Emily Krempholtz’s debut novel, Violet Thistlewaite Is Not a Villain Anymore, arrives like a breath of fresh mountain air in the cozy fantasy genre, offering readers a deeply human story about what it truly means to change. At its heart, this is not merely a tale about a reformed villain opening a flower shop—though that premise alone is delightfully charming—but rather an intimate exploration of identity, trauma, and the courage required to build something new from the ashes of who you once were.
The story begins where many fantasy tales end: with the dark sorcerer defeated and his most trusted lieutenant left to pick up the pieces. Violet Thistlewaite, formerly known as the dreaded Thornwitch, arrives in the mountain town of Dragon’s Rest with a sentient houseplant named Bartleby, a bag of stolen jewels, and a desperate hope that she can transform herself into someone worthy of belonging. Her plan is simple yet profound—open a flower shop, learn to use her magic for creation rather than destruction, and prove to herself that goodness is a choice she can make daily.
The Thorny Path to Self-Discovery
Krempholtz demonstrates remarkable emotional intelligence in crafting Violet’s character arc. This is not a simple redemption story where the protagonist decides to be good and immediately succeeds. Instead, Violet struggles authentically with the weight of her past, the muscle memory of violence, and the genuine difficulty of unlearning survival mechanisms that kept her alive under an abusive master. Her magic itself becomes a metaphor for this internal battle—she must literally retrain herself to access a different source of power, one that doesn’t rely on the dark magic that came so easily for years.
The author resists the temptation to make Violet entirely sympathetic. She carried out terrible acts under Shadowfade’s command, and while the book examines the complicated dynamics of grooming and manipulation, it never excuses her choices. Violet herself doesn’t seek absolution but rather a chance to do better going forward. This nuanced approach elevates the narrative beyond typical genre conventions, offering readers a protagonist who feels genuinely complex and flawed.
Nathaniel Marsh, the prickly alchemist who becomes Violet’s reluctant neighbor and eventual love interest, provides perfect counterbalance to her character. His own past mistakes—including work for a military research facility that weighs heavily on his conscience—make him someone who understands the burden of regret without having experienced villainy on Violet’s scale. Krempholtz writes their developing relationship with patience and care, allowing both characters room to grow independently before drawing them together.
A Romance That Blooms Slowly
The romantic subplot unfolds with the gradual inevitability of spring arriving in Dragon’s Rest. Krempholtz excels at creating tension through small moments—shared greenhouse space, protective gestures, notes left on worktables. The chemistry between Violet and Nathaniel crackles from their first antagonistic encounters, but the author wisely takes her time developing their emotional intimacy alongside the physical attraction.
What makes their romance particularly compelling is how it challenges both characters to be vulnerable in ways their respective traumas have made difficult. Nathaniel must learn to accept help and stop catastrophizing every potential failure, while Violet must practice trust and resist her instinct to protect herself with thorns whenever someone gets too close. Their relationship becomes not just about falling in love but about learning to let themselves be truly known by another person.
The supporting cast enriches this central relationship considerably. Pru, Nathaniel’s twin sister and traveling musician, brings levity and wisdom in equal measure. Quinn the beekeeper, Jerome the irascible gnome, Fallon the potter, and Guy the baker (whose backstory provides one of the novel’s most poignant reveals) all contribute to the sense that Dragon’s Rest is a community of people healing from shared trauma. Even Bartleby, the weaponized houseplant who frequently attempts to strangle people, adds dark humor while serving as a living reminder of Violet’s complicated past.
Themes That Resonate Beyond the Page
At its core, Violet Thistlewaite Is Not a Villain Anymore grapples with profound questions about the nature of goodness and whether people can truly change. Krempholtz suggests that being good is not an inherent quality but an ongoing practice—something that requires daily effort, repeated failures, and the grace to keep trying. The magical blight that threatens Dragon’s Rest becomes both plot device and thematic vehicle, representing how even well-intentioned actions can cause harm when we don’t fully understand the systems we’re operating within.
The found family dynamics deserve particular praise. Krempholtz writes community with genuine warmth, showing how shared adversity can forge bonds that feel as strong as blood ties. The revelation that several townsfolk are also Shadowfade’s former victims adds layers to the narrative, transforming what could have been a simple “outsider wins over suspicious locals” plot into something far more textured. These characters understand Violet’s struggle because they’ve lived their own versions of it, and their acceptance carries weight precisely because it’s earned through mutual understanding rather than granted through ignorance.
World-Building That Invites Rather Than Overwhelms
Krempholtz constructs her fantasy world with a light touch, providing enough detail to make Dragon’s Rest feel lived-in without drowning readers in exposition. The magic system, based on balance and different sources of power, serves the story’s needs without requiring extensive explanation. References to the wider world—the Crucible where Nathaniel studied, the Merethi Empire, various magical artifacts—suggest depth without demanding the reader track complex political systems.
The setting of Dragon’s Rest itself functions as more than backdrop. The mountain town, recovering from decades under Shadowfade’s shadow, mirrors Violet’s own journey toward healing. As she works to beautify Wingspan Green and plans community festivals, her personal transformation and the town’s revitalization become intertwined, suggesting that individual and communal healing often happen in tandem.
