Tag Archives: c. s. lewis

Right in the Feelz

20 May

And then, out of the sobs of the fangirls and the screaming of your fourth grade English teacher, came a noun that would soon overcome the world of the “interwebz” as our dearest Brenna calls the semi-volatile, habitually quirky, occasionally dark-and-twisted, always fluff-loving, tear-bending community that makes up the Internet. Feelz. The act of being pounded in the soul by emotion. Give or take a few heart-wrenching death-scenes, spontaneous moments of singing and dancing to those songs that just lift you up, and a few pages of stirring dialogue in which all the character development manifests and you’re only able to pump your fist while doing that awkward book hold so the pages don’t change and grin like an idiot.

So what are some of the biggest and best Feelz moments we’ve experienced as Fandoms? Well, I won’t give you specifics, but here is a list of my top ten favorite “types” of Feelz:

1o. I Ship It. I do not always ship characters, but when I do, they become OTPs. OTPs are dangerous. Some of my favorites are Vrell Sparrow and Achan Cham from the Blood of Kings series by Jill Williamson, Kale and Bardon in the Dragon Keeper Chronicles by Donita K. Paul, and the unforgettable pair in The Savage Damsel and the Dwarf  by Gerald Morris. What’s great about being an author is your OTPs are always cannon. Always. It’s wonderful. Some of my favorites from my own writings and things are Mark and Lee from the Heir Returning trilogy and also Marya and Louin from the Heir Returning trilogy. Justin and Evangeline from WildQuests get the honorable mention because they were probably Brooke’s and mine first pairing. Ever. Pstttttt. I’ll even let you in on a secret. Back in the day, Brooke was literally obsessed with Justin Beiber and she totally based our Justin off him. Fortunately, he became his own character throughout the series, but yep, that’s all I have to say about that.

9. Fiery Balls of Innocent Awesomeness. Little, super-cute, super-insightful kids in books are just great. Like, they can say all the things and be all cheery and not-emotionally-disturbed and joyous and all the fluffy happy things without it being cheap. I love it! I can’t think of any right off the top of my head from any books I’ve read, albeit I am sure I’ve read several rather good ones, but the one that I am writing a lot of write now is Louin from the Heir Returning trilogy. He won’t show up until book two, but in our role-play on Figment he is quite active and is the source of many feelings. Many feelings.

8. Super-Awesome-Not-Cliche-at-All Romantic Dialogue. Yup. I totally condone this. This makes me really really really happy on the inside because I DON’T WANT TO HEAR ABOUT HER BUTT OR HIS EYES! TELL ME ABOUT THE CONTENT OF HER CHARACTER AND HIS CHIVALROUS NATURE! Lord! Have! Mercy! Seriously, people. We aren’t that unoriginal are we? One author that did an absolutely phenomenal job with this is Lisa Bergren, particularly in her River of Time series. Really couldn’t get enough of Luca’s casual quips. Well done, ma’am. My faith in human capacity for good romance is restored. Lee and Mark in my own series are very much about this sort of relationship. I had nothing to do with that… obviously. What? Stop judging! I can have a romance with swords and chivalry if I want!

7. Here, Take a Piece of My Soul. You know what I’m talking about. Those moments when it’s like a lecture, but you’re finding yourself nodding along with the speaker and the monologue is just perfect and awesome and you’re just like “YEAH! I’M GONNA GO SLAY LIFE NO!” Yup. Probably the best two examples of this I have ever come across are in The Lord of the Rings trilogy by J. R. R. Tolkien and the Ascendance Trilogy by Jennifer Nielson. Seriously, Sam and Sage had me in stitches (and crying tears of liquid pride) more than once. Of my own characters, Del Avior from Out of Darkness does this the most often, and she is followed closely behind by our steadfast Pastor Rajii from the Heir Returning trilogy (and eventually the Heir Rising trilogy).

6. We See Your Darkness And Raise You One Fellowship. All those awesome gangs of awesomeness. Call them what you will: bands, brotherhoods, gatherings, friends, supah ninjas… They are just the coolest. Too many to list here… because literally all good books have them. All good books. That’s just a rule. For awesomeness. There has to be a gang. And if there is a gang, there are all the brotherhood feelz. And they are some of the best.

