VEILED ROSE Read-Along: Chapter 7, Part Three

And it's Christmas Day! Merry Christmas, dear imps. I hope you are having a wonderful day, all of you, spent with your favorite people. All the season's blessings to each and every one of you!

This is quite a dark chapter to cover on such a merry day . . . but we'll proceed into it as per the schedule, finishing up the last of Part Three as we go. And tomorrow, we'll dive into Part Four!

Remember to look over the November 30 post if you have any questions on how to get your name entered in the weekly giveaways for a chance to win a signed copy of Veiled Rose.

And now, on to our chapter.

PART THREE

Chapter 7

A strange contrast: The Dragon in this scene is a strange contrast of overtly creepy and weirdly seductive. His appearance is quite gruesome, but his words are honeyed poison. Normally, one would expect a seductive villain to be equally appealing to the eye. But this monster is truly monstrous.

I wonder if to an eye less discerning than our stubborn, down-to-earth Rose Red the Dragon may have appeared fairer?

Bared face: Even as Rose Red unveiled herself before the Dream back upon on the mountain, now the Dream unveils her in this scene. She is always made vulnerable before him. She is always laid bare, unable to hide.

Courageous . . . or simply stubborn? Our Rosie continues to impress with her stubborn refusal to act afraid of the Dragon. I’m sure she is actually quite overwhelmingly terrified, but her reaction is to put up a courageous front. And you know how it is: sometimes if we pretend hard enough that we feel one way, we can actually make ourselves believe it.

The Touch of a Dragon: When Rose Red slaps the Dragon, the barest touch burns her down to the bone. And remember, Rose Red has a pretty tough hide! So this Dragon must be searingly hot.

I liked the opportunity I had with this character to really fall back on the ancient terror that dragons once were in western mythology (not eastern, so much). Modern fiction tends to prefer friendlier dragons which can either be tamed as pets, or befriended, or which serve as wise mentors. But the old dragons—Beowulf’s foe, Fafnir, Tiamat, St. George’s dragon, and of course the biblical allusions to dragons—they were all terrifying. And I do miss that in my modern fiction. I miss the real foe that a dragon used to me. Though there are several novelists  who have done frightening dragons in more contemporary YA fiction. Gail Carson Levine’s wonderful Vollys from The Two Princesses of Bamarre, and Robin McKinley’s unforgettable Maur from The Hero and the Crown. Those were some excellent dragons!

Some folks have complained that I don’t have any good dragons in my series (perhaps you are one of those folks!). And I do try to be sympathetic. But you know, there are plenty of good dragons out there. But in my opinion, there simply aren’t enough bad ones. And I love how literarily symbolic a dragon is by nature, how much fictional history there is to draw upon. So I decided at quite a young age that I would never write a story about a good dragon. A dragon protagonist sure—Una is that, Hri Sora could be considered something of an anti-heroine, and in my upcoming Book 8 we will have another dragon hero whom I hope you will all learn to love, even in his dragon form—but never a good dragon.

Thus my Father of Dragons is burning to the touch, his breath is poisonous, insanity-inducing, and his motives are wicked. He is the Death of Dreams, the Destroyer. And he is quite satisfyingly as wicked of a dragon as I could invent!

Pain shot through her arm, up her neck, and into her head. Have you ever noticed this sensation of pain when you touch something too hot? I remember it from as far back as my early childhood—four or five years old, maybe younger. We lived in England at the time, and one of the lovely features cold, rainy England provides its denizens is heated towel racks. These are electric racks mounted on the wall of a bathroom, and you hang your towels on them, pull a cord (at least in our house it was a cord), and can warm your towel while you bathe.

Oddly enough, our towel rack was in the bathroom without a shower.

Quirky. We’ll call it quirky.

Anyway, because of its location, we never used the towel warmer, so it was almost always quite cold to the touch. But sometimes, somehow, it would get turned on, heating up to quite appalling temperatures. And an unsuspecting little hand might reach out to grab it while sitting . . . um . . . certain places. And YEOUCH!

My memories of that towel warmer are so vivid to this day that just thinking about it sends shivering synapses running up my arm and into my head, telling me to move my hand. I’m not kidding you. I feel it right now as I type!

So when I described Rose Red striking the Dragon, I feel I can sympathize with her completely. She has her dragon . . . I have my towel warmer. Pretty much the same thing.

“I know who the real mountain monster was all along.” Rose Red accuses the Dragon here of being the mountain monster, the one who caused all the fear among the villagers, the reason for her isolation. I wonder though . . . is this truly accurate? Or is he simply her mountain monster?

Because I don’t think the mystery of the monster is quite so easily explained . . .

The Name: Once more, Rose Red feels the Name Beana gave her resting on her tongue, but chooses not to speak. Nevertheless, she feels comfort. And the Dragon leaves.

This is a Name that wields whether or not Rose Red speaks. This is a Name that is not dependent upon the one who calls upon it, though it is ever ready to be called upon.

The poison: So far, Rose Red has appeared to be impervious to the Dragon’s poison. Unlike Daylily, Foxbrush, and all the others in the house, she has not been reduced to a near catatonic state or a mad frenzy.

This is due—I believe—to her nature, which is not mortal. Mortals react very strongly to the Dragon’s poisons. They are much more susceptible. Rose Red is a much tougher nut to crack simply because her nature is not that of a mortal. I think she is still susceptible, ultimately, but it’s going to be a much slower process in her. Besides, she’s been interacting with the Dragon since she was a child. Perhaps she’s built up something of an immunity.

She knew he would: Rose Red continues her work, trying to relieve the suffering of those within the house, all the while comforting herself with the belief that Leo will return. The he will kill the Dragon.

She does seem to have quite the faith in our intrepid young Leo. Perhaps more faith than he deserves . . .

Foxbrush staring: Rose Red discovers Daylily’s disappearance because of the direction Foxbrush is staring. I wonder if Foxbrush wanted to follow, wanted to prevent Daylily from pursuing her mad wandering. But he couldn’t, not with all the poison he has breathed. How helpless all these mortals have become under the Dragon’s influence!

Remember, those of you who have read Heartless, these people have been breathing in the poison much longer than Una did. If I remember correctly, Una only dealt with the poison for three days at the most, possibly not even that long (once more, my copy of Heartless isn’t on hand for reference!). But these people have endured much longer than that, and will continue to endure more.

The door that leads to . . . Here at the end of the chapter we discover the secret behind the door before which Rose Red found Foxbrush and Daylily standing in the previous chapter. We learn that it is  Death’s own door.

A door that leads, like the cave of the mountain monster, into the depths of the Dragon’s own realm. Into the depths of the Netherworld.

As I believe I have said in one of my answers to an earlier question, the original Veiled Rose manuscript did not include Rose Red’s journey to the Netherworld. She returned to the Eldest’s House to care for Lionheart’s parents (I don’t honestly remember if Daylily was there or not), and all of her adventures took place in the mortal world as she interacted with the Dragon over the course of five years (the term of Lionheart’s exile).

As I searched for new ideas of how to approach the novel, revising to make it more exciting, one story kept coming to mind: The tale of Orpheus and Eurydice. In that classic story, Orpheus makes his fateful journey to the underworld to reclaim his dead wife, Eurydice. The idea of a journey into Death’s own realm was very intriguing.

But I thought how much more intriguing it would be if, rather than going to rescue someone she loved, my heroine instead went to rescue someone she did not love. Her rival, even. Naturally, we would see Rose Red doing this for the sake of Leo, probably even for Beana.

But can she truly risk all for the sake of the distinctly unlovable Lady Daylily? Lady Daylily who, as far as Rose Red knows, is Leo’s intended bride?

Now there was some drama worth exploring. I also decided to classically give Rose Red three tests along her way before she makes it to the heart of the Dragon’s realm. But more on that as we go . . .

