A Canadian fantasy writer, Charles de Lint has published 60 books, both novels and short story collections, and is widely regarded as a master writer. His work tends to straddle the line between urban fantasy and mythic literature. He is also a Celtic folk musician, writing original music.

!! Works with a page on this wiki:
* ''Literature/{{Moonheart}}''

!! Other works include:
* ''Literature/DreamsUnderfoot''
* ''Literature/TheLittleCountry''
* ''Literature/JackOfKinrowan'' (duology, includes ''Jack, the Giant Killer'', and ''Drink Down the Moon'')
* ''Literature/TheOnionGirl''
* ''Literature/WaifsAndStrays''
* ''Literature/SpiritsInTheWires''
* ''Literature/{{Widdershins}}''

Beginning with the book ''TheDreamingPlace'' in 1990, De Lint has continually written what is known as the Newford series, a set of loosely connected novels and short stories, all written about characters in the fictional city of Newford.

!!This author provides examples of:
* AfterActionHealingDrama: In ''Seven Wild Sisters'', when Sarah Jane first meets one of TheFairFolk, she's needed for this
* BadassNormal: Imogene from ''The Blue Girl''. She gets a CrowningMomentOfAwesome taking down a JerkJock with a switchblade.
* BigGood: Lucius Portsmouth and White Buffalo Woman share this role in the Newford stories. His earlier fantasy works often feature such a figure as well.
* BunnyEarsLawyer: ''The Riddle of the Wren'' has Markj'n, an eccentric treasure hunter who won't stop talking. He also happens to be extremely deadly in combat.
** Newford has The Crow Girls, a pair of godlike beings who like to pass the time disguised as a pair of silly, giggling teenaged goth girls.
* CityOfAdventure: Newford.
* DiscOneFinalBoss: Yarac in ''Harp Of The Grey Rose'' turns out to be just one member of a pantheon of evil godlike beings who can keep entering the world as long as a member of the pantheon that opposes them is present.
** In ''Widdershins'' Grey's bogan gang who instigate all the conflicts in the novel. Their violent actions give a BloodKnight the pretense he has been looking for to mobilize a massive army of Native American spirits for war.
* FiveManBand: In ''Widdershins'':
** TheHero: Jilly
** TheLancer: Geordie
** TheBigGuy: Honey
** TheSmartGuy: Timony
** TheChick: Lizzie
* In ''The Riddle of the Wren'':
** TheHero: Minda
** TheLancer: Markj'n
** TheBigGuy: Garwold
** TheSmartGuy: Grimbol
** TheChick: Taneh
** TeamPet: Ruhn
** TheSixthRanger: Huorn
* FollowTheWhiteRabbit: In ''The Cats of Tanglewood Forest'', Lillian follows a deer.
* GirlInTheTower: In ''Seven Wild Sisters'', the bee queen tried this for her last daughter.
* IncorruptiblePurePureness: Jilly Coppercorn.
* KarmaHoudini: The original version of [[spoiler: Del.]] By the time we finally meet him in ''The Onion Girl'' he is a drunken shadow of his former self and both of his victims come to feel a sort of pity for him but his crimes have still technically gone unpunished.
** The hit-and-run driver who cripples [[spoiler: Jilly]] is never caught.
* NativeAmericanMythology: Not only borrows heavily from Alaskan and Northwest tales, but in Newford, it's actually Canon.
* PettingZooPeople: The cousins around Newford definitely qualify, especially when they're in their ''between'' forms and have human bodies and animal heads.
* RapeAsBackstory: ''Lots'' of characters. De Lint is too subtle for an AuthorTract, but abuse and its impact are definitely major themes.
* ScrewDestiny: In ''Pixel Pixies'', Dick Bobbins the hob decides [[spoiler:''not'' to take permanent leave after being identified]].
* TalkingInYourDreams: In ''The Cats of Tanglewood Forest'', Lillian is assured that the Father of Cats can kill you in a dream.
* UrbanWarfare: Between Native American manitou and Old World fae, no less!
* UrbanFantasy: De Lint was one of the first to start writing it.
* AWizardDidIt: The antagonists or both ''Trader'' and ''The Mystery of Grace'' are ordinary humans who set substantial supernatural events in motion with no clear explanation given of just how they did it, the resulting situation itself being seen as far more important than its cause.