For those in Philadelphia, the Free Library of Philadelphia’s exhibition Mapping Imagination: The Art of World-Building is now on on the Third Floor of Parkway Central Library, Monday through Friday from 9:00 a.m. to 5:00 p.m. Admission is free.
And their collection includes signed prints of my maps for Holly Black’s The Folk of the Air series!.
The Free Library’s newest exhibition, Mapping Imagination: The Art of World-Building, is a collaboration between the Map Collection and Children’s Literature Research Collection that explores the creative and artistic choices that mapmakers use to build worlds and enhance storytelling. Traditional maps of real places dating from the 17th century to present, are displayed beside imaginary maps from various genres — fantasy, science fiction, graphic novels, and more — to highlight the role artistic and creative decisions play in building and characterizing real and fantastical worlds. Mapping Imagination features tactile maps and an audio narration to supplement your exhibition experience.
The map of Western Massachusetts bookstores, which I started in 2019 (while sitting in Book Moon in Easthampton) and which was delayed by, well, 2020 and 2021, is now out and about!
It has been in the Daily Hampshire Gazette, and you can also get a copy from Book Moon directly.
I pinched these photos from their social media.
If you are in their area on Independent Bookstore Day (30 April), a number of the shops in the area will have limited special edition offers and freebies, and Book Moon have already started their 50% off sale on used history, biography, art and travel books.
How can keeping an observation journal level up your practice as a writer? Join author and illustrator Kathleen Jennings as she demonstrates how a creative journal can awaken your creativity and helps you build a repertoire of exercises that will refine your ideas, techniques, and creative skills.
Every good fantasy adventure needs a map of the world the reader will be journeying through. But have you ever thought of creating your own? Award winning author and illustrator, Kathleen Jennings takes you through a brief introduction to creating a fantastic fantasy map.
Students are invited to respond to the image in no more than 120 words, using any written format (verse / prose). Shortlisted entrants will be invited to present a reading of their microfiction at the awards ceremony during the Festival.
The winner will receive a cash prize of $1000 thanks to UQ, and a book pack featuring every Word Play 2022 title for their school.
On these observation journal pages, I was thinking about the way stories interact with the space in which they take place. (This was because of a comment about Travelogues, which is very much about moving through landscape.) But the exercise turned into another way to break apart and consider stories, and find new ways in.
I began by quickly noting down the main locations in some favourite fairy tales, and tracking how characters moved between them (see also: The Usefulness of Template Stories).
Below, you can see Little Red Riding Hood (the version with the river and the washerwomen), Cinderella, Sleeping Beauty, Rapunzel (the one with later attempted murders), Beauty and the Beast, and Snow White.
Charting stories like this highlighted some interesting patterns. The shuttling activity of Cinderella, the concentric, narrowing focus of Sleeping Beauty. The increasing distance from home and outward movement of Rapunzel, the ring-road of Little Red Riding Hood.
It also highlighted the places where other locations were implied but not revealed, and the difference between story movement and that of individual characters. For more on that, see Plotted: A Literary Atlas by Andrew DeGraff and Daniel Harmon and Cinemaps: An Atlas of 35 Great Moviesby Andrew DeGraff and A. D. Jameson.
Cinderella in particular amused me.
Looked at this way, the focus of the story became the road between home and palace. So a few days later, I took a closer look:
There are several nebulous implied locations (where the stepmother and godmother originate from, for example) — they could be expanded, ellided, or conflated.
And while the road is a key location, there is rarely much time spent on it. What would the story look like from the point of view of observers along the way?
What about the tension between the landscape passing outside the carriage and the anticipation of the person within it? (Tangentially connected post: bored teens in cars.)
The next day, I was just playing with tiny maps of Cinderella, for fun:
But while the earlier charts open up the story, the map forces decisions, from aesthetic and style to the details of the world, the number of bridges the carriage should go across, and therefore the waterways and surrounding geography. At least, they do so if you build the world out from the events of the story.
