On This Unworthy Scaffold is the sweeping conclusion to Heidi Heilig’s ambitious trilogy, which takes us to new continents, introduces us to new gods, flings us into the middle of palace riots and political intrigue, and asks searching questions about power and corruption. As in the first two books, the story is partly told in ephemera, including original songs, myths, play scripts, and various forms of communication.
We chat with author Heidi Heilig about On This Unworthy Scaffold, writing, book recommendations, and more!
Hi, Heidi! Can you tell our readers a bit about yourself?
Hey Nerds! I’m a YA author now, but I used to be a musical theatre writer. I have two YA series, one about a band of time travelling pirates that uses old maps to go to places out of myth and legend, and the other about a bipolar shadow puppeteer who has the hidden power to bind the souls of the dead to her puppets. So my interests are a little eclectic, but what they have in common is an interest in anti-colonialism and finding your place in the world.
How is your 2021 going in comparison to that other year?
If there was ever a time for a lolsob reaction this is it. 2021 is better than the year which shall remain nameless–but it would almost have to be. There’s a lot of slow recovery happening, both for myself and obviously for the world. But I’m still alive, so I feel like a winner in the world’s worst lottery. I’m also writing again–that’s a real prize.
Quick lightning round! Tell us the first book you ever remember reading, the one that made you want to become an author, and one that you can’t stop thinking about!
Most of my earliest book memories are of my dad reading to me, and he picked some doozies. Cask of Amontillado comes to mind immediately (“FOR THE LOVE OF GOD, MONTRESSOR!”) The book that made me want to be an author was The Monstrumologist by Rick Yancy. And Bleeding Violet by Dia Reeves is often on my mind.
When did you first discover your love for writing?
I adored books and myths as a kid, but for a long time, I actually wanted to be a stage actor! Then I realized it was the storytelling aspect that I loved (and I definitely did NOT love the auditions.) I moved on to playwriting for some time, but while the collaboration between writer/actor/audience is so rewarding, it is also ephemeral. So one day I thought I might try to write a novel. So stories and storytelling are the throughline, but my love of writing was more of a rediscovery.
On This Unworthy Scaffold is the third and final installment in your Shadow Players series and it’s out April 27th 2021! If you could only describe it in five words, what would they be?
“Life and death imitate art”
For those who haven’t read the series yet, what can they expect?
Blood magic, madness, gods, monsters, and of course, theatrics. Jetta is a bipolar shadow player who also has the power to bind the souls of the dead to her puppets. This magic has been forbidden for years by the colonial occupiers, but with the rebellion gaining strength, Jetta must find her footing on the political stage, all while dealing with her malheur–her madness. Thankfully, she has help from her family and friends, including a mixed-race violinist and the dancers who worked at his club.
And for those that have, what awaits readers in this final installment?
With the colonial army in retreat, the evil necromancer Le Trepas has seized control of the throne. Together with her friends, Jetta must draw on her skills to end the civil war and to seek treatment for her malheur in a land across the sea.
Can you tell us about any challenges you faced while writing the final book and how you were able to overcome them?
Oh dear lord. EVERYTHING about this book was a challenge. From finishing a trilogy (I have a huge fear of commitment so I have no idea what I was thinking when I proposed the idea) to diving deep into my own experiences as a crazy person, to writing while deep inside one of the worst and longest lasting depressions I’ve ever experienced, it felt like swimming across a wild sea, and then realizing I’d have to swim all the way back to get home. I was lucky to have an accommodating editor, and supportive friends, but to be honest, a lot of it just took extra time to overcome. And a lot of doughnuts, because in a pinch sugar serves for serotonin.
If it’s not too spoilery, were there any favourite moments or characters you really enjoyed writing or exploring in this last book?
The book is written in first person chapters interspersed with playscripts, letters, and sheet music, and near the end, there is a wonderful love song from our charming violinist, Leo. I had a great time writing the lyrics, and my collaborator Mike Pettry set them beautifully. I also really enjoyed giving page time to some of the characters mentioned but never met in previous books, like Le Roi Fou, or Madame Audrinne.
What’s the best and the worst writing advice you have received?
Best: Learn how you like to be critiqued and ask for critique to follow that formula. Critique is vitally important but so often it is served in a way that is unpalatable (and it really depends on your palate.) Do you need a compliment sandwich? Do you want only questions? Do you hate suggestions? Do you need to brainstorm? Figure this out and ask for it up front to make sure you are on the same page with your critique partner. Phrasing and style can make the difference between critique helping or hurting.
Worst: Write every day. Like, how? Just no.
What’s next for you?
After 7 years, I am finally without a deadline and the world is mine! I’m working on a middle grade adventure and a YA historical/fantastical that I don’t owe ANYONE and it feels very freeing not to worry about letting anyone down.
Lastly, do you have any book recommendations for our readers?
If you like war and the undead, read DREAD NATION by Justina Ireland. If you like Shakespeare (from whom I took my titles for this series) check out THAT WAY MADNESS LIES, an anthology with 15 retellings edited by Dahlia Adler. And if you like necromancy, read THE BONE WITCH by Rin Chupeco.
