Showing posts with label Hybrid Books. Show all posts
Showing posts with label Hybrid Books. Show all posts

Thursday, November 21, 2013

SOME FUN RESEARCH: THE HERBALS I USED IN 'THE TATTOOED WITCH'

I HAVE LONG BEEN A STUDENT OF HERBAL REMEDIES. I’m also interested in aromatherapy and how various scents affect mood. Don’t get me wrong – I’m all for regular meds when I need them – but how we've come by our modern day cures is fascinating. I thought it might be interesting to share some of the background research I did on the herbs and plants I use in The Tattooed Witch. Two of the references I relied upon were The Green Pharmacy by James A. Duke, PhD., and The Complete Book of Essential Oils and Aromatherapy by Valerie Ann Worwood. In order to get a more mystical and magical view on how some plants have been used, I also referred to Scott Cunningham’s pagan Encyclopedia of Magical Herbs

1). Lavender: Early in The Tattooed Witch, Miriam presses a mash of lavender into her father's wounds caused by a potro (a rack-like instrument of torture used by the Inquisition to force confessions). Lavender oil is a natural antibiotic and antiseptic. It’s also an effective treatment for minor burns and scalds. A number of varieties promote sleep, although Spanish lavender, which I feature in the photo below, doesn't. It has a more stimulating effect.

2). Garlic: Garlic was used in World War I to treat infected wounds and dysentery. It has nine anticoagulant compounds and has been used for heart attack and stroke prevention (if you suffer from hypertension, stick to your modern meds). In The Tattooed Witch, Miriam finds a clove of garlic and treats Ephraim with it when she runs out of lavender. This is fortunate, for he suffers a shock, which she fears is a heart attack.

3). Datura: In the novel, I use a little poetic license and refer to Datura as Dartura, but it’s basically the same deadly plant. Joachín, one of my favorite characters and Miriam’s love interest, uses it for healing, but it’s also a dream herb. Joachín is a Dreamer; psychically gifted, he dreams other peoples' presents and futures. In the real world, Datura is a dangerous hallucinogen. For centuries, it's been  used in shamanic practices and religious rites (the Aztecs considered it sacred). Its folk names include: Devil’s Apple, Ghost Flower, Jimsonweed, and my personal favorite – Yerba del Diablo, or in Spanish, Herb of the Devil.

4). Willow: In The Tattooed Witch, Anassa, my Diaphani matriarch, chews willow sticks and drinks willow tea in order to relieve her pain from headaches, arthritis, and old age. Willow bark contains salicin. Aspirin is derived from salicylate compounds, and is found in both willow and other plants (Meadowsweet and Wintergreen, for example).

5). Lemon: As well as being a tasty and refreshing citrus, lemon oil has antiseptic and antibacterial properties. Aromatherapists claim lemon oil works as a water purifier. In The Tattooed Witch, Anassa uses the juice in her tea for both flavoring and purification. Here’s an interesting superstition: lemon pie, served to one’s spouse, is supposed to strengthen fidelity. Lemons and oranges weren't originally native to Spain. The Arabs introduced them around the end of the twelfth century, and Spain, in turn, brought them to the new world.

6). Sage: Sage has long been used to treat bacterial infections, bronchitis, and coughs, but it’s better known among Pagan and First Nations communities for its sacred and protective properties. There’s an interesting superstition surrounding sage – it’s considered bad luck to plant it in your own garden. Find a stranger to do it. (Personally, I’ve never had any problems.) In Witch, Anassa uses sage to smudge and ‘ward’ her Tribe after Miriam is attacked by a demon.

7). Oldenlandia or Tongueweed: I came across this herb when I needed a remedy for snakebite. In Witch, Casi Montoya is bitten by a viper; Ephraim, Miriam’s father, calls for Oldenlandia to treat the bite externally. Today, Oldenlandia is used in traditional Chinese medicine to treat sores and carbuncles of the skin. Also known as Snake-Needle Grass, it’s said to lower fever, reduce inflammation, and relieve pain.

8). Oleander: In Witch, this is the plant that Tomás, the Grand Inquisitor, uses to kill Alonso de Santangel. (Not to worry: for those of you who haven't yet read The Tattooed Witch, this isn't a spoiler. We learn that Tomás is the guilty party in Chapter One). Oleander leaves are long and narrow and look similar to willow. The shrub has fragrant pink flowers, although some varieties are white or yellow. All parts of it are extremely poisonous. Apparently, the Babylonians mixed oleander with licorice root to treat hangovers. (Not recommended!)

I recently finished the second book in the trilogy, The Tattooed Seer. It's with my editor, awaiting his suggestions. There are several herbal remedies in it as well, including Rosemary, one of the oldest incenses used and a traditional herb in bridal wreaths, plus Fava Beans considered by some today to be an aphrodisiac. In The Tattooed Seer, both Rosemary and Fava  (I call them Faba) play their parts.

If you'd like to purchase The Tattooed Witch, you can find the links for buying it on the right, or you can order it from your favorite bookstore. Amazon also includes a free peek of the first four chapters here, plus a five star rating and some great reviews. (Thanks so much, to those of you who've given the book your support.) Finally, if any of you are wondering about the release of The Tattooed Seer, I'm hoping it will be available by summer, 2014.
Spanish Lavender

Monday, October 07, 2013

GUEST INTERVIEW WITH SALLY MCBRIDE, AUTHOR OF INDIGO TIME

THE FOLLOWING POST IS A GUEST INTERVIEW featuring Sally McBride and her debut novel, Indigo Time. I first learned of Sally's work when On Spec published her short story Softlinks in the 1991 Spring issue (coincidentally, the year I started as an editor with On Spec) and again, in On Spec's anthology, The First Five Years. I had the pleasure of meeting Sally for the first time in Toronto at the World Fantasy Convention in 2012. I'm very happy to feature her here. 

 1). To start off, Sally, please give us a short description of Indigo Time. How would you describe the book in terms of genre? Is it a sub-genre? A blended genre? A hybrid? Indigo Time is a hard book to describe, which made it a hard book to pitch. It doesn’t have a tag-line, like “Buffy meets Tarzan” or anything sound-bite-y that allows people to immediately understand what sort of read they’re getting into. Technically, I suppose it’s science fiction (lost colony world of a galactic empire, genetic engineering) but it reads more like a fantasy (primitive society ruled by a mad queen, psychic powers in evidence). It’s a story about a world dominated by a woman so immersed in her past and her quest for revenge that she is willing to sacrifice her own children to satisfy that lust. And about a genetically engineered horse which carries in his blood the means for her to do so. So, yeah, I’d call it a hybrid.

2). What was your inspiration (or inspirations) for writing Indigo Time? The book started as a short story that went nowhere, written when I was still learning that it takes more than a few pretty scenes to make a story. Some critique group friends read it, and one in particular liked it a lot and remembered it years later, giving me an injection of enthusiasm to revisit the tale. The original story was about a woman married against her will to the wrong man, and how she took her revenge. It was sentimental but I thought it had promise. I wanted to expand the lives of the characters I invented in the original short version, place them in a more wide open setting (a new world in an ancient and corrupt empire of worlds), and let them run free. Novel length seemed right, since I wanted to stick with my characters for several years of their lives, and take them into the heart of my evil queen’s long-term plan.

