Delta native Stefan Scheuermann draws on his background as a ballet dancer and history teacher to co-author 'King of the Gulls,' a historical fantasy set in medieval Scotland that blurs the line between fact and myth.

What does a former ballet dancer and history teacher have to do with Scottish kings and phantom warriors?
If you’re flipping through King of the Gulls, the new historical fantasy from local author Stefan Scheuermann, you might wonder how a Colorado writer landed in the mists of medieval Scotland. The answer isn’t found in a dusty archive in Edinburgh, but in the poetry of a neighbor.
Scheuermann didn’t start with a map of the Highlands. He started with a poem.
"The initial idea came from the poetry of my friend and co-author, Paul Alexander," Scheuermann said. "The heroic character, David Lindsay, is an ancestor of mine."
That connection to Paul Alexander, a local poet and storyteller, turned a vague interest in history into a full-blown novel. The result is a book that blends actual Scottish legends with the kind of dramatic tension Scheuermann knows from the stage. He’s spent a lifetime telling stories — first as a ballet dancer, then as a teacher, and now as a board member of the Colorado Authors League. But this project was different. It required him to bridge two distinct worlds: the rigid accuracy of history and the fluid imagination of fantasy.
"The challenge is always keeping accurate history while progressing the narrative where I wish it to go," Scheuermann said.
Take King Alexander III. He became king as a young boy in a country where the crown was hunted by competing barons. It’s a volatile mix of war and peace, peril and promise. Scheuermann wanted readers to feel that instability. He wanted them to question what is real and what is myth.
"It is my wish for this book and all my historical fiction for my readers to realize how thin the line is between history and fantasy," he said. "The true stories of our species are so fascinating, it is often hard to know what is history and what is fiction."
The book doesn’t just sit in the past. It moves. In one key scene, Alexander’s regent travels to the Island of Skye to recover a legendary sword called the Firbolg. He doesn’t just find it; he battles for it. His opponent is Scáthach, a fearsome phantom warrior princess who keeps the blade. It’s a moment where the historical meets the supernatural, and Scheuermann leans into it.
He also tried something new on the page: weaving poetry directly into the narrative. It’s a risk for a writer used to straightforward prose, but Scheuermann saw it as a way to honor the source material. The poetry didn’t just decorate the story; it anchored it in the voice of his co-author, Paul Alexander.
Working with Alexander wasn’t just about sharing credit. It was about sharing perspective. Alexander brought the lyrical depth; Scheuermann brought the structural discipline. Together, they created a book that feels both grounded and ethereal.
For locals, the appeal isn’t just in the Scottish setting. It’s in the collaboration. Scheuermann and Alexander are neighbors. They’re part of the same literary community that supports writers in Delta, Montrose, and the wider valley. Their partnership shows how local talent can produce work with national reach.
Scheuermann’s background in dance and teaching informs the rhythm of the book. You can feel the movement in the battle scenes. You can feel the education in the political maneuvering. It’s not just a story about a king; it’s a story about the people who surround him, the advisors who guide him, and the legends that define him.
The book is out there now. Readers can pick it up, turn the pages, and step into a world where history and fantasy blur. Scheuermann hopes they’ll stay long enough to question what they’re reading.
"It is my wish for this book and all my historical fiction for my readers to realize how thin the line is between history and fantasy," he said. "The true stories of our species are so fascinating, it is often hard to know what is history and what is fiction."
That ambiguity is the point. It’s not a flaw in the storytelling. It’s the hook. And for Scheuermann, it’s just another way to keep telling stories.





