I drew a map of Galantia, the High City, to include in Mage and Source. I think it will go well with the two other maps, one of Lethemia and one of the East, drawn by my friend Jermey Jensen (see his maps below, labeled “Lethemia” and “The East”).

All the maps are hand-drawn.

I also drew a map of Solmari (last map), another fantasy world that I co-wrote with Tamara Shoemaker (that book is called The Eighth Octave). Tamara and I are currently tweet pitching The Eighth Octave in various forums over on Twitter.

galantiamap2 copy


THeEastSterling copy

solmari copy

Behind the Cover

I’ve never been one for following rote advice or rules. Like Laith, one of the narrators of Mage and Source, “Emily does what Emily wants,” and in the case of my Tales of Blood & Light covers, Emily wanted to make them herself, so she did, against the advice of just about everybody, everywhere.

That said, I’ve learned a lot by going the independent route (as usual), and I certainly beefed up my Photoshop skills, which were a bit rusty after a stint many years ago as a photo doctor in a psych lab in college. (Side note: back then I was editing images of Breyer horses and yearbook pictures for a study on prosopagnosia, the inability to recognize faces, in case you were curious.)

I always enjoy learning by doing, and working on my own covers has allowed me to do that.

While my favorite cover thus far is Sterling’s–all the pieces just fit together so well to get a striking image–there is a big “darling” in the Mage and Source cover that I wanted to share because I love it so much.

Here’s the Mage and Source cover:


Take special note of the interesting background colors and textures, the iridescent greens, blues, and violets. Those colors came from an image of a very specific thing. Can you guess what?

In the series thus far, each cover’s dominant color has represented the aetherlight color of the narrator. In Mage and Source, I have two narrators, and thus I needed to represent two colors on the cover, neither completely overpowering the other.

I am a relentless hunter of interesting public domain images, and I finally found one that I thought would serve as a good background image for Laith and Elena’s colors. It was this one:


from the USGA Bee Inventory and Monitoring Lab’s Flickr stream. Government science images make my nerdy heart happy.

This is an image of a bee’s wing. Specifically, it is the wing of a female Xylocopa carpenter bee from Thailand. It was so cool I had to use it on my cover!

The rest of the images were sourced from more mundane stock photograph sites. The bird of paradise flower image in the center represents a fictional night queen bloom.

You’ll have to read the book to see how the night queen bloom and the bee’s wings relate to the story!

You can pre-order Mage and Source here.

Add it on Goodreads here.


Goals : April : 2017

It’s time to review and post goals for another month. I was smart last month and kept my goals simple:

  1. FINISH  Mage & Source  revision. CHECK–I did this and sent to Tamara Shoemaker for line edits. That’s a relief.
  2. START musical magic co-write. CHECK–this is going very well. Tamara and I have nearly created a very rough draft for the entire book. We estimate 2-4 more chapters, plus an epilogue.
  3. READ through newly revised River Running and send to beta readers. CHECK–this one is off with a beta reader right now.

I’m going to keep it simple for April, too:

  1. LIGHT & SHADOW (ToB&L 5) revision and rewriting.
  2. FINISH draft of musical magic co-write.
  3. ODDS & ENDS (this includes working on some editing and formatting projects for others, mainly).

Deleted Scene : More Hinge Backstory

This little snippet was originally in The Gantean, a piece of information about the magic of the Gantean Hinge. Ultimately, I found a way to “show” rather than “tell” this information, but, like a lot of writing about magic systems, I had to write out the theory of it before I could even attempt to integrate it more naturally into the story.

Leila was the narrator telling this info, though it could have been the Cedna, too:

“Because of this Hinge, all other magic was possible, for in its opening, the Ancestors had made the Layers permeable, so that we could walk from one to the next. The Gantean People were the Guardians of this Hinge, and it was our sacred duty to protect it, to keep it hidden, safe, and open. Not just for ourselves, but for the whole world, for all the nations who used magic. The Hinge, high on the ice plateaus of Gante, was the source of all magic.

Every Gantean knew about the Hinge. Such knowledge made us Iksraqtaq. It was a secret funneled into us, never spoken, but lived and felt and inhaled from our very first breath. If we were a stern and somber people, it was because of this great responsibility we guarded. We kept the Hinge open by feeding it the dead, their flesh and spirit and blood, to appease its endless hunger.”

Deleted Scene: Random Gantean Backstory

Here’s a little snippet cut so long ago, I can’t remember if it was originally in The Gantean or The Cedna–although I lean towards the Cedna being the one who said this. You may need to refer to the Gantean glossary in either book to make head or tails of this cutting.

More or less, the basic facts of this backstory may still be true, although Gantean prehistory just never became as relevant to the story as I thought it would…

The Ganteans were not just the last remnants of a barbarian culture, as the sayantaq believed. We were the last of the Hanimen, a tribe of people who had lived on the Peninsula that was now Lethemia for eon after eon. The Hanimen were wielders of magic, the basic magic of plants and animals, earth, stone, and water. For a long time, that had been enough. Until a clan discovered the Hinge. The clanspeople had seen something strange around the edges of a cavern of stone. They had entered the cavern, and perhaps they had been the first to walk the Other Layer, and come back to Ijiq to speak of it. Unwitting, these first walkers had opened the Abys Hinge, making the Layers of magic permeable, so that we could move from one to the next if we were willing to pay with a bit of blood. The Hinge made magic possible, so that we could take the spirit of tree or stone or wind or water, and share our will with it. Iksraqtaq, the People, were the Guardians of this Hinge, and it was our sacred duty to protect it, to keep it hidden, safe, and open, and fed. Not just for ourselves, but for the whole of the world, for all the nations who used magic.