If you fit a story to an existing geography, draping it over a landscape or running it along known roads, it is mostly the story that changes (and, perhaps, the meaning of the landscape). “Gisla and the Three Favours” (published in Lady Churchill’s Rosebud Wristlet last year) began as an exercise in draping the story of Cinderella over a volcanic landscape, and letting the story change. When writing Flyaway, the process involved introducing several fairy-tale elements to an ill-suited climate and watching them shift — but also letting the mythic weight of those stories become a lens through which to view landscape often written about more cruelly. And Travelogues explicitly involved attaching fantastic and fairy-tale imagery to very real geography and journeys.
I’ve also used this approach when planning and editing a current large project. Here’s a slightly redacted chart of the key locations, to see where movement was concentrated, and where the story opened up or was bottled in.
Here is the same for an early version of an house from the story:
From memory, do a quick rough chart of the key locations, and how characters move between them.
Notice and consider:
If you notice anything new about the story, or a new angle of approach to it, make a quick note of that.
If you wanted to open the story up, make it more claustrophobic, more cosmopolitan or focussed on logistics, what changes could you make to its locations?
Write or draw:
Are there any locations that don’t get a lot of focus? Implied off-page points of origin (or destination) — where was the woodcutter cutting wood? Heavily trafficked but almost unmentioned roads or driveways? Important outbuildings or waterways (did Sleeping Beauty’s castle have a moat, and what water fed it, and what became of it when everything was overgrown)?
Do a quick sketch — written or drawn — of a scene set in that place, or viewed from that point of observation.
And finally in this series of Wilderlore posts, an interview withKATE PROSSWIMMER, editor at Margaret K. McElderry (Simon & Schuster), who published Amanda Foody’s Wilderlore novels.
Kate Prosswimmer joined the McElderry team in 2019 after spending five years as an editor at Sourcebooks. She has had the distinct honor of working on acclaimed and award-winning titles including Amanda Foody’s The Accidental Apprentice, F.T. Lukens’ In Deeper Waters, Jess Keatings’ Shark Lady, Annette Bay Pimentel’s All the Way to the Top, and Zoraida Cordova’s Brooklyn Brujas series. Kate is enthusiastically acquiring a list picture books, middle grade, and YA fiction. If she had to distill her taste across all age ranges and genres to one word, it would be “escapist.” She loves mysteries, books that make her ugly cry, atmospheric and unusual settings, middle grade stories that are both whimsical and earnest across all genres, picture books that favor story over message or concept, YA that exists outside everyday settings in both contemporary and speculative genres, and stories across all ages that make the ordinary feel extraordinary.
1.KJ: What do maps do for you as a reader? Do you have a favourite map (literary or otherwise)?
Kate: I’m a very visual person, the kind of person who remembers faces and not names and uses landmarks to navigate rather than street signs. And when it comes to complicated fantasy worlds that feature unusual names, the struggle can be really compounded! Because of this, I oftentimes feel lost in a story when I can’t visualize the physical journey a character is taking. Maps help an otherwise fantastical world feel more accessible and grounded in a way that allows me to get closer to the characters and the story. I don’t know if I have a particular “favorite” map, but I will tell you that when I was growing up, I pretty much refused to read a book if it didn’t have a map in it! That was the easiest way I knew to identify books with the kind of epic scope and adventure that I was looking for.
2.KJ: How do you decide when to put a map into a book? Why did you want maps in these books?
Kate: Typically, I consider adding maps to any of my books that depend heavily on a complicated or far-ranging setting. That happens most often with fantasy titles, but maps can certainly be helpful in contemporary titles too. If having a map would enrich the reading experience by providing a useful reference point for readers, then I like to try to include one! Amanda Foody created such a rich and exciting world in the Wilderlands, and providing maps for readers felt like a great way to honor that and amplify the reading experience! There’s something about physically seeing a special, magical world that makes it feel more tangible.
3.KJ: Do all maps in books need to do the same thing? Or what are some of the purposes a map might serve?
