Show Notes:
Today is part two of two where we are talking to Lilla Glass about her novels. After today you will have heard about writing lyrically, learning the process of things as she went, pivoting as needed while querying, testing out plotting vs pantsing, knowing the major character points and plot points of the series, working with your narrator to nail down pronunciations and character voices, blending genre’s and developing as an author, pulling from folklore, learning and sticking to your voice and the rules for that voice.
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Lilla Glass is an author from Olympia, WA. Her darkly whimsical fantasy debut, The Unseen (Reel of Rhysia book 1) was released in July 2023 by City Owl Press.
Lilla’s short stories have been featured in several anthologies, including 13 by 11 and the Bells of Christmas 2 (published by Papillon du Pere), Enchanted Entrapments (published by Madhouse books), and Tale of Fire and Frost (published by Mystic Owl Press). Her fantasy comedy, “Best Spuds,” received a Silver Honorable Mention from Writers of the Future in 2021.
In the rare event that she isn’t writing, Lilla works one of those pesky day-job thingies, reads stories and poetry she wishes she wrote, hangs out with her husband and bunny, and plays the occasional tabletop RPG.
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Transcript:
Speaker A: Welcome to Freya’s.
Speaker A: Fairy tales.
Speaker A: We believe fairy tales are both stories we enjoyed as children and something that we can achieve ourselves.
Speaker A: Each week, we will talk to authors about their favorite fairy tales when they were kids and their adventure to holding their very own fairy tale in their hands.
Speaker A: At the end of each episode, we will finish off with a fairy tale or short story read as close to the original author’s version as possible.
Speaker A: I am your host.
Speaker A: Freya victoria I’m an audiobook narrator that loves reading fairy tales, novels and bringing stories to life through narration.
Speaker A: I am also fascinated by talking to authors and learning about their why and how for creating their stories.
Speaker A: We have included all of the links for today’s author and our show in the show notes.
Speaker B: Be sure to check out our website.
Speaker A: And sign up for our newsletter for the latest on the podcast.
Speaker A: Today is part two of Two where we are talking to Lila Glass about her novels.
Speaker A: After today, you will have heard about writing lyrically, learning the process of things as she went, pivoting as needed while querying, testing out, plotting versus pancing, knowing the major character points and plot points of the series, working with your narrator to nail down pronunciations and character voices, blending genres and developing as an author, pulling from folklore, learning and sticking to your voice and the rules for that voice.
Speaker A: The unseen Elwyn is remarkably unremarkable, and she prefers it that way.
Speaker B: What more could a thief hope for.
Speaker A: Than to pass through life unseen?
Speaker A: Perhaps it is a talent owed to the training of the notorious syndicate that reared her.
Speaker A: Or it may be a gift from her invisible friend, a clever and capricious creature who, unlike most invisible friends, has only grown more real with time.
Speaker A: Either way, Elwyn’s unremarkability is about to fail her.
Speaker A: Upon absconding to the tiny town of Amblewick in search of a quiet, uneventful life, she catches the attention of two feuding tricksters, each in the market for the perfect pawn.
Speaker A: Through either fate or magical machinations, she soon finds herself in the company of a cutthroat assassin, a wayward prince, and a little girl with a chilling secret.
Speaker A: Despite their differences, this ragtag group of rufians just might manage to save multiple worlds, provided they don’t kill each other first.
Speaker B: So, you said you work better as a panther.
Speaker B: Do you have an idea for like you said, you have a four book contract, right?
Speaker C: Yes, and I do know the overall arc.
Speaker C: I’ve since learned that this is called the Flashlight Method, where you can I used to, in my own weird little brain, call it the mountains above the Fog method.
Speaker C: Like, you can see certain landmarks above the fog, but everything else is just a gray haze.
Speaker C: And so I knew what the mountains looked like.
Speaker C: I knew important milestones for the characters, important turning points in the plot.
Speaker C: But all of the little in between details I didn’t know.
Speaker C: So I’m still using that.
Speaker C: I use it for every book as well.
Speaker C: There’s just certain places that I have.
Speaker B: To get to that makes sense.
Speaker B: I feel like that’s pretty much what I’ve done for, like, the I know the next three novels.
Speaker B: What the big what do you call it?
Speaker B: The climax.
Speaker B: I know what the climax of each novel is.
Speaker B: What else happens to get us there?
Speaker B: I don’t know yet.
Speaker B: And trying to figure out, like, I know this person’s going to be involved, but when are they going to get involved?