3). When did you start to write the book, and how long did it take you to finish it? I took an extraordinarily long time to finish it… I worked on Indigo Time, in its various incarnations, for 15 years, off and on. Mostly off. During that time I moved several times (in Canada and the US), my parents died, I got divorced, I got remarried… life tended to get in the way. Not that “life” is an excuse not to write, but it does tend to take up a lot of bandwidth. I’ve always worked slowly, but pretty steadily, and if I don’t write at least a couple of hundred words every few days I get a little antsy. When I get an idea, I start out “pantsing” (seat-of-the-pants writing), then when things get complicated I turn into a plotter. Using brief scenes, I generate an outline. I know what should happen, and the order of events leading to a climax and resolution, but along the way ideas, plot twists, characters, and embellishments pop into my mind. I work on several projects at once, switching from book to book as my enthusiasm and inventiveness wax and wane. I’m very glad to see Indigo Time in print at last.

4). How long did it take you to find a publisher? I actually found a publisher for an earlier draft of the novel over 10 years ago. It languished there, unattended, and I got interested in several other projects. I’d think about it now and then, but it kind of dropped below my radar until a friend said, “Why not talk to Robert Runté at Five Rivers? He’s looking for manuscripts.” Since Robert and I were both attending the 2012 World Fantasy Conference in Toronto, it seemed like a great chance to talk about the book. Robert expressed an interest in seeing it and I was thrilled. Not only is he an experienced freelance editor of science fiction and fantasy, he also serves as Five Rivers’ Editor-in-Chief. He acquired the manuscript and put it on the fast track.

5). What were your most difficult moments when writing the book? What were your best? Overall, the fact that this story sat around for years in an unfinished form, nagging at my subconscious, was the worst. I went through periods of just wanting to forget it, call it a practice novel, and move on. The realization that other people—whose opinions I respect—might find merit in it was the best. As far as the manuscript itself—it was that darn opening few pages that brought me to my knees. Not without a fight, mind you. Robert Runté showed endless patience coupled with an iron will (and the sharp eyes and ears of a born editor), and finally a new opening scene grew out of his insistence that 'no, someone sitting on a horse thinking' does not constitute an action scene. 

6). I found many wonderful things about Indigo Time, in particular, the complexity of your characters and their relationships, ie., the difficult marriage and frustrated tensions between Grae Tarlannat and his wife, Kael, the conflicted feelings between mother and daughter, Kael and Nikkolue, as well as others. Your portrayal of these relationships is potent and honest. Why explore difficult emotional situations? Do you feel they draw the reader? What is your process for building such characters and relationships? Stories are about people. Interesting stories are about complex, troubled people doing things that complicate their lives. Resentment, jealousy, and unrequited love drive the stormy relationship between Grae and Kael. A twisted obsession with her stunted (literally) past makes my villain, Marrula, do what she does. Without conflict, a book is just a recitation of who does what to whom. As soon as you ask why they are doing it, things start to liven up. Why does my protagonist hate her husband? Why does one of my main male characters feel like a useless coward? Remember the TV show Ugly Betty? About a plain but feisty Latina girl trying to make it in the fashion world? Betty gave me a quote: “Find your way in, by making it personal.” It’s a good rule for starting an opening scene, and it’s good to remember to keep it personal all through the story. Readers are interested, generally, more in what believable people are doing and thinking than in descriptions of scenery, lumps of back story, and narrative explanations of politics or whatever. If I have a scene that’s dragging, I try to find a way to tell it in dialogue, or in a different point of view, while watching out for the dreaded, “As you know, Bob” trap. If I can get a view of my world through someone’s eyes and heart, rather than just describing it, then I know I’m succeeding.

7). Your antagonist, Marrula Tamara, immortal, ruler of Strand, and great-grandmother to Nikkolue is one of the most evil and psychopathic antagonists I’ve ever encountered. I suspect this is because you play on our sensitivities—grandmothers are not supposed to take advantage of their grandchildren. When you create an antagonist, what are your building blocks? How do you make them so memorable? I love to hate my antagonists, but they are my literary children too, just as much as my stalwart hero or my pure-of-heart heroine are. If I have any tip at all on how to create a truly nasty character, it’s, don’t hold back. I tend often to be too nice  (the Canadian in me perhaps); I have to remember that the villain usually thinks they are right—that is, their chosen course of action makes perfect sense to them. They aren’t trying to be evil, per se, they are trying to win, or at least survive. When driven into a corner, the meekest rat will fight, so a clever, driven villain must fight as hard as possible to gain what they want. If they trample others in the process—well, that’s part of doing business. I do think that Marrula Tamara gets a bit carried away with enjoying being bad… but she is half-crazy. She has a cherished goal in mind, and it has taken over her thoughts too much. I’d really like to give her a chance to redeem herself.

8). Your use of a character’s interior dialogue is very well done, reflective of how most people think. As writers, we’re encouraged to write prose that is lean, vivid, and strong. In Indigo Time, you do this remarkably well, even when your characters’ thoughts skip from topic to topic as your immortal wizard/veterinarian Olren Warrek’s do, in particular. What tips do you have for writing great interior dialogue? It helps if you spend a lot of time inside your own head, rummaging around. I often find myself having lively conversations with imaginary, or remembered, people. It’s good practice for dialogue both interior and exterior. People’s heads are full of misinformation. Resentments fester, lies take hold, imaginary slights grow large. There is also truth in there, things people know but would never admit. In a character who is virtually immortal, things get forgotten, twisted, mashed up, or misfiled. Interior dialogue is a good way to reveal character, for you can show hidden facets that wouldn’t come out in narrative, or regular dialogue. The thoughts of a young, innocent girl are very different from those of a jaded, immortal scientist, or a brooding, self-pitying mother.

9). What themes were you personally exploring in Indigo Time? Why? Learning or finding personal courage. Forgiveness. The dynamics of a family in stress. How people can hang on to hate, however irrationally, because somehow, it's a comfort. Hate can be a stalwart friend who tells you that you’re right, even when in your heart you suspect you are wrong. The pitfalls of immortality, which sounds great until you have to live it.

10). Indigo Time works well as a stand-alone novel, but you’ve left the way clear for more of the story to come. I would love to read a sequel. Any plans for one? Yes, I have a sequel plotted out, very loosely. It follows many of the main characters of Indigo Time and starts about 16 years later. It involves contact—at last—with the Empire that stranded them on their beautiful, lonely world so long ago, and introduces several new characters. One of the main characters from Indigo Time undergoes a complete change. Its themes are revenge, love, and lust, and how they can be mistaken for obsessive hatred, and the healing power of forgiveness. Quite similar in theme to Indigo Time, but with more spaceships. 

11). Where can readers find Indigo Time, and what other books of yours are available? Indigo Time is available directly from the publisher, Five Rivers Publishing, as a print or an e-book. It can also be found at the usual online venues where readers can take a peek inside (see below). I had an exciting summer - another novel, Water, Circle, Moon, came out from Masque Books, a new e-book only imprint of Prime Books. Water, Circle, Moon is an expansion of a short story published by On Spec Magazine - it's a romantic fantasy set in modern day England, and features shape-shifters. Horse shape-shifters. Do I detect an equine theme? People are welcome to check out my (rather lame, I'm techno-challenged) website at sallymcbridesf.ca. I'm currently working on The Nightingale's Tooth, a fantasy set in an alternate medieval France, and Unconfigured Stars, a science fiction novel about shape-shifters, but without any hint of horses. As usual I have lots of other projects at various states of completion.