5. Soldier Relationships. I don’t really have to go into this one very deeply. It’s just… there’s this sort of connection between people who have been through absolutely terrible things together. And those bonds mean Feelz. In literature, one of my favorites is the gang from Blaze of Glory by Jeff Struecker. From my own books, Leyrl and Itzal in the Heir Returning trilogy. There are other connections between them, but one of their first and most apparent ones is that of their shared experience in war.

4. From the Master to the ApprenticeTorch passings kill me. Literally. All of those words and bonds and things and good lord… I just can’t handle it. I just… I don’t even know if I can do examples… because, well I might not be able to finish the list. Del and Eira. There. From Out of Darkness and the Evading the Emperor role-play on Figment. I.. there literally aren’t words. In literature, Halt and Will from The Ranger’s Apprentice series by John Flanagan. There are many that I could mention… but honestly, just thinking about them… I can feel the feelz. (See what I did there?)

3. Partners in Crime (Not Romance). This one really needs no explanation. When two people pair up, not romantically, and just decide to take on the world together as bro and bro, sis and bro, or sis and sis, it’s just awesome. Sherlock Holmes and John Watson from Sherlock Holmes by Author Conan Doyle, Soren and Gylfie from The Guardians of Ga’Hoole by Kathryn Lasky, and the threesome from Harry Potter by J. K. Rowling even though it wasn’t totally unromantic made up of Hermione Granger, Harry Potter, and Ron Weasley.

2. Those Meaningful Last Words. Ack. Ack. I can’t handle the really really really really really sweet, perfect death scenes. Like, they literally kill me on the inside. Every single one. Even if it just kind of happens… But then you’ve got those ones (and you know the ones), where the author (I am sure of this because I have done this myself) is grinning and crying like a maniac while writing the scene. And there are words. And feelings. All the feelings. And no one can handle it. No one! Don’t lie to yourself. Some of the best ones I’ve come across in published books are in The Fellowship of the Ring by J. R. R. Tolkien because saying “My brother, my king” as you’re dying… I just… I can’t even. Sherlock Holmes by Author Conan Doyle. No explanation needed here.

1. That Moment of Magical Alignment In Which Everything Is Literally Heartwrenchingly Perfect. It’s that last twenty pages of a thriller when everything falls into place and you’re somewhere in between gasping, sobbing, snorting, and screaming. It’s that moment when the protagonist stands up and accepts their responsibility, when the chaotic neutral character is redeemed, and the dialogue has such power it’s like a drum in your heart. Literally my favorite “feel” of all time. Some of the best examples of this are in This Present Darkness by Frank Peretti, Urchin and the Rage Tide by Margaret Mcallister, and The Voyage of the Dawn Treader by C. S. Lewis. From my own writing, I have to say this moment hasn’t quite happened yet. I’ve plotted and planned out the ends to both of the novels I’m working on, Kingsblade and I Will Not Be Moved, but I haven’t quite gotten there yet. Don’t worry, though, because there will be all the feelz in those endings. Especially in the conclusion of the Heir Returning Trilogy. Kingsblade is the first book in that series.

Then there’s that one that really can’t be ranked because well… it’s Jesusfeelz. Don’t even try to explain them. No, stop. You just can’t. Literally it is impossible without doing this: asl;dkfja;lseianval;sdkfj;asldkvna;ldsifuga;lri;sdlkga;lsdkjga;lsdkfja;lskdfja and aas;dlkfja;lekfm;leinv;ldknva;lskdjfa;lien;ldkva;slkdfjasdfasdfasfioa;nr;lkgjaf;lgkjl;rin;blknadslkncd and al;dskfjalievnl;dkng;lafjglskdfjgljkdsfghlksdjfghsldkfjghsdklfsdcjasdnvao. They are wonderful. It’s like Jesusbumps, but… more.

And there you are. Now, if you’ll excuse me I have a few death scenes to write and a few conclusions to finish. Mwahahahahahahaha… ha. ha. ha. ha.



So why were we given emotions again?

To have Feelz of course, silly willy!

All the feelz.



And that’s all I have to say about that.


