Part of Series
DRAGON RIDER Vetch had done the unimaginable. He had secretly raised his own baby dragon, a crimson female he named Avatre, and when she first took flight he had been on her back. Although Avatre was new to flight, with the help of his trainer and friend, the dragon Jouster Ari, he had managed to evade pursuit, escaping from the compound that housed the dragon-riding troops of Tia, his homeland's enemies. Aided by the nomadic tribes of the desert, Vetch and Avatre had crossed the vast sands heading north toward the lands still held by Alta. It was Vetch's plan to convey to his half-conquered homeland the secret which he hoped would be the key to Alta's liberation: how to tame dragons. If he imparted this secret to the Altan rulers, would it not give them the edge they needed to throw off their conquerors despite their lesser numbers? And it seemed that his good luck was holding when, after saving a young priestess of noble blood from the dangers of the Great Mother River, he was given entree into the dragon Jouster compound of Alta City. But Vetch, now calling himself by his birth name of Kiron was completely ignorant of the true forces that controlled Alta. For though the royal Great Ones sat on the Altan throne, they did not truly rule. In Alta the Magi, the all- powerful practitioners of sorcery, held the populace—royalty and commoner alike—under the sway of a mysterious weapon. The Magi claimed that the Eye of Light would forever protect their land from Tia—incinerating enemy troops as far away as the seventh canal. But were the Magi really interested in rotecting their land from outside invaders? Or would Kiron find that Alta was burdened with a far greater threat than an enemy kingdom—a threat from within its own borders?
Author
Mercedes entered this world on June 24, 1950, in Chicago, had a normal childhood and graduated from Purdue University in 1972. During the late 70's she worked as an artist's model and then went into the computer programming field, ending up with American Airlines in Tulsa, Oklahoma. In addition to her fantasy writing, she has written lyrics for and recorded nearly fifty songs for Firebird Arts & Music, a small recording company specializing in science fiction folk music. "I'm a storyteller; that's what I see as 'my job'. My stories come out of my characters; how those characters would react to the given situation. Maybe that's why I get letters from readers as young as thirteen and as old as sixty-odd. One of the reasons I write song lyrics is because I see songs as a kind of 'story pill' — they reduce a story to the barest essentials or encapsulate a particular crucial moment in time. I frequently will write a lyric when I am attempting to get to the heart of a crucial scene; I find that when I have done so, the scene has become absolutely clear in my mind, and I can write exactly what I wanted to say. Another reason is because of the kind of novels I am writing: that is, fantasy, set in an other-world semi-medieval atmosphere. Music is very important to medieval peoples; bards are the chief newsbringers. When I write the 'folk music' of these peoples, I am enriching my whole world, whether I actually use the song in the text or not. "I began writing out of boredom; I continue out of addiction. I can't 'not' write, and as a result I have no social life! I began writing fantasy because I love it, but I try to construct my fantasy worlds with all the care of a 'high-tech' science fiction writer. I apply the principle of TANSTAAFL ['There ain't no such thing as free lunch', credited to Robert Heinlein) to magic, for instance; in my worlds, magic is paid for, and the cost to the magician is frequently a high one. I try to keep my world as solid and real as possible; people deal with stubborn pumps, bugs in the porridge, and love-lives that refuse to become untangled, right along with invading armies and evil magicians. And I try to make all of my characters, even the 'evil magicians,' something more than flat stereotypes. Even evil magicians get up in the night and look for cookies, sometimes. "I suppose that in everything I write I try to expound the creed I gave my character Diana Tregarde in Burning Water: "There's no such thing as 'one, true way'; the only answers worth having are the ones you find for yourself; leave the world better than you found it. Love, freedom, and the chance to do some good—they're the things worth living and dying for, and if you aren't willing to die for the things worth living for, you might as well turn in your membership in the human race." Also writes as Misty Lackey Author's website
