by Heather Webb
A collective gasp resounded through the theatre, followed by applause—and laughter as she quickly reappeared in a clown’s costume.
I was the only female conjurer consistently on stage, but I’d heard of a few others making their way across America. Perhaps one day I, too, would travel with my own show. For now, I was happy expanding my audience in the great city of New York, the city of dreams.
“Ladies and gentlemen, I bid you good night.” I bowed, and Claudette followed suit. When I straightened, I looked at the west balcony where Raoul always sat, ever supportive of his conjurer-wife.
He smiled and waved.
My eyes narrowed as something appeared behind him, a pool of darkness shifting among the balcony drapes. Raoul turned to look over his shoulder.
The next instant, I blinked and the shadow had disappeared. I shook my head to rid it of ghosts. It couldn’t be— Could it?
Author's Note
The path to finishing this book was a twisty one. Layering well-known canon with my own ideas, and giving new dimensions to a large cast of characters that are beloved, presented no easy task. The Phantom’s Apprentice went through many, many drafts and gave me more angst than I care to admit. How can one possibly make such a melodramatic story feel real—and relevant—today? Thankfully, the Muse held me at gunpoint, and I found my way to “The End.” More than anything, I’m grateful for the incredible learning experience and growth this book provided. We writers like to do this to ourselves—push, push more, push harder still, in spite of the painful doubt and endless hours of hard work—all in an attempt to inspire readers, entertain them, and, most of all, to say something meaningful. I hope I’ve done at least one of these things, if not all.
A Note on Ghosts, Spirits, and Spiritualism: From the 1840s until about 1920, a movement called spiritualism gained in popularity. Its philosophy centered on a belief that spirits wanted to commune with the living, that they continued to evolve in the afterlife, and their guiding presence was very real on Earth. During this era, society saw the rise of Gothic novels and the occult, as well as the use of mediums and turning tables for séances. When mixed with a rapid series of new technological inventions and advancements, including electricity, mass transit, photography, and much more, people grappled for the essence of what mattered: their loved ones and the evolution of their souls.
Spiritualism evolved into a religious sect in some circles, and like with any religion, beliefs were tied to its principles and emotions ran high. There was much debate over the validity of spiritualism; scientists and philosophers sought to disprove (or prove), the likelihood that spirits were real. Many illusionists tapped into that emotional pool and manipulated it for their own gain, especially as advances in projecting images and different types of glass emerged. Suddenly, they could “create” apparitions. Riots did indeed break out after conjurers’ shows from time to time. Viewing the dead caused a fright, and created endless controversy.
Gaston Leroux, the original author of The Phantom of the Opera, lived during this time and created a Gothic story woven with ghosts and, ultimately, a monster of a man who knew a few tricks a magician might use—playing with light and throwing voices, mirrors. It was from those pages that I gleaned my inspiration for an Erik who was driven underground by the shadows of his former life as a magician, and a Christine Daaé, who wanted to be more—and became more—than the fragile flower we have come to love in Andrew Lloyd Webber’s stage version.
Acknowledgments
The list of those I must thank for encouraging me to finish this book is endless. To begin, I must thank my insightful agent, Michelle Brower, who worked through revisions with me, and bolstered my spirits when I needed it. I am beyond lucky to have you in my corner.
Author friends and critique partners who read early drafts—you’re my guiding light and my tribe. I adore you and couldn’t imagine writing in isolation. Special thanks go to Susan Spann, Kris Waldherr, Julianne Douglas, Hazel Gaynor, Janet B. Taylor, Sonja Yoerg, Kerry Schafer, Therese Walsh, Diane Haeger, Greer Macallister and Aimie K. Runyan. I’d also like to thank Christopher Gortner, who talked me through troubling developments and offered many words of wisdom. Thanks to Stephanie Cowell as well, opera expert, who patiently answered all of my questions. Another big thanks to those very talented individuals who helped with design work, formatting, editing, and much more: LJ Cohen, James T. Egan, Kris Waldherr, and Lara Robbins.
To my children, who now know Andrew Lloyd Webber’s music by heart, and to my husband for listening to more opera than he ever wanted. This book has made converts of us all! Finally, thanks to my family, friends, and dear book club for being steadfast in your support and love.
About the Author
Heather Webb is the international bestselling author of historical novels Becoming Josephine, Rodin’s Lover, Fall of Poppies, and Last Christmas in Paris. In 2015, Rodin’s Lover was a Goodreads Top Pick. To date, Heather’s novels have sold in multiple countries worldwide. When not writing, she can be found flexing her foodie skills or looking for excuses to head to the other side of the world. She lives in New England with her family and one feisty rabbit.
For news, special giveaways, and other tidbits, join Heather's newsletter here.
Connect Online
Website: www.HeatherWebb.net
Facebook: Heatherwebb, Author
Twitter: @msheatherwebb
Instagram: @msheatherwebb
Praise for the novels of Heather Webb
Becoming Josephine
“Webb holds up a light into the inner recesses of a fascinating and contradictory woman . . . Becoming Josephine is an accomplished debut.” —New York Journal of Books “A brilliant debut novel. Exquisite detail…with the completion of this book Ms. Webb has made her name as a novelist and historian.” –Portland Book Review “Perfectly balancing history and story, character and setting, detail and pathos, Becoming Josephine marks a debut as bewitching as its protagonist.” –Erika Robuck, National Bestselling author of Hemingway’s Girl
Rodin’s Lover
“Masterfully crafted…. Webb captures the era and characters to perfection.” —RT Book Reviews, starred review “You’ll be drawn into this story of obsession and passion.” —Cosmopolitan
“Webb’s novel gives a fascinating insight into the power of art and love set against the colorful backdrop of the Parisian art world.” –France Magazine “This well-researched book takes you on an emotionally gripping and passionate ride that hardly lets up for a minute.” —Dish Magazine “An entertaining guide that will take readers in and out of the salons and studios of 19th-century Paris and introduces them to one of history’s most tragic and unsung rebels.”–Kirkus Reviews
Last Christmas in Paris
“A moving and heartfelt story of love and bravery”—Library Journal, Starred Review
“Beautifully told…the authors fully capture the characters’ voices as each person is dramatically shaped by the war to end all wars.”—Booklist “[A] searingly romantic crisis of the Great War…hold your breath”—Sunday Independent
“The storytelling will touch readers with its human portraits of lost youth.”—RT Book Reviews
The Phantom’s Apprentice
“Webb combines music and magic seamlessly in The Phantom's Apprentice, weaving glittering new threads into the fabric of a classic story. Romantic, suspenseful and inventive, this novel sweeps you along to its breathless conclusion." —Greer Macallister, USA Today bestselling author of The Magician's Lie "A performance worthy of the Paris Opera...Christine’s evolution from 'damsel in distress’ to self-reliant woman is masterfully done, hooking the reader from the first page. Webb's work is immersive, well-crafted, and beautifully paced. A must-read!" —Aimie K. Runyan, author of Daughters of the Night Sky
ing books on Archive.
