I’m Jordan B. Jolley, author of The Tales of Draco and Fairy Tales, Fables & Other Short Stories. These books go into the depths of folklore and how it connects to our very reality. Magic spells and creatures of legend are only the beginning of what you may find within the pages of these enchanting books.
…I am profoundly passionate about my writing.
Over the years since becoming a writer, I’ve had people ask me a family of questions. Usually I have friends and neighbors say, “How is your new book coming along?” or “Are you selling many books?” I have to admit, these questions do get a little redundant over time, but I don’t really mind it; they’re just close people being polite. However, it’s also often that people say things to me that are, frankly, really annoying or blatantly condescending. The most common of these examples is when someone tells me something along the lines that books are obsolete, that nobody reads things anymore, or that I should just let A.I. do the writing for me. These comments are what really annoy me. Not only are they rude things to say to a writer, but it shows just how ignorant people can be about the profound impact literature has had on human society, and how it still impacts us today.
First of all, literature is not dead, nor is it dying. People have told me that books are obsolete and that nobody reads them anymore, that they have been replaced by movies and video games. It’s true that in recent years more people spend time watching movies or playing video games, and that they offer their own ways of telling stories. The fallacy is that people tend to believe that because there are new ways to tell stories, they replace the more traditional methods. But this isn’t the case. It’s like saying that cinema has replaced stage productions. It’s true that cinema is more easily accessible, but it has in no way killed the stage, as live theatrical productions are still alive and well. The same goes for the notion that literature has killed the art of oral storytelling, as some scholars claim. Basically, from my perception, writing down a folk legend preserves a certain version of the story in print; but it doesn’t kill the evolution the legend goes through. Take the story of Snow White for example. This tale had already existed for many years and in many variations when the Brothers Grimm wrote down their version. Their version still exists in books today, but that hasn’t stopped the folk tale itself for evolving and adapting to our changing society. The same is true for Disney’s 1937 version: it’s here to stay, but there have still been hundreds of variations of the Snow White tale since then. Literature never killed oral storytelling. If it did, we wouldn’t be telling each other urban legends and campfire stories today. Writing down a story is just another format of storytelling, so is acting it out in a theater or in front of a camera, or playing it out on a console or computer. The written word provides a way to tell a story that no other way of telling it can work, and the same is true for every other format. They each offer their own perceptions.
Another notion people believe is that the physical book itself is dying and is being replaced by its digital counterpart. It’s not uncommon to hear things like the newspaper is obsolete because we get our news online. This is true to a degree, but I don’t think the transformation to an all digital format is near completion. If printed books are obsolete, why are they still in production? If newspapers are absolutely gone, then why are there still news stands and mail-order subscriptions? True, not nearly as many people use the printed format as we used to, but that doesn’t mean it’s absolutely dead now; maybe someday? But even as more written content is being published digitally, does that mean the written word is dying? Absolutely not! Whenever I look at my sales reports for my books, I’ve noticed that my kindle editions outsell my printed books. For one, you can practically carry an entire library in your pocket, and also, buying an e-book is far cheaper than buying the printed edition. I, for one, prefer the printed book. I have a library of my own, after all. But that’s more my preference, and it’s the preference of many others as well. It’s neither better nor worse than the digital format. So you see, digitalization isn’t killing literature at all. Whether on paper or on a screen, you’re reading the exact same words. If anything, digitalization is helping to expand the realm of literature, through e-books and audiobooks.
I have to say that the most annoying thing people tell me about why my writing is pointless is that they believe A.I. has already replaced the human word. I absolutely despise these comments! Do I hate the concept of artificial intelligence? I like to pretend I do, but I really don’t. The thing is, if someone just wants a quick, production of something and isn’t serious about it, then having a computer whip something up isn’t all that terrible. But make no mistake: computers cannot replicate the heart. When an author writes a story, or when an artist paints a picture, those who are serious about their craft produce a window to their personal perception on life, the universe, and everything (Douglas Adams?). Thought, spirit, and heart is what makes the greatest forms of human expression immortal and forever relevant. I know some people will write or draw something simple for a temporary thrill, and I guess A.I. can accomplish that; but if you look at the greatest works of art or literature, A.I. can never replace that.
I may not be a bestselling author or creating a revolution of literature, but I am profoundly passionate about my writing. I have schizoaffective disorder, and this condition has brought me major challenges in life. Times can be difficult for me, and occasionally, I have trouble telling what’s real and what’s not. It’s a terrifying experience. It’s my writing that has helped me navigate through these challenges. Many people with mental illnesses turn to artistic expression to cope; so saying that their craft is dead, or that people will not care about their craft just because they themselves don’t is not only ignorant to say, but it’s also very rude. Literature is not dead. It’s not dying. It’s alive and well, even when there are other forms of storytelling surrounding it. Cinema and theatre are actually forms of literature as well, though I’m primarily talking about the written story. If you truly love a certain genre of storytelling, don’t just shut yourself in one format only. Broaden your horizon, and then you will see just how important, and relevant, literature truly is.
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I’m really looking forward to this, and I hope you’re as excited as I am.
‘Cassius to Krigsansby’ is out and available, and last Friday I did my first reading from it at my local library. The release of my third Draco book has marked a major milestone for me since I started the series: it is the completion for, should I say, the “first phase” of the series. Now, since my event, I’ve had to think about what I should do next.
Quite frankly, even though I have written and published five books in total, my audience is still rather small. When I do book signings, the majority of the people I talk to have never even heard of me or ‘The Tales of Draco’, and when they are interested, they usually pick up ‘Rise of the Dragon’. I understand buying books isn’t always cheap, so people tend to buy my first book then and there, leaving the majority of sales for my sequels to be online. With this being the case, I don’t really feel it is worthwhile to carry as many copies of my sequels as I do my first book to these signings. This isn’t as encouraging as it may sound. On the contrary, I’m already working on the next Draco book. I just believe now, for the time being at least, I’ll publish future volumes in e-book form only. The majority of sales for my books are in the digital format anyway, and it will be more economical for me. That way, when I do book signings, I can focus mainly on ‘Rise of the Dragon’, and for those already into my series, they will still have the satisfaction that more volumes are coming.
