ACKNOWLEDGMENTS

Thanks to the following for reading and commenting on the manuscript at various stages of development: T. Karen Anderson, Kris Boldis, Ken Carelton, Veronica Chapman, Dave Gross, Professor Lanelle Keyes, Nancy Ridout Landrum, and Brian Smith.

A book is made by many hands. I often think they ought to include credits, like a movie.

At Del Rey, I have a lot of people to thank. Betsy Mitchell, the editor in chief and a real booster for The Briar King from the beginning of her tenure. Nancy Delia, the managing editor, who kept the trains on their tracks. Lisa Collins, the copy editor, who had to deal not only with my spelling mistakes in English, but in several imaginary languages. Denise Fitzer, the editorial assistant—without a competent editorial assistant, things can break down very quickly. Things did not break down. And of course, Steve Saffel, my editor, who has believed in this book and fought hard for it for years. Finally, thanks to Kuo-Yu Liang for years of support as publisher, friend, and drinking buddy.

I'd like to thank the production manager, Barbara Greenberg, Eric Peterson for the cover painting, David Stevenson for the cover design and a good deal of back-and-forth with me making certain the maps were right. Map artist Kirk Caldwell for what are truly works of art, publicity guru Colleen Lindsay, and online-marketing sorceress Christine Cabello.

A big thanks to Dana Hayward for expending her own time and effort to make a pre-proof proof, to get the word out as early as possible.

Beyond that I'd like to thank Elizabeth B. Vega for her help with the soundtrack (you'll see more what I mean in book two) and the Savannah Fencing Club for moral support. This book also seems to have supporters farther afield than my immediate circle of friends, for which I'm grateful—David Weller, Chuck Errig, Lisa Congelosi, Rebeccah Fitting, David Phethean, Ron Schoop, and David Underwood.