Before my epic fantasy novel The Veil of Kings and Gods releases, I wanted to open a small window into the world of Ældorra, a world of stone kingdoms, fading gods, and myths that refuse to die.
Each short story I write is its own world in miniature. They don’t rely on the main novel, yet every one of them echoes it, a fragment of history, a lost prayer, or a legend that shaped the lands my characters now walk. Some are quiet and personal; others burn with the power of the divine. Together, they breathe life into Ældorra in a way that maps and lore pages never could.
Writing these stories is more than worldbuilding, it’s a way of feeling the world I’ve spent years creating. When I step into a new tale, I discover the texture of the world again: the smell of rain on stone, the flicker of temple light, the forgotten names carved into the ruins.
These short stories aren’t just for readers waiting for the novel, they’re for anyone who loves myth, emotion, and the quiet moments that make a fantasy world feel alive.
You’ll soon be able to explore them as ebooks, see the artwork behind them, and even collect the prints.
Welcome to Ældorra. The gods don’t stay silent forever.
There’s a particular stillness to the house when one is unwell. The windows dim, the hours stretch thin, and even the simple act of sitting at a desk becomes a task weighed with strange solemnity. Over the past week, I’ve been writing through a heavy spell of illness, not the romantic sort that lends itself to poetic fever-dreams and sudden inspiration, but the ordinary kind. The draining, silent kind. Head fog, aching bones, and the slow drag of breath.
And still, the story asks to be told.
It hasn’t been easy. The rhythm of my chapters, those long, rolling sentences that mirror the breath of the world I’m building, do not come quickly when my mind is wrapped in cotton. Dialogue feels slower to surface, the flow of magic across a battlefield takes more effort to visualise, and Simion’s thoughts… his weariness starts to echo my own. Yet somehow, that makes the writing more honest. There’s no room for pretense when you are sick. What emerges on the page feels stripped back to truth.
There’s comfort in the discipline, too. Even a few hundred words become a kind of anchor. I’ve been working steadily through Chapter 31, part by part, and while I’ve not progressed at my usual pace, I’ve remained in the world. That matters more than anything. Staying inside the rhythm of the novel, no matter how slowly, prevents the silence from becoming distance. And when you are tired, truly tired, that distance grows fast.
This post is not a grand revelation, nor a triumphant declaration of productivity. It is simply a mark on the wall. A quiet signal that the story lives, even on days when the author does not feel particularly alive himself. If you are also working through something, whether a cold, a long week, or a deeper weariness, I hope you remember this: words written under strain are still worthy. They still carry weight. And sometimes, they carry more of you than you realise.
I’ll return to the cliff’s edge soon, where Simion waits beside those ancient stones. There is much still to tell.
Until then, rest, breathe, and if you can, keep the flame lit.
If there’s one question I return to again and again while writing The Veil of Kings and Gods, it’s this: how do you make war feel personal? Not just dramatic, not just explosive or large in scale, but real, rooted in the hearts of the people forced to live through it.
High fantasy is often filled with titanic clashes: gods levelling mountains, kings raising armies, ancient orders clashing across the centuries. But if I’m being honest, those scenes only truly work when they grow from something human. When a character you care about walks into the storm and you understand why.
I’ve spent the past year trying to balance these two worlds: the grand and the intimate. The arcane and the emotional. And nowhere has that balance been more important than in planning the major conflicts of this story, political, magical, divine. Today, I want to share how I approach that.
The Characters Always Come First
It sounds simple. Obvious, even. But when you’re building a vast world with kingdoms at the brink and gods whispering from beyond the veil, it’s shockingly easy to forget that someone still has to live through it.
For me, that’s Simion, Patrick, Týrnan. Each of them sees the oncoming storm from a different vantage point and each is wounded by it in ways that are quiet, personal, and rooted in character. Simion is a man caught between divine expectation and the fragile world of expectation. Patrick bears the weight of kingship while hiding parts of himself that would shatter his position. Týrnan fights not for conquest, but to keep his people from losing their soul.
The conflicts around them may escalate. But unless those conflicts are built on the foundation of who they are, their doubts, fears, loyalties, and flaws, the story would ring hollow.
Conflict as Mirror, Not Just Plot Device
One of my guiding principles is that every external conflict must reflect an internal one. If a battle breaks out between kingdoms, it needs to echo the unrest already stirring within the characters.
