Sharon Berg Interviews Kevin Walker

(2024)

Kevin Walker

Sharon Berg:             Kevin, you are the first author I am interviewing for a book that I believe suits both an adult audience and is fine for youth. Your book The Goblin & Grandma Detective Agency is a somewhat magical tale that seems to challenge regular literary categories as it offers a unique blend of modern fantasy and age-old fairytales that dip into horror. In doing so, I feel it adds to the level of intrigue even as it appeals to both adults and youth. Can you share the how and why you’ve arrived at this blend of genres?
 
Kevin Walker:           It all started with a simple writing prompt from a Royal Road contest; something like “Goblins and Grandma.” I usually write LitRPG or high-action fantasy, but that prompt felt like the perfect opportunity to challenge myself and try something different. That’s when it hit me: what if I wrote a noir-style piece instead? From there, everything fell into place. I leaned into the absurdity of the title while grounding it in real emotion and atmosphere. The blend of modern fantasy, fairy tale elements, and even bits of horror came naturally as I built the world. Oh, don’t forget, I had to try and give it a 1950s detective vibe. I wanted to create something that felt whimsical on the surface but had shadows lurking beneath. A story that could appeal to both younger readers and adults who love layered, genre-bending fiction.
 
SB:      If scanning for a list of books authored by Kevin Walker can tell anything, the story in The Goblin & Grandma Detective Agency is just one in a long list of books you’ve written that span a diverse set of interests: from Oil and Ash as a Dungeons and Dragons drama (with a deck of magical cards), to the series of dark fantasy stories in Echoes of the Forgotten, to The Iron Forge as a mystical fantasy that discovers unlikely heroes. Please explain how this book fits in the history of your writing career.
 
KW:    I started my writing journey with The Iron Forge, which was heavily influenced by my love of Dungeons & Dragons. Since then, my interests have expanded. I've become an avid reader and writer of LitRPGs and dungeon core stories, which led to projects like Oil and Ash and Violet Reborn. But The Goblin & Grandma Detective Agency is different. Grib and Maggie don’t quite “fit in” with the rest of my worlds, and that’s exactly why they matter. When I sat down to write it, I was thinking of my kids. I wanted to create a story they could read. One they could enjoy with their mom. It’s the oddball in the family, just like me, and maybe that’s what makes it special.
 
SB:      Your writing skills and ability to design interesting plots are obvious, and that prompts me to ask, why choose to offer your work independently instead of through traditional publishers? It’s clearly not a choice for everyone as it involves a lot of work outside of the actual task of writing. In addition to being an author and finding the cash for editing and printing, you have to deal with advertising and distribution. Self-publishing involves a multitude of tasks beyond the often-heard concerns about control over the text and profits.
 
KW:    To be honest, I did pursue traditional publishing at first. There are a few houses I really admire. I’m a fan of the books they produce and I tried submitting to them. For example, I love Podium Audiobooks; however, my work was rejected by them. I also had the chance to connect with some big-name authors through Facebook writing groups, which was an amazing experience.

One thing I’ve learned the hard way is that new authors can be easy targets for scammers. Early on, while searching for an editor, I fell victim to one. They promised professional services but never delivered. It was a tough and expensive lesson, but it taught me to be more cautious, to research thoroughly, and to lean on trusted writing communities for recommendations. It’s something I think more new authors should be warned about.

The last big one, or challenge, I ran into was platform size. My last two books weren’t picked up because, as I was told, I didn’t have a large enough social media following. It was frustrating at first, but ultimately, it turned into a blessing. I love the stories I write, and I believe in sharing them. That’s what led me to self-publishing, and I haven’t looked back. In fact, my wife and I have even started talking about launching our own publishing house one day. It’s a lot of work, sure, but it’s also incredibly rewarding.
 
SB:      If you had to describe the primary emotion explored in The Goblin & Grandma Detective Agency, what would it be? Can you explain why you’ve chosen to focus on it? How close is it to the emotion(s) you deal with personally on the subject of your book?
 
