Ask the Author: Kayla Cunningham
Answered Questions (9)
Kayla Cunningham
Yes, I absolutely believe fantasy should reflect real-world history—even when it makes readers uncomfortable. In fact, I’d argue that’s when it matters most.
As a history teacher, I’ve spent years studying how systems of power, oppression, and resistance have shaped our world. And as an author, I see fantasy as more than just escapism—it’s a vehicle for truth. For reflection. For reimagining the kind of world we want to live in.
There is a lot wrong with the world. Injustice, inequality, silencing—these aren’t just relics of the past. They’re ongoing realities. Authors have voices, and stories have power. Writing is one of the most potent tools we have to take a stand, challenge norms, and show what it means to fight back. Embedding real historical echoes into fantasy isn’t about being edgy—it’s about using our platforms to say something that matters.
When fantasy leans into uncomfortable truths—forced labor, systemic injustice, rebellion, trauma—it gives readers space to grapple with those realities in a different light. To feel them, not just learn about them. And that emotional connection can spark awareness, empathy, and change.
So yes, fantasy should challenge us. Because when authors use their stories to hold up a mirror to the world, that’s when fiction becomes revolutionary.
As a history teacher, I’ve spent years studying how systems of power, oppression, and resistance have shaped our world. And as an author, I see fantasy as more than just escapism—it’s a vehicle for truth. For reflection. For reimagining the kind of world we want to live in.
There is a lot wrong with the world. Injustice, inequality, silencing—these aren’t just relics of the past. They’re ongoing realities. Authors have voices, and stories have power. Writing is one of the most potent tools we have to take a stand, challenge norms, and show what it means to fight back. Embedding real historical echoes into fantasy isn’t about being edgy—it’s about using our platforms to say something that matters.
When fantasy leans into uncomfortable truths—forced labor, systemic injustice, rebellion, trauma—it gives readers space to grapple with those realities in a different light. To feel them, not just learn about them. And that emotional connection can spark awareness, empathy, and change.
So yes, fantasy should challenge us. Because when authors use their stories to hold up a mirror to the world, that’s when fiction becomes revolutionary.
Kayla Cunningham
Absolutely—my background in history is the foundation of everything I write. I have a degree in history and have spent my life traveling and visiting historical sites around the world, soaking in cultures, architecture, and the stories that shaped civilizations. That firsthand experience fuels my worldbuilding in a way that research alone never could.
When I create a fantasy world, I’m not just inventing castles and crowns—I’m thinking about how real systems of power and rebellion have worked across history. I draw inspiration from empires that rose and fell, resistance movements that began in the shadows, and the lives of ordinary people who survived injustice, oppression, and change.
I often research specific eras—Imperial China, the Roman Empire, pre-colonial African kingdoms, feudal Japan, medieval Europe—depending on what I’m building into the narrative. I’m fascinated by how belief systems, justice, gender roles, and class structures shape people’s decisions. That level of depth and realism is something I strive to bring into every story I write. I absolutely research specific eras and cultures, especially when I’m developing political structures, belief systems, or punishment and justice systems (like in Blood Oath). The goal isn’t to copy history—but to echo it in ways that add depth and emotional realism.
Fantasy, to me, is a powerful way to reimagine history. It lets us ask, What if?—while still grounding us in the emotional truths of the past. I believe fantasy gives us space to reimagine the past, confront uncomfortable truths, and explore what it means to resist, endure, and rise. And history provides the blueprint. So yes—every kingdom I build, every uprising I write, and every broken system my characters fight against carries the weight of real-world echoes.
When I create a fantasy world, I’m not just inventing castles and crowns—I’m thinking about how real systems of power and rebellion have worked across history. I draw inspiration from empires that rose and fell, resistance movements that began in the shadows, and the lives of ordinary people who survived injustice, oppression, and change.
I often research specific eras—Imperial China, the Roman Empire, pre-colonial African kingdoms, feudal Japan, medieval Europe—depending on what I’m building into the narrative. I’m fascinated by how belief systems, justice, gender roles, and class structures shape people’s decisions. That level of depth and realism is something I strive to bring into every story I write. I absolutely research specific eras and cultures, especially when I’m developing political structures, belief systems, or punishment and justice systems (like in Blood Oath). The goal isn’t to copy history—but to echo it in ways that add depth and emotional realism.
Fantasy, to me, is a powerful way to reimagine history. It lets us ask, What if?—while still grounding us in the emotional truths of the past. I believe fantasy gives us space to reimagine the past, confront uncomfortable truths, and explore what it means to resist, endure, and rise. And history provides the blueprint. So yes—every kingdom I build, every uprising I write, and every broken system my characters fight against carries the weight of real-world echoes.