Of Absent Lions and Tarnished Swords

23 Dec

Writing—it has become not only an escape for great minds, but also a way to instill in our children legends of times past and noble deeds done by knights in some far away realm. As C. S. Lewis states, “Since it is so likely that [children] will meet cruel enemies, let them at least have heard of brave knights and heroic courage. Otherwise you are making their destiny not brighter but darker.” Whether it is searching for a magical kingdom in a wardrobe or trying to hear elves singing in the woods, we, as readers, are shaped by what we read from the very first book that finds itself in our hands to the very last. From the apartments on 221B Baker Street to the mysterious gates into Allyra, storytelling—embodied in hundreds of thousands of novels, written by hundreds of thousands of authors—is a way by which readers are taken captive. And in their captivity, ensnared in a world that is not their own, readers are subjected to strange forms of torture—death, often many times over, loves won and then lost, victory in battle, but defeat in the war. But in this struggle of fates and destinies, they learn. In no other genre is the aforementioned principle so true as in Christian allegory, in which lions are kings and even death itself can be turned back again. It is a unique genre in which spiritual truth is linked with fantasy, imparting Biblically inspired wisdom to its readers. However, in order to truly grasp allegorical Christian literature and develop a clear understanding of its purpose in modern literature, the reader or writer must attain a meaningful comprehension of what Christian allegory is, how it is written, and why it is written.


Sarah’s sword, Santa Ira

Allegorical Christian literature is, in the briefest terms, a fictional interpretation of Biblical events or principles. Similar to its literary parent, allegorical literature, Christian allegory has a set meaning for events and occurrences outside of the basic bare-bones plotline. Subsequently, many authors have lamented the increasing popular undermining idea of no “set” implications. Kathryn Comstock said in her article “Meaning and Balloons”, “It’s happening in everything: school work, literature and even writing. Meaning is being systematically removed and instead, we’re being told that ‘It’s all relative’. There’s no real meaning in anything.” This is particularly disturbing for authors of Christian allegory who so meticulously incorporate the Truth into their works. As Comstock pointed out earlier in her article, “As any writer knows, there’s something specific you’re trying to get across… The scenes and situations you put in mean something, and it’s something very specific.” Novels written in a Christian mindset are, therefore, destined to have some sort of Christian outcome. As authors, it is second-nature to incorporate what you do know into what you don’t know. As a Christian author, what you know may only be a myriad of memories from the back pew at church, listening to the preacher lecture the congregation about Jesus and what exactly that extraordinary man stood for, which amounts to a rather ordinary plot with rather ordinary people. When tangled, however, with that which is not known—war, dragons, magic, and heroes—it becomes something quite different (Jones). It is this combination of authenticity and invention that often differentiates the master storyteller from the novice. “It’s only human to want to create things, as we are created in the image of the Creator,” said Lissy Jones in her article “Reality and Fantasy: Finding the Right Blend”. All Christian literature, however, is not allegorical. For example, a book may mention God once or twice, be written by a Christian author, and have a Christian “theme”, but that does not make it an allegory. In order for a novel to be allegorical, it must have a dual plot-line: realistic and symbolic, which is set in either an alternate universe or has a parallel universe to our own.

Not a recent development in literature, perhaps one of the most well-known and widely read allegory is John Bunyan’s The Pilgrim’s Progress from This World to That Which Is to Come; Delivered under the Similitude of a Dream, most frequently published as The Pilgrim’s Progress which features the travels of Christian in his quest to find the good King, enduring many not-so-carefully guised trials such as passing through Vanity Fair. Although judged as an older tale when compared to most modern literature, The Pilgrim’s Progress is still very young compared to some stories, preserved from ages far in the past. Christian allegory has existed for many centuries. Some of the first were the embodied in the parables chronicled in the Bible spoken by Jesus such as “The Prodigal Son”, “The Lost Coin”, and “The Lost Sheep”. During the ensuing medieval age, allegory also became a meaningful way for new and experienced believers to share the Gospel and make the principles in the Bible more easily understood. Whether it was an older sister telling bedtime stories to her younger siblings or a troubadour singing of the great love and a King to His people, whom had lost their way, Christian allegory has a rich history not only in developing modern literature, but also in the legends passed to us from an age of knights and chivalry past. It is, perhaps, the rootedness of Christian allegory in medieval times that has inspired many of the most popular Christian authors capture their allegories in the subgenre of speculative fiction. Speculative fiction, when applied to allegorical novels, is the official term for books which feature medieval or futuristic fantasy as a main point of the plot. While the more common of these two is medieval fantasy, as dystopian fantasy has grown in popularity with best sellers such as The Hunger Games, Ender’s Game, in addition to The Divergent Trilogy all have debuted in the last several decades, it is to be expected that there will also be an influx of allegories pertaining to this particular type of fantasy. Beyond speculative fiction, there are also Christian mystery, romance, thriller or suspense, historical, and contemporary novels (Schab). It is this variety of venues in Christian allegory that allows for flexibility in reading audiences and marketability.

