Jessica Bell is an award-winning book cover designer and she is also an author, musician and writing/publishing coach. She is a multi-talented artist who weaves her background into her work. We’re excited to chat with Jessica today, a very talented creative force who gives us an in depth breakdown of what makes a good book cover.
LP: You wear at least four creative hats; author, musician, speaker/coach and book cover designer. Tell us how you came to do all of those and how you balance everything you do.
JB: I began my career as a graphic designer when I self-published my first book as an author back in 2011. Being the type of person that 100% believes in the phrase ‘if there is a will there is a way,’ I embarked on a self-taught design journey, 1) because I was penniless, and 2) because I’ve always loved a creative challenge.
Very soon after my design debut, I started designing covers for author friends as a favour. Until one of my friends told me that I should start a business. I took their advice, and since then I’ve has designed hundreds of covers for indie, traditional, and hybrid authors, many of which have hit bestseller lists, and won awards. One has even graced the shelves of WH Smiths at London airports.
Being an author myself, I fully understand the need to be able to incorporate an author’s vision into their book cover and I am sensitive to their needs. I also pride herself on prompt friendly service and an iterative design process.
I also make a living as a fiction and nonfiction author, singer, and the Publisher of Vine Leaves Press, an independent press founded by myself in Melbourne, Australia. My publishing career started in editing for an English Language Teaching publisher in Athens, Greece, where I currently live, called New Editions back in 2005. I then moved into freelance editing and writing for similar publishers such as Pearson Education, Cengage Learning, Harper Collins ELT, and Macmillan Education, before taking a full-time work-from-home position as Project Manager in the Academic Department of Education First—a multinational company of language teaching schools who produce their own teaching materials.
In February of this year, the success of my book cover design business enabled me to quit my position at Education First to focus on all the creative projects in my life—writing, music, publishing, and graphic design—and of course, teaching wonderful authors everything I know about making books!
Regarding your questions about balance, I have a hard time NOT being productive/motivated. I struggle to allow myself down time, which I have to admit, I should change. When you’re successfully running your own business, and doing the things you love, you don’t often feel that balance is an issue. Perhaps the simple answer to this is, ‘Do what you love!’
LP: Because you’re an author and a musician – do you find being an author helps you in a creative sense with your cover design work for other authors? If so, how?
JB: Absolutely. As I said above, I started designing because I was an author. I think I might be able to relate to my clients a little more because of this. I understand that bringing one’s own vision into fruition is important. So I do my best to accomplish what my clients ask, even if it is done with a slightly different angle. I try to be as artistic and original as possible, while simultaneously targeting the right readers. I draw the line, however, if an author’s vision isn’t going to work. I won’t design what they ask if it’s going to jeopardize the chances of their book selling. In that case, I patiently explain why their ideas won’t work. Sometimes clients appreciate it and let me get on with my work, and sometimes they go elsewhere. But that’s all just part and parcel of this business, I think.
LP: Who are some of your musical influences and what do you listen to when you’re working?
JB: I’m a huge fan of PJ Harvey and bands such as L7, Babes in Toyland, and Magic Dirt ever since my early teens (I was a teen in the 1990s). But since joining the band Keep Shelly in Athens, I’ve been listening to a lot of electronic music. Lately while designing I’ve been listening to artists such as Freeland, Daughter, ionnalee, Memoryhouse, Hælos, Bat for Lashes, Totemo, and Trentemøller, to name a few.
LP: Do you work exclusively with indie authors or do you work with publishing houses as well? What specific services do you offer?
I’ve worked with a few independent publishing houses, but the majority of my clientele are indie authors. I do cover design for eBook, paperback, hard cover (laminate and jacket), and audio book. I also do social media headers/banners/adverts, etc, for websites, Twitter, Instagram and Facebook.
LP: You do both fiction and non-fiction covers. How do they differ in your opinion?