Kate: Not at all! Some maps are meant to help communicate the enormous scope of a world that sprawls over multiple continents, while others provide a look at how intensely detailed a smaller city full of discoverable nooks and crannies might be.
4.KJ: What’s the process you follow when you’re commissioning a map? Are there any surprises in that process? Has anything ever gone hilariously wrong (that you can talk about)?
Kate: I’m pretty lucky – as the Editor, I get to go to our in-house designer and say “let’s make a map!” From there, I get to sit back and enjoy as they present me with a selection of artists who might be good for the style that we’re looking to employ. We discuss the options before coming to an agreement on who we’d love to reach out to, and then we cross our fingers and hope they’re available! So far, I haven’t had anything go hilariously wrong…*knocks on wood*
5.KJ: What would be your favourite thing to find in a map?
Kate: I love nothing more than to find an extra little world-building detail on the map that isn’t explicitly written in the book. It feels like a special little discovery that’s been placed for the delight of the reader (which is pretty much accurate)!
6.KJ: What would be the worst/funniest book to have a map in, if you could only get away with it?
Kate: Probably a picture book, like THE BOOK WITH NO PICTURES – there would be nothing to map out!!
7. KJ: Any questions you’d like me to answer?
Kate: I’d love to know where you start when you begin creating a map? And what’s your favorite part about illustrating maps?
KJ: I start by reading the books and trying to imagine the shape of the world and the lookof the landscape — sometimes it’s clearly described, but often I have to build it out of hints and probabilities. At the same time, I collect little details that might be interesting to fill out the world — creatures and oddities to draw into the corners of the map. My favourite part is finding those twists and ornaments that will help create the feeling of the book, the right way to draw a creek for that forest, or just the right type of fish, or a way to fit in those phrases that suggest the map is unfinished, or hint at what’s over the borders.
A boy who accidentally bonds with a magical Beast must set off on an adventure in the mysterious Woods in this “wholesome, delightful” (Kirkus Reviews, starred review), and cheeky middle grade fantasy debut—perfect for fans of Nevermoor and How to Train Your Dragon.
Barclay and his friends must save an island city from the Legendary Beast of the Sea in this exciting second book in the Wilderlore series, perfect for fans of Nevermoor and How to Train Your Dragon.
Support and/or follow
If you’d like to support art and writing and posts like this about it, here are some options!
I have a Patreon account (patreon.com/tanaudel) where you can get behind-the-scenes process and sneak-peeks, starting from US$1/month.
Herewith, an interview about maps in books with KARYN LEE — designer at Simon and Schuster, who art-directed the maps for Amanda Foody’s Wilderlore books.
Karyn Lee is a designer at Simon & Schuster Children’s Publishing, freelance illustrator, and a native New Yorker.
She earned her BFA from Pratt Institute in Communications Design and has since worked for clients such as The Washington Post, Macmillan, and Simon & Schuster as a freelance illustrator. Much of her time is spent daydreaming about fancy historical clothing and yet-to-be-drawn botanicals, and nothing gets her by like a carefully curated playlist.
Her design work has been featured in the Reese Witherspoon x Hello Sunshine Book Club, The New York Times, and Buzzfeed.
She is represented by Chad W. Beckerman at the CAT Agency (chad@catagencyinc.com).
1.KJ: What do maps do for you as a reader? Do you have a favourite map (literary or otherwise)?
Karyn: I’m a visual person so maps really help me add that little bit of depth to the world that I build in my head. I love it when books have maps because it really shows how important the geography is to the story and sometimes, in the case of something like… let’s say The Lord of the Rings, it really emphasizes the length of the journey that lies ahead. And it’s always fun to flip back to the map to see where they’re going! The map that has always stuck with me the most is the one in The Phantom Tollbooth by Norton Juster, illustrated by Jules Feiffer. It was my one of my favorite books growing up and I liked that the map really was a part of the hero’s journey—it turned up on his doorstep with the Phantom Tollbooth! I remember spending a long time staring at it and getting lost in the twisty doldrums and it was just so fun to envision a place with the name “Valley of Sound”.