Take Patrick. His kingdom teeters on the edge of diplomatic collapse, but what drives that tension is not just geopolitics, it’s his own repression. His court senses weakness. His enemies sense distance. And Patrick, for all his strength, has no safe space to be fully himself. The war outside is the war inside.
Likewise with Simion, who is being slowly crushed by the power he once sought. The threats he faces aren’t always from enemies; sometimes they come from within, from his refusal to be the weapon the gods demands, from his fear of harming those he loves, from the ancient force he’s inherited that now forgets its own wisdom. These are personal wars. The divine and the magical are just the landscape they bleed into.
Intimacy in the Midst of Chaos
One of the joys and challenges of writing a large-scale fantasy series is finding the quiet in the chaos. There are scenes in Book 1 where cities are burning or armies are gathering, and yet the most important moment is a hand held too tightly, or a look that lingers a second too long. That’s what I strive for.
When Simion walks into battle, I don’t want the reader to think of fire and ruin. I want them to think of his challenges. Of the weight of the cloak he wears. These are the things that make his power mean something. Without them, he’s just another mage with too much fire in his hands.
And when Patrick makes a decision that could cost him the alliance of a kingdom, it’s not the politics that matter. It’s what he sacrifices to stand firm, the love he denies, the truth he cannot speak, the safety he’ll never truly have. These are the human costs, and they’re what I try never to lose sight of.
Final Thoughts
I love grand fantasy. I always will. But I believe its heart lies not in its spectacle, but in its people. In the ones who stumble through magic and war with bruised hearts and broken promises, doing their best to hold on.
So when I plan my conflicts, magical or mortal, I don’t begin with maps or power levels or ancient histories. I begin with the characters. With their wounds and their wants. And I try, as best I can, not to lose them in the storm.
Because the war may shape the world. But it’s the people who shape the war.
There are kings born with glory in their blood, and there are those who wear power like a wound.
Prince Patrick of Bremyra is no conqueror carved from legend. He is not the first son, nor the boldest. He did not march off with banners raised and swords drawn like his father and brothers. Instead, he was left behind, to rule in silence, to shoulder a realm not by destiny, but by circumstance.
When King Cedric departed on his expedition, taking with him Patrick’s elder brothers, Aric and Aiden, the third-born prince was not meant to lead. And yet, years have passed, and no word has returned from the expedition’s path. Now the court stirs with unease, and Patrick remains, a regent in all but name.
He governs with quiet endurance. His hands are stained not with blood, but with ink, the endless scrolls of diplomacy, tax levies, marriage negotiations, and royal petitions. Yet there is something deeper behind his golden hair and cool gaze. A weight. A weariness. A knowing look passed only between those who did not ask to carry the realm, but do so anyway.
In the quiet of the library, where the firelight reflects off old treaties and maps, Patrick does not play at king. He studies. He listens. He calculates not in ambition, but in caution. Around him, kingdoms bristle, Arvendral grows restless, Tsunamia watches with silent interest, and suitors press for alliances. Yet the prince offers no bold proclamations. Only silence. Measured decisions. The stillness of a man who understands the cost of speaking too soon.
He is not alone in his burden. His sister, Elana, moves like a shadow alongside him, fierce, articulate, and bound for marriage to secure Bremyra’s position. There is a shared understanding between them: the weight of expectation, the sacrifices they will not name aloud.
And then there is Simion, the magician now bound to Patrick’s court,once a kitchen boy in the same castle where Patrick now rules. A childhood thread, pulled taut by fate.
If Patrick sees more than he says, he does not show it. But one cannot walk long among wolves without learning how to bare their teeth.
He was never meant to wear the mantle of power. Yet power, like silence, often chooses those who do not crave it.
There was no single spark. The story came slowly, like a breath remembered from long ago, or a half-formed thought whispered through stone. A world shaped by old powers. A realm where kings fear magic, and magicians serve at the edge of thrones.
In the beginning, there was only a boy. He worked the castle kitchens in Bremyra, sweeping floors and scrubbing pans beneath the gaze of guards who barely noticed him. One day, something stirred. It broke through him, unseen, instinctive, and changed the course of his life. The Order of Magicians arrived, and the boy was taken.
