblings, and that’s always how I wanted to approach writing BIRD OF A THOUSAND STORIES. It was very important to me that each book could stand alone. I know that reading time is precious, and I don’t want to ask for too much of it. If a reader is willing to give their time, attention, and imagination to one of my books, I want to honor that gift by giving them an experience that is satisfying and complete, and doesn’t demand that they immediately read the next book. Or, conversely, I don’t want to demand that a reader first read three other books before they can understand what’s going on in my latest story.

To accomplish this, I had to ask myself what background information a reader would need in order to understand the events and the relationships in BIRD OF A THOUSAND STORIES, and then find elegant ways to briefly seed that information so that everything makes sense. The biggest challenge was making sure that a reader would know just enough at the right moment, without paragraphs of infodumping. I think there are one or two instances where you might come across a word or a reference that hasn’t been explained yet, but I actually like a bit of mild disorientation as part of the reading experience, as long as you get your answers eventually (which you will).

I’ve read that ONCE THERE WAS started as a series of loosely-connected episodic short stories, and I’m sure that initial approach impacted your writing of that book. How did writing BIRD OF A THOUSAND STORIES differ from that approach, and did you have a preference between the two? (Also – as a fellow pantser, your books give me hope!)

ONCE THERE WAS has episodic roots in its DNA, and I think you can still feel that cadence in its storytelling. I love that about that book, but I always knew that I wanted my second book to be a more tightly-woven and fast-moving story. My approach to writing BIRD was quite different from ONCE, and it had its own evolution. I came up with an outline of sorts, and then I blasted through a first draft very quickly. Very little of that first draft other than some characters and a general sense of narrative momentum made it into the final version. There were a few story beats that stuck around, and some broad strokes ideas about the finale, but the second draft was really a second first draft.

The second time around, my process was more measured. I had a solid outline before I started writing, and I more or less stuck to it, and I think it hews pretty closely to what’s in the actual book.

Which is not to say that I have abandoned the pantser approach. I actually think having that improvisational ethos to draw on was amazing in a more structured creative framework, and there are plenty of moments and scenes where I kind of waved my hands at some idea in my outline, and then let the pantser take over when it came to actually executing those ideas. I think I’m discovering that I’m happiest writing somewhere in the middle of the spectrum. Taking an early structural approach means you can build a deeper and more complex story, and you can write with intentionality. But I also believe that if I’m not surprising myself at least some of the time, it’s probably not interesting enough. So there is a plan, but there are also pants.

You have an incredible facility for creating fairy tales that feel as though they’ve existed forever. The acknowledgments section lists a few of your inspirations for these tales, and I especially loved your reference to the mythologist Michael Meade’s words: “It’s an old song. You can’t hurt it.” Have you thought about future writers taking your stories and running with them – and if so – how could you see them reimagined? In poems? Songs? Something else…?

First off, thank you for reading the acknowledgements! It warms any author’s heart to know that someone read those last couple pages. In ONCE THERE WAS, the fairy tales were all original creations, but the central fairy tale in BIRD is in fact drawn from a very old story with roots in many languages and cultures, and I wanted curious readers to know that. Particularly for a book that looks at the ways that stories endure and change over time, I thought it was important to pull back the curtain just a tiny bit to show that process at work.

As far as other writers retelling these stories, stories want to be told, and I think the stories in these books are no different. I do hope they can endure in some form or other, whether it’s poetry, song, or spoken by the light of a campfire. My secret, mischievous hope is that everyone forgets that I wrote them, and that they just kind of get added to the canon of stories that have always been around. That would be the coolest.

The relationships between Marjan and her friends feel heightened in this book, as do the stakes for Marjan’s actions. How did you work to deepen these connections throughout this book and raise the stakes for Marjan’s success (especially as they impact her friends)?

I have to give a lot of credit to my editor, Kendra Levin, who is THE BEST, for pushing me to raise the stakes from the start. Every time I got to a choice point, I had that note in my head, and so I was always asking, what’s the worst thing that could reasonably result from this choice? And because Marjan can be impulsive, we tend to see those stakes play out throughout the book. As far as Marjan’s friends, I just really like them all as people, so I really wanted to spend more time with them. As a result, the connections that Marjan has with them get deeper and more complex this time around.

In particular, her relationship with Malloryn, who’s Marjan’s roommate, confidante, and also possibly a witch, sort of took on a life of its own. Malloryn is so much fun to write, because she just comes very naturally to me, and her motivations and needs are always crystal clear in my mind. And as a writer, I think you need to trust your characters above all else, because they are the heart and soul of the story. So even if I think I know exactly where the story’s going, when Malloryn’s on the page, I kind of have to loosen the reins and let her cook, so to speak.

There’s a lot of talk among writers and teachers and librarians about older middle-grade books and the need for books that bridge the gap between MG and YA. Both of your books feel like they can be read and loved by readers of any age, but they seem especially perfect for those readers who can be overlooked in early MG and YA. Is that something you’ve thought about or are hearing from readers? Does that impact your writing?

I have heard this from a few people. I’m happy to know that these books fill a need, and hopefully they’re helping to keep young people engaged with the wonders of reading. At the same time, I try not to think too much about categories, or about writing to a particular subset of readers. My own middle grade reading was Stephen King and HP Lovecraft, so I’m not an authority on what defines the middle grade category. As a young reader, I was intuitively very conscious of when I was being “written to.” I always wanted to encounter a story on its own terms, and not filtered through what someone else thinks is age-appropriate, either in content or in complexity of language or story. I try very hard to write stories that I would have liked when I was younger, but also stories that I would read tomorrow, and that, more than the conventions of middle grade or young adult, is my guide.

You state that, to your surprise, you’ve now written two books. What’s next on the horizon for you and the incredibly rich world you’ve created?

I’ve got more stories to tell in the world of ONCE THERE WAS and BIRD, and I know I will get the chance to tell them at some point. At the moment, though, I’m poking at some different ideas — different worlds, different characters. It’s amazing to be in a position to be thinking about a third book, and I’m trying to approach this moment with openness to the wide range of possibility that it offers. But for fans of Marjan and her friends, fear not. There are more stories, and they’ll find their way into the world. Stories have a way of doing that.

Author photo for Kiyash Monsef

Kiyash Monsef is an Emmy Award–nominated producer and director; a writer of short stories, videos, comic books, and games; and a designer of innovative conversational and voice interface experiences. He’s the author of Once There Was, which was a finalist for the Morris Award, and Bird of a Thousand Stories.

BIRD OF A THOUSAND STORIES is available at bookstores everywhere.

You can see more purchase options at: Simon & Schuster.

Posts Tagged Middle-Grade Fantasy

MAGICAL STORIES WITH TRANS AND NONBINARY HEROES

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