the huntress 04 - eternal magic (25 page)

That’s it for the historical and archaeological sites featured in
Eternal Magic.
But one of the most important things about the
Dragon’s Gift
series is Cass’s relationship with the artifacts and the sense of responsibility she feels to protect them. I spoke about this in the Author’s Note for the other books in the series, so this part might be repetitive for some folks (feel free to quit now if so), but I want to include it in each of my Author’s Notes because it’s so important to me. 

I knew I had a careful line to tread when writing these books—combining the ethics of archaeology with the fantasy aspect of treasure hunting isn’t always easy. 

There is a big difference between these two activities. As much as I value artifacts, they are not treasure. Not even the gold artifacts. They are pieces of our history that contain valuable information, and as such, they belong to all of us. Every artifact that is excavated should be properly conserved and stored in a museum so that everyone can have access to our history. No single person can own history, and I believe very strongly that individuals should not own artifacts. Treasure hunting is the pursuit of artifacts for personal gain.

So why did I make Cass Cleraux a treasure hunter? I’d have loved to call her an archaeologist, but nothing about Cass’s work is like archaeology. Archaeology is a very laborious, painstaking process—and it certainly doesn’t involve selling artifacts. That wouldn’t work for the fast-paced, adventurous series that I had planned for
Dragon’s Gift
. Not to mention the fact that dragons are famous for coveting treasure. Considering where Cass got her skills, it just made sense to call her a treasure hunter (though I really like to think of her as a magic hunter). Even though I write urban fantasy, I strive for accuracy. Cass doesn’t engage in archaeological practices—therefore, I cannot call her an archaeologist. I also have a duty as an archaeologist to properly represent my field and our goals—namely, to protect and share history. Treasure hunting doesn’t do this. One of the biggest battles that archaeology faces today is protecting cultural heritage from thieves. 

I debated long and hard about not only what to call Cass, but also about how she would do her job. I wanted it to involve all the cool things we think about when we think about archaeology—namely, the Indiana Jones stuff, whether it’s real or not. Because that stuff is fun, and my main goal is to write a fun book. But I didn’t know quite how to do that while still staying within the bounds of my own ethics. I can cut myself and other writers some slack because this is fiction, but I couldn’t go too far into smash-and-grab treasure hunting.

I consulted some of my archaeology colleagues to get their take, which was immensely helpful. Wayne Lusardi, the State Maritime Archaeologist for Michigan, and Douglas Inglis and Veronica Morris, both archaeologists for Interactive Heritage, were immensely helpful with ideas. My biggest problem was figuring out how to have Cass steal artifacts from tombs and then sell them and still sleep at night. Everything I’ve just said is pretty counter to this, right?

That’s where the magic comes in. Cass isn’t after the artifacts themselves (she puts them back where she found them, if you recall)—she’s after the magic that the artifacts contain. She’s more of a magic hunter than a treasure hunter. That solved a big part of my problem. At least she was putting the artifacts back. Though that’s not proper archaeology (especially the damage she sometimes causes, which she always goes back to fix), I could let it pass. At least it’s clear that she believes she shouldn’t keep the artifact or harm the site. But the SuperNerd in me said, “Well, that magic is part of the artifact’s context. It’s important to the artifact and shouldn’t be removed and sold.”

Now
that
was a problem. I couldn’t escape my SuperNerd self, so I was in a real conundrum. Fortunately, that’s where the immensely intelligent Wayne Lusardi came in. He suggested that the magic could have an expiration date. If the magic wasn’t used before it decayed, it could cause huge problems. Think explosions and tornado spells run amok. It could ruin the entire site, not to mention possibly cause injury and death. That would be very bad.

So now you see why Cass Clereaux didn’t just steal artifacts to sell them. Not only is selling the magic cooler, it’s also better from an ethical standpoint, especially if the magic was going to cause problems in the long run. These aren’t perfect solutions—the perfect solution would be sending in a team of archaeologists to carefully record the site and remove the dangerous magic—but that wouldn’t be a very fun book. Hopefully this was a good compromise that you enjoyed (and that my old professors don’t hang their heads over).

Thank you so much for reading
Eternal Magic
, and if you’ve made it this far in the Author’s Note, thank you for reading this as well! It’s an important part of the story and I appreciate when folks take the time to learn about the archaeological influences in my books. I hope you’ll stay with Cass on her journey, because it’s not done yet!

DEDICATION

For Jon Thomas, the coolest kid I know.

ACKNOWLEDGMENTS

Thank you, Ben, for everything you’ve done to support me. Thank you to Carol Thomas for sharing your thoughts on the book and being amazing inspiration. My books are always better because of your help.

I’d like to thank my good friend and archaeologist Veronica Morris for her help with the pyramid scene in the beginning. Though I made up a lot of the fun booby traps, she helped me with ideas and figuring out what was accurate. It was my friend and fellow archaeologist Doug Inglis’s idea to have the hieroglyphs come to life.

The Dragon’s Gift series is a product of my two lives: one as an archaeologist and one as a novelist. I’d like to thank my friends, Wayne Lusardi, the State Maritime Archaeologist for Michigan, and Douglas Inglis and Veronica Morris, both archaeologists for Interactive Heritage, for their ideas about how to have a treasure hunter heroine that doesn’t conflict too much with archaeology’s ethics. The Author’s Note contains a bit more about this if you are interested.

