The first scene I ever had of the Gallow & Ragged books was the pike-vs.-knight fight in the beginning of Trailer Park Fae. As with any endeavour involving the Good Folk, music was a necessity, and Robin in particular needed just the right songs.
There wasn’t much music for Gallow at first–most of the light and rhythm went out of him when Daisy died. But slowly, he started to open up to me, and all of a sudden young Jeremy had a ballad, Iron & Wine’s Boy With a Coin. (The video’s pretty stunning, too.) That was also when I knew exactly what had happened between him and Alastair, and how it affected both of them.
There is no enemy like he who was once a trusted friend.
I knew exactly how the trilogy would end the moment I wrote the first words. It was a long, strange ride to get there, almost as wild as Unwinter’s Hunt itself. And every time I grew discouraged, a bright feather would cross my path, or an echo of unearthly song, and I’d know I was committed until that end.
Sometimes a story possesses one, in the old pagan sense of having a genius or daimon. It’s always best to continue such things to their natural end, for unfinished they tend to turn on their creators. Still… when it’s over, one can’t help but feel a sweet piercing pain, and all the songs that coalesced into the book soundtrack express that longing in one form or another.