About Olivie
For an official bio, find my press kit.
Olivie Blake, the pen name of Alexene Farol Follmuth, is the author of bestselling fantasy and sci-fi crossover titles for adults. She is a lover and writer of stories, many of which involve the fantastic, the paranormal, or the supernatural, but not always. More often, her works revolve around the collective experience, what it means to be human (or not), and the endlessly interesting complexities of life and love.
Olivie tripped and fell into writing after abandoning her long-premeditated track for Optimum Life Achievement while attending law school, and now focuses primarily on the craft and occasional headache of creating fiction. Her New York Times and Sunday Times bestselling The Atlas Six released 2022 from Tor Books, rounding out the bestselling trilogy with The Atlas Paradox and The Atlas Complex in 2024. The re-release of her viral literary romance Alone With You in the Ether was followed by backlist titles One for My Enemy and New York Times bestselling Masters of Death, with brand new titles Gifted & Talented and Girl Dinner to release in 2025. She has also been published as the writer for the graphic series Clara and the Devil and a variety of other adult SFF books. As Alexene, she is the author of young adult fiction (alexenefarolfollmuth.com).
Olivie lives and works in Los Angeles with her husband and goblin prince/toddler.
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Represented by
Amelia Appel, Triada US
Keep in touch
Currently . . .
Writing
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KISS YOUR DEVILS IN LOS ANGELES, previously UNTITLED HOLLYWOOD GOTHIC, a Gothic romance inspired by the Black Dahlia featuring extended immigrant families, the noble sport of pigeon seduction, and some demonic Santa Ana winds.
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NEWPHORIA, a standalone SFF set three generations into the future of Western technocracy about an archivist, a pop star, a survivalist cult, and clicktivism in the digital dark age.
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STARGAZING IS NECROPHILIA, an Alone with You in the Ether-esque romantic narrative about life, disappointment, desire, and the way love shapes us.
Reading
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THE LIBRARY AT HELLEBORE by Cassandra Khaw. This is a forthcoming title that I was very excited to be able to read early. I've only read one of Khaw's books before (THE SALT GROWS HEAVY) and wasn't sure what to expect going in. The answer is a lot of gore, but to such a fantastical extreme it's almost jaw-droppingly otherworldly. There are a few works coming this year (THE INCANDESCENT by Emily Tesh is another, excellent in a completely different way) that are ostensibly an answer to the dark academia trend in SFF and are thus often comped to me, but ultimately feel more like an answer to Harry Potter—that answer being, very specifically, fuck you. But also, many aspects of Hellebore reminded me of the deathday party or the Headless Hunt, back when HP was middle grade and Joanne leaned a bit harder into the darkness of the school. This book is a full scale battle royale that makes you marvel a bit at the sheer ballsiness of Khaw's imagination.
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STARTER VILLAIN by John Scalzi. This is my first venture into the Scalzi-verse (I know, I know) and I sincerely enjoyed my time here. STARTER VILLAIN feels like a book that's begging to be adapted, so I can only assume we'll watch this film soon, as directed by Rian Johnson in the style of Knives Out. It's incredibly readable, genuinely funny, warm without being kneecapped by "cozy" (if I'm being honest I can't abide cozy) and ends perfectly, in my opinion. A quick, fun read that I highly recommend, whether you're in a slump or just want something fast-paced and enjoyable.
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THE GOD OF THE WOODS by Liz Moore. I really like domestic thrillers and while this one is richly atmospheric in such a way to evade the obvious umbrella of domesticity, it is basically about generations of family discord and falls under the same category as Liane Moriarty or Lucy Foley for me (though my love of Moriarty will always transcend all others because of her sense of humor). I expected something a bit more... literary, maybe, or even more speculative, given the cover? It's propulsive for sure, but ultimately straightforward. The dominant conversation here is about class subjugation and WASP misogyny, dynamics I pondered for a long time after finishing the book.
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OATHBOUND by Tracy Deonn. Yesssssss you heard me! I'm doing an event with Tracy in March that I don't think has been announced yet (lol, if anyone asks I said nothing) and I'm, like, basically the first normie in the world to get to read this one. I personally think Tracy's overstating the influence I had on this book, but I was involved in a few conversations about how to make certain emotional arcs impactful (put it this way: I love a crown prince archetype, so one of these characters in particular is my catnip). I am so, so excited to dive into the finished product, though I will be saying NOTHING. On account of her publisher maybe releasing the hounds if I do.
Listening
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Horror by Bartees Strange. I really like Bartees Strange, whose work I don't necessarily know how to define, but I'm particularly into the vibe of this album, from the tone of the singles to the album art to the title. My favorite of the singles is probably "Wants Needs," which has a slight Brit rock vibe to it, whatever that means. Sometimes I swear I just say things. But that vibe feels right and I'm excited to hear how the rest of the album turns out. A previous song of his with a completely different sonic quality was "Wretched," which I included in the playlist for The Atlas Paradox.
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Oh! The Ocean by The Wombats. I have this problem where I love the album Beautiful People Will Ruin Your Life so much that I am sometimes disappointed by things by the Wombats that aren't sonically aligned with that (artistically speaking, a lame opinion). "Sorry I'm Late, I Didn't Want to Come" is an example of a song that left me wanting a little bit more sparkle even if it's lyrically exactly what anyone could expect. But then they released "Can't Say No," and I was like hell yeah, Wombats, I'm back in.
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Welcome to KAMAUU.world by KAMAUU. I really, really liked the song "Far Rockaway" when it first came out in 2020, and for whatever reason, I just now noticed that it was on a full EP instead of just a single. I specifically recommended that song to a friend and former jazz musician who has very particular music taste, such that she got into a fight with her partner about the legitimacy of Mark Ronson's "Uptown Funk" winning Record of the Year in 2016. I don't know if that means anything to you but it feels relevant to this analysis.
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Honeybee by BØRNS. I'm choosing this one on the basis of the song "Honeybee," which is charming and nostalgic in a transportive way, like the part where Joseph Gordon Levitt dances to "You Make My Dreams" in 500 Days of Summer. It could definitely also be on the soundtrack to a montage scene in The Umbrella Academy, which I recently watched for the first time. If anyone wants to discuss it with me, welcome to my office. Anyway, I'm sure I could point to any number of sonic references but instead I'll just say go listen to it, it's a sweet little number, not unlike a gingham frock.