Category Archives: Art

Penworthy Steps Forward

In an effort to revitalize our outreach to authors, we’ve created a Facebook page — also called Penworthy Press — and will be posting all sorts of encouraging articles and useful information for our fellow writers and artists. Join us!

NEW blue sword^Penworthy Press^cropped^transparent

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Penworthy News, In Brief

When the blog falls quiet, it’s not abandoned. Think of it as the companionable lulls that occur in conversations between friends: they’re a sign of trust, respect, the comfort of one another’s presence.

For us at Penworthy, the conversation is by no means at an end. The silence simply means we’re creating.

Here are a few notes to catch you up on our doings:

1) Black Gate magazine posted an excellent review of Dragon’s Rook:

Black Gate sidebar_bg_mag_sigilLike all genres of fiction, fantasy has a growing list of clichés and played-out tropes: the orphaned farm boy who’s actually the chosen one, the quest for a magical artifact to save the world, the generic medieval European setting, the Tolkien-lite denizenry of humans and elves versus orcs, goblins, and trolls…. On one hand, it’s surprising to see these tropes crop up new cover^for Smashwordsover and over again. Authors are supposed to be imaginative. Is it really that hard to come up with original ideas? On the other hand, it makes a good bit of sense to see certain recurring tropes. Fantasy is, after all, rooted in mythology, and one can make a strong case that fantasy taps into symbols and archetypes coded into the human psyche, whether we’re talking about Joseph Campbell’s Hero’s Journey or the simple Jungian archetype of the shadow representing the basest of human instincts.

In practice, of course, the truth lays somewhere in the middle. Mediocre writers reuse certain tropes and make them cliché because they do nothing new with them. Expert writers create new tropes or take old ones and make them new in the context of unique characters and original words.

Read the entire review here.

SuSAn2) Suzan Troutt has been helping a fellow writer, Fred Rothganger, promote his science fiction novel, SuSAn, which we think is fitting, given the name. (wink and a smile)

Susan stands on the threshold of Singularity, a nexus where all the forces of history converge. What world waits on the other side? 

She has no “laws of robotics” built into her program, only the restless desire to be loved. She does everything to please her mother, a manipulative and driven scientist. As she grows from a trusting child into a rebellious young woman she faces a terrible choice: risk her very soul in more experiments, or stay stuck as an unfinished creation. 

She searches for a man who can embrace her as both machine and human being. Her final step in development is the most difficult of all: learning to love him back. The affair between humans and technology will determine the shape of our future.

Read more at Suzan’s blog, at the book’s Facebook page, or at Fred’s blog.

Gothic Tones logo

3) Suzan’s online jewelry store, Gothic Tones, is gaining more and more attention, which is making us quite happy. After all, we like to see one another succeed.

Suzan offers new, vintage, and offbeat items for customers looking for sophisticated, unique, or quirky jewelry. She also offers original artwork, a survival bracelet (for guys or girls), and customers can make requests.

 

Get It While It’s Free!

“Dragon’s Rook by Keanan Brand is an amazing read. It features an intricately detailed, original world, showcasing a classic struggle between good and evil.” (Amazon reviewer)

The Lost Sword duology is an epic fantasy in two parts: Dragon’s Rook (2015) and Dragon’s Bane (2016 or TBA). Dragon’s Rook introduces Captain Gaerbith, a shepherd turned soldier, and Kieran Smith, an orphan raised by a blacksmith. They do not yet know one another, but their destinies are interconnected. Before the end of the second book, they will join forces to find the lost sword, end a war, and fulfill ancient prophecies — but not, perhaps, as the ancients expected.

Many others join them on their journeys: friends, enemies, kindred, friends as close as kin, and enemies who may become allies. Gaerbith becomes betrothed to a high-born lady, and Kieran loves a mysterious healer with a crippled hand.

And there are Dragons, who — like the others — have secrets of their own.

The e-book version of Dragon’s Rook is available for free on Smashwords for another two weeks (coupon code: XM56N). There is a menu of format options available.

Writerly request: If you download the book, please be gracious and do an author a favor — leave a review on Amazon, Goodreads,Smashwords, Barnes & Noble, Shelfari, or any other book website of your choice.

