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THE COVER ART FOR THE SWORDSMAN
As always, Mel created some of the most delicious characters, and each is different from anything we've seen in previous novels ... and Jade produced a stunning cover, to Mel's specifications. The face of Seb d'Astaghir is another composite of various "face models," but for Jack Leigh, the truth is, DreamCraft's own Dave modeled for the figure and Jade painted right over a composite shot made up of several digital photos.See below for a brief cover story from Jade.
There are two couples in this novel: Jack Leigh and Seb d'Astaghir are the focus of the story's romantic inclinations, but in the first chapter the gypsy, Janos Zaparosti, makes his appearance... and to say more would be to risk giving a plot spoiler here!
The background to the novel is almost "Court of the Medici," or "high magic in the age of Leonardo." The geography of this fantasy world is richly detailed, and there's a lot more to be said on this subject, but ... not till after you've read the novel! In the July upload, which coincides with the publication of SCORPIO, Mel will be be talking at length, in the Members' Area, about the background for THE SWORDSMAN. It's ingenious: keep your wits about you and your eyes wide open as you read!
Says Jade...
This cover was an adventure in itself. Mel had very clear ideas about one of the faces, but not the other: Jack Leigh is more a "physical" presence, and in the end we went with a figure rather than a face to represent Jack. But Seb was always a face in Mel's mind, and it took a Russian ballet dancer, an actor from Vienna and a calendar model from an old photo shoot, circa 1985, to put this face together. By the time I was done, even I was amazed. Seb d'Astaghir has a face you just don't forget ... but what the cover illo doesn't show is his vivid blue eyes. The artwork was done at very large scale, and by the time it was reduced down to the size it must appear on the cover, the blue had become just a general darkness, which will drop out even further in the printing. Rats. Take my wod for it: Seb has big blue eyes.
For the face I started with two digital sketches: one was monochrome (because the photo references were monochrome), the other was color: Seb would be "colorized" using the same "color palette" as was used to paint Jack (which in itself was a palette derived from a painting by Hals). The finished face provided one of eight elements which would be used to construct the painting. Jack was another of these elements; plus the background and the sword:
The digital elements were pieced together from more than a dozen sources. For the figure of Jack and the sword, Dave came to the rescue: he not only modeled for the figure, but he's had the sword in his possession for many years. The hilt was photographed with a masked flash; the image was then sized, scaled, reversed, rotated, masked out and painted in. The background is part of a snapshot of a crypt with Norman curves in the ceiling. This was faded out, a color "cast" was added to the shadows (burgundy red) and a heavy Gaussian blur was applied. Then the whole thing was painted together seamlessly and we were ready for the 3D logos for the title and byline.
We're all delighted with the painting, and it really does "fit" the novel to a "T."
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RESEARCH TALES:
DESIGNING A FATASY WORLD, or ...
What, research for a fantasy novel?
Absolutely. One of the most difficult things about fantasy is the
"mortar" between the bricks: that is, the stuff sticking the
whole thing together! The adhesive is (if this doesn't sound
"too Irish" for you) a faux reality that must be rock-solid,
or the fantasy will soon fall apart.
For THE SWORDSMAN, HARBINDANE, MYTHGAARD and other fantasy fiction
you'll be seeing in the years to come, I was able to do one body of
research and apply it to several novels. And fortunately, most of
the research was done around ten years ago, when the original
versions of these novels were produced. Not a one was published
at the time. GMP were not interested in fantasy at all; Alyson
had done WORLDS APART and the anthology, SWORDS OF THE RAINBOW,
without much success ... I saw a comment (might have been on Amazon.com;
it was certainly on the Web, though I confess, I don't recall exactly
where!) that Alyson didn't promote SWORDS OF THE RAINBOW much, if
at all. I had a story in that one, and if the book had gone well, I was
going to offer Alyson a fantasy novel. However, the anthology passed
by without critical interest and apparantly without generating
outstanding sales: in retrospect, unsurprising if there was no promotion.
At the time, I was left wondering if David Fernbach at GMP might not be
right, and though fantasy was popular out yonder in the general
marketplace, gay fantasy fiction was a "non-starter." So I
never even offered Alyson a novel. The late 1990s were way too
busy for me on a personal level to even think about chasing down a
new publisher (it's not as easy as many readers think!) and of
course I entered discussions with DreamCraft in 2001.
But I digress! Research...
Put yourself back to a time before electricity, before steam.
Think through the mechanism of how a city has to work. Lines of
communication, routes of trade. Where is agriculture taking place,
and how? What's the climate like in this particular region? Is the
climate changing? What pressure does the climate, and change of
climate, force onto people? And if the climate is changing locally
... say, getting colder ... how does this affect people living five
hundred miles closer to the pole? And vice versa?
In fact, the world's climate is constantly changing; we know this now, for a
fact, and many of the patterns of human history are driven by it. Before
the concreting-in of national borders, history is full of migrations.
People have found themselves in the same "flush-crash" cycles as
voles and owls, foxes and rabbits. So where you have trackless wastes
(as my novel does), and where you have a people who can chart their
history over five centuries or more, you could put money on this:
bodies of people will be on the move, and it's going to come to
armed conflict sooner or later, as the "haves" fight to hang onto their
land, food and water.
So I looked at prehistoric agriculture, hunter-gatherer communities,
and got some questions asked. Here was a good one: How far can a horse
run in a day, and be asked to do it, every day, week in, week out? I
had other questions about the temperatures needed to forge decent
quality steel (what can primtives in the field do, on the run?) ... and
how much land area does it take to feed one family? How many families
make a workable gene-pool which is to say, a viable city that'll
actually grow over five hundred years, not stagnate and perish.
If you apply this kind of thinking and do a bit of research, your
worlds start to build themselves, like a kind of "SIM Middle Earth."
You also catch a glimpse of some apparent oddities in LORD OF THE RINGS ...
and I *do* know, JRR Tolkein was a linguist, not a "hard" scientist;
he built his incredible fantasy world as a "lingual progression,"
and he did it in the last decades pre-dating our understanding
of climatic shift, so (before anyone assaults me for this!), I'm
*not* being critical here, just curious! To the best of my
knowledge, the climate hasn't changed over 3500 years in Middle
Earth. Lands were devastated by war, but the land itself seems to
be eternal ... which in fact it wouldn't be, if Middle Earth is a
period in the history of our own world, perhaps 5000 years before
the hypothetical fall of Atlantis (the time of Robert Howard's
Hyborean Age). The other thing that strikes me as a bit of an
odditiy (and I'm sure Tolkein had his reasons) in LOTR is, over
3500 years there's been no advance in technology. Humans and
elves fought Sauron in the first War of the Ring, and they're
fighting the Dark Lord again with the same weapons, thirty-five centuries
later, rather than Mount Doom going down under a brace of MERV Warheads
as soon as the shadow began to extend out of Mordor once more.
Again, I'm not being critical, merely observant. As I've said,
I'm sure Tolkein had his reasons; they may well be buried somewhere
in the depths of The Silmarillion. I've read a lot of it, but I
have to confess, not all: I'm just a casual reader, not a Tolkein
scholar. As I said, it makes me curious.
So, for the opus of fantasies I was working on a decade ago
and which are about to go into print at last, I ran through these
thinking processes and built my worlds with a lot of attention
to the conclusions. I needed a lot of information to feed into
the grinder to get my conclusions, and hence ... research,
even (or especially) for a fantasy!
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