Knights in shining armor, thrilling chases, battles with forces of darkness unseen. It is perhaps the means by which authors capture the allegorical story that is the most mystic thing about them, and, regardless of age and audience, it is hard to ignore the temptation to believe. The portrayal of Christianity within the allegories greatly differs from novel to novel, and although none of the plots are the same, there are some common elements needed within each allegory. Most often, the first to be addressed is the parallel or completely detached fantasy realm. These can be established in any number of ways, but the most frequent is, if it is a parallel universe in which a character from our world will be traveling to, to begin on earth and follow it, after the proper introduction of characters and setting, with some sort of transportation into the other realm. The most familiar of these is C. S. Lewis’s The Chronicles of Narnia. In each of the seven books, children from various places in England, find themselves, by pure happenchance, in Narnia. In The Magician’s Nephew, Polly and Digory use magic rings, owned by Digory’s insane uncle, to travel to the Wood between the Worlds where different pools take them to different lands beyond our own, including the forming world of Narnia (Lewis, The Magician’s Nephew). Later in the series, the Pevensie children find themselves in the same Narnia by unwittingly using a magic wardrobe (Lewis, The Lion, The Witch, and the Wardrobe). Throughout the rest of the books, the children are taken into Narnia by a train station after being called by Susan’s horn, a gift to her from Father Christmas, through a painting, and even through a little door in the back of the school yard while being chased by bullies (Lewis, The Chronicles of Narnia). Wayne Thomas Batson uses similar tactics in both The Door Within trilogy and The Curse of the Spider King. In The Door Within, Aiden, the main character, after being instructed by his Grampin, must imagine himself traveling over a long bridge in order to reach the Door into The Realm through which lies the signature parallel universe (Batson, The Door Within). The Curse of the Spider King utilizes portals and, unlike many of the worlds created in Christian allegory, has a more science-fiction feeling to it as Allyra, the land that the portals lead to, is a planet of sorts out in the farthest reaches of space (Batson and Hopper, The Curse of the Spider King). The other popular choice for world setting in Christian allegory is the establishment of a completely independent fantasy realm. Er’Rets, the realm that Jill Williamson’s Blood of Kings trilogy is located within, has no relation to our earth. In L. A. Kelly’s Tahn, there is also no bridge from our world to theirs. Because they are located in foreign lands, the authors of Christian allegory generally do not use titles such as “God” or “Jesus” or even “Heaven”. More frequently, new names are chosen to fit with the established fantasy atmosphere of the novel. As Aslan, a lion characterizing Jesus in The Chronicles of Narnia, famously says in The Voyage of the Dawn Treader, “‘I am,’ said Aslan. ‘But there I have another name. This is the very reason you were brought to Narnia, that by knowing me here for a little, you may know me better there’” (Lewis, 370). The names for God are not recklessly chosen in allegories, either. Often, their meanings are carefully considered before putting them to use. For example, in Donita K. Paul’s DragonSpell, the Pretender serves as the title for Satan and Paladin is Jesus. While the meaning of Pretender is very obvious to most readers, Paladin is more easily overlooked. Paladin is an old English term that originated out of some of the oldest medieval tales, one of these being The Song of Roland. Meaning a high-ranked officer who is worthy of trust, often in reference to a medieval prince, Paladin couldn’t be a much better name for Jesus. Many names also begin with “El”, a Hebrew name for God which originated from the root word meaning power and might and precedes many of the most well-known names of God in the Bible. It is no surprise then that this same prefix is found in several of the most popular allegories. King Eliam from The Door Within trilogy and Ellos from The Curse of the Spider King are two examples of this tendency. As the Bible is a central player in Christianity, so it is portrayed in Christian allegory. In each of the series The Door Within, The Bernifell Prophesies, and The Blood of Kings there is an established “Bible” that is referred to throughout the novels. Whether it is “The Scrolls of Alleble” and “The Book of Arman” that give a direct name to the realm’s Bible or in the less direct passages in The Chronicles of Narnia as parallels to familiar Biblical events unfold in the text, this important feature of Christianity is rarely neglected. In addition to these characteristics of Christianity, Christian allegories repeatedly touch on prayer and talking to God, Creation, and the omnipresence of God. As is often said in The Door Within, “‘Remember,’ she said. ‘Never alone’” (Batson, 167), meaning that, as a follower of God, you are never alone. Although not distinctly required in the perimeters of allegory, there are also common themes and trademarks that appear in these novels as well. Perhaps one of the most prominent is “mindspeaking” which describes the ability to, not surprisingly, communicate via telepathy. It is specifically referred to as mindspeaking in DragonSpell, but it is also present in Jill Williamson’s trilogy The Blood of Kings under the name of “bloodvoicing” (Williamson, From Darkness Won). Another common element for these novels to encompass is the use of another “sacred” language which is most frequently used in rebuking the Darkness. Williamson loosely uses Hebrew in her trilogy saying that, “I thought Hebrew/Greek sounded more like a fantasy novel. Plus, I liked the idea of using words from the Bible” (Williamson, 665-6). Batson and Hopper also utilize this, although their language is fiction, in a similar way, “‘Il berne di wy blakkie nai letta wy feithrill?’ (What place does the Darkness have with the light?)” (Batson and Hopper, 341). It is also to be found that the dedications of most Christian allegories are, not surprisingly, symbolic themselves. In The Curse of the Spider King the dedication is, “To those in hiding, lost far from the light. Swift wings are summoned to bear you safely home” (Batson and Hopper, 4). This commitment to the theme of the novel itself is obviously not required, and yet many of the writers of Christian allegory go out of their way to produce a full-circle tale believable enough to capture lost hearts for the kingdom of God. Because it’s such a unique genre, it may be imagined that finding a publisher would be nearly impossible. This is not completely true, however. As with any publishing arena, the Christian publishing companies come with their own list of qualifications, often more extensive and tedious than secular companies. This being said, there are over 50 companies that publish, either exclusively or using a branch of a bigger company, Christian literature. Nearly half of these require a literary agent for submission, or through using Christian Manuscript Submissions (C. R. Mooney). Despite the challenges that accompany writing allegorical Christian literature, there are still many authors—established and aspiring—who continue to work within the genre, putting on the armor of God and fight for the Kingdom.