Now, even though I am working on the beginnings of the next Draco book, I don’t plan for it to be my next major publication. Though the series is the cornerstone to my library, I would like to broaden my horizons. I have a few ideas for standalone novels, and I’m working on one of them right now. This novel, though not in ‘The Tales of Draco’, will be a part of Elsovian lore. Also, I do intend to publish this novel in print as well in digital formats. The reason being that, in future book signings, the customer will have a wider selection of books to chose from, rather than being obligated to buy the first book of a single series. Besides, writing about a variety of characters, time periods, and themes is a creative avenue I would really like to explore.
While I’ve been pondering this new path of mine, I’ve also thought a lot about my short stories. As with ‘The Tales of Draco’, I believe my two fairy tale books in print is enough for now, for even though my second collection doesn’t necessarily follow up on the first, most people buy the first collection anyway. But as I’ve said in a previous post, writing short stories are like a workout for me to keep my creativity healthy for my novels, as well as exploring themes and ideas I can’t fit into my novels. Because of this, I want to make my short stories more flexible and accessible to my readers. My solution is this: I’ll publish them here on my blog! I haven’t done anything definite yet, but so far I’m planning to create another tab on my website dedicated to my short stories, where they will be available as PDF links. That way they can do more of what their meant to do, and I can work on them if I need a break from my novels.
Hopefully, with these changes, my writing can be accomplished and published in a smoother way, and I can keep at it while going out and about to not only promote my newly-published works to existing readers, but to promote all my works to new readers. I’m really looking forward to this, and I hope you’re as excited as I am.
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Cassius to Krigsansby, the next volume in The Tales of Draco, may be released in early March!
Great news! Cassius to Krigsansby, the next volume in The Tales of Draco, may be released in early March! I’ve already been reaching out to different venues for events this upcoming year, and things are taking shape. In last December’s post, I’ve mentioned that this upcoming book will be a bit longer than my previous two; the reason being that the volume is split into two “books”. I’ve divided them like this because each one serves as a different phase to the overall story.
I’ve mentioned already that the first two Draco books have been building up to a few core themes that will be echoed throughout the rest of the series. I won’t give a way what they are, but I will at least tell you what to look for. If you do want to read the book, keep an eye out for a character who calls himself General Czar; keep especially aware of the things he will say. Also, take note of Professor Harvey Grant and the Isapai-ppeh’newe. The latter name is in Navajo. In these cases, pay attention to not only what these characters say, but what is implied–things hidden form the surface, but ever present.
There are a few other things to look out for. I invite you to learn about the Shi, Ma-hu and Pa-gu, Chantanoga, the Vesuvian Referendum, and Officia Regis. And look out for Thadias, Franz, and a character that was introduced in Rise of the Dragon.
I’m really excited for Cassius to Krigsansby to come out; and in the meantime, I’m working on future projects, including a play. I also have another announcement: I’m now on Reddit, at u/Tales_of_Draco. I haven’t done much there yet, but I will eventually. So many things are happening, and I’m truly looking forward to them!
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You have to go one step at a time; chapter by chapter.
In the past I’ve mentioned some of the difficulties I face mentally. I won’t go into any personal details right now, but I would like to share my methods of working through challenges such as brain fog and disorganized thoughts.
With my third volume in The Tales of Draco, Cassius to Krigsansby, coming out, I’m once again left to crafting new stories from scratch. Frankly, after all this time, it feels strange putting fresh ideas into words again rather than going back and revising through material I’ve already written. Along with a few new short stories, I had begun my fourth Tales of Draco volume last month, and I have to say, the initial writing is difficult work for me. Now that I have no previous manuscript to work on, the conceptualized novel ahead of me seems like a monumental task, which it is; and with it, comes anxiety on how to start. I’ve heard similar things from people about to begin an art project. “I don’t know how to start,” they say. You have the image in your mind, but all you see before you is a blank white canvas. Writing a novel is the same way; I couldn’t even begin on my typewriter! So instead, I handwrote the first few chapters, which helped organize my thoughts, before I felt I had a good enough hold on the story to proceed at a faster pace.
Imagine you are about to drive somewhere you haven’t visited before. You study a map and route you need to take to get to your destination. But once you depart, you find yourself driving in thick fog. You can’t see anything beyond thirty feet in front of you; but with your map, you know exactly where you are. You pass a sign that says a certain town is just a few miles ahead. You can’t see anything of the town yet, but you know its coming. You can’t see the open land around you, but you know exactly where to go.
Many of us have experienced brain fog before, or a cluttered mind. When writing a novel, you may have an idea for a certain scene, but you may struggle with how to build up to it. Therefore, when I at least know the direction the story is supposed to take, my main focus should be on the present chapter. What does the central character of the chapter do, and how can it progress the story in my desired direction? Going back on the art analogy, if you are painting, say, a landscape with a forest in the foreground and mountains in the background, you can’t work on both parts of the painting at the same time. You have to go one step at a time; chapter by chapter. You may find yourself driving through fields in the fog, but as long as you know where to go, you will find destination at the right time, and when you look back, you will find your work coming together as a complete story.
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I consider this book significant in many ways. It serves as a milestone in that it’s the first book in The Tales of Draco that introduces a few core themes I want to express in the series.
For the last several months, I’ve been working with my editor to get my next book ready for publication. Last week I finished my final readthrough of the manuscript, and I’ll be sending it off to my publisher this week. I have to say, it’s been a long road, longer than my last two novels. I remember the night I started the book: I was a junior in high school, and having finished my homework, I sat down with my laptop in front of me (this was right before I began using a typewriter). I remember feeling almost too nervous to start, seeing the blinking marker on a blank page that was meant to be filled with an entire novel. I had my manuscript of The Six Pieces completed by then, but I hadn’t yet made the major changes that appear in the book now. For starters, Jacob and company did not travel up into Utah when looking for the pieces to the portal. Originally, they traveled much farther from Los Angeles, and my upcoming book accommodated that. Also, my inspirations were at a different stage at the time. I had about a hundred Word pages written in my new work by the time The Six Pieces hit the shelves, and when I got back into it, I knew I had to make fundamental changes to the story. With my typewriter I was now using, I practically rewrote the entire story up to that point twice. Like I’ve said to many people before: it’s very hard work, but the fun makes it worthwhile. Of course you have to love writing to make it work.