Speaker B: I don’t know that yet either.
Speaker B: So you got the paperback and ebook out first, and then did your publisher handle the audiobook or did you do that?
Speaker C: They did.
Speaker C: They handled the audiobook.
Speaker C: Oh, I am so grateful for this publisher.
Speaker C: I’m a nervous person.
Speaker C: And they have been so wonderful and knowledgeable.
Speaker C: And I didn’t even know it was in negotiations for audiobooks until they told me.
Speaker C: I think that I had very lucky timing because Dreamscape Audio just came out with their Lore subdivision, which is really high fantasy and epic fantasy focused.
Speaker C: And that’s what I wrote.
Speaker C: So it is a phenomenal audiobook.
Speaker C: The narrator did an amazing job.
Speaker C: I just am floored that I got that opportunity right out of the gates.
Speaker B: Did you get any say in any of it at all?
Speaker C: Yeah, it’s not necessarily or it wasn’t something that they necessarily had to do, but my audiobook narrator was just really wonderful in that way.
Speaker C: She asked for some pronunciation guides, and she double checked some things with me on the pronunciations and different kind of accents she wanted to use since there are three worlds, each with different nations and cultures in them.
Speaker C: So she did something like 30 accents for this book.
Speaker C: She is incredibly talented because she managed to get one different for each of the side characters, too.
Speaker C: Right.
Speaker C: It’s all distinct voices, and that’s tough to do, I think, in epic fantasy, normally, if you’re listening to, say, a Brandon Sanderson book, you have multiple voice actors that are taking on that task.
Speaker C: So, yeah, she double checked a lot of those accents and voices with me before recording the whole thing.
Speaker B: I’ve had it a little bit of both ways where I have some production companies that are like, I don’t work with any publishers directly.
Speaker B: Directly.
Speaker B: I just do through ACX or publishing, like audiobook publishing houses.
Speaker B: But one of them is specific to reach out through us.
Speaker B: Don’t reach out to the author directly.
Speaker B: We’ll be the go between kind of person.
Speaker B: And then I have some that use some smaller pubs that use ACX that’ll be like, reach out to the author to get any of your questions answered.
Speaker B: We’re just the people that picked your voice.
Speaker B: We don’t have anything to do with anything else.
Speaker B: And they’ll be like, hey, if the author wants to approve the audio, listen to it as you go, that’s fine, and stuff like that.
Speaker B: So I’m familiar with the going around the publisher to talk to the authors.
Speaker B: Also, if you’re using ACX, there’s this whole thing about or in narrator groups they’ll warn you against.
Speaker B: Apparently on that platform, any person with an Author account can go in and claim unclaimed ebooks or books and just say like, oh yeah, I want to make this is mine.
Speaker B: Yeah, it’s mine, don’t worry about it.
Speaker B: And just claim it and make an audiobook.
Speaker B: So I always reach out to Google the author’s name and find their social media and reach out to them that way just to make sure they are aware someone’s making an audiobook of their book.
Speaker C: Yeah, that’s terrifying.
Speaker C: I didn’t know that.
Speaker B: Yeah, in general, I don’t like to waste my time.
Speaker B: It takes like less than five minutes usually to find google their name, find their social media, send them a message.
Speaker B: Now I’ve had a few that they never responded back, but for the most part they respond back and they’re like, oh my gosh, yeah, that’s me.
Speaker B: Thank you so much for reaching out because I’ll say something in there like, I want to protect me and you because I don’t want you to be out money for an audiobook.
Speaker B: Or you get say some person says that they own the audio rights and have an audiobook made, say they have a terrible narrator make it, well, that looks bad on the author, too.
Speaker B: You’ve got this audiobook out there in the world of someone you didn’t approve of or know was making your audio and now they’re going to make money off of your book until you straighten things out.
Speaker B: Like, no, I don’t want to be in the middle of that kind of a mess.
Speaker B: So you have the audiobook made.
Speaker B: Man, I can’t even imagine 30 accents.
Speaker B: That’s so many.
Speaker C: To be fair, some of them are kind of in the same type of accent.
Speaker C: Like, everybody in Risia has either Irish or Scottish accents, but she does different inflections for each character, things like that.
Speaker B: Okay, so 30 characters at least.
Speaker C: Gosh.
Speaker C: I have a character inventing Problem, a character inventing addiction.
Speaker B: I have done over 120 characters before, all in general, American.
Speaker B: So I don’t think 30 is a problem at all.
