Storyboarding – London

A decent portion of the second act in The Seals of Annach is set in modern-day urban London. The scenes are intimate, hardly a sweeping landscape of that amazing city. So, I kept the storyboards for it intimate as well. Interiors, rain, coffee, bits that create strong emotion.

They work well to establish and anchor the relationship that Kasey and Simon thought existed as well as the one that quickly evolves.

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Storyboarding – Damascus & Jordan

The entire third act of The Seals of Annach takes place in the Middle East and I spent more than a year immersed in learning the intricacies of life in Syria and Jordan in order to create a base that reflected the devastation of the Syrian civil war alongside the deep reverence for Islamic and even more ancient Middle Eastern cultures.

Long believed to be the seat of humankind and scarred deeply by the loss of culture and destruction of societies for thousands of years, the Middle East and its importance as the central location for the end of Book #1 made itself clear very early in my research and story mapping.

Travel and cultural identity proved key in these boards.

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Storyboarding – Main Characters

Defining the physical characteristics of the main characters allowed me to begin to develop a relationship with them on which I could build in order to draw out their emotions and motivations.

Kasey, Simon and Ahmad play a profound role in each other’s lives and the relationship that evolves between the three of them provides a rich insight into their darkness.

These storyboards served as the pivot point of all advance work I did on the trilogy. While the story evolved tremendously from the point of idea even to the finishing of the first draft, Kasey, Simon and Ahmad remained solid and their personalities grew – for me – into fascinating character studies of the profound scars left by power, fundamentalism and belief structure on the human heart.

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Storyboarding – Northwest Territories

The vastness of the Canadian north is not something to underestimate. I needed storyboards that gave me a solid overview of the landscape that Kasey and her dig team would experience on the Great Slave and along the Hay River in the NWT.

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This board served as reference for the feel of cave digs involving animal bones. For the most part, dinosaurs are rarely pulled from caves. So, finding reference for an underground dig proved challenging. The results here gave me the visuals to inspire the relationships between Kasey and Jonathan as well as Wyvern’s lead scientists Dr. Kavey Upwardah and Dr. Allain Lefevbre.

This team plays a small but pivotal role in the first act of The Seals of Annach that had to work just right to make the entire novel flow.

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Maps of The World

I spent a lot of time in the early months of this project mapping out the historic time lines and building the Sibylline storyline through many, many (did I say many) versions of story maps like this one.

The trilogy spans a history of more than 2,000 years and dialing in time periods, historic events and characters that made sense proved more than a little tedious.

These were an amazing way to pile everything into one place, then start moving, throwing out, adding, redefining and finally determining the story.

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Mapping the Sibylline world.