I am very happy to be participating in S.M Beiko’s blog tour for the release of the second book in The Realms of Ancient Series titled Children of the Bloodlands. Last year I reviewed the first book titled Scion of the Fox (review here) and I enjoyed it immensely. This is a YA series set in Canada riddled with fae-like, gothic, sublime, and fantastical elements. Children of the Bloodlands continues where Scion of the Fox left off, three months after the battle of Zabor. The friend group is reunited, and Roan must once more face new monsters of great magnitude in different parts of the world, leaving the Canadian landscape behind and turning to Edinburgh, Seoul, and parts of the Underworld—all overpowered by Ancient’s influence on Earth. There are several reviewers involved in the blog tour this month and I will take a step back from doing my usual literary reviews focused on the narrative.
I would like to turn my attention to the artwork accompanying this novel, specifically the cover art and design. This aspect of book design is highly collaborative, and labour-intensive. Both Scion of the Fox and Children of the Bloodlands have been designed by the team at Made by Emblem. Children of the Bloodlands has a red cover and at its center is the figure of an owl. This artistic choice had been applied previously to the first book where its central figure was a fox in the foreground of a green forest. I had many questions regarding the process of creating such covers, and got in touch with Erik Mohr, the Creative Director at Made by Emblem. Erik has been working as an art director for over 10 years and has received numerous industry awards including the Society of Publication Designers, Canadian National Magazine Awards, Art Directors Club of Canada and Magazines du Québec. Erik has been very kind and patient, and answered all of the questions I directed at him about the artwork, and I can see why it would be an absolute pleasure for any author to work with him and his team. Here is our full interview:
What attracted you about this particular project, and what made you take on Scion of the Fox in the first place last year?
I have been a fan of Sam Beiko’s work for years. We had worked together on her previous book, The Lake and the Library, and she really wanted to work together on The Realms of Ancient series. I was super excited and loved the direction she wanted to see the cover taking. Book design can be really exciting for a number of reasons, but the best is working with incredibly talented people and the collaboration between the author and designer.
Does it feel different working on Canadian projects for Canadian authors versus magazine art for things further away?
We have worked on book covers for Canadian, US and British publishers. I have to admit that the Canadian market is normally very conservative. That said, we’ve had the opportunity to work with publishers who are willing to take risks and create really exciting book covers. The magazine work we do is very different from the book design work. But there is cross-over, too. Magazine work is very fast paced and every page needs lots of entry points and design elements. But legibility and typographic skills are mandatory in book design and it’s simple and little tricks that can make a big difference.
What techniques do you use when creating a book cover? Do you make a plan, do you make several covers and choose the best one, or do you just keep building on the one template?
The process for creating a book cover involves reading the manuscript or excerpt, discussing the cover with the publisher and author, lots of sketches, then lots of discussions, lots of revisions and then eventually the finished product. Sometimes the first sketch is bang on. Sometimes there are 20+ revisions. Designing a book cover is all about marketing the book. Many considerations can influence the design of the book: who’s the audience, what genre is the book, is it part of a series?
Do you read the novel in its entirety first and then decide what to extract from it for the cover art, or do you obtain an excerpt and an idea from the publisher and work with that?
It totally depends. Sometimes the cover needs to be designed before the book has gone through its final proofing. Or there are substantial rewrites happening. In that case, we read the synopsis. Sometimes if there are issues with the manuscript, there are exhaustive emails about the story to best communicate the themes and mood.
Would reading the whole novel be too distracting because there would be too much material to decide what to choose?
Not at all! It’s what we prefer! That way we can understand the story arc and what elements are significant and which are spoilers!
Did you coordinate that both books complement each other (green and red) and have one central figure in the middle on purpose or did it turn out that way by accident?
This was very much on purpose! We didn’t know what the characters would be on the second book cover, but we purposely created a simple and impactful cover featuring a central character. This made for a composition which could easily be adapted to other books in the series.
Do you paint or draw by hand, or do you use computer programs, if yes, which programs do you use?
