Mary Fan

Mary Fan is a sci-fi/fantasy writer hailing from Jersey City, NJ. She is the author of the Jane Colt sci-fi series, published by Red Adept Publishing. The first book of her young adult dystopian fantasy series, Flynn Nightsider, will be released in 2015 by Glass House Press. And Part One of her young adult fairytale series, Fated Stars, will be released in 2016, also by Glass House Press.

In addition, Mary is teaming up with fellow sci-fi author Paige Daniels to indie publish Brave New Girls, a young adult sci-fi anthology featuring girls and gadgets. The anthology will be released in summer 2015, with all revenues going to a scholarship fund through the Society of Women Engineers.

Mary has been an avid reader for as long as she can remember and especially enjoys the infinite possibilities and out-of-this-world experiences of science fiction and fantasy. In her spare time (when she has any), she enjoys kickboxing, opera singing, and exploring new things—she'll try almost anything once.

Website: http://www.maryfan.com
Twitter: @astralcolt
Facebook: Facebook profile
Blog: http://zigzagtl.blogspot.com

http://www.amazon.com/Mary-Fan/e/B00BKT4AJW/ref=sr_ntt_srch_lnk_1?qid=1433614948&sr=8-1

Paige Daniels

Back to profile overview

Back to profile overview

aliens    music    performing arts    romance    science fiction    scifi    scifi action adventure young adult    scifi anthology    scifi short stories    scifi space opera    scifi ya    scifi young adult    space    viola    ya anthology    young adult anthology   

• Hollow Moon on July 01, 2012
  (no rating)
  Ravana O’Brien is a vivacious teenager living in a quiet life in a hollow asteroid on the fringes of humankind’s interstellar society. One day, while chasing her troublesome robotic pet cat, she witnesses the kidnapping of a young exiled prince, heir to a throne lightyears away. Meanwhile, on another world, a three-member high school band sets out to participate in a galactic music competition that is to take place at a peace conference intended to settle a decades-long civil war. The band members—Bellona, Philyra, and Endymion—stumble into the conflict when they come across an abandoned ship that had been used to kidnap the prince. Hollow Moon follows the antics and adventures of these four teenagers, plus Ravana’s brilliant and eccentric friend Zotz, who will stop at nothing to impress her, as they find themselves more and more entangled in the political machinations and corporate intrigue behind the kidnapping. As Ravana investigates these plots, she ends up learning secrets about her own past that her father, the starship pilot Quirinus, had kept from her The world-building in Hollow Moon is an impressive display of technological and societal conjecture. The mechanics of the main technologies—such as AI processors and artificial gravity—are described in detailed but understandable language. The futuristic society is similarly well thought-out. In this rendition of the 23rd century, China and India have become two of the more prominent interstellar superpowers, and thus many of the planets have Chinese names (such as Taotie and Daode) while the kidnapped prince belongs to an old-fashioned Indian monarchy that had been set up on one of these worlds. Although the story takes place in the future, the characters speak and behave in a contemporary (early 21st century) fashion, using variations of present-day colloquialisms in their dialogue. This makes them easy to relate to and sympathize with, as they come across as familiar and likable. Their witty chatter and everyday concerns keep the story light-hearted even as it delves into some of the darker subjects of bioethics and civil war. With its twists and reveals and colorful sense of humor, there is never a dull moment. The juxtaposition of a high school band competition against the backdrop of dangerous, change-the-world circumstances makes this an enjoyable and unique story with many memorable moments.
  
• Shadow of the Wraith on Aug. 16, 2012
  
  Travis Archer is a freelance bounty hunter who accepts an official assignment to hunt down and destroy the Star Wraith, a powerful but apparently unmanned ship with the nasty habit of appearing out of nowhere and destroying ships. Although Travis and his crew are the focus of the story, the narrative cuts to other scenes in a cinematic fashion. The more fascinating scenes of these reveal glimpses of a shadowy villain called Baorshraak, whose goals and motivations remain shrouded in mystery even as he appears to be the one pulling the strings. Harrison writes with a distinct attitude that is very aware of the genre his story takes place in. References are made to the clichés of space opera, which he acknowledges and makes fun of even as he unapologetically takes advantage of them. Many ideas in this book are decidedly familiar--starfleets, space cowboys, humanoid aliens--but they are used well. There is a dry sense of humor that radiates not only from the characters but the narrative itself, as though it isn't taking itself too seriously. Although this attitude makes for entertaining commentary, there are a few moments where it seems somewhat intrusive--as though it's the author speaking and not the character. Nevertheless, it's what adds an extra bit of sparkle to the already dynamic plot, which carries the reader to unexpected corners of this galaxy. Overall, Shadow of the Wraith is a smartly plotted and entertaining space adventure that takes the reader on many twists and turns--the direction the story goes in is quite different from what is expected. But in the end, it's really the characters' voices--and Harrison's--that make it memorable. I ended up enjoying it so much that I suffered from two nights in a row of Star Wraith Insomnia--the inability to sleep due to the fact that I had to keep reading. [This is a condensed version of the full-length review on my blog: Zigzag Timeline]
  