Note: If you’d prefer the paperback, it is $19.99 on Amazon. 

FYI, the awesome dragon eye was drawn by Suzan Troutt. Find her at Jade’s Journal or at Gothic Tones (store, blog).

Happy Reading!

cover art by Suzan Troutt (c2014)
cover art by Suzan Troutt (c2014)

Penworthy Press Presents: Dragon’s Rook by Keanan Brand

The Penworthy Press collective—sounds like a cult, doesn’t it? But we’re just writers, honest!—announces the first book published under our logo:

Dragon’s Rook, book one of The Lost Sword duology by Keanan Brand.
cover art by Suzan Troutt (c2014)
cover art by Suzan Troutt (c2014)

This epic fantasy tells the story of two kingdoms at war. The kings are brothers-in-law—Morfran’s late wife was Damanthus’ sister—but the conflict has nothing to do with family and everything to do with the Territories, a long strip of forest and hills ruled by neither kingdom. The people there govern themselves, but have no standing army.

When Morfran’s soldiers invade, a young shepherd name Gaerbith journeys to the Dissonay capital and begs help of Damanthus to keep the Skardians at bay.

Disson engages Skarda in war, and pushes the invaders out of the Territories and back into the western Plains of Skarda, near the Highlands, a hallowed and feared place where the dead are said to dwell.

When Dragon’s Rook begins, the war is at an impasse. Both sides have lost heavily, and ground has been neither gained nor given in a long while. Gaerbith is now a seasoned soldier and captain of the Fourth Lachmil. His skill in battle has gained him a reputation as possessing magic, but anything special he attributes to the fact that his mother was a Keeper, one of a group of immortals charged with keeping the Great Archive, a storied trove of learning and art that many think is just a myth.

His mother, Uártha, entrusted him with a secret that can only be unlocked when he takes the oath of a Keeper: the hiding place of Azrin, the lost sword of Kel High King, who in ages past slew a Dragon and freed the people.

Yet, even if Gaerbith takes the oath and learns the secret, he can do nothing without Kel High King’s nearest descendant, the only one to whom the sword will answer.

Dragon’s Rook is the name of a cave in Kel Tor near the village of Shea, where a blacksmith lives. He possesses a dagger decorated with the same metal from which Azrin was forged, and he remembers nothing before the day the previous blacksmith found him as a child and took him in as an apprentice.

Kieran Smith and Captain Gaerbith set out on unexpected journeys—the blacksmith to learn who he really is, the soldier to do his duty to a king—and along the way they face great foes, make new allies, gain love or lose it, and must decide whether or not to do the most frightening thing of all: trust their lives to the leading of the Voice.

Dragon’s Rook is currently available as an e-book (visit Keanan’s website or his blog to select which version you prefer), and will be coming soon in paperback.

The cover art and design are by another member of the Penworthy Press collective: artist and writer, Suzan Troutt. She can be found at Gothic Tones blog, at her online jewelry shop, or at Jade’s Journal.

Advance readers have commented favorably on the cadence and detail of the writing, and on the characters, especially the female protagonists. Some readers have selected the story’s quieter moments—not the battles, not the wonders, but the human interactions—as some of their favorites.

Although there are fantasy tropes and archetypes in Dragon’s Rook, there are few mythical creatures—aside from Dragons, there are bloodthirsty giant crows called Nar’ath, invented for this story, but expect no dwarves, elves, ogres, trolls, and the like. The author freely admits to the classical influences of Tolkien, Lewis, folklore, mythology, and the Bible, and built the world of Disson and Skarda on a mix of American and European geography, but weaves a story all his own.

We at Penworthy Press are proud to present this novel to the world. May it and its successors bring joy to their readers for many years to come.

Nobel, Patrick Modiano, and Me

Never heard of Patrick Modiano?

It might help if you lived in France.

I didn’t know there was any past kerfuffle over the Nobel committee’s tendency to be Euro-centric in its selections for the literary prize, but I don’t mind getting to know about excellent writers outside my own country.

(K)eep in mind that while foreign translations from most literary writers can be hard to come by, there really isn’t reason to complain about Nobel winners being inaccessible. After all, the vast majority of winners since the prize’s debut in 1901 had written in English.