And we have not reached the end of Part Three!

Questions on the text:

1. For those of you who have read Heartless, what do you think of the contrast between Una’s reactions to the Dragon to Rose Red’s? How are the two heroines similar? How are they different?

2.  What do you think of Rose Red’s declaration that the Dragon is the true mountain monster? Is she right? Is she wrong? Is she partially right but not completely?

3. What do you think Rose Red’s bare face whenever she’s in the Dragon’s presence might mean? Similarly, what do you think he sees when she is unveiled before him?

4. Are any of you familiar with the story of Orpheus and Eurydice? Do you see some similarities between that story and this? Do you see some interesting differences?

5. Any favorite lines?

VEILED ROSE Read-Along: Chapter 6, Part Three

Merry Christmas Eve, imps! I can't believe how quickly this Christmas season has flown by. I hope it was a restful, merry, lovely time for all of you. It's been fun to get to share a little piece of the holidays with you via this read-along!

As always, a quick reminder: If you want to know how to get your name entered in the weekly giveaways, check the November 30 post for details. And I may get a little behind in question-answering this week do to the Christmas festivities, but I will make every effort to catch up as soon as I possibly can! So do keep asking any questions you might have.

And here we go . . .

PART THREE

Chapter 6

“I command you!” I don’t know about you, but reading Beana issuing commands to the Dragon is a bit hilarious to me. I mean, she’s a goat! And he’s massive, fire-breathing, destructive, wicked . . . all sorts of terrible things. And she’s a goat.

Or is she really? this selection brings up some of the most interesting possibilities concerning Rose Red’s old nanny. Because when she tells the Dragon, “I’m not afraid of you,” he responds: “What you have failed to consider is whether or not I am afraid of you.” (p. 214)

Now this is not an actual admission of fear. You notice the Dragon hasn’t said I am afraid of you. But even allowing that Beana might consider that possibility is quite a concession on his part, I think.

And notice what he calls her. “Lady of Aiven.” And he calls her a pitiless woman who, “abandoned your own people, who stole from your own father!” These two have a history, quite a complex and mysterious history. The Dragon knows more about Beana than even Rose Red does.

Invisible: It says the Beana can see the Dragon standing right there, opening the door for Rose Red and Daylily, though neither of them can see him. That’s a creepy thought! How near he might be to them at any moment without them aware . . . But he is not a creature bound by  his physical body. And he doesn’t particularly care to be incarnate, so it’s no wonder that he sheds the form more often than not.

Rose Red senses it: Rose Red, who is not a mortal girl, though was raised in the mortal world, senses the Dragon’s nearness, I believe. Obviously he can’t be too far away, but her unease upon entering the courtyard leads me to believe that she knows he’s much nearer than her immediate perceptions are telling her.

(SPOILERS) That, or perhaps she is sensing the closeness of the Netherworld . . .

Queen Starflower: In this scene with Queen Starflower, we see the continuation of what was begun the moment of the Dragon’s arrival. This strong woman has disintegrated very quickly into madness as she breathes in the Dragon’s poisons.

Over and over again she sees the death of her dreams.

I find this scene one of the most frightening in the book. Especially the moment when we see the Dragon standing at the queen’s back, meeting her gaze in the mirror. We get almost a sense of omnipresence from the Dragon in this scene, though it’s not a true omnipresence . . . I think it’s simply that he’s unbound by time so he can be in several places at once. Or he simply moves very quickly, again because he isn’t bound by time. His spirit covers all the Eldest’s House, and he seems to be both inside it and watching it from the outside. He also is keeping an eye on the whole of the kingdom at once (remember, he’s guarding all the borders so none may leave), so perhaps he does boast a limited form of omnipresence.

Either way, he’s quite terrifying here in this scene as he makes the queen breathe deeply of his poisons.

Brave Rosie: Rose Red is quite plucky in this scene as she forces the queen to rise and leave her chambers, then continues her work of gathering all the household members. She is certainly no coward, frightened though she is by these terrible circumstances. I think Rose Red is the sort of person who is happier if someone is depending on her. She rises to assist those in need where she might not be able to help herself alone.

I felt that way a bit myself back when I was an RA in college, taking care of a hall of girls. If any of my girls came screaming to me for help with a bug or bat (yes, we had bats on occasion!), I had no problem with sallying forth, armed and ready to face any such creepy crawlies and save the day. But if anything like that got into my own room . . . I tended to just leave it be and pretend it wasn’t there until I couldn’t ignore it anymore and finally called in someone to help. An odd little paradox, I know. But thus I sympathize with Rose Red.

Effects of dragon poison: I’d like to think that reading this scene might give some readers of Heartless a little bit more sympathy for Princess Una (who tends to be disliked more than my other heroines). Seeing how the poison affects all of these other people, from strong Queen Starflower to the noble man who tried to tear his own face off, we see that Una really held out quite a while against the poisons she suffered in that book. Yes, she eventually succumbed . . . but none of these people, not even the brave queen, did any better!

The Dragon’s poisons are terrible, deadly, and I think they work upon all the deepest longings and, therefore, deepest fears of each spirit. (SPOILER) Rose Red is less affected because she is not mortal. But evens she struggles more and more the longer she breathes it.

Hints of the Dragon: There are lots of chilling little hints that the Dragon is following Rose Red through the house. The queen seems to be looking at someone Rose Red cannot see. Rose Red catches glimpses of movements and glints of light that should not be there. And she feels his eyes on her the while.

Through the door: In this chapter, we don’t get to see what is beyond the door. But we know that it somehow drew both Foxbrush and Daylily to it. And we know that, whatever lies beyond, it scared our brave Rose Red!

Scared and angered her. “How dare he?” she demands, furiously as she slams the door shut.

The Dragon has committed some violation that we do not yet understand. But it will be revealed soon . . .

In the meanwhile Rose Red takes Foxbrush and Daylily both back to the kitchens, for Daylily is now just as lost in the Dragon’s poison as the rest of the mortals in the Eldest’s House. So much for helping! Though I am quite sure that she tried. There simply is nothing she can do so long as she breathes those fumes.

But when she goes back for Queen Starflower, she is already too late . . .

Questions on the text:

1. So there isn’t a lot of information given about the backstory between Beana and the Dragon. But do you have any guesses what their story might possibly be? Perhaps based on other small hints later on in the book?

2. Any guesses what Rose Red saw beyond the door? (Or, if you’ve already read the book, what were your initial guesses? Can you remember?)

3. Why do you think Queen Starflower succumbed so quickly to the Dragon poison?

4. Any favorite lines?

Q&A

Hannah wants to know: "This question might have been asked before, but what inspired you create Rose Red? She's so different from other characters in literature. So sweet, so strong, and her secret is most shocking indeed."

Rose Red was inspired by a friend of mine (no names!). This friend suffered from a debilitating illness that included some rather severe deformities to her face and body . . . but she was the most beautiful spirit and courageous heart I ever met! A true inspiration. And I always thought, when spending time with her, that when she goes to heaven, the veil of this mortal body will be taken away, and then everyone will be able to see the true beauty shining inside, the real, powerful beauty that is the heart of her, not limited to physicality. When I began thinking up the first ideas for a sequel to Heartless (my publishers wanted one, and all I knew for sure was that it would be about Lionheart), the character of Rose Red immediately began to take shape in my mind. Of course, in a fairy tale I could take Rose Red's appearance a very different direction, bringing in a Faerie element that I would not be able to use in real life. So, in many ways, Rose Red is my tribute character. Of all the characters I have (loosely) modeled on people I know, she is the truest, the sweetest, the bravest, and the most beautiful.

Jemma wants to know: "I have a few questions on pronunciation: Is Vahe Var Hair(tehehe, hair = 50;) How do you say: Iubdan and Rudiobus."