Thank you to Jena O’Connor and Lindsey Loucks for various forms of editing. The book is immensely better because of you! 

And finally, Cass says the phrase “many hands made light work.” My great grandmother, Frances Sontheim, used to say this, and now my family does as well, so I wanted to include it. Also, when Cass pulls open a heavy wooden door, it’s a reference to the Coconut Grove, a story that my grandfather, Bob Hall, used to tell about why all doors in America open outward. It’s a sad story so I won’t share it here, but the reference was to him. I wouldn’t be who I am without my family, and there would certainly be no Dragon’s Gift books.

GLOSSARY

Alpha Council - There are two governments that enforce law for supernaturals—the Alpha Council and the Order of the Magica. The Alpha Council governs all shifters. They work cooperatively with Alpha Council when necessary - for example, when capturing FireSouls.

Blood Sorceress - A type of Magica who can create magic using blood.

Conjurer - A Magica who uses magic to create something from nothing. They cannot create magic, but if there is magic around them, they can put that magic into their conjuration.

Dark Magic - The kind that is meant to harm. It’s not necessarily bad, but it often is.

Deirfiúr -
Sisters in Irish.

Demons - Often employed to do evil. They live in various hells but can be released upon the earth if you know how to get to them and then get them out. If they are killed on earth, they are sent back to their hell.

Dragon Sense - A FireSoul’s ability to find treasure. It is an internal sense pulls them toward what they seek. It is easiest to find gold, but they can find anything or anyone that is valued by someone.

Elemental Mage – A rare type of mage who can manipulate all of the elements.

Enchanted Artifacts – Artifacts can be imbued with magic that lasts after the death of the person who put the magic into the artifact (unlike a spell that has not been put into an artifact—these spells disappear after the Magica’s death). But magic is not stable. After a period of time—hundreds or thousands of years depending on the circumstance—the magic will degrade. Eventually, it can go bad and cause many problems.

Fire Mage – A mage who can control fire.

FireSoul -  A very rare type of Magica who shares a piece of the dragon’s soul. They can locate treasure and steal the gifts (powers) of other supernaturals.  With practice, they can manipulate the gifts they steal, becoming the strongest of that gift. They are despised and feared. If they are caught, they are thrown in the Prison of Magical Deviants.

The Great Peace - The most powerful piece of magic ever created. It hides magic from the eyes of humans.

Heart of Glencarrough - The child who tends the Heartstone.

Hearth Witch – A Magica who is versed in magic relating to hearth and home. They are often good and potions and protective spells and are also very perceptive when on their own turf.

Heartstone - A charm that protects Glencarrough, the Alpha Council stronghold, from dark magic. It was created through the sacrifice of many shifters and must be tended by the Heart of Glencarrough, a child.

Magica - Any supernatural who has the power to create magic—witches, sorcerers, mages. All are governed by the Order of the Magica. 

Mirror Mage - A Magica who can temporarily borrow the powers of other supernaturals. They can mimic the powers as long as they are near the other supernatural. Or they can hold onto the power, but once they are away from the other supernatural, they can only use it once.

The Origin - The descendent of the original alpha shifter. They are the most powerful shifter and can turn into any species.

Order of the Magica - There are two governments that enforce law for supernaturals—the Alpha Council and the Order of the Magica. The Order of the Magica govern all Magica. They work cooperatively with Alpha Council when necessary - for example, when capturing FireSouls.

Phantom - A type of supernatural that is similar to a ghost. They are incorporeal. They feed off the misery and pain of others, forcing them to relive their greatest nightmares and fears. They do not have a fully functioning mind like a human or supernatural. Rather, they are a shadow of their former selves. Half bloods are extraordinarily rare.

Scroll of Truths - A compendium of knowledge about the strongest supernaturals. It is a prophetic scroll that includes information about future powerful beings.

Seeker - A type of supernatural who can find things. FireSouls often pass off their dragon sense as Seeker power.

Shifter - A supernatural who can turn into an animal. All are governed by the Alpha Council.

Transporter - A type of supernatural who can travel anywhere. Their power is limited and must regenerate after each use.

ABOUT LINSEY

Before becoming a writer, Linsey was an archaeologist who studied shipwrecks in all kinds of water, from the tropics to muddy rivers (and she has a distinct preference for one over the other). After a decade of tromping around in search of old bits of stuff, she settled down to started penning her own adventure novels and is freaking delighted that people seem to like them. Since life is better with a little (or a lot of) magic, she writes urban fantasy and paranormal romance. 

This is a work of fiction. All reference to events, persons, and locale are used fictitiously, except where documented in historical record. Names, characters, and places are products of the author’s imagination, and any resemblance to actual events, locales, or persons, living or dead, is coincidental.

Copyright 2016 by Linsey Hall

Published by Bonnie Doon Press LLC

All rights reserved, including the right of reproduction in whole or in part in any form, except in instances of quotation used in critical articles or book review. Where such permission is sufficient, the author grants the right to strip any DRM which may be applied to this work.

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