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Heather Rose Jones

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Heather Rose Jones

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Heather Rose Jones writes fantasy, historic fantasy, and historical fiction, including the Alpennia series with swordswomen and magic in an alternate Regency setting. She blogs about research into lesbian-like motifs in history and literature at the Lesbian Historic Motif Project which provides inspiration for her fiction. She has a PhD in linguistics, studying metaphor theory and the semantics of Medieval Welsh prepositions, and works as an industrial failure investigator in biotech.

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Heather Rose Jones Alpennia is a sort of "Ruritania" in the sense of being inserted into the existing geography of Europe without actually replacing or displacing any ex…moreAlpennia is a sort of "Ruritania" in the sense of being inserted into the existing geography of Europe without actually replacing or displacing any existing countries. For that reason, I tend to be rather vague about the specific borders to avoid contradicting reality. But if you will allow for a certain elasticity of geography, Alpennia is located roughly in a place where it can border on France, Italy, and Switzerland. Travel via Marseille is mentioned specifically in the context of winter travel when a more direct eastern or south-eastern route over the Alps wouldn't be practical. So the options for travel to Vienna would be either south and then either a coastal or sea route, or north and via Germany (which would still involve mountains at some point).

Under normal circumstances, of course, summer travel to points east would be more direct. Unless there happened to be some sort of mystical interference with the alpine weather patterns that was designed to prevent the easy movement of large numbers of people (such as military units) by those routes …. (Which just _might_ be a relevant plot point in the next book, Mother of Souls.)

By pure coincidence, I was planning to blog about Alpennian geography today. I haven't posted it yet so I can't provide a direct link, but check out http://hrj.livejournal.com under the "Alpennia" tag later for more discussion.

Thank you so much for your question! I love talking about my world-building.(less)
Heather Rose Jones Thank you for asking! (I'm adding that to my list of "interesting ways people have found my novels.")

In fact, when I was first starting to write Daugh…more
Thank you for asking! (I'm adding that to my list of "interesting ways people have found my novels.")

In fact, when I was first starting to write Daughter of Mystery, I decided to keep a "development diary" where I jotted down notes about how the story and the worldbuilding developed, just for my own later amusement. (The story itself went through some fairly drastic changes as I wrote.) The story as first conceived was more of a straightforward Ruritanian romance, without overt fantastic elements.

When I started brainstorming for the nature of the conspiracy that Estefen would trick Margerit into joining, my first idea was some sort of Rosicrucian/Masonic type of group that studied alchemy and ceremonial magic. As I played with that idea, the thought came to me, "But what if the magical aspects were *real*? What if getting drawn into a magical ceremony really did have the potential for physically attacking Alpennia's rulers?"

And here in my notes from December 2007 (when I'd written up to the point of the reading of the Baron's will and was starting to think ahead to what Margerit would be doing in Rotenek) is a note that seems to answer your question very directly:

"I need to develop the 'fantasy' aspects of the world. My current ideas draw from historical supernatural practices except that in this world 'stuff works'. Examples would be alchemy (transmutation, humors, sympathetic magic, the mystic marriage?), the invocation of saints, angels (and demons) with regularly observable and supernatural consequences in the physical world (misc. charms, protections, interventions in natural law, etc.). Overall, the basic principle is 'stuff works', where knowledge and practice are the key factors with some smaller element of chance and talent. I don't want the supernatural effects to seem mechanical and there isn't any clear physical manifestation of the supernatural creatures being invoked, but the results should be systematic, not attributable to chance, and logically related to the method of invocation."

I don't know how much farther you've read in the series. In Daughter of Mystery, the supernatural elements we encounter are mostly religious in context, and in part it's because that's the way Margerit experiences them. But as the series goes on, as other characters with other interests come into focus, and as Margerit's experience of the world widens, we start seeing other venues in which "magical stuff works".

The specific aspect of the Mysteries of the Saints is drawn largely from historical folk-magic practices that use saints as intermediaries (or, if you will, as a conceptual focus for the person performing the work), shading imperceptibly into Catholic religious practices around the cults of saints. In the world of Alpennia, "low magic" is more likely to be focused around objects and arbitrary signifiers (written formulas, use of candles and tertiary relics, etc.) while "high magic" is more likely to be focused around ceremony (scripts and symbolic roles).

