We chat with author Alina Bellchambers about The Weight of Crowns, which is a swoon-worthy, politically charged fantasy romance and the epic conclusion to her The Order of Masks duology.
Hi, Alina! To kick things off, can you tell readers a little about yourself—your writing roots, and how your experiences working in film and TV inform your storytelling?
The distinctive smell of books always reminds me of my childhood, where I would read around the fountain in my family’s bookstore. Some of my earliest memories are of making up stories and telling them to customers (much to my parent’s amusement). That passion has sustained me ever since, providing the escapism I needed during difficult times (especially when I was in school, not knowing that I was autistic but struggling with sensory issues and socialisation all the same). It’s my hope that my writing can provide the same sense of escape for others, allowing them to immerse themselves in the world I create and fall in love with the fictional characters. I would also like to inspire future authors to pursue this as a career, as I didn’t realise writing could be more than a passion for a long time.
The turning point for me was in 2020, when I had a nightmare. Terrifying though it was, the concept was fascinating – and once I wrote a thriller based on it, I hired a freelance editor who encouraged me to pursue publication. At the time I was busy writing The Order of Masks, and when I signed with my literary agent, it was decided we would pitch TOOM first – which resulted in a two-book deal with Pan Macmillan Australia and Hodderscape UK.
I now make use of my psychology degree and background in acting by writing epic fantasies and twisty thrillers. Having this background helps me to really delve into characterisation and to ‘become’ the character I’m writing, so that I truly feel what happens to them and can write authentically from their experience. Acting is also a great way to refill my creative well, and I recently enjoyed acting in horror film Bring Her Back and Hilltop Hoods’ music video, The Gift, which was all about the artistic gift of creativity.
The Weight of Crowns is out now—if you had to describe it in five words, what would they be?
If I had to describe my epic romantic fantasy in five words, it would be: high-stakes, cunning, magical, deadly and immersive.
What do you hope readers will feel, think, or walk away with after reading it?
I hope that readers found themselves completely absorbed in Mira and Scarlett’s world, invested in them successing against the odds, obtaining their revenge and coming into their own. I hope that readers finish The Weight of Crowns feeling like they’ve been taken on an exciting, transformative journey with an empowering conclusion.
As the concluding book in The Order of Masks duology, how did your approach change when writing The Weight of Crowns?
I wrote The Order of Masks not knowing (but hoping) that it would find its people one day. When I sat down to write The Weight of Crowns, it was even more special because I had readers eager to find out what happened next – telling me who they hoped would claim the crown, whether they were team Mira or Scarlett, who they wanted to be endgame in terms of love interests. Having that level of enthusiasm and investment from readers is something I will always be grateful for, and as a result the feeling of writing The Weight of Crowns was different – less solitary and even more exciting, because I couldn’t wait to get it into readers’ hands.
My approach did change in one respect. Initially The Order of Masks was written for a young adult crossover readership, meaning teenagers and adults, but my publishers made the decision to position the duology in the adult fantasy space in bookstores. Given that positioning, and knowing that readers were generally keen for more spice, I had a lot of fun making The Weight of Crowns darker and lustier. It also felt like a natural progression, as character relationships were more established compared to the slow-burn in The Order of Masks, and with my two fierce female main characters really coming into their political power, there are increased stakes relating to ruling, moral complexities, magic and epic battle scenes.
Were there character arcs or plot threads you had to reframe knowing this was the final installment?
An interesting part of the story that I reframed was the epilogue. Apparently it was a real tear-jerker, but I really love how The Weight of Crowns ends without the epilogue – in a way that completes the duology while also leaving room for readers to imagine a path ahead for the characters they love so much.
The duology is rich in court intrigue, morally grey characters, and tensions—how do you balance sweeping high-stakes drama with intimate, emotional resonance?
My background in psychology helps with this. I like to develop my characters, layer by layer, until the readers have that intimate emotional connection, which resonates even more strongly when the characters are placed in high-stakes dramatic scenes. To explore the hard choices made by women in power, I set The Order of Masks in a brutal Roman-inspired empire where every choice comes with consequences and alliances shift in a heartbeat. I wanted to convey that sense of danger and keep readers on edge by not knowing if the characters are going to survive – or what the cost of their survival might be. But these kinds of stakes come as much from the emotional connection between characters as from the action-packed scenes.
Are there themes you explored more deeply in one book versus the other?
Something I love about the duology has been the progression from the first book to the second. The story has grown with the characters, shifting from Mira and Scarlett’s pursuit of vengeance in The Order of Masks to questions around the cost of ruling and power in The Weight of Crowns. Whereas the first book established Mira and Scarlett’s emotional relationships with their parents, the second established them as forces on their own – now independent and striving to achieve their separate goals. Alongside this progression there is also increased steaminess and romance as Mira and Scarlett’s respective relationships deepen.