A career as a free-lance author is, while gradually improving, one of the hardest. Writing within a genre that, although it does have flexibility within the perimeters of Christian fiction, largely alienates the non-Christian audience, it is sometimes difficult to understand why anyone would choose their career to be Christian allegory. This distinctive calling, however, makes it very simple for those called to do as their King commands. As L. A. Kelly says in the preface of her novel Tahn, “I am a writer. And that is a calling I cannot deny. God has his purpose for me in it, even when I don’t know what that purpose is” (Kelly, 8). As much as music, teaching, and missionary work is the ministry of some, so Christian allegory is to its authors. In the dedication of his novel The Door Within, Batson demonstrates a similar loyalty to his craft, “To the one true king, through whom all good things come: I bend my knee and await your command” (Batson, vii). Authors each have a passion in their hearts for communication—and not only communication, but for telling a story that will impact people, that will inevitably change people. It is no surprise, therefore, that, when the eternal fate of a reader may be resting in the words of a “story”, Christian authors present an entirely new sort of zeal when it comes to their novels. In her article “Glass Abbeys: A Call to Engage the Culture”, Grace Li points out that, without the witness of Christian believers to the outside world, they have no chance for salvation. Spreading the Good News should be at the heart of every Christian—especially the Christian author, “God’s meaning is clear. That gives us no excuse to do anything less” (Comstock). Indeed, the Bible itself encourages writing in many places throughout the Old and New Testaments. Christians are instructed to, primarily, ‘“use whatever gift he has received to serve others faithfully administering God’s grace in its various forms’ 1 Peter 4:10” (Bible, 1539). As Christian authors, there is an even more specific charge and “job description” in the Bible, ‘“Do your best to present yourself to God as one approved, a workman who does not need to be ashamed and who correctly handles the word of truth’ 2 Timothy 2:15” (Bible, 1509). Jesus, the greatest Christian example, told His followers as well as the masses parables—earthly stories with heavenly meanings, saying ‘“…Though seeing, the do not see; though hearing, they do not hear or understand’ Matthew 13:13” (Bible, 1236). The Truth is often hidden, and if unwilling to believe or see the Truth, then blindness will remain. In the same way, those who read Christian allegory and do not look for that “heavenly meaning”, as some of the Pharisees from Bible-times did not, do not see the allegory at all. How many people do see the allegory? The “set” meaning that is laboriously intertwined in the story? For many—particularly young readers, the introduction of Christian allegory into their life changes them, ‘“My life wouldn’t be the same without By Darkness Hid, To Darkness Fled, and last but not least, From Darkness Won. Jill Williamson held me captive from 1st to last’ Adele Hajicek, writing as Adele Treskillard, 19” (Williamson, v). Wayne Thomas Batson even wrote a short story as a Christmas present to his loyal readers this year. Why? Because as much as other authors may foster a bond with their audience, the level of mentorship established between the Christian authors and their readers isn’t just about life lessons—it’s tied together by an all-powerful God who makes us all family in a way, and that makes any battle for publication worth it.