I’ve come to notice that once I find the groove to translate my thoughts into words, the story, to a degree, forms itself. Because of this, the novel has taken a format that’s different from the first two volumes in The Tales of Draco. The novel is actually split into two books, or sections. At one point, after discussing with my editor, I considered adding content to the first section and releasing it as its own book. But after a series of failed revisions, I feel like the two sections are connected with each other in such a way that the flow of the story will be lost if they’re split into separate volumes. Once the book comes out, you should notice that each section has its own buildup and climax, with the second climax being the more significant of the two.
Regarding length, Rise of the Dragon has around 130,000 words, and The Six Pieces about 136,000. This next book will be much longer, rounding in at about 224,000 words. I don’t think future volumes will be as long as this one; it’s at this length simply because the story required it to flow correctly.
I consider this book significant in many ways. It serves as a milestone in that it’s the first book in The Tales of Draco that introduces a few core themes I want to express in the series. Rise of the Dragon and The Six Pieces have themes of their own engrained into their stories, but overall they serve as buildups to what will be revealed in the third book and later the rest of the series. I’ve tried to avoid stating these themes outright, but rather I want them woven into the story. Of course, Jacob, who narrates the stories, will sometimes offer his personal thoughts on certain matters. I’ll discuss the book’s themes more in this blog once it’s released this spring. I’m really excited for it, and I hope you’re excited, too. In the meantime I recommend you read the first two volumes in The Tales of Draco. Thanks!
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And there you have it.
I was planning on following up last month’s post, but I’m currently going through my final readthrough of my manuscript and my time is crunched. So I’ve decided to release another excerpt. Enjoy!
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“It is my greatest pleasure and utmost duty, under the guidance of Mercury, to address the intellect of the great Vesuvian Empire and elsewhere who has the brave heart and the capable intelligence to listen. As King of the Marin State, the Sulæn Islands, the Province of Icelandia, and the Westport Sector, I feel it is my duty as rightful monarch to restore the strength of Elsov and to preserve the freedom of thought among her people.”
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“This treatise has had many years of preparation. I began writing by the human hand in the early weeks of MCMXLIII, two years before I took up my father’s throne. However, my thoughts and impressions that were molded into this work were gathered well before I took up mine inheritance, even in the days of my primary schooling. Since these early years, I have had a deep connection to my direct ancestor and founder of the original Vesuvian Empire, even Khon-uul, later to become Emperor Vesuvius I. the Great.”
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“At this time, I do not refer to myself as Emperor, but King of the remnants of his old empire. I will inherit the rightful title once all of my true subjects again flock under the banner that I wave. What Vesuvius the Great had accomplished thirteen-hundred years ago must be restored. Not only did he unite the dragon race from the treacherous roots of beastly savagery and unite them to rule, but he reached out his paw to bring unity to an ill kingdom infected by the weakening San’rex dynasty and her equally unenlightened enemies. For nearly a century the Great Vesuvius I. led the battle to purify Elsov of carnal barbarism, and his legacy continues to live on in the realm of epics akin to the kingdoms of heaven. It is now my duty to resurrect the honorable name and finish what my forefathers began so many ages ago.”
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“To some, it may seem unfortunate for me to inherit an empire in ruin. When you are told the stories in your youth of what your inheritance would have been had it not been for the cowardice of your more recent forefathers, you may expect the youth to be disappointed. On the contrary, I consider it a blessing that I began as a governor of a ruined land. Had I not been guided by the Great Vesuvius since before my birth, I may have suffered the same fateful errors that the lineage of Lapregus has made, and I would not be enlightened as I am now. I am well educated in the histories of the land of Elsov, the Angle-lands, and also the dealings of the foreign lands: the so-called First Earth. Yes, there are many who consider this First Earth a fantasy, a mere setting for myths. But mark my words, the First Earth not only exists in her literal form, but she carries significant reflections of our world. In recent decades, many revolutions have taken place in this strange world, and have challenged the works of great men. Many nations there have fallen into miniscule states governed my uneducated peasants, whilst others attempted to reincarnate the great despotism, though in a modernized uniform. I will speak more of this queer realm in a later chapter, before-which I must explain the necessity of my cause:
“It is the operation of fate by time that great leaders, be him man or dragon, should come forth to pull a ruined nation out of the ashes of defeat, stand her back on her pedestal of glory, and guide her forward to eternal honor. Nations come and nations go, as again operated by time through fate; but the hand of one great leader may reach forth, even after his temporal days, to restore his nation that had since faced defeat. Such is the case of the Great Vesuvius as he pointed his eternal paw to my father, King Alidraco the Inspired, and now myself, who bears his name and the name of his son. Death does not retard the Great Vesuvius’s honor. His honor has been restored today! To deny his preeminence would, indeed, be to insult the civilized creature! This is the natural progression of society. How many struggles—how much blood—how many years will it not require to realize the good which I intend to do for the sake of civilization!”
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“These unfortunate matters were what awakened a flame in Khon-uul’s bosom that never before burned in the bosom of a dragon. It was to be revealed to him by divine ordination that he would not only revolutionize the very nature of the dragon, but he was to accomplish something not yet even accomplished by the humans of Elsov: he was to begin a revolution that would rescue civilization from of darkness and savagery, and into a higher realm of thought and wisdom. Legend has it that when this flame was sparked in Khon-uul’s bosom, the entire earth shook violently—castles crumbled to the ground, mountains fell and rose, and rivers rerouted themselves. Yes indeed, the creators of this world were ready to welcome this hero into their eternal glory!”
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And there you have it.
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…if many people today still believe in various types of spirits, then has the belief in fairies really gone extinct?
As some of you may know, on weekdays I work as the librarian at my local middle school. In the library, I have a display of personally selected books on the front desk I recommend students to check out. If a student reads one of those books and gives me a satisfactory summary on it, I reward them by letting them spin a wheel for a prize. I switch out these books every few weeks, and when October began, I decided to put Halloween and horror-themed books on display. I always like to have a selection of nonfiction works as well as fiction. For October, I chose books that were about such things as Orson Wells’ infamous 1938 broadcast of ‘War of the Worlds’ and science books about about bones and archeology. The most checked-out of these nonfiction books, however, were those about the history of spooky events, like mass witch hunts, to the origins of monsters and spooks that haunt our culture today. When I came across these books, it made me think about how old superstitions and folklore have influenced our present society, and how some beliefs, though they may have changed, have survived the Age of Enlightenment.
