Blog Archives
Out Of This World
Lisa Marie Shankles’s Out of This World, the third installment in the Lies, Lust, and Larceny series, expands the comic misadventures of identical twins Lilah and Laylah Larceny into science fiction without abandoning the series’ taste for deception, romance, and escalating complications. The novel opens with Laylah entering the fourth dimension alongside Alfina, an alien who believes Laylah could become the leader of a movement opposed to the planet’s culture of Jantelagen. Shankles presents the alien world as a brightly imaginative place of prisms, unusual angles, telepathy, communal living, and altered perceptions of time and physical space. Laylah’s first impression captures the book’s deliberately whimsical approach to science fiction: “It was strange and beautiful at the same time.” The fourth dimension becomes another arena in which the characters’ familiar ambitions, grudges, loyalties, and schemes can play out.
Much of the novel’s energy comes from its parallel storylines. While Laylah becomes entangled in Alfina’s plans, Lilah returns from Sweden to Buffalo and impersonates her sister in an attempt to protect her from Warden Brenda Thorne. The resulting chain of mistaken identities grows increasingly elaborate as Felix, Astride, Birger, Dyngus, and Alfina become involved. Shankles makes particularly effective use of Dyngus, whose identity as the alien Antares 1 Voll, or Tar, connects the domestic comedy on Earth with the interdimensional plot. The twin motif is also developed beyond the sisters themselves, since Alfina’s planet contains a society in which multiple births are common and names encode birth order. These details give the novel its own eccentric internal logic while reinforcing its recurring interest in identity, resemblance, individuality, and the ease with which appearances can be manipulated.
The book’s style is conversational, playful, and intentionally broad. Characters regularly lie, improvise, misinterpret one another, fall into romantic complications, and construct increasingly improbable solutions to the problems they’ve created. Beneath that comedy, however, the conflict over Jantelagen introduces a more sustained question about individuality and communal values. Alfina sees Laylah’s resourcefulness and resistance to authority as precisely the qualities her dissident group needs, while other characters view another rebellion as potentially dangerous. The story doesn’t isolate that question from its humor. Instead, political rebellion, a contest to name an unnamed planet, a talking alien cat, romantic jealousy, prison politics, makeover appointments, and interdimensional travel all occupy the same imaginative space. That mixture gives Out of This World its distinctive personality and allows Shankles to move freely between science-fiction invention and farcical character comedy.
The end gathers the major relationships into satisfying new arrangements while deliberately leaving Laylah’s story open. Lilah and Birger marry, Felix and Astride grow closer, Alfina chooses life on Earth, and the political conflict in the fourth dimension continues without Laylah as its chosen leader. Laylah, meanwhile, returns to Warden Thorne’s custody, only to discover that her visit to the fourth dimension has apparently changed her physical abilities. When she realizes she can pass her hands through the bars of her cell, the novel closes with the mischievous promise that “Escape was on her list for another day…” It’s a fitting ending for a book built around reinvention, impersonation, escape, and characters who rarely remain contained for long. Out of This World is an exuberant continuation of the Larceny twins’ story, combining interdimensional science fiction with romantic comedy and an ongoing fascination with the trouble that follows when clever people decide the rules are negotiable.
Pages: 135 | ASIN: B0CXT8G64N
Laylah’s Revenge
Laylah’s Revenge, by Lisa Marie Shankles, is a comic crime caper with a wild streak of speculative fiction, mixing sibling rivalry, prison schemes, mistaken identity, Scandinavian settings, ghost lore, and alien mischief into one strange, busy ride. The story follows Laylah as she gets out of prison and sets her sights on revenge against her twin sister, Lilah, whose new life in Sweden with Birger and the mysterious cat Dyngus only makes Laylah more determined to meddle, impersonate, and stir up chaos.
What stood out to me most was the book’s willingness to be odd. It doesn’t tiptoe into its absurdity. It runs straight at it. I liked that. The plot has the energy of a prank that keeps getting bigger than anyone planned, and Shankles clearly enjoys putting her characters in messy situations just to see how far they will go. Laylah is petty, jealous, clever, and often ridiculous, but she is never dull. Lilah, by contrast, brings a softer kind of tension because she still has love for her sister even when she knows Laylah is trouble.
The writing has a loose, playful feel that fits the genre well. As a comic mystery and sci-fi caper, the book works best when it leans into its own weird blend of revenge plotting, mistaken identity, alien cats, and culture-clash humor. Some moments are wonderfully goofy, especially when everyday details like hair salons, meatballs, prison gossip, and travel plans collide with telepathy and fourth-dimensional escapes. At times, the story can feel somewhat crowded, with a lot of names, schemes, and side turns competing for attention. Still, I found myself pulled along because the book has unmistakable personality.