2. KJ: How do you decide when to put a map into a book? Why did you want maps in these books?
Karyn: I feel we put maps in books that we always think could use an extra bit of world-building. Traditionally, maps are included in books with journeys—long journeys across lands that are unfamiliar and fantastical. For the Wilderlore series, we’re attempting to give young readers more of a vision of this ever-expanding world Amanda has created. This series is a great contender for a map because of the vastness of the world and because Amanda put so much thought into these locations, it’s wonderful for readers to see the time and effort she put into creating it. I hope they go back and reference the map as Barclay and his friends move from place to place.
3.KJ: Do all maps in books need to do the same thing? Or what are some of the purposes a map might serve?
Karyn: Oooh, I don’t know! I’ve always felt maps have been in books with long journeys, but I’m recalling the map in Circe by Madeline Miller that was just an island. And I think in that book, for me, at least, the map really emphasizes how confined Circe’s life was during her exile. I also have seen maps used in crime novels and think that’s a fun idea as a reader could use it to help them envision and solve the crime in the book, trying to figure out where suspects were at the time of the crime. So, I think there’s a ton of possibilities and reasons why a map might be in a book.
4.KJ: What’s the process you follow when you’re commissioning a map? Are there any surprises in that process? Has anything ever gone hilariously wrong (that you can talk about)?
Karyn: I have to say, that this is the first map I’ve worked on! So there’s nothing hilariously wrong that’s happened yet. I think finding the right artist is always the hard thing—there are so many ways to render maps and we wanted something that young readers could really get lost in. And you brought ours to life so perfectly with all the little details and beasts—there are so many things to consider in maps that I’ve never considered before (like… waterways!) I always think it’s interesting when an author has a comment (not just on maps but any art that goes in or on the cover of a book!) where they say like “oh this isn’t quite how I envisioned” because everyone envisions things differently.
5.KJ: What would be your favourite thing to find in a map?
Karyn: Ooh, I don’t know… I like little easter eggs—places in the book that maybe get passed by and mentioned that aren’t fully explored in the text. I love when we still get to see it on the map!
6.KJ: What would be the worst/funniest book to have a map in, if you could only get away with it?
Karyn: I think it would be so funny to have a map in Holes by Louis Sachar—also one of my favorite books from my childhood—the main character, Stanley, is sent to a correctional boot camp where, every day, he’s tasked to dig large holes in the ground “to build character”. It’s an amazing book that is more than it seems. But the setting is essentially a desert full of holes with a mountain range surrounding it, which I think would make for a hilarious map!
A boy who accidentally bonds with a magical Beast must set off on an adventure in the mysterious Woods in this “wholesome, delightful” (Kirkus Reviews, starred review), and cheeky middle grade fantasy debut—perfect for fans of Nevermoor and How to Train Your Dragon.
Barclay and his friends must save an island city from the Legendary Beast of the Sea in this exciting second book in the Wilderlore series, perfect for fans of Nevermoor and How to Train Your Dragon.
Support and/or follow
If you’d like to support art and writing and posts like this about it, here are some options!
I have a Patreon account (patreon.com/tanaudel) where you can get behind-the-scenes process and sneak-peeks, starting from US$1/month.
Amanda Foody is the New York Times and indie bestselling author of All of Us Villains, the Wilderlore series, the Shadow Game series, and more. Her work has appeared in publications including Buzzfeed, Popsugar, Culturess, and Amazon selected All of Us Villains as the Best Young Adult Book of 2021. Originally from Pennsylvania, she lives in Boston, MA with her partner and their orange tabby, Jelly Bean. When not writing, she unironically loves to cook. All of Our Demise, the sequel to All of Us Villains, will release on August 30, 2022. The third book in the Wilderlore series will follow in Spring 2023.
The first two volumes in Amanda’s delightful middle-grade series of Beasts, exploration and magic are out now. I illustrated the maps (the covers are by Petur Antonsson), and also got to ask Amanda questions about maps in her books!
