The Tapestry is currently scheduled to be four volumes. Originally it was conceived as three, but having written the second book, I realized that there are simply too many themes, characters, and settings I would like to explore to wrap it all up in three volumes. I've also sketched out plans for several prequels that would take place in the late Renaissance/early Baroque periods, but those are still in the early planning stages.

I kept it simple--I wanted to craft a book that I would enjoy. I've always been an avid reader and devoured all kinds of stories, but the ones that stand out definitely share certain traits regardless of their genre...

CHARACTER-DRIVEN: In my opinion, great characters are by far the most vital ingredients to a story. An engaging plot will snag readers once, but readers will revisit great characters again and again until they are part of the family. I'm not ashamed to say that I'm involved with Gandalf and Gus McCrae and Lyra and Charlotte and Ishmael and Maturin and the many other great characters that have come to inhabit my being. In that spirit, I hope that Max McDaniels, David Menlo or even Mum (the beast!) will come to claim a little corner of their own in someone else's affections.

AN INTENSE, VISUAL EXPERIENCE: It's my goal to craft an emotionally satisfying journey for my readers--a story with scenes that are cozy, funny, mysterious, exhilarating, or even terrifying. As a visual person, I spend lots of time picturing the story-- how things would happen--before I ever tap a key. The next challenge is to translate my mental movie into the written word. Hopefully, this results in streamlined prose that is both stimulating and unaffected.

A BIT OF HEFT: While an intense, visual experience is very nice, it can also lead to the literary equivalent of Armageddon if it isn't tempered with some grit and depth. THE TAPESTRY is not a popcorn book. While it offers up plenty of laughs and thrills, it also explores some darker themes using a backdrop of mythology, history, and my own creations.

Ideally, anyone who enjoys a good story, but I don't really write for a particular age group. The books themselves are substantial things--each more than 400 pages--encompassing subject matter, language, and themes that are probably most appropriate for readers ten and older. Then again, I've known some precocious eight and nine year olds who have tackled it straightaway, so I try to shy away from arbitrary classifications.

For several reasons. Tapestries often tell a story, they are carefully woven together, and they represent an age and art form that's important to my tale. Also, and most obviously, it is Max's vision of the tapestry at the museum that begins the series.

A few things, I hope. When most people hear 'fantasy' they think 'magic' and while there is 'magic' in THE TAPESTRY, it's not a book defined solely by spells and wizardry. Far from it. In addition, this series offers substantial threads of science fiction, world history, mythology and folklore from many cultures. I think of it as the literary equivalent of a fusion restaurant--a pinch of this genre, a dash of that genre delivered with an undercurrent of realism. I'll cross my fingers that readers are treated to a world that they find spectacular and scary and real.

Another major differentiator, in my opinion, is that the author also illustrates these books. In our era of ever increasing specialization, the author/illustrator is a dying breed and I'm hopeful that readers will appreciate a creative work whose words and pictures both stem from one source.

THE TAPESTRY is a fantasy fiction series set in contemporary times. Troublesome trends are sweeping the world--stolen masterpieces, kidnapped children, and carnivorous vyes scouring the earth for a rare drop of Old Magic. Book One introduces the reader to Max McDaniels, a boy whose discovery of a mysterious tapestry ensnares him in a secret war that threatens to engulf history itself.

I've always been attracted to the very things Rowan offers, so if you know anyone who could get me on the list's.

Not at this time. While I'm sure characters such as Mum merit their own series (and dressing room!), I've got enough on my plate at present.

Yes from a very early age. One of my earliest memories is stumbling upon a faded edition of Beowulf. I was also exposed to quite a bit of Greek and Norse mythology as a boy and it's really stuck with me. As I got older, I began reading mythology from other cultures Indian, Egyptian, Celtic, Chinese, etc. and have enjoyed them all.