Thank you, Sally! If you'd like to read Indigo Time, you can find it in print or for e-books, here:

From Amazon

Thursday, September 26, 2013

SEVEN SPOTLIGHT QUESTIONS - MY WRITING LIFE and THE TATTOOED WITCH


THE FOLLOWING POST APPEARS SIMULTANEOUSLY on Graeme Brown's website on his Author in the Spotlight page. Graeme is a Winnipeg artist and fantasy writer. I met him in Calgary at When Words Collide when we shared a panel on Hybrid books. He interviewed me a few weeks back about my life as a writer and my debut novel, The Tattooed Witch. Today, I'm the featured writer on his blog. I thought I'd share my responses to his questions here.

SEVEN SPOTLIGHT QUESTIONS: 

#1: Why do you write? I think anyone who is creative needs to express that creativity. Another way to put this question is to ask, “What happens when I don’t write?” I can go for about a week at most, before I become disgusted with myself for not writing. Everything else begins to look like fill, or fluff, or a waste of time (especially if I’ve had to tend to domestic needs). The same thing happens when I’m blocked, usually when I’m not sure how to write a difficult scene. That fuels even more self-disgust and a frustrated edginess because I’m not meeting the problem head-on. Writing is my fix that satisfies my need to create. I have other creative outlets, but none fulfill me as much as writing does. When I write, I’m the creator of my world. 

#2: What was your earliest writing experience? My earliest experience was as a nine year-old ghost writer for my seven year-old sister who was supposed to write a story for her Grade Two class. As we talked about her story, I became so enthusiastic about it, I took over the project.  We had no idea this was wrong at the time. (We got an ‘A’, I think.)

#3: Describe a day in your writing life: This is an embarrassing question. I waste so much time dithering about with e-mail and perusing Facebook when I should be focusing on my writing. I blame this on summer, kids at home, grass to cut, other chores, etc. Now that fall is here, I hope to waste less time. A good day starts after I’ve read my mail (around 9:30). I write for about four or five hours, usually finishing around 2:00 to 2:30. Then it’s time to take the dog for a walk or handle family/house requirements. 

#4: What authors influenced you and how? One of the first fantasy books I read as a teenager was The Compleat Enchanter by L. Sprague de Camp and Fletcher Pratt which included three novellas, The Roaring Trumpet, the Mathematics of Magic and The Castle of Iron. I still love this collection, even though the stories were originally published in 1940/41. I’d never read a fantasy novel before, but I picked it up because I liked the cover (which depicted a guy riding a hippogriff I think - I can’t be sure. Three kids later, I still have the book, but no cover). Reading The Compleat Enchanter started me on my journey as a fantasy reader and then writer. I ran into L. Sprague de Camp at a convention years later, and stammered my thanks for both the book and setting me on my writing career. I’m sure he thought I was deranged. Since that time, I’ve also been influenced by David Eddings (the Belgariad series), Anne McCaffery (Dragon Riders of Perne), and historical writers like Margaret Mitchell (Gone with the Wind), Phillipa Gregory (The Other Boleyn Girl), and Diana Gabaldon (Outlander series). I also adore Scott Lynch and Guy Gavriel Kay.

#5: What are some things you learned to help with your success? Never give up. Like any profession, writing requires an apprenticeship – it takes time (years) to learn the craft. Promote your work, (but be thoughtful about it). Believe in yourself and trust in your voice, especially if you’re delving into unusual or unpopular themes. Trust that you have something worthwhile to say, and say it. 

#6: Describe your writing method: I start with a plot outline, knowing the major points I want to hit. It might take me up to two weeks of scribbling notes and thinking about plot, character, etc. to come up with a decent outline. I know enough not to hurry this process or be impatient with it. The fun and frustration comes when I need to work out lesser points (for example, points b, c, and d, while trying to get from A to E). With the first draft, I edit as I go, tweaking the language, choosing a better word, rewriting dialogue, fixing typos. I will often review a scene I wrote the day before in order to get my mind into the work before moving ahead. Sometimes, at the quarter point (about 25,000 words mark), I may have a brilliant idea for a new character, which means I have to go back to rewrite. This happened in my trilogy’s second book, The Tattooed Seer. Subsequent drafts seem to go in the following stages: 2nd draft is about structure, what’s working, and what needs to be cut, where major shifts in plot occur, and if they occur in the right places, etc. 3rd draft is about chapter dynamics (chapter ends to keep the reader reading, combining chapters that are too short, etc.), and polishing – looking for word repetitions (especially on the same page), similar sentence structures that need to be varied, making sure earlier ideas are reflected properly later, and so on. The 4th draft is the final go-through, where I make sure the book flows, has proper tension, presents strong visuals and has just the right amount of emotional impact. I usually get a better feel for this after some time has lapsed, at least a month. Eventually, the book ends up with my editor, who suggests further changes. Then it’s more tweaking until we’re both happy with it.

#7: Tips for aspiring writers: Write every day. Read critically, paying attention to how the professionals you admire handle plot, tension, dialogue, setting, etc. Read as many ‘how to’ books as you can, because even if you’ve been writing for some time, you can always afford to learn from the experts. Don’t release any work too soon: instead, get constructive feedback from others, especially if they write at a higher level than you do. And always, always – strive to be better.

About The Tattooed Witch: The Tattooed Witch had its infancy in a family myth. For years, my mother’s side of the family contended that their people, the Frankos, were originally connected to Spanish royalty but were kicked out of Spain by the king. The more likely story was that we were either Jews or gypsies who had been forced out of Spain for religious reasons. In 1492, after Ferdinand and Isabella defeated the Moors in Granada (the Reconquista), non-Catholics (Jews, gypsies, and Moors) were told to convert to the true faith or leave. I suspect my mother’s family opted to convert, and then later to flee to Austria (now part of the Ukraine) rather than face the Inquisition. I learned through further research that Franko (or Franco, the Spanish spelling) is a Jewish converso name. As for a possible gypsy link, one of my ancestors, Ivan Franko, novelist, poet, and Ukrainian social activist, wrote in great support of the Roma people at a time when they were much reviled in his adopted land. His outward support may actually reflect a deeper familial connection. 

The Tattooed Witch delves into a number of themes: I wanted to explore the ideas of religious persecution vs. religious freedom, personal spiritual experience, and brushes with the occult. I wanted to paint a bigger reality than what we normally experience with our five limited senses. Finally, I wanted to look at the different kinds of love we experience (physical and emotional/platonic and otherwise), and how love is defined by the people involved. Mix in a little magic, tattoos, flamenco, and history that's reflective of actual people and events, and you have The Tattooed Witch.

Elevator Pitch: When Miriam Medina and her father are accused by the Inquisition of murdering a high priest, Miriam knows justice is impossible. Their accuser, the Grand Inquisitor, is in fact, the real murderer. Miriam’s only hope is to resort to her long dead mother’s magical legacy: the resurrection of the dead through a magical tattoo.  