To many, the 19th century may seem like an age long past. Even just thinking of a year that begins with a one and an eight may make us picture macabre things such as death masks and post-mortem photography, which were common at the time. Think of Bram Stoker’s ‘Dracula’. The book was published in 1897, and had a contemporary timeline. Nowadays, when someone reads this book, the Victorian-era setting seems to add a certain charm to the story that wasn’t in there when it was first released.
With that being said, it might sound strange for me to say this, but I feel that the 19th century is still comparatively recent, and events from this time still resonate here in the 21st century. I perceive it this way because this was the period in history that many centuries-old traditions began to get spun on their heads. It’s generally accepted by historians that the Industrial Revolution began in the late 18th century. With this new ideology emphasizing mass production and urbanization, philosophies regarding things like politics and religion were beginning to change drastically. Our world was changing at a pace that has never been reached before, and that pace is only getting faster. It’s this provocation of long-established philosophies and perceptions on the value of life that I find so interesting. This is why I have a deep appreciation for literary figures from this peculiar century, such as Dickens, Hugo, Tolstoy, and Dostoevsky.
This era, commonly called the Industrial Revolution, is also called the Age of Enlightenment. Many people became realists as scientific theory was reaching new heights. As certain scientific phenomena became better explained, traditional beliefs of their causes having supernatural influence began to diminish. What used to be believed accounts of elves and fairies have become accepted as works of fiction (remember that the 19th century was the golden age of fairy tales). But have these beliefs really become extinct, or have they just been appropriated into modern philosophy? Since Halloween is approaching, the idea of ghosts and ghouls are constantly on our mind. According to The New York Times, a 2019 poll says that about “46 percent of respondents said they [believe in ghosts]. (1)” It’s not quite the majority, but it still is a high number. Interestingly enough, the percentage of Americans who believe in ghosts is on an upward trend. Gallup says that “in 2005, 32 percent of respondents said they believed in ‘ghosts or that spirits of dead people can come back in certain places and situations.’ When Gallup asked the same question in 1990, the result was 25 percent.”
But what do ghosts have to do with fairies? Actually, a lot. In fact, what certain unexplainable phenomena many of us associate with ghosts today, many people of the past have associated with fairies. Furthermore, fairies were oftentimes considered spirits. Take the Banshee, for example: it is common knowledge that the Banshee is a specter of a woman whose wail foretells a coming death. In our modern culture, we tend to depict her as a ghost, but not necessarily a fairy or an elf; yet Irish folklorist John O’Brien states that such entities are “she-fairies or women-fairies, credulously supposed by the common people to be so affected to certain families that they are heard to sing mournful lamentations about their houses by night, whenever any of the family labours under a sickness which is to end by death, but no families which are not of an ancient & noble Stock, are believed to be honoured with this fairy privilege. (2)” Lady Wilde (Oscar Wilde’s mother), another prominent Irish folklorist, says, when describing the Banshee’s appearance, that “it may… be intended to emphasize her state as a fairy creature (3)”, but yet she also refers to the Banshee as a “mournful spirit”. O’Brien and Wilde show us that the terms fairy and spirit can be used interchangeably in this context, though a ghost most-often refers to the spirit of a person who had departed life. Perhaps spirit is an umbrella term for any supernatural being? If this is true, and if many people today still believe in various types of spirits, then has the belief in fairies really gone extinct?
I personally believe in the existence of spirits, but in things like ghosts and fairies, I can’t say I do or I don’t believe in them; though I know many people who do believe in literal ghosts. I feel inclined to say that just because a truth exists in one perception, it doesn’t mean it isn’t true in others. Science only explains how things happen, not why. If there is some nonhuman intelligence influencing certain phenomena, are they not the fairies and ghosts some of us perceive them as? Say that you hear an eerie cry in the woods one night, and as you go to investigate it, you see a pair of ghostly glowing eyes staring back at you. One may know that it’s only an animal, while another may perceive it as a spirit. With this in mind, it could be understood that animals are the causes of some of our beliefs in spirits. If that’s the case, are they not the fairies and spirits that shape cultures? Perhaps I’ll elaborate on this in next month’s post. Until then… Happy Halloween!
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Sources:
(2): O’Brien, John (1768). Focalóir Gaoidhilge Sax-Bhéarla. Nicolas-Francis Valleyre, Paris.
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If you enjoyed reading this post, be sure to leave a like. Please check out my books in the links below. Thank you for your support!
Rise of the Dragon – book one (click here)
The Six Pieces – book two (click here)
Fairy Tales, Fables & Other Short Stories – Collection 1 (click here)
Fairy Tales, Fables & Other Short Stories – Collection 2 (click here)
The manuscript for my next novel is now in its final editing phase! With any luck, it should be released in a few months. In the meantime, here is a is a sneak peek into one of the early chapters:
BOOK I, CHAPTER V: HEITSPEL’S CASTLE
There was a silvery overcast in the Rienland, the southernmost county on the Isle Marin. Sally and Razden, after flying for a good portion of the day, landed on a hillside facing the eerie home of Comitis Heitspel that rose imposingly atop a high ridge, overlooking the angry sea below. Even in the distance, it was clear the polished-stone castle was likely several hundred years old.
Sally knew it would be foolish to openly approach the place. Even though she had seen Heitspel in Maria earlier in the parade, he, as a sorcerer, could have easily transported himself back home in the blink of an eye. Besides, how could one man, sorcerer or not, live in such a large, ghostly place alone—unless he was insane? These concerns did not hinder Sally’s determination, though. She continued down the neighboring hill on foot, avoiding the road. Razden, despite panting nervously, bravely walked alongside his protector. They waded through the frosted grass, all while sniffing the air carefully. Sally found it funny how contrasting Rienland was to Maria, how it was much more rural and dominated by farmland, like the rest of Marin away from the major cities.
Sally and Razden came to the wall adjacent to the front gate. At this point Sally had the dreadful feeling that they were being watched—but by whom? Heitspel? Sally sniffed the air only to discover neither the presence of man nor strange dragon.
“Do we break through the front gate?” asked Razden.
“I don’t think we should,” said Sally. “If no one’s here, it’s best we grab the potion and leave everything else untouched.”
Sally stepped back to examine the wall. The layout of this castle bore a close resemblance to St. Cassius, save for the color and especially the atmosphere. Because of this, her best idea to get in without flying was to climb the jagged walls. Though the stone was wet from the recent rain, she could still latch onto it with her claws.
