VEILED ROSE Read-Along: Chapter 11, Part Four

We are getting so close to the end of this book now! It makes me a little sad and a little relieved, I won't lie. I love being able to share like this with all of you, to read your insights and observations. But finding the time to write up these posts is getting a bit difficult! I keep meaning to write up a "Doings at Rooglewood" post for this month, but every time I start trying to list all of the things I need to do in the next few weeks . . . I choke. There's just too much.

So I won't list them, I'll just do them, and I think I might be able to handle it all a little better! Hopefully I'll be able to jump back into regular "Doings at Rooglewood" posts again next month.

Anyway, we still have a few days of read-along left, so I hope all of you will continue with me to the end.

Whoops! Almost forgot! Here is the name of this week's winner:

CHRISTA

Well done! And what perfect timing, since you just submitted the lovely fan art below! Please email me (aestengl@gmail.com) with your mailing address, and I'll get your prize in the mail. (I still haven't mailed two of the other prizes too, so I promise all of you who are patiently waiting that I'll get your copies of Veiled Rose to you this next week.)

PART FOUR
Chapter 11

Those monsters were never supposed to be real. Here is another one of the major themes of Veiled Rose, captured in a nutshell. And it definitely illustrates all over again the hidden truth’s of Lionheart’s soul. The monsters were never meant to be real . . . but his courage and heroics were. Yet as the story progresses, Lionheart is beginning to realize which was the truth and which was the fiction. It’s not the reality he would like to face, however, so he continues to deceive himself. He continues to tell himself that somehow, someday, he will be the hero.

Only now, he believes being the hero means somehow taking that precious ring from a sweet, naïve young lady.

The ring: Again, it’s so much more interesting to me reading these scenes in the context of more recent stories . . . specifically Golden Daughter, in which you, my dear readers, will learn some of the history and significance of Una’s ring. It means much, much more than either Heartless or Veiled Rose ever reveal!

Have I mentioned to the two-fold inspiration behind this ring yet? I think I did back in the Heartless read-along, but I don’t believe I’ve talked about it yet in this one. So I’ll mention it now . . .

I needed to give Una some physical symbol of her heart. Something she could give away that would represent what she was truly giving. So I made it a ring. And then it expanded from there. I chose to make it an opal ring in a literary nod to George MacDonald and The Princess and the Goblin. In that story, Princess Irene is given an opal ring by her great-great-great grandmother, a ring which also boasts some interesting allegorical significance (though not the same allegorical significance for which I used it). I made my ring a cluster of opals because of a lovely opal ring my grandmother gave me years back, which looks like this.

Since then, I have been very pleased with the opal-cluster concept, since it fits that much more naturally into the newly-developed history behind the ring. A history that fits so perfectly (I think), that I am sometimes surprised I didn’t know it from the beginning! But many aspects of this world has surprised me the same way . . . as though it’s all right there, waiting for me, and I simply have to dig down to find it.

The old bridge: The old bridge features in Heartless as well, and all of the characters are very carefully warned never to cross over it. That is a mystery that remains unexplained through both Heartless and Veiled Rose . . . but keep reading! Moonblood may just have some answers for you.

As to the origin of the old bridge, well, that you’ll have to wait for a little bit longer. But I think you might be getting your answers as of Book 9. I just need to write Book 8 first!

Another new look at an old scene: The scene between Una and Leonard down by the old bridge featured in Heartless as well. However, in Heartless we viewed the scene entirely from Una’s perspective . . . and here, we are seeing it entirely from Lionheart’s.

We realize now that there was a surprising amount of menace in this scene of which Una was entirely unaware! She had no idea how desperately Lionheart wanted to take her ring, even by force. She had no idea how strong were the urgings whispering in his head, telling him to take what he must, telling him to possess his dream.

Again, I think this is further prove that, immature though they might be, Lionheart’s feelings for Una were genuine. Were he simply using her or even just casually interested, I think he would have succumbed to the Lady’s urgings much more quickly. He would not have been able to control himself . . . to wait until Una was ready to offer the ring of her own accord.

The duke returns: Another new little development is our insiders’ knowledge that Lionheart and the Duke of Shippening have met before. Definitely changes our whole perspective on the scene of Lionheart’s song . . . reemphasizing our hero’s brashness. I mean, does he really think the duke won’t recognize the jester’s costume? Or the man who freed his Faerie slave?

The declaration: Again, we get to see Lionheart’s declaration of his true identity, now from his perspective. It was definitely interesting trying to find ways to make this scene feel fresh! But I like some of the lines in it, such as: “A Fool? Try idiot instead!”

But it’s all or nothing for our hero now . . .

Questions on the Text:

1. For readers of Heartless, how did you enjoy reading this chapter, comparing it to the original scenes from Una’s perspective? Did add some depth of drama that perhaps made Heartless more interesting as well?

2. Do you have any speculations about the history of Una’s opal ring and what might be revealed about it in Golden Daughter?

3. Any favorite lines?

Fan Art:

Christa has painted a wonderful watercolor to go along with the ending of today's chapter! I hope you will all enjoy it as much as I do:

UNA AND LIONHEART
By Christa

Q&A

Allison wants to know: "Will any future books take place within the same time frame or context of other books, as Veiled Rose does of Heartless?"

I suppose Goddess Tithe does that since it takes place within Veiled Rose. But I don't have any current plans to do other novels that overlap like Veiled Rose and Heartless do. I may write some novellas that overlap--I have plans for a novella that will overlap with the opening Golden Daughter, for instance.

But we'll see! The series is still growing, and there are always so many stories-within-stories going on here. It's certainly possible that I'll do something like this again. And possibly do it better, now that I have more experience!

Allison also wants to know: "Also, almost completely off topic, would Leonard be pronounced phonetically or like Lin-erd?"

I've always pronounced it "Leh-nard," which is, I believe the typical pronunciation of that name. Though I suppose "Lee-oh-nard" would also make sense.