He did not shine. While others rose through the ranks with ease, he struggled. There were no accolades, no whispered praises in candlelit halls. His tutors pushed him hard, and he endured. The hours were long. The silence longer. He studied while others excelled, remembered spells long after others had passed their trials.
In time, he left the Academy. There were no citadels calling his name. No grand appointments. His master in the Council intervened, and so he returned, back to the same castle where he once carried bread and carved meat. This time, he came as Advisor. The halls had changed. The faces had not.
That was where the story found its voice.
The world around him unfolded slowly. Whispered tensions in the council chamber. Glances that carried more weight than words. A kingdom balanced on memory and suspicion. Within those stone walls, something deeper began to stir, an echo, perhaps, or a remnant of something long buried.
As I wrote, I did not seek grand battles or sweeping prophecy. I sought something quieter. A man who carried more than others saw. A world that remembered what others had forgotten. Magic that did not burn with spectacle, but pulsed through the earth like a second heartbeat.
The Veil, once unseen, began to lift.
What lies beyond that veil remains hidden, for now. This story, like the world it inhabits, is still becoming. Yet its heart remains the same: a kitchen boy, a crown too close, and a voice that waits beneath the silence.
Before he became the greatest threat to Ældorra, Azaroth held a place among the divine.
During the age of the Imperium Arcana, the gods still shaped the world. Their presence guided the rise of empires, the movement of stars, and the sacred flow of magic. Among them stood Azaroth, an entity devoted to balance and universal law. He did not govern love or war. His realm existed at the intersection of order and arcane truth. Mortal kingdoms honoured him with silent offerings, while the Order of Magicians held his name among the highest in their ancient texts.
Over time, something within Azaroth shifted.
No records reveal the full path of his descent. Even the Order, with all its stored knowledge and sealed tomes, whispers only fragments. What remains clear is this: Azaroth chose to leave the High Heavens. He reached downward, into the wounded depths of reality, the realm known only as the First Hell.
That place devours meaning. Magic there fractures into madness. Time becomes a storm of echoes. Azaroth returned changed. Divine no longer, he emerged cloaked in shadows that moved like thought. His magic no longer carried harmony. It consumed. Across the divine realms, tremors of dread followed in his wake.
The God of Magic rose in response. Once kin to Azaroth, he stood alone before the fallen deity. The clash between them tore across sky, land, and sea. Entire mountain ranges cracked. Oceans surged beyond their borders. Celestial towers collapsed into memory.
The fallen was sealed. Azaroth’s essence remained trapped within the First Hell. To ensure the prison held, the God of Magic sacrificed himself. No tomb bears his name. No statue rises in his honour. His essence faded, though his victory allowed the world to continue.
The seal endured across centuries.
Now, it weakens.
In The Veil of Kings and Gods, faint tremors move through forgotten chambers and shattered temples. Spells fail. Visions twist. In moments of silence, some hear voices echoing with words never spoken. The First Hell watches once more. Azaroth reaches toward the living world through cracks in the veil.
He remains more than a demon. A god’s ambition shaped his fall. His memory was stripped from scripture, yet his will never faded. He waits, not in silence, but in hunger.
Over the past few days, I’ve been deep in the process of proof-reading and editing three chapters of my novel, The Veil of Kings and Gods. It’s not the most glamorous part of writing, but this time, it felt different.
Something about reading the story with fresh eyes after a short break made the experience… enjoyable. Genuinely enjoyable.
I wasn’t just correcting grammar or trimming repetition, I was rediscovering the world I’d built. The tension in a particular scene, the rhythm of dialogue I’d forgotten writing, or that one line that landed exactly how I hoped it would months ago. These small victories reminded me that, yes, I’m actually telling a story worth reading.
There’s a strange kind of pride that comes with this phase. It’s less about ambition and more about affirmation. Not “Will this sell?” but “I’m glad I wrote this.”
Of course, I still tweak. I still cut. I still sigh when a sentence refuses to behave. But the difference now is that I’m refining something real, something that already exists, not chasing a blank page.
If you’ve ever written something long-form, be it a novel, a thesis, or even a personal journal, you might know the feeling: rereading your own words and thinking, This isn’t perfect… but it’s mine. And it’s good.
That’s the stage I’m in right now. And I wanted to share it, not just the technical process, but the strange joy of falling back into a world you created and realising you want to stay there a little longer.
Want to Hear the Behind-the-Scenes Version?