“Wait here until I reach the top, then I’ll signal you,” she said to Razden.
Sally made satisfying progress up the wall. But about halfway up, her right rear foot slipped on a smooth spot. She yelped in fright, yet she retained her grip. She progressed slowly until finally she scrambled over the ramparts and fell onto the parapet, which groaned underneath her weight. Sally sighed with relief as she peered over the ramparts and nodded to Razden. As he began his climb, Sally looked over the castle grounds. Again, there was neither sight nor sound of man or beast. That did not relieve her paranoia, however. The castle itself, despite its apparent age, was seemingly well renovated to suit a more modern tenant. The parapet, on the contrary, seemed to have been neglected. Sally grew concerned with its integrity.
Eventually Razden reached the top. He too sighed with relief. “Why do you suppose this place is deserted?” he asked.
“I don’t know,” said Sally. “Just remember that it only seems that way. We need to stay sharp.”
Then, much to their horror, the parapet they were sitting on began to buckle and groan. Before either could jump off, the supports of the walkway snapped. Sally and Razden cried out as they plunged toward the earth; fortunately they had more than enough time to gain control of their fall and glide down to the foreground unharmed. They then turned to watch the parapet collapse and crumble to the ground. Sally winced while Razden took cover under her belly. When it was all over, they both ran to the wall of the main building and waited. Several minutes passed, yet not a soul showed to inspect the cause of the awful sounds.
“I don’t understand,” whispered Razden.
“I don’t either,” replied Sally.
After waiting a moment longer, Sally decided it was safe enough to continue. They now stood before the front doors to the castle, which were large enough for a dragon even the size of Vesuvius to fit through. But there was one more problem: the doors were locked. It seemed to Sally that she could easily bump the doors open with her horns. She considered it, too, but decided that the parapet damage could possibly be mistaken as an accident related to the wind, while a destroyed door could easily edify the fact that somebody had broken in.
“Here,” said Razden. “Look at this.”
Sally looked down to where he was pointing. Just at his eye level was a little key-hole; above it was a constellation of five circular holes, each curving in toward each other on the inside.
“Do we need a key?” Sally asked.
“No. Do you see these five holes? It’s a dragon lock. No human can open this door without a key. But for creatures like us, we must only insert our claws into these holes and pull a latch. My problem is that my paw is too small to toggle it.”
Razden took a few steps back to allow Sally to examine the so-called dragon lock. She inserted her claws only to feel them press against some loose pieces of stone. When she pressed them down all at once, she was rewarded with the sound of the latch lifting from the other side. Razden then used his horns to push open the doors. They were now in the castle! The two quickly closed the doors once they were inside, and the latch replaced itself. Now that that obstacle was past, Sally turned her attention to the great hall. The inside, as well as the out, seemed almost exactly what she expected a fairy tale castle would look like. The hall was dark from the lack of artificial lighting (the only interior light came from the high windows), but along the walls were tapestries of monsters, demons, warriors, roses, and depictions of a crescent Alsov—not to mention runes unknown to Sally. Their classic style almost looked Virgilian-influenced.
“Well, Razden,” said Sally, “I know you don’t want to be in here any longer than I do. Where do you think Heitspel’s potion room is?”
“There has to be a potions room or this mansion is unfit for a wizard,” said Razden. “I’ve been in a mansion similar to this before. I understand that sorcerers here like to have their laboratories in the basement, so that it is well-protected from spies.”
“So, we’re looking for a basement, then?”
“I guess so.”
Razden was still nervous, but he led the way. Opposite of the rectangular hall was a grand staircase that led to the second level. Parallel to either side of it were separate narrower staircases leading downward. Unsure which side to take, Razden tried the left. He and Sally had to trot down the steps some ways before they came to a great wooden door, which was locked; but there was another keyhole in the door and a dragon’s lock on the wall. Sally took the honors. When the door swung open, a powerful stench attacked her and Razden’s nostrils. Sally took several steps inside and noticed several different prison cells. They were in the dungeon.
“I want to leave,” whimpered Razden. “There’s something in this cell.”
As both turned to exit, Sally peeked into the cell Razden was referring to: shackled inside was a terribly pale corpse of a little personage, with wings that looked as dry and fragile as rotted leaves. It was a fairy that had died there from neglect. Sally only glanced at it before turning away in disgust and horror.
“How can someone be so cruel?” she lamented.
They hastened to leave the dungeon. Sally gently closed the door behind her. Razden ran up the stairs and turned back toward Sally with tears in his eyes.
“What can we do for the lost soul?” he asked.
“I’m afraid we can’t do anything,” said Sally. “At least he’s no longer suffering. Let’s hurry and get the potion and then go. I hate it here.”
Razden resumed his leadership by taking Sally to the other downward staircase. There was another door resembling the previous, but in an opposite formation. This time the door was unlocked and even slightly ajar. Sally held her breath for a minute in case she would hear someone inside. Hearing nothing, she bumped the door open and peeked in. This other room, barely illuminated thanks to a window-well, was full of shelves of colorful elixirs, bookcases, and a large table topped with papers, pencils, and even a microscope.
“We found it!” Sally cried, muffling her exclamation.
“I’m glad we did,” said Razden quietly, “but can you identify which potion to take that will reverse your shape?”
Sally excitedly examined the different bottles on the shelves. Out of all of them there, there were but three that had the awesome changing in color. Below them was a label that read “Translation”.
“That technically means transformation, right?” Sally asked Razden.
“In this context, I’m quite sure,” he said.
Each of the three translation bottles had a different image drawn on its side—one had a donkey, another maybe a kangrui, and the last a dragon. Sally knew she was no expert on the nature of these potions, but ultimately decided to take the dragon bottle. It was a potion that turned her into a dragon in the first place, and Bluepond had said to her before that it would take the same potion to change her back. Besides, Sally wasn’t keen on the idea of experiencing the form of the other two animals. Very carefully did she take the dragon bottle from the shelf and placed it between herself and Razden. But when the former looked into the latter’s eyes, Sally noticed that Razden did not seem happy—rather curious and even a little scared.
“I have always seen you as a lightscale, as you are now,” he explained. “I can’t imagine you as a woman. You are the first lightscale I have become friends with, and you protected me in Maria.”
Sally looked back down at the glass bottle. “Don’t worry Razden. I’ll still be with you once I change back. I’ll have the same heart as I have now.”