I pronounce Vahe: VAH-hey
Iubdan = eye-UBE-dawn
Rudiobus = Roo--dee--OH--bus

Jemma also wants to know: "Are Sight-of-Day's parents Stoneye and the Speaker?"

Well, that's not a Veiled Rose question, but . . . It is strongly implied so, yes. But the text doesn't overtly say, only offering hints. It's up to the reader to decide if this is the case or not.

Allison wants to know: "Which cover is your favorite?"

Tough call! I like all of them for various reasons (though I can easily say that Moonblood is my least favorite). Possibly Heartless, since it is symbolically spot on for the story. But I really love Shadow Hand and think either it or Starflower is the most beautiful. And Dragonwitch is far and away the most eye-catching for a fantasy audience!

But, if forced to pick only one absolute favorite . . . I think I might pick the cover for Golden Daughter. Which I will be revealing in just another few months!

Which cover is YOUR favorite? (This one is directed at all of you!)

Allison also wants to know: "Will there ever be a book explaining Torkom's song of Eanrin in Moonblood? (Off topic, I know, but I was rereading it and got curious.) =P"

Some of it, yes, will get explained in later books. But some of it is purely a mean fictional account of real events. But the basics will get explained . . . soon. (I won't say which book, though! Keep you all in suspense . . .)

And Allison wonders: "Also, are there any plans in the future for Tales of Goldstone Wood audiobooks?"

Yes, tentative plans. My agent has been shopping the series around to various audiobook companies, but so far no one has picked it up. If no one does, Rohan and I have talked about doing indie publications of audiobooks at some point, possibly with him reading. (Rohan has a smooth, lovely voice, with a hint of a British accent, stemming from his Sri Lankan upbringing. And he's a very expressive reader!)

Caitlyn wants to know: "How did you come up with various forms of the panther for the signet rings?"

I don't remember specifically. I knew I wanted a panther to be the royal emblem of Southlands, in honor of Starflower's father, the Panther Master (as seen in the novel Starflower). So I just figured various forms a panther could take and went from there. A Rampant Panther made sense for the king, a seated panther for the prince, etc. I think Queen Starflower has her own signet of a Starflower-and-Panther (if I'm remembering correctly). But it was just basic inventiveness, nothing particularly clever on my part.

VEILED ROSE Read-Along: Chapter 5, Part Three

You know the drill by now. If you need to check back and see how to get your name entered in the weekly giveaway, hop on over to the November 30 post, which contains all answers to this subtle mystery.

And in the meanwhile, we may continue with our adventure!

PART THREE

Chapter 5

Sorceress in the mountains: Poor Rose Red sits on the steps of the baron’s great house, unaware of the talk going on around her. Or perhaps she isn’t unaware, but chooses to ignore it as best she can (though the text does say she’s oblivious, so maybe she is. How reliable is this narrator anyway? LOL). But there are whispers of bewitchment and sorcery, such as we have heard before.

Whispers that will only grow louder with time. And yet all our sweet Rosie wants to do is serve her master to the best of her abilities!

The baron’s reversal: Rather to everyone’s surprise (well, perhaps not to our surprise so much, since we know what villains are), the Baron of Middlecrescent immediately goes back on his promise to Leo. Or did he really? Looking back at the previous chapter, I see no moment when the baron himself agrees to anything.

And I see a lot of disapproval of Leo’s choice to leave. Perhaps in the baron’s mind, Leo has given up all rights to rule or command now that he has chosen to abandon Southlands. The baron is not one to bow to any authority, after all, not even to the authority of Eldest Hawkeye himself, though the baron does pay the king appropriate lip service. But Leo he has never liked. More than that, he has never respected the crown prince.

And he certainly doesn’t respect the strange little veiled chambermaid who seems to command so much of the prince’s favor.

An unlikely ally: Daylily proves herself unpredictable yet again when she attempts to defend Rose Red . . . even against her father’s express order not to speak! Daylily has been bending over backwards to please her father throughout this book, and yet right here—defending someone she doesn’t even like and whom, I believe, she views as a rival—she stands up to him. Fiercely even.

Can you really dislike Daylily so completely? Is she really nothing more than the Other Woman?

What’s really frightening, however, is that Daylily uses the authority of the Dragon to save Rose Red’s life. And it works. The baron may not be willing to bow to Lionheart’s command or even to completely be  ruled by the Eldest. But he will not counter the Dragon’s wishes.

A Beating: I wonder if the baron’s men really would have been able to kill Rose Red even if they’d tried. Probably, but there’s no guarantee. I think she could be killed by hanging, since that would snap her neck. But she is really tough, and obviously not of this world. Would they have been able to harm her with their weapons?

Perhaps if the weapons were iron. After all, Faeries never react well to iron . . .

As it is, they try beat her, kicking her with their steel-toed boots, which should have broken her ribs. But Rose Red simply curls up and takes the blows, and they do not harm her. Not her body, anyway.

And notice how she snaps the bindings on her wrists without a thought. I wonder what kind of damage she could have done to those guards? I wonder if the thought ever even crossed her mind . . .

My fault: As Rose Red sits in desolation on the roadside, she consider that this is all her fault, this terrible situation with the Dragon. He had warned her, after all. She hadn’t believe he was real—not really real. But he had warned her. If she had obeyed him, she could have prevented all of this.

The Name: Names are an ongoing important theme in my series. In Heartless, Prince Aethelbald’s name is part of the reason Una finds it difficult to take him seriously (and really, who can blame her? Although it does mean Noble and Bold, which are both good descriptions of the Prince of Farthestshore). Also, when Una (SPOILERS!) becomes a dragon, she loses her name for a time and is referred to simply as “the young dragon” or even “the dragon princess.” But when Aethelbald calls her “Una,” she lashes out in response.

Here in Veiled Rose, the name theme becomes even more overt. Rose Red is given the name Eshkhan to call out in great need. There are other name-themes in this book as well, overt and subtle.

As the series progresses, names continue to be very important for a variety of reasons. Perhaps they are most important in Starflower, where my heroine must speak the Wolf Lord’s true name before she can defeat him. But the theme crops up in all of the stories in one form or another.

“I ain’t going to be so foolish.” Despite the power of the name at her disposal, Rose Red chooses not to call it but to continue on in her own strength. And she is a strong little thing, no doubt. Physically, she is a match for most any man, and spiritually she is full of endurance and courage.

But are any of these strengths enough to match the Dragon?

M’lady: Once more Daylily surprises us by defying her father and riding across the countryside in pursuit of Rose Red. And she declares that she will go with Rose Red and help her as she can. When Rose Red protests, trying to convince Daylily to turn around, Daylily responds, “Do you honestly believe I have so weak a will?”

But again, what is a strong mortal will against the likes of the Dragon and his poisons?

Freedom: As Lionheart makes his escape out of Southlands—trekking up through the mountain range known as the Circle of Faces—we again get a momentary glimpses into his heart of hearts. We know what he longs for more than anything.

Freedom.

But he is not free. He is marching into exile, not liberty. And he must return one day. He must find a way to kill the Dragon and set his people free.

And yet, he cannot help thrilling at the notion of escape. Of leaving behind his princely self and becoming whatever he might wish to in the lands beyond his captured kingdom. What a tempting dream . . .

Questions on the text:

1. Considering how tough Rose Red is physically, what sort of Faerie do you think she might be (or did you think she might be, depending on if you’ve read this book already)?

2. How is Daylily comparing to traditional Other Women in fiction for you? Does she fit the part comfortably enough, or are you able to see her in possible other lights?

3. Considering Rose Red could have prevented all the terrible things happening in Southlands, do you think she was wrong not to return to the mountain like the Dragon said?

4. There are several instance of name-themes going on in Veiled Rose besides the Name Rose Red given to call in great need. What are some of the other instances you see? Do you see how they connect to name-themes in other stories?