Allison thirdly wants to know: "The role of Lady Life in Death very much reminded me of the witches in Macbeth. To echo the frequent argument about Macbeth, to what extent do you believe the Lady influenced Leo's actions?"

The Lady preys on Lionheart's natural inclinations and instincts. She doesn't change who he is, but she makes use of who he is. Whether or not he would have done differently without her influence . . . that's difficult to say. He would still be himself, after all. But perhaps with an alternate, more beneficent influence, his natural instincts could have been better directed. But without any influence at all . . . who could say what his choice would have been? I do not believe the Lady motivated Leo to make any choices that were outside of his natural character or inclinations, however.

Caitlyn wants to know: "How did you come up with the name Monster for the cat?"

My family has a tradition of doing "M" names for our cats. The current Rooglewood cats include Minerva, Marmaduke, Monster, Magrat, Makoose, (Milly the "big kitty" who's really a dog), and our outdoor kitty, Mutti-cat. So an "M" name was almost an instinctual choice for me. I didn't even think about it!

In the original version of Heartless, Monster was not Eanrin, but just an ordinary black cat. Or, rather, not so ordinary. There were hints along the way that he may or may not be sentient, even magical. So I liked calling him "Monster," which implied possibilities without anything being overtly stated. When I decided to bring Eanrin into that book during a later draft, he still needed a "pet" name, since neither Una nor Felix were aware of his Faerie-nature. So I kept "Monster," which worked in nicely.

Sarah wants to know: "Can I ask a quick question about Starflower? Ever since I read it, I've wondered if the prince in ChuMana's demesne was possibly Prince Gervais. Is he?"

Maybe . . . ;) But I really can't say for certain.

Allison wants to know: "Was your choice of the name Daylily at all symbolic? Daylilies, called the perfect perennials, are, despite their dazzling color, quite hardy, resistant to droughts and require little to no care. Kind of interesting."

I confess, Daylily was given her name simply because I liked the name Daylily. In fact, I almost named Rose Red "Daylily," though once the rose theme began to develop, I made the switch.

Allison also wants to know: "Also, would you say Daylily is more like Rose Red or Una?"

Well, her reactions to the dragon poison is much more like Una, since she and Una are both mortal. But her veiling of her true self is much more like Rose Red . . . Una is very open and honest about who she is, to a fault even! Having written Daylily as the protagonist of Book 6, I have trouble thinking of her as being particularly like either girls now, though. She is such a distinct character on her own, and I really love her for who she is.

Allison also wants to know: "Also also, what day is Shadow Hand released? Amazon has gone from January 28 to March 3. Bleh."

Oh, I know! I'm really not entirely certain anymore, I won't lie. I know the print copy has been pushed back until March, though the preorders will likely be going out to readers sooner than that. As for the ebook version, I really don't know! It could be much sooner . . . but it might not realize until March either. I have no control over release dates, though, so I can only feel sad when it gets changed up, not actually do anything about it.

VEILED ROSE Read-Along: Chapter 10, Part Four

I am so late posting this! I do beg your pardon, dear readerly imps. Rohan took me to a cat show this afternoon . . . which, yes, may seem odd considering my entire life is one ongoing cat show. But it was a lot of fun! So many pretty kitties of all different shapes and sizes! Some particularly beautiful Abyssinians (though none as beautiful as my Marmaduke, of course). And Rohan and I agreed that, were Minerva ever taken to a show, she would surely beat out the whole lot of them, if not for beauty, then by virtue of sheer will.

Anyway, as a result, I have been scrambling around all day and typing up bits of this post every here-and-there as I have a chance. Here it is at last, however! And I do hope you'll enjoy it . . . and the lovely fan art at the end as well.

PART FOUR

Chapter 10

Back to Beana: If we didn’t know before that Beana wasn’t only a goat, we do now. For the text tells us that Beana, upon approaching the door to the Netherworld, “dropped all traces of her goat disguise.” It doesn’t tell us what the truth behind the disguise is . . . but we do know she isn’t really goat!

And nothing is going to keep her from Rose Red, not a moment longer than she can help.

She had passed this way before: So we learn one more small hint about Beana and her past. We know that she has traveled into the Netherworld upon a previous occasion. The text also implies that she was afraid the last time she did so.

But this time, she is not afraid.

Unveiled? At last, we get a glimpse of Rose Red’s face behind the veil. At last we see what we have only been able to guess at up until now, putting together what pieces we can from the hints of others.

We see that Rose Red’s is a face of unreal beauty.

But that description right there, that description must give us pause. If hers is an “unreal” beauty, doesn’t that make it . . . false?

We do know one truth for certain, though. Rose Red is Faerie. But this we could have guessed much earlier on, when she was able to walk the strange Paths which Leo could not see, when she could navigate the treacherous Wood with such ease and climb to the mouth of the Mountain Monster’s cave. She surely must be a Faerie. But a beauty . . . ?

Varvare: I believe this is the first time we hear Rose Red’s Faerie name spoken in this story (though correct me if I’m wrong). Readers of later stories will recognize the pattern. Varvare, Palace Var . . . even Queen Vartera, who is mentioned a few times in Dragonwitch. The Dragon tells us that “Varvare” means “the loveliest rose.” So you can bet that roses are going to be an important theme later on (as hinted at by Rose Red’s mortal name and earlier passages in the book). But not this book. Sorry. You’ll have to read on into Moonblood.

Vanished: Again, rather like Cinderella at the stroke of midnight, all the magic surrounding Rose Red disappears the moment she refuses to let the Dragon kiss her. And she finds herself once more in her serving garments. And the lantern is gone . . .

I wonder if I’m simply spending too much time reading Five Glass Slippers submissions and seeing Cinderella everywhere . . . :P

The Dragon’s Throne: We glimpsed the throne in Heartless when the yellow-eyed dragon took Una to see it. And, of course, we’ll see it again in Moonblood where we will learn how it burns the skin of all who touch it. But Daylily isn’t touching it here, so she is, as far as we know, unharmed. At least physically . . .