I've previously posted the first two chapters of The Tattooed Witch on Suzenyms. You can find them here: http://suzenyms.blogspot.ca/2013/08/the-tattooed-witch-first-two-chapters_1.html

If you want to read a bit more, you can read most of the first four chapters at Amazon: http://www.amazon.com/The-Tattooed-Witch-Susan-McGregor/dp/1927400333/ref=sr_1_1?ie=UTF8&qid=1379521184&sr=8-1&keywords=the+tattooed+witch#reader_B00DZ25XAC

FINALLY, if you'd like to support me as a writer and haven't yet bought a copy of The Tattooed Witch (you'll have my undying thanks if you do - with all the hundreds of thousands of choices of books out there, it's so important for debut novelists like myself to get as much help as they can), you can buy my book from Amazon, Kobo, or Five Rivers Publishing, below: 
 
For the Kindle at only $3.66 - a steal! Or $19.57 paperback: http://www.amazon.com/The-Tattooed-Witch-Susan-McGregor/dp/1927400333/ref=sr_1_1?ie=UTF8&qid=1379522874&sr=8-1&keywords=the+tattooed+witch
For the Kobo at only $4.99: http://store.kobobooks.com/en-ca/Search?Query=The+tattooed+Witch
For either print or e-books from Five Rivers Publishing - Support your local small press! ($25.99 for print and $4.99 for e-book) Go half way down the catalogue list, and you’ll see it: http://www.fiveriverspublishing.com/p/fiction-adult.html

Thanks for your support! Next post, we're back to regular programming.


Friday, August 23, 2013

HYBRID BOOKS, ARE THEY SALEABLE?

WHEN I WAS AT WHEN WORDS COLLIDE IN CALGARY, one of the reading panels I was on was the ‘Hybrid Historical Readings’ panel, which I shared with Graeme Brown and Ronald Hore. As we only had an hour to read, we didn’t have time to talk about what we considered a hybrid novel to be, or how cross-genre books fit into the ever changing paradigm of the publishing world.

Six months earlier and before I signed with Five Rivers Publishing: when my agent was hoping to interest one of the Big Five Publishers in New York, she was told, over and over, that the editors liked The Tattooed Witch, but there was one problem: they didn’t know where it would fit in a bookstore. I went to Jasper, Alberta, on a writing and evaluation retreat. On one of the worst weekends of my life, I considered rewriting the book as a women’s historical. I thought of giving up the vision, of tossing the magic, of limiting the love interest to only one (because, by formula, romance readers want only one love interest, not two). I spent an entire Saturday re-reading Witch and not knowing whether the book was any good or not. On the following Sunday, I vacillated between feeling numb and crying my eyes out. I’d spent six years on this novel, and I was being asked to consider rewriting it. The more I thought about it, the more I realized I couldn’t. If I turned it into a strictly historical, I would destroy it. I would snuff the life from it, I would kill its soul.

One month later, I foresook visions of fame and riches and signed with Five Rivers Publishing, a small, but high quality press. Robert Runté, Editor in Chief, had heard me read the first two chapters from Witch two years earlier at When Words Collide, 2011. He told me then, that if I couldn't interest a big house, he would take the book. Luckily for me, not everyone thinks or works the way the Big Five do.

After the When Words Collide panel, I asked Robert for his take on hybrid books and how often they cross his desk at Five Rivers Publishing. This is what he had to say:

“It’s true that a lot of hybrid books come our way. The big presses are run by their marketing departments rather than editorial. After an editor pulls a book from the solicited submissions and advocates for it through the chain of the editorial department, it's the Director of Marketing and his army of sales reps who get the final word. And there’s no arguing with that, because the big presses have to make money for their shareholders. It would be irresponsible of them to choose books merely because they are good, when what matters is that they sell. They owe it to their shareholders to make a predictable return on investment (and the big publishers carry gigantic levels of debt and overhead) so they have to rely on the tried and true marketing channels.

Even the smaller presses, if they are tied to the legacy model of fixed print runs, cannot handle hybrids. It's difficult to risk your shirt on a novel you don't know how to market. In contrast, we at Five Rivers have no problem marketing it, because our category is 'great novels', or  ‘yet another Five Rivers-vetted novel'. We can take risks others can't, because we have low overheads and because the editors are still in charge - not marketing, not shareholders looking for a safe investment. Our sales model is built on the slow build, on word of mouth, on teachers adopting class sets. Three or four thousand copies a year would be too few for a large publisher to bother keeping a title in print, but over a decade, that's 40,000 sales the author didn't make. With the new publishing model, we'd be quite satisfied with 1,000 copies of a title a year, because that adds up to a significant piece of change over a couple of decades, and sales go up each time an author releases a new title, plus each time the press has another hit. So we can risk books that are cross-overs, or are too original, or are too ‘not-exactly-like-this-year's-best-seller’, because we're looking for great books, not safe, predictable sellers. 

 We believe there are still discriminating readers out there who follow authors and imprints and are not necessarily limited to a single bookshelf or category in a bookstore. And so far, we've been correct. We're already in the black after only three years in operation, which is considered an exceptionally strong showing in the publishing industry (and that, without any government subsidies).”

(Me again: I think what really makes me feel happy about Five Rivers taking on a hybrid book like The Tattooed Witch is summed up in this final statement from Robert.)

“I want to publish quality books, which means books that authors are really passionate about, not books dictated by agents and editors based on what they think (notoriously inaccurately) will sell. I want books with soul, not books that have been engineered to market specifics. I want to hear the author's voice, not that of a focus group. I’m not looking to publish titles that sell by meeting the lowest common denominator. I want, and have been getting, quality writing by writers who are writing from their vision, not a publishers’ needs. My fear is if we get a cross-over shelf in bookstores, then we'll get agents telling authors, “I could sell this if you just added a romance-paranormal sub-theme!" Bah, humbug! All it has to be to me is brilliant.”

(Thank you, Robert. You've restored my faith in the industry and in myself.)

Thursday, August 01, 2013

THE TATTOOED WITCH - THE FIRST TWO CHAPTERS

AS MANY WRITERS DO with their books, I've decided to follow their example and post the first two chapters of my debut novel, The Tattooed Witch on Suzenyms. If you want to read a bit further, Amazon has posted a larger sampling (almost four chapters) on their site. Welcome to medieval Spain in a parallel world. Welcome to magical tattoos, gypsies, witch burnings, and flamenco. Steep yourself in blood, passion, love, and survival. This is the world of Miriam Medina as The Tattooed Witch.

