The Indigo King - James A. Owen [1]
Acknowledgments
The Indigo King was the book that I most looked forward to writing, the book I dreaded writing, the book that was the hardest to write, and my favorite book so far. And it would not be the book that it is without the hard work and dedication of my editors.
David Gale is exceptionally patient and knows how to persuade rather than push a writer. He gave me support when I needed it, and room when I needed that. Navah Wolfe, whom I got to know as an online friend prior to her employment at Simon & Schuster, is an excellent editorial assistant for David and is as first-class as they come where this author is concerned. She is smart, and caring, and she kept me on my game. Dorothy Gribbin remains an editorial rock in my world. I’ve often rethought certain passages just because I knew she’d question them. And it’s always been for the better. And Valerie Shea is a rock star. I sometimes feel like she’s been more exacting with details than I am, and that fact both impresses and humbles me.
My legal team added a new name, Erik Hyman, who is both deft and witty, and as reliable as his Loeb & Loeb compatriot Craig Emanuel. Both have been invaluable supporters of my work, as have my managers at the Gotham Group: Julie, Ellen, and Lindsay. Ben Smith at ICM remains the agent’s agent, and I am grateful to them all.
My senior apprentice, Mary McCray, stepped to the forefront of the work on this book by turning all of my thumbnail sketches into full-size layouts. Lon Saline, apprentice emeritus, added his skilled touch to several pages, and Jeremy Owen kept all of the trains running on time at the Coppervale Studio while also doing a smashing coloring job on the cover.
Joe Pruett of Desperado Publishing helped me to jump-start a few projects that have languished for far too long and in the process gave us another vehicle for promoting the novels.
Justin Chanda, publisher of Simon & Schuster Books for Young Readers, opened a door into our mutual future—and I am lucky to have him on my side. Also on that front, my publicists Kate Smyth and Paul Crichton have done a stunningly good job of promoting me and my work, organizing my tours, troubleshooting, and in general just taking good care of this author. And my art directors, Lizzy Bromley, Chlöe Foglia, and Laurent Linn, continue to make the books look better than I’d dreamed.
Joe LeFavi brought me together with Jason Lust, Lisa Henson, and Brian Henson, all of whom have become my friends and among the biggest supporters of my ambitions.
Stephenson Crossley deserved to be acknowledged in the first two books, as none of them would exist if he hadn’t fed, housed, and encouraged me while I was trying to sell the first book—but his girlfriend, Karen, said if I didn’t wait until at least the third book, he’d be impossible to live with.
And not least among my influences, I want to thank Jimmy Swihart, my first business partner, who has recently come back into my life and brought with him some great memories.
The greatest of my influences, however, is my wife, Cindy. Without her, I would not have lived the life I have, had the family we’re raising, and created the work that I love. And I am forever thankful for her love and support.
Prologue
In the centuries that would pass, the spacious stone room known as Solitude would fill with an accumulation of culture; not by design, but because those who would eventually come to seek the occupant’s skills would feel the obligation to bring something, anything, as gifts, or perhaps tribute. But that was in a time yet to come. In the present moment, it was empty save for the items he’d brought with him: a torn robe, an empty scabbard, a quill and half-filled bottle of ink, and as many rolls of parchment as he could carry.
When he entered, the door had swung shut behind him. He knew without touching it that it had locked, and also, with less assurance, that it would probably not be opened again for many years.
He had once had a name—several names, in fact—all of which were irrelevant now. In his youth