5. Any favorite lines in this chapter?

Q&A

CajunHuntress wants to know: "Why is your series called the Tales of Goldstone Wood? How did you come up with the name?"

Goldstone Wood is one of the names of the name of the Wood Between, and it was a little easier to say than Tales of the Wood Between, or so  I thought at the time. I realized after the series title had already been finalized that most of the stories take place before the Wood Between was even called Goldstone Wood . . . so that's bit awkward. Oh, well.

The wood gets its name from the Gold Stone to which the Dragon was bound for a thousand years of sleep (as referenced in the first three books).

CajunHuntress also wants to know: "I was wondering in what capacity do you work for Rooglewood Press? Is that your publishing company?"

I am the primary editor and designer for Rooglewood Press, which is my small indie press. Just launched in mid 2013. :)

Sarah wants to know: "Question: how do you come up with the names of your characters and places, particularly the Faerie characters and places? Southland and the names of its people are pretty obvious, but not the others."

A variety of ways. Many of the Faerie names are based on the half-invented language I've mentioned a few times before. "Imraldera" is one such name. Her name literally translates Star (imral) Flower (dera). All the Rudioban names are Gaelic, and all the goblin names are Armenian. All the Parumvir names are Latin-based (for the most part), all the Beauclair names French-based . . . you get the picture. I very rarely "make up" names, but mostly draw from our world. Imraldera, Etanun, and Akilun are some of the few that were "made up," again, based on the Faerie language.

Heather wants to know: "Who did Lionheart see?"

I think he saw Rose Red. (SPOILERS) At the end of Moonblood, when Rose Red is finally unveiled by the Prince of Farthestshore, she is described as having golden skin and silver eyes. So Lionheart very likely saw her true face, behind all the various layers of veils that shroud her, rendered visible during that vulnerable moment between pain and healing.

VEILED ROSE Read-Along: Chapter 4, Part Three

Dear imps and readers, we are SO CLOSE to Christmas now! I'm sure many of you will be too busy on Christmas day to check in, but I'll be posting anyway in order to keep on schedule. As it is, we'll be reading into January anyway, so I hate to miss even one day. Feel free to go back and answer questions on any days you missed in order to get your name entered in the read-along. And if you want to know all the other ways you can get your name entered in  the weekly giveaway, please check out the November 30 post for details.

In the meanwhile, it's time to announce the winner of this last week's giveaway! Congratulations to:

JUDY

Feel free to email me (aestengl@gmail.com) your mailing address, and I'll get your prize to you promptly!

All right, let's continue with our story now. Everything is about to change for Southlands . . .

PART THREE

Chapter 4

Poison in his lungs: Prince Lionheart breathed in quite a lot of poison in his foolish charge against the Dragon. As we see him carried away from the scene of destruction, that poison roils through his body and his spirit.

In my world, no one breathes dragon poison and walks away unharmed. I wonder what ongoing effect this poison had on Lionheart and all of the choices he makes from here on out? Not that we can blame the poison for his sins. But perhaps we can give him a little more grace.

Not his lawful prey: The Lady of Dreams is not pleased to find Lionheart’s dreams so full of the fire of her brother. She wants him spared from those flames as much as Rose Red and Daylily do. But her purposes are much darker. It might have been better for Lionheart to be burned alive at once than to be spared for such a fate as she has in store.

A kiss upon his forehead: Some unknown nurturer tends to Lionheart through the agony of his fever. Someone even kisses him and sings a portion of the Sphere Songs to ease his suffering. A beautiful voice, so gentle and so loving.

And when Lionheart, still filled with fever, opens his eyes, he glimpses for a moment a face he’s never seen before. A beautiful face with golden skin and enormous silver eyes. “The face of a princess.”

This is definitely not Daylily. Is it possible that we have just glimpsed the secret behind Rose Red’s veils? Or is this someone else entirely?

Daughter of a baron: Daylily is certainly not the wilting little courtly flower some might assume. She walks the full six days from the Eldest’s House until meeting up with her father. Six days with little food, little water, and crippling fear hounding her footsteps. She may not be as brave and strong as Rosie . . . but then, Rosie is used to hardship. Rosie is tough and unnaturally strong, and she has suffered starvation before. But this is an all-new experience for the lovely Lady Daylily.

But she has one keen motivation through it all. Daylily cannot bear to be outdone by Rose Red.

“Hush! Hush!” Daylily demonstrates some tenderness in the scene when Lionheart wakes up. I don’t believe we’ve ever seen her so gentle before this moment when she draws Lionheart to rest against her, “almost motheringly.”

But she cannot seem to comfort Lionheart. He rests against her only for a moment. But it’s only when he sees Rose Red sitting across the room that he feels any comfort.

And Daylily knows it.

“No one is to leave.” We learn that the Dragon has set “barricades of occult workings across every port and road.” And so Southlands is cut off from all the rest of the world.

Not the first time in its history that this has happened (as those of you who have read on in the series well know!).

The Bridges: The famous Bridges of Southlands, purportedly of Faerie make, are proving their worth during this dreadful siege. Daylily tells us that they’ve been set ablaze so that no one can cross them. And yet they will not burn. Some very powerful Faerie must have built them long ago . . .

Some very powerful Faerie we might just get to meet in another book or two.

Journey into the world: Despite the imprisonment fallen upon the country, Lionheart determines that it is his duty to go out into the world abroad and learn how to kill the Dragon.

I can’t help but wonder as I read this how much of this is motivated by the Dragon poison he breathed.  It is the Dragon’s voice he hears in his head—or the memory of the Dragon’s voice. There is no other, higher calling. Lionheart makes this decision very quickly, based on the word of the Dragon himself.

He is leaving his country. His people. His family. And his excuses are very fine.

Rose Red’s request: Before he goes, Rose Red begs Lionheart to give her a cart and a goat and permission to return to the Eldest’s House. A most unusual and dangerous request!

But not unsurprising. Beana is back there, after all. And Rose Red is determined that the Eldest, the queen, and all those imprisoned in the House must know of Lionheart’s plan. Brave Rosie! Brave and a little foolish.

And she puts it in such a way that Lionheart does not have to ask her to do it. “You ain’t askin’ me. I’m askin’ you.” (p. 203) Her request is to be sent into the very mouth of danger. Because she knows Lionheart could not ask it of her himself, but that he needs to know that someone is back home working still to help those he loves.

“Remember your servant.” When Lionheart presses, Rose Red does declare one small wish for herself. She only asks the Lionheart return safely and remember her while he’s gone.

But will Lionheart be able to fulfill such a request? That remains to be seen . . .

“Remember me too.” Daylily, having witnessed the touching scene between Lionheart and his servant, behaves quite shockingly out of character when she parts ways with the prince. She kisses him. And she tells him to remember her too.

But I think she knows (as Rose Red suspects) that this is a hopeless request.

Questions on the text:

1. Who do you think Lionheart saw when he woke momentarily from his fevered dreams?

2. Why do you think Daylily is so determined not to let Rose Red see any weakness in her? Why do you think she’s so concerned about anything Rose Red might think?

3. Favorite lines of the selection?

Q&A:

Anna wants to know . . . many things! First she wants to know: "How far ahead do you usually plan books?"

Eh, it depends. I've been planning the basics of the novel I'm about to write (Book 8) since a year before I got the idea for Heartless . . . but many of the more important plot elements didn't come to me until recently. Veiled Rose I scarcely planned at all before writing it, and the same with Moonblood. Golden Daughter I planned when about mid-way through drafting Shadow Hand (I had originally planned to go from Shadow Hand to the story that is now Book 8).

So, yeah, it really depends on the book in question. Generally speaking, I get the germs of an idea a few years before writing the actual story. Then a few months before I actually begin writing, I sit down with the idea and really hammer it out in detail, figuring out all the various connections and themes that will be important in the context of the rest of the series. Often there are ENORMOUS changes between the original idea and the final product that I actually sit down to write. Book 8, for instance, has developed in innumerable and exciting ways from the original idea, though the original idea is still there at the core.