JB: Nonfiction needs to be either extremely literal, or extremely symbolic, in my opinion. Nonfiction also, I feel, needs a ‘cleaner’ look. You need to let readers know that they are going to be educated/enlightened in some way. I feel it’s quite easy to accomplish this if you take advantage of space. The images and text need to breathe. There needs not to be any question of what the book is about.
For fiction, I think you can make anything work if you have the artistic ability.
LP: How do you come up with a concept for a design/look for a fiction cover? And what if it’s the first book of series- do you discuss branding a particular look/design for the series? How would you come up with a look for an entire series?
JB: I ask my clients to fill in a questionnaire. Some of the questions include:
What genre is it?
What kind of audience are you targeting?
What year is your book set in? What aspects of this era is prominent in your story?
What is the setting like? Please describe it to the best of your ability. What aspects of this setting are prominent in your story?
Are the protagonists male or female, and what is his/her age and what does he/she look like? (eye colour, hair colour/length/shape, etc)
What kind of relationship do your protagonists have? (romantic, just friends, siblings, etc)
What are the themes in your book?
Do you use any reoccurring symbols in your book? (For example, in one of my books, I use a wilting orange tree to symbolize a gradual breakdown of familial warmth.)
What do you want shoppers to feel when they see your covers?
I am able to come up with a concept pretty quickly if authors answer these questions in as much detail as possible.
If it’s a series, I tend to design the first two books in a series together, so that the author can see how my branding translates across multiple books. The main things I focus on when branding a series are font styles, and image positioning. I’m usually able to tell pretty quickly when designing the first prototype whether I can replicate the look over and over while still making each cover different. I tend to get more and more inspired, and gather more and more ideas as I work. So I need to actually start looking for stock images and putting things together before I understand where my designs are going to go. This is why I ask authors to fill in a questionnaire. I need to comprehend their answers and start working simultaneously to get the best result. I seen to be able to design my best covers when the author has offered me lots of suggestions and zero limitations.
LP: What are your rates for cover design?
JB: I work mostly with packaged deals and my prices are in Euros. The current deals I offer are:
400 Euros 1 x eBook cover
1 x paperback cover
1 x 3D cover for website
2 x licensed image downloads
3 x revisions on design chosen from 3 prototypes
1 x eBook cover
1 x paperback cover
1 x hard cover (laminate)
1 x 3D cover for website
2 x licensed image downloads
3 x revisions on design chosen from 3 prototypes
1 x eBook cover
1 x paperback cover
1 x hard cover (jacket)
1 x 3D cover for website
2 x licensed image downloads
3 x revisions on design chosen from 3 prototypes
1 x Website Header/Advert
1 x Facebook Header/Advert
1 x Twitter Header/Advert
1 x Instagram advert(all based on same design)
LP: Pick one of your favourite covers (that you designed) and break it down for us – in terms of what you did and why.
JB: Such a hard question as I have so many favourites. I’m going to choose a cover that has a lot of different stock images merged to create one, so that your readers can see what can be done.
I am not an illustrator. So all my covers are designed by manipulating stock photography. And because I am limited to what’s available on stock sites, the less ‘specific’ an author’s ideas for the cover are, the better it is for me to get creative and produce something engaging for potential readers. I’m saying this so your readers are completely aware of what they’re getting into with me. Of course, I can modify images (even illustrated images and vectors) to a certain extent. I can even use multiple images to create one different image, but all within reason. For example, see the cover for Wixon’s Day by Phil Williams
Along with answers to the questions I’ve listed in a previous question, the author, Phil Williams also said the following:
I originally envisaged the classic lone-wanderer in a wasteland image, but incorporating his canal boat; a grey and depressive image stretching to the distance. Ideally combined with steampunk technology – either as mechanical parts making up part of the cover, or within the image itself (i.e. the mechanisms of the boat, or a broken piece of machinery in the distance).