The Cattle Raid is really such a powerful story; a tale involving arrogance and hubris and heroism all in one. Ultimately, the most powerful image from the Cattle Raid is Cuchulain holding the ford against many enemies it's an iconic image of the hero. The fact Cuchulain ultimately fails (the bull is, in fact, captured by Maeve's armies to disastrous consequence) and that Ulster's vulnerability stems from a past shame are icing on the cake and add a great deal of depth to the tale. Of the many stories I read as a boy, the Cattle Raid always stuck with me.

Oh, there are some similarities, but he's his own person. We both like to draw and we can both be moody, but Max is much more athletic than I am and has spectacular, wavy hair. I have about seven hairs and they are very straight.

In many ways, the Sniffing Ceremony is a perfect introduction to Rowan Academy  both funny and frightening. It's also a wonderful introduction to Mum who is an important character and often serves as comic relief throughout the books. It's hard to say what exactly 'inspired' the scene it simply came to me one day and I was amused by the idea of a child having to hold very still while a fierce mumbling thing poked, prodded, sniffed, and commented on how they might taste. Having spoken to lots of students and readers, I've learned that the Sniffing Ceremony has made a memorable impression.

When I was young, my siblings and I had a book entitled The Fourteen Bears that followed a family of bears as they played and frolicked from summer to winter. Each of the bears (with the exception of the youngest, Theodore) had its own tree that had a particular style. I have very fond memories of my brother, sister, and I debating which tree would be our tree  whether it would be the tree decked out like a castle, a cozy kitchen, etc. The idea that you could have something of your very own that was somehow personalized to you was a very powerful one and stuck with me. When creating Rowan, I wanted that element to be present and, furthermore, to give you real insight into some of the inhabitants. The rooms will play an important role as the series develops  it's not just a charming detail.

Now, I'm all excited to brainstorm which room might be mine. Given the prices of San Francisco real estate, this might be the closest I come to home ownership! While I love Max and David's observatory and the dreamlike quality the constellations lend, I might personally prefer the cozy confines of the Spanish Galleon the nautical details, lanterns, and intricate woodwork of the captain's cabin. With a gentle sea just beyond the portholes, I think I'd sleep very comfortably tucked in my little alcove.

I suppose I should say 'no' and insist that I love all my characters the same, but it isn't true. There are certain characters that claim different portions of a writer's heart and creativity. Of course I'm very fond of Max, but since we see everything through Max's eyes it is sometimes easier to imbue other characters with more exaggerated quirks and traits that can make them endearing. From a comedic standpoint, I'm very fond of Mum, Connor, Hannah, and (later) Bellagrog. I respect Cooper, love Bob, and am mesmerized by Astaroth's charm and capacity for sudden, terrifying action. Mr. Sikes allows me to stretch my brain and rhetorical skills while YaYa's wisdom puts rhetoric aside and hits at the truth of things. The reality is that I have a lot of 'favorites' and each has a special place in my heart because each brings something special to the table.

I'll pass on the diaper-clad imp and bossiness of Tweedy. Given that individuals and their charges typically share a trait or two, I think mine would probably be a koala: sleepy, blinky, a tendency to cling to things. You get the idea. I know I'd like to have something magnificent a shedu, a lymrill, a dragon--but that's not really me. My charge would probably be something independent and stubborn with an inconsistent use of commas.

David is, and will continue to be, a core character of the series. That's all I can say as I prefer David to remain a bit mysterious!

Define "children's book". I'm still unclear on that definition and whether it implies "a story written for children" or "a story whose protagonists are children". Some would say they're the same thing, but I'm not so certain. With The Tapestry I've taken the approach that I'm writing a tale that is absolutely real: the characters exist; the events are actual. To do this requires immediacy between the reader and the story; there are no 'delightful asides' courtesy of an omniscient narrator. Everything the readers experience is through Max and our young hero is witness to some dark, scary, and periodically violent events. In fact, there are times when Max is dark, scary, and violent! If I want The Tapestry to feel plausible, I cannot shy away from the incidents or dialogue that unfold in my mind's eye as I create the story.  I must simply tell that story in a straightforward manner.Furthermore, like it or not, scary moments and violence have been consistent ingredients in just about every myth, folktale, and historical chapter I have encountered. While the Victorian era smoothed over many a detail to make certain stories more "child friendly", I would encourage you to read any of Grimm's original fairytales. They can be very scary, exceedingly gruesome, and the good guy does not always win. Ultimately, I am trying to tell a tale, create a world, and evoke emotions that span a broad spectrum. Given this, there are times when fear and violence are as essential as joy, hope, and laughter.

