House of Mystery Radio Sessions
- Apr 7
- 4 min read
By Bianca Rose
Book Notions
Sebastien acclaimed swashbuckling fantasy series, The Greatcoats, was shortlisted for both the 2014 Goodreads Choice Award for Best Fantasy. the Gemmell Morningstar Award for Best Debut, the Prix Imaginales for Best Foreign Work, and the John W. Campbell Award for Best New Writer. His YA fantasy series, Spellslinger, was nominated for the Carnegie Medal and is published in more than a dozen languages.
Q: Welcome to the House of Mystery, Sebastian. What are we talking about today?
A: We’re talking about Our Lady of Blades, a Court of Shadows novel. It’s set in the same world as my Greatcoats series, but it stands alone. Readers can jump in without having read the earlier books.
Q: How would you describe the book? Is it historical fantasy?
A: I wouldn’t call it historical fantasy exactly. It’s more of a swashbuckling fantasy inspired by the picaresque tradition—stories like Don Quixote, The Three Musketeers, and even Captain Blood. It has swordplay, hidden identities, intrigue, and a touch of magic layered over a complex legal system built around judicial dueling.
Q: What’s the premise of Our Lady of Blades?
A: It’s set in a duchy where court cases are settled through professional duelists. There are different types of duels—some determine sentencing, others recreate disputed events in combat. It’s a deeply corrupt system. Into that world steps a mysterious woman known only as Lady Consequence. She defeats the most celebrated duelist in the city and sets in motion a story about two sisters, family betrayal, revenge, and protecting the brother they both love.
Q: Where did the idea for this world come from?
A: Two places. One was a British legal drama called Silks, which showed how intricate and layered the court system can be. I wondered what that would look like in a fantasy world built around swordplay. The other inspiration was seeing a sign that said “Our Lady of…” something. I loved that construction. I started imagining duelists being given public honorifics like celebrities—titles such as “Our Lady of Blades.” That linguistic spark helped shape the culture.
Q: How do you build such a detailed culture without getting lost in research?
A: I start with a central idea—like a society that treats duels as courtroom entertainment—and expand outward. I’ll research things like currencies or calendars, but I try not to write an encyclopedia. Most of that background never makes it onto the page. It just informs the texture of the world.
Q: You have a strong background in swordplay. Does that influence the writing?
A: Absolutely. I fenced in college and later choreographed stage combat.
That experience helps me tell stories through swordplay. The duels aren’t just action scenes—they’re character-driven
moments.
Q: Lady Consequence is a complex character. How did you approach writing her voice?
A: It was challenging. She’s endured trauma and returned to a city that destroyed her family. Her core motivation is protecting her brother, who’s physically vulnerable and at risk of being forced into a duel he can’t win. Once I understood that emotional center, her voice became clearer. Everything flows from motivation.
Q: You mentioned being inspired structurally by The Count of Monte Cristo. How did that affect the book?
A: I’ve always loved The Count of Monte Cristo, but I wanted to experiment with revealing the mysterious avenger gradually rather than showing the full backstory first. It turned out to be much harder than I expected. That experiment is one reason the book took seven years to complete.
Q: Why do some books take months and others take years?
A: Sometimes a book comes from pure creative impulse and pours out quickly. Other times it’s more intricate and requires years of refinement. I wrote Malevolent Seven in about a month, and it became one of my fastest-selling books. Our Lady of Blades took seven years because I kept pushing it toward the best possible version of the story I wanted to tell.
Q: How much of today’s world is reflected in this novel?
A: Probably more than I consciously realize. One theme that crept in is how comfortable we’ve become in celebrating the downfall of people we dislike. In the book, everyone knows the legal system is corrupt, but they tolerate it because eventually it hurts their enemies. That moral compromise interested me.
Q: Do you want readers to take away a specific message?
A: Not really. If you push too hard on a message, you end up writing a polemic. I prefer to tell a compelling story and let readers interpret the meaning for themselves. Once a book is published, it belongs to the reader.
Q: Which character from Our Lady of Blades would survive best in today’s world?
A: Honestly, most of them. They’re savvy, strategic, and emotionally resilient—though not always noble. Unlike some of my earlier heroes, they understand manipulation and public perception. They’d adapt quickly.
Q: After seven years with this book, what does it feel like to release it finally?
A: There’s a moment when the book stops being yours. Once it’s published, you can’t change it. It becomes the reader’s story. That’s freeing. For years, it hangs on you while you revise and rethink. When it’s finally out, it stands on its own.
Q: When is Our Lady of Blades available?
A: It releases May 14 worldwide.
Q: Where can listeners find you?
A: My website is TheCastell.com. I’m also on X, Facebook, BlueSky, and Instagram. Readers can contact me through the site—I answer my own emails.
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