The separate images in their original form are:
1) two men on a canal boat inspired by cyberpunk machinery
2) boat was also modified by hand to look cyber-punky by superimposing some cyberpunk piping and turning them into silhouettes
3) the moon and clouds
4) the sky
5) and the mechanical overlay
Here’s the blurb for the book:
Clouds conceal the nation of Estalia, where a lone boatman makes his way across its freezing landscape. Marquos drifts through the dystopian empire without meaning, searching for hope of a better future as he scavenges to survive.
In the Deadland of the North, they say the sky is clear, and the stars shine: Marquos dreams of seeing it, believing that there is something more to this world.
With rebels plaguing the canals, hunted by the authoritarian Border Guard, and the guards of the Metropolis pursuing Marquos for his attempts to liberate a child, the route north is wrought with peril. Both the despotic militants, who rule without true governance, and the ragged bands of fighters who resist them, vie for the boatman’s support, and Marquos is drawn into a war many others don’t realise exists. His journey is not just into the inhospitable North, but into the darkest truths of his people and their history, unravelling secrets as foggy as the world around him.
You’re an award-winning designer – tell us about some of the awards you’ve won.
“I’m impressed, because this cover is completely satisfying, with an impressive skill level in the combination of images, handling of the type, and the quality of storytelling. Great tension and anticipation, too, a winner.”
“This cover really stood out for me. Maybe it’s the combination of the hot colors, the intimacy of the moment shown, and the interesting type choices, but it seems pregnant with interesting and possibly erotic events.”
LP: What are the key elements of a good cover and why?
JB: The four most important design factors I live by are:
Subtle colour combinations. But if you’re after bold and vibrant colours, please don’t use too many. It hurts the eyes. And sometimes scares readers away. I have often found that the most attractive covers I’ve ever seen use a maximum of three different colours and include black, white, or grey.
Have a look at the covers on the right. Notice how the colours of the text in the first cover are extracted from the image, and how in the second example the black and white compliments the bright bold colours.
Less is more. If there are too many elements in a cover, readers aren’t going to know what to focus on. And if they don’t know what to focus on, they are just going to skim past it. Think of the days when we used to use a cork board. All those bills, and reminders, and notices, all piled on top of each other, pins sticking into multiple pieces of paper. You could not see everything that was on that cork board. And most of the time you didn’t even try to. Don’t scare your potential readers away by trying to fit too much in such a small space.
Take a look at the covers above. Notice how the first one has tried to incorporate too many elements and it looks a cluttered mess (not to mention the highly ambitious colour scheme.) And notice how the second one has a lot of space. There is room for the image and text to breathe and it therefore draws the eye.
Focus on portraying a particular theme or emotion. People are attracted to visuals because of the way they make them feel. Which is why you often see TV commercials implementing a narrative that doesn’t seem to have a direct relationship with product.
For example, while I was visiting family in Australia not long ago, I saw an advert that captured my attention. The narrative shifted from scenes in various homes with happy and relaxed families and individuals. Cooking, reading, playing with a baby, a writer content at his desk, etc. All the people in this advert were smiling and at complete ease. In a literal sense, it looked like it was an advertisement for either a furniture store, or a real estate agent. There was no text, until the end, when a bank’s name popped up, along with something very simple about their new easy Internet banking system.
What was their message here? Bank with us and you’ll be able to enjoy life completely stress free.
This is what I believe a book cover needs to do. It needs to create an overall ‘feeling’, not by telling readers exactly what’s inside, but by setting a tone that is going make your target audience take notice.
Notice how the covers above do not try to tell a story, but rather project a tone.
Be careful with your choice of font. Don’t go overboard with cursive fonts. Sometimes you may be able to font a suitable cursive font that looks excellent. Other times you may be better off finding something that is more ‘classic’. To know what looks good against the backdrop of your cover, however, takes a little bit of trial and error. Don’t be afraid to experiment and compare. Another thing to consider regarding font choice, is that certain fonts mesh well with certain genres. CreativINDIE has an excellent post about this, I suggest you go check it out.
LP: Who are two or three of your favourite authors and why?