Speaker B: I do appreciate the ones, though that are like, the character is only there because the character has to be there because then I’m like, oh, that cuts down so much on.
Speaker B: But at the end of the day, a story is a story.
Speaker B: And if you as the author felt that it needed that many characters, then I’m not going to be like, no, right.
Speaker B: So you are towards the end of book two.
Speaker B: Are you going to work to get the rest of this series out before you work on something new?
Speaker B: Or do you have other ones in your brain?
Speaker C: Already have others in the works.
Speaker C: So since there was this two year gap between signing my book deal and releasing the book.
Speaker C: I completed a few drafts of book two and I also completed, I’m now Querying, a second series.
Speaker C: So I completed the first book in that series as well.
Speaker B: Yeah, I mean, two years and you said you’re writing like 6 hours a.
Speaker C: Day or I did a lot of short stories in that time frame too for anthologies and literary magazines and things like that.
Speaker C: So it wasn’t all just focused on those two.
Speaker B: Okay, okay, that makes sense.
Speaker B: So now that you’re I know you promote on TikTok since I found you on there and you said Instagram is kind of your other place, you promote.
Speaker C: I’m trying.
Speaker C: That interface is a little bit more confusing for me.
Speaker C: I’m not the most technologically adept person, so I do interact with people on there, but it’s usually as they reach out first sort of thing.
Speaker C: And I try and post just updates on here’s how book two is going along or I have this event coming up, things like that.
Speaker B: Yeah, I am the worst social media marketer.
Speaker B: I’m not going to say worst because I do consistently post like I post every day, but I post the same exact thing across every platform with the same hashtags and everything because I’m like, I don’t have the time or energy to post what’s supposed to be supposed to be.
Speaker B: Whoever says that on each platform, I’m like, no, I’m just going to post the same thing.
Speaker B: And if it does well, it does well.
Speaker B: And if it doesn’t, I’m okay with that too.
Speaker B: People still follow me, I still get messages, I still get the spammy comments everybody else gets, send it to blah, blah, blah.
Speaker B: I’m like, no.
Speaker B: Is the next series the one you’re currently querying?
Speaker B: Is that one also fantasy or is.
Speaker C: It’S a very different genre?
Speaker C: So my first series is an incredibly lyrical hybrid between epic fantasy and dark fairy tale.
Speaker C: Okay.
Speaker C: And my second series is written in a Victorian literary voice and it is historical fantasy with more of a gothic tinge to it.
Speaker C: So definitely they both qualify under the umbrella of dark fantasy, but one is more Neil Gaiman dark fantasy and the other is more Edgar Allan Poe meets Rom Stoker dark fantasy.
Speaker B: I got to ask you because I’ve never read Neil Gaiman and my book has been compared in some parts to Neil Gaiman.
Speaker B: What is it about Neil Gaiman?
Speaker B: Because I have no idea.
Speaker C: First off, definitely give him a read.
Speaker C: It’s the voice, I think that is most distinctive with Neil Gaiman.
Speaker C: He straddles the line between spooky and sweet really well in almost all of his books and it’s done in a very witty way.
Speaker C: So if you have a heavy authorial voice that is very much like you’re reading somebody a fairy tale before bedtime, that’s probably the part that’s getting compared to Neil Gaiman.
Speaker B: Okay.
Speaker B: Because it was war scenes that was getting compared to him, which is he.
Speaker C: Doesn’T do a lot of quick action.
Speaker C: Actually, there’s not much quick action in Neil Gaiman’s works.
Speaker B: Yeah, I don’t know, because one of my beta readers had said it goes from, like so the book starts it’s Christmas Time based for the Christmas songs.
Speaker B: And so it starts with, like, she’s in her parents attic helping them decorate for Christmas, right?
Speaker B: Well, then she ends up in this fantasy world and there’s war and stuff like that going on.
Speaker B: And so there’s a couple of very disturbing Christmas songs.
Speaker B: I use Little Drummer Boy as a war scene.
Speaker B: There’s one called The White Winter Hymnal that talks about they’re wearing scarves to keep their heads from falling off into the snow.
Speaker B: And so it’s that chapter specifically, she’s like you went from, like so in the drummer boy chapter, she’s never been to war before.
Speaker B: She’s from our world.
Speaker B: She’s just a normal 25 year old girl.
Speaker B: So it goes from her kind of, like, freaking out that she’s shooting arrows into people to now I’m fighting with blades on a horseback.