KW:    If I had to choose one primary emotion, I’d say connection through loneliness. But really, it’s layered. Friendship, loneliness, and trauma all thread through the story. Both Maggie and Grib are characters who’ve lost something vital: Maggie is facing the quiet ache of an empty nest, and Grib has been cut off from the world and career he loved. They’re wounded, adrift—until they find each other. It’s that unlikely friendship that helps them heal and face the challenges ahead. I connect with that deeply. I’ve lost friends over the years, and there are days when loneliness hits hard. Writing this story was, in part, a way to explore that feeling and remind me, and readers, that even the oddest pair can help pull each other out of the dark.
 
SB:      Titles are often difficult to come up with. Some authors seem to begin there. What was your experience in developing a title for The Goblin & Grandma Detective Agency?
 
KW:    To be blunt, the title came easily; The Goblin & Grandma Detective Agency pretty much wrote itself. I could have found something more, or something with a pun, but I liked how straightforward it is. The real challenge was creating Grib. At one point, I even considered making him a child, but it didn’t feel right. As I worked through the rough draft and planning, I realized I wanted that classic buddy-cop dynamic, so Grib became the ex-cop counterpart to Maggie, the retired librarian. The title actually inspired that pairing, it set the tone for the entire story. Did I pull it off? I like to think so, but I’ll let the readers decide.
 
SB:      Was there a collection of works, or a literary movement that inspired you to map out The Goblin & Grandma Detective Agency? What was your initial inspiration, even if it’s something counterintuitive?
 
KW:    The noir vibe in The Goblin & Grandma Detective Agency actually traces back to my love for a character I created in another story, Violet Reborn, where the main bad guy, called the Blind One, is heavily inspired by the world of H.P. Lovecraft. I’ve always been fascinated by the idea of dark, hidden forces trying to manipulate reality from beyond the veil. So, when I started mapping out the mystery that Grib and Maggie would face, I wanted to weave in that sense of something lurking in the background—figures shaping our communities in secret. If you’re a fan of board games like Cult of Cthulhu, you might feel a bit of that energy here too.

That said, you don’t need to know anything about Lovecraft or cosmic horror to enjoy the book. At its heart, it’s still a classic whodunit, just with a bit more goblin magic, mystery, and mayhem thrown in.
 
SB:      If The Goblin & Grandma Detective Agency was burning and it was possible for you to rescue just one character from that inferno, which one do you think deserves the effort for a second chance at life? Please explain your choice.
 
KW:    I want to say Grib, and honestly, I think Maggie would back me up. She’s a retired adventurer and librarian, a proud mom, and someone who’s lived a full life. She’d probably give me that stern librarian look and say, “Don’t be ridiculous, save the goblin.” Grib, on the other hand, would 100% argue. Possibly while pointing a loaded crossbow at me, and he would say that I should’ve saved Maggie. But here’s the thing: he’s still got a long road ahead, a lot more mysteries to solve, and let’s face it, probably a few more questionable fashion choices to make. Maggie would want him to have that second chance… and she'd definitely haunt me if I didn’t give it to him.
 
SB:      How would you have described The Goblin & Grandma Detective Agency to a potential publisher if you hadn’t entirely skipped the idea of approaching a traditional publisher? Did the notion of self-publishing offer you some relief in designing the plot and characters for your tale?
 
KW:    I didn’t actually approach any publishers before starting The Goblin & Grandma Detective Agency. It all began as part of a writing competition on Royal Road, which is a great platform for publishing stories and engaging with readers in real time. I cranked out over 60,000 words in a month, but the real challenge was figuring out the ending. Once I finished, I realized how much I enjoyed the freedom of self-publishing, so I decided to continue down that path. I had already self-published my first book, so I knew what to do.

The self-publishing process can be a lot of work, but it’s incredibly rewarding. From editing and cover design to formatting and distribution, there’s a lot that goes into it beyond just writing. In addition to printing the book, one of the most interesting, and challenging, parts of this project was finding my narrator for the audiobook. Terrance wasn’t just a voice; he had to match the tone of the story while adding that extra layer of charm. Finding and working with him has been a true pleasure. We had to find the right balance.

Ultimately, being in control of every aspect of the book, outside of traditional publishing, from conception to distribution, felt like the right move for me, now. Still, it might be nice to pitch my next story to a publishing house. 
 