Kayla Cunningham
Great question—what I hope readers take away from Blood Oath is that rebellion doesn’t always begin with a sword in hand. More often, it starts with a choice. A choice to speak when it’s safer to stay silent. A choice to protect someone, even when the cost is everything. For Allyria, rebellion isn’t a grand, defiant act—it’s personal, painful, and deeply human.
When it comes to imprisonment and survival, I wanted to explore the idea that people can be trapped in more than just chains. Fear, shame, guilt, expectations—those are prisons too. But survival isn’t just about enduring. It’s about refusing to break, even when the world is trying to erase who you are.
I’ve seen a few comments comparing the prison elements in Blood Oath to Sarah J. Maas’s books, and I want to address that—because this is about more than just tropes. It’s about history and the purpose behind storytelling.
The concept of imprisonment—especially forced labor camps, state-sanctioned punishment, and wrongful detainment—is not unique to any one book or author. It’s deeply woven into human history across cultures and centuries. From the gulags of Soviet Russia, to the Tower of London, to imperial China’s exile and forced labor systems, to colonial penal colonies like Australia—prisons have long been tools of control, punishment, and political oppression.
Fantasy often mirrors real-world systems to help us explore some of the ugliest truths in safer, symbolic ways. Imprisonment in fantasy isn’t about trend or shock value—it’s about what it means to survive when your voice, freedom, and identity are stripped away. It’s about power, injustice, and the resilience of the human spirit.
In Blood Oath, the prison setting wasn’t chosen to mimic another work—it’s foundational to Allyria’s journey. Her time in Redvine is where she is broken down and rebuilt. Where she learns that her worth isn’t in what she can do, but in what she chooses not to surrender. That story isn’t derivative—it’s deeply human, and historically grounded.
Stories like this matter. They give us room to ask hard questions:
What happens when survival itself is criminalized?
How do you keep your soul intact when the world wants to crush it?
How do you fight back when you’re not the strongest, the chosen, or the free?
Working as a teacher in a prison, I can tell you that a prison systems—real and fictional—are never just settings. They’re reflections of the societies that build them. And in fantasy, they give our heroes something real to rise from.
So yes, Blood Oath begins in a prison. Not because it’s trendy. Because that’s where true rebellion begins.
At its core, this story is about a girl who isn’t chosen, powerful, or protected by fate. She just refuses to give up. And that, in itself, becomes a rebellion. I hope readers see a reflection of their own strength in her journey—and remember that survival, resistance, and holding onto your humanity is sometimes the greatest act of all.
When it comes to imprisonment and survival, I wanted to explore the idea that people can be trapped in more than just chains. Fear, shame, guilt, expectations—those are prisons too. But survival isn’t just about enduring. It’s about refusing to break, even when the world is trying to erase who you are.
I’ve seen a few comments comparing the prison elements in Blood Oath to Sarah J. Maas’s books, and I want to address that—because this is about more than just tropes. It’s about history and the purpose behind storytelling.
The concept of imprisonment—especially forced labor camps, state-sanctioned punishment, and wrongful detainment—is not unique to any one book or author. It’s deeply woven into human history across cultures and centuries. From the gulags of Soviet Russia, to the Tower of London, to imperial China’s exile and forced labor systems, to colonial penal colonies like Australia—prisons have long been tools of control, punishment, and political oppression.
Fantasy often mirrors real-world systems to help us explore some of the ugliest truths in safer, symbolic ways. Imprisonment in fantasy isn’t about trend or shock value—it’s about what it means to survive when your voice, freedom, and identity are stripped away. It’s about power, injustice, and the resilience of the human spirit.
In Blood Oath, the prison setting wasn’t chosen to mimic another work—it’s foundational to Allyria’s journey. Her time in Redvine is where she is broken down and rebuilt. Where she learns that her worth isn’t in what she can do, but in what she chooses not to surrender. That story isn’t derivative—it’s deeply human, and historically grounded.
Stories like this matter. They give us room to ask hard questions:
What happens when survival itself is criminalized?
How do you keep your soul intact when the world wants to crush it?
How do you fight back when you’re not the strongest, the chosen, or the free?
Working as a teacher in a prison, I can tell you that a prison systems—real and fictional—are never just settings. They’re reflections of the societies that build them. And in fantasy, they give our heroes something real to rise from.
So yes, Blood Oath begins in a prison. Not because it’s trendy. Because that’s where true rebellion begins.