She then, very slowly, broke the seal of the bottle with her claw.
“Before you take it,” interjected Razden, “what are our plans to escape from the Isle Marin?”
Sally pondered a moment on his question. “This glass is pretty fragile,” she said. “I don’t think it’s safe to bring the bottle across the sea to the mainland, especially if there’s a storm coming.”
“What will you do, then?”
Sally pondered further. “When I took this stuff the first time, it was by accident. It made me a little distorted at first, but the transformation didn’t happen until much later. It took Jacob and Clipper a full twenty-four hours for they were changed. If I take this potion, and then we leave now, we’ll reach the mainland before morning. That should be plenty of time. I’d get sick, but I’m sure I can still fly.”
“I trust your reasoning, Sally. You know more about this potion than I do. But this is a risk all the same. If you happen to fall into the water, then I will pull you to shore.”
Sally didn’t think that it would be easy for him should that happen, especially if she was still sick. But she considered it anyway. “Deal,” she answered.
There was no other reason to wait any longer. Sally clenched the neck of the bottle with her teeth then lifted it above her head. She had to suck the slime into her throat, but when she did, she swallowed the entire sour-salty substance. The potion was now inside her body, working its effects. Razden watched with full attention. He tilted his head, realizing he was still seeing the same creature as before.
“Do you feel any different?” he asked.
Sally took a deep breath. “We should go now. I can already feel my stomach churning.”
This time, with more eagerness than caution, Razden rose to his feet and ran up the stairs. Sally followed close behind, but almost ran into him when he suddenly stopped about halfway across the main hall.
“What is it?” Sally asked.
Razden didn’t answer. He looked about the castle with his ears standing straight. Sally too lifted her ears to listen for whatever Razden heard. To her utter dread, she heard the sound of a draconic roar that came from outside the castle. So she was being watched! The latch lifted, the doors swung open, and standing in Sally and Reno’s path of escape was a swampy-colored darkscale. Its glare of pure hatred told Sally that this beast was possibly far more vicious than even the darkscales of the Grün-hære!
“Sally!” bawled Razden.
The blackish-green darkscale roared a second time and spread its wings as if to seal off the rest of the doorway. Razden backed under Sally’s belly, like he always did when he was frightened. As terrified as Sally was, though, she felt all the more eager to leave Marin for good.
“Follow me,” she said.
With an almost half-corkscrew, she leapt and landed facing the grand staircase, which she immediately ascended with Razden close behind her. The darkscale roared once more and charged at them in mad pursuit, all the while flicking its forked tongue and calling out in serpentine manner, “E-ssleth Sssavreth! Ye shall sssendeth!”
He then spat a fast stream of venom, which vainly splattered on the underside of Sally’s tail.
“What did he say?” she called to Razden.
“He said he is Savreth, and he will burn us!” he sobbed.
At the top of the stairs, Sally turned right and ran down the upper corridor. Savreth did not let up his chase.
“E-sleth Savreth! E-sleth Savreth!”
Luckily for Sally, she had a good enough head-start that when she reached the end of the corridor, she turned and burst through the door on her left. Beyond it were more stairs, this time in an upward spiral, barely wide enough for a dragon of her size to run through. She ran up, up, up, in a dizzying rush. At times Savreth was so close behind he could almost snap his jaws over Razden’s tail. Sally nearly turned mad herself by the time she reached the door at the top, which she also broke through. After making sure Razden was still with her, she found that they were in a private chamber in the high tower.
“Come on, Razden,” she commanded, and she charged straight for the window.
The glass and even part of the masonry shattered as Sally broke through. She took a desperate leap and spread her wings once she was clear. Razden did the same. Unfortunately for him, though, Savreth’s close pursuit allowed him to spring forward and seize Razden with tooth-&-claw. Both plummeted to the ground, Razden shrieking in pain and panic. Horrified, Sally spun mid-flight and dove after her young friend. Halfway to the ground, Razden managed to free himself from Savreth’s grip. Savreth attempted to spread his wings and take his captive again, only to be knocked out of control by Sally. Both larger dragons managed to slow their fall. Savreth took a hard landing, slamming into the frozen ground to form a dirty crater. Sally, having spread her wings sooner, was able to glide a short distance from her enemy and had only managed to land in a harmless tumble. Yet when she got back to her feet, she found her world in a whirling blur. Her stomach grumbled in discontent. Already she was feeling ill from the potion’s side-effects! She could barely make out Savreth’s ferocious growl, and then suddenly the swampy-colored darkscale charged straight into her stomach with a terrible force. It was so sudden and so traumatic that as Sally rolled backward, her poor stomach surrendered her most recent meal all over her enemy. Fortunately, the severe expulsion of vomit seemed to have set Sally’s system at ease. Once again her world stabilized, though her mid-section ached terribly from the strike. Savreth took no notice of the bubbling vomit all over him; he wound up for another charge. This time Sally was ready, and she lowered her horns just in time for them to take the impact of Savreth’s set. Sally must have slid back ten feet or so, but she stayed her ground. The moment they stopped, Sally lowered her head to gain an advantage in the horn-lock. Roaring, she jerked her head upward. As Savreth was forced back, Sally took her turn to charge at her enemy’s mid-section. She did, and both fell to the ground, forced into a dog-like fight in which both sought to bite down on the other’s neck. Because Savreth was larger and stronger, he forced Sally onto her back and pinned her down. From where she lay, she found Razden watching anxiously from the ramparts of the wall. This sent another dose of fury within Sally, and, clawing Savreth’s face, forced him off her. While he lay on the ground, Sally delivered another swipe of her claws upon Savreth, who cried out in pain. Then, to insure a head-start, Sally placed her hind feet on Savreth’s wings and launched herself into the air before spreading her own wings and beating them intensely. She eventually reached the height of the wall.
“Razden! Fly out to sea!” she called.
Razden did not hesitate. He quickly jumped off the rampart and flew after Sally. As she had hoped, she had enough of a head-start. Savreth, some short time later, happened to fly to the top of the castle wall, but by then Sally and Razden were well over the sea. Savreth roared again, but did not follow. He watched them for a short time before retiring back into the castle. It was now official: after four weeks, Sally and Razden had finally escaped the Isle Marin!
