A look behind the cover art of THE KEY TO CREATION
THE KEY TO CREATION has now been released in trade paperback, completing Kevin J. Anderson’s TERRA INCOGNITA trilogy – which in Kevin’s own words is “A complex and sprawling tale of sailing ships and sea monsters, intrepid explorers voyaging to uncharted lands, and a religious war that has thrown two continents against each other.”
If that doesn’t sound extremely cool, we don’t know what does. If you’re itching for some exciting swords-and-sails action, then rejoice because the first two books in the trilogy – THE EDGE OF THE WORLD and THE MAP OF ALL THINGS – are readily available in mass market paperback. So if you like your sea monsters, quite frankly you’ve got no excuse.
To mark the completion of the TERRA INCOGNITA trilogy, we asked cover artist Lee Gibbons a few questions about the wonderful illustrations he came up with for the books.
Can you tell us a little about the way you approached illustrating the TERRA INCOGNITA series? Were there any particular influences that you drew upon?
When I was first commissioned to produce these illustrations, Peter Cotton the designer had already decided on the layout he wanted: two elements separated by the type. It was always planned to have a scene at the bottom of the page and a close up of a piece of shiny navigational equipment at the top, linked by the map in the background.
Two things I had to bear in mind from the brief were that this had to appeal to both the UK and US markets and also to downplay the fantasy elements in the maritime scene, instead emphasising exploration and adventure. To this end, I drew on the influence of Victorian maritime paintings, which I have always had a soft spot for.
By the time we arrived at book two things had got a bit free and easy as regards the fantasy content! I was keen to have the map background continue across the three covers, but have to admit that with the type in place you would be hard pressed to notice that on the final printed covers. (more…)
Mid-series covers are at the same time a relief and a challenge. On one hand you already have the general look and feel of the art established, so a lot of the trial and error is skipped. Unless something has gone terribly wrong you are usually commissioning art from the same artist, and they start working a lot closer to the target. The type style is usually set, and overall it’s kind of fun to be able to play within those constraints. However you also can’t play it too safe and end up with boring art, or at least, art that isn’t pushed to its full potential. Because sometimes, especially in the case of a new author, the second cover is even more important than the first—you want to really show this author is establishing a strong series and the world is something you want to be drawn into. I know a lot of people—in fact, I am married to one—that won’t start a series if just the first book is out. (For example, he’s recently got into Game of Thrones on HBO and was really interested in reading the books until he heard it wasn’t a completed series…and yes, these are the fights that go on in my house) Thus, it’s really important to make mid-series covers as awesome, if not MORE awesome, than the first cover.
is in truth a rollercoaster ride featuring adventure at its most adventurous. Look no further than the info below and this 
In this episode, Jack Womack chats with Mira Grant (AKA Seanan McGuire) author of the Hugo nominated FEED, and the recently released DEADLINE. Subjects covered include The West Wing, the American health care crisis, the Spanish Flu, and the horrible diseases you can get from a contaminated ice-maker. Enjoy!