At its core, this story is about a girl who isn’t chosen, powerful, or protected by fate. She just refuses to give up. And that, in itself, becomes a rebellion. I hope readers see a reflection of their own strength in her journey—and remember that survival, resistance, and holding onto your humanity is sometimes the greatest act of all.
Kayla Cunningham
I've seen a similar criticism that Sarah J Mass stole the idea of a female hunting from The Hunger Games. That criticism is weak because hunting for survival is a fundamental part of human history, not something invented by any one book.
Why the Hunting Trope is Not a Copy From a Historical Basis:
Throughout history, women have hunted for survival, especially in societies where food was scarce or men were absent due to war or other duties.
Indigenous cultures, Viking societies, and even medieval peasant communities had women who learned archery, trapping, and tracking.
Realism in a Fantasy Setting:
If a character grows up in a harsh environment, hunting is a logical skill for them to have.
A strong, survival-oriented protagonist doesn’t automatically make a story derivative—it's about how the world, character, and plot shape that skill.
Countless Literary & Mythological Precedents:
Artemis (Greek Mythology): A legendary female hunter long before modern books.
Eowyn (The Lord of the Rings): A skilled warrior who defied expectations.
Aysha (The Snow Queen by Joan D. Vinge): A hunter in a dystopian sci-fi setting.
Jane from Tarzan: A survivalist with a deep knowledge of the jungle.
Historical female hunters & warriors: Boudica, Tomoe Gozen, and many others.
Katniss and ACOTAR Did Not Invent Female Hunters:
"The Hunger Games" and "A Court of Thorns and Roses" are just two modern examples in a long tradition of warrior women in fiction.
Their hunting skills serve different purposes in their stories. Just because your character hunts doesn’t mean they are a copy of these protagonists.
Final thought for critics:
A female protagonist who hunts is not unoriginal—it's practical, realistic, and historically grounded. Your world, characters, and story make it your own. Critics who make these claims ignore the vast history of women hunters in real life and fiction. As an author, I say write your book the way it needs to be written!
Why the Hunting Trope is Not a Copy From a Historical Basis:
Throughout history, women have hunted for survival, especially in societies where food was scarce or men were absent due to war or other duties.
Indigenous cultures, Viking societies, and even medieval peasant communities had women who learned archery, trapping, and tracking.
Realism in a Fantasy Setting:
If a character grows up in a harsh environment, hunting is a logical skill for them to have.
A strong, survival-oriented protagonist doesn’t automatically make a story derivative—it's about how the world, character, and plot shape that skill.
Countless Literary & Mythological Precedents:
Artemis (Greek Mythology): A legendary female hunter long before modern books.
Eowyn (The Lord of the Rings): A skilled warrior who defied expectations.
Aysha (The Snow Queen by Joan D. Vinge): A hunter in a dystopian sci-fi setting.
Jane from Tarzan: A survivalist with a deep knowledge of the jungle.
Historical female hunters & warriors: Boudica, Tomoe Gozen, and many others.
Katniss and ACOTAR Did Not Invent Female Hunters:
"The Hunger Games" and "A Court of Thorns and Roses" are just two modern examples in a long tradition of warrior women in fiction.
Their hunting skills serve different purposes in their stories. Just because your character hunts doesn’t mean they are a copy of these protagonists.
Final thought for critics:
A female protagonist who hunts is not unoriginal—it's practical, realistic, and historically grounded. Your world, characters, and story make it your own. Critics who make these claims ignore the vast history of women hunters in real life and fiction. As an author, I say write your book the way it needs to be written!
Kayla Cunningham
Absolutely! As a history teacher, the concept of prison labor camps, forced servitude, and brutal punishments for those who oppose the ruling power isn’t exclusive to any one book or author—it’s deeply rooted in history across cultures and eras. Medieval rulers frequently exiled, imprisoned, or enslaved those who defied them, sentencing political dissenters and criminals to harsh labor in mines, quarries, or construction projects. The Tower of London, for instance, housed many political prisoners who faced execution or torturous conditions.
This practice extends beyond medieval Europe. Ancient Rome enslaved prisoners of war and criminals, forcing them into brutal labor or the gladiatorial arenas. Imperial China sentenced convicts to work on massive projects like the Great Wall, while feudal Japan exiled criminals to remote islands. Even Russia’s Tsars exiled dissidents to Siberian labor camps long before the infamous Soviet gulags. Penal colonies in Australia and forced labor systems in the Ottoman Empire also reflect this historical reality.