“Your veil is gone.” Daylily—who is, granted, filled to the brim with dragon-poison at the moment—doesn’t seem particularly surprised to see Rose Red without her veil. Of course, she has seen Rose Red’s face before. You have to wonder . . . is she seeing what Rose Red just saw in the mirror? Or something else?

“I’ve watched my dreams die.” Through Daylily’s speech, we learn all over again why one of the Dragon’s names is the Death of Dreams. Like Queen Starflower—and like Una, really—Daylily is utterly plagued by the continued death of all her hopes and dreams. She knows she will never marry Prince Lionheart. She will never satisfy her father. She will never be anything real, true, and strong.

And now she wants to die.

“She’s so selfish sometimes, I wonder how she can live with herself.” Snort. This line always makes me laugh, coming from the Dragon’s mouth, of all people! I remember this was a line in the first (unpublished) version of Veiled Rose that just had to make its way into this version. The Dragon is definitely not the most self-aware character ever to walk the literary floorboards.

A powerful image. This moment when Rose Red sits cradling poor Daylily in her arms even as the Dragon approaches is one of my favorites in the entire book. It says so much about Rose Red, both her virtues and her vices. She is so self-sacrificing and so stubborn. She is determined to do what she believes is right, but determined to do it on her own . . . even when she really can’t anymore. You almost feel that she’s trying to prove something to herself by saving Daylily. To prove that she doesn’t really care that Daylily is her rival, or to prove that her love for Lionheart is truly sincere by rescuing his future bride. But while this proving may not be wrong, neither is it entirely virtuous.

Is it virtuous to demonstrate virtue simply to prove that one has virtue? An interesting line of questioning.

But I adore Rose Red. I admire her, even with her faults. And I love this picture of her holding Daylily in her arms before the mighty terror of the Dragon.

The Dragon’s speech: Dark and dreadful. Full of subtle poison. Full of lies spoken with such sincerity, masquerading as such truth. It’s a terrible speech . . . and it gives me the shivers.

I remember that his speech came to me early on in the writing of the first version of this book. I was reading a devotional by Oswald Chambers, speaking of the lies we so easily believe. A line or two from it struck me. I pulled out a notebook and pen and dashed out this speech of the Dragon’s . . . this speech that felt all too familiar, all to near. But when I wrote it out and put it in the context of Rose Red’s own story, I could see it for what it was. Poison.

Poison for which there can be only one antidote.

It’s still a good speech, I think. I’ve improved as a novelist quite a bit since the writing of this novel. But I still like how this speech worked. I still feel God’s hand upon my shoulder, and remember the pressure of it when I wrote this speech and, later on, this scene as a whole. I know what it means to be an instrument of creativity, not a creator in and of myself. And those are the best scenes, the best moments.

Eshkhan, come to me! The moment she speaks the name, Rose Red knows that the protection surrounding her has always been there. The Prince never really left her. He has never abandoned, never forsaken her. All along he has been near, even though she did not realize it. Her calling his name did not call him to her, for he was never away. The act of speaking his name served only to make Rose Red aware of his constant nearness.

Rose Red . . . and the Dragon as well.

“I won, and I must have my due!” And so it becomes clear that though the Dragon and his Sister may play dice for the lives of mortal men . . . it doesn’t matter. The Prince of Farthestshore is not ruled by fate. He is beyond it, more powerful by far. The Dragon may rant and rave about his due, about his rights. But ultimately, it is only so much furious ranting.

“He has released his hold.” The Prince tells Rose Red that the Dragon has gone, fleeing Southlands never to return. We do not know how long this took in mortal time. We do not know how many years, weeks, or months may have passed. All that Rose Red currently experiences takes place outside of Time as she is held in the arms of her Imaginary Friend . . . who is not at all imaginary, but very, very real.

“I will always protect you. But that does not mean you will not know pain.” Every fairy tale has a deeper meaning hidden in its heart. This is the heart of this fairy tale. This is the heart of Rose Red’s story. That she can be loved, protect, cherished even . . . and yet still be made to suffer.

A strange dichotomy of truth. And yet, the more we learn of this truth, the more whole and healed we may become, even in the depths of our hurts.

Q&A

1. What are your thoughts on the truth of protection in the midst of pain, of pain in the midst of protection? Have you experienced this for yourself or seen others who have?

2. What do you think might have happened had Rose Red not called out Eshkhan’s name? If he was always there protecting her, but she was simply unaware, how might things have gone differently for her story had she not obeyed Beana in that moment? Would she still have been protected?

3. Any favorite lines?

Fan Art: Here is a beautiful poem written by Meredith, inspired by this chapter in Veiled Rose.

ESHKHAN’S PLEA

(To the Tune of “Tomorrow Shall be my Dancing Day”)

I sang her to sleep with my melody sweet.

On lonely nights my watch did keep.

Now I stand within Death’s ballroom of hate

To rescue my daughter from his poisonous embrace.

Sing Rosie fair,

Rosie fair

Rosie, Rosie,

I wait for her call of broken despair.

 

Another repines in Death’s cold dark chair.

So torn and wretched beyond all compare.

A wise yet rash daughter with intentions so kind

I wait for her answer, her choice to be mine.

Oh, Daylily fair,

Daylily fair,

Lily, Lily,

I wait for her call of broken despair.

 

The one who stands gloating is bound as well.

So empty and starved for a kernel of love.

He does not know, for he does not hear

My plea to release him from his Path of Tears.

Oh, Death so bound,

Death so bound

So bound, so bound

You will not reach for my helping hand.

 

My daughter has fallen.

Her strength is spent.

In broken despair she is at her wits’ end.

Mor lovely is she in her helpless dark plight,

For now I stand ready to lift her to life.

Oh, Rosie fair,

Rosie fair,

Rosie, Rosie.

At last Death’s chamber is flooded with light.

 

My Name flutters forth upon wings so dear.

What joy to hear its tones ring clear.

I cradle my children and blot their tears

As Death-In-Life flees in tumultuous fear.

