Painting a Novel

There is a lot of advice out there geared toward writers, but I find it more helpful to think of the process the way a Renaissance painter might approach a new painting.

First, a theme, the more specific the better. “Motherly love” is nice but vague. “The wistful feelings of a mother gazing at her child knowing that child will grow beyond her reach and will suffer in ways she cannot prevent” is more specific and, by the narrowness of its scope, makes it easier for us and our audience to gauge our success. Limitations are freeing; by defining a narrow scope of theme, we automatically rule out a vast amount of material that doesn’t belong in our composition, and now we can focus on the few things that really matter. In this case, the expression on the mother’s face, the tilt of her head, the set of her mouth, and especially her eyes.

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The Dragon of Iletupa

Is it wrong to start designing the cover art before you write the book? I hope not. These are pen-and-ink studies for the cover art of The Dragon of Iletupa, the next novel I’m working on. The first one began as studies of dragon scales and then turned into an odd little street scene with characters taking their colorful balloons for a walk. This in turn inspired a limerick entitled ‘The Droll Encounter.’

The other two managed to come out looking like dragons. Progress!

While taking his balloons for a stroll / Professor Lanyard encountered a troll / A White-Crested Rail and a belligerent snail / Under circumstances unusually droll.
cover art study 2
cover art study 3