Speaker B: But it’s also, like, her second battle.
Speaker B: So I’m like, it would make sense that she’s freaking out in Battle one, and then she’s like, Well, I’ve already done this, but it sucks in Battle two.
Speaker B: I don’t know.
Speaker C: Might just ask them what it is that reminds you.
Speaker C: You said Spader readers, right?
Speaker C: So you could probably just ask them.
Speaker C: Hey, what about this reminds you of Neil Gaiman?
Speaker C: He has a lot of books out there.
Speaker C: I couldn’t just tell you from synopsis.
Speaker C: Let’s call it out.
Speaker B: Well, and I Don’t Know, because he has so many books, I was trying to search through his audiobooks to see.
Speaker A: Oh, we’ll just listen to a little.
Speaker B: Bit of his thing.
Speaker B: And I was like, this isn’t helpful at all because I don’t even know which book she had in mind as she was commenting that and they do.
Speaker C: Have different feels to them.
Speaker C: So you might try Stardust.
Speaker C: That one is the most it’s, to my knowledge, the only secondary world fantasy that he has.
Speaker C: The others are all contemporary fantasies or urban fantasies and things like that.
Speaker C: Okay, so there might be more out there I don’t know of.
Speaker C: I try to read everything by him.
Speaker B: I think that’s the one that I did start listening to the audiobook of.
Speaker B: I don’t know.
Speaker B: I’m getting compared to an author that I don’t know.
Speaker B: And I said something about that to another author, lucky author friend of mine.
Speaker B: And she’s like, I’ve never read any of his stuff either, so I have no idea.
Speaker C: Oh, my gosh, he’s my favorite author.
Speaker C: The day that somebody finally put in the review that parts of my writing reminded them of Neil Gaiman was the day that I danced around the living room singing hours.
Speaker C: So excited.
Speaker C: I get compared more often to Holly Black and Rachel gillig.
Speaker C: I believe that’s how you pronounce it.
Speaker C: And so when somebody finally compared me.
Speaker B: To Neil Gaiman I was they both do fairy tale retellings, don’t they?
Speaker C: So it’s not necessarily fairytale retellings but they are fairy tales, which is what mine is.
Speaker C: It’s an original fairy tale.
Speaker C: It’s not a retelling of anything but it does pull from Irish folklore a lot and Scottish folklore.
Speaker C: For instance one of the villains is very nearly a retelling of the tale of Stingy Jack, better known as Jack of the Lantern.
Speaker C: But that’s not a very commonly known story and it definitely wouldn’t qualify as a retelling because she only has a tiny little role in the book.
Speaker B: Okay yeah so I’ve had to stay away from any retellings that I know are going to be part of my series.
Speaker B: So there’s a really popular I think it’s KF Breen has a Beauty and the Beast series and I have it and I really want to read it because I’ve heard it’s good but because my know all of the fairy tale characters in my story are in pretty much all of the books, so I’m trying to avoid any fairy tale retellings that are from my book influence.
Speaker B: Exactly.
Speaker C: I have never actually read Holly Black, except for I think I read some of the Spiderwick Chronicles as a kid, but I haven’t read Holly Black.
Speaker C: And that’s the one that I compared to a lot, because I don’t want to read anything else with pay in it because I’m worried it’ll influence me.
Speaker C: Especially if it’s more intrigue and dark fantasy than it is romance, which is where I am at.
Speaker C: Which is apparently where Holly Black is at.
Speaker C: I can’t read her yet.
Speaker B: What is the series of hers?
Speaker B: It’s a ya series.
Speaker B: I have I haven’t read Holly Black either but I have one of her series that I haven’t read because I think it is also loosely based on Beauty and the Beast.
Speaker B: So when I finish my series in a few years I’m going to celebrate.
Speaker C: When I’m done with my series is actually reading the Cruel print series because everybody says that I love it and I believe them that I would love it.
Speaker C: I just can’t read it yet.
Speaker B: Yeah, that’s the one.
Speaker B: Now I do have some other retellings.
Speaker B: I have the Guild gleam gold.
Speaker B: That series.
Speaker B: I can’t think of the author’s name on that one but that one’s a King Midas.
Speaker B: Oh interesting thing that will have absolutely nothing to do with my book.
Speaker B: All of the now technically the first Emily McIntyre book in her series the Hooked they are involved in my series but I read that before I knew that.
Speaker B: So the other books are all like scarred.
Speaker B: Is the Lion King retelling?
Speaker B: I don’t have the lion.