Secondly, Anna wants to know: "How do you think of titles for your books?"

Again, it depends. Starflower, Dragonwitch, and Shadow Hand were simple because they are the name or title of the central character. Moonblood I came up with during the original brainstorming of the plot idea: "Her father will try to kill her, maybe on some specific, magical night of the year. I don't know. The night of Moonblood or something. What does Moonblood stand for . . .?" And it went on from there.

Heartless was probably the most difficult title to come up with. I went round and round and round on ideas for that one, and still didn't absolutely love the final title. But ultimately, I figured that the battle for Una's heart was the crux of the story, and Heartless worked.

Golden Daughter was called Dream Walker and Slave of Dreams during various stages of development until I realized I was focusing the title on the wrong character and switched it to focus on the heroine instead. Book 8 went by the working title Minstrel's Crown for a long time until, quite by accident, Rohan misspoke and called it something else . . . and what he called it was perfect! Seriously, the perfect title. (But you'll have to wait a few more months until I reveal it!)

Thirdly, Anna wants to know: "When you wrote Heartless, how far ahead could you see into the series?"

Right after I first drafted Heartless, I was concentrating mostly on the stories that are now going to be Books 9, 10, and 11. I had a notion for what will now be Book 8, short story and poetry ideas for what became Starflower and Dragonwitch . . . and I think that was it. Everything else has filled in tremendously since then.

Fourthly, Anna wants to know: "Do you plan on always writing in Goldstone Wood, or do you intend to branch out eventually?"

Since most of the fantasy ideas I get always become immediately more interesting the moment I transfer them to Goldstone Wood, I can't say that I plan to leave the Wood any time soon. After all the work I've put into developing this world, its workings, and its histories, I have difficulty imagining doing that again with another world!

I sometimes toy around with the idea of trying a different genre--historical, maybe--but nothing has ever really caught my fancy. But who knows! I'm still a young writer, with (Lord willing!) many writerly years ahead of me . . .

Fifthly, Anna wants to know: "What got you interested in allegorical fantasy?"

C.S. Lewis and George MacDonald. Their works are too wonderful for words, and I adored them both when I was young. Possibly Lewis a little more than MacDonald, but not by much!

Sixthly, Anna wants to know: "Do you think "fairy tale" is one word or two? :)"

I guess two? Let me write it out: Fairytale. Oooh, that looks really nice. Fairy Tale. Looks more polished, more grammatical. I suppose both, but I would probably write "Fairy Tale" sooner than I would write "Fairytale."

Caitlyn wants to know: "It said the Other could not walk, where its voice could never penetrate up to that fresh, high air. -pg. 181 My question is, why can't the Other go up to there? Is it the air, or the mountain?"

The Other cannot enter Southlands at all. Very, very few Faerie people or beings can, and then only under extraordinary circumstances (i.e. guided in by the wood thrush as Anahid is at the beginning of Moonblood). You will learn why come Shadow Hand . . . but it has to do with the bridges.

But the Other can send its voice up from the Wilderlands. The mountains are so high, however, the Other's voice can't penetrate that far into the mortal world.

Meredith: "How does Rose Red's veil not catch fire? Is the Dragon perhaps playing with her, or could it be that he sees Someone guarding Rosie and the prince? What was your original thought about this?"

I never actually considered this before. I suppose since the rest of her clothing didn't catch fire, neither would her veil. The Dragon probably wouldn't unveil her out in public like this anyway, since I think he likes being one of the few who knows her true face. That's my suspicion, anyway, though your suggestion that he might be aware of the Prince's protection is a good one too!

Fan Art:
And one more piece by Jemma, illustrating Rose Red, crouched protectively over Leo, standing up to the fiery Dragon!

Standing Up to Death

VEILED ROSE Read-Along: Chapter 3, Part Three

Unless you're new, you know the ropes. But in case you are new and you're wondering how to get your name entered in the weekly giveaways for this read-along, do take a moment to read the November 30 post, which explains the rules. They're pretty straight-forward. And we're getting to the end of our third week, and a third winner of Veiled Rose is about to be picked. Might it be you?

Anyway, the Dragon has arrived, and we have a chapter to read . . .

PART THREE

Chapter 3

The destroyed fountain: There’s something symbolic about the Dragon destroying the Starflower Fountain upon his first arrival. It was such a symbol of strength against evil, of virtue triumphing of a terrible foe. And it’s burned, demolished, melted and broken beyond recall beneath the Dragon’s wrath.

A sign of terrible things to come.

She believed she looked upon her death: Queen Starflower, seeing the Dragon through her window, is immediately overcome with despair. Brave and strong though she has always been, all hope flees from her heart, and she knows that her end has come. She may go on living for a little while, but to what purpose?

It is most surprising and horrifying to see the queen’s reaction to the Dragon, I think. Of all people in the Eldest’s House, you expect her to try to be courageous, to organize and to influence. Every time we have met her in the book up until now, she has been in a position of strength, impressing us with her poise and power.

So seeing her immediately crumble fills us with more dread than if we first saw the Dragon from any other perspective. If Queen Starflower has given up within moments, what hope can there be?

Foxbrush: By contrast, Foxbrush joins with the other young men of the court. He’s crushed to the back of the crowd, the text tells us, but he still is part of their number as they hasten toward the great front door. His first impulse, however futile, is to fight. Again, not what you’d expect from this character.

The king: Hawkeye seems to have a better idea about the nature of dragons than others in the room. Or at least the nature of this Dragon. He tries to warn the young men against the fumes, the poison of the Dragon’s breath. Not soon enough, however.

Poison breath has been classic hallmark of dragons for much of literary history. Fafnir (the Old Norse and Icelandic dragon whose story influenced both Tolkien and C.S. Lewis in their own dragon creations) was possessed of poisonous breath as deadly as his fire. It’s not a feature you see among the friendlier dragons popular in modern fantasies . . . but I enjoyed bringing it back into play with my very-not-friendly dragons in this series. Or this Dragon, at least (since I don’t believe any of his “children” demonstrate such poisonous breath).

“Made myself incarnate.” According to the Dragon’s speech, taking incarnate form is not a normal choice for him. He does not like the mortal world, and he does not care to take shape that fits into its confines. But, determined to claim the “princess,” he has taken on a solid body and stepped into the Near World of mortals, however grudgingly.

This helps to explain why, later on, he is so angry at the time spent searching for the Beloved of his Enemy. He is a timeless creature that does not worry about the flow of years, hours, or minutes. And yet he is so furious to have spent so much time searching for the correct princess! It’s the incarnate body that is the problem, I believe. He hates being trapped inside of time, which is so confining to a being such as he.

Readers of Heartless may find this scene particularly interesting, since we have learned bits of it in the previous book via Lionheart’s account. But he did not tell all, for he did not know or understand all. He told then only of his charge against the Dragon, a futile charge that left him broken and gasping beneath the Dragon’s might. And he spoke of the Dragon choosing to spare him for some purpose he did not then know.

And he said in that version that a friend pulled him to safety. But he implied in that telling that the friend was Lady Daylily. Perhaps he was not aware of the truth. Perhaps he was not aware of courageous Rose Red throwing herself between him and that monster of her own Dreams.

How dare he be real? I love Rose Red’s reaction to the Dragon in this scene. She has told herself for years that, vicious though he is, he is still nothing but a nightmarish fancy invented of her own lonely mind. And now, to find out that he is real? And here, and present, and full of destruction! It should not be allowed. How dare he?

And yet, somehow, I don’t think Rose Red is as scared of the Dragon now as she was when she thought he was in her own mind. I think she realizes (even if only unconsciously) that she is now free from the fear that she is mad. And in that knowledge, she can be more courageous than ever.