• Kira on Oct. 03, 2012
  
  Kira opens with its titular main character sprinting through the streets of New Haven, the seat of a totalitarian government’s power. Hunted by the police and government agents, Kira uses her own brand of fighting skills to make it back to her town in the Wastelands, one of the few bastions of freedom in a world where those who refuse the Government’s control struggle for survival. There, she reports her discoveries to the town Elders, who lead the ragtag resistance. Having previously read Harrison’s novel-length space opera, Shadow of the Wraith, I could tell immediately that Kira is a trophy case displaying all his strengths as a writer: heart-pounding action, detailed world-building, characters that don’t just spring from the page, they leap out and yell, “’ello there!” in your face. His descriptions, scattered through the action, subtly paint the world around the story, allowing one to easily visualize what’s going on. With the smaller canvas of a novella to work with, Harrison whittles down his writing to showcase only the best, making each sentence worthwhile and effective. Kira, a colorful young woman with a heavy Cockney accent, is the kind of protagonist who’s easy to love. Her strength and resilience are offset by a touch of insecurity—mentions of her troubled past make her uncomfortable, and she attempts to transition into proper English in the presence of a handsome young man and fellow member of the resistance—making her a realistic and relatable character. Her irreverence and wittiness make her third person limited narration a delight to read, adding a touch of humor to this otherwise tragic tale. Also of note is her teenage friend Flip, an odd yet adorable boy whom Harrison successfully brings to life in only a few paragraphs. Kira is a tightly written and fast-paced novella that’s easily read in one session. In a few short paragraphs, Harrison creates an immersive steampunk universe that’s easy to get lost in and leaves you craving more. The speculative future he sets up is at once bleak and scintillating—bleak in its post-apocalyptic setting, scintillating in its dynamic characters and captivating backdrop. The story is a perfectly angled snapshot of a vast, multi-faceted world, a wonderfully packaged stand-alone tale that leaves room for much, much more. Ross, if you’re reading this, can you please write a sequel? Or three? Or five?
  
• Red Sand on Nov. 19, 2012
  
  The Princess Anne was just another cruise ship making its way across the ocean, ferrying people from all walks of life, each on board for his or her own purpose. Most are neither heroes nor villains, only ordinary human beings with ordinary problems. Then their ship goes down, and a few lucky survivors are fished out of the water by inhabitants of a nearby desert island. The inhabitants aren’t savage natives—they’re fellow Westerners, survivors of a previous shipwreck. Having lived on the island for years, they’ve developed a system to keep food in their bellies. The survivors of the Princess Anne are put to work fishing, farming, and otherwise maintaining operations necessary for subsistence. But it soon becomes clear that there’s more to the island—and its inhabitants—that meets the eye. One by one, the Princess Anne’s survivors vanish, picked off by both nature’s and man’s brutality. Red Sand is an ensemble show. Although some characters drive the plot more than others, Cray treats each one as if he or she is special, presenting the reader with lively backstories told from the characters’ points of views. He wants you to know them before he kills them. It’s a refreshing take on the genre—too many horror writers throw people away simply to illustrate the external dangers. But even though they are props in a bloody show, they’re nevertheless human beings, each with a story. Cray seems all too aware of this. His cast isn’t made of faceless redshirts; they’re living, breathing people, each with his or her own motivations, on the island for different reasons. There’s Howie, the formerly henpecked widower whose wife left him a cruise ticket—and another wife to henpeck him. And Lauren, the coupon-clipping con artist running away to her new life. And Mason, the lonely single man seeking adventure and companionship. Cray lets you know at the very beginning, in his Author’s Note, that no one will come out alive. But don’t be fooled by Cray’s seemingly innocuous backstories. Behind the developer of sympathetic characters lies an unapologetic sadist. The horror in Red Sand is more than gruesome—it’s the stomach-turning stuff of nightmares, largely thanks to Cray’s gift for description. Through vivid yet tight language, he brings each scene to life, whether it’s painting the setting or depicting a grisly death. The deaths are told from the close third perspectives of the victims, allowing a reader to feel their terror and hear their thoughts, which are often bizarrely incongruent with the circumstances. Cray’s writing also smacks of the philosophical at times, through dialogues discussing what it means to be cut off from civilization and internal ruminations on what was left behind. But even knowing the characters’ inevitable fates, I found myself caught up in the story’s suspense. Mysteries abound on the island. The motivations of the islands’ de facto colonizers, so rational at first, soon become garbled. They maintain a rigid hierarchy, keeping themselves behind a salt wall while the Princess Anne’s survivors are made to camp outside. What is it that they fear? What are they hiding from the survivors? And what are they hiding from each other? Tuk, the leader, seems so benevolent at first, but it’s soon revealed that there’s much more to him than a determined John Smith-like survivor. Red Sand is a fairly quick read. Cray’s vibrant writing makes it easy to get lost in the passages, whether it’s the colorfully told backstories or the intensely depicted scenes of violence. It’s more than just a gore fest—the plot and concepts are fascinating. All in all, a wonderfully entertaining—and sometimes scream-inducing—story.
  