Oh, children fair,

Children fair,

So fair,

So fair,

I’ve answered your call of broken despair.

 

Oh, children of mine as the ages roll by,

Remember this story that never shall die.

Death holds out his arms full of poisoned delights

And seeks to trample and throttle pure life.

Oh, call to me now.

Call to me now.

Right now, right now.

I wait for your call of broken despair.

VEILED ROSE Read-Along: Chapter 9, Part Four

Just a short chapter today . . . which is good, since I am up to my eyeballs in Cinderella stories at the moment! Not that I'm complaining. I mean, it's not exactly a hardship to spend my working hours reading fairy tale retellings . . .

Anyway, let's pick up with this chapter and move along. Not a whole lot left to this book now! Events are speeding fast to their crisis points.

PART FOUR

Chapter 9

 

Lionheart’s dream: There are a couple of things that may or may not have happened during Lionheart’s dream . . . the dream which he seems to share, however briefly, with Rose Red. Obviously, Rose Red is down in the depths of the Netherworld, which is quite a separate realm from the Near World, a spiritual realm unlimited to mortal restrictions. So it is possible that Lionheart’s spirit traveled into those depths and took on a sort of solidity. It wouldn’t be beyond the Dragon’s powers to call him down to the Netherworld temporarily. I don’t think the Dragon could call him there for very long without more specific willingness on Lionheart’s part (or Lionheart’s death), but for such a short dream, it should be possible . . .

The other possibility is that Lionheart and the Dragon formed a sort of psychic bond. That while the Dragon assumed Lionheart’s form in the Netherworld while dancing with Rose Red, Lionheart himself experienced the dream in his own mind. This would also make sense, since to create such a believable impression of Lionheart, the Dragon would probably need some sort of connection to Lionheart himself. And Lionheart did breathe quite a lot of dragon-poison all those years ago, and much of it likely still lurks in his lungs.

Anyway, those are two different possibilities of what may have happened. Either are reasonable conclusions to draw, based on the rules of this world (and further rules revealed in later books). But, as is the practice with Veiled Rose, much is left open to readerly speculation.

Dreamlike voices: Following the dream or vision that Lionheart experienced, he wakes up to hear the Dragon and Life-in-Death arguing in the depths of his mind. Just faint echoes of their argument . . . but their wrath is so great, and his connection to both of them so intense, that he can hear it even when waking, on the very edge of consciousness.

Years had passed since he’d spared a thought. Here we learn that Lionheart has forgotten the promise he made to Rose Red; the promise to think of her now and then. He has all but forgotten her while away on this quest.

If you think of Rose Red as representing all that is good, all that is best in Lionheart, it’s no wonder that the Lady should drive him far away and oust all thoughts of her from his mind. But it’s very, very sad.

Eanrin! Other than in Goddess Tithe, our fan favorite poet-cat of Rudiobus has made at least a brief appearance in every Goldstone Wood novel thus far. We spied him momentarily during Lionheart’s performance a few scenes ago, but this is his one “big moment” in Veiled Rose. As a Faerie and a knight, Eanrin (currently disguised as Princess Una’s pet cat, “Monster”) is probably at least partially aware of the strange things plaguing Lionheart in his dreams.

And he definitely knows that Lionheart needs help. Powerful help. In fact, that there is only one person who can truly help Lionheart now . . .

Lionheart, the consummate cat hater. Lionheart is one of my favorite characters in the series . . . but in this respect, he and I will never see eye-to-eye! However, it does make for some interesting drama in the next book . . . when you’ll never guess who Lionheart’s primary travel companion turns out to be!

Snatching the jester’s hat. At the time I wrote this scene, I didn’t have a cat in my life who would really snatch anything that large. In fact, I doubted it was particularly realistic, but justified it by the fact that Eanrin isn’t just a cat. So it worked.

Since then, we have adopted Makoose. Makoose who will swipe and run with anything. If he can possibly budge it, he will try to steal it. Recently, I purchased a 2lb bag of oranges (you know the kind, the red netting?) and set it on my counter. Minutes later, Makoose had grabbed it and was trying to haul the whole lot off the counter and away down the hall!

So, yeah. If a “normal” housecat is willing to do that, then I have absolutely no problem with Eanrin swiping the jester’s hat.

An Overheard Conversation: Here in this scene, we catch a little bit of a conversation between Aethelbald and Una from Heartless. Who would have thought that Leonard the Jester had overheard their parting?

Hate him! Loathe him! For all the Lady of Dreams referred to Prince Aethelbald as the Dragon’s enemy, she obviously has some intense feelings regarding him herself! Hatred and loathing, which she communicates with all her most potent poison into Lionheart’s brain. Her icy calm is broken as she, through Lionheart’s eyes, faces the Prince of Farthestshore. She becomes as fiery and wrathful as her own brother.

Perhaps she and the Dragon are more alike than first meets the eye . . . Perhaps there is yet more to be learned of the Lady Life-in-Death.

One of mine is threatened: In Heartless, Prince Aethelbald made this same statement to Princess Una when telling her that he must go. At the time, however, we did not know to whom he referred.

Now, we can pretty safely infer that it is Rose Red of whom he speaks. And the Prince of Farthestshore, clad in a mortal body (a far more unusual, even phenomenal situation that we realize in these first two books), must go to her aid, down to Southlands, and down much, much deeper still.

But as he tells Lionheart, she is one of his own as well. And Lionheart should return with him. He should give up his current, hopeless errand and turn to one who can truly aid him in this dangerous mission.

And what might have happened had Lionheart gone? Might they, together, have defeated the Dragon before he even got to Parumvir? Might Princess Una have been spared her coming suffering and Prince Lionheart his coming shame?

Ultimately, it was not meant to be. And while the Prince of Farthestshore gave Lionheart the option, the Prince’s ultimate purpose and will were not thwarted by Lionheart’s refusal. Somehow, I think the Prince knew all along that Lionheart would refuse. That Lionheart had a much darker, harder, longer journey to pursue. But in his kindness, the Prince gave him the chance anyway. And continues to give him chances over and over again . . .

