“Get ready to root for the bad guys.” ―Jennifer Estep
Anna does boring things for terrible people because even criminals need office help, and she needs a job. Working for a monster lurking beneath the surface of the world isn’t glamorous. But is it really worse than working for an oil conglomerate or an insurance company? In this economy?
As a temp, she’s just a cog in the machine. But when she finally gets a promising assignment, everything goes very wrong, and an encounter with the so-called “hero” leaves her badly injured. And, to her horror, compared to the other bodies strewn about, she’s the lucky one.
So, of course, then she gets laid off.
With no money and no mobility, with only her anger and internet research acumen, she discovers her suffering at the hands of a hero is far from unique. When people start listening to the story that her data tells, she realizes she might not be as powerless as she thinks.
Because the key to everything is data: knowing how to collate it, how to manipulate it, and how to weaponize it, by tallying up the human cost, these caped forces of nature wreak upon the world. She discovers that the line between good and evil is mostly marketing. And with social media and viral videos, she can control that appearance.
It’s not too long before she’s employed once more, this time by one of the worst villains on earth. As she becomes an increasingly valuable lieutenant, she might just save the world.
A sharp, witty, modern debut, Hench explores the individual cost of justice through a fascinating mix of Millennial office politics, heroism measured through data science, body horror, and a profound misunderstanding of quantum mechanics.
“This Anti(super)hero tale is jam-packed with action and fueled by Anna’s breathless, dizzying, exhilarating rage. Anna faces off with the supernatural, but she feels so very real as she rockets along on her furious and furiously-paced trajectory. Hench is a ride—I loved it.”
―Joshilyn Jackson, New York Times bestselling author of Never Have I Ever
Natalie Zina Walschots is a freelance writer, community manager, and bailed academic based in Toronto. She writes everything from reviews of science fiction novels and interviews with heavy metal musicians to in-depth feminist games criticism and pieces of long-form journalism. She is the author of two books of poetry. In her free time, she has been exploring the poetic potential of the notes engine in the video game Bloodborne, writing a collection of polyamorous fairytales, developing interactive narrative classes, and composing short text-based body horror games. She also plays a lot of D&D, participates in a lot of Nordic LARPs, watches a lot of horror movies, and reads a lot of speculative fiction.