Chapter One
Host Maligno

            In the furthest corner of the gilded bed chamber belonging to Alonso de Santangél, High Solar of Granad, Miriam Medina stood as still as a porcelain vase. Only the occasional blink of her eyes and the even, slow rise and fall of her breasts betrayed her presence although the priests in the room knew she was there. She had watched the dawn come, had marked how the sun spilled through the crenellated glass, how it had cut bright patterns across the floor. Her assistant’s tunic clung to her like a damp tent, as heavy as the velvet drapes on the windows. Sweat trickled between her breasts. A potted oleander bush, heavy with blossoms, shielded her from view. To her reckoning, she had been banished to her corner for five hours now. In this place, Miriam Medina knew it was better to be ignored.
            She breathed through her nose and tried not to gag. Beneath the powdery scent of the oleander, the room stank of old men. She could smell her own sweat, too. The heat of the day was not the only cause. The priests had rounded on them when she and Ephraim had arrived. Their open hostility startled her so much that she had stepped on her father’s hems. A woman! In the High Solar’s chamber? What are you thinking, Doctor Medina?
She is a drudge, nothing more, her father maintained. They both knew it for a lie. And then she had been banished to this corner as if she were no more than a child. So demeaning, considering Ephraim knew her true capabilities.
You’re at a loss, Papa. One touch and we’ll know what ails the High Solar.
No. It’s too dangerous.
But you said so yourself—you don’t know what ails him!
I have my suspicions.
And they are?
They don’t matter. I will deal with it.
And if he dies, what then? They’ll blame you. And then, what will happen to me?
It had been an unkind thing to say, a selfish thing to say, but it had been the only way to move him. Against his better judgment, he had agreed. 
You’ll do nothing until I call you, Miriam.
Yes, Papa.
You’ll stay out of the way and not dare to move.
Yes, Papa.
And if I call you—that’s ‘if’ Miriam—you’ll determine the trouble. Then you’ll return to the house and stay there until I come home.
It wasn’t fair, this pretense they were expected to maintain. She considered the room full of priests. These old men—they lived one way but preached another. Wasn’t it Sul who had said, ‘Hide not your light beneath a bushel, but place it on a candlestick, so that it giveth light to all the house?’ Hers was a unique gift, but if she ever displayed it openly, they would accuse her of congress with demons.
If he would just call me. She closed her eyes to suppress her impatience and ignore her thirst. In spite of the sunshine, the bed chamber was littered with enough candles to light a nave. What the High Solar needed was darkness and solitude. Ephraim had suggested it, but the priests insisted that their patriarch needed the blazing protection of Sul all about him. It mattered not if the heat contributed to his demise.
A small page in white livery appeared in the doorway. He held a steaming bowl of broth in his hands. Earlier, Ephraim had turned away Alonso de Santangél’s breakfast. The monks had tried to feed him, but he had spit up the gruel. Clear liquids only, Ephraim maintained.
With a nod, Ephraim beckoned the boy forth and accepted the broth. The monks in front of her shifted, affording her a better view of Alonso de Santangél.
She caught her breath.
Without his robes of office or a miter upon his head, he was a much younger man than she had assumed, about thirty years of age. A tonsure of blonde hair ran about his head like a crown. He had the face of an angel—beautiful in a stern sort of way, although at the moment, the visage was marred by pain. His bare chest was well muscled for a man of the cloth. He looked as if he spent his days scything grain.   
He was handsome! The realization came as a shock. What business did a Prince of the Church have in being so attractive? And what business did she have in finding him so? Surely, it was a sin to think of him that way, although there were far too many sins as it was.
A flush rose to her face. She had seen naked men before, surreptitiously, through slatted shutters. None of Ephraim’s patients had impressed her—all flabby bellies and flaccid penises, but this one; he would be different, as perfect as any sculptor’s model, his thighs well-formed and his loins…she took a deep breath, thankful that the priests’ backs were turned to her.  
She set aside her attraction with a rigid self-control. She had studied the body’s drives in Ephraim’s medical books. It was logical to feel this way. She was a young woman reacting to a striking, albeit ineligible, man. She eyed the priests about her. At least Alonso de Santangél wasn’t old and dried out, as these others were.
Ephraim set a spoon to his lips. She held her breath—please, Your Brilliance, keep it down!—and chided herself. She was reacting like one of those stupid girls who pressed themselves against the bricks and swooned whenever a conquistador who rode by. Would she be so worried about the High Solar if he weren’t so good looking? She knew the answer to that. She would not.
Alonso de Santangél accepted another spoonful, and then abruptly, he choked and coughed. She bit her lip. All around her, monks muttered in dismay. Ephraim thrust the bowl to the page and reached for a cloth. He leaned Alonso de Santangél to his side and helped him wretch up what little he could. Bloody spittle bubbled from his lips. She held herself tightly, knowing she could not rush to his bedside to help.
A Luster monk approached to help. Ephraim waved him off. “Leave it.” He glanced to where she stood at the back of the room and beckoned her to come. “My assistant will clean it up.”
She blinked. Gods, had she heard him right? He motioned to her a second time, so she dropped her gaze and strode through the priests with her hands clasped. Let them think she was no more than a servant reserved for the most odious of tasks. Alonso de Santangél loomed into view. He is wonderful, she thought as she drew alongside him, like Sul after the Passion. Without a word, she dropped to her knees and thought of the Goddess Lys in her incarnation as the Pietà, Mother of the God. With great care, she swabbed Alonso de Santangél’s face. His flesh was a mottled red. Her attraction fled as fear for him took its place. She wanted to cradle him, to ease his pain. He lifted his suffering gaze to regard her. His eyes were as blue as a summer’s sky. It took all of her strength to refrain from laying a soft hand against his cheek, to reassure him that she would do all in her power to help him. She caught a hint of sweetness beneath his breath. That was wrong. Why should his breath smell sweet? Abruptly, he choked and gagged. When he subsided, she wiped his chin and allowed the tip of her forefinger to touch his face.
A tongue of fire shot through her, burning her throat and turning her stomach into a molten churn. She fought the grey that engulfed her and swallowed. Her legs buckled, but since she was already on her knees, no one noticed. She curled her finger back into her fist and forced herself to breathe.
Trembling, she wiped his mouth as gently as she could, keeping her fingers clear. She couldn’t afford to lose herself. Gods, what had he been given? She ran through the list of possibilities. Alonso de Santangél watched her with sunken, wild eyes, his pupils like dark beetles scuttling in a grave. One thing was certain; she and Ephraim couldn’t leave him alone. Someone in the Solarium had done this, perhaps one of the priests in this room. She tucked a strand of her black hair into her kerchief. Her fingers twitched. Ephraim watched them intently.
Poison, she signed, knowing the awful truth of it. Monkshood or oleander.
Her father’s eyes narrowed. He glanced at the soup. He reached into his bag and withdrew an envelope—medicinal charcoal for toxins.
“Take that away,” he told the page, indicating the bowl of broth, “and on pain of death, don’t touch it.” He stared hard at the lad, knowing the proclivities of young boys. “From now on,” he told the breathless assembly, “no food or drink passes the High Solar’s lips that I don’t prepare.”
“But what is wrong with him?” demanded the Solarium’s Exchequer. He looked like rabbit about to bolt for its hole.
Ephraim tipped the charcoal into a cup of water and set it to the High Solar’s lips. “It’s a sensitive matter, Luminance. When His Brilliance is stable, I’ll share my diagnosis with you in private.” Her father was no fool; the last thing he would do would be to air their suspicions publicly. He coaxed Alonso de Santangél to drink. To Miriam’s relief, he kept it down.
“You must have some idea,” the Exchequer pressed. “Is he contagious?”
“No. What ails him isn’t due to any humor of the air, nor is it a god-sent punishment. He is sick through no fault of his own.” Ephraim eased Alonso de Santangél to his pillows. “I want this room cleared. His Brilliance needs peace and solitude if he’s to recover.”
The Exchequer frowned, less bothered now that he was unlikely to catch a plague. As the priests grumbled, Alonso de Santangél captured her gaze. His eyes bore into hers as if she were his last link to life. His fingers trembled. He lifted a shaking hand as if to touch her.