Questions on the text:

1. What do you think happened to Lionheart during his dream of Rose Red, based on the two suggestions given above? Or do you have a third idea?

2. Any cat-lovers out there? Have your cats ever tried to swipe anything surprising? (Or are you more on Lionheart’s side in the issue of cat-love?)

3. What do you think might have happened had Lionheart followed the Prince of Farthestshore now rather than insisting on his dream?

4. Any favorite lines?

 

Q&A

Allison wants to know: "My question is... did The Divine Comedy at all influence your Netherworld? It reminded me of it, what with the lost souls Rose Red meets, the despair, and the journey through it to some higher place."

Yes, but probably in more of a subconscious manner. I more consciously modeled Rose Red's journey through the Netherworld after the Orpheus and Eurydice theme. But, as a former English Lit. student, I'm sure passages of The Divine Comedy are firmly lodged in various nooks and crannies of my subconscious, offering subtle inspiration along the way!

Cover Reveal: MORNING GLORY

Dear Imps, we're taking a short break from the read-along this morning (the usual chapter post will follow in a few hours!) to take part in an exciting cover reveal! Historical Romance novelist Amber Stokes has been blessing her readers with exciting new product since summer of last year . . . and now, she is preparing for the summer publication of Book 3 in the Heart's Spring series.

Presenting the cover of Morning Glory!

 The Depths of Fear

The Dawning of Hope

Myghal’s story continues…

Summer 2014

In conjunction with the cover reveal, Amber’s doing a double “blog reveal,” as well! You can check out the book extras for Morning Glory (more coming soon!) on the Morning Glory blog, and you can keep up with all the exciting news for the series on The Heart’s Spring blog, the new home site for all three of the main books and the companion short stories!

Many of you readers have already met Amber via this blog. But just in case she is a new face to you, allow me to introduce her officially: 

 

 

Amber Stokes has a Bachelor of Science degree in English and a passion for the written word – from blogging to writing poetry, short stories, and novels. After her brief time at college in Oregon, she is now back home among the redwoods of Northern California, living life one day at a time and pursuing her passion via freelance editing and self-publishing. You can connect with Amber on her blog, Seasons of Humility.

Amber is offering a generous giveaway today! You (US residents only, please) can enter your name to win these beautiful earrings and lovely set of Morning Glory notecards.

Do take the time to congratulate Amber on her exciting accomplishment. And be certain to grab a copy of Bleeding Heart, her debut novel of 2013!
 

a Rafflecopter giveaway

FIVE GLASS SLIPPERS update and query

If you are here for the Veiled Rose read-along, it is still posted today . . . just check the post right before this one!

But I want to offer a quick update concerning the Five Glass Slippers creative writing contest.

First . . . is there an Elizabeth Ash or someone writing as Elizabeth Ash out there who could please email me (aestengl@gmail.com)? I received a submission form on time, but I cannot find an email address to go with the name. So if you are she, please email me so I can send this form back to you! I don't want to miss reading your story.

Otherwise, the deadline is finished. There are still a few last-minute submission forms coming in, but as long as they are postmarked on or before Dec. 31, they will still be counted in the contest.

I have been reading submissions like crazy for the last several months, but more than 30 stories showed up right at the very end . . . so I'm going to be at this for a while!

That being said, I am hoping that I and the other editors reviewing these manuscripts will be able to get everything read and the winners selected before the end of this month. Which means that the announcement of the winners will be bumped up to February 1, rather than March 1. If this proves to be the case, there will be an announcement here, and I will also be emailing all of the contenders to let them know. So keep your eyes open!

There have been so many absolutely fantastic stories sent in. I am just in awe. Last night I read one that had me in tears . . . of laughter! So adorable and clever. But there have also been romantic stories, serious dramas, a gripping horror story or two, mini-epics, westerns, contemporaries, mysteries, one that put me in mind of a Shakespearean comedy, a handful of sci fi, several dystopian, a couple of steam punks, one time-travel tale . . . nearly every genre under the sun! And no two stories have been alike. All serving to prove the versatility of this classic fairy tale, not to mention the endless inventiveness of all of you writers.

My job is going to be a tough one. At this point, I really have no idea what the final collection is going to look like. I only know this for certain: it's going to be fantastic!

VEIELD ROSE Read-Along: Chapter 8, Part Four

I'm a bit late posting this morning. So sorry, dear imps! I usually try to have my posts typed up and ready to go a few days in advance. But what with the holidays and company, finding time for blogging has been a  bit difficult.

But here I am now, and I hope to be able to keep up until the end of the read-along . . . which is coming up quite soon now! Only seven more days after today. Then, I plan to host a celebration to wrap everything up. What would all of you say to a facebook chat party, the evening of January 9th? Would that be fun?

In the meanwhile, let's dive into today's chapter . . .

PART FOUR

Chapter 8

The chandeliers: This chapter, I remember vividly, was incredibly difficult to write. Or rather, not to write. To begin. We’re quite late in the story now, and everything is building up to the big crisis-point and climax . . . and at the time of writing, my deadlines were looming ever nearer. My deadline to finish the book. My deadline to get wedding invitations in the mail. My deadline to pick bridesmaids dresses (which I didn’t end up doing . . . there simply was no time! I almost skipped bridesmaids entirely, but ended up having my “sister,” Erin stand up on my side, and Rohan’s sister, Rochelle, stand up on his. And I told both of them to simply pick dresses in pretty colors and show up on the day of! LOL. They picked soft yellow and spring green, and both looked very beautiful . . . thus my load was lightened). Anyway, yes, my deadline to pack up most of my belongings and move them, and the kitties (three at the time), to Rohan’s house. My deadline to pack up the rest of my belongings and move myself from North Carolina up to Wisconsin for four weeks to finish planning the wedding.