You’ve worked in acting and film/TV—how do these skills inform your approach to pacing, dialogue, or world-building in your novels?
My publisher said to me that she could almost publish a book just with my last line of every chapter, as each chapter ends with a dramatic cliffhanger. This is very much thanks to that film/TV background, as is my focus on high-stakes, a really twisty plot that alternates between characters and fast pacing. The discilpline and structure involved in film/TV is also particularly helpful during the editing stage, when I make structural changes and hone the manuscripts so they are as propulsive as possible.
The travels of the two female protagonists allowed me to explore the geographical and culture diversity of the Ravalian Empire, spanning the deadly royal court in lush Ravalia, the icy North with its Norse undertones, the exotic Western deserts and the remote Elusive Isles – very much a cinematic backgrop for The Order of Masks duology.
Do you ever envision your scenes as cinematic when drafting them?
I’ve been told by readers that my writing is very cinematic, but I have a condition called aphantasia, which means I can’t visualise anything in my mind. So what you’re asking sounds like a super power to me!
Having said that, in many ways aphantasia has pushed me to become a better writer. Every single visual description is planned out very carefully, and I do a second pass over every book purely with sensory descriptions in mind. Every time a reader reaches out to say that they were immersed in the visuals and worldbuilding, it’s particularly special to me.
My ultimate goal is for my books to be made into movies so I can see them brought visually to life, and in the meantime I enjoy commissioning stunning character art (which can be viewed on my website and Instagram).
You’ve created across different mediums—writing, screen, acting. Does one inspire or inform the other? How do you shift gears mentally between them?
The wonderful thing about creative pursuits is that they all compliment each other. Recently I acted a scene from The Order of Masks, and having the in-depth knowledge of the characters was a special experience, allowing me to connect more deeply with my characters. But it can also be the other way around. Acting is all about relating to the character and their circumstances – putting yourself in their position. As an author, it’s very important to be able to empathise with your characters and the human condition. When I write from a certain point of view, I am very much inside that character’s mind, experiencing their highs and lows, and that helps their character arcs feel authentic and relatable to readers.
You’ve shared that your background in psychology and your recent autism diagnosis shape your character development. Can you talk about how these influence the way you approach voice and agency in your protagonists?
My initial inspiration for The Order of Masks was a mother and daughter on the run, and a magical Order that grants you the power to take on other people’s identities – but at the cost of your own. This was a very personal concept to me because it relates to autistic masking, and if I write a prequel from Adalyn’s perspective, I would love to explore that theme in even greater depth.
As the story progressed, it quickly became clear that the heart of The Order of Masks is the two fierce female characters rising up to reshape their respective identities. In the beginning, Mira and Scarlett are both trapped in roles they don’t want, boxed in and seemingly without power – but they fight to reclaim their power, and in The Weight of Crowns, it’s about Mira and Scarlett deciding who they want to be. They truly come into their own and become their authentic selves. There’s something so powerful about strong female characters fighting against their prescribed roles, and it ties into my own experiences with being authentic and accepting of myself as an autistic young woman.
If The Weight of Crowns were adapted to the screen, what aspect would you be most excited to see translated? The enemies-to-lovers tension? The magic? The political intrigue?
All the above, but I’m particularly excited to see the epic locations and raging battle scenes brought to life on the big screen. There is so much at stake in The Weight of Crowns, with kingdoms literally hanging in the balance – and I think that is what makes fantasy movies and TV shows like Game of Thrones so gripping.
What’s next on the creative horizon? Another novel? A script? Something else entirely?
I have an exciting backlog of manuscripts that are all ready for publication – a cinematic adult thriller, a romantic and gritty dystopian thriller, a dark academia adult fantasy, a YA fantasy and a sci-fi series. Given how well received The Order of Masks has been, my plan is to continue in the fantasy space and hopefully have a new book deal announcement soon.
Lastly, what books or media are you most excited about right now?
Oh, that’s a hard one – particularly now that I’m receiving ARCs (Advanced Reader Copies) of my friends’ books before they go to print. It’s hard not to be excited about diving into those!
Certainly I am impatient to get my hands on the final book in Pierce Brown’s Red Rising sci-fi series, Red God. I love the blend of high-stakes, worldbuilding and cut-throat Roman inspired politics (sound familiar?) – so perhaps it’s no wonder my family and friends have all heard me gush about this series. I’m also excited for Alex Aster’s movie adaptation of Lightlark and have Quicksilver by Callie Hart on my TBR (to be read pile) before the movie as well.
Most recently I read (and loved) The Serpent of the Wings of Night and The Invisible Life of Addie LaRue. On the YA side The Cruel Prince by Holly Black will always be a favourite of mine (Jude is exactly the kind of ruthless female character I love to write) and I adore Stephanie Garber’s Caraval series, so am looking forward to her adult debut.
