Posts Tagged ‘David Dalglish’

Cover Preview UK: Spring – Summer 2014


As Summer comes to an end, here at Orbit we’re already looking forward to the amazing selection of books that next Spring brings. We’re very  pleased to present a selection of covers for some of our exciting releases in the first half of 2014. It promises to be a very good year.

Click on each of the covers to see a larger version, and let us know your favourites.



Book cover for the First Fifteen Lives of Harry August by Claire North



The Lascar's Dagger


The Ripper Affair




Cursed Moon



Art Credits: Reign of Ash: Illustration by Larry Rostant; Heaven’s Queen: Design by Kirk Benshoff; Dance of Shadows: Photo Illustration by Gene Mollica & Michael Frost, Design by Kirk Benshoff; The Girl With All The Gifts: Design by Duncan Spilling; Cibola Burn: Illustration by Daniel Dociu, Design by Kirk Benshoff; Path to Power: Illustration by Raphael Lacoste, Design by Kirk Benshoff; Justice: Design by Wendy Chan; Broken Eye: Photo by Shirley Green, Illustration by Silas Manhood, Design by Lauren Panepinto; The Ripper Affair: Photo by Shirley Green, Illustration by Craig White, Design by Lauren Panepinto; Cursed Moon: Photo by Shirley Green, Illustration by Don Sipley, Design by Lauren Panepinto; The Fifth Season: Design by Lauren Panepinto; The Widow’s House: Design by Kirk Benshoff

Read an excerpt from A DANCE OF CLOAKS by David Dalglish

OctoberAssassin or protector; every choice has its consequences.

For the rogues and fantasy readers out there, Orbit’s Fall line-up is an exciting one, and it includes the Shadowdance series by David Dalglish! Starting in October, we’re publishing the first three books back-to-back. Here’s an excerpt from the first book, A DANCE OF CLOAKS (US | UK | AUS)

For the past two weeks the simple building had been his safe house, but now Thren Felhorn distrusted its protection as he limped through the door. He clutched his right arm to his body, fighting to halt its trembling. Blood ran from his shoulder to his elbow, the arm cut by a poisoned blade.

“Damn you, Leon,” he said as he staggered across the wood floor, through a sparsely decorated room, and up to a wall made of plaster and oak. Even with his blurred vision he located the slight groove with his fingers. He pressed down, detaching an iron lock on the other side of the wall. A small door swung inward.

The master of the Spider Guild collapsed in a chair and removed his gray hood and cloak. He sat in a much larger room painted silver and decorated with pictures of mountains and fields. Removing his shirt, he gritted his teeth while pulling it over his wounded arm. The toxin had been meant to paralyze him, not kill him, but the fact was little comfort. Most likely Leon Connington had wanted him alive so he could sit in his padded chair and watch his “gentle touchers” bleed Thren drop by drop. The fat man’s treacherous words from their meeting ignited a fire in his gut that refused to die.

Continue reading.

Become a fan of the official Facebook fanpage for the latest updates and connect with other fans of the series.


“A gritty book with intriguing characters and has a plot which will keep you hooked till the end’ Fantasy Book Critic

“Fast, furious, and fabulous.” – Michael J. Sullivan, author of THEFT OF SWORDS (US | UK | AUS)

“Dalglish concocts a heady cocktail of energy, breakneck pace and excitement that a reader could get drunk on.” – Sam Sykes, author of Tome of the Undergates



The Making of a Cover: Cover Briefing the Shadowdance series

coverbrief-pageWelcome to the most in-depth, behind-the-scenes, play-by-play account of how a cover is born, from the point of view of the Art Department. We’re charting the conception and birth of the Shadowdance series by David Dalglish.

So last week we talked about the first real step of a book, Acquisition, which is how a manuscript finds it’s way from the author to the editor, usually via an agent. We’re glossing over a ton of Editorial detail because this is a series about covers, but rest assured, there’s a lot of meetings, discussion, impassioned debate, etc. going on there. I mention it as part of the cover process at all, because, as Devi mentioned, at Orbit, discussing possible cover directions can often help us decide whether or not we are going to try to acquire a new author, series, or book. Very frequently Tim or one of the editors will brainstorm with me about what kind of cover a book they’re thinking of acquiring might have. How would it be different from the other books in the same subgenre at Orbit already? Would it be a chance to do something awesome and push the look of covers in the marketplace? Do I have a gut feeling initially about whether it would have to be photo, or illustration, or design? This can be dangerous because asking me to think about a cover direction is like letting a greyhound out of the starting gate and my brain is halfway down the track before I remind myself that we might not end up buying the book and then I’ll be all disappointed.

So, because at Orbit we’re all brainstorming on things all the time, Acquisition kind of bleeds into this stage, Cover Briefing. Which is when Art & Editorial have a meeting and Editorial officially tells Art to start working on a cover. Over the years I’ve refined a “Cover Briefing Form” to help Editorial get all of their thoughts down on paper. It’s not so critical that every piece of info is final, it’s more of a jumping-off point for a discussion. For example, if you look at the Cover Briefing Form for the first Shadowdance book, A DANCE OF CLOAKS (US UK | AUS)you’ll see the tagline was different, and we didn’t have a quote yet. But Devi and I had already talked about how we wanted to focus on cloaks and movement and dance, so she already put that in the notes.

Cover Briefing A Dance of Cloaks

We also talk about what the priorities for a cover are – simply put, what things do we want the cover to say, and in what order. Alex Lencicki, our Marketing and Publicity Director also comes to the cover launch, and he contributes greatly in talking about what the target audience for a book would be, what is going on in the rest of the marketplace, what competition would be for this book, etc. For this series we knew we wanted great dynamic action first, we wanted to grab people with the cool factor of the action as our first priority. Target audience was slightly more dominantly male, but not exclusive to female fans. We were looking to please our genre audience, but also attract some action movie fans as well.

