Theft is more than just stealing.

Before discussing whether the story is captivating, I must first express my gratitude. The very fact that this book is online and accessible to readers is thanks to the diligent editors of Group Two, especially the benevolent Qingshan.

After my first novel flopped, Qingshan told me to treat it as practice and suggested I write a historical tale next. He even gave me the title "Stealing the Tang" and reserved it for me, holding it until May twentieth when I finally published the book. Three months passed in the meantime.

I rewrote the beginning four times, accumulating nearly a hundred thousand words. It was a journey fraught with hardship. Qingshan, ever patient, repeatedly provided guidance and feedback. For a failing author to receive such support—what more could one ask for?

When drafting the synopsis, I almost ended up arguing with a group of literary giants whose monthly income runs into the millions. I wrote three synopses in succession, all rejected by them. Thus, the current version came about; regardless of its merits, I am determined to use it.

I am grateful to these luminaries in our group. There is no need for you to be annoyed by a minor, struggling author; if anyone should be frustrated, it’s me—for failing to capture the true essence of history. I believed the heart of a novel lies in its story and characters. The synopsis matters, but it is not the soul of a book.

The real key is you—the readers hold the ultimate power. If you say this book will flop, it surely will. If you say it will ignite, how could it not? I dream of it catching fire... Please, make it happen!

The word "Stealing" is not merely about theft; it also carries the sense of doing something quietly or secretly. This story is not about stealing the Tang dynasty, but about obtaining it in a way unseen by gods or ghosts, working in secrecy. So please do not misunderstand.

The Sui and Tang eras differed greatly from today’s society. For example, people called their fathers "Aye," their brothers "Brother," women "Little Lady," and men "First Lang," "Second Lang," "Third Lang," and so forth. There were no square tables or stools; like in the Han dynasty, people knelt on the ground, spreading a mat beneath them. Hence the saying, "to have a place on the mat."

The ancients ate differently as well. At that time, productivity was low; cattle were tools for farming, and eating them was a crime. So what did they eat? Chicken, sheep, duck, pork, and so on.

Purchasing goods did not involve money or gold and silver. The annual income of the Great Sui dynasty was barely ten thousand taels of silver. They used copper coins, measured as strings, ounces, chains, and cash. Roughly, one string equaled one tael of silver, enough to buy one bushel of grain—about one hundred twenty catties, sufficient for a month.

Clothing also differed. In the Sui period, servants could wear light yellow. By the time of Emperor Li II, yellow garments were banned among the common folk, to demonstrate the emperor’s authority, since light yellow and yellow are quite similar. As for styles, men wore long tunics reminiscent of Kong Yiji, while women wore two-piece or three-piece skirts.

I have consulted many sources. This novel is about history, striving for that sense of depth and the unfamiliarity that sets it apart from modern impressions. Privately, I have changed some details to make the story flow better. I hope you will forgive any discrepancies with the real Sui and Tang periods.

I have also simplified the military and official titles. Instead of the likes of Supreme Pillar of the Nation, Tiger Guard Captain, Minister, Charioteer General, Cavalry General, Left Commander, Right Commander, Squad Leader, Battalion Chief, and so on, I use terms you are more familiar with or can easily remember.

Now, let me mention a few fictional characters: men are abundant in history, and the records alone provide endless material. What I have invented are women. A novel without romance is bland, even if the focus is on conquest and valor. Without gentle feminine characters, the masculinity of the men has nothing to contrast against. As for which women appear in the story, you’ll have to read closely yourself... I’ll leave that as a little secret.

Thank you all for accompanying a writer who has been at this for a decade, about to embark on another journey. You are welcome to discuss the plot and characters at the Wagang Village group: one, zero, two, two, six, nine, seven, six. Unfortunately, the website does not allow numbers, so I use English words instead.

Welcome, dear readers, to enjoy this work. The latest, fastest, and hottest serialized stories are all here!