KJ: What do maps do for you as a reader? Do you have a favourite map (literary or otherwise)?
Amanda Foody: I love opening up a fresh fantastical book and being immediately greeted by a map. It’s such an exciting peek into the world even before you read the first words. And though I might be terribly biased, the Wilderlore maps truly are my favorite! I love how much they burst with detail—you could spend ten minutes admiring them and still catch new words or Beasts you hadn’t noticed before.
KJ: Why did you want maps in these books? (Or, if you didn’t — which is potentially funnier — how did you feel when maps were thrust upon you?)
Amanda: I didn’t request any maps up front because, in comparison to other fantasy books I’ve written in the past, The Accidental Apprentice didn’t require one so much. And since we had the Beast glossary in the back, I figured the book already had some wonderful extra content. But The Weeping Tide did lend itself better to a map, so when my team suggested adding one, not just for Book Two, but for TAA, TWT, and all the future books in the series, I was thrilled! Why would I ever say no to such delightful additions?
KJ: These books take place in very different locations (the Woods and the Sea), and all the remarkable beasts in them change accordingly (except for the ones who travel with the main characters). Yet these aren’t exactly journey or quest fantasies — they’re much more about mystery and discovery. Did you want to explore the geography of the world as part of that? How/why did you choose the areas for those stories to take place in?
Amanda: As each book in the series is set in a different Wilderland, aka a magical biome, each time I’ve sat down to outline a new installment, one of the key items of my agenda is to list some geographical locations or phenomena I’d like to feature, which are typically inspired by the real world. For example, in The Weeping Tide, set at the Sea, I wanted to include a trench similar to the Marianna Trench, a coral reef, underwater rivers and lakes, islands, and even the Shifts—the very visible dividing line between the Sea and the ocean of the Elsewheres—is inspired by the real life border of where the Pacific and Indian Oceans meet. But honestly, TWT was just the beginning! This process only grew more expansive and detailed once I learned there would be maps in the series, which came after TWT was finished. Since then, I’ve begun to outline with the maps in mind, encouraging myself to feature even more dazzling and scientifically fascinating locations. Book 3 spotlights places inspired by landmarks across five different Earth continents. The maps have genuinely become integral to how I view my Wilderlore writing process.
KJ: Do you have a favourite type of landscape?
Amanda: I’m partial to the Woods, as I feel that’s the biome I grew up in, being from Central Pennsylvania. Though my ecological and geographical research has been one of the joys of writing this series, so I’ve possibly had even more fun exploring places beyond it.
KJ: Often maps are treated like an Objective Truth. But one of the things discussed when these maps were in development was that they should feel unfinished. Why was that important?
Amanda: Because the Wilderlands are meant to be so wild and magical, they’re described as not being totally explored. In fact, there is a whole class of Lore Keeper called Surveyors who make their careers out of mapping the uncharted regions of each Wilderland. I love the mystery that this adds. What discoveries might be found in places humans have yet to touch?
KJ: How did you think up the shape of the world in these stories? Some authors work out a very detailed geography first. Others make it up on the fly to fit the story. Some just have a very strong aesthetic/vibe they work with. (Speaking as an illustrator, all of these are quite exciting to convert to a map.)
Amanda: I definitely fall into the latter category. I find that if I commit to figuring out too much of the world upfront, I feel a lot of pressure to include all of that detail in the book, and it can often be overwhelming. When I start with simply what’s necessary on page and go from there, it keeps it more minimal. (Though I don’t think anyone who’s read my books would claim the worlds are minimal haha!)
KJ: Did you draw any maps yourself, and can I show your rough sketch?
Amanda: You absolutely can, though I drew them specifically as guides for you, as opposed to guides for me, so I only put the bare bones into them because I knew you’d take them away so beautifully from there! I’m very visual and good with directions, so I tend to remember the overall layout of my settings without relying on a map as I write.
KJ: What is it like working with an art director and illustrator to have a map made to fit a book?