We use Photoshop primarily. The process is basically a digital collage. We photograph textures and find stock photos online that we can use as elements. Then there is a lengthy layered process to achieve the final photographic image. This way, we are able to create surreal or fantastical settings and characters.
Is the author S.M. Beiko involved at all in the process of the book cover design?
Super involved! Sam is very creative. She draws, paints, designs, etc. So she always has great suggestions! We talk a lot about what the book is about and what she sees as a cover image.
–End of Interview–
Website of Author S.M. Beiko with further details on everything relating to The Realms of Ancient: HERE.
I would like to extend my thanks to Erik Mohr for answering all of the questions and for creating such beautiful covers I will proudly display on my shelf. Children of the Bloodlands will be released on September 25th–published by ECW Press. Many thanks to Caroline Suzuki, the Publicity Co-ordinator of ECW Press for sending me an ARC and including me in the Blog Tour project.
Shaun Hume is a young emerging author with a unique voice. He is Australian-born and has self-published three works, Ewan Pendle and the White Wraith, The Girl in the Blue Shoes, and Tightrope Walker. All three works involve elements of speculative fiction, however, Ewan Pendle and the White Wraith is the only work that is written for a younger audience—perhaps 10 to 12 years old. Hume shares his writing experience and process in his literary blog which can be found here. One particular line that got my attention in his blog made me want to read Ewan Pendle and the White Wraith (2013):
“Writing can be an emotive and immersive experience sometimes. And when the scene is set right, there’s no greater thing to do than be lost in the world of one’s creations”
Ewan Pendle is a strange boy. He is an orphan who has been through numerous foster families—so much so the parents might as well be named John and Jane Doe—which funny enough they are. What sets Pendle apart is that he has vivid visions and can see monsters. Because he sees such creatures, he is labelled many things under the umbrella of ‘weird’ and must suffer the consequences by being bullied, and thrown around various families. The confusion of not knowing who he is, and his strangeness, is soon explained as he finds that he is part of an ancient peoples, the Lenitnes, who can see the truth. The monsters that regular people cannot see are actually there and the rest of the world is ignorant to their existence. He is then taken in a school called the Firedrake Lyceum where he learns the ways of the monstrous creatures he sees with other children just like him. Ewan is told in ‘orientation’:
“Firedrake Lyceum is a place where other Lenitnes children such as yourself go to learn to develop that gift, as well as how to put it to best use. The monsters you have been seeing are called Creatures. We as Lenitnes have been charged, for thousands of years, with the task of protecting other humans from these Creatures. And as the situation may arise, to protect the Creatures from some humans as well.”
Ewan befriends Mathilde and Enid and together they solve the ‘case’ of the White Wraith—threatening the royal family.
As mentioned above, this book is self-published, thus there will be instances of evident lack of editorial work. However, I found that it was very easy to read and the plot and characterization make up for that several times over. On Goodreads and Amazon, this work is labeled as “an antidote for Post-Potter Depression.” I myself missed out on the Potter fandom growing up, though I did thoroughly enjoy the series as an adult. I can see this label being both useful and problematic for an emerging author like Hume. In a way it’s a flattering comparison, and simultaneously it raises expectations where the reader approaches the work with a skeptical eye. I would urge readers who try Hume’s work to refrain from such expectations. As a person who has read both later in life I found the two works to be different in pleasant ways, and I think there is room for both works to exist. That said, the work contains magical creatures, and fantastical elements one may find in any other works post and pre-Potter like The Magicians, The Inheritance Cycle, or Wizard’s Hall. I was personally reminded of the children’s film ParaNorman. I would recommend this book to children around ages 10-12. Hume’s closing remarks give readers something to look forward to. He writes:
“If any of you fine and well-dressed people out there are keen to hear more of Ewan, Enid, Mathilde, and all the rest, then you may be pleased to know that the second volume of this monstrous tale (of which you have been witness to just the first part of ) is planned, and so are others”