firecat

Posted by Athena Scalzi

https://whatever.scalzi.com/2026/03/17/the-big-idea-j-m-sidorova/

https://whatever.scalzi.com/?p=59799

How is it that fairy tales persist? In the Big Idea for The Witch of Prague, author J.M. Sidorova suggests that it might be because they are malleable and can be made to fit more times and places than just their own. To what use has the author put them here? Read on.

J. M. SIDOROVA:

When I think about a Big Idea of a novel, what comes to my mind first is more of a premise, an inceptive sprout from which the novel had grown. In this regard, The Witch of Prague grew out of a common fairy-tale archetype: an old hag gives a magic gift/poison apple to a young girl; think Sleeping beauty, forests, and castles. Except in this case, the archetype was invoked by true stories my Mom had told me about her young adulthood.

Thus, forests became the Cold War era Eastern European bureaucracies, castles became government departments, and the relationship between the hag and the young girl became complicated, as I, in the act of reimagining the fairy tale, subverted the heck out of it.

That said, this novel took a long time to become what it is now; it evolved in fits and starts while a sizeable chunk of my life was going by and the world was changing, and as a result it became a repository of symbolic representations for the ideas that are not new but have been important for me to unpack and highlight.

There is the Hunt of a Unicorn that, historically, fronts a host of contradictory ideas about power asymmetries between women and men; and then there is a Stag Hunt, which, as an example of a game of trust (or, more broadly, public goods game theory, like it’s better known cousin, the prisoner’s dilemma), stands for a balance of trust/cooperation vs. predation/competition in a given society.

There is also the Orwellian idea that authoritarian regimes not just restrict speech and writing, but, far more insidiously, they warp the very meaning, usage, and purpose of words, of the language itself. My main character, Alica, who’s grown up with mild dyslexia, is primed against such shenanigans because she’s always thought words were treacherous and out to get her, and one of her ways of fighting back was to invent an imaginary friend, a live typewriter with spider legs and word-swatting pincers.

So many different symbols, in other words, that at some point even I, their compulsive collector, felt that it was too much. And my awesome editors, Rachel Sobel and Huw Evans of Homeward Books, were of the same opinion: wait, is the Stag the same as the Unicorn or not? Author, explain thyself! So I went on an editing rampage, and I think I fixed things, and now all symbols are there to serve the story. 

But the big — or at any rate the permeating — idea that I would like to foreground since we are talking speculative fiction here, is what constitutes magic in this book. I think if one creates an alternative, fully magic-enabled reality for one’s tales, one can give a reader an escape, a full-on suspension of disbelief and all that, and that is fine. But if one instead injects bits of fantastical or magical into our viscerally recognizable reality, one gives a yearning, gives flickering moments of disassociation, of belief, “what if it were real?” It’s like magic comes to you, instead of you taking a vacation to go see magic.

And of course, so many works of speculative fiction do one approach or the other or anything in between. I personally, prefer the latter end of the spectrum over the former. So, what I was trying to do in The Witch of Prague was to have seemingly small, tenuous even amounts of magic within a historically accurate reality, and I was interested to work with this premise: what if magic was generated from scratch under certain unique constellations of circumstances and human lived experiences and emotional states, for instance, extreme trauma or enduring hope or devotion?

It wouldn’t be by anyone’s design, and it would be hard to predict what or who would become the magic’s “carrier” once it was produced. It would be a sort of undomesticated, involuntary magic for which no one really knows the rules or capabilities, though one could make assumptions or jump to conclusions according to one’s beliefs or character, in trying to harness it to one’s own benefit.

If we agree that as humanity, we have always been “producing” magic in our stories, histories, and self-narratives (“it was a miracle that I survived!”) as a matter of belief or metaphor, to help us parse reality or even just to communicate it — then my premise in this novel simply takes this fact and implements it. Literally and physically.

The Witch of Prague: Asterism|Homeward Books

Author socials: Website|Blog

https://whatever.scalzi.com/2026/03/17/the-big-idea-j-m-sidorova/

https://whatever.scalzi.com/?p=59799