If you’d rather hear me talk through the editing process, I recorded a short face-to-camera video as well. You can watch it here:
Whether you’re a fellow writer, a reader waiting for the book, or just curious about the creative process, I hope this gives you a little window into what it means to edit with joy.
Let me know in the comments: Have you ever gone back to something you made and felt quietly proud of it?
In a world once shaped by divine hands, where kings fear what they cannot control, Simion stands at the edge of myth and obscurity. He holds no grand title, wears no gilded robes, and bears no reputation as a prodigy of the arcane. His story is quieter, rooted not in greatness, but in something far more human.
Before the councils and court chambers, Simion was a kitchen boy. The castle at Bremyra was his world, its stone corridors filled with the clatter of pans and the scent of stewing broth. He moved among servants, delivering bread, cleaning floors, and sneaking crusts to the youngest among them. It was there, beneath those very walls, that the first spark of magic broke loose from within him. A frightened boy. A sudden flare. And the Order of Magicians arrived before the embers cooled.
He was taken without ceremony. His name added to the rolls of the Academy where the days were long, the teachings relentless. Simion did not rise easily. Others soared through the high arts, weaving spells with elegance and precision. He struggled to hold form, to understand deeper currents, to speak the tongue of magic with anything beyond effort. Yet he endured, through sheer will, long study, and quiet resolve.
Upon completing his training, no citadel called him. The cities of power remained silent. His path remained unclear until his former master, a stern voice within the Council, arranged a post that few would envy, Advisor to the King of Bremyra. It was less a promotion than an obligation. A placement of necessity. Still, he accepted.
Now, Simion walks again through familiar stone halls. He stands beside those who once knew him in passing. Elana, a friend from youth, the princes, with whom he once shared stolen moments of laughter. The kitchen boy has returned, not with acclaim, but with a burden that grows heavier by the day.
The kingdom shifts. Whispers speak of hidden tomes, ancient chambers sealed in forgotten stone, and strange forces moving beneath the world. Simion has seen things no Advisor should see, felt magics that do not obey the rules he was taught. There are voices now, soft, distant, threading through silence.
He never sought power. Nor was he shaped for glory. Yet in the quiet places where gods once walked, something has stirred.
And Simion, worn and uncertain, may be the only one left who can hear it.
Author’s Note: In my fantasy novel The Veil of Kings and Gods, the world of Ældorra is shaped by ancient gods, divine betrayal, and the remnants of a shattered empire. This post explores the origin of Ældorra’s divine war, drawn directly from the mythic past within the story itself. If you enjoy deep lore and high fantasy, this is for you.
Before kingdoms warred and magicians stood above kings, Ældorra was shaped by gods, divine beings whose presence touched every corner of the world. In the time of the Imperium Arcana, magic was not a distant force, but a living breath that pulsed through every stone, sea, and soul. This magic, ancient and sacred, came not from study alone, but from the gods themselves.
Among these deities stood the God of Magic, the mightiest of them all. His power was the very source of the arcane that wove the empire together. He was not only a divine figurehead, he was the guardian of all, it was he who anointed the magicians as the empire’s true rulers, custodians of magic who were revered not just as wielders of power, but as the chosen of heaven. To command the arcane was to speak with divine authority, and so the magicians ruled not by bloodline, but by divine will.
The Imperium flourished under this covenant. Cities of marble and gold rose across the land, and every breath of wind, every whisper of light, carried the weight of enchantment. From the fjords of the north to the eastern deserts, magic was life, and life was divine.
But divine creations are not immune to betrayal.
The fall began with a god of the First Heaven, once the deity of balance and insight. His corruption was not a sudden blaze but a slow rot, fed by ambition and the hunger for more. The god descended from his sacred post, abandoning the divine realm to seek darker paths. Deep within the First Hell, his magic became something twisted and foul. No longer a god, he was reborn as a demon: Azaroth.
Azaroth’s rise did not go unnoticed. While the magicians of the Imperium grew complacent, blinded by their own greatness, it was the God of Magic who first sensed the rot. Alone among the heavens, he understood the threat. And so, the two former brethren clashed, not with armies or swords, but with the raw essence of creation itself. Magic and corruption tore through reality. The heavens cracked. The seas rose. The skies burned.