What’s more, awarding the honor to little-known writers — at least, from an English-reader’s perspective — can help introduce authors to a wider audience. Shortly after Jelinek won the prize in 2004, the American distributor of her book The Piano Teacher ran out of copies because demand was so unusually high. That was famously one of the goals of the Swedish Academy’s previous Permanent Secretary, Horace Engdahl, who once responded to criticism saying, “The purpose of the prize is to make them famous, not to tap them when they are famous.”

That prospect has already excited fans of Modiano’s in France. Anne Ghisoli, the director of the Parisian bookstore Librairie Gallimard, told the Times she had long been a Modiano fan, “but this prize will help raise the global profile of one of our consummate writers.”

[Gibson, Megan. “Why You Haven’t Heard of Patrick Modiano, Winner of the Nobel in LiteratureTime, 9 October 2014.]

A portion of his speech is highlighted in today’s issue of Shelf Awareness:

Time has speeded up since then and moves forward in fits and starts–explaining the difference between the towering literary edifices of the past, with their cathedral-like architectures, and the disjointed and fragmented works of today. From this point of view, my own generation is a transitional one, and I would be curious to know how the next generations, born with the Internet, mobile phones, e-mails and tweets, will express through literature this world in which everyone is permanently ‘connected’ and where ‘social networks’ are eating into that part of intimacy and secrecy that was still our own domain until quite recently–the secrecy that gave depth to individuals and could become a major theme in a novel. But I will remain optimistic about the future of literature and I am convinced that the writers of the future will safeguard the succession just as every generation has done since Homer.

I can identify with that need to put up a shield against the noise and the constant connection that eats at the soul.

Although I won a few prizes for speech-giving while in school, I dislike standing before crowds because my hands and voice shake and my thoughts scatter. Modiano, too, expresses his discomfort:

Calling to mind the way school lessons distinguish between the written and the oral, a novelist has more talent for written than oral assignments. He is accustomed to keeping quiet, and if he wants to imbibe an atmosphere, he must blend in with the crowd. He listens to conversations without appearing to, and if he steps in it is always in order to ask some discreet questions so as to improve his understanding of the women and men around him. His speech is hesitant because he is used to crossing out his words. It is true that after several redrafts, his style may be crystal clear. But when he takes the floor, he no longer has any means at his disposal to correct his stumbling speech.

Ah, yes. The need to constantly edit and revise. That explains my current profession.

Gustave Flaubert, a 19th-century French writer whose work ethic and precision with words one might well admire and imitate, even if his personal activities were best left behind the curtain, once wrote, “The art of writing is the art of discovering what you believe.”

And, I might add, it is in the act of writing that you realize not only do you have something to say, it is worth saying.

I also belong to a generation in which children were seen and not heard except on certain rare occasions and only after asking permission. But no one ever listened and people would often talk across them. That explains the difficulty that some of us have when speaking – sometimes hesitant, sometimes too fast as if we expect to be interrupted at any moment. This is perhaps why the desire to write came over me, like so many others, at the end of childhood. You hope that the adults will read what you write. That way, they will have to listen to you without interrupting and they will jolly well know what it is you have on your chest.

Listening — truly listening — is a great gift.

We may not understand all we hear, we may not agree with all we hear, but if we listen, we will learn, we will build bridges, we will encourage.

I was a child whose early, stumbling, terrible writings were listened to with patience and encouraged by adults. It was my peers who made me mute. They mocked, they misunderstood, they shrugged. Without the listening ears of a few grownups I respected and loved, I might not be a writer today.

Akin to truly listening is truly reading. There are few things more encouraging to a writer than knowing his words are being read. And not just read. Loved.

The announcement of this award seemed unreal to me and I was eager to know why you chose me. On that day I do not think I had ever been more acutely aware of how blind a novelist is when it comes to his own books, and how much more the readers know about what he has written than he does. A novelist can never be his own reader, except when he is ridding his manuscript of syntax errors, repetitions or the occasional superfluous paragraph. He only has a partial and confused impression of his books, like a painter creating a fresco on the ceiling, lying flat on a scaffold and working on the details, too close up, with no vision of the work as a whole…

So yes, the reader knows more about a book than the author himself. Something happens between a novel and its reader which is similar to the process of developing photographs, the way they did it before the digital age. The photograph, as it was printed in the darkroom, became visible bit by bit. As you read your way through a novel, the same chemical process takes place. But for such harmony to exist between the author and his reader, it is important never to overextend the reader – in the sense that we talk about singers overextending their voice – but to coax him imperceptibly, leaving enough space for the book to permeate him little by little, by means of an art resembling acupuncture, in which the needle merely has to be inserted in exactly the right spot to release the flow in the nervous system.