Really, have there  been many heroines more courageous than our Rose Red is in this moment?

“I won’t let you hurt him,” she said.

“And how will you stop me?” the Dragon demanded with a laugh.

“I don’t know,” she said. “But I will.” (p. 194)

 

Does she truly have the strength to battle such an enormous foe? Well, we have the rest of this book to find out . . .

 

Questions on the text:

 

1. When the Dragon says, “I must give you up. Perhaps I should eat you instead?” it appears to be a contradiction. How can he both give Lionheart up and eat him? What do you think the answer to this question is?

 

2.  Can you remember any other famous poisonous dragons?

3. Any favorite lines?

Q&A  . . . Check back later today! I'm going to try to answer all of yesterday's questions sometime this morning. If not, I'll get them up tomorrow, I promise! :)

Fan Art: Jemma offers her depiction of the Dragon's arrival in Southlands!

 

VEILED ROSE Read-Along: Chapter 2, Part Three

We are coming to the major turning point in the novel . . . but before we can dive in, a quick note. Those of you who want to know how to get your name entered in the weekly giveaways, click here to check out the November 30 post on the subject. It should explain all you need!

And feel free to ask any Goldstone Wood related questions you like along the way. I do my best to answer them in the next day's post!

Okay, back to the story . . .

PART THREE

Chapter 2

The moon was new and the sky was black: Beana is nervous on new moon nights, for without the moon—Hymlumé, as many of you know her to be named—watching, dark things move about in the deeper shadows. Including that Other which Beana fears and which we do not yet know.

Down in the lowlands, so near the Wilderlands, Beana is much more nervous for the safety of your young charge. But Beana doesn’t yet realize just how great the danger truly is . . . and from a source she does not expect!

“She don’t love him.” Rose Red is not in any doubt as to Daylily’s feelings for Prince Lionheart. She is quite determined that Daylily doesn’t love Lionheart at all, but wants to marry him purely for his title, for the power.

Is this true, do you think? Or is this merely Rose Red’s reaction to the shame and violation of Daylily removing her veil and taking her secret by force? I’m not sure that Rose Red has a very objective perspective on Lady Daylily, whom she may even perceive as a sort of rival. Though I think Rose Red would die before admitting as much. For she is trying very hard to remember that she is only a chambermaid. She’s not even a friend. The gulf between her and Prince Lionheart is greater by far than the gulf between and young, rambunctious Leo. So Daylily is not a threat or a rival, for there could never be any rivalry.

But Rose Red can’t help herself. She does not want to see her dear friend marry the beautiful Lady of Middlecrescent. And she may be right to a certain extent too . . . for even if Daylily loves Leo, it’s not a healthy sort of love that will lead to a happy marriage. Maybe it isn’t love at all.

Beana’s perspective: Beana is a lot kinder to Daylily than Rose Red (or most of my readers!). She insists that Rose Red cannot know Daylily’s heart. Maybe Daylily does love the prince. Who is Rose Red to decide what another person feels?

Beana is possessed of great insight and wisdom . . . for a goat.

Removing her veil: As she cries into Beana’s fur, Rose Red removes her veil. This is particularly touching considering the scene just before this when her veil was removed by force. We see how deeply she trusts Beana (though she continues to insist that Beana is only a goat and can’t really talk), how she allows herself to be herself with Beana. And rightly so! Beana is the smartest, kindest, most mature person in this whole book, for all she’s a goat.

Back to the mountain: Beana tries to convince Rose Red to return to the mountain. This is particularly important, considering it has been close to a year since they left. Beana doesn’t know it, but Rose Red is on a deadline, and it is fast closing in on its end.

Beana, of course, is more concerned to get her away from that Other, whom she’s so afraid will reach out to Rose Red from the darkness. But Rose Red is much more afraid of what she left behind on the mountain than she is of any of the terrible things that might befall her down in the low country.

And she still trying to convince herself that the Dream was no more than a dream . . .

“He ain’t asked her yet.” Rose Red comforts herself as the summer months slip by with the reminder that Leo hasn’t asked for Daylily’s hand yet. Until he has asked, nothing is settled. Until he has asked, Rose Red doesn’t have to face the impending event of his marriage. And perhaps he never will ask. Perhaps he will resist all those expectations.

So she torments herself with this false hope, though I think she knows that it’s coming. Why would Prince Lionheart not marry the beautiful baron’s daughter, who would make him such a perfect wife? Why would he not lover her even?

The baroness is a bit late to the party, but even she catches on to the enthusiasm of the entire nation, waiting to see if Lionheart and Daylily will make a match. I love her question to her husband . . . who doesn’t bother to answer. I really wonder if Daylily takes after her mother at all? The two are so dissimilar!

Shoveling out the grate: There’s a touch of Cinderella-ism about this story. See how Rose Red spends several scenes cleaning out fireplaces, shoveling ash, etc. With this in mind, watch for a ballroom scene and a magical gown! Where there’s one Cinderella theme, more are certain to follow . . .

Tortoiseshell: Lionheart’s manservant only has a mini-appearance in this book. But he does make another mini-appearance in Book 6, so watch for him in Shadow Hand. He’s not important or very interesting, but I didn’t forget him, poor man.

“Just to take them unawares.” Lionheart tells Rose Red that he is planning to propose to Daylily during their ride out together that day. In this declaration, it is easy to see that he is not in love with Daylily. Not even close. He is simply starting to cave into those expectations that have been building all summer . . . and for years before. He claims that he’s not one to “kowtow to tradition.” I don’t know if I entirely believe him. He is so torn apart, so split down the middle in his wishes. One moment, he wants to be free, the next moment he wants to fulfilling his role as prince. He is like two people spliced into one, and he cannot seem to find any sense of balance.

Thus he cannot tell the Lady his true desire. He really doesn’t know it.

But he plans to propose to Daylily anyway.

“Wish me luck, Rosie.” I don’t think Lionheart ever tells anyone but Rose Red what he is truly thinking. There is a part of him, I believe, that still wants them to be the friends they were. That cannot be, of course, but he seems to want it. He wants to know Rose Red’s opinion. He wants to tell her his plans. But she simply cannot respond. And I think that makes him sad, though he’s not one to show it overtly.

Horses: I rarely put my characters on horseback. So rarely, in fact, that I think this might be the only instance in all the series so far! (Note: Correction . . . I just remembered that Felix rode a horse away from Oriana the night of the Dragon's attack, back in Heartless.) I have had riding lessons, and I know a thing or two about horses . . . just enough to not feel comfortable writing about them, for a have  tendency to think of them as “furry bicycles.” A means of transport. And this just isn’t the best way to handle horses!

So do take note of this scene for being a singular one in the Tales of Goldstone Wood. My hero actually goes riding! Who would have thought?

Forlorn figure: Poor Foxbrush. He might be as unhappy as Rose Red about all these doings. But he’s such an oily dope, no one cares.

Well, mostly no one.

I care, Foxbrush!

Like a falling star speeding to earth: While looking out the window after the disappearing Lionheart and Daylily, Rose Red glimpses a red flame in the sky.

It’s been a year. A year and a day.

The Dream will wait no longer.

Beana, worried: As we know, Beana has been listening intently to the Other ever since they came down from the mountain. But she gets really nervous when, all of a sudden, “the air was still . ..  that trembling murmur from beyond the worlds vanished.”

The Other isn’t calling to Rose Red. Because something more dreadful is on its way.

More hints: There are some interesting little hints about Beana in this scene. Take this for instance: “ . . . the stench that still haunted her nightmares, no matter how many centuries since last she’d smelled it!” (p. 187) How old is this goat? And how does she know the fiery form descending?

But those are questions I cannot yet answer, for they must wait for another book at another time. Keep reading for little hints about Beana along the way, however! She’s an interesting character, and there is still much to be learned about her.