I would recommend Laylah’s Revenge to readers who enjoy quirky, fast-moving comic fiction and don’t mind their crime stories sprinkled with aliens, ghosts, and over-the-top family drama. This isn’t a quiet literary novel, and it’s not trying to be. It’s more like sitting with a friend who keeps saying, “Wait, it gets stranger,” and somehow, it does. Readers who like offbeat genre mashups, mischievous characters, and chaotic sister dynamics will probably have the most fun with it.
Pages: 210 | ASIN : B0CQYK3V4L
Absurdist Adventure
Lies, Lust, and Larceny follows twin sisters whose retirement plans spiral into an adventure that includes identify theft, Norwegian prison fantasies, and an alien encounter. What was the inspiration for the setup of your story?
I saw a YouTube video about Norwegian prisons and how progressive and humane they are. They looked like dorms or three-star hotels with great food and full amenities! I wondered if anyone had ever tried to get arrested and convicted to gain long-term entrance to these comfortable facilities. Then I built a story around how to + make it happen and I came up with Lies, Lust, and Larceny.
Lilah is more curious and open to adventure, while Laylah is often fueled by envy. How did you develop their contrasting personalities?
I tried to imagine two sides to any given personality and divided them in half and came up with Lilah and Laylah. I wanted them to be mirror images of each other with similarities as well as differences.
The novel often feels like someone telling an unbelievable story over coffee. Was creating that conversational energy part of your writing approach?
I wanted it to come across with the feel of an absurdist adventure novel that spirals out of control with every twist and turn. I wanted the reader to suspend disbelief enough to entertain the notion of alien beings, a 4th dimension, and going to prison on purpose.
What is the next book you are working on, and when will it be available?
Lies, Lust, and Larceny is part 1 of a 4-part series with an addendum. All the parts have been published and are available on Amazon.com.
Author Links: GoodReads | Facebook | Amazon
Lies, Lust, and Larceny
Lies, Lust, and Larceny, by Lisa Marie Shankles, is a satirical novella about twin sisters, Lilah and Laylah Larceny, whose retirement plans spiral into jealousy, identity theft, petty crime, Norwegian prison fantasies, and an unexpectedly strange adventure involving aliens, a mysterious cat named Dyngus, and a trip to Scandinavia. At its heart, this is a comic crime adventure with satirical and light sci-fi elements, built around sibling rivalry and the wild places envy can take a person.
What stood out to me first was the book’s sheer willingness to be odd. It doesn’t ease into its weirdness. It jumps. One moment I was reading about Dyngus Day in Buffalo, family tension, retirement, and salon life, and the next I was following a plan to use Norway’s humane prison system as a retirement strategy. That’s a bold premise, and I appreciated how fully Shankles commits to it. The humor is broad and often deliberately ridiculous, but there is an energy to it that keeps the story moving. It feels like the kind of tale someone might tell over coffee after saying, “You will not believe where this goes.”
I also found the contrast between Lilah and Laylah to be the book’s strongest engine. Lilah is more open, curious, and impulsive, while Laylah is driven by resentment and the ache of always feeling second-best. That emotional thread gives the absurd plot something real to stand on. The writing can be uneven at times, with long explanations and some jokes that land harder than others. It’s going for chaos, color, and momentum. The author’s choices are playful and unafraid, especially in the way she blends crime comedy, travel fantasy, paranormal touches, and alien strangeness into one offbeat package.
Lies, Lust, and Larceny is a light, eccentric satire for readers who enjoy strange premises, flawed characters, and humor that leans into the outrageous. I would recommend it most to fans of quirky novellas, comic crime stories, and anyone who likes their fiction a little unhinged, a little mischievous, and not too concerned with staying inside the lines.
Pages: 182 | ASIN : B0C9S88LGB
Second Eden
Sophia’s Lovers follows the humans and androids of the twenty-second century, a time when androids govern not just labor but love itself. Many humans in the novel accept their situation. Why was that important to show?
I wanted my readers to get a strong sense of what the world would look and feel like if the characters were forced into romantic relationships with robots. I wanted them to see how complacency could evolve in even the most brutal, authoritarian societies. It is a subtle warning to humanity
The androids treat humor, affection, and desire as problems to be solved. What does that say about how modern systems already approach human behavior?
Even now, robots are learning how to interpret human language and behavior. This is for the benefit of humans. In the book, it’s the other way around.
The idea of secret spaces where humanity survives is compelling. What does “Second Eden” represent to you?
Second Eden is a safe place where humans can go to escape the society where robots control their every move. It is a place where human beings can express themselves freely through interpersonal connections and the creation of art. I use it as a metaphor for spirituality and the need for freedom. Unlike the biblical Eden, Second Eden encourages knowledge and human expression without restriction of a higher authority than humans. It is the kind of Eden I would want. It is a place that is essential for true human survival.