All of these deadlines loomed. And I was on Part Four, Chapter 8. And I simply could not make my brain function! I would get up in the mornings, down some tea, wrap myself in a dressing gown (specifically a mulberry silk thing with, of all things, cherubs printed all over it . . . don’t ask me why. It was the Veiled Rose writing outfit), and start trying to write. Trying with all my heart!

And this chapter was so memorably difficult, I still get shudders thinking about it.

The practice in modern writing is to primarily focus on the point of view of one of your main character. The theory is, the character in question is going to have the most dramatic perspective on the scene, and that’s the perspective from which you always want to write. This being Rose Red’s chapter, I kept trying to open the scene with Rose Red on her strange raft, out on the Dark Water, making her way to the shore of the Village of Dragons. But for some reason, no matter what I did, I simply could not create the right level of dramatic tension.

You see, Rose Red couldn’t see clearly what she was coming to. While there is plenty of horror in the unknown, I knew that what she could not experience was some of the most interesting and dynamic stuff . . . and I couldn’t write it from her perspective! It was so frustrating, and the scene kept opening so slowly, so dispassionately.

Thus I sing once more the praises of the omniscient narrative!

Writing in the strict third-person narrative is much easier than omniscient, and while in a rush, I tended to slip into third person along the way. But with this chapter, I finally woke up to the fact that my style is omniscient narrative. I am not limited to my heroine’s point of view. I can use her point of view . . . but I am also free to show the reader other perspectives on the same scene.

So, having scrapped the fifth or sixth version of the chapter opening (and feeling the day lengthen around me . . . another precious writing day that could not be wasted!), I opened instead with the chandeliers.

I focused small, on this one features. This curious feature. This enigmatic and rather creepy feature of the scene. Then, slowly, I expanded the view for my readers. I let them see what stood in the lights cast by the chandeliers. I let them see the dragons moving. Then I expanded further still, and let them see the dragon’s dance.

At last, I introduced Rose Red’s approach, not via her own perspective, but via the perspective of the dragons themselves. And suddenly, this struggling scene began to come together. It possessed the right level of fear and dread and elegance. I could see where Rose Red was going, even if she could not, and I could fear for her much more effectively.

Omniscient narrative is so often disparaged by today’s writers . . . but I will never, ever understand why.

A dragon with rubies in her hair: Readers of Heartless will recognize the woman dragon with the long black hair, the one who adorns herself in rubies. We were introduced to her as the infamous Bane of Corrilond, destroyer of her nation . . . a queen of ages past who was betrayed by the man she loved for a chest full of rubies. The same rubies she now wears.

A creepy and tragic character . . . and one whose story I hope to tell, sometime in the next few years! It’ll be a little while yet, but not terribly long now.

They had never seen this lake before. An interesting little tidbit about the Village of Dragons. In Heartless, there was no black lake to be found near the village. But here in Veiled Rose it appears, and the dragons are very curious, having never seen it before. The Dragon himself shapes this dark world in which they live, and so he has provided a means for Rose Red, though not a dragon herself, to access this hiding place of his fiery children.

And they obey their Father’s every command. They dance to a song that is without music, made up only of strange rhythm.

A certain yellow-eyed dragon. Another character we met in Heartless is glimpsed momentarily in Veiled Rose. The yellow-eyed dragon—once called Diarmid—played a fairly important role in book 1, serving as Una’s guide and Felix’s nemesis. He is, of course, another character with quite an interesting backstory, some of which is revealed in Moonblood.

I am delighted to say that, quite recently, even more of Diarmid’s story came to me. I was discussing various possibilities for book 8 with Rohan, and suddenly that conversation spun off on an unexpected sidetrack . . . a sidetrack with delightful possibilities! And now I have yet another novella I hope to write, possibly next year, 2015. I can’t say too much about that one just now, save that the working title idea is: Bright as Fire.

Reacting to the light: The dragons’ reactions to the light of the Asha Lantern is frightening . . . and tragic. Particularly when you recall (as more clearly explained in Dragonwitch) that Asha itself represents Hope to worlds—hope of the great lights and songs beyond the Final Water.

But the dragons have lost their hope. And they hate even the reminder of it.

Her lantern dimmed: When, in her fear, Rose Red actually takes comfort in the familiar terror of the Dragon compared to the new terror of his children, the lantern light begins to dim.

Rose Red is trusting in something she knows and understands. Something terrible, but something she believes she understands. There is, sometimes, a strange comfort in despair, when it’s a familiar despair. A strange comfort in anger, when it’s a familiar anger. A strange comfort in jealousy, anxiety, avarice . . . all the various sins of our lives that are familiar to us, as close to our beings as our own skins.

Hope is less familiar. In some ways, hope is so unnatural to our mortal perceptions that it can even be frightening. And it is unfamiliar and, therefore, more difficult to trust. Rose Red, tired already from her long and dreadful journey, is beginning to fall back on that which she knows for certain. She knows the Dragon. She knows what he can do to her. And she doesn’t fear him as much as she fears hoping that she can beat him . . . and ending up disappointed.

One of the Veiled Folk. Vahe’s Lost One: In this passage, we catch glimpses of understanding about Rose Red’s heritage and past. We even learn the name of her father (though the text doesn’t overtly refer to Vahe as her father . . . it simply calls her Vahe’s “lost one”). We learn that her people are called the Veiled Folk, though we do not yet know why or what sort of veils they wear.

But the hints are there. And, I hope, the motivation to go on and read the next book . . .

The Night of Moonblood. Ooooh, a reference to the next book as well! How fun. I’m sure a bit frustrating to readers who aren’t aware that this book is part of a series, that these are themes to be developed in a later book . . . but for a series reader, great fun!

“Is she the one you seek?” After all these years (which really mean very little to the Dragon when he’s not incarnate, but which are much longer and more frustrating when he’s wearing an incarnate form), the Dragon is still not certain if Rose Red is the “Beloved of his Enemy” whom he seeks.

But he believes she must be, due to the “protections” around her. Due to the knight set to guard her since the time of her infancy.