Speaker B: She is a genius with how she does things in her books but I’m like yeah Lion King I wouldn’t even have any idea how to turn that into people.
Speaker B: And then she has like, wizard of Oz, which I have no intentions to use that one in my story.
Speaker B: And then the other two are like, Hunchback of Notre Dame and Aladdin I think is one of them.
Speaker B: Yeah, that’s also not in my series at all.
Speaker B: So I’m like, we’re safe, we don’t need to use, we can read the rest of the series.
Speaker B: But the way that she used Peter Pan in Hooked is a completely different way that I’m using Peter Pan in mine.
Speaker B: And at the point that I read that book, I only knew Beauty and the Beast were anyways, we do what we have to.
Speaker B: I’ve kind of always loved, retellings or inspired by’s of fairy tales because we all know, for the most part, all of us know all these stories because Disney did a good job of making them huge.
Speaker B: But just seeing the twist.
Speaker B: The first series I remember reading was The Lunar Chronicles where they’re all like bionic and stuff.
Speaker B: Marissa Meyer is the author on that one and just like, I remember reading that a few years ago and just being like, you can do this with that story.
Speaker B: It’s so cool.
Speaker B: So what is the best piece of advice you’ve ever received and the worst piece of advice you’ve ever received?
Speaker C: I’ll start with the worst because it was really well meaning, but it leads into the best advice.
Speaker C: So the worst advice I’d ever received was my very first beta reader, who is a wonderful person who I still work with, had learned a lot of tips and tricks for writing very modern novels.
Speaker C: And I am not writing in a modern style, but I was new and didn’t know the difference.
Speaker C: Really?
Speaker C: Okay.
Speaker C: So that person had advised that I reduce the number of instances of the word was, be less passive, be closer and deeper into the characters when I was writing a distant third kind of archaic fairy tale.
Speaker C: So I did obey her advice and then the manuscript felt wrong the entire way and I had to go back and undo it and put everything back the way it was because those tricks would have worked really well in a modern novel and they did not work well in the style that I was writing in.
Speaker C: Which leads into the best advice that I’ve gotten, which is know what voice you are going for, know what you want to sound like, and stick with tips and tricks that work for that genre and that voice and that style.
Speaker C: You’re not going to necessarily find the same value in things that work really well for other authors.
Speaker C: And there may be things that work for you that no other author would touch with a ten foot pole.
Speaker C: It’s all about learning what you want to go for.
Speaker B: Yeah, that probably the hardest editing thing that I had.
Speaker B: So my book is first person present tense, except for the journal entries, which are first person past tense because it’s a journal entry.
Speaker B: So you’re writing what happened in that day or week or month or whatever, right.
Speaker B: And at the very end of the book, there was one journal entry and the editor is like, P.
Speaker B: S.
Speaker B: This entire thing is written in present tense.
Speaker B: And so I had to go in and make it all past tense.
Speaker B: And I’m like, I don’t know how no one caught that until now.
Speaker B: It is what it is.
Speaker B: So, yeah, that makes sense.
Speaker B: Unless you do something really complicated like me and have some in present and some in past.
Speaker B: All first person, though, as far as reading books, first person, third person, it doesn’t matter to me when I’m reading a book.
Speaker B: But for writing the way that my brain works, I’m like, I could not write in third person because that’s not how my brain thinks of the words.
Speaker B: I’m like, I’m experiencing it through the eyes of the characters while I’m writing it.
Speaker B: So I did this and I did that in my own brain.
Speaker B: When I’m thinking throughout my day, that’s how my brain is.
Speaker B: I’m doing this and I’m doing that.
Speaker C: I think I’m very much the opposite in that way.
Speaker C: It is a struggle.
Speaker C: I’ve had to force myself to write a couple of stories in first person just to get the skill down because it’s all about third person past tense.
Speaker C: I would write Omniscient if I was talented enough, but I think that’s reserved for the greats like Terry Pratt someday.
Speaker B: The same editing lady that I was talking about that does the tips and tricks on TikTok.
Speaker B: She did one about the Omniscient and how basically you have to write your story where you think all the clues and things need to be and then completely tear it apart and redo it and all this.
Speaker B: And I’m like, that sounds like way too much work.
Speaker B: No, thank you.
Speaker B: I’m like, yeah, no, I don’t think I could ever pull that.
Speaker B: I mean, never say never, but it sounds like a lot of work.
Speaker C: I think that it clicks more easily.