Over the ages, allegorical Christian literature has changed monumentally. From first appearing as simple retellings of stories from the Bible shared believer to believer in the times when Jesus walked the earth to now chronicling fantastical tales of worlds far beyond our own, Christian allegories have become a key element of both ministry and modern literature. The unarguable uniqueness of the genre sets it apart from many others, making it a novel experience to behold and enjoy with all kinds of people. The existing stories of mysterious, bold young heroes, loose-fitting armor, and the lion who is king of the great wood will soon be joined by new tales and legends that will undoubtedly nurture a new love for literature in the generations that follow. For all is not always as it seems in the lands of absent lions and tarnished swords.

– AP Language Research Paper, Sarah Spradlin

Works Cited


Batson, Wayne Thomas. The Door Within. Nashville: Thomas Nelson, 2005. Print.

Batson, Wayne Thomas and Hopper, Christopher. The Curse of the Spider King. Nashville: Thomas Nelson, 2009. Electronic.

Bergren, Lisa T. . Torrent. Colorado Springs: David C. Cook, 2011. Print.

Holy Bible, New International Bersion. Colorado Springs: Biblica, 2009. Print.

Kelly, L. A. . Tahn. Grand Rapids: Fleming H. Revell, 2005. Print.

Lewis, C. S. . The Complete Chronicles of Narnia. Hong Kong: HaperCollins, 2000. Print.

Paul, Donita K. . DragonSpell. Colorado Springs: WaterBrooke Multnomah, 2004. Print.

Williamson, Jill. From Darkness Won. Colorado Springs: Marcher Lord Press, 2009. Print.


Comstock, Kathryn. “Meaning and Balloons.” Kingdom Pen. (30 April 2013) 2 December 2013 <http://www.kingdompen.org/meaning-and-balloons/&gt;

Jones, Lissy. “Reality and Fantasy: Finding the Right Blend.” Kingdom Pen. (23 May 2013) 4 December 2013. <http://kingdompen.org/reality-and-fantasy-finding-the-right-blend/&gt;

Li, Grace. “Glass Abbeys: A Call to Engage the Culture.” Kingdom Pen. (31 May 2013) 2 December 2013 <http://kingdompen.org/glass-abbeys-a-call-to-engage-the-culture/&gt;

Mooney, C. R. . “List of Christian Publishers.” The Christian Writer’s Corner. (30 September 2008) 10 December 2013 <http://christianwriterscorner.wordpress.com/list-of-christian-publishers/&gt;

Schab, Lynda. “Christian Fiction 101: What are the different genres?.” Examiner.com. (8 August 2009) 10 December 2013 <http://www.examiner.com/article/christian-fiction-101-what-are-the-different-genres&gt;

No Knight Is Ordinary

26 Jul

Sarah’s driveway in rural GA

It is a night like any other.