Sally slowed her flight so Razden could overtake her and guide her westward. It was indeed a miracle that they had left with their lives, but neither were in high spirits after the brutal fight. Though Sally could still fly, she couldn’t help wincing from the chilly air blowing against her open wounds.
“Sally, are you too hurt to fly?” cried Razden.
“I’ll be fine,” she said. “Let’s hurry and get to the mainland.”
Though Sally didn’t say much to Razden, she worried a great deal. The sky was quickly darkening, and they were for sure headed into a strengthening tempest. With her weakness from the fight, and especially with the potion about to affect her body, Sally began again to fear for her life. Of course Razden promised she would drag her to shore should she change while over the sea, but, as a human, she would still be naked. It was clear if she returned to her human form in the sea, she would quickly freeze to death or drown.
By nightfall, the cloud-cover made it almost impossible to see, even for a dragon. The water below began to slosh about so madly that it could possibly topple a ship. The wind waxed in strength till it carried a hurricane-like force. A torrent of icy rain began to fall in thick sheets. The wind and rain together started to toss Sally and Razden in the air.
“How close are we to shore?” Sally shouted.
She discovered that Razden was crying. “I don’t know!” he answered. “This tempest is throwing us away! I’m afraid we’ll be lost!”
“Don’t think that!” called Sally. “We’ll make it!”
Razden responded, but Sally could not hear him over the roar of the storm. Suddenly, the wind surged in power, too powerful for Razden’s little wings, and he tumbled away from Sally’s sight. Sally called for him, but it did no good—Razden had more than likely crashed into the sea.
“Razden!” Sally cried.
She tried to find him, but her wings were too weak. Then her mind, as if answering to the snap of fingers, turned blank, and she also plunged straight into the raging waters. She had no thought of being tossed and flipped about at and below the surface. The last spark of consciousness replayed all her memories, from childhood to her escape from Heitspel’s Castle. At least she and Razden no longer had to worry about Vesuvius.
And there you have it!
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If you enjoyed reading this post, be sure to leave a like. Please check out my books in the links below. Thank you for your support!
Rise of the Dragon – book one (click here)
The Six Pieces – book two (click here)
Fairy Tales, Fables & Other Short Stories – Collection 1 (click here)
Fairy Tales, Fables & Other Short Stories – Collection 2 (click here)
[Adventure gives] me a purpose to write as a witness to the moving world around me.
It seems like a cliché for an aspiring writer to have itchy feet; someone who has an idea for a great story, but one he cannot create while lounging in one place. All literature is based on the world we live in, so why not go and experience the world to drive your story? I have to say that in my case, I somewhat fall into that cliché. I’m not saying that I’m one of those people who considers my home to be the road I travel. I don’t think I would enjoy that lifestyle. However, even though I still have my stake at my home in Idaho, I do feel a good adventure helps me go a long way in my writing. It’s even better that I go on these adventures because of my books. It’s always exciting to go somewhere to do a presentation at a school or a book signing at Barnes & Noble, whether it’s only to Layton, Utah or as far as Los Angeles. The best part about these adventures is that no two are alike. Each trip I go on brings its unique experiences, both fortunate and unfortunate.
Yes, I would say even trips that bring misfortune are great experiences. Sometimes, especially early in my writing career, I would have events that brought little to no interest in my books. It can be discouraging, sitting all day in a little bookstore and not have a single person approach you. But they served as meaningful lessons to me. It helped me change how I approach venues and what I should do to attract an audience. Other misfortunes may not even have to do with the event itself. In more than one instance, for example, when I checked into my hotel, there is a either a technical or communication problem and I couldn’t get my room. Another time, I was planning to meet my sister at a bed & breakfast in Los Angeles, and I wound up getting stranded at Union Station and Universal Studios. When I finally reached the bed & breakfast, I looked in the mirror to find a big black smudge on my face (you can find a picture of me in that condition on Instagram @jordanb.jolley). In these instances, I’ve learned that I’m never really in true despair. Things happen; and most importantly, we need to remember that a true adventure isn’t always one that always goes the way you want it to. I would even say that you can turn a misfortune into the contrary. Whenever we make a mistake, or someone else’s mistake affects us, we can use them as lessons to prepare ourselves for the future. I actually believe that that is one of the main purposes of life: to err and to learn from our errs.
Last July I had a presentation and book signing in Las Vegas. I’ll never forget that nearly four hour delay in Salt Lake City. I know that that may seem pathetic to those who have been stranded at airports for days, but this was the first time I’ve flown since I was nine. It was an unusual experience for me, and I was nervous. While in Las Vegas, I only took taxis and Ubers to where I needed to be. It wasn’t the cheapest way to get around town, but I didn’t want to take public transportation, and I definitely did not want to drive. Being the first book trip I took by plane, I knew I had a lot to learn if I were to do this again.
I believe my trip to Denver last May truly opened up my perception on what an adventure really is. This was the first time I flew alone, after feeling comfortable to do it after the Vegas trip, and this time I decided to take public transit instead of taxis to get around. While on the train from the airport, I thought to myself how common it was for prolific writers who rode in limos and abhorred the thought of riding in anything of less quality. I may be a writer, but I am by no means rich, so alas, I was on the A-line. But during my stay in Denver, as I traveled by rail and bus, I began to consider the other passengers accompanying me. They were most likely locals going either to work or on some errand. This made me think back to the common image of the aspiring writer who craves the thought of going somewhere new and meeting all different sorts of people. I came to appreciate the thought, mingling with these people rather than pretending to be above them.
I understand why some people wouldn’t like the idea of public transit, particularly because of the alleged lack of sanitation. I get that. In fact, After taking the subway and a bus to my bed & breakfast in Los Angeles last month, I looked in the mirror to find a black smudge on my face (you can see me in that condition on my Instagram page). But overall, trains and buses aren’t sties, nor is it meant to be.
Whether its traveling to cities I’ve never visited before, taking public transit, or participating in the event itself, I feel like all these adventures, mixed together by fortune and misfortune, is what truly motivates me to write. When I do write, I don’t really like to do it in one spot for very long. I like to change my location every so often. Whenever I can, I like to take a camping chair to some shade outside, set a flat pillow on my lap, and open up my typewriter to work. Some writers may find it difficult to concentrate with all the noise, but for me, the sounds of birds or children playing is what inspires me. Sometimes I’ll bring my typewriter to a park where I work at a picnic table. I’ve once been writing while watching a little league baseball game. The sounds of the players and parents cheering, of traffic going on behind me, and the ditty of an ice cream truck coming from the parking lot, gave me a purpose to write as a witness to the moving world around me. I love being a writer.