Fantasy often mirrors real-world history to create immersive and believable settings. A prison labor system in my book isn’t just a trope—it’s a reflection of how authoritarian regimes have functioned for centuries. If anything, it strengthens the authenticity of my world. Sarah J. Maas did not invent this concept, and countless books have used variations of it. What makes a story unique isn’t the existence of a labor camp but how it functions, who is affected, and why it plays a role in the broader plot. The execution, characters, and worldbuilding are what set stories apart. History is my inspiration, and it’s on my side!
This practice extends beyond medieval Europe. Ancient Rome enslaved prisoners of war and criminals, forcing them into brutal labor or the gladiatorial arenas. Imperial China sentenced convicts to work on massive projects like the Great Wall, while feudal Japan exiled criminals to remote islands. Even Russia’s Tsars exiled dissidents to Siberian labor camps long before the infamous Soviet gulags. Penal colonies in Australia and forced labor systems in the Ottoman Empire also reflect this historical reality.
Fantasy often mirrors real-world history to create immersive and believable settings. A prison labor system in my book isn’t just a trope—it’s a reflection of how authoritarian regimes have functioned for centuries. If anything, it strengthens the authenticity of my world. Sarah J. Maas did not invent this concept, and countless books have used variations of it. What makes a story unique isn’t the existence of a labor camp but how it functions, who is affected, and why it plays a role in the broader plot. The execution, characters, and worldbuilding are what set stories apart. History is my inspiration, and it’s on my side!
Kayla Cunningham
Hello! Thank you for your question. The decision to write “Fated to Love” was inspired by a deeply personal experience that touched my heart and soul. As a teacher and basketball coach, I had the honor of hosting six boys from Asian countries who quickly became like brothers to me. Growing up as an only child, their presence meant a great deal to me. My parents welcomed them into our family, and we celebrated holidays, birthdays, and special events together. Some of them are still attending college in the United States, while others have returned to their home countries. I have had the privilege of visiting a few of them in China and Taiwan, and our bond has only grown stronger with time. One of the boys, Jimmy, from China, lived with me for over six years. He completed his degree at an American university and has since returned to China, where he is now married and has a beautiful daughter.
The rise in Asian racism during the pandemic years deeply affected me. I saw firsthand the horrific things that were said to my “brothers” because of their nationality. I felt ashamed and guilty for not doing enough to promote change. I realized that I had a responsibility to use my voice and platform to bring attention to this issue. That’s when I decided to write “Fated to Love,” a novel that not only explores the intricacies of contemporary romance but also delves into deeper themes such as cultural identity, family dynamics, and overcoming adversity. I wanted to take readers on a journey through different countries and cultures, providing a window into the diversity of our world. Through my writing, I hope to honor and celebrate the beauty of these diverse cultures and to share the story of Cassie and Xuan with the world.
The rise in Asian racism during the pandemic years deeply affected me. I saw firsthand the horrific things that were said to my “brothers” because of their nationality. I felt ashamed and guilty for not doing enough to promote change. I realized that I had a responsibility to use my voice and platform to bring attention to this issue. That’s when I decided to write “Fated to Love,” a novel that not only explores the intricacies of contemporary romance but also delves into deeper themes such as cultural identity, family dynamics, and overcoming adversity. I wanted to take readers on a journey through different countries and cultures, providing a window into the diversity of our world. Through my writing, I hope to honor and celebrate the beauty of these diverse cultures and to share the story of Cassie and Xuan with the world.
Kayla Cunningham
Some of the minor characters in the story, like Cassie and Xuan’s friends, Roxy, Amanda, Sky, Beom, and Nick, were inspired by people I know. Nevertheless, these characters were created to serve the story, and I made sure to give them unique personalities and traits that would make them stand out as individuals. That being said, I did incorporate certain traits and quirks into the characters that reminded me of people I’ve met in my life. For example, Zhang Xuan’s gentlemanly demeanor and impressive salsa dancing skills were inspired by my husband, who is the epitome of chivalry and always puts others before himself. I also drew inspiration from the people I’ve met from China, Taiwan, and Korea to create Zhang Xuan’s character. I wanted to capture the nuances of their cultures and blend them with his personality to create a unique and relatable character.
I want to make it absolutely clear that the parents I imagined (Richard and Stella) were completely fictitious and bore no resemblance to anyone in my life. They were the product of pure imagination, created with no other inspiration. To put it bluntly, they’re the complete antithesis of my own parents. My father is the quintessential 1970’s California beach boy and hippie. He’s always been the epitome of coolness, exuding an effortless charm that could make even the most jaded person crack a smile. His presence lights up a room, and his charisma is infectious. He has a way of making people feel at ease around him like he’s an old friend you’ve known your whole life. And his intellect is just as impressive as his coolness, shining like a beacon of hope in a dark sky. My dad has always worked hard and made sacrifices to provide for our family, and for that, I’m eternally grateful. Honestly, everybody needs a dad like mine.