Where the Narrative Occasionally Stumbles
While largely successful, Violet Thistlewaite Is Not a Villain Anymore does have moments where the pacing falters. The middle section, focused on research into the mysterious Eye of the Serpent, occasionally feels repetitive as Violet searches for information in similar ways across multiple chapters. Some readers may find the extended period of Nathaniel’s ignorance about Violet’s identity frustrating, though this choice serves the thematic exploration of secrets and trust.
The climactic confrontation, while emotionally satisfying, relies heavily on convenient timing and the sudden appearance of allies. The rock goblin reveal, though foreshadowed, requires significant suspension of disbelief. Additionally, some supporting characters—particularly the antagonist Sedgwick—feel somewhat underdeveloped compared to the richly drawn protagonists. His motivations, while understandable, could have benefited from deeper exploration.
The writing occasionally leans too heavily on telling rather than showing, particularly in moments of emotional processing. Violet’s internal monologues sometimes over-explain her feelings in ways that could have been more powerfully conveyed through action or dialogue. However, this directness may be precisely what appeals to readers seeking clarity and emotional accessibility in their fantasy fiction.
The Author’s Voice: Warm, Witty, and Wise
Krempholtz writes with a voice that feels like a knowledgeable friend guiding you through the story. Her prose strikes an effective balance between lyrical and accessible, never sacrificing clarity for style. The humor—from Bartleby’s ongoing weaponry confiscation to Nathaniel’s awkward attempts at romance—lands consistently without undercutting the genuine emotional stakes. Particularly effective is the way Krempholtz handles heavy themes with a deft touch, addressing trauma and guilt without becoming oppressively dark.
The author’s background as a writing coach and editor shows in the novel’s structure and craft. Scenes are purposeful, character arcs tracked carefully, and emotional beats land with precision. There’s a sense throughout that every element has been considered and refined, resulting in a highly polished debut that reads like the work of a more seasoned novelist.
Who Will Fall Under This Book’s Spell
Violet Thistlewaite Is Not a Villain Anymore will particularly resonate with readers who appreciate character-driven fantasy where the internal journey matters as much as external plot. Those who loved the cozy vibes of Legends & Lattes by Travis Baldree or the redemption arc in Sorcery of Thorns by Margaret Rogerson will find much to enjoy here. Fans of The House Witch series by Delemhach will appreciate similar themes of found family and using domestic skills in magical ways.
Readers seeking complex moral questions within accessible fantasy frameworks will find Krempholtz’s approach satisfying. The book also serves as excellent comfort reading—despite addressing serious themes, it ultimately offers hope that change is possible and that we don’t have to be defined by our worst moments. Anyone who has ever felt like an outsider or struggled with their past will likely connect deeply with Violet’s journey.
However, readers expecting high-stakes action or intricate plot twists may find the pacing too leisurely. Similarly, those who prefer morally gray narratives might find the ultimate message—that choosing goodness is both possible and worthwhile—somewhat straightforward. The cozy fantasy subgenre prioritizes emotional comfort alongside gentle adventure, and this book delivers on that promise rather than subverting it.
Books to Read If You Loved This One
For readers enchanted by Violet’s story, several similar titles offer complementary reading experiences:
“The Ex-Princess” by Ursula Vernon explores similar themes of starting over after a fall from power, with comparable wit and warmth. “Howl’s Moving Castle” by Diana Wynne Jones shares the magical shopkeeping elements and slow-burn romance in a fantastical setting. “A Wizard’s Guide to Defensive Baking” by T. Kingfisher offers similar cozy fantasy vibes with a protagonist using unexpected magical skills. “Payback’s a Witch” by Lana Harper provides small-town magical community dynamics with romantic tension. For those specifically drawn to the plant magic aspects, “The Language of Thorns” by Leigh Bardugo offers beautifully dark botanical fantasy.
Final Thoughts: A Heartfelt Beginning
Violet Thistlewaite Is Not a Villain Anymore announces Emily Krempholtz as a talent worth watching in the cozy fantasy space. While the novel occasionally shows its debut novel seams—some pacing issues, slightly convenient plot resolutions, secondary characters that could be more developed—these minor imperfections fade against the book’s considerable strengths. The emotional authenticity, the careful character work, and the genuine warmth that permeates every page make this a memorable and affecting read.
Krempholtz has crafted something rare: a fantasy novel that feels both escapist and deeply relevant, offering readers a chance to believe in the possibility of change while never pretending that change comes easily. In Violet, she’s created a protagonist whose journey from villain to florist to hero feels earned at every step, reminding us that redemption is not a destination but an ongoing practice of choosing, day after day, to be better than we were.
Violet Thistlewaite Is Not a Villain Anymore is a book about second chances that deserves to be given one by readers who might initially hesitate at its cozy premise. Beneath the flower arrangements and small-town charm lies a profound meditation on identity, forgiveness, and the courage required to start over. For debut novel, it’s remarkably assured, and for a cozy fantasy, it’s unexpectedly moving. Violet Thistlewaite may claim she’s not a villain anymore, but she’s definitely a character who will stick with readers long after they close the book.