The knight who is even now on her way down into the Netherworld, seeking her lost charge . . .

Still searching for Daylily: Despite all the fear and dread surrounding her, Rose Red continues doggedly onward in her search for Lady Daylily. She insists that the Dragon cannot keep Daylily down here in the Netherworld, claiming that he tricked and poisoned her—though the Dragon himself insists that Daylily came of her own free will.

No deals! The Dragon offers a bargain to Rose Red—if she can convince Lady Daylily to return with her, then both may freely go. If not, then both must remain in the Village of Dragons with him.

But when Rose Red insists, “No deals!” the Dragon does not argue the point. Instead, he simply says, “Shall we dance?” And he sweeps Rose Red into a dark, dragon’s dance . . .

Cinderella theme continued. This story is not a retelling of Cinderella, at least not overtly. But there are many strong Cinderella themes to be found throughout. (Proving, yet again, the universal awesomeness of fairy tales, which can be reused and revised and resituated in innumerably wonderful ways!)

Here we see our humble chambermaid Rose Red transformed—temporarily—into a princess. Through magical means, she finds herself wearing a glorious ball gown and dancing at a sort of ball beneath shining chandeliers.

So much more than a friend: All the Dragon’s other transformations and enchantments cannot serve to move our intrepid heroine. The beautiful gown she wears, the dancing, the seductive words . . . none of it makes a difference.

But when Rose Red finds herself dancing with Leo—Leo in an idealized, mature form, which may or may not be an illusion—she finds her resolve faltering.

And when Leo, her childhood companion, her master and defender, tells her that she is “so much more than a friend” to him . . . suddenly Rose Red is “unveiled” more thoroughly than if the very veil on her face were snatched away.

We learn at last for certain: Rose Red is in love—impossibly, hopelessly in love—with Prince Lionheart.

And in that hopeless love, she drops the Asha Lantern.

Cliffhanger: And, of course, the chapter must end on a cliffhanger. Rose Red pulls the veil from her face . . . but we will have to wait to see what she sees!

Questions on the text:

1. The dragons’ reaction to the light of hope is tragic and frightening . . . and yet I find it strangely relatable. Sometimes I have reacted similarly to circumstances, angry at even the idea of hoping for a good outcome to something I once longed for. Have any of you ever felt this way? Can any of you relate to our frightening, pathetic dragons?

 

2. The Dragon claims Daylily came to the Netherworld of her own free will. Rose Red insists that it was all a trick and manipulation. Which do you think is true? Or might both be true in a way?

 

3. How many Cinderella themes can you pick out in Veiled Rose? As I said, it’s not a retelling of Cinderella, but there are many familiar themes to be had along the way, adding to the “fairy tale” feel of the whole. Is there a substitute for the glass slipper, lost and found? Is there a substitute for the pumpkin coach, a means of transportation created out of something humble? Is there a substitute for the prince, the ball, the evil stepsister/stepmother? The prince? The fairy godmother?

 

Q&A

 

Catching up on questions from several days past! Sorry about the delay. Do feel free to keep asking your questions, and I will keep up with them to the very best of my ability.

 

Caitlyn wants to know: "Is the door in the cliff on top of the cliff, or is Rose Red looking down to the side?"

 

I picture Rose Red standing at the bottom of a tall cliff, and the door is at the cliff's base.

 

Caitlyn also wants to know: "Can fan art be taken pictures of real places that might resemble things in the book, or does it have to be drawn?"

 

Yes, you can definitely submit pictures of real places if you like! Fan art is much broader than just drawings.

 

Jemma wants to know: "What are the names of the black dogs?"

 

The Black Dogs have Etalpalli names, Yaotl, and Eztli, Which mean "war" and "blood" respectively. But I don't believe anyone but the Dragonwitch herself knew those names, and now that she's dead, they are likely long forgotten.

 

Jemma wants to know: "What is the name of the black dog that Imraldera likes?"

No one knows, not even Imraldera. Probably the Black Dog itself doesn't even know its own name . . . only the Dragonwitch knew which was which, and she never said and can no longer say.

Caitlyn also wants to know: "How do you pronounce Ay-Ibunda? Is it Ay as in a or Ay as in I?"

Ay is pronounced "I." Ibunda in pronounced with a soft "d", so that it almost comes out sounding more like "th."

And Caitlyn wants to know: "Is the Silent Lady a person? On page 315 the Sister says, "She won't help you, sweet prince, I will." Will we see her in a later novel?"

Absolutely! Her identity is first revealed in Moonblood, and she is a major character in Starflower . . . but if you haven't read either of those, I don't want to give it away! :)

VEILED ROSE Read-Along: Chapter 7, Part Four

HAPPY NEW YEAR!!!!

I do hope all of you saw the old year out in style and are looking forward eagerly to all the possibilities that 2014 brings. I know I am! I'll be doing a "Doings at Rooglewood" post sometime in the next few days (along with the read-along) to let you know some of the exciting things currently brewing.

But in the meanwhile, we have a read-along to continue . . .

PART FOUR

Chapter 7

The most difficult part: As of this chapter we hit upon the most difficult part of the manuscript to write. Which was particularly tough since it was right near the end of the book, with my deadline swiftly looming. I had absolutely no time to dither, no time to wait for “inspiration,” no time for anything but to just write . . .

But I had to be very careful. Because as of this chapter, we really begin to see Veiled Rose overlapping with Heartless. And while the two stories needed to sync up harmoniously, they also needed to feel like two distinct stories. The last thing I wanted was for readers to feel like they were simply reading the same book twice (though I received plenty of reviews early on claiming that I obviously didn’t have any new ideas, so I just rehashed the old one. Sigh. It’s impossible to win with reviews.)

One thing that did help tremendously with this section of the book was that, in Heartless, I didn’t get into Lionheart’s point-of-view while he was at Oriana Palace. I don’t think he got a point-of-view at all until we encountered him again in Southlands. Thus I could be pretty flexible with his thoughts and impressions as he first arrived at Oriana.