Amanda: It’s very fun! I’ve had maps included in most of my books to date, and the process across publishers and series and age categories has always been much the same. Typically, once the book is mostly finished, I’m asked to provide some type of sketch of the map to send to the illustrator, and then some time later, I receive something a million times better than what I originally sent, often styllized in a way that suits. I also love how varied my maps have been. In Wilderlore, they’re maps of the Wilderlands, which are extremely large. In All of Us Villlains, the map is of the grounds of a death tournament, which include a single city and its surrounding regions. And in the Shadow Game series, the maps are all of the same single city, with alterations to suit the locations of each installment. [Maps by Jennifer Hanover]
KJ: What would be your favourite thing to find on a map?
Amanda: I love including details that might not feature in the actual book. I find they’re such a great way to make the world feel big and vibrant and not clue the reader into every single piece of information that will be important later.
You can read all about the illustration process for the maps here:
A boy who accidentally bonds with a magical Beast must set off on an adventure in the mysterious Woods in this “wholesome, delightful” (Kirkus Reviews, starred review), and cheeky middle grade fantasy debut—perfect for fans of Nevermoor and How to Train Your Dragon.
Barclay and his friends must save an island city from the Legendary Beast of the Sea in this exciting second book in the Wilderlore series, perfect for fans of Nevermoor and How to Train Your Dragon.
Stay tuned for interviews with author Amanda Foody (now up!), art director (Karyn Lee) and editor (Kate Prosswimmer)!
First, as usual, is to read the book and work out what should go into the world. The publisher and author provided me with sketches showing roughly where everything was located, and ideas for elements — this sped up the process, as sometimes I get to spend a while playing with alternative geographies (also fun). But reading the book lets me find ways to fit the elements together, and make the drawings suit the story, and find more Beasts with which to ornament the pages.
(Drawing two maps at once simplified some decisions, too, as they needed to match and belong to the same style.)
You can see that at one point I was thinking about a double-page map (top left, below), but in fact this was to be a single-page map. The edges of maps are very important to consider! Both so that the world can be pleasingly spaced inside them, and because while borders take real estate, they’re also a lot of fun to play in.
We thought about having no borders (since the world hasn’t been completely mapped). But in the end we all liked the idea of beasts in the corners so much that we put borders around them anyway. Design tensions!
So many Beasts!
These sketches are on accordion-folded strips of drawing paper. You can see here I was starting to think about how to fill all the space between the islands in the Sea.
There was a lot of Sea to draw — and a lot of Woods! These maps are of places that are only partially explored in the world of the books. So I had to fill them with enough detail to keep them interesting (the Beasts helped with this!) while also giving the sense that there were many adventures yet to be had.
My older sister asked if I could just draw a whole lot of trees/waves etc once, and use them to fill in backgrounds. I certainly could, and possibly one day I will on a project that suits it. But I love making everything a little bit different, a miniature world on the page, and being able to work elements around each other, or hint at topographies with the arrangements of trees.
Here are the sketches Amanda Foody made for me, for reference (she said I could show you, and noted that they were drawn just as guidelines for me!). I dropped them into a page template in Photoshop and stretched and nudged them into place until everything fit.
I had to think hard about placing things around Woods because there’s a LOT of information that would usually be centred on a map (towns, kingdoms, etc), but which here needs to be pushed right to the side, so the Woods can take pride of place. But I also wanted to draw the little towns!
I printed those rough layouts and used them as a guide for a large pencil sketch. That sketch would go for adjustments and approval, and then I would use it as a guide for inking.
Here is what the pencils look like close up. Something I wanted to play with here was using the trees’ shadows to hint at the rise and fall of the land.
I sent the sketches through for discussion. You can see some of the notes made on them here — adjusting locations and labels, identifying watercourses, etc.
I have two big geographic rules when I’m drawing maps: everything is connected, and (unless there’s extreme provocation to the contrary) water flows downhill. Sometimes I can add in connections and watercourses, but often they might turn out to be important in later books, or affect the broader shape of the world. And sometimes (as in other maps) I have to leave room for elements that will later appear or disappear.