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If you enjoyed reading this post, be sure to leave a like. Please check out my books in the links below. Thank you for your support!
Rise of the Dragon – book one (click here)
The Six Pieces – book two (click here)
Fairy Tales, Fables & Other Short Stories – Collection 1 (click here)
Fairy Tales, Fables & Other Short Stories – Collection 2 (click here)
Be sincere in the content of your story, and especially in your themes. Doing so is what makes a story worth sharing.
To start off, I have to say that the editing process in the next Tales of Draco book is going well. The main editing should be done next month at the latest. When it’s completed, I’ll do a final readthrough of the manuscript before I submit it to my publisher. By the look of it, the book could be released early next year. I’m really excited for this one, since I’ll be introducing a lot of different things to the series, including more on the land of Elsov. When I feel it’s ready, I may post a few excerpts in this blog, so stay tuned! I should also mention that this book will be a bit longer than the first two. Rise of the Dragon has about 130,000 words, while The Six Pieces has about 136,000. My manuscript, as of now, has a little over 218,000 words. Just ot be clear, I’m not trying to make it as long as possible. In fact, some of my friends and family have suggested that I split the book into two separate volumes. I’ve considered it, but I feel it would break up the flow of the story if I did. However, as with The Six Pieces, this single volume will be separated into two parts, each one with its own sub-story. But again, I do not feel these two parts can work as separate volumes. My main priority is to create a story that flows well, so I won’t leave my readers with cheap cliffhangers or rushed/elongated resolutions. Also, one reason why this next book is longer is because I have addressed a couple of different themes that I have built up in my last two books. I want my stories to be entertaining, but I also want them to have meaning.
While this editing process is going on, I’ve been writing down notes in preparation for the next Draco book. I have the overall plot and conflict set, but I still need to figure out how to move the plot forward in a realistic manner. While I do this, I like to question myself on where the entire series is going. When I began writing Rise of the Dragon in 2014, I had the aspiration to create a long, epic series with a specific number of books in it. But my impressions on storytelling have changed a lot since then. Nowadays, I don’t care how many volumes will be in the series, as long as I tell in completion the story I want to tell. I don’t know how many books it will take, but I want to end the series at the right moment without exhausting it. With this in mind, I also have ideas for a few different standalone novels, so I can explore themes I don’t think I can reach in the Tales of Draco and expand my lore in different directions. These ideas, though, are really adding pressure to my mind, and so I have already started on a standalone novel. So far, my books have been published in a pattern from the Tales of Draco to a collection of fairy tales and back. But I don’t want to work on them alone and nothing else, which means I don’t really know what book of mine will be published after the third Draco book. I do have a set of short stories and poems written down. I don’t want to give up those; to me they feel like mental jogs that train me for the marathon, that being the novel. I have been considering finding different methods to publish my short stories, whether I could post some here or approach certain magazines. In the meantime I could work on my next few novels, including the fourth Draco book. But I haven’t made a definite decision yet. If I decide to go down this route, it may be a few years before my next novel will be ready. I’ll do whatever it takes to write a story that works.
My main fear for the Tales of Draco becoming exhausted is because, frankly, I’m aware that a lot of people are upset with certain movie franchises that try to attract an audience by reviving old and respected characters or settings (nostalgia-baiting, if you may). I myself have little interest in newer movies, not that I dislike them, but all the same I do pay attention to people’s reactions to newly-released films. For example, I have a close friend who is a fan of the original Star Wars trilogy, from A New Hope to Return of the Jedi. The second trilogy, from Phantom Menace to Revenge of the Sith, he likes, but not as much as the first. As for the post-Disney buyout, the only one he likes from this era is Rogue One. The rest he doesn’t care for. I don’t want to criticize these movies myself – one, because I’ve never seen them; and two, I don’t mind if people do like them – but I can see, besides Star Wars, how film studios feel that they can turn a profit not by telling creative stories, but by tapping into a successful franchise and using it to sell toys and merchandise. This is not a new idea (see an example here), but it seems a lot more common in this decade so far. That is why, I believe, movies with great expectations are underperforming in the box office. Going back to Star Wars, when the first trilogy was being produced, they had no insurance of success – no franchise cushion to bring in old fans; thus, they had to perform a compelling story to make it work. That is not the case anymore, and this shows in other franchises as well.
The problem is not simply reviving an old franchise. It can still be done really well. The problem is the quality of storytelling. Some writers may think that if you are working on yet another installment in a successful franchise, profit is guaranteed. But so far, this year has proved otherwise. And it’s not just sequels and remakes, either. Sometimes it is a fresh movie with fresh characters, but with a plot, setting, and themes that are over-redundant. Even if these were revolutionary traits to begin with, they can become exhausted. This isn’t only true with movies, either. Some may believe that to write a good story, you have a checklist you need to follow: “You must have this kind of protagonist in this kind of setting. What genre is your story…? In that case, you need to depict this kind of character in this kind of way. Oh, and you need to have your protagonist go through this struggle, and overcome it in this particular way. When the conflict is resolved, then your protagonist needs to learn these things…” I don’t agree with this kind of storytelling. To write the best story you can make, the quality comes from the heart; not some generic checklist. That doesn’t mean you shouldn’t check any of those boxes – it’s impossible to do that – but let your story be guided by sincerity. If you check a box, that’s okay; just don’t go out of your way to check them all. That leads to shallow pandering, and pander is not sincere. Ask yourself why you are writing this story. Be sincere in the content of your story, and especially in your themes. Doing so is what makes a story worth sharing.
I don’t want to see the Tales of Draco become a lifeless skeleton of something it is not. I want to write a story, not a capital franchise. If somebody likes it, they can enjoy it; if not, they can pass on it. Do I write quality stories? It’s a matter of opinion, so I can’t say what you believe. That is up to you to decide. My only plea is to give it a chance.
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If you enjoyed reading this post, be sure to leave a like. Please check out my books in the links below. Thank you for your support!
Rise of the Dragon – book one (click here)
The Six Pieces – book two (click here)
Fairy Tales, Fables & Other Short Stories – Collection 1 (click here)
Fairy Tales, Fables & Other Short Stories – Collection 2 (click here)
The Tales of Draco 