Category: cabinet of curiosities (Page 3 of 3)

Ballantine Adult Fantasy and the Wonders of Cover Art

1c1d0b710

I love the vintage book cover art from the 1960s and 1970s. My husband and I have an entire box of the Penguin Books classic covers as postcards (and we’ve even framed some and hung them in the house). But I most especially love the science fiction and fantasy cover art from that time. Whenever I stumble onto an older edition of something, I get more excited for the cover art than for the book itself.

So I was delighted to read Charles de Lint’s book reviews in the latest edition of The Magazine of Fantasy and Science Fiction. In his review of William Morris’s The Well at the World’s End, he mentions the Ballantine Adult Fantasy Series, edited by Lin Carter. I’ll be honest and admit I don’t know much about the publishers of fantasy and science fiction. I know a handful of names that are involved: Tor, DAW, Del Rey, Ace. I even own a couple of Ballantine fantasy books (The Tolkien Reader and The Last Unicorn), but I never paid much attention to the publisher (until now).

Searching for more about the Ballantine Adult Fantasy Series, I found reviews of the books and the history of the series, but most especially, I found the cover art. I spent my morning just gazing at the artwork. I love interesting cover art. Not just for books, but also music albums, comic books, magazines, anything with a cover. I should probably do another post just about how much influence the Beatles’ cover art had on my childhood. But suffice to say, I don’t need the latest self-publishing guide to tell me how important cover artwork is.

I have purchased books solely because of the cover art, and I’ve skipped over books solely because of the cover art (Case in point: I refuse to buy any other versions of the Chronicles of Narnia except for the ones with the original Pauline Baynes art, or the 1970 Macmillan/Collier versions, i.e.: the ones I stole from my brother to read when I was eight) (Another case in point: When I look through my daily Book Bub ads, I am put off by the cover art on almost every title; a book has to have an extremely strong description to get me to overlook the lame, garish, and often cookie-cutter covers).

The Ballantine Adult Fantasy Series is my cover art crack. Without sounding too “get off my lawn!” about it, I wish that fantasy fiction still featured such surreal and whimsical art. Just looking at these covers has gotten my imagination going and given me ideas for my own fiction.

wormo

The-Blue-Star

Lud-in-the-Mist-front-cover

I can see where this style of art is perhaps too quirky and too dated to appeal to contemporary readers, but I find it fascinating. At some point, I’m going to have to start looking for a cover artist for The Thirteen Treasures of Britain, and I’m not quite sure what style of cover I have in mind. I wish I could get art that harkens back to the BAF covers, but that’s probably not a very smart business decision.

In the meantime, I can still gaze longingly at these beauties.

The Things That Shaped Me: Labyrinth (1986)

Chilling_2If I had to pick the people who had the greatest influence on my imagination as a child, there’s a trifecta of artists who stand above the rest: C.S. Lewis, J.R.R. Tolkien, and Jim Henson. Lewis and Tolkien were definitely my literary influences and I’ll write about them in future posts. But even before I had read The Lion, the Witch, and the Wardrobe or The Hobbit, I knew the Muppets. The Muppet Show, Muppet Babies, Sesame Street, and Fraggle Rock were constants in my childhood. Fraggle Rock especially loomed large. Partly because I could only watch it over at my aunt’s house (she had HBO), and partly because the world of the Fraggles, and Gorgs, and Doozers was a fantasy world, a secret world beyond our ordinary one.

I have always been fascinated by secret worlds, by places beyond the normal, by fairy lands and other dimensions. Which brings me to Labyrinth. When I watched Labyrinth as a young girl, I identified with Sarah completely. The storyline was what I hoped my life could be like: an imaginative girl, who longs to retreat into her fantasies, makes a wish and gets to have an adventure in a magical world filled with strange creatures. If only that could somehow happen to me!  (Unfortunately, I didn’t have a little stepbrother that I could ask the goblins to take away, precipitating my entrance into the Labyrinth in order to rescue him. Alas!)

It’s the creatures and the world of the Labyrinth that captivated my imagination (they still do!). No one does fantasy creatures better than the Henson Creature Shop, and Brian Froud’s designs pretty much define “fantasy” for me. The fact that the movie uses puppetry and real sets to create its world is why I think it continues to hold up nearly thirty years later. Jennifer Connelly isn’t just interacting with a tennis ball on a stick in front of a green screen; she’s *really* interacting with the creatures we see. When I was a child, the world of the Labyrinth *was* real; I watch the movie now and think the same thing. Those creatures, that maze, the goblin city — they’re real. Perhaps they’re not really magical creatures in a magical world, but they are physically real. They exist just as much as David Bowie or Jennifer Connelly exist. Somewhere in a closet in the Henson Creature Shop is Ludo and Didymus and the Junk Lady.

