Dragon portraits

Many cover designers begin their work with stock photography. This presents a distinct problem when your cover requires, say, a dragon. They’re notoriously hard to photograph.

Now, I know it’s getting easier to ask software to generate an image, but I went another route when I recently recovered the Dragon Lords series. A wonderful designer who had helped me in the past (doing the original designs for this website and its predecessor) came back into my orbit at just the right time. I knew Rowan, the artist behind Windloft Workshop, to be an exceptional dragon portraitist, and put in my request tout de suite. These are rendered by hand, although done with digital tools.

For those curious about the process underlying this kind of illustration, I asked about the process. Here is Rowan’s answer:

Next comes the blending and modelling of the various shapes and forms of the beast to make them look 3D, usually using a soft tool to make nice smooth gradients. Hard edges are left in or reapplied as necessary to create sharper transitions, texture, etc. I generally take it very close to completion at this stage, adding airbrushed shadows and highlights overtop where needed, and adjusting contrast to push the values further if I went too conservatively with them.

Once Upon a Time is Now

It’s not often that I can pinpoint a specific inspiration for a story. Usually, it just lurches from the swamp of my brain and lands on the page with a muddy splat. But the spark of the Camelot Reborn series had a very clear beginning, even if it sat dormant for a very long time.

I remember standing in Salisbury Cathedral when I was about twelve, staring down at the stone face of a knight. Although it was August, the medieval building was cold, the only light filtering through towering windows of stained glass. The vaulted ceiling created echoes that went on for days, and my imagination went into overdrive.

The statue was life-sized and in full armor, an effigy stretched in eternal sleep upon his tomb. He grasped a sword against his chest, and a lion curled protectively at his feet—a symbol of courage.

Who was he? Could I wake him with a kiss, Sleeping-Beauty style? Would he sit up and look around at the new modern world? Of course, he would be devoted to twelve-year-old me, infinitely grateful to be revived. And, naturally, there would be an equally interesting villain just waiting in the wings. What fabulous adventures would follow!

I’ll pause to add that I knew very little about knights when I was twelve. If Sir Whatever had awakened in good health and sound mind, I doubt he would have been happy to learn his estates were now a warehouse grocery emporium. Furthermore, no, he could not use the longsword to emphasize his opinion on the matter. And even further furthermore, I doubt he’d understand a word anyone said. The English language has changed dramatically since the Crusades.

But I digress. My tender tween heart was an innocent thing.

When I began the Camelot Reborn series, I remembered my knight in his lonely sleep. What if the Knights of the Round Table—enchanted into sleeping stone—had been scattered to museums and private collections? If they had to be awakened one by one to reunite with their brothers and defeat a threatening enemy? What if Sir Gawain, a hot-tempered, dangerous, and devastatingly handsome knight, was roaming about town, eager to fight or carouse or sweep my heroine off her feet?

Apparently, I liked that notion and stuck with it. My heroine is a thoroughly modern historian named Tamsin Greene. She’s the key to finding the other knights, but she’s also a powerful witch—and if there’s one thing that Gawain refuses to trust, it’s sorcery. But he’s not going to get the maid without her magic, and little does Tamsin know that Gawain holds the key to an ancient secret that changes everything she believes about her own past.

Not even Merlin can prevent these fireworks and, yes, he gets a few of his own.

Want to learn more? Check out Enchanted Warrior here.

Keeping Dragons Busy

Idle dragons are an invitation to trouble. They’re often guilty of overeating—cattle, cowboys, firetrucks, whatever. There’s the inappropriate hoarding of shiny objects (really, they’re just big crows). And the WorkSafe complaints by disgruntled knights. Don’t even mention fire insurance.

You can see why, as an author, it’s in everyone’s best interest to keep the Brightwing dragon clan busy, book after book. It’s the responsible thing to do.

Lately, Telkoram has been the most underfoot. I just released Glitter to my reader community, which is chronologically the first of the Crown of Fae stories. He goes from his starring role there to reappear in Flicker, along with his love interest, Caliste. And now, here he is again, popping up in Quake.

A smidge of backstory: Between the events of Glitter and Flicker, the Shades win a significant victory over the fae. The high king of the fae disappears in the aftermath and without him, there is little hope of defeating the Shades. So, Telkoram goes in search of the errant monarch and disappears from the main action for a time. Finally, in Quake, he returns with the results of his quest.

What I like about his character is that it shows there can be many kinds of heroes. There are the flashy rogues, the mighty captains, and then those who quietly keep the wheels on the bus. Telkoram falls mostly into this last group: he has a job to do, sets aside his personal needs, and gets the work done. Full stop. He’s the kind of guy to have on speed dial when the car dies or the roof springs a leak.

It’s been my pleasure to keep our dragony hero fully occupied. Of all the characters (except John Barleycorn), he knows the most about what’s really going on because he’s been working the hardest. I’m going to owe him a really nice happy ever after.