A harsh clatter of boots came from down the hall. The tramp grew louder. Miriam pulled her gaze from Alonso de Santangél to see what army had arrived. A stark figure in black and white stood framed in the chamber’s doorway. She ducked her head to hide. Gods! Ephraim had said that the Grand Inquisitor had left for Madrone that morning, but here he was.
Flee, her instincts told her. Run and don’t look back.
This was the man that all of Esbaña feared as much as they did a god-sent pestilence. In three major cities, thousands had died smelling the stink of their burning flesh. La Puraficación de la Fé, he called it, a purification of the faith. He had given the town one week to come forward and confess its sins in an Edict of Grace. Most people attended. She and Ephraim had not; Ephraim’s grandfather had been Juden until the family converted fifty years ago. The conversions made little difference to the inquisitors; they didn’t believe them. Now, it was too late.
“What is this?” Tor Tomás demanded. He swept into the room, his boots striking hard against the marble. No one said a word as he stopped before her. She lifted her head to meet his gaze, hoping she looked as benign as a lamb. His eyes were a strange color, so yellow as to be reptilian. He wore no tonsure as the other priests did, but had shaved himself bald, as if to impress Sul with his greater sanctity. His head resembled a cracked egg. A thin line cut across his face—an old scar, she realized. His only other ornamentation, other than the official Brand upon his chest, was a tiny hoop in his left ear. He looked more cutthroat than priest.
Ephraim cleared his throat. “This is my daughter. She cleans for me, nothing more.”
“Monk’s work.”
“I take the sputum to my residence to study, Radiance. She knows how to collect it.”
Tor Tomás dismissed the excuse with a wave. His fingers were long and thin, the nails uncut. Something dark and ruddy rimmed their bases. “She has no business here. She taints the very air.”
“Forgive me, but I beg to differ.” Ephraim stood his ground.  “Even the medical college in Zaragoza allows that women have their place. I can vouch for my daughter. She’s received no schooling, save for what little I’ve shown her. She’s no threat to anyone, least of all, the High Solar. I would not have her here, if she were.”
“How long has she been here?”
“Since early morning, Radiance.”
“And why did you bring her?”
“As I explained, she collects.…”
“You’re lying. You brought her here because you thought she would be needed. Why is that, I wonder?”
“I don’t know what you mean.”
“You weren’t at the Edict of Grace.”
“I’ve been with His Brilliance all week.”
“That doesn’t excuse your daughter.”
The silence was palpable. She felt the weight of the priests’ scrutiny fall upon her. In seconds, someone would point a gnarled finger at her and accuse her of witchcraft.
“She is unmarried,” Ephraim said quickly. “I don’t allow her to travel or stay alone without a chaperone.”
She walked through Granad as she pleased, although mostly to visit the market to buy supplies for the house or their pharmacopoeia. If the priests asked anyone who knew them, they would uncover the lie.
Alonso de Santangél groaned. The focus in the room shifted. Tor Tomás pursed his lips. “How is the patient?” he asked dryly.
“Not well. I’ve administered a tincture,” Ephraim said.
“You prepared it yourself?”
“Of course. I wouldn’t trust any woman to handle it.”
She closed her eyes. Another falsehood. Fortunately, the Grand Inquisitor didn’t question it. He studied Alonso de Santangél for a moment and then snagged his cheeks between his thumb and forefinger. “He doesn’t look well,” he said, handling him as he might a melon in the market.
The High Priest sputtered to life. His arms shook as if he had no more strength in them than a man twice his age. His hands flailed. He wheezed and choked.
“Radiance, please.” Ephraim set a restraining hand on the Grand Inquisitor’s wrist.
The inquisitor released his fingers as if he had touched something foul. He locked his strange yellow eyes with Alonso de Santangél’s blue ones. The two men regarded each other with such loathing, that anyone with a whit of understanding could not fail to notice.
“This is terrible, my Brothers!” Tor Tomás announced suddenly. “Your Patriarch is dying!” He pointed at the Exchequer as if to accuse him of negligence. “Luminance, you can’t allow him to leave this world without administering the Holy Unction. I have with me, a shipment of wine from Madrone. Let a cup of it be used for his last rites.”
“Radiance, there is still hope,” Ephraim began.
Tor Tomás dismissed him. “You’ve done quite enough, Doctor.”
“But I can save him! Wine is the last thing he needs right now. He needs.…”
“He doesn’t need absolution? What kind of heresy is this?” He glared at Ephraim as if he had suggested they drain the high priest’s blood from his veins.
“I don’t mean that! Of course, we all need absolution….”
“Step aside, Doctor Medina. You aren’t the only one who knows impending death when he sees it. Our brother doesn’t need a physician. He needs a priest.” He snapped his fingers. A Luster monk rushed forward with a goblet of wine in his hand.
“Not that.” Tomás waved him off. “The rare vintage I brought from Madrone. Ah, there it is.” One of his retainers stepped forth with a bottle in his hand. The man was as huge and as grim as block of granite. His black and white habit barely passed his knees. Tomás tossed the goblet’s original contents to the floor and ignored the gasps of shock from the clergy. He broke the bottle’s seal.
Ephraim stepped forward. “Please! Not yet, I beg you!”
Tor Tomás ignored him and poured fresh wine into the cup, topping it to the brim. “Great Sul!” he cried, holding it aloft for all to see. “Your shining son, His Brilliance Alonso de Santangél is soon to depart from this world. Let him not descend to the perpetual darkness you reserve for all sinners! Lift him up, Holy Sul! Grant him an eternal place at your side, ever radiant and ever strong, free from the stagnant waters of mortality!”
Miriam watched as the sun caught the rim of the glass. The harsh scintillation blazed like a star. Tor Tomás brought the goblet down and passed his hand over it in blessing. From where she sat, she saw a pale powder fall from his fingers. Before she could speak, the inquisitor pressed the cup to the High Solar’s mouth. Alonso de Santangél raised frantic hands to prevent it from touching his lips.
Stop! she wanted to cry, but Ephraim had already done so. The Grand Inquisitor ignored him and pried the High Solar’s mouth open. Alonso de Santangél had no strength to prevent it. He swallowed—one gulp, two. Wine splashed over his face and gushed from his mouth; there was no way he could not drink. He choked, gagged. In defeat, Miriam folded in on herself. The sacrament went on forever. The priests and monks looked on with distress but did nothing to prevent it.
Finally, the goblet was done. The wine had spilled down the side of the bed and had stained the sheets. Splotches of it spattered her face. She watched dully as Alonso de Santangél went into convulsions. His death was violent and hard, as one might expect for a man in his prime. She closed her eyes, couldn’t block the sounds of his agony. She wanted to clutch him, send her apology flying after him: Your Brilliance…Alonso!  Forgive me! I couldn’t stop him! I’m so sorry! Her throat tightened into a knot, her limbs stiffened into stone. She couldn’t afford to weep. The priests in the room watched in uneasy silence, their expressions grim. At the last moment, she opened her eyes to capture a last shred of Alonso de Santangél before he died. To her horror, he stared at her as a drowning man might, as if she were the last tenuous hold he had on life. She winced, wondering if those blue eyes registered what she was—a girl of seventeen, smitten for the first time and at the worst possible moment in her life, a girl devastated by his dying. With a violent shudder, his head slumped to the side and he gave up the ghost.
She wanted to scream. Tears streamed down her cheeks, but she made no sound. Alonso de Santangél had been stolen from her. Now, he was inextricably lost. The clergy lifted their hands and made the starburst of Sul. Their leader, His Brilliance, Alonso de Santangél, and youngest patriarch to ever have served the faithful in Granad, was dead.
Ephraim helped her rise. She stood, feeling broken, as if some of part of her had fled. Ephraim looked as if he had shrunk inside his robe. He set a trembling arm about her shoulders and drew her away. They passed through the chamber like phantoms in a bone yard.
As they reached the doorway, a strident voice called out, “Stop them! Don’t let them escape!”
Ephraim dug his fingers into her arm. She had been waiting for the Grand Inquisitor’s shout, as had he. A tramp of footfalls rushed up behind them.
Her father stepped in front of her to protect her from the guards. “Why are you stopping us?” he demanded. “We’ve done nothing wrong!”
Tor Tomás confronted them. “Done nothing wrong?” he repeated. “I disagree. You bring a woman into the High Solar’s presence. You allow her to approach him on his sick bed. He dies. You and your daughter are under arrest for the murder of Alonso de Santangél, High Solar of Granad.”