And we finally learn the big question we’ve all been wondering since Heartless . . . what did Lionheart really feel for Princess Una?

King Abundiantus V: Fun to see this name referenced again! This particular king (who is known primarily by one of his other names) is one of the major characters in upcoming novels. But first, I’ll be writing the novel about King Abundiantus I . . .

Glimpse of a princess: Of course, Lionheart doesn’t know it’s a princess he glimpses as he tussles with the gate-guards, attempting to get through to Oriana Palace. He just sees a curious young girl, peering out from behind a bush. She is dressed simply (for all Una is a spoiled princess-type, she doesn’t go in for frills and ruffles. You definitely have to give her points for that!), her hair in a long, messy braid, and her face is round-eyed, sweet, and maybe a little scared. Quite a charming aspect, really! And Lionheart calls out to her for aid . . . but she slips away.

I do like this opportunity to meet Una from a different perspective. I think Una’s popularity suffers mightily in Heartless because we are so deeply and honestly invested in her thoughts and heart. There is no hiding for her, no opportunity to present a gentler, sweeter perspective to her readers. But here, we get to meet her from a whole new point-of-view . . . and we discover that she is actually quite charming!

After all, how many of us would like people to root around in our deepest, most honest thoughts? How many of us would come across particularly better than Una, less selfish, less spoiled? I know I wouldn’t . . .

Sleeping in a Faerie forest: A reader who has spent any time at all pursuing the various Faerie forests of literature will know what a very bad idea it is to take a nap therein. Lionheart is lucky he didn’t end up with a white beard as long as Rip Van Winkle’s!

The Other: Once more the Other mentioned several times previously in the text makes a brief appearance. Singing into Lionheart’s mind, it declares, You know the Princess Varvare.

It also says that she has gone “beyond reach of my voice.” So we know this cannot be the Dragon! No, this is something else entirely, some new dread.

SPOILERS: For those of you who have read Moonblood and know who/what the Other is, you see here how swiftly the unicorn can move through the Wood Between. It has been stalking the Wilderlands, patrolling the boarders of Southlands for years and years (which probably seems like no time at all for such an entity), searching and calling for Princess Varvare, the hidden Faerie child. But the moment it senses Lionheart’s in the Wood—Lionheart’s mind which contains strong memories and feelings for Rose Red, even if he hasn’t consciously thought of her for some while—the unicorn immediately speeds through the Wood to appear before Lionheart. And it leaves him a message, a message that may be a command or may be a prophecy. “When you see her, you will send her to me.”

He had a ring to find: We definitely get a new perspective on Lionheart’s arrival at Oriana now that we know what he seeks. Before, we had no idea that he sought anything but a job. But there was much more going on in Lionheart’s head. He has a very specific task to fulfill . . .

Again, I find it interesting to read former work and to see it in the context of new work—new work that I hadn’t even begun to plan at the time I wrote these early stories. For instance, Lionheart’s seeking of Una’s ring is so much more pertinent to me now that I’ve written Golden Daughter. Because, you see, in Golden Daughter we are going to learn where exactly that ring came from . . . and what exactly it signified. Originally, it was nothing more than a physical representation of Una’s heart (and a literary nod to George MacDonald’s Princess and the Goblin). Since then, it has become so much more . . .

A Jester’s demise: I enjoyed reading again the scene of Lionheart’s jesterly apology to Una, in which he wins her over with his amusing antics and earns her forgiveness for leaping upon her. This scene as written in Heartless was part of the very earliest draft, and I’ve always particularly liked it. Again, it was a challenge to present it again in Veiled Rose, trying to make it both amusing to new readers and not repetitive to old. But it’s fun scene to read, one way or the other.

In love with a stranger: At the sound of the nameless girl’s laugh, Lionheart—for the first time in his life, the text tells us, despite any flirtations and thoughts of marriage with Daylily—falls madly in love.

And now we know. The Lionheart from Heartless was a fool, a coward, and a user. But he did love Una. An immature, fragile sort of love to be sure. But love nonetheless.

If anything, that makes what’s coming that much worse . . .

Certainly not as a beautiful: I like this indication that physical beauty isn’t of primary importance to Lionheart. Una is certainly not as beautiful as Lady Daylily, but that doesn’t seem to bother Lionheart for a moment. Credit where it’s do, he does have a slightly better idea of what qualities are important than one might expect!

The picture in the hall: The painting mentioned in this chapter—the three men, two in chains, one in a crown; the weeping woman; the gold stone and the figure lying upon it—we mentioned a few times in Heartless. Here we see it again, and it also gets referenced in Moonblood. So you can bet, with all those references, it’s important to the series, though the specific story has yet to be told!

And one figure of the mix, Lionheart recognizes immediately: the Dragon.

Half as skilled mopping floors: Following Lionheart’s jesterly performance for King Fidel and his family, we learn that our favorite jester has been hired, not only to perform, but also to scrub.

The Crown Prince of Southlands has become a household lackey. Again.

“Lionheart.” Though Lionheart has only given his false name, “Leonard the Lightning Tongue,” suddenly he hears a strange voice calling him by his real name, “Lionheart.” The Prince of Farthestshore, a man he has never before met, speaks to him in the hall. What’s more, this mysterious Prince knows exactly what Lionheart is about.

 

Questions on the Text:

1. Why do you think Lionheart fell in love with Princess Una so suddenly upon their meeting?

2. Lionheart mentions the Siege of Rudiobus. Any of you have a guess what story he might be referring to there?

3. At one point in this chapter, Lionheart looks at himself in a mirror and whispers, “I don’t even know who  I am anymore.” Who of you have felt this way before? When was that? Is it a feeling of the past, or something you’ve worked through?

4. Any guesses as to the story behind the picture in the hall?

5.  The text says that, during his encounter with Prince Aethelbald, Lionhearted “wanted to run, to escape those kind eyes, to never again hear that voice.” Why do you think he feels this way?

6. Any favorite lines?