JB: I’m a huge fan of writing that makes me savour the beauty of the written word. I guess that comes from also being a poet and songwriter. I therefore can’t get enough of Margaret Atwood, Marilynne Robinson, or Jeanette Winterson. There are many more, but those are the first three that come to mind.
LP: BONUS QUESTION: What is the best concert you’ve ever been to and why?
JB: I will never forget seeing STOMP back in the late 90s at the Palais Theatre in Melbourne Australia. I write about this experience in my memoir. Here is an excerpt:
All day during the lead-up to the concert, I listened to the one track I had on cassette over and over. Something about the persistent and raw percussion on trash cans and plastic containers, and whatever else they’d scavenged from the tip and turned into a drum, deeply resonated with me. For one, it further consolidated the fact that if there’s a will there’s a way (something my mother always used to say). If such brilliant music can be created with trash and raw talent, then brilliance, I figured, was purely derived from passion. And if this was the case, I could be brilliant too, no matter what resources I had at my disposal. Two, the beat of their ‘drums’ matched the beat of my heart. Sometimes deep, sometimes tinny. Sometimes soft, sometimes loud. Sometimes angry, sometimes proud. I could feel their rhythm as if it were my own private soundtrack. It spoke to me as clearly and deeply as if it had lyrics.
If you scare easily, don’t read this book.
If you dare to read it, you’ve been warned.
Two years ago on a stormy night, in the dead of winter, Mike Teter experienced something that would change his life forever. Mike was a telescope operator at the world renowned Carson Peak Observatory in New Mexico. We won’t tell you what he saw that night on the mountain nor what happened afterward on a dark stretch of highway, because it would haunt you just as it has haunted Mike. But what we will tell you is that Mike is back at Carson Peak. And what he witnessed that night two years ago is about to become a reality . . .
Phaedra Michaels is a small town psychologist who is beginning to lose hope. Two of her patients at the local hospital in Dismal, Alabama have just killed themselves, she’s still reeling from her divorce and what turned out to be a disastrous marriage, and her father has died, leaving her without any notion of who her real mother is.
Just as Phaedra decides to commit herself to a serious drinking problem and an eating disorder, or two, a mysterious spell book arrives in the mail. Feeling desperate, Phaedra uses it to cast spells to save her fading patients. Suddenly, good things start happening. Phaedra’s patients begin to get better and she even starts dating the sexy doctor from the hospital.
Phaedra is so happy she doesn’t notice the small things that start to go wrong in Dismal, or the dark creatures slithering out of the shadows near her house. When Phaedra finally realizes her spells have attracted every card-carrying demon from hell, she has no choice but to accept help from a slightly nerdy, 500 year-old warlock with a penchant for wearing super hero T-shirts and a knack for getting under Phaedra’s skin. Now, if only she could get the hang of this witch thing, she might be able to save her town.
I carefully pulled the twine and the brown paper fell off. Beneath the paper was a large, leather bound book. It looked like an old journal or recipe book. It was tied together with a red ribbon and the ribbon held numerous pieces of paper. I ran my hands over the smooth leather and read the title of the book. It simply said Spells.
I laughed and pulled the red ribbon that held the book together. The book fell open. Inside, it was like a recipe book a mother would pass on to a daughter. There were old typed pages with handwritten notes in the margins. There were pages added with handwritten spells on them and drawings.
“What the hell?” I said as I leafed through the old book. There were potions and summoning spells and candle spells. In-between pages, there were pressed flowers and herbs and some of the pages were stained with old candle wax.
I set the book down and went into the kitchen and opened the fridge. At least the kitchen was done. It looked like any other modern kitchen. It had granite counter tops and marble floors. I’d spared no expense making it look like something that belonged in an old southern mansion. I wanted the house to be perfect and I had Johnny Boy’s money to help me achieve that dream. The lights flickered when I entered. I would have to talk to Lawson about that in the morning. I took a beer out of the fridge and opened it. I had a sip and grabbed a roll of cookie dough. Armed with the cookie dough and beer, I returned to the book. It had fallen off the counter, to the floor, and was opened to a page. I laughed again. The page it had opened to was love spells. That was just what I needed.