Unfortunately, the narrow-minded, hateful personalities of Ashley and Brett were based on real people I’ve met, unlike the character of Raylan, who is entirely fictional. I drew on my own experiences and relationships to create authentic and relatable characters and infused my travels to different parts of the world into the story to create a vivid and immersive setting.
I did not write Cassandra, the protagonist, to be a thinly veiled version of my own life, but I’ve infused her with some similar interests and traits, such as my passion for volunteering and love of basketball. Growing up, I dreamed of being an ethnobiologist and studying cures for cancer and other diseases in the Amazon Rainforest, inspired by the movie Medicine Man, as Cassie states in the story. By drawing on my own experiences and passions, I aimed to create a character that readers could connect with on a personal level.
When it comes to the characters in my book, each one is an original creation. As for the places in the books, the locations in Colombia, and California — the hospitals, the restaurants, the beaches and other locations, actually exist.
I want to make it absolutely clear that the parents I imagined (Richard and Stella) were completely fictitious and bore no resemblance to anyone in my life. They were the product of pure imagination, created with no other inspiration. To put it bluntly, they’re the complete antithesis of my own parents. My father is the quintessential 1970’s California beach boy and hippie. He’s always been the epitome of coolness, exuding an effortless charm that could make even the most jaded person crack a smile. His presence lights up a room, and his charisma is infectious. He has a way of making people feel at ease around him like he’s an old friend you’ve known your whole life. And his intellect is just as impressive as his coolness, shining like a beacon of hope in a dark sky. My dad has always worked hard and made sacrifices to provide for our family, and for that, I’m eternally grateful. Honestly, everybody needs a dad like mine.
Unfortunately, the narrow-minded, hateful personalities of Ashley and Brett were based on real people I’ve met, unlike the character of Raylan, who is entirely fictional. I drew on my own experiences and relationships to create authentic and relatable characters and infused my travels to different parts of the world into the story to create a vivid and immersive setting.
I did not write Cassandra, the protagonist, to be a thinly veiled version of my own life, but I’ve infused her with some similar interests and traits, such as my passion for volunteering and love of basketball. Growing up, I dreamed of being an ethnobiologist and studying cures for cancer and other diseases in the Amazon Rainforest, inspired by the movie Medicine Man, as Cassie states in the story. By drawing on my own experiences and passions, I aimed to create a character that readers could connect with on a personal level.
When it comes to the characters in my book, each one is an original creation. As for the places in the books, the locations in Colombia, and California — the hospitals, the restaurants, the beaches and other locations, actually exist.
Kayla Cunningham
As the thunder rumbled outside, I stumbled upon an old photograph hidden in the attic. It depicted my family, but their eyes were devoid of life, staring back at me with malicious grins from the other side of the glass.
Kayla Cunningham
If I had the opportunity to journey into the world of 𝐕𝐞𝐥𝐚𝐫𝐢𝐬: 𝐓𝐡𝐞 𝐂𝐢𝐭𝐲 𝐨𝐟 𝐒𝐭𝐚𝐫𝐥𝐢𝐠𝐡𝐭 by Sarah J. Maas, I would leap at the chance without hesitation. This captivating realm has enchanted readers with its rich tapestry of magic, complex characters, and enthralling plotlines.
As I step foot into Velaris, the famed City of Starlight, I would be immediately struck by its ethereal beauty. Towering spires, bathed in soft luminescence, would rise above me, casting a gentle glow upon the bustling streets. The city would hum with vibrant energy, drawing me in with its grandeur and mystery.
In Velaris, I would immerse myself in the world of fae, a realm where powerful and enigmatic beings dwell. I would eagerly seek out the Court of Dreams, a band of misfit warriors led by the charismatic and intriguing Rhysand. With them, I would explore the Night Court, a place of both darkness and beauty, where secrets lurk in every shadow.
As I step foot into Velaris, the famed City of Starlight, I would be immediately struck by its ethereal beauty. Towering spires, bathed in soft luminescence, would rise above me, casting a gentle glow upon the bustling streets. The city would hum with vibrant energy, drawing me in with its grandeur and mystery.
In Velaris, I would immerse myself in the world of fae, a realm where powerful and enigmatic beings dwell. I would eagerly seek out the Court of Dreams, a band of misfit warriors led by the charismatic and intriguing Rhysand. With them, I would explore the Night Court, a place of both darkness and beauty, where secrets lurk in every shadow.
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