I also love the film because it’s a mash-up of so many different influences, and mashing up influences and creating something new is what I strive to do with my own fiction. There’s the German/Northern European influence with the goblins and many of the creatures; the Dickens influence with the little worm at the beginning; there’s a bit of Wizard of Oz; a bit of Where the Wild Things Are; the Escher paintings at the end; there’s even a steampunk element with some of the contraptions the goblins use. I love that Labyrinth is a hodge-podge. Dark Crystal was more of a unified, cohesive world — and I think that movie is amazing — but my heart is actually closer to the everything-and-the-kitchen-sink approach of Labyrinth. I love surprise and variety, and Labyrinth never fails to give me those two things.

Books I’m Reading (to help with my writing)

I have to say, I’ve been inspired lately. Mostly due to my husband’s belief that I can be a professional fiction writer, as well as to the Christmas gift he got me last year: a Kindle. Before the success of ebooks, I thought the only way I could be a published novelist was to get an agent, get a publishing contract, and have my book published by a traditional publisher. I had considered self-publishing in the past, but those were in the dark days before ebooks, and the fear of paying for a print run and having stacks of unopened boxes of books in my garage hung like a specter over the whole enterprise.

But seeing the success of ebook authors in recent years has me reevaluating self-publishing.

So with my new Kindle, I started downloading a bunch of books. I started off downloading public domain books that were either free or super-cheap (A Princess of Mars and The Worm Ouroboros being two of my favorites). But then I started getting books about self-publishing, about making a living writing ebooks, and the whole crazy dream of me being a fiction author started to seem possible.

These are the books that have inspired me or that continue to inspire me. These are the ones I’m reading right now or that I’ve read in the last few months:

Write. Publish. Repeat. by Sean Platt, Johnny B. Truant, with David Wright

This one kinda started it all. It made self-publishing seem possible; it laid out a plan. It also gave me a nice kick in the pants to sit down and start cranking out words. I am not prolific. It takes me a long time to finish rough drafts of stories, scripts, novels. It takes me even longer to revise (I often rewrite entire drafts from scratch). So reading how Platt, Truant, and Wright have cranked out millions of words in the last few years has lit a fire under me to crank out the words at a faster pace. If I want to have a career writing books, I have to write a lot of books.

Writer Dad by Sean Platt

This one was suggested after my purchase of Write. Publish. Repeat., and since I liked the previous book, I thought I’d check out this other one. Though less nuts and bolts/nitty-gritty about the process of self-publishing, this book was just as inspiring. Basically, Platt decided to make writing his full-time career and Writer Dad is the story of how he did it. Again, it’s inspiring and helps me focus on achieving my goals as a writer.

Write Your Novel from the Middle by James Scott Bell

I have Bell’s book, Plot and Structure: Techniques and Exercises for Crafting a Plot That Grips Readers from Start to Finish, and I really like it. I’m not particularly good at plotting (I’m more of a character and dialogue person), so his techniques have been helpful. It’s also just a good “writing guide” in general, with nice exercises for keeping momentum going and hitting your word count goals.

I’ve also taken a screenwriting class with Mr. Bell, and he was fantastic. So I was predisposed to like Write Your Novel from the Middle. And it’s an interesting approach to plotting and one that I’ve been using in my latest novel, 13 Treasures of Britain. It’s a short book but it has a lot of great advice.

Make Art, Make Money by Elizabeth Hyde Stevens

This is not a book about writing; however, it is a book about being an artist and making money from your art. It’s also a fascinating career biography of Jim Henson, a man who is one of my personal heroes. Stevens’s basic thesis is that Jim Henson was an artist who didn’t sacrifice his art in order to make money. I enjoyed her analysis of Henson’s career, and I found her suggestions to be overall helpful and even sometimes inspirational. Again, this book is meant for artist-entrepreneurs who need to see that their dreams are possible.

Let’s Get Digital by David Gaughran

This is a how-to for self-publishing digitally, but it’s also an interesting analysis of the publishing world. I didn’t realize how messed-up some things are in the traditional publishing industry (for instance, authors’ royalty rates for ebooks from traditional publishers is a lot lower than I thought it would be). The book is a how-to self-publish, but also a why-to self-publish. I really like Gaughran’s ability to explain technical things; I feel like I can manage to upload my manuscript and do all of the technical/business things necessary to launch my books. It’s laid-out nicely too, making it easy to find whatever info I need for a specific task.

(N.B.: Write. Publish. Repeat. and Let’s Get Digital can be purchased as part of a boxed set along with How to Market a Book by Joanna Penn. The boxed set is called the Indie Author Power Pack, which is on sale right now for $0.99. It’s a fantastic deal for those who are interested.)

The best part about all of these ebooks (besides their wealth of information), is that they were not expensive. I’m still astounded by how much ebooks from the big publishers cost. Those who self-publish seem to have a much better handle on how much an ebook is really worth. So for not a lot of cash, I’ve been able to expand my knowledge about self-publishing and get inspiration for my art with these books.

Newer posts »

© 2024 Jennifer M. Baldwin

Theme by Anders NorenUp ↑