This is well-written work of young adult romantic fantasy, with magic and mystery and slowly-awakening evil. It follows the coming-of-age adventures of a young woman named Jelena, who starts off as a kitchen drudge in a duke's castle. Of course, there's more to her going on; her mother is dead, she was raised by a loving foster mother, and she has a mysterious father. She clearly won't be doing the dishes for long.
There is an apocryphal tale that the scholar Hugo Dyson, during a reading of Lord of the Rings by Tolkien himself, once moaned "oh god, no more elves!" Some say that his language was even more colorful: "Oh f***, not another elf!" The elves in this story do not provoke this reaction; Moore has done this partly by humanizing them. Like the humans they have goofy politics and traditions, disease, latrines, profanity and imperfect coordination that sometimes gets people trampled by horses. But they bathe daily, so they are clearly a superior race. Moore's elves are 'mortal' enough to not give easy solutions, and while Jelena has improved her prospects considerably her father's people have clearly burdened her with more than distinctive ears.
Minding its audience, the story is toned down but not dumbed down. It shows but does not focus on violence, and the sex is behind closed doors. The somewhat modern attitude toward sex despite the medieval setting/outlook is a bit odd, but this is YA fantasy told in the 21st century; the real time period's sexual morality, with its mixture of strictness and creepiness, is thankfully unrelateable to most readers today. Most of the characters are still as bigoted as the setting dictates, which is a relief for a genre where lots of times the races just hold hands and live together. Magic is not cheapened by pouring out of pores, and no one is unusually skilled with a weapon for no reason.
As the first part of a larger story, Moore is using this space to position pieces as well as to tell the immediate story, but neither mission suffers - the worldbuilding is executed, promises to revisit certain characters/places are made, and this part of the story is told. There are a few muscled moments, a few coincidences, and more than a few convenient interruptions to prolong the revelations - but there are no interruptions with filler. One thing I certainly do appreciate is everyone having a proper name, even risking names that are more challenging to pronounce/remember. Beyond this, it is also very enjoyable to find a story that never takes me 'out' of itself, never winking to the audience or lampshade hanging to justify a trope, just using the tropes as they come because tropes are tools.