K.S.R. Kingworth is a polymath storyteller, language constructor, illustrator, and singer/songwriter who writes from her perch in The Nosebleed above San Miguel de Allende, Mexico. She lives above a local family who has taken her in as one of their own. Proof, she says, that belonging finds you. Her work spans fiction, linguistics, illustration, music production and book design. She is the author of the Primørdiya trilogy, a middle grade fantasy series published by Otherworld Entertainment. Kingworth’s previous novel, Secret Speakers, found devoted readers during a decade-long encounter with Lyme disease. 

A multilingual writer fluent in three languages — and conversant enough in five to make people laugh — Kingworth brings rare linguistic depth to her world-building. The Primørdiya trilogy features Primørdian, a fully constructed language developed over nearly three years with complete grammar and syntax; a living tongue woven into the fabric of the story itself.

All illustrations, chapter art, and the book cover for Carli Rockell and the Fire Seed were drawn by Kingworth’s hand, creating a fully illustrated world built entirely by its author.

Kingworth also produced a 22-track orchestral soundtrack for the trilogy, scoring key scenes directly from the manuscript in the tradition of the great Studio Ghibli film scores. Carli Rockell and the Fire Seed is one of the few middle grade novels to arrive with a complete musical world already built around it.

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Carli’s story arrived the way all stories arrive to those who listen to intuition — fully formed, urgent, impossible to ignore. In 2023, Kingworth was sitting next to a cat named Max on a street named Souls in a small town in Mexico when she heard a word. Primørdiya. The word came with images: the back of a completed puzzle floating above her head in a night sky with stars beyond, and handprints made with ochre clay. She understood it was a story asking her to piece it together.

She said, “No way. There is no way I’m ever writing another fantasy novel.” She understood from the start how exhausting the work would be. Her mother called just then. Kingworth told her what had happened. Her mother said, “I just got off my knees, praying you would continue to write for youth.” She immediately mailed off a copy of Stephen King’s On Writing as a show of confidence. For the next three years she listened, and waited for the puzzle pieces to come to her, and pieced them together into words.

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Her family kept her going through nearly three years of full-time creative craft. She imagined her grandchildren listening to the story as she wrote, laughing at the Flying Kitchen, holding their breath when the squid roots came, moving with the music, and wondering what happens next.

Her children gave input that shaped her approach. Her oldest son said, “Before you publish it, weigh every word to make sure it belongs.” Her daughter said, “You’d be really good at writing [scary things], mom.” Her youngest son’s enthusiasm to read the book when it was done was another bright light.

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When she finished, she was stunned to realize she had written the book she needed as a child — a lifeline disguised as middle grade fantasy.

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Kingworth’s storytelling is rooted in the conviction that children deserve fiction that takes them seriously — stories with genuine stakes, layered worlds, and protagonists who live with integrity and continue to see what adults have learned to unsee.

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She publishes under the imprint Otherworld Entertainment with the belief that every story begins with listening. And that stories—the ones that transform us—are good medicine. She believes no child should be kept from a story by the price of a book.