Search for the Crystal Shard
DLF Waugh
Tellwell Talent (2025)
ISBN: 978-0228820260
Donna-Lynn Waugh has always dreamed of magic, the elements, and dragons! She finally decided to put her dreams into the written word and discovered it helped shift her left-brained, analytical thoughts over to the right side of imagination and “anything is possible!” Donna-Lynn plans to continue her passion for storytelling.
Welcome to Reader Views! What is Search for the Crystal Shard about, and what was your inspiration behind the story?
The overall concept of The Biagsi Prophecy is threefold, and as I began to write it, I realized it would be more than one book: 1) finding the Crystal Shard that chipped away from Mother Crystal; 2) finding the Moonstone belonging to Mathuse, The Wise One that broke away during the ceremony with Mother Crystal; 3) addressing the migration of the Icebergs and balancing the elements that sustain Telluro.
The inspiration for the story came from trying to engage my then “tween” son and daughter in creating their own fantasy story. Needless to say, my attempt was unsuccessful, but I was hooked!
Your novel begins with a striking act of mercy when Rafe saves Triquetra from the pyre. How did you decide this was the moment to launch the series’ central destiny?
I wish I could admit to planning the event, but the story started with ‘a man on a horse sitting absolutely still…’, and I started to answer the ‘who, what, why’ of it. At the time, I was more interested in setting the mood; it was night, with heavy fog drifting up in thick tendrils, etc.
The psychic link between Rafe and Triquetra feels both mystical and intimate. What role does this connection play in shaping their identities?
The psychic link is vital! All of the vibrational races use it, and I had hoped that introducing it during the rescue would help the reader quickly understand that there is more to the Guardian than the average human male.
The psychic link between Rafe and Triquetra is the first indication that Triquetra is more than the average human female. We soon learn that Triquetra’s mother was aware of her daughter’s uniqueness but had never discussed it with her; instead, she isolated her from other humans.
By successfully using the psychic link with Triquetra, Rafe acted as a vibrational ‘key,’ helping Triquetra to become aware of her inner power and abilities.
The villagers’ fear contrasts sharply with Rafe’s faith in Triquetra’s potential. What message were you hoping to convey about perception and judgment?
This is a profound question, as we humans have a history of prosecuting those who are different. I used that bias to describe the villagers’ fear; however, Rafe’s character would never tolerate the suffering of any life form. He does not necessarily have issues with witches per se, but he does dislike witches/mages who act nefariously.
Triquetra’s transformation from frightened captive to awakened heroine is powerful. What do you think defines true awakening in her case?
I wanted to write a female character who was innocent due to isolation, but had an inner strength that would help her push through her fears to address any challenge that came her way. As each challenge unfolded, she awakened more: healing herself with the sapphire, going on the quest with Rafe, flying on a dragon, connecting with the standing stone, etc.
You weave magic through the natural world; the forest, stones, and elements feel alive. Why was it important to root the story’s power in the environment?
I wanted to share a visceral image of a world filled with magic and wonder, present in all of nature, even in the air that sustains life!
Sadly, on planet Earth, many have lost the ability to connect with nature, but some still have the ability, and I am sure they would tell us that all of nature has energy; we have just lost the ability to tap into it.
The standing stones serve as memory vessels, an evocative concept. How did you come up with that idea, and what do they symbolize for you?
I believe that even on planet Earth, standing stones, water, and our human cells are memory vessels. I cannot scientifically prove it to you, but my imagination and my right brain believe it wholeheartedly, so it was not much of a stretch to weave that concept into the story.
Nema’s relationship with her daughter is layered with secrecy and strategy. How do you see motherhood functioning within this mythology?
Sadly, Nema is not what I would consider a template for motherhood. I purposely kept the historical background of Nema oblique, and I hoped her behaviour helped demonstrate why Triquetra was a mystery and so very innocent of her world and of anything beyond the immediate surroundings of the cottage they lived in.
I plan on unfolding a little more of Nema’s background in Book 2, but, in Book 1, I felt it was more important to convey Nema’s secretive, taciturn character and how Triquetra dealt with that personality type (she basically acquiesced to everything to avoid conflict, which she learned to overcome in her relationship with Rafe).
Count Dramewar and the Red Dragon Ruak bring tension to the tale in very different ways. How do you approach creating antagonists in a story built on prophecy and restoration?
I struggled a bit while writing the antagonist portions of the story. I had to sit and internalize what was needed in terms of conflict for the story, find a balance that was neither too violent nor too unsavoury, and yet convey the characters realistically.
The pacing feels ritualistic, as though each event unfolds like part of a ceremony. Did you intend for the structure to mirror a spiritual journey?
I believe my writing style is called “Pantsing.” Each chapter unfolded based on what happened in the previous chapter or what I wanted to “unfold” next, continuing from the last chapter or introducing a new character or a conflict. It sounds trite, but my characters became quite verbal in my head, especially Triquetra. I had her voice in my head quite relentlessly at times.
I eventually created a high-level PowerPoint slide with bullets outlining the ‘key’ arcs I wanted to convey in the story. I also waited until the end of the story to reverse-engineer the days to ensure the chapters transitioned sequentially (Book One covers a very short time span, but there is quite a bit of character growth).
Your world feels ancient yet emotionally resonant. What steps did you take to keep the mythic tone grounded in human emotion?
The world of Telluro is ancient, mystical, and raw. It does not resemble the cement jungle many of us on earth live within, but Telluro does include the human race. Therefore, I relied on my emotions and imagination to write about the majestic vibrational races that coexist alongside humans on Telluro.
The story shifts focus from conquest to restoration, which feels refreshing for epic fantasy. Why was restoration such an important theme for you?
I think, in some ways, we write what we feel (even unintentionally). Restoration is an important theme for me, as planet Earth is going through imbalances that could use restoration. The icebergs migrating to regions of Telluro where they should not, and the desertification of other areas of Telluro, became a vital backdrop to explain the imbalance that was also affecting the Protectors who wielded the Elements.
Readers sense this is only the beginning of a much larger saga. How far ahead have you envisioned The Biagsi Prophecy series?
Without giving too much away, Book Two begins immediately after the ending of Book One. Hopefully, readers will read Book One first, as I am quite resistant to adding any heavy background information that was covered in Book One, but I do plan on adding new background for any characters that continue into Book Two.
I have evolved a little from ‘Pantsing’ to ‘Planning’ a high-level outline on a PowerPoint slide of what I expect should happen in Book Two. However, honestly, aside from the high-level bullets, my writing style is still the same: each chapter builds on the last or introduces a new challenge or activity. And, as in Book One, my characters are very vocal in my head about what they want to say or do, so regardless of what my bullets say, the story will unfold as my writing progresses.
There’s a soul-deep connection between Triquetra and Rafe, not immediately romantic but clearly destined. How do you see their bond evolving as the series continues?
I absolutely love the connection between Triquetra and Rafe, and I don’t want to give too much away, but I expect the bond between them to grow, and hopefully, we will learn a little more about Rafe (where he came from, who his parents are, etc.).
I also want to flush out the connection between the leader of the Blue Dragons (Groth) and the Maradaoine Princess (Shanna).
You’ve built a world rich with elemental magic and ancestral secrets. What can readers look forward to discovering next in this evolving saga, and where are you in the process of bringing the next installment to life?
I am currently writing Book Two, and it continues immediately from the ending of Book One.
I am hoping to continue providing lineage backgrounds for both Rafe and Triquetra. But I don’t want to give too much away. Hopefully, I will not disappoint the readers, but the story is still in progress, so I prefer to keep things vague for now!
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Website: https://dlfwaugh.com