Any author input already given to the Editor will be discussed at this stage, and often the Editor and I will talk about what materials I can get started on – do we have a manuscript ready to read? Just a few sample chapters? I also find it really helpful to make sure to check in with the author at the beginning of the cover process, either through the editor or directly with the author. I think Orbit is pretty unique in that I try to keep the authors as much in the loop as possible through the cover process. In SFF, so much is created straight out of the author’s imagination, it’s really helpful to hear world building details and ideas directly from them. Some have even made pinterest inspiration boards that I can look at for inspiration. At this stage I really have no idea what direction we’re going to take, I’m just gathering as much info as I can, to stew on for a little while.


The Making of a Cover: Acquisition of the Shadowdance Series

Welcome to the most in-depth, behind-the-scenes, play-by-play account of how a cover is born, from the point of view of the Art Department. We’re charting the conception and birth of the Shadowdance series by David Dalglish. I’ll be your emcee thru the process, with all the important players chiming in. 


The first stage of any book being born is Acquisition, or how an editor comes to find and buy a book to publish. This can happen a few ways, but by far the most common is for an agent to pitch the manuscript to an editor. Agents are a very important part of the publishing process. They’re kind of gatekeepers, coaches, and parents, all rolled up into one. They know the editors working in their genres, and they know what kinds of manuscripts each publishing house is looking for.

Although I do hear a lot about what goes on in the acquisition process, I’m not officially part of it. A lot of times the editors here will have a chat with me about the book they’re considering, see what I think we can do with the covers, etc. – but for the most part, this is more Editorial’s game, so I’ll let you hear from Devi Pillai, Editorial Director of Orbit, and the author himself, David Dalglish. Before I do, though, keep in mind that this was a slightly different case, as David had self-published the series already. Above you can see the original covers he produced for the first 3 books. We’ll talk in the next post about comparable titles and marketplace considerations, but in general, they’re very nice quality compared to a lot of what I see in the self-published world, so I was happy to be working with an author who had some grasp of what makes a good cover.


Michael Carr, David’s fantastic agent, sent me an email asking if I was interested in David Dalglish’s Shadowdance series. I, of course, was over the moon to get a chance at working with David and his world. We immediately started the acquisition process which involves considering how we wanted to position the books (which includes the metadata, the covers, etc).  We determined that the books would be better presented as a series versus a trilogy, so we knew we had to change the cover style for all six books. To do this, I brought in Lauren and Kirk from the Art Department to discuss what the cover direction would be. We thought that David’s covers had presence with his existing audience, but with rebranding the series, we wanted to go in a different direction.  We loved the photographic, yet very martial arts look of movies like Hero and Crouching Tiger, Hidden Dragon and thought a cover using Haern’s cloakdance would be the best portrayal of the series.


When I first came up with the idea for A DANCE OF CLOAKS (US | UK | AUS), the book was very much inspired by Brent Weeks’s Night Angel trilogy. Those covers of his, I adored. I studied them a ton, wanting to pick up the subtler things as a way of helping to identify my own books as belonging in a similar vein and genre. I loved the white space, the solitary figure, and the little flourish of color that helped seal it together. And it was those elements I shamelessly ripped off implemented as well. I had a figure upon white background (the faceless woman, Zusa), and it was her deep red cloak that added the flourish of color, as well as a nice artistic over-the-top decoration as it looped around.

Going in, I had a feeling what the new covers would be like, at least in concept. Simply put: they were going to put Haern on the cover. Now I didn’t know if he’d be on all of them like he is now, but I knew he’d be gracing the cover of book one, and most likely be looking badass. Beyond that, I could only cross my fingers and wait to see what Orbit’s art department came up with.

So in one respect, I was curious how Orbit might remain faithful to my original covers, yet not end up duplicating one of their own previous covers. Was it even possible?


The Making of a Cover in 13 Parts: David Dalglish’s SHADOWDANCE Series


As you may have seen start to spread across the interwebs, the new Orbit covers for David Dalglish’s Shadowdance series  have been released (to great early acclaim! yea!). We knew from the very start that these covers were going to be a special project, and thus, we thought, damn, this would be an awesome opportunity to do a behind-the-scenes series more in depth than anyone has ever documented before. So everyone here in the Orbit Art Department – and everyone who worked on this freelance – have kept records of all the stages and steps that it took to make these covers a reality. We’ve even got video footage!

If you have ever wanted to know what went into creating a book cover, absolute start to the very final end, from acquisition on thru to final books, well, you’re in for a treat. We’ll me taking an in-depth look at the stages of the cover development. I will be your host, and I will have everyone involved in the process chime in.

Since this is kind of an epic undertaking, we’ve already plotted out exactly what the posts are going to be, and I’ll list them here, so you can get excited. And as we go along, if there’s specific questions you have about that stage of the process, feel free to comment, I’ll try to answer all your questions. So whether you’re a fan, an aspiring author, or an artist, stay tuned for the entire cover process, start to finish:

  1. Acquisition
  2. Cover Briefing Meeting
  3. Cover Meeting 1: Directions
  4. Shoot Planning I: Photographer & Illustrator
  5. Shoot Planning II: Cover Model
  6. Shoot Planning III: Trampoline?
  7. Shoot Planning IV: Costume & Props
  8. Photo Shoot Day
  9. Rough Cuts
  10. Design Roughs
  11. Final Retouched Illustrations
  12. Final Cover Designs
  13. Final Books (and a special treat)

Bonus: Interior Maps

(and maybe, just maybe, we’ll have a few bonus posts along the way)