Every time I need a new infusion of ideas for expanding the fantastic aspects of the Alpennia books, I start by studying some real-world historic approach to magic and the supernatural. For The Mystic Marriage, this was alchemy and the lore of gemstones. For a future book (Mistress of Shadows) I'm going back to the idea of secular ceremonial magic in some of its darker forms, as well as researching folk-magic/religious practices of Islam for a character who is part of the Franco-Egyptian community in Paris. I find my writing is richer for being rooted in the complex diversity of historic beliefs and practices, even though I then adapt those to my own vision of how all these practices are part of the same underlying system (although my characters would never believe that!)(less)
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Nothing Much to See Here Part 2

Saturday, November 22, 2025 - 11:00 The Lesbian Historic Motif Project Lesbian Historic Motif Project logo

If I hadn't already assigned this a blog number, I would have skipped it.

Major category: LHMPTags: LHMP LHMP #527 Kramer 2015 That Mysterious, Remisse Knot About LHMP Full citation: 

Kramer, Rene. 2015. That Mysterious, Remisse Knot: Katherine Philips’s Unincorporated Fraternity. Honors Thesis.

I downloaded this because I had a

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Published on November 22, 2025 11:46
Daughter of Mystery The Mystic Marriage Mother of Souls Floodtide
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Heather Rose Jones wrote a new blog post

Have We Had Enough Katherine Philips Yet?

Thursday, November 20, 2025 - 14:00 The Lesbian Historic Motif Project There are some historic figures where I’m almost at the point of saying, “I kno Read more of this blog post »
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“Barbara took her accustomed place by the door but as the singing began Margerit beckoned her over to her side. "I haven't been following much except that it's all ancient Greeks and battles and such. What's happening now?"
Barbara knelt beside her and leaned close to whisper so as not to disturb the rest of the party. A brief synopsis of what had gone before took up the time while the chorus escorted the principles to the centre of the stage. "I haven't seen this performance before," Barbara added, "but I imagine this will be the grand love duet." As the soprano began, she concentrated on the stage to follow the opening phrases. The chorus had abandoned the field to the principles who faced each other against a backdrop of fluted columns.
"O! What strange fate is mine!" Barbara paused as the signature line was repeated several times. "I loved you in the guise of Mars, but now I am betrayed by Venus. The iron in your glance turns soft beneath my touch. I am undone. O Venus, you are cruel to mock me so." It continued on in the same vein until it was the mezzo's turn. Her lyrics ran much parallel with the soprano's. With less concentration required, Barbara ventured a glance to see Margerit's reaction. Margerit turned at the same moment and their eyes met as Barbara whispered Ifis's lines.
"O! What a strange fate is mine! In the guise of Mars I love you but now as Venus I'm betrayed. The Iron in my soul turns soft beneath your touch." Unconsciously, Margerit placed a hand on hers where it lay on the arm of her chair. "Fire runs through my veins - I am undone." Fire indeed ran through her veins. Her hand burned sweetly where Margerit touched it and she dared now take it back. Her voice grew husky. "Why do the gods mock me with desire I cannot sate?" Their eyes were still locked and Margerit's lips had parted in a little "o" of wonder. "O Venus, have mercy on one new come to your shrine."
When the soprano joined again for the duet, Margerit breathed along with her, "O! What strange fate is mine!"
With effort, Barbara wrenched her gaze away.”
Heather Rose Jones, Daughter of Mystery

“I think…I am more than content—no, I am joyful—to be in the place I find myself. And I don’t think I could have come to this place by any road but the one I’ve traveled. If there are limits to what this body can do—” She gestured to take it in. “—they are limits made by others, not my limits. No, I wouldn’t choose to be other than what I am.”
Heather Rose Jones, Mother of Souls

Polls

What should our June 2019 pick be?

Widdershins - Jordan L. Hawk (Historical Fantasy)
 
  12 votes 16.9%

 
  11 votes 15.5%

Unmasked by the Marquess - Cat Sebastian (Historical Fiction)
 
  10 votes 14.1%

Wild - Meghan O'Brien (Urban Fantasy )
 
  9 votes 12.7%

 
  7 votes 9.9%

Daughter of Mystery - Heather Rose Jones (Historical Fantasy)
 
  7 votes 9.9%

 
  5 votes 7.0%

 
  4 votes 5.6%

Annie on My Mind - Nancy Garden (Contemporary)
 
  4 votes 5.6%

Behind These Doors - Jude Lucens (Historical Fiction)
 
  2 votes 2.8%

71 total votes
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