In the end, the God of Magic made the ultimate sacrifice. With the last of his divine essence, he sealed Azaroth within the First Hell, imprisoning the demon for eternity. Yet victory came at a cost: the God of Magic himself was torn apart, his name lost to time, his power shattered.
And with his fall, so too fell the Imperium.
What followed was silence. The gods no longer walked the world. The arcane throne stood empty. The magicians, left to their own devices, could no longer claim divine mandate. But before the empire’s final breath, the last emperor passed one final law: that the magicians would remain autonomous, above kings, above law, outside the reach of Church and Crown. Thus, the Order of Magicians was born.
The gods’ war was long buried by history, but its echoes never faded. In The Veil of Kings and Gods, the seal on Azaroth begins to weaken. Forgotten powers stir. And the divine magic once thought lost whispers again from the shadows of Ældorra.
The gods may be gone. But their war is not over.
Want more? This is just the beginning. The divine echoes of this history shape every chapter of The Veil of Kings and Gods, especially through the eyes of Simion the Magician. New blog posts, lore entries, and behind-the-scenes content are released every other day. Subscribe to the blog, follow on YouTube, or check out my short stories for deeper glimpses into Ældorra’s ancient past.
There was a moment, years ago, when I finished reading a fantasy book and set it down with that lingering ache only good stories leave behind. But this time, something different stirred. I remember thinking, I love this world… but I would have done the magic differently.
That thought, quiet but persistent, was the spark that began this journey.
A Quiet Beginning
I’ve always loved stories. I was sketching characters and scribbling in notebooks before I knew what genre even meant. For me, storytelling wasn’t about ambition. It wasn’t about publishing or platforms or careers.
It was something I did because I loved the word-building and the idea of losing myself in my fantasies.
Writing, like painting, was my calm space in a world that often felt too loud.
The Question That Wouldn’t Let Go
Years later, I read a fantasy series that changed something in me. I won’t name it, but I remember wishing that the magic system worked differently. I wanted to see a kind of magic that wasn’t spoken or shouted, but silent. What if casting spells required nothing but will and cost? What if power came from absence, not control?
That question sat with me. And over time, it grew.
It became the foundation for The Veil of Kings and Gods.
Years of Silence and Sparks
Writing this novel wasn’t quick, and it certainly wasn’t easy. Life was full, sometimes too full. Jobs, exhaustion, raising a newborn, moments of doubt. There were months where I barely touched the manuscript… and others where I couldn’t stop.
I rewrote chapters. Deleted scenes. Rethought characters. Rebuilt the entire world from scratch. But I never stopped, because the story wouldn’t let me go.
What began as a simple idea, a magician who doesn’t speak, turned into something far bigger. A world where gods have gone silent. Where prophecy falters. Where fate rewrites itself.
What This Story Truly Is
I won’t spoil too much, but here’s the heart of it:
The Veil of Kings and Gods is set in Ældorra, a fractured realm of forgotten empires and divine silence. The old god-chosen magicians are gone. The demon they once sealed away is stirring again.
At the centre is Simion, a quiet magician who doesn’t cast spells the way others do. He doesn’t speak incantations. He doesn’t crave power. But he’s the one who will break the Spiral and reshape prophecy.
There’s a prince scarred by loyalty and forbidden sexual preference.
A noble sister caught between obedience and rebellion.
Secret orders. Collapsing kingdoms. Ancient ruins that whisper truths long buried.
And above it all, the Spiral, a symbol that marks not just fate, but the collapse and rebirth of magic itself.
Why Now?
Because I stopped waiting.
For years I told myself the same things: “When life settles down… when I’ve got more time… when it’s perfect.” But none of that ever came.
So I’ve decided to start where I am.
I’m sharing this novel. I’m building this world aloud. Not because I believe I’m the next great fantasy author, but because I believe this story matters. And maybe… it will matter to someone else too.
Watch the Video
If you’d like to hear the more personal version of this journey, I recorded a video where I speak directly about why I wrote this book, how long it’s taken, and what’s still to come. You can watch it below:
Join Me
If this world sounds like something you’d like to explore, you’re in the right place.
I’ll be sharing lore, character art, short stories, and behind-the-scenes posts as I bring The Veil of Kings and Gods to life. You can follow the blog or subscribe to the YouTube channel.
This is just the beginning and I’m glad you’re here.
Simon J. Phillips 