In the kingdom of Aethelmere, the fae have ruled for a thousand years since the Sundering War divided the mortal lands from the immortal courts. Elara Voss has always known she was different from the other villagers of Thornwick, but she never knew why until her twenty-first birthday.
When Elara’s younger sister Mira falls gravely ill, Elara travels to the Winter Court to seek a cure from the fae, who are known for their healing magic. There she meets Prince Kaelen Frostborne, the cold and handsome heir to the Winter throne, who agrees to help her — but only if she agrees to a bargain.
Elara must stay at the Winter Court for one year and one day. As the seasons pass, Elara and Kaelen grow closer, even as the other fae nobles plot against them and an ancient enemy stirs in the north. Elara also begins to discover that she has magic of her own, magic that could change everything.
Will Elara be able to save her sister, master her powers, and survive the dangerous games of the fae court? And will she lose her heart to the very prince who holds her captive?
A Bargain of Frost and Ash is the first book in an epic new romantasy series. Perfect for fans of fae romance!
The bones of a strong fae court romantasy are here — a dying sister, a dangerous bargain, a cold prince. But the blurb opens with worldbuilding instead of a hook, summarizes the plot instead of selling the tension, and closes on tired rhetorical questions. Right now it reads like a synopsis, not a sales pitch.
The five things a blurb has to do — rated against what works in your genre.
Walking your blurb’s four parts — what to keep, what to cut.
Specific lines from your blurb, with the problem and the fix.
How your blurb measures against what converts in fae court romantasy.
Fae court romantasy blurbs that sell do four things yours doesn’t yet. They name the trope in plain language — bargain, enemies-to-lovers, captive-at-court — because readers scan for those words. They make the love interest a specific, dangerous person, not an adjective. They state the heroine’s impossible choice, not her to-do list. And they close on one line that promises the ache, not a checklist of plot questions. The strongest comps in this niche lead with the bargain and what it costs — your draft leads with a war.
Two paste-ready versions. Variant 1 keeps your structure and fixes it. Variant 2 is a bolder, higher-tension take. Both are yours to use as-is or adapt.
Elara Voss has one chance to save her dying sister: a bargain with the fae.
The price is a year and a day in the Winter Court — bound to Prince Kaelen Frostborne, the ruthless heir who agreed to her terms a little too easily. The court wants her gone. The nobles want her dead. And the prince who holds her bargain wants something he won’t name.
Elara came for a cure. But the longer she survives the court’s games, the more she uncovers a power of her own — one the fae have spent a thousand years making sure no mortal ever wakes.
She has a year and a day to save her sister. She’ll need every hour of it to outlast the prince she’s beginning to want.
An enemies-to-lovers fae court romantasy — first in a new series.
The fae don’t give. They bargain.
To save her dying sister, Elara Voss agrees to the cruelest terms the Winter Court has ever offered — a year and a day belonging to Prince Kaelen Frostborne, the cold, beautiful heir who should have refused her, and didn’t.
Every noble at court wants her dead before the year is out. The prince wants something far worse. And the power waking in Elara’s blood may be the reason the fae have feared mortals for a thousand years.
She bargained for a cure. She may pay with her heart.
Fae court romantasy. Enemies to lovers. No safe choices.
If you change nothing else, change these — in this order.