Chapter Two
Potro

They were forced down a long hall and pushed down a narrow set of stairs. Unlike the main floor of the temple with its white marble facades, there was no ornamentation here. The walls looked as if they had been hewn from bedrock. They passed thick doors with barred windows, all monks’ cells at one time, but judging from the moans emanating from them, not now.
“What is this place?” Miriam demanded. They had come to a large door.
“Interrogation Room.” The large monk shoved her into the vault. He was a barrel of a man, at least twenty stone’s weight and over six feet tall. He slammed the door behind her.
She grabbed the grill. “Where are you taking my father?” she shouted. They marched Ephraim down the hall. She strained her neck to see, but the dark swallowed him.
She spun on her heel. The chamber was large. Numerous torches had been set into the walls. Three chairs stood behind a table with quills, ink and vellum. On the far side, a wooden pallet rested on thick legs at a forty-five degree angle. Lines of rope dangled from its sides. Across its width, slats of wood lay. Each slat terminated with a large screw.
Her heart lurched in her chest like a bird caught in a net. Not taking her eyes from the contraption, she forced herself to breathe.
A potro. She had never seen the damage it could inflict, but she had heard of it. As the screws tightened, the ropes bit into one’s flesh. Bones broke and tendons popped. People said whatever they were told to, to relieve their pain. But why torture her if the Grand Inquisitor was already convinced of her guilt?
The answer flared in her mind like a spark on tinder. He might accuse her, but by law, the Crown required confessions. Thus, the vellum and the quills.
A tramp of boots came from down the hall. She backed away from the door as if it might attack her. The same beefy guard who had imprisoned her earlier opened it and stood to one side as the Exchequer and another priest filed in—a secretary to record her confession, no doubt. Before she could run, the guard grabbed her and marched her to stand before her judges as they took their seats. She cringed as Tor Tomás appeared in the doorway. He paused as he beheld her, his snake’s eyes bright.
She flinched. The guard held her firm. His touch was anything but reassuring, but there was something unexpected in it—he wasn’t the brutal thug she thought him to be. He was unhappy with the proceedings. Why? As he released her, the fleeting impression was gone. The secretary smoothed the roll of vellum, took a quill and dipped it into an inkwell. The Exchequer stared at her, his expression sour. As for Tor Tomás—he lounged in his chair, but his glance burned.
A hot flush rose up the back of her neck. His regard was not that of a cold, desiccated cleric arguing the finer points of canon law. He stared at her as the men in the square did, their lust as obvious as the bulges in their hose. She held her head high and ignored him, a foolish stance, but it hardly mattered what she did. From the faint smile touching his lips, he knew it, too.
 “Your name?” The smile disappeared. He was all business now.
She met his gaze boldly. “Miriam Medina.”
“Medina? A Juden name, is it not?” The Exchequer glanced between the secretary and Tor Tomás as if he had just realized it. They waited for her to confirm it.
She lifted her chin. “My family is devout. We are Conversos.”
“As all Conversos claim to be. Still, your father kept the family name,” Tor Tomás pointed out.
“As we are required to do, by law.”
“Miriam is also a Juden name. If your family is so law-abiding, why did your parents choose a Juden name for you?”
She said nothing.
“Do you and your father attend the Solarium regularly?”
“We pay our tithes.”
“That’s not what I asked.”
“We maintain a shrine to Sul at home. We can’t always attend services. My father is often called to assist the sick.”
“Your mother’s name?”
“Mari.”
“Not a Juden name. Her surname?”
“I don’t know it.”
All three blinked at her. “How can you not know it?” Tor Tomás asked.
“She died when I was three.”
“Even so, I find it hard to believe that you wouldn’t know her name. Surely, your father told you. How did she die?”
“An illness of some kind, I think.”
“You think and your father’s a physician.” He turned to the Exchequer and secretary. “Maybe he poisoned her, too. What were the details of her death?”
“I don’t know them.”
He set a long finger to his lips. “Was there some scandal involved? Some reason your father would disassociate himself from her? Was she Juden, as well?”
“We are Conversos.”
“Yes, yes. How old are you?”
She glanced away. “Seventeen.”
“Seventeen and unmarried?”
“My father never arranged it.” Ephraim had, but she had refused all three suits. Every time she had tried to talk to the mayor’s son about the town’s growth, he said her interest demeaned her—she was too pretty to be concerned about such things. The head of the Silk Guild’s nephew rubbed his thighs and spoke to her breasts. The third was a widower three times her age with a daughter two years younger than she. After one too many pats on the knee, she told him he was a lecherous old panderer who should marry someone his own age and leave her alone. He called her a shrew. After that, the suits stopped. She decided she didn’t need men and would remain a spinster all her life.
“You’re a virgin?”
She frowned. It was no business of his.
“Answer the question!”
“Yes!”
He regarded her without saying anything. His gaze drifted to her breasts and lingered on her hips. Her face grew hot. He shifted in his seat. “How did you kill Alonso de Santangél?” His voice returned to normal.
“I didn’t kill him.”
“But your father did.”
“My father hasn’t killed anyone.”
“Yet you practice medicine alongside him. Perhaps you made a mistake.”
“I didn’t….” A trap.  “I do not practice medicine. I only help him clean.”
“Perhaps you assisted in killing the High Solar.”
“I didn’t murder him.” She regarded him through narrowed eyes. He had dropped the powder into the wine. The certainty that he had killed Alonso de Santangél resounded in her heart so loudly that it might have been a bell tolling from a tower.
“Am I allowed to ask you a question, Radiance?” She didn’t wait for him to answer. “Does the god speak to you directly?” The Solarium taught that only saints heard the voice of Sul.
He nodded stiffly, unsure of where she was going. “He sends me impressions.”
“Then if the god speaks to you truly, you know who really committed the High Solar’s murder.”
His eyes flashed. She had accused him covertly and he knew it. The Exchequer didn’t notice. He waved his hand in dismissal. “This is getting us nowhere. She isn’t about to confess unless we put her to the question. Set her on the potro and be done with it. We have a Requiem to arrange.”
The small flush of victory curdled in her gut. She wanted to bolt, but the guard was behind her. Tor Tomás held up his hand and smiled coldly. Why had she been so rash? He would punish her even more severely, because of it. “Not yet, Luminance.”
She swallowed. He was breathing more heavily, now. “With one so young, we must be…indulgent. By all means, go and arrange the High Solar’s interment. Take Brother Diego and the guards with you. I’ll finish the interrogation on my own.”
Her heart hammered in her chest while her head yammered warnings. If they left, there would be no witnesses. What were those marks on his fingernails? He could be capable of anything. She didn’t want to be alone with him.