Something else that’s fun with maps is that they do involve a little bit of writing. There’s the figurative sense, in which I am influencing and reflecting and talking with the story. But there are, quite literally, labels to write. And some of those labels I get to make up, or at least suggest — as here, with the “partial and incomplete” and “tentative and ongoing” labels.
And then I have to draw the banners around them (banners are fun — I filled the whole February calendar with them).
The next step, after having the pencils approved, and discussing the ideal corner animals, is to panic. I almost always freeze up — maps are big and complicated to draw (and therefore to get wrong), and I’ve almost always suggested something in pencil that will be very difficult to draw specifically in ink.
The trick, almost always, is to do a sampler page, trying out whirlpools, for example, or different ways of drawing streams, or how to hint at a snake skeleton.
I went with the fully-inked watercourses here, to make them stand out in a trackless forest. It also linked the two maps, with the under-sea ‘rivers’ in the Weeping Tide map.
Below, you can see the pencils showing through the drawing paper as I work on a lightbox.
You can see that best here around the lake:
I didn’t want the waves to look mechanical, but I did need them to be roughly similar-sized. If they vary all over the map when they’re not meant to, it can be distracting. I ‘d already tried this process out on the February 2021 calendar, so again I drew up a pattern of stripes about the right distance apart. I put that under the paper, and used it as a guide, adjusting a little bit where necessary to work around fixed elements.
I don’t always hand-letter directly onto the map. Often I put it on a separate page. This is because (a) I make mistakes and (b) I have to separate them onto their own layer in Photoshop, for proofreading (and replacement in translations, etc).
This time I did, though — the map looked bare in patches if I left those elements out, and the idea behind the maps was that they might be maps made in a sketchbook by a traveller, so some infelicitous lettering would be consistent with that.
And there are the two maps, before I scanned them in, tidied them up, separated the letering and sent them away!
The maps aren’t in the first editions, as I came on board as the series expanded — I understand they will be in newer editions of The Accidental Apprentice (from 1 February) and second edition/hardcover reprints of The Weeping Tide (when they come out — the first edition is out now, though!).
A boy who accidentally bonds with a magical Beast must set off on an adventure in the mysterious Woods in this “wholesome, delightful” (Kirkus Reviews, starred review), and cheeky middle grade fantasy debut—perfect for fans of Nevermoor and How to Train Your Dragon.
Barclay and his friends must save an island city from the Legendary Beast of the Sea in this exciting second book in the Wilderlore series, perfect for fans of Nevermoor and How to Train Your Dragon.
I’m very excited to be able to show you these maps for Amanda Foody’s first two Wilderlore novels: The Accidental Apprentice and The Weeping Tide (art directed by Karyn Lee).
I’ll put up a process post soon, and also map-related interviews with Amanda Foody, Karyn Lee, and Kate Prosswimmer (Amnda’s editor at Simon & Schuster)!
The maps aren’t in the first editions, as I came on board as the series expanded — I understand they will be in newer editions of The Accidental Apprentice (from 1 February) and second edition/hardcover reprints of The Weeping Tide (when they come out — the first edition is out now, though!).
The books are a splendid middle-grade romp, with a decentralised magical training system which I particularly enjoyed, and some really fabulous animals to draw (also just enough sheep).
A boy who accidentally bonds with a magical Beast must set off on an adventure in the mysterious Woods in this “wholesome, delightful” (Kirkus Reviews, starred review), and cheeky middle grade fantasy debut—perfect for fans of Nevermoor and How to Train Your Dragon.
Barclay and his friends must save an island city from the Legendary Beast of the Sea in this exciting second book in the Wilderlore series, perfect for fans of Nevermoor and How to Train Your Dragon.
While I get used to the new computer and on top of the… everything caused by needing a new computer, here are some tiny test drawings. I was trying out different approaches to trees and rivers for a map project. I love these sampler pages — one day I’d like to draw a big reference piece of my favourite approaches.
Kathleen Jennings 