Santiago Copí’s Narrative Universe
Some authors write books. Others build a universe where each book is a window onto the same territory from a different angle. Santiago Copí belongs to the second type. His work — literary thriller, transmedia children’s fiction, short narrative, poetry, theatre — does not represent juxtaposed genres. These are distinct formats for exploring the same central question.
What is Santiago Copí’s narrative universe?
A system of works built around a single perceptual logic: what holds reality in place when no one is looking at it. Structures that operate beneath the everyday without revealing themselves. Power that is never declared but redistributes. Emotion that is never stated but leaves a mark. Each work applies that logic to a different format.
One Question, Multiple Formats
Santiago Copí does not write ‘thrillers and also children’s books’ as though they were separate activities. He writes them from the same writing system applied to different registers. What changes is the scale, the tone, and the reader. What does not change is the underlying question: what is happening beneath what we can see?
In the thriller, that question produces institutional tension.
In children’s fiction, it produces adventure with consequence.
In short narrative, it produces the impact of the everyday recognised.
In poetry, it produces the material image of what endures.
The Thriller: The System as Antagonist
Santiago Copí’s long-form thriller novels — 3.7 — The Architecture of Power and The Eleventh Node — share the same narrative architecture: the antagonist has no face. It is the system. And the system does not act: it operates.
3.7 explores energy, healthcare and infrastructural power: how a 3.7% correction in the data is enough to alter any outcome without generating suspicion. The Eleventh Node explores the fragility of the European energy grid: how someone who knows where the blind spot is can move everything without anyone noticing.
Children’s Fiction: Emotion as System
The Adventures of Martin the Mage applies the same logic to a children’s scale: what operates beneath the visible is, here, emotion. Martin does not learn magic to escape. He learns to look at what is happening to him. Each trick has a price. Each new skill reveals something about what he still does not know about himself.
The six-volume saga was conceived from the outset as a transmedia IP: book, series, licensed product. The Origins Collection — four volumes of parallel narrative about secondary characters — completes the expanded universe.
Short Narrative: The Universe’s Laboratory
Santiago Copí’s weekly stories — published in Texts — function as the space where voice is tested against the immediate. Each story takes a documented social reality — the housing crisis, precarious employment, digital silence within families — and turns it into narrative experience without explaining it. The procedure is the same as in the long novels: do not explain, make what is happening felt physically.
For Editors, Agents and Producers
Santiago Copí’s narrative universe is not a catalogue waiting. It is an ecosystem in motion. Each work is developed at editorial level and, in the case of long-form thrillers, also at audiovisual level. The transmedia potential is not a promise: it is built into the origin of each project.
All projects are available for literary representation, translation rights and audiovisual adaptation.
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