A certain short story comes to mind, one in which I purposely included certain themes but in which readers found other connections, better connections, than I intended. That was, I think, the first time I realized that a writer and a reader encounter different stories, though the words are the same.

The rest of Modiano’s excellent speech is dense with historical and literary references, and is literature itself. I highly recommend it to every writer, and to every reader who wonders where writers find their stories.

It and other speeches can be read at the Nobel website. Photos of the author can be viewed at The Telegraph, and an introduction to/review of some of his works may be read at The Guardian.

Dragon’s Rook–the Evolution of a Book Cover

My friend and fellow author Keanan Brand is nearing the publication of his new fantasy novel, Dragon’s Rook. In June, I saw this post on his Adventures In Fiction blog: “Wanted: Cover Artist.”

When Keanan asked me if I’d draw the cover art for his book, I accepted the job and felt honored to be chosen for the work.  As a child the public library was my playground of choice and I suspect that deep down it has always been my dream to be a cover artist!

But there was a problem. I was trying to break into the design world via my Bamboo tablet (a graduation gift). I’d already faced the challenge of learning to draw on a flat surface while looking at the laptop screen to see where my stylus was pointing. How I wished I had a tablet with a screen as I struggled to get my hand-eye coordination right! For an artist used to drawing on paper, it was certainly my first hurdle to overcome.

Practice improved my skills, and I felt ready to try a larger project.

The Original Vision:

Keanan’s vision for the cover of Dragon’s Rook was a detailed drawing–

“Art involving a dragon eye, a massive claw gripping a pile of rubble, one wing wrapping the side and bottom of a crumbling stone tower, and maybe shadowy shapes in the dark distance. A cover that will still look good as a thumbnail image.”

My Vision:

Though I searched online for images to inspire the work, I felt drawn to the idea of a circle in the middle of the book cover. A single dragon eye, like the picture Keanan had posted on his blog. We talked about it, and Keanan liked the idea. It almost seemed to pay homage to a hardbound book he recalled from the Lord of the Rings trilogy.

The Eye of Sauron. The eye of the Dragon King.

We decided that a castle tower would be reflected in the pupil.

A simple and thought-provoking image, telling a tale, inviting the reader to open the book. Or in this case to purchase it for their e-reader, since Dragon’s Rook will be published electronically first.

Evolving Images:

My initial offering was a rather menacing eye, but still not detailed enough to catch the reader’s attention as a thumbnail image. You can see this below.

dragon eye example

I also had a few hiccups along the way, including one image that looked a little bit like an olive. “Dragon’s Cook?”

dragon_eye_greengold

Finally the image began to look more like something we both felt was getting close to the vision.dragon_eye_greengold.sumo5

I wanted to add smoke and fire, but felt it would complicate the image too much. Keanan suggested creating a white for the eye rather than using the yellow background for the iris. I also wanted to add wrinkles to indicate the creature’s age.

I decided to build up the scales with the bevel effect with the Bamboo oil and dry brush tools. The scales reminded me of cobblestones. The bevel effect made them pop with an almost 3D-style!

The details faded as the viewer got further from the center of the eye. Like a tornado, the swirling scales pulled a sharper focus toward what the dragon was viewing.

The Final Image in Progress:

dragon_eye_greengold.sumo7

We felt that our vision for the cover was simple, intriguing, and menacing!

Future Plans:

We plan to use a very similar style for the  Dragon’s Bane cover. This is the next book in the series, and it will feature the eye of a different dragon character, with a sword instead of a castle tower in the iris of the eye. This image is not shown at full size, but should give a good idea of our design plans for the book.

Feedback on this design is greatly appreciated as we finalize the project!

-Suzan Troutt, artist and author, art copyright 2014-