I sat down and ate and drank and leafed through the book. I stopped at a page with an interesting picture on it. The spell was an awakening spell. It awakened you to the supernatural world. I hesitated and looked at the script around it.
Something fell upstairs and the lights went out. I fumbled around and found the nearest flashlight and switched it on just as the lights flickered back on.
“Lawson, you asshole,” I said as I turned the flashlight off. “The wiring is done in the parlor, my ass.”
A sudden wave of fatigue washed over me and I picked up my mess and carted my sorry butt upstairs. I climbed into bed with my flashlight. I still had the book of spells. It had been so long since someone had given me something that I had forgotten what it felt like. I knew the book was more than weird. It bordered on creepy. A normal woman would probably burn the damn thing, but I wasn’t a normal woman. I was a lonely divorcée living in a house known to be haunted, but I loved it the way most people love their pets. I was the daughter of a man who had made it clear that he loathed me, with a step-mother who’d bought me toilet paper for Christmas. The creepy book was wonderful to me. It meant that someone out there, even if they were a freak, cared about me, and freak love was better than no love at all.
Philippe Lafrance is a well known reclusive writer whose life is suddenly thrown upside down when the grandfather he never knew existed, dies. He investigates the reason and learns that his family has kept secrets from him. Deep, ugly secrets. Worse, a killer is murdering the men in his family. He discovers that his father, then his grandfather, were murdered by someone desperate to keep secrets buried.
Bereft, Roxanne St-Clair is left to manage a restaurant when the only person who ever mattered to her, her foster parent and mentor, is murdered. She puts her life on hold to find his killer and bring him to justice.
Thrown together by circumstance and a mutual goal, Philippe and Roxanne fight their attraction and team up to find the killer, bring him to justice and unearth the truth. To stay alive, they must keep one step ahead of the assassin in order to prevent him from killing his next target, Philippe.
Will they succeed in bringing to justice this killer before Philippe becomes his next victim? Will they be able to deal with the truth behind the deadly secrets?
A cold September breeze whipped at the fallen leaves near where she stood in front of the mahogany coffin. Roxanne St-Clair‘s curly long strands of hair were blown into her eyes. Unconsciously, she tucked them behind her ear as she glanced over at the lone man standing across the coffin from her. She turned her attention back to Father Joe, who was completing prayers for the final farewell of George Lafrance.
From his dark well-cut suit to his cold green eyes, this stranger, who resembled George, had to be the estranged grandson, Philippe Lafrance. The grandson no one knew existed until a few days ago.
Father Joe closed his bible and lowered his head in silent prayer. Roxanne took this moment to caress George‘s mahogany coffin in her own final private farewell. She would forever be grateful and indebted to the compassionate man.
Ten years ago, he‘d given her a chance at a better life when he took her in, becoming her last foster parent, her only family.
Father Joe straightened and cleared his throat. “Before we leave, I wish to take this opportunity, on behalf of George‘s family, to invite everyone back to Rock Heaven, and toast George one last time.” He gave a curt nod to the stranger, then to Roxanne.
People nodded, mumbled and began to scatter. Roxanne accepted the odd condolence but from the corner of her eye she watched Philippe linger by his grandfather‘s coffin. It looked as if he were saying his own farewell.
He raised his head, and their eyes connected for a fleeting moment. Was it sadness she saw in their depths? Quickly, he masked his angry jade eyes with aloofness. He acknowledged her with a curt nod, turned around and left without a backward glance.
Her best friend, Vanessa, leaned towards her. “You know Roxanne, in all the years I‘ve known George, I never heard him mention a word about a grandson. He talked about losing his son to a heart attack and his wife to breast cancer, but not a word about a grandson. It‘s kind of weird, don‘t you think?”
Against her own better judgment, Roxanne wondered as well.