The sound: I do like the use of sound at the end of the chapter. “It was a roar that ended in a sensation of heaviness, like an enormous hand smacking down. WHOMPH! A sound as hot as the flames themselves. One could almost believe that the sound alone consumed the marble Starflower Fountain, that massive edifice two stories tall; consumed and destroyed it in a matter of seconds.” (p. 188)

That is a description straight out of the first (rejected) draft. The whole coming the Dragon, in fact, is very similar to the first version I wrote. But I particularly liked the use of sound to describe heat. It’s a bit unusual, but I think it works to emphasize the power of the Dragon’s blast.

And now the Dragon has truly come, incarnate into the mortal world.

Questions on the text:

1. So what do you think about Rose Red’s reaction to all of this? Her frustration that Daylily doesn’t love Lionheart . . . and her obvious sorrow when Lionheart tells her that he plans to propose marriage to Daylily. Is she sad for a friend? Frustrated to see him making a big mistake? Or is there more to her feelings for Lionheart than she is admitting to anyone?

2. What are some of your guesses and speculations about Beana and her history?

3. Any favorite lines?

Q&A

Allison wants to know: "Did you base Daylily on anyone you know?"

Daylily loosely based on a few different people I know. But I won't go into any more detail than that, since I wouldn't want anyone to be offended! I will say again, however, how much I really love the character of Daylily, and how often I think people misunderstand her based on their assumptions about her character rather than reading what the text actually says. She's complex and interesting . . . just like the people I loosely modeled her after.

Ruth wants to know: "Did you base Leo and Foxbrush on anyone?"

Leo yes certainly. But again, I'll mention no names. Foxbrush to a lesser extent, yes. But ultimately, both of them (and Daylily too!) are extrapolations on people I know. I take what I know of various individuals, analyze, dissect, arrange in new contexts and new histories . . . and there is a lot of me thrown in too, because ultimately every character I base on someone I know is truly based on my perspective on someone I know. Make sense?

Caitlyn wants to know: "In this chapter, did Lionheart prepare those verses ahead of time, or did he make those up as he went along?"

I think he prepared them ahead of time, personally. Given his long-standing hatred of all things written by Bard Eanrin, I suspect he's been writing these gag songs for years. However, in Moonblood he demonstrates a gift for spontaneous creativity, so perhaps he did the same here?

Caitlyn also wants to know (sorry I missed this one before!): "Why did you decide to do the books in parts? What would you name the parts if you could?"

I covered that back in the discussion of Chapter 1, Part 1. You can click on the link to see that answer!

Caitlyn also wants to know: "Do you have any favorite lines from the chapter we're reading?"

Oh, no! That question is for you guys, not me! :) But, really, I wrote the book, so I feel a little silly picking "favorite lines." I picked favorites for the chapters last year with the Heartless read-along, but ended up feeling awkward. So this year, I'm just asking that question as an easy question option each day. Gives the busy reader a chance to quickly answer a question without having to think too much about it.

Fan Art:

Another picture by Jemma:

Two Rooms

This picture depicts two rooms, and through the open doors we see the characters. In one, we see Daylily seated, holding Rose Red's veil in her hand. Of Rose Red, we see only her hand, upraised and pleading. Daylily is saying, "Now I know your secret too." and Rose Red responds, "Please, m'lady--" In the other room we see Lionheart, juggling all alone.

Thanks, Jemma!

VEILED ROSE Read-Along: Chapter 1, Part Three

You know the ropes. Check the November 30 post for info on how to enter the weekly giveaways. Lots of opportunities to win an autographed copy of Veiled Rose.

And be sure to pepper me with questions. I do my best to keep up with them, and even if it takes me a few days, I will get to them all eventually.

New readers--don't be shy! Feel free to join in with the discussion, even if you aren't a regular Goldstone Wood Imp. We want to hear what you have to say.

Moving right along into Part Three today . . .

PART Three

Chapter 1

Back to the Baron: At the opening of Part Three, we are reintroduced to the Baron of Middlecrescent. We learn here that he not only controls his own barony, but also the baronies of a few of the other barons. What sort of hold he has over them is not overtly stated. Perhaps blackmail. Perhaps bribes. Perhaps subtle threats all conducted behind closed doors. Perhaps simply through sheer strength of will and character. However he manages it, the baron is here revealed to be one of the most powerful men in all of Southlands.

Though, the narrative insists, he does all for the sake of King Hawkeye, the Eldest. He is “unbendingly loyal.” Even if this loyalty sometimes leads him to go behind the Eldest’s back . . .

I know Leo is a young man prone to self-justification . . . but he’s certainly not the only one in this book!

Daylily chose to return: We here learn that Daylily did not accept Leo’s offer to stay with his family over the winter, but returned to her father’s house. And her father’s wrath.

When questioned by the baron, she offers the reasoning that Leo is still a boy, taken up with “childish games.” By which I believe she means, “taken up with Rose Red.” But she’s not about to say it out loud. She might not even be willing to admit it to herself.

But our Daylily is jealous of the little, faceless goat girl. And jealousy, as we all know, is one of the meanest, keenest motivations in all the world.

The baron is no fool: He knows his daughter all too well. He reads her quiet face and discerns the secrets behind her words. And to the surprise of all—particularly Daylily—he declares, “You’ve gone and fallen in love with the boy.”

But Daylily is contemptuous. How could she possibly have fallen in love with such a childish youth? Such a clown?

“You think you know me, Father. But you don’t.” This is possibly both very true and very false at the same time. I think the Baron knows Daylily quite well. But I also think there are deeply hidden secrets in her heart that the baron does not yet begin to guess.

That he won’t guess until too late.

Possibly not until Book 6 . . . J

“What sort of beauty is she hiding?” Daylily, in a startling and short moment of revelation, shows us a glimpse of her insecurity. We see her studying her face in the glass, noting her own beauty and wondering why Leo (because we must presume that’s whom she means by “he”) doesn’t see. And her guess is that he must be blinded by a beauty much greater.

A beauty so great, in fact, that it must be disguised at all times. An unnatural, Faerie beauty, perhaps.

He was seventeen now: So it’s been nearly a year now since Part Two and the events of the last summer. And Lady Daylily is coming to stay at the Eldest’s House, bringing with her all the kingdom’s enormous expectations.

Poor Leo—or Lionheart as we are now referring to him—is not pleased. Again, he longs for the freedom to make up his own mind about things.

But he’s also not one to remain wholly unmoved by public opinion. And he doesn’t dislike Daylily . . .

We see our Lionheart now as we have seen him through much of the book: caught between two contrary desires, completely uncertain of himself and his own wishes. Should fulfill family expectations? Should he cling to his own right of choice and individuality? Does he want to be free? Does he want to be prince? He doesn’t know.

“Good afternoon, Leo.” Daylily is very careful and calculating in all of her maneuvers now. Her father was disappointed in the results of the previous summer, and she is determined not to disappoint him again. So everything is carefully planned, even down to how she addresses him, choosing to call him “Leo” and present a certain familiar front. Not a natural fit for our cold and withdrawn Daylily.

Discomfited: Lionheart is obviously somewhat discomfited by this reintroduction to Daylily. He finds himself suddenly more uncertain than ever. She is so lovely, and she is everything his mother, his father, the nation itself, wants for him as a bride. And it’s not as though he has any better ideas! And he does have to marry someone.

But he turns to his juggling once more for comfort. You can tell, while reading this scene, how much he is still straining at the reigns!

A chambermaid: We now see Rose Red in her new role as the prince’s chambermaid. As he warned her when back on the mountain, they cannot be friends anymore. He is the master, she is the servant.

But he still calls her Rosie. I don’t think he’s forgotten what she means to him. And I know she hasn’t forgotten, not for one moment.

“Was—Were.” Since coming to the Eldest’s House, Rose Red has been working a little on her diction. She already stands out like sore thumb . . . no reason for her to give one more reason for anyone to laugh at or disrespect her! But old habits die hard.

