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Novelist and screenwriter,

Purveyor of internet romance,

Village witch.


Alexene Farol Follmuth, also known under the pen name Olivie Blake, 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.

Alexene 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. Under her Olivie byline, New York Times and Sunday Times bestselling The Atlas Six released 2022 from Tor Books, followed by its sequel The Atlas Paradox and the re-release of her viral literary romance Alone With You in the Ether. She has also been published as well as the writer for the graphic series Clara and the Devil and a variety of other books. As Alexene, her debut YA novel My Mechanical Romance released May 2022 from Holiday House (US) and Macmillan Children's (UK).


Alexene lives and works in Los Angeles with her husband and goblin prince/toddler, where she is generally tolerated by her rescue pit bull.


  • October 14, 2023: Virtual Q&A with Sydney Book Society - Details TK

Currently Writing


  • GIFTED AND TALENTED, The Royal Tenenbaums meets Succession meets hot magic nerds in a family dramedy about three magical siblings on the prodigies-to-clinical depression pipeline. Currently in revision for a summer 2025 release.

  • GIRL DINNER, an exploration of feminine craving, the instinct to devour, and ritualized cannibalism.

  • UNTITLED HOLLYWOOD GOTHIC, a Gothic romance featuring extended immigrant families, the noble sport of pigeon seduction, and some demonic Santa Ana winds.

  • STARGAZING IS NECROPHILIA, an Alone with You in the Ether-esque romantic narrative about life, disappointment, desire, and the way love shapes us.


  • THE ATLAS COMPLEX, Book III of III in The Atlas Series. The final installment of The Atlas Six is forthcoming and currently in production! Releasing January 9, 2024, in what is a very standard lead time (The Atlas Paradox had only 6 months and I nearly killed everyone in production, so, you know. An achievable release this time.)

  • TWELFTH KNIGHT, a YA homage to Shakespeare's Twelfth Night. Another dual POV rom-com, this one features the gender politics of fandom, RPGs, and gaming. Coming June 2024 from Tor Teen under my Alexene Farol Follmuth byline.

  • JANUARIES, a story anthology featuring new short stories, novellas, and some OB cult classics. Think of it as my Eras Tour, coming fall 2024.

Currently Reading


  • I NEVER PROMISED YOU A ROSE GARDEN by Joanne Greenberg. This book is a fictionalized memoir about a sixteen year old girl hospitalized in the sixties for schizophrenia, which on its face does not sound particularly uplifting. However, I don’t think I’ve ever read any portrayals of self-compassion this profound—it has contributed to my lexicon of speaking gently to myself and short-handing certain difficulties of mental illness in critical ways. It’s just a truly remarkable novel, and the ways it blends genre to accommodate the interior world of the main character’s illness is innovative and does what I tried to do with Alone with You in the Ether, which is allow you to experience the story from inside the mental illness. 

  • PATRICIA WANTS TO CUDDLE by Samantha Allen. A lot of horror this month, per the damn season, starting with perhaps the least unsettling, purely because it is more absurd than horrific. It’s mainly a story about queer love and loneliness, believe it or not, beneath the veneer of a hyper-contemporary tragicomedy about the final four contestants on The Bachelor, many of whom are delightfully bitchy. Not to bring up myself again, but it did remind me a bit of my story Kill the Bachelor, albeit with some far weirder elements (ahem, Bigfoot). I devoured this one in a single sitting and then I coincidentally happened to follow it up with this short that made me giggle and sigh, Mating Call by Phoebe Cramer.

  • NATURAL BEAUTY by Ling Ling Huang. This one doesn’t necessarily telegraph itself as horror from the cover, but it absolutely is. It flirts with being SFF, because there is a very interesting dystopian sub-world at play here, mostly in dealing with a nightmarish wellness company. There are a lot of interesting thought experiments in this story, especially given the growth of the wellness industry from within an era of girlboss feminism and the interrogation of beauty standards built on whiteness, but for me the most important one was whether beauty is, for women, actually a form of power or just another avenue of exploitation. 

  • NIGHT'S EDGE by Liz Kerin. I’m doing a worldbuilding panel this month at the Las Vegas Book Festival with Liz, who I met earlier this year at one of Catriona Ward’s infamous Los Angeles salons (if that sounds glamorous, good. It is, and frankly I’m not sure what I was doing there). I’m definitely a sucker for a mother-daughter story and this one is basically as if the zombie apocalypse were a vampire apocalypse and everyone behaved exactly as if it were Covid. It reminded me a bit of MOTHERTHING by Ainslie Hogarth in terms of how you feel about the misused daughter narrator, which is that you must protect her at all costs.

Currently Listening


  • Guts by Olivia Rodrigo. I told you I’d be listening to this one and I am! I am, as always, a sucker for a bop, so “get him back!” and “ballad of a homeschooled girl” are high on the list, though the goblin prince really loves dancing to “all-american bitch” (and rightly so). My current favorite thing is the bridge from “love is embarrassing”—she’s so right, it really is. And I have a lot of feelings in a big sisterly way about “logical” and “the grudge,” which I think means I’m not a thirty-year-old teenage girl anymore, but I’ve chosen not to question it. 

  • Blame My Ex by The Beaches. Oh my god, obsessed! I really love at least half the songs on this album, but I specifically can’t stop listening to “Me & Me,” “Shower Beer,” and “What Doesn’t Kill You Makes You Paranoid,” with an extra shout to the title track. I definitely assumed the Beaches were queer at first (maybe that’s because of a sonic similarity to female-led alternative bands like PVRIS, Bloxx, and the Aces) until I realized all these songs were about a dude named Brett. But it's really good so I’ll allow it. 

  • Halo by Bakar. I got here from “Alive!” and I’m not going anywhere. This album is so fun, and Bakar describes it as having a brightness, which I think is true. It strikes me as a genre-defiant mix of R&B and indie alt-pop. 

  • The Beautiful Letdown (Our Version) by Switchfoot. I loved this album in my youth, due in no small part to the film A Walk to Remember—Landon Carter, you are the bad-boy-down-bad blueprint—and I was so excited to see Switchfoot record new versions of their songs with bands I loved from the golden age of Christian pop-punk, like Relient K, as well as more recent musicians I love or have loved, like Jon Bellion, Ryan Tedder, and Tyler Joseph. Ultimately, though, Switchfoot still does it best—their re-recordings are the highlight of the album, and “Dare You to Move” is still THE depression anthem of my teens. 

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