And hey, keeping him on the hop is far better than having a dragon chewing the furniture or chasing the food delivery guy. I haven’t been able to order my favorite curry since The Incident.

Now I have to do something with those wolves ….

(PS, you can get your free copy of Glitter here)

Image by MythologyArt from Pixabay

Glitter and the Crown of Fae Series

The first words of the first chapter are a careful choice.  We’re told to launch the narrative at the moment when everything changes, withholding any background explanation until such time as the reader is thoroughly hooked by the drama. Building an entire fantasy world and figuring out where to start is even harder. Or, in the case of the Crown of Fae series, starting when the end of the world begins (and figuring out how to end that beginning).

Initially there were four orderly novels, then a prequel (Flicker) and now a prequel to the prequel (Glitter) designed to fold in all that backstory we’re not supposed to tell. I blame the Brightwing dragon shifters, who keep invading my carefully plotted history with yet one more family member wanting a story of their own. First it was Fliss and her boarding school adventure. This time it was big brother Telkoram and the school’s headmistress, Caliste. I won’t say they have a meet cute, but they definitely meet and are about as cute as a dragon can manage.

About that backstory. Those who have dipped into the books may remember the four groups of elemental fae wish to summon their High King to rescue Faery from the Shades. Quake features the earth fae—especially the wolves–and also the outcome of the quest for the High King. The seeds of this story are sewn in Flicker and Glitter, where there was more scope to detail the history of the story world in an entertaining way. In other words, sometimes a prequel of a prequel is entirely necessary and not the hyper-indulgence it first appears.

No wonder Tolkien had entire volumes about all the stuff that came before Bilbo and the gang. It takes a very large canvas to paint an entire universe.

Glitter is exclusive to my reader community. If you’re interested in joining and receiving that story for free, sign up here.

Protected: Smolder: An exclusive excerpt for newsletter readers

Rapping with the Dead

Who doesn’t love a good coincidence, especially when it involves ghosts?

Recently I was blathering with a friend about contacting the dead (as one does while folding laundry). I’m stocking up on ideas for a new story, and it was an unplanned but fruitful topic. Literally minutes later, I got an email for a virtual event.

Cue Weird Homes Tour and Atlas Obscura featuring Brandon Hodge. Hodge owns an Austin, Texas residence stuffed with Spiritualism-related objects. For one very fun hour, Hodge took viewers through his collection of antique planchettes, Ouija boards, and other paraphernalia.

It was like a gift-wrapped package falling through the monitor and into my lap. Spiritualism fascinates me, and Hodge’s enthusiasm and fab website are an ideal introduction to the subject.

A Victorian Obsession

The Spiritualist movement gained traction in the mid-1800s. It gave us mediums, automatic writing, ectoplasm, spirit photography, and table-rapping.

Essentially, it’s summoning the dead for a chat. Believers included the rich and famous, from Lucy Maud Montgomery to Arthur Conan Doyle.

For a buttoned-up society focused on industry, cataloguing, and petticoats for the piano legs, it’s interesting how Victorians embraced the paranormal. Their enthusiasm can be seen by the many, many periodicals dedicated to the topic, such as The British Spiritual Telegraph.

Celebrity

Mediums achieved a kind of celebrity, like the Fox sisters in America. Some grew rich. Others were ingloriously debunked for coughing up gauze

“ectoplasm” or manipulating the seance props with wires.

The majority of mediums were women. This was one place she could take center stage without question. And, since the bereaved were willing to pay, she  could also make a good living.

Spiritualism carried on—unsurprisingly—through the disasters of WWI and the Spanish flu epidemic until fading in the 1930s.

Stories

I’ve used the highlights of Spiritualism before. In A Study in Ashes, Evelina and Tobias attend a séance. At the time, I’d wanted to delve more deeply into the subject, but that wasn’t part of Evelina’s story. She simply paved the way for more.

Now—thanks to a chance lockdown presentation—I’m anxious to do more research. After all, what’s more perfect than something that is Victorian, paranormal, and involves intriguing devices? I’m positive there is a role for a planchette or two in my Hellion House series.

It’s all in the cards!

Would you like me to tell your fortune? For a silver coin, I will consult my tarot cards. Ah, yes, I foresee you’re about to encounter a large to-be-read pile…

I imagined a unique set of tarot cards while planning the Hellion House series. The images in the deck came to me very strongly while I was first making notes about the books.  Scorpion Dawn, Leopard Ascending, Chariot Moon—these are all airships, but those vessels got their names from the cards. Fortune’s Eve recounts the first time that tarot comes into play. For those who like to follow story breadcrumbs, pay attention to that scene.

Of course, it had to be a deck I’d never seen before, which meant recording the entire thing as it appeared in the story a bit at a time. Here’s what I know so far…

Suites

The deck has five suites (sky, fire, earth, water, spirit) of thirteen cards each. Each suite relates to an aspect of being. For instance, earth rules the material plane.

