Getting to know us...
I thought I'd add a Q&A that Kathryn and I did earlier this year. After reading this, if you have any other questions please 'Contact' us. :)
S.E. Lucas -
What inspired you to write ‘Arisen’?
I was inspired to write ‘Arisen’ because I wanted to tell a slightly different fantasy story about magic, wizards, and sorcerers. I chose to use an elemental and spiritual style of magic, versus a book and language learned format. I feel this ties in with the idea that magic is linked with the natural forces of the world, and reinforces the need for checks and balances in one’s use of their power. I have also been incredibly fascinated with different mythologies. So, I wanted to write a story that had a great depth and sense of history. Within almost every chapter is another story, or episode which relates a common theme. The stories, themselves, are usually tall-tales and myths about events that happened before the setting of ‘Arisen’.
What age group is ‘Arisen’ written for?
The novel is suitable for Midgrade, YA, and Adult readers.
What are some of the main points and themes in the novel?
Well, the main point of the novel stresses Ivindfor’s desire to reintroduce magic, or ‘The Old Way’, into a world who believes it is only a myth and legend. So, the story is based on him gathering the grown 17 year old children from their families and moving them to Havenshade where they will be able to learn, practice, and live outside the fear society. Some of the themes in the novel deal with individualism and collectivism, politics and religion, race, class, and overcoming personal fears.
Why did you decide to have ‘Arisen’ illustrated with drawings and paintings?
As I was writing and editing the novel, I was a little tormented about how the cover would be created. So, I went online to deviantArt.com and started browsing fantasy artists and styles, which led me to Kathryn. After seeing her work, and wanting to create the best possible book for my readers, I decided to add the chapter drawings and illustrations. My inspiration for this was Tolkien’s ‘Children of Hurin’. I think it adds to the dimension and quality of the overall product.
How did you meet and collaborate with the artist, Kathryn Briggs?
As I said, I met Kathryn through deviantArt.com. I went to her website, checked out her other illustrations and style, and felt that Kathryn’s work would fit well with the novel. I sent a brief email explaining the novel, my intentions, and basically crossed my fingers and hoped she would be interested. Since our first contact, our communication and ideas have flowed naturally and fairly clear. That’s been key in this whole project. We didn’t really have to try to set up a system, or process between us, it just kind of happened on its own. I think there was an immediate mutual respect and vision toward what the novel could be by including the drawings and paintings. Kathryn is definitely a huge part of my motivation and my trust in the books’ overall outcome.
How do you and Kathryn develop and decide which drawings to do, or scenes to illustrate?
Generally, I email Kathryn an edited chapter with a few notes. I may point out a scene, or two that I happen to like, or think are important. Sometimes, I leave the ideas up to Kathryn, depending on what she finds inspirational. The paintings are definitely an important decision. I think we spend the same amount of time discussing one painting, as we do three, or four of the chapter drawings. Which is ok. I think we both feel that since the paintings are more representative and intensive, that we need to spend more time on them. Overall, though, we’ve luckily been on the same page. If there’s a question, or change we’ve managed to trust each other with open, considerate, and straightforward answers.
Have there been any difficulties, or problems you've had working on 'Arisen'?
At first, the time difference was a little nerve-wracking. There is six hours difference between where we live, so getting a quick answer was usually not an option. But, we developed a really quick bond, trust, and rhythm in how we worked and communicated. So, outside of a few changes on my end, our problems have been few and far between. Well, our day jobs have tended to get in the way, but we also need to pay our bills….
Who is your favorite character in 'Arisen'?
Since I’ve invested so much into some many of the characters, it’s hard to pick just one. I think it could be a tie between Hazel, Edmund, and Ivindfor. Although, some of the darker characters like Morclyf and Lazdrazil are just as entertaining to me. It should be interesting to see what readers think.
What have you enjoyed most about working on this project?
Definitely working with Kathryn. Without her, I wouldn’t see the novel come to life through her vision and interpretation of the novel. It astounds me every time when she delivers a drawing. As implied earlier, the process has seemed effortless, and Kathryn’s work compliments the novel perfectly. The quality of our work and determination really shows a commitment to the novel’s plotline and themes. Overall, the whole experience has allowed for a personal growth I never expected.
Kathryn Brigss -
1. What initially drew you to the novel and project?
Shane emailed me out of the blue - a truly serendipitous event. He was proposing a big project, but I was struck by his sincerity and dedication to his work. After reading through one of his drafts I knew I could contribute something to the project; right away I found myself in a very supportive and positive working relationship, which is priceless.
2. Where do you find inspiration, outside the novel itself, for your drawings and illustrations?
I am a huge fan of Alan Lee's illustration work; whenever I get stuck I crack open a volume of his work and find new inspiration. I have always been drawn to natural forms - plants, animals, landscapes - so any excuse to capture those things in drawing or paint is reason enough! I am also drawn to the beauty of multiculturalism, so I try my best to represent the characters as a diverse group.
3. What is your process in transforming a scene, or theme in the novel into your conception and artwork?
I think the process is a very intuitive one: I read through a chapter and try to let the scene compose itself. Sometimes it's instantaneous, sometimes it takes a few days as the scene processes in the background. Once I see it there's usually some back and forth with Shane to refine the details, then it's off to find reference materials. I have almost 200 images I've used so far in this process; I take a piece from here, a bit from there, until I've knit together what I'm after. Then it's a matter of sitting down to do it. Some things flow easily and are done quickly, others are a fight; I've learned it's best to try to relax and trust my training, experience and skill. The painting or drawing usually tells you when it's done, you just have to listen.
4. How do you and Shane develop and decide which drawings to do, or scenes to illustrate?
For the chapter drawings, I try to capture a scene that's pivitol but doesn't reveal too much of the story. Shane will sometimes pitch me an idea for an image, sometimes leave it up to me, sometimes I agree, sometimes I see something completely different. Communication is key! Working with Shane has been so positive an experience and I feel like there's a good deal of trust, so it's easy to toss ideas back and forth. I know from experience that if I don't feel an image in my gut it won't turn out right, so I try to do as much of the work before pencil even hits page as possible.
5. How did the cover come about?
The cover went through several images! At first it was a group portrait, then it was just Ivindfor, then it sat as a lumpy muddle in my head for ages. I was faced with the compositional challenge of representing a large group of characters with very different and specific attributes. It hit me one day that these characters were not unlike the signs of the zodiac - astrological symbols have a lot of symbolic meaning and also happen to have elemental connections, like the COTOW. I went first to one of my favorite artists, Alphonse Mucha and his zodiac calendar. Shane was game enough to develop the sigils for each character and I had a blast including the seasons, the elements, and the decorative flourishes into the composition.
6. Have there been any difficulties, or problems you've had working on 'Arisen'?
There have been a few compositions that ended up in the trash, but all's fair in love and art! I also balance work on Arisen with my own work as a graphic novelist, my small publishing company, volunteer work, the occasional teaching job, plus all the normal human stuff like friends, spending time with my beloved partner, keeping up with my family back in the US, and oh remembering to do the laundry! Time management is the greatest challenge by far, and I think a lot of other artists can sympathize.
7. Who is your favorite character in 'Arisen'?
I think it has to be Hazel - she's the first character I met, the first one I painted, and I feel like I have the clearest connection to her.
8. What have you enjoyed most about working on this project?
I think being an artist can be a lonely thing sometimes; hours in the studio, knocking on publisher's doors to no answer, endless applications for grants or gallery shows. I think the near daily dose of positivity and encouragement from Shane has been priceless! And maybe also that I'm doing what I love - days spent drawing and painting make life taste all the sweeter.