If you are in Georgia, this means it is hot, humid and there might be a breeze blowing. If you are lucky, of course. Pollen isn’t as thick as it was in Spring, though it still has a firm grip on the air. The leaves are full and the forests are thick. But, it was on a night like any other that most remarkable things happen. Maybe not in Georgia. Okay, mostly not in the sweet ol’ southern state of Georgia. Remarkable things do happen though. Things like Lord of the Rings and Star Wars happen. People like C. S. Lewis, Donita K. Paul, and Wayne Thomas Batson are born.It also happens that a very small, insignificant thing called E. E. B. happened on a night like any other. No, the world doesn’t know about it. (not yet anyway. I’m working on nefarious plots… don’t tell Brooke!) In fact, almost no one knows about it… except for you. And one or two people on Figment.

Which probably means you want an explanation.

Well, you see, my life began…

I’m kidding! We’re not going back that far. Actually, the idea of “Elizabeth E. Brookes” formed when an 8 and 9 year-old decided they wanted to write books. For a living. At 8 and 9. Granted, you don’t need to make a living when you’re 8 or 9 (Thank you parents. Now. As in — right now. You’d be more than mostly dead without them.), but said 8 and 9 year-old were determined.

They sat outside in the little ol’ school house and wrote their first story The Kids at Crystal Cove together. In a few days. It was a magical book with only a paragraph to a page and size 18 font… the not-so-eight-and-nine-year-olds might possibly be ashamed of said work. Now. Then, it was a masterpiece.

We only stole ideas from about 20 books… among them Little House on the Prairie (FYI — I can never spell “prairie” right…)  and The Chronicles of Narnia. We don’t talk about that book much anymore save in hushed whispers so that no one else can hear. (You mustn’t tell anyone else I told you about it, okay? Brooke might strangle me.)

But that wasn’t the end.

Silly parents, writing isn’t a phase.

So, about a thousand 3 hour phone conversations, 20 outlines and 11+ manuscripts later… well, I’d say Elizabeth E. Brookes was pretty unified.

What is EEB?

Well, it’s me (the insane, mentally-unstable kid of the group). And Brooke. (Brooke’s the genius of the operations, by the way.) Brenna. And Christ.

Yeah, you read this whole post just to find out we’re Christian. Strongly Christian, actually. No! Don’t run away! Not until I’ve finished!

Yes, EEB is a “group” of three teenage (now high school aged) girls who love God more than anything else. Who are determined to become published. And who became what the little 8 and 9 year-old wanted them to be — authors. Although we have massively busy schedules and a number of insane endeavors, we have all continued to write.

A lot.

As in, psychological issues will develop when we don’t write. Exciting stuff, really.

It’s an interesting, not-so-average, adventure. With our characters talking our ears off, you can expect that sanity is not among our collective traits. But we do know that this is a passion. And as we continue to write, read, and love our Savior, Jesus Christ, we hope that you’ll learn to love it as well.

It’s a long road ahead of us. But it’s the King’s Road. And He does not lead His servants astray.


You are welcome to explore our blog and the King’s Road!


If you’re not sure where to go next, here are some great places to start!

  • Check out our About Page to find out more about who and what EEB is and stands for!
  • Each of us have what Sarah decided to call a “desk” where we keep you informed on what we’re doing. Desks are a place where you can ask us as individuals any questions you may have, and also a place where you can preview some of our latest work!
  • The Archives are a place where you can find all of our posts sorted into neat categories that have to do with the subject matter discusses. The archives also serve as a place where you can see the most recent posts and scan through them quickly.


We’re so glad you’re here and can’t wait to start getting to know you!