Images

Most of the images on the cards are single animals, plants, or other straightforward objects.

Readings

To cast a reading, lay out the cards in a triangle. They naturally fall into the rising, descending, or hidden positions on the three sides. Therefore, the leopard in an ascending position means that its influence is on the rise and all that fiery animal passion is going a-prowling. The closer it is to the apex of the triangle, the more pronounced its energy will be. If the leopard is on the other side of the triangle, it would indicate the hunt was waning or going awry. If the card was at the bottom of the triangle, it would mean kitty’s energy was turned inward, either asleep or rebuilding for a future time. A fulsome reading would involve a dozen or so cards.

Scorpion Dawn refers to the first awakening of the protective scorpion. The legend has it that when the mighty hunter Orion slaughtered far too many animals, the goddess sent the lowly scorpion to protect her creatures. Too small to be noticed, the scorpion nonetheless poisoned Orion with a sting to the heel. Never underestimate the little guy—or girl—especially if she gets this card.

The main function of the cards in the story is as a means of exploring the characters and their drives. Like all such elements in fiction, it’s a seasoning and not a main dish. Too much and it gets awkward, but it’s a useful way to highlight a moment here and there.

Custom illustration by Leah Friesen

Happy book birthday, Flicker!

Happy book birthday to Flicker, a prequel novella in the Crown of Fae series.

Wait? Why release a prequel halfway through the series? Well, I wanted to tell a story about Fliss, Ronan’s charming little sister and how she met Laren, the dashing water fae. She’s been a supporting character until now deserved a tale of her own. And, that largely happened.

What I wasn’t expecting was that these were TEENAGERS. Whether I liked it or not, my characters were crazy, wrong-headed, adorable, and insane—rather like most of us are at that age. As a result, this book has action galore, school problems, scary teachers, and a dash of sweet romance. This makes it more YA than the rest of the series, but (I think) in a fun way.

What was intended as a short story became a novella. In amongst all that youthful drama, I was able to set up some characters and circumstances that shape the next few books. Keep an eye on that enchanted bird. There might even be a clue to an Easter egg buried in one of the books already out.

For those who’ve read the books so far, the timeline between Flicker and Shimmer is as follows (no real spoilers here):

• In the prequel, Fliss is thirteen.
• The Shades arrived a hundred years before.
• The battle of Ildaran Falls, after which many of the fae fled Faery, was twenty years before.
• After the events of Flicker, Laren joins the older dragons in some of their exploits, becoming friends with Ronan. Ronan and Fliss, however, don’t see much of each other until Shimmer, where she is a fully adult fae.
• Ronan’s journey begins in Faery, but when Shimmer begins, he’s been in the human realms for some time. Since time runs differently in the human and fae worlds—and wherever else he might have been—It’s difficult to measure exactly how many years pass between the two stories, but to Ronan’s perception it is centuries.

And handsome Telkoram? Why yes, we will see him again.

For more about Flicker and to read an excerpt, click here.

Or simply buy it here.

The World of Hellion House

I started planning the series some time ago, as good worldbuilding (at least for me) needs time to mature. I wanted something that was a little more fantasy and less strictly Victorian than my previous steampunk books, mostly to provide scope for adventure.

I have a fascination with how people live under threat, whether that’s in gated cities or under strict social regulation. Crime doesn’t take a holiday just because everything else is turned on its head. Even dire circumstances, we still manage to form hierarchies, establish ceremonies, build a system and then cheat it. It’s the phenomenon that launched much of reality TV.

When I wrote the Baskerville Affair, I found inspiration in a map that marked the boundaries of various utility companies. This time, I went back to a 1572 map of London and then took a left turn. What if history had gone on as per normal until the Elizabethans, and then…well, science was in a different place back then. What we now regard as fact was mixed up with alchemy, astrology, and theoretical systems we don’t use in the lab these days. Burning witches at the stake was fine entertainment. What better time to unleash something that transmogrified the world?

Fast forward to my characters’ era, in what would have been Victorian London. Cities everywhere are fortified physically and by magic to protect the populace from the wilderness—now occupied by monsters. Airships and river boats are a necessary means of travel, because going by land is suicide. Agriculture is a harrowing endeavour, with private armies and mages on tap. There are dragons, huge wildcats, and the ever-hungry Unseen. Probably Nessie. Undoubtedly trolls. (Please note, there are no zombies, as they are smelly and prone to leaving their body parts in inconvenient places.)

However, because people are people, there are also Society events, fashion, slums, politics, crime, detectives, murder, whorehouses, gentleman’s clubs and newspapers. But civilization comes at a terrible price, as our protagonists discover.

And then there’s the River Rats, and astronomy, and the tarot, but more on that later.

Image by Comfreak on Pixabay

Map of Faery

Here is the map (beautifully done by Zenta Brice) for the Crown of Fae series: