The Princess and the Witch
“What happens when a fairy tale princess falls in love with a witch?”
- “The End of the Magical Kingdom: The Evil Princess” is Part I of a III-part trilogy.
- L. M. Warren wrote the series as a political allegory, as well as a tribute to “outliers” and misfits of society.
- The story is a parody of Disney fairy tales but with the darkness and psychological horror of the original Brothers Grimm fairy tales.
- The genre is officially a “tragic parody”, that is, a satire with social commentary and harsh emotional intensity, but written like a sitcom or a Comedy Central cartoon.
- The books feature various characters who are of the LBGTQX community, including Princess Mary Melancholy, the (closeted) Parody Lesbian Disney Princess of the first book.
- The HOOK is: “What happens when a singing fairy tale princess falls in love with a witch instead of the handsome prince she’s destined to marry?”
- From there, a chain reaction of events occurs that changes “Happily Ever After” forever. Every kingdom in Cadabra responds to the scandal and these events are depicted in the second and third books, The Saint of Science and The Watchmaker’s Child. The first book, The Evil Princess, follows Princess Mary Melancholy’s journey.
- Within the massive island of Cadabra there are four kingdoms battling for power.
- They are: The Kingdom of Gold, The Kingdom of Blood, The Diamond Empire and the Commonwealth of the Pink Sky
- Seven independent provinces including: The Outskirts, The Babadeans Refuge, The Wilderness, The Borderlands, the Revolution Ghetto, The Animal Parish, and the Old Island of Fen Mien.
- The HOLLYWOOD PITCH IS: “What if Game of Thrones happened in a Looney Tunes universe?”
- Or…”What if Disney musical-comedies actually stuck to the original Brothers Grimm stories and went full horror?
- Or…”What if The Rocky Horror Picture Show invaded Don Bluth cartoons?”
- You get the idea.
For a more in-depth preview visit The Evil Princess characters page.
“A Novel for Millennials?”
“People ask me all the time what were the motivations behind writing something so divisive and weird, instead of a more traditional young adult / teen novel. The series had a great deal of black humor and psychologically traumatic violence, and that was possibly just too much for it to ever go mainstream. My goal was to:
- Show that religion and LGBTQ love can co-exist and perhaps as friends, not as segregated enemies.
- Create an anti-war novel series. I am a pacifist and third party supporter, very much opposed to commercial war and imperialism.
- Dare myself to write a fairy tale book where all the major characters were unlikable and each one suffered from each of the major personality disorders. Here’s a spoiler of sorts.
• Paranoid – Gemini
• Schizoid – Wendy
• Schizotypal – Bianca
• Antisocial – Rita
• Borderline (or Bipolar) – Salem
• Histrionic – Blossom
• Narcissistic – Aaron
• Dependent – Mary
• Avoidant (or Autistic) – Quinn
• OCD – Tom Callin
• Depressive – Galileo de Wolf
• Sadistic – Rivulet
• Passive-Aggressive – Queen Darwin IV
• Masochistic – Jane
The reason for this was not just to troll my readers (although I adore antagonistic story telling) but to actually make a book about socially awkward characters and how they interact. I myself am socially awkward and don’t get along with a lot of people, and I know there surely must be plenty like me in the world. So this series was a sort of coming out party for all the outliers of society who don’t fit in…and you know, it’s OK not to fit in.
In order to be more accessible to younger readers, I decided to write “tragic parody” style, books for people who don’t like to read, and would rather imagine the story as a movie or screenplay. That’s why there’s mostly action in the narrative, more dialog, more humor, more shock value. Not as much boring introspection, internal writer speak, and long verbose descriptions that keep a lot of teens / millennials away from thick novels.
Some people who read it classify it as mishmash because it’s too funny to be serious, too dramatic to be a comedy. I think the secret to writing good comedy is to realize the characters never understand they’re existing in a comedy world. They think of their lives every bit as painful as we would our own. Just because characters are funny and situations are farcical doesn’t mean there is an absence of tragedy. Tragedy is all around us and especially in comedy, because our pain brings out our deepest survival instincts. And laughter will always be a great way to cope with despair.”
-L. M. Warren