The grandson had inherited George‘s build, from his broad shoulders and trim waist to chiseled face. The only difference was, George never made her heart flutter with a fleeting eye contact; his grandson did. She tore her gaze from Philippe‘s retreating back and turned her attention back to Vanessa. ―He must have had his reasons.‖
As if reading Roxanne‘s mind, Vanessa acknowledged her. “He does resemble George, don‘t you think?”
“I bet that‘s the only thing he has in common with George.” Roxanne couldn‘t help but stare at Philippe crossing between the cemetery gates. He reached a blue Toyota, unlocked the driver‘s door and slipped in.
Crime and mystery lovers will be flocking to Toronto next week for Bouchercon 2017, the biggest mystery authors convention happening October 12-14, 2017. With that in mind, I spoke with Alison Bruce, the new Executive Director of Crime Writers of Canada (CWC) to see what wonderful events they have planned for Bouchercon, about her new role as ED of the CWC and her much anticipated second book in her Men in Uniform Series.
LB: Can you tell us a little about CWC and what the association does on behalf of crime and mystery writers?
AB: CWC is a national non-profit organization for Canadian mystery and crime writers, associated professionals, and others with a serious interest in Canadian crime writing. Our mission is to promote Canadian crime writing and to raise the profile of Canadian crime writers with readers, reviewers, librarians, booksellers, and media.
Our most important means of fulfilling our mission is our website: Crime Writers of Canada (CWC) . Through the website, readers around the world can find out about our member authors, their books, and their events, as well as what CWC as a whole is doing as an organization and within the larger community.
Through our free monthly public newsletter Crime Beat, subscribers access Author Events and Cool Canadian Crime– our catalogue of our members’ published books, updated quarterly – which are also available directly through the website, and they can get updates on our Arthur Ellis Awards as well as what CWC is doing at events like Word on the Street and Bouchercon.
For authors interested in what we do, I suggest checking out Member Benefits because the list is too long to include here.
LB:How has the CWC evolved as an organization and what does that mean for you and your new role as Executive Director?
AB: One of the strengths of CWC has been its ability and willingness to adapt. My new role as Executive Director is a great example of this. My predecessors played to their strengths and so will I. One of my strengths has been my past involvement with most aspects of the organization. As well as being the Publications Manager, I was the Arthur Ellis Awards Administrator and the ED’s deputy.
Now Ted Griffith is taking on the Arthur Ellis Awards mantle and I have a very able and personable Assistant Executive Director who will be sharing the administrative load so I can continue to be hands on in the publications and website development. We are already discovering where our skills complement each other and I am looking forward to us teaming up for the benefit of CWC.
AB: This is one of my favorite CWC stories. It was just after my dad died and for the first time in years, I was able to get to Word on the Street in Toronto. At the time I had an urban fantasy and a mystery novel making the rounds of the publishers so I was on the lookout for professional organizations that I could join. I knew about the Canadian Science Fiction and Fantasy Association and found them first, but they didn’t take unpublished authors. A couple of tables over, I discovered Crime Writers of Canada. Not only did they welcome associate members, they had a new category in their awards for unpublished first novels. I joined on the spot.
That year I was longlisted for the Unhanged Arthur Award, I got involved as a volunteer on the board and later went on to become the Publications Manager.
LB: Bouchercon 2017 is taking place October 12-14 in Toronto, can you tell us a little about the event?
AB: Bouchercon is run by the World Mystery Convention, a non-profit, all-volunteer organization. It is named in honor of Anthony Boucher, mystery fiction critic, editor, and author. It is held in a different North American city every year and this year is it being held in Toronto.
It is huge! There will be around 1600 people attending, including fans of crime fiction, along with published authors, aspiring writers, librarians, large and small publishers, editors, agents, and booksellers. There will be panels and special events, exhibitions and a dealers room, and CWC will be part of the excitement.
I’m excited. It’s my first Bouchercon and I’ll be in the thick of things.