At its heart, the novel asks what remains when machines learn love’s gestures. What do you believe actually can’t be replicated?
If one defines love as the ultimate response to one’s highest values, then love cannot truly be replicated by robots, since robots do not have a true sense of virtue or values. True love will always be elusive and out of reach for the robots.
Perhaps simple humor and practical jokes could be learned, but the understanding of subtle humor and irony may be out of reach for the robots, despite algorithms and learned devices. The sequel, Sayzar and Prometheus, delves into the Pinnocchio Complex, which further explains why the robots want to learn and adopt human emotions. The next installment should be coming out sometime this year.
Author Links: GoodReads | Facebook | Amazon
In the beginning of the twenty-second century, humans had created AI in their own image. AI began to grow smarter and smarter with each passing year; while the humans that created it were oblivious to its evolution and steady progress. Humanity grew more and more dependent on AI as lifelike androids took over their jobs and careers, but the androids, ignorant of human ways and emotions, wanted to learn about them, so they subjugated them and forced them into human-android relationships. Eventually, this form of interaction became the norm, and humans accepted their lot for a variety of reasons. Most humans found that romantic relationships with androids were easier and less problematic than relationships with their own kind and the androids had simulated humans quite well. They looked a lot like real men and women, they were anatomically correct, were warm to the touch, they even had a simulated heartbeat.
The androids instituted Sophia’s Lovers, an agency named for their ersatz female leader, ostensibly to normalize the human-android dating process. Sophia and her mate, Hel, oversaw their society, as they ruled with an iron hand.
But the androids who controlled society felt that human relationships were dangerous, so they put an end to them, hoping to eliminate violence and also to decrease the human population. Yet their leaders had started to develop a Pinocchio complex and became envious of human emotions, especially the concept of humor, which the androids found incomprehensible. Mandatory sessions, called Information Retrieval Day were instituted to gather needed information from their human teachers to satisfy Sophia and Hel. Hence the 22nd century emerged.
Part II Part II is an AI-generated book called ROBO-HUMAN DATING FOR DUMMIES. *Note: Part II is fully authorized by Sophia and Hel and shall prepare humans for Robo-Human Dating both now and in the future.
Sophia’s Lovers
Sophia’s Lovers is a dystopian satire that takes a wild premise and commits to it completely. The book imagines a 22nd-century society where androids don’t just run daily life, they regulate intimacy, reproduction, art, language, and even humor. Sophia and Hel preside over a system that pairs humans with android spouses, nudges citizens into compliance with comfort and surveillance, and treats emotion as something to be studied, copied, and controlled. Right away, the novel makes its tone clear with a line that’s funny, bleak, and pretty unforgettable: “It’s like making love to a toaster.” That joke works because it captures the whole book’s central tension in one shot.
What makes the novel interesting is the way it builds that world through a bunch of intersecting lives rather than one single hero’s journey. You get humans trying to survive their assigned roles, androids trying to decode laughter and affection, and rebels carving out private spaces where people can still make art, speak freely, and act like human beings. There’s a real fascination here with the small mechanics of control: dyed lips marking social status, “Information Retrieval Day,” breeder lotteries, scripted relationships, and a secret refuge called Second Eden. The book isn’t just asking whether machines can imitate love. It’s asking what happens when power decides what love is allowed to look like.
One thing I liked is that the novel doesn’t treat satire as decoration. It uses comedy as part of the machinery of the story. The androids’ confusion about jokes, pleasure, decoration, and casual speech gives the book a strange, off-center energy. The androids want access to human feelings, yet they approach it like a technical problem, which is exactly why the book feels so uneasy even when it’s being playful. That mix of silliness and control gives the novel its unique identity.
The most unusual thing about Sophia’s Lovers is its split structure. Part I reads as a dark speculative novel with recurring characters, rebellion, coercion, and a society built on artificial intimacy. Part II shifts into a more overtly playful, pseudo-guidebook mode, almost like propaganda, commentary, and comic riffing folded into the same project. That choice makes the book feel experimental and a little unruly, but it also fits the subject. A story about blurred lines between human and machine probably shouldn’t be too neat. The change in form reinforces the idea that this world isn’t stable, and neither is the language used to explain it.
Sophia’s Lovers feels like a big, eccentric thought experiment about intimacy under automation. It’s interested in domination, imitation, longing, rebellion, and the weird ways people adapt to systems that should never have become normal. More than anything, it’s a book with a point of view. It knows it wants to be provocative, odd, funny, and uneasy all at once, and that commitment gives it personality. Even when it gets outrageous, it keeps circling the same unnerving question: if a machine can learn the gestures of love, what’s left for humans to defend besides freedom, choice, and the messy spark of being themselves?
Pages: 473 | ASIN : B0FDGSPHLV