As I said previously, my publishers and really struggled over the question of Rose Red’s speech. They wanted any and all diction issues to be entirely cleared up by this point in the book. But when I tried to write her that way, she didn’t feel natural to me at all! Why would she suddenly speak perfectly well after not even a year? It's not as though she has Henry Higgins coaching her. It didn’t make sense. So I chose instead to show her struggling a little over her speech, trying to sound more polished but still falling back into old habits.

Save under his protection: Lionheart considers that he likes “knowing Rose Red was about somewhere, safe under his protection.” I wonder if this is the entirety of his feelings, though. Is he simply glad that she is safe? Or does he somehow feel safer having her near? After all, she is one the only people with whom he has been free to be himself. One of the only people who really knows him.

So who protects whom, ultimately?

Another reference to roses: We see, through Lionheart’s eyes, the roses abounding in the Eldest’s grounds. Rose bushes, rather, that never bloom. Another hint of things to come, but one that is not explained until the next book. So do hold out for that explanation, dear readers!

An opinion:  Lionheart really seems to want to know if Rose Red believes he will be a good king. Her opinion matters to him deeply. Much more so than most other opinions, I think. Again, she is the only person who really seems to know and love him for who he is, and not for who he should be or could be.

But she is also only his chambermaid. He cannot depend on her for any real support. His best friend who is no longer even his friend . . .

Poor Lionheart must learn to make his own way. And I think the idea terrifies him.

Foxbrush is present at the dinner that night, watching Daylily as she does all she can in the most subtle of ways to interest Lionheart. And he glares daggers Lionheart’s way! Poor Foxbrush.

A song of Eanrin: Lionheart is asked to perform that night, and he begins by singing a song of Eanrin, Chief Poet of Iubdan Rudiobus. It’s a romantic song, and at first, Daylily believes Lionheart is playing it as a particular compliment to her. And she is pleased.

But Lionheart—thoughtless, foolish, playful Lionheart—has something else entirely in mind. He’s much more interested in shocking the company and irking his mother than in paying any compliment to Daylily. And he turns the song into a farce, thus enraging the queen . . . and deeply embarrassing Daylily.

For everyone else in the room would also have thought he was playing in her honor. And everyone else saw that honor disintegrate into a joke.

Angry thoughts: Daylily’s opinion of Lionheart does not seem especially high in this scene. She considers him a “rattlebrained scamp without a mature idea in his head!” Not exactly the thoughts of a girl pining away with love.

Or are they? Is Daylily simply trying to convince herself that Lionheart is nothing but an idiot, beneath her notice? Is her anger at this scene much more about disappointment than irritation?

I think she was hoping for something more from Lionheart after their year apart. She was hoping to see some real spark of interest. And instead, while he is evidently impressed by her beauty, his heart and affections remain as untouched as ever.

Is Daylily’s pride wounded . . . or is her heart broken? The text doesn’t give all away, and it’s up to the reader to decide.

Twice over! Two times in one day, Rose Red finds herself in the wrong place at the wrong time, first with the juggling Lionheart,  now with the furious Daylily. Poor Rose Red. This is just not her day.

“Does Leo know your secret?” Once more, Daylily wants to know if Leo knows the secret behind Rose Red’s veils. Once more, Rose Red insists that he does not. Perhaps she believes this to be true. Or perhaps she is simply afraid to admit that he does, to admit that anyone knows what she hides.

And she does not want to show Lady Daylily. But Daylily is not in a good frame of mind this evening, and she is not willing to be gainsaid.

The veil removed: Thus Daylily reaches out and, without preamble, removes the veil herself.

It is a shocking moment in the story, a shocking violation. And we, the reader, are left in blindness, for the narrative does not tell us what Daylily saw. We can only read on in horror, realizing that Rose Red’s carefully guarded secret is really so fragile a thing. In one, cruel act, all her careful shielding is stripped away.

And now, whether or not Leo knows, Daylily is privy to the secret. And she does not reveal to us what she sees. We, the reader, must read on in ignorance.

Swear to me: Daylily demands that Rose Red pledge her service to her, claiming “I know your secret as well as he.” Obviously, Daylily does not believe Rose Red when Rose Red claims that Lionheart has not seen behind the veil.

And now, she too possesses the secret and a certain power of Rose Red.

Questions on the text:

1. So do you think the Baron of Middlecrescent is right? Has Daylily fallen in love with Leo? Or does he not know his daughter so well as he thinks?

2. Why would either Daylily or the baron see Daylily falling in love with the prince as a possible impediment to a marriage?

3. Do you think Lionheart intentionally meant to embarrass Daylily? Or was it just a joke that went wrong?

4. What were your favorite lines of this chapter?

Q&A

Judy (Hi, Judy! I think you're new, since I don't recognize your name. Welcome to the read-along!) wants to know: "My question is: does Foxbrush like Daylily?"

While it never overtly says in the text, it's my very strong opinion that Foxbrush is completely crazy for Daylily, though she won't give him the time of day.

Judy also wants to know: "My other question is, does Rose Red like Leo?"

Obviously she cares about him very deeply, for she's willing to do so much for his sake. But if you mean, does she like him like a crush or possibly deeper than that . . . well, you'll have to keep reading to find out!

Allison wants to know: "Off topic, where does the name Rooglewood come from?"

Um . . . it's a bit hard to explain. LOL. When my husband Rohan was first starting to take me out on dates back in 2010, he had just bought his first house. We weren't officially a couple yet, just friends going out together, but I was pretty certain he liked me on one certain evening when, over coffee after taking me swing dancing (he's a great dancer), he asked me if I would help him come up with a name for his new house. Now a guy with that kind of old-fashion sense of drama is totally my type of guy! He was a bit afraid that I would think it an odd request, but I'm a novelist, and I totally jumped at the idea. And I figured if he wanted me to help name his house, he might actually be serious about me too (I was right. We were married just a few months later!).

Anyway, a Roogle is a mythological animal that is part kangaroo and part eagle--basically, a splice of Australia and America. Rohan had a bottle of wine from an Australian/American wine company, and the label was decorated with a Roogle. Rohan collects fine wines, and this was the first bottle he had ever purchased for himself (to "put down" as they say, for later) several years before. He opened it to celebrate the buying of his new home. I quite liked the word "Roogle" and suggested it as part of the name for the house.

There is a forest of bamboo behind our house, quite a lush and verdant tangle in which dozens of wild kitties and foxes live . . . It's particularly beautiful and unusual because we live smack in the middle of downtown Raleigh, and most of the streets around us are quite build up. But our house is up on a hill, isolated, and screened in by this bamboo forest. So I suggested "Rooglewood" in honor of the Roogle and the bamboo forest.

It just stuck. We toyed around with a bunch of other names, but none were as much fun to say as Rooglewood, which is quite distinctive, you must admit.

This is also why the Rooglewood Press banner and website includes the bamboo and green theme, in honor of our little bamboo grove. :)

Hannah wants to know: "You say you did not come up the Hound until after Veiled Rose. But when I reread Heartless, I discovered a very interesting quote from Diarmid concerning when he ran from the Prince of Farthestshore. "Hounded down, exhausted..." Was this entirely coincidental? It's such an incredible foreshadowing."

Actually, that was entirely coincidental! I'm delighted to hear that line was in there though . . . since we'll be learning more about Diarmid in not too many more books.

Allison wants to know: "Also: how do you pronounce 'Eanrin'?"

It's a Gaelic name, and I'm pretty certain (after a certain amount of research) that the proper pronunciation is: Yann-rinn. But really, who knows for certain with Gaelic? :P

Fan Art:
And another piece by Jemma, this one to go with the previous chapter! It depicts the Dragon flying into the presence of his Sister, roaring, You gave her to him like a gift!