Roz Clarke likes to play around with words; her own and other people's. She has short stories in several anthologies, edits novels for Kristell Ink, and is best known for her editing partnership with Joanne Hall, which has produced such anthologies as Airship Shape & Bristol Fashion and the BSFA award-nominated Fight Like A Girl #1. You can twt her at @zora_db, or skeet @rozc.bsky.social.

Jo Hall was formerly Acquisitions Editor at Grimbold Books and loves working with authors to help them unleash their visions on the world (for good or ill). Her novels have previously been shortlisted for the Tiptree, Lambda and British Fantasy awards. She can be found on Bluesky @hierath77.bsky.com.

Roz and Jo have been working together since the Bristol F&SF group started running BristolCon, brainchild of the late Colin Harvey, of which Jo was Chair and Roz held various roles on the concom. Both writers and editors in their own right, they first collaborated on Colinthology, a memorial anthology for Colin. They now collaborate regularly on wrangling chickens and digging the vegetable beds on their smallholding in South Wales, with their housemate Heather, Jo's partner Chris, and a motley collection of dogs and paperbacks. You can follow their blog on forest gardening and regenerative living at meddwlcoed.wordpress.com.

Fight Like a Girl: Vol. 2 edited by Roz Clarke and Joanne Hall

Finalist: Best Collected Work, British Science Fiction Association Awards 2025

Finalist: Best Anthology, British Fantasy Awards 2025

The first volume of Fight Like A Girl was produced in response to accusations that stories of women warriors were somehow unrealistic and anachronistic. Sadly the need to counter such narratives still exists, but with this new volume we have also sought to broaden the types of women in the stories, and the ways in which they fight. In this book you will find a variety of science fiction and fantasy stories by top women writers. The heroines will face down adversity in many different ways and show what it is like to Fight Like A Girl.

Contents
Foreword by Roz Clarke & Joanne Hall
Introduction by Charlotte Bond
'The God of Lost Things Or Ethel, Dragonslayer' by Danie Ware
'Ambition's Engine' by Gaie Sebold
'A Human Response' by Dolly Garland
'More Trouble Than She's Worth?' by Cheryl Morgan
'Civil War' by Juliet E. McKenna
'Lady Cona' by Anna Smith Spark
'Ready for Combat' by K R Green
'We have Always Been Here' by Julia Hawkes-Reed
'The Seamstress, the Hound, the Cook, and her Brother' by K T Davies
'A Way Out' by S. Naomi Scott
'Amplify' by Lou Morgan

CURATOR'S NOTE

A fantastic and multiple award nominated anthology! – Lavie Tidhar

 

REVIEWS

  • "…a host of excellent authors delivering intelligent and hugely enjoyable stories to push that conversation onwards."

    – Runalong Womble, Runalong the Shelves
  • "Yes, there is plenty of fighting; weapons of choice, ranging from spears, swords, guns and nukes, to spirit power, magic, death rays, and dragons. Repeatedly though, it is courage, insight, empathy, and invention that win the day, and are we not entertained? We most certainly are."

    – Robin C M Duncan, The British Fantasy Society
  • "They've proved with this collection that fighting and feminine power take many forms — from the bloody, to the subtle, to the fearless — with motivations that defy the 'warrior archetype'. […] There are some excellent stories here."

    – Gav, GavReads
 

BOOK PREVIEW

Excerpt

[From 'The God of Lost Things Or Ethel, Dragonslayer' by Danie Ware]

The pier's planks are rotting, but they hold.

Trying not to look between them at the seethe of grey below, I walk carefully, staying tight to the once-white buildings so I can't be seen from the shore. There are old stalls here, faded signs that offer churros or tarot readings, something else that might once have been a shooting gallery. But I bypass all of that, stopping only to peer though the grimy window of the main arcade.

Here, the junk is piled—Aubrey's pictures hadn't quite captured the scale of this apparent dragon's hoard. The light is poor, but I can see that the stuff at the bottom is older, crumbling almost to nothing. It's rust and verdigris, and…

…and it's bones, some yellow with age.

I stop dead, caught like a fish on a hook, staring to double- check. Those are bones, all right. A spread hand, tarsals and meta-tarsals; the unmistakable curve of a skull, its eyesocket empty.

Was this what had happened to Eva? To Aubrey? Are they here, somewhere?

And who—or what—has brought them here? Like so much junk?

And was that same something now calling me?

Invading my dreams?

It seems highly likely. A flare of adrenaline brings focus, tight and strong. Corrupted spirits do happen, damaged by trauma and cruelty, by sick memories—you might call them 'ghosts'—and I have seen them before. I am no hero, but a long and full life has given me weapons of my own.

And now, I think I'll need them. I raise the little crystal, the same one I'd shone from my window, and I let it glitter in the cloud-slants of sunlight. I remember my husband, the most magical times of our long, long marriage and I call to them once more.

Come.

This time, though, it's not casual. This time, I offer them wonders, fragments of sparkling light. My wedding day, the home we built together. Laughing as we stood in the garden.

And I say, Come to me.

I think of little Eva, of the sheer ferocity of her need to run away. Of Aubrey, and his wedding ring, and his camera. Of all the times when I have been the happiest, or the most broken-hearted. Not only the day of my wedding, but the night I finally lost my dear Stanley.

The recollections are strong. The spirits are noticing me, now, stirring and turning and drifting past my shoulders. They're curious, touching me with unseen fingers, with thoughts that drift and whisper. They can feel me, and it's making them responsive.

What is it? I ask them. What's here?

But that brings sparkles of fear, and they shy away. Despite my offerings, they are suddenly smaller, almost like a seaside's children, playing at the penny arcades. They part, and for a moment I see, just as I had done the previous evening, that there is something else behind them, something darker and older, and far, far bigger.

Something twisted.

Gooseflesh flashes down my arms, my back.

This was what I had been dreaming about, and now, I remember. Past the derelict funfair, at the pier's very end, there's an observation point. There's a telescope there, the kind you could once pay a pound to use.

And there's something else, something that says to me, as I have said to its underlings:

Come.