I sensed Billy around the corner in Mitch’s room. I pushed open the door, but Billy wasn’t in physical form. He must be here. I could sense the Fae presence. He apparently decided to take the form of a fly or something and was very close to Mitch, who sat in front of his TV playing some war game. Two other boys sat behind him just staring. I glanced up at Sara—she was frozen—her eyes wide.
She was probably appalled by Mitch’s giggles as he mowed down enemy soldiers.
“Hey Mitch, why don’t you let Scotty play with you?”
He didn’t respond to me.
I raised my voice a little louder.
“Mitch, didn’t Mom say you weren’t supposed to play this game? Remember, the whole too violent thing?”
He turned his head toward me. “I don’t care what she says—sis.”
I was caught off balance by the nastiness in his voice. His green eyes flashed and his dimples were as big as ever, but I sensed it and immediately understood Chalen’s back up plan. The little monster sitting on the bed was identical in every way, but it wasn’t Mitch. It was Fae.
ACKNOWLEDGEMENTS
Originally, writing The Steward began as a tool to relax, a way to immerse myself in a fictional world and a way to have a little fun while doing it. Two years ago I never imagined anyone else reading it. To get it from where it was, in the summer of 2010, to where it is now has been a labor of love, and one that I wouldn’t have accomplished without some very important and wonderful people. I have to thank my “beta” readers, Summer Jackson, Susan Duell, Lori Holyfield, Shelly Cooksley, Jim Roe, Helen McCumber, and David Woodrin, all of whom offered advice, and more importantly, tremendous enthusiasm for the project. Often times their words were the fuel that kept me going. I need to thank my mom, Pat, step-dad, Cliff and sister-in-law, Priscilla, for taking the time to read the early drafts and offering their unwavering support. I owe a tremendous debt of gratitude to Marcella Thompson, who helped me trim the fat from the early drafts and offered a great deal of encouragement as I waded into the publishing world. One of the most incredible elements of the book, the cover art, is the product of my friend, a gifted and talented graphic artist, Derek McCumber. His work is astounding and I’m lucky to have it on the cover of my book. More than anyone else, though, I have to thank Rick Shelton, my partner and friend, who spent weeks editing the book, challenging me, and making The Steward better in every way.
Thank you all
Look For
THE CHANGELING
“”There’s Darkness in the wilds”
Book Two
Weald Fae Journals
By
Christopher Shields
FOR MORE INFORMATION
VISIT:
www.wealdfaejournals.com
The Steward Page 42