Venetia Constantine: 'I’ve always been fascinated by magic with consequences'
BY Maya Fernandes
5th Mar 2026
In this interview Venetia Constantine, author of the debut fantasy novel The Last Starborn Seer, shares her advice for creating immersive settings.
'While I ground my worldbuilding in reality, I also like to elevate or exaggerate the real-world elements through a lens of wonder, because that sense of escapism is such an important part of reading fantasy for me.'
We caught up with Venetia to discuss her time studying with us, her fantasy recommendations and her approach to worldbuilding.
The Last Starborn Seer is the first instalment in an epic romantic fantasy series, following Leilani Stellarion, a princess cursed by her dangerous Starborn magic. Can you tell us how you conceived the magic system in your world?
My magic system is elemental. I’ve always been attracted to elemental magic and because environmental concerns are an important thread in the book, an elemental magic system felt thematically appropriate. I’ve also always been fascinated by magic with consequences. Magic exists in my world as a result of my twin primordial goddesses, so there are two strains of magic in The Last Starborn Seer. Light Lore is less powerful and the cost of using it is a temporary physical tithe. Shadow Lore is more potent but using it permanently corrupts the user’s spirit. I wanted to explore the idea that power comes at a price in the book through its magic system.
Many aspiring fantasy authors struggle with building fully realised worlds. What advice would you give to writers who are trying to create immersive, believable fantasy settings?
Margaret Atwood famously said that she didn’t include any events that had not already occurred in history or real life in The Handmaid’s Tale. I like to try and subscribe to a similar model in terms of worldbuilding. Although there are no simple correlations or direct cultural or historic touchstones between my fictional world of Arcelia and the real world, I do like to anchor my worldbuilding in reality. Doing this makes the fantasy setting feel more grounded, lived in, plausible and compelling. For example, in Colombia there are rainbow-coloured waters caused by a particular species of aquatic plant. This was the basis for the iridescent Opaline River in my novel. While I ground my worldbuilding in reality, I also like to elevate or exaggerate the real-world elements through a lens of wonder, because that sense of escapism and imagination is such an important part of reading fantasy for me.
What does a typical day of writing look like for you? Do you have any rituals?
As a busy mother of three, I have to fit my writing into the nooks and crannies of my life. It’s a case of writing as and when I can. But in an ideal world, I drop my children off at school, go for a brisk walk (very important for getting the creative juices flowing) and then write in a coffee shop that serves good tea and cake until I need to do the school pick-ups. I do have playlists that I like to listen to, which help to immerse me back in the book or chapter I’m currently working on, and I prefer to outline and plot by hand. I revert to hand-drafting quite often, especially if I’m experiencing any kind of writer’s block. There’s something so freeing in that connection between pen and paper.
What are some recent fantasy novels you’ve enjoyed?
In 2025, I loved The Raven Scholar by Antonia Hodgson, The Everlasting by Alix E. Harrow, Water Moon by Samantha Sotto Yambao, Bury our Bones in the Midnight Soil by V. E. Schwab, The Outcast Mage by Annabel Campbell, Spellbound by Georgia Leighton, Six Wild Crowns by Holly Race, The Isle in the Silver Sea by Tasha Suri, The Second Death of Locke by V. L. Bovalino, A Song of Legends Lost by M. H. Ayinde, A Dance of Lies by Brittney Arena, Daughter of Chaos by A.S. Webb and I fell in love with The Bone Season by Samantha Shannon after being a long-time fan of her Roots of Chaos series.
You studied with us on our Edit & Pitch Your Novel and Writing YA & Children’s Fiction courses. How did your time with us shape your approach to writing?
It taught me the importance and value in reading critically. Beta reading for other writers is the single best way to level up your own writing craft. You learn so much from doing it. It gave me a writing community and the confidence to purse my writing more seriously. It also provided a valuable insight into the publishing industry and demystified the querying process so I was well prepared when I entered the querying trenches.
Many of our students find lifelong writing friends on our courses. Are you still in touch with anyone you met on the course?
I’ve remained in touch with my Writing YA course tutor Catherine Johnson and with a few of the people on my courses too. One was even a member of my street team, helping me promote The Last Starborn Seer in the lead up to its publication.
And finally, what’s next for your writing journey?
The Last Starborn Seer is the first book in a planned trilogy. I’ve just finished my first draft of the second book in the series, so edits beckon after publication. But first I have a UK-wide tour for The Last Starborn Seer and a launch party to enjoy. I’m also appearing at Fiction Fest, BookCon, Meetcute Book Fest and Once upon a Tyne Fest later in the year and hope to do more events and writing conferences too, as I love meeting readers. It’s the absolute best part of this job.
Get your hands on a copy of The Last Starborn Seer, out now from Aria (Head of Zeus).
Venetia was a student on our Edit & Pitch Your Novel in 2019 and Writing YA & Children’s Fiction – Three Months course in 2020.
The books linked in this blog can be found on our Bookshop.org shop front. Curtis Brown Creative receive 10% whenever someone buys from our bookshop.org page.