AB: On Friday night, CWC will be hosting a crime-themed pub quiz. All day Saturday we’ll be sponsoring the Refreshment Room. We’ll also have a CWC table outside the dealer’s room where we will be able to sign up new members, and getting those who don’t want to join us but would like our free monthly newsletter CRIME BEAT. Each venue is a great opportunity to get our authors and readers together.
With the impressive list of panels, tours, and authors, what are you most looking forward to at Bouchercon 2017?
I’m going to be relaxed about the panels. There’s so much to choose from and I will be mostly there to work so I reckon I’ll play it by ear. Who knows who I’ll be meeting for coffee?
In addition to being the Executive Director of CWC, you are also an accomplished mystery author. Your book “A Bodyguard to Remember”, the first title in the Men in Uniform Series featured the unforgettable heroine Prudence Hartley. Will readers get the chance to see Pru again?
There is a book two or my publisher would kill me. Book 2 of Men in Uniform will see Pru Hartley getting thrown into the deep end of trouble because of a house guest her ex-husband foists on her. My working title is “Something the Ex Dragged In.”
What other work do you have coming out now?
I have a new book coming out soon. It’s a novel I wrote before Men in Uniform and then forgot about for a while. I’m hoping it will be out in time for Bouchercon so I can read from it at “20 on 20” (twenty minutes with an author every twenty minutes).
I know you have a lot going on with your new role and getting ready for Bouchercon but in the midst of all the chaos what is your guilty pleasure? I am assuming its loads of coffee!
I don’t feel the least bit guilty about drinking coffee. That would be like a car feeling guilty for needing gas. My guilty pleasure is having a treat with my coffee.
Now that is something I can also relate to! For anyone interested in attending Bouchercon 2017, the event details and links are below.
Alison Bruce writes history, mystery, and suspense. Her books combine clever mysteries, well-researched backgrounds and a touch of romance. Her protagonists are marked by their strength of character, sense of humor and the ability to adapt (sooner or later) to new situations. Four of her novels have been finalists for genre awards.
Copywriter, editor and graphic designer since 1992, Alison has also been a comic book store manager, small press publisher, and web designer. Currently, she is the Executive Director of Crime Writers of Canada.
“Shapeshifters: Weretigers, Werevultures, Werewolves. Why write about them? Maybe, I was ONE in another place . . . another time.” ~ the late A.B. Wallace
Our BOOK OF THE WEEK is the paranormal/shapeshifter mystery VINTAGE BLOOD AND THE SACRED SCEPTERS by A.B. Wallace.
Proceeds from sales of VINTAGE BLOOD have been donated to the American Breast Cancer Foundation (ABCF) since A.B. Wallace’s passing from breast cancer, and will continue to be donated for the duration of this book’s publication.
“The American Breast Cancer Foundation’s (ABCF) mission is to provide financial assistance for breast cancer screenings and diagnostic tests for uninsured and underserved individuals, regardless of age or gender.” ~ ABCF
A.B. Wallace’s paranormal mystery VINTAGE BLOOD AND THE SACRED SCEPTERS was released in 2004 by LBF books (now Lachesis Publishing). The book is available in both e-book formats and print format.
A.B. WALLACE was born in Italy but grew up in the United States. She studied Sociology at St. Peter’s College, Jersey City, NJ, and worked as a Case Worker for the Hudson County Division of Welfare in Jersey City. She then held several administrative positions with the Federal Government in Washington DC. She made her home in Virginia with her beloved husband before she passed away from breast cancer.
“AB Wallace is perhaps one of the most gripping modern-day storytellers. If you are not reading Wallace you are missing out.” ~ Diana Bennett ~ Midwest Book Review,
Brit Chambers, a gutsy Werecreature Consultant, has taken on the job of discovering the means by which to destroy the Sacred Scepters before a werecreature assassin finds them and uses them to rid the world of magic. But she has another problem to rid herself of as well–she has become Lord Daison’s personal blood bank thanks to her best friend, a weretiger.