• Temple of the Sixth on Dec. 14, 2012
  
  Thardriik Jhunassi Kortlyn III, better known as Theak, is an ex-military pilot seeking his fortune as a private investigator, so when he receives an anonymous note basically saying, “meet me at this space station, and you’ll make vast amounts of money,” he immediately jumps onto ship and zooms over. What he finds when he reaches the station is a massacre. The next thing he knows, he’s pulled into an ancient conflict between godlike beings, forced to fight for the side of good when all he really wants is to get paid—and live to tell the tale. Meanwhile, in another part of the galaxy, Omar and Palitz, two City Guard secretaries, find their planet overrun by undead former citizens, surrounded by omens of the apocalypse. Temple of the Sixth takes its conflict to a grand, end-of-the-universe scale. The stakes could not be higher. If this mysterious, ancient evil is not stopped, everything will cease to be. But why are these godlike beings so bent on destruction? What can a mere batch of mortals—not all of them heroes—do to stop them? Therein lies the epic conflict that keeps the pages turning. Although it’s classified as “science fiction” due to the nature of its universe—spaceships, aliens, robots, laser guns, and the like—Temple of the Sixth reads more like fantasy, reminiscent of some of the more world-ending story lines featured in comic books such as X-Men. Psychic powers, out-of-dimension locations, higher levels of existence, possession—all is fair game. Bit by bit, Harrison reveals the mythology behind his universe. There’s something satisfying about opening a sequel and hearing familiar voices, reentering a familiar space. Harrison’s dry sense of humor illuminates the text with his unique style of storytelling. He once again shows off his strengths as a writer of thrilling action scenes and creator of immersive worlds. In Temple of the Sixth, he expands upon the concepts he set up in the first book and illustrates his universe from a different angle. It’s is really more of a spin-off to Shadow of the Wraith than a sequel. Travis Archer, the main character from the first book, doesn’t show up until more than halfway through the book and plays a supporting role to his buddy Theak. Other characters, such as Juni, have only brief cameos (for those of you who are wondering—yes, Arkuun-Marl makes an appearance). As such, it can be read as a stand-alone novel even if one hasn’t had a chance to read the first book yet. In Temple of the Sixth, Harrison tells his story from multiple angles in a rather cinematic fashion. While Theak is the thread that ties the novel together, he doesn’t drive the action—he reacts to it. Flashes to Omar and Palitz’s struggles, to the small man trying to recruit agents for the side of good, and to the perspective of the godlike Sixth herself give the reader a panoramic view of the universe and its conflict. But despite all the noise surrounding him, Theak nevertheless shines through as a memorable and likable character. Confident, cavalier, and a tad ridiculous at times, he’s not exactly the noble hero type and doesn’t even take himself too seriously. Nevertheless, he does what’s right, even if he’s somewhat annoyed that he has to. For those who read and enjoyed Shadow of the Wraith, Temple of the Sixth, while very different, is a welcome return to Harrison’s world of starships and ancient conflicts, robots and fantastical powers. Harrison’s writing is tighter and more understated than in his debut novel, and yet it retains its snarky sparkle. For those who haven’t—and why haven’t you?—the book stands on its own as a fascinating take on the age-old battle between Good and Evil. Clever, thrilling, and entertaining on all levels, Temple of the Sixth is a page-turning journey through a universe in chaos.
  
• Acts of Violence on Nov. 16, 2014
  
  Ross Harrison's Acts of Violence is a fast-paced, entertaining mystery packed with action and grit. The story takes place on a backwater planet in the NEXUS universe - Harrison's galaxy-spanning space opera series - but other than a few references to fictional technology (holograms, flying transports, and the like), the book reads more like a thriller or nouveau noir than sci-fi. The narrator is Jack Mason, a police academy dropout turned wannabe private detective. He tells the story in sharp-edged sentences ideal for the setting: a crime-ridden, mob-run town full of violence and debauchery. A caustic wit and blunt demeanor make him an entertaining character to read, both because of his sarcastic quips and quick descriptions of action scenes. The plot follows his efforts to clear his name of the murder of a bargirl whose name he didn't even know when he brought her home for a one-night stand. But as he delves further into the shady operation she worked for, he learns that it's much more than it seems. Driven to find the truth, he winds up tangled up in a web of deceit and power struggles. I really enjoyed reading this book - even missed my train once because I was reading it at the platform and didn't look up in time. Harrison certainly knows how to plot a novel. The suspense and action were riveting, and the twists at the end gave the book a powerful finish. It's not very long, and with its pounding pace and chapter hooks, I could easily have read this book in one afternoon if I hadn't been saving it for my commutes. Acts of Violence explores the dark underworld of Harem, the aptly named sin city it takes place in, and doesn't pull its punches. It's not horror, and the violence isn't particularly graphic, but there is a lot of it. Things get real rough for poor Jack. As far as character goes, Jack is somewhat of an enigma. The story is told in past tense, and he often seems emotionally detached from the situation, but every so often, the anger gets the better of him. He's also an unreliable narrator, denying the reader information about his past, and that adds an extra level of interest. All in all, I would recommend this book to anyone looking for an entertaining thrill-ride of a read, which was just what I was looking for when I cracked its spine. Well, its digital spine.