The Exchequer fidgeted. “I wish it were so easy, Radiance. Unfortunately, we can’t go. The Crown expects us to stick to proper procedure. With the High Solar’s demise, it falls to me to act as spokesman for the Solarium. Granad must remain above reproach. As protocol dictates, I will stay awhile longer.”
Tor Tomás bit off the words. “If you recall, Luminance, I established those procedures. Under their most gracious majesties, I have the authority to change them at will.”
The Exchequer remained unruffled. “Of course, but revisions take time. We’d have to assign a scribe to pen them, and then send them by the fastest horse to Madrone. I wish we had that luxury, but we have a funeral Mass to perform. We can’t leave Alonso for long. Not in this heat.”
Tomás leaned back in his chair. “Let us continue with the questioning. Do you bear any birthmarks or unusual blemishes?” The hooded snake of some new emotion lifted behind his veneer. He was calm again.
She did bear one birthmark, a tiny dark crescent that lay between her breasts like a curl of hair. A moon mark, Ephraim had called it when she was little. She hoped her tone conveyed a lack of interest. “No.”
“You’re sure?”
“I am sure.”
“What about tattoos?”
Tattoos were associated with forbidden knowledge. She didn’t have any, but her mother had had. She scoffed. “Of course not.”
He smiled at her, a serpent cornering a chick. “So, you know what tattoos are?”
“I’ve seen them.” Why had she been so brash earlier? It would have been better to play the fool.
“Where?”
“On a man who visited my father. A sailor. The mark was infected. My father treated it.”
“What did it look like?”
“I don’t remember.”
“How did he treat it?”
“A…a poultice.”
“What kind of a poultice?”
Too great of an understanding of herbs would confirm her knowledge of medicine. Maybe it was too late for that. She had convinced him she was no fool. Drat, her blasted tongue! “I don’t know.”
“Again, that dreary response, you don’t know. Let’s leave her for now, Luminance, and speak with the father. Barto, watch her.” He rose from his chair. The henchman nodded.
The three priests filed from the room and closed the door behind them. The guard was her one chance. She approached him as she might a tame bear. “Your name is Barto?”
He frowned at her and looked away. It was against the rules to speak with prisoners.
“Please. They’ll hurt me. You know this.” She plucked up her courage and set a hand on his forearm.
“Get off!” He pulled his arm away, but it was enough. The touch confirmed what she knew. She reminded him of someone.
“Do you have family somewhere?” If she could appeal to that sense of connection, she might turn him.
He refused to look at her. She thrust a finger at the potro, as if to accuse him of setting it there. “You’d let them do that to your sister, Barto?”
“I don’t have no sister.”
“Your mother, then?”
 “She’s dead.”
“I’ll be dead if you don’t help me! Please! You must!”
He turned his back on her.
He was too big to straddle. She would have to talk her way around him, to coax him. Who did she remind him of? He wouldn’t have a wife. As part of the Grand Inquisitor’s retinue, he wouldn’t have the means to maintain a mistress, either. “Please, I’m innocent, Barto. I…I am only seventeen! I’m too young to die! You must believe me! I didn’t kill the High Solar!”
He looked pained.
“Please, I beg you! Do what’s right and let me go.”
He laughed. “And have my cojones torched for it?”
He might as well have slapped her. Fury found its way up from her throat like coals spewing from a pit. “So, you’d let them burn me instead?  What kind of a man are you? You’re a coward! You’re all cowards! I hate you!” She flew at him, rammed his chest with her fists.
His face twisted with anger. He shoved her aside. “I ain’t no coward! Shut up!”
A harsh staccato came from down the hall. Someone running. The door to the cell burst open and Tor Tomás rushed in, breathing hard.
His face shone with triumph. “Your father claims he never treated anyone with a tattoo! Which means you lied to me, Witch! I suspect you know all about them, that you’re hiding a few yourself! Hold her, Barto. Let’s see what kind of a creature she really is.”
She drew back in alarm. Her heart pounded in her ears. “I don’t have any tattoos!” she insisted. If they stripped her, they would find the birthmark. They would put her on the potro. It was only a matter of time before she told them everything—how she did more than assist Ephraim, how she prepared his potions, and worst of all, how she sensed others with a touch.
“Don’t stand there like a fool! Seize her!” Tomás’s words set Barto into motion. She backed away from him but kept her eyes on the two of them, looking for a break in their front. With Barto on her right and Tomás on her left, they hemmed her like hounds on a doe.
Her fingertips bumped the far wall. She made a mad dash past Barto, but Tomás lunged and caught her in his horrid hands. He swung her around and slammed her into the table. Quills flew through the air. His eyes were feral, he stank of wine. He pushed her down, grappled her breasts. She screamed and kicked him only to win a blow to her head. The pain stunned her. She choked in shock.
“What are you hiding, Witch?” His lips nuzzled her ear. His lust felt as greasy as blood. He drew back his arm and struck her again. The blow shuddered through her cheekbone. She bit her tongue. She gasped and turned her head away, fearing another strike. Something hard prodded her between the legs. She didn’t have to guess what it was.
“Stop!”
She couldn’t see who had shouted, but whoever it was had enough authority to stay him.
“This is highly untoward! There is no need!” The Exchequer was discomfited by the display of violence. “You can let the girl go. The doctor has confessed.”
The words rang in her head. Ephraim had confessed? Why would he do such a thing? Papa, what have you done?
And then she knew. The answer flattened her like one of Tomás’s blows. Ephraim had lied to save her. Oh, Papa, she thought, you haven’t spared me. You’ve only made things worse!
“He’s admitted his guilt, although he maintains his daughter is innocent. I see no need for us to proceed further,” the Exchequer said.
“There is a need.” Tomás’s weight crushed her. She lay trapped between his arms. “She’s a witch. She has a tattoo, I think. At least one, maybe more. I was about to search for it.”
“Be that as it may, there’s still the Mass to perform. You can leave her for now. Once we’re done, you can deal with her as you see fit. She isn’t going anywhere.”
His mouth brushed her ear. “I want you to think of something while I’m gone,” he whispered, like a lover suggesting favors. “Have you ever heard of a device called ‘the Pear’, little witch? It’s an interesting tool, shaped like its namesake. One inserts it into bodily cavities, like so.” He drew away from her and held his hands as if in prayer. And then he spread them into a ‘V’.
She knew what had caused the blood stains on his fingers.
“Are you coming, Radiance?” The Exchequer waited at the doorway.
Tomás ignored him. “I can’t wait to see how my toy affects you. But of course”—he touched his crotch briefly; she doubted that the Exchequer saw—“you can always beg for the alternative.”
He smoothed down his habit. His intentions were clear, his plans for her delayed, not done.
Her legs threatened to give out from beneath her. As Barto locked the door behind them, she slid to her knees and lay where she fell. Her cheek throbbed where Tomás had struck her. She barely noticed it, chilled by his words. He would return in a few hours and rape her, perhaps do worse things. She turned her face into the flagstones, choked to keep from crying, and utterly failed.

*

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