SB:      How does this book fit into the stream of your literary works? You may feel you’ve already answered this, but is there a fundamental difference between The Goblin & Grandma Detective Agency and your prior work?
 
KW:    All my books are part of a larger picture or web. I like to think of each one as a puzzle piece in a much bigger narrative. I’ve been sneaking in foreshadowing, shared items, and subtle connections throughout my stories. For example, Violet’s journal makes an appearance in The Goblin & Grandma Detective Agency, and don’t be surprised if Grib and Maggie pop up for a cameo in my latest project. Whether it’s a place, an object, or a passing reference, I enjoy weaving my worlds together because, in the end, they all come from the same storyteller: me.

That said, The Goblin & Grandma Detective Agency definitely stands apart from my usual work. It’s much more family-friendly than some of my other books, which often lean into adult themes, heavier violence, or more complex systems. This one focuses more on mystery and character relationships than combat or game mechanics, like my LitRPG titles or Iron Forge, which is steeped in D&D-style adventure. It’s different, but in a way, that’s what makes it special. I like to think a family could put the audiobook on during a road trip, or a kid could read the book in their library. That is the dream.
 
SB:      Where do you live? Is it an urban or rural setting? Do you feel there is anything about the environment that surrounds you that impacts your writing? Are you living in open spaces? Crowds of people? Please explain how the environment around you affects your approach to writing.
 
KW:    I’m lucky to have grown up in Northern British Columbia, where spotting a bear across the river was just part of your morning coffee routine. I’ve gone moose, or elk, hunting with my dad (yes, that’s a thing). I’ve watched caribou stroll past job sites while working oil and gas, and had more than one early morning fishing trip that turned into, “Hey, is that a moose or just a really ambitious beaver?”

​But honestly, it wasn’t just the wild animals. It was the campfires and stories that shaped me. My family could turn a burnt marshmallow into a dramatic plot twist. My dad, especially, was a legend when it came to alien stories. Those nights sparked my love of storytelling. Even when I write more urban tales like The Goblin & Grandma Detective Agency, I find ways to sneak in a little wilderness. There’s a cabin in the woods, for example, because nothing says cozy mystery like potential werewolves lurking just off the porch. It’s just my way of bringing a bit of home into every book.
 
SB:      Thank you so much for sharing your writing process through this interview, Kevin. I enjoyed reading your blend of noir mystery mashed with broken fairytales. Your interview confirms some of my thoughts, along with the shadows that lurked, as I read your book. I’m kidding, as it was an exciting read rather than a scary adventure. I’m feeling sure that many readers—of all ages—will enjoy both your introduction to The Goblin & Grandma Detective Agency and any future stories where Grib and Maggie stare down danger to rescue their sweet little town nestled in the perilous but beautiful woodland that surrounds them.

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​Sharon Berg attended the Banff School of Fine Arts Writing Studio in 1982 and was accepted to Banff’s Leighton Artist Colony in 1987. She is also an alumni of Humber College’s Writing Program. She did her B.A. in Indigenous Studies at Laurentian U, followed by her B.Ed for Primary Education at U of T. Her M.Ed focused on First Nations Education at York U, and her D.Ed focused on Indigenous Education at UBC. She also received a Certificate in Magazine Journalism from Ryerson U. Sharon founded and operated the international literary E-Zine Big Pond Rumours (2006-2019) and its associated press, which released chapbooks of Canadian poets as prizes for the magazine’s contests. She's published five full books and three chapbooks, working in poetry, fiction, and nonfiction. Her work appears in periodicals across Canada, the USA, Mexico, the UK, the Netherlands, India, Germany, Singapore, and Australia. Her 3rd poetry collection Stars in the Junkyard (Cyberwit 2020) was a Finalist in the 2022 International Book Awards, and her narrative history The Name Unspoken: Wandering Spirit Survival School (Big Pond Rumours Press 2019) won a 2020 IPPY Award for Regional Nonfiction. When she retired from teaching, she opened Oceanview Writers Retreat in Charlottetown (Terra Nova National Park) Newfoundland.