Speaker C: Like you said, your brain naturally thinks in first person, and that’s very hard for me.
Speaker C: So I think that it just has to do with how our brains work, whether or not that is complicated or simple.
Speaker C: Because, yeah, one of the reasons that I didn’t know that I wanted to be a writer for so long was because so much is written in this first person present, this very real and visceral in the moment way that my brain doesn’t necessarily comprehend.
Speaker C: So even though I love those stories, I really do, I was thinking of it as these are books that just magically appear on a shelf, right.
Speaker C: Because my brain doesn’t work that way.
Speaker C: And so this is me entering another world through this magical leatherbound portal.
Speaker C: And then when I read books by, say, C.
Speaker C: S.
Speaker C: Lewis or Gaiman, I the way that the prose worked was the way my brain worked.
Speaker C: And so I realized that there are actual people writing these books and that I could maybe do it too.
Speaker B: Yeah, very well known people when you’re talking those two names.
Speaker C: Right.
Speaker C: I read a lot of c.
Speaker C: S.
Speaker C: Lewis growing up, but I didn’t read Neil gaiman until I was in my.
Speaker C: Then I’m like, oh, this reminds me of things, and maybe there is a connection here.
Speaker C: Well, thank you so much for having me on today.
Speaker C: Sorry for all of the rambling.
Speaker C: Normally I get a cup of coffee in beforehand.
Speaker B: You’re fine.
Speaker B: I also rambled on this one.
Speaker C: People will just have to put up with the rambling.
Speaker B: All right, well, you have a good rest of your Saturday.
Speaker C: Thank you, and have a great day.
Speaker B: You too.
Speaker B: Bye bye.
Speaker A: Lila based parts of her book on the legend of Stingy Jack.
Speaker A: Today we’ll be reading that story.
Speaker A: Don’t forget we’re reading Les Morte de Arthur, the story of King Arthur and of his noble knights of the roundtable on our patreon.
Speaker A: You can find the link in the show notes.
Speaker A: This is the legend of Stingy Jack.
Speaker A: Stingy Jack was a miserable old drunk who loved playing tricks on anyone and everyone.
Speaker A: One dark Halloween night, jack ran into the Devil himself in a local public house.
Speaker A: Jack tricked the Devil by offering his soul in exchange for one last drink.
Speaker A: The Devil quickly turned himself into a sixpence to pay the bartender.
Speaker A: But Jack immediately snatched the coin and deposited it into his pocket next to a silver cross that he was carrying.
Speaker A: Thus, the Devil could not change himself back, and Jack refused to allow the Devil to go free until the Devil had promised not to claim Jack’s soul for ten years.
Speaker A: The devil agreed.
Speaker A: And ten years later, jack again came across the Devil.
Speaker A: While out walking on a country road, the Devil tried collecting what he was due, but Jack, thinking quickly, said, I’ll go, but before I do, will you get me an apple from that tree?
Speaker A: The Devil, thinking he had nothing to lose, jumped up into the tree to retrieve an apple.
Speaker A: As soon as he did, Jack placed crosses all around the trunk of the tree, thus trapping the Devil once again.
Speaker A: This time, Jack made the Devil promise that he would not take his soul when he finally died, seeing no way around his predicament, the Devil grudgingly agreed.
Speaker A: When Stingy Jack eventually passed away several years later, he went to the gates of Heaven, but was refused entrance because of his life of drinking and because he had been so tight fisted and deceitful.
Speaker A: So Jack then went down to H*** to see the Devil and find out whether it were possible to gain entrance into the depths of H***.
Speaker A: The Devil kept the promise that had been made to Jack years earlier and would not let him enter.
Speaker A: But where can I go?
Speaker A: Asked Jack.
Speaker A: Back to where you came from, replied the Devil.
Speaker A: The way back was windy and very dark.
Speaker A: Stingy Jack pleaded with the Devil to at least provide him with a light to help find his way.
Speaker A: The Devil, as a final gesture, tossed Jack an ember straight from the fires of H***.
Speaker A: Jack placed the ember in a hollowed out turnip, one of Jack’s favorite foods, which he always carried around with him whenever he could steal one.
Speaker A: From that day forward, Stingy Jack has been doomed to roam the Earth without a resting place, and with only his lit turnip to light the way in the darkness.
Speaker A: Thank you for joining Freya’s fairy tales.
Speaker A: Be sure to come back next week for ML’s journey to holding her own fairy tale in her hands and to hear one of her favorite fairy tales.