I've received a surprising number of emails about the Rembrandt painting and my religious views.While I keep my religious views private, the rationale to use this particular painting stemmed more from the artist, time period, and image than any sort of hidden commentary on the Biblical scene, Judaism, or Christianity. Rembrandt's stormy compositions and his extraordinary use of light and dark set the perfect mood for something as sinister as a prison comprised of paint. During the 17th century when Rembrandt was painting, the Church was the patron of many artists and artistic works and thus many of these works happen to have a religious subject matter or depict Biblical scenes. The Rembrandt painting of Abraham and Isaac provided me with a powerful image that I thought would serve very well while also coming from the time period I needed.I don't have any sort of "agenda" regarding religion or religious institutions.

The scale, stakes, and pace of the books will increase as the series progresses. The Second Siege details the rise of Astaroth and the awful implications for not only Rowan, but also entire countries and continents. Readers may be surprised to find that Max spends relatively little time at Rowan and instead must race across the globe, avoiding enemies who are transforming the landscape and character of human civilization. It is an altogether much 'bigger' book than The Hound of Rowan and there will be events that transpire on a grand scale.

I've never been a fan of villains who are simply evil for its own sake. Such characters are just too one-dimensional and cartoonish. I want my villains to be complex and charismatic and for the reader to understand how traits such as pride, hubris, and envy can twist the very best intentions into horrific outcomes. History's most notorious villains uniformly believed they were doing something noble or necessary; that dynamic makes for a far more interesting character than a cackling, scheming stereotype.

No. I’m also a teacher and there are some days when I’m simply too tired at the end of the workday to sit down and write. I tend to work in spurts as opposed to the methodical approach employed by other writers. At the present, I wouldn’t classify myself as a terribly efficient writer, but I hope to work on that.

I'm a big believer in structure and planning out the major plot developments and pacing, but I always leave room for improvisation throughout. There will always be intriguing little (and big) plot points that emerge while I'm writing. In fact, it's often the characters that end up pushing or pulling me in a particular direction – something in the story will happen and I just know that a particular character would react in a way that I hadn't planned. Those developments are very exciting when they occur because it is at these moments the story is a living, breathing, evolving thing.

There are some days that are better than others, but the nice thing is that when you write and illustrate your books you can usually find some way to be productive. If I find that I'm grasping for words or plot progression, I'll head to a cafe to brainstorm. If neither of those is working that day, I'll sit down and do a bit of drawing. I've found that one often feeds the other and that a bit of drawing might jar lose the pesky "writer's block".

Read good books. I cannot emphasize this enough. Reading fertilizes your mind in ways you can never quite anticipate—a story that you thought you'd forgotten may suddenly loom large and resonate at a later stage of life. Many of my ideas have sprung from seeds planted long ago, seeds that have been filtered through my life experiences to take on their own shape and character. Once you find your voice, write your stories with discipline and joy and share them with those you love.

I have. Ever since I could hold a crayon, I've been scribbling away. While I put down my pens and pencils when I was working in the corporate world, those interests and aptitudes never quite leave you and I found that they were like forgiving friends when I picked them up again.

The Tapestry’s illustrations are created in line and wash. I use an old-fashioned dip pen with a sharp, scratchy nib and work on hot pressed watercolor paper. I create shades of gray by diluting India ink in water and painting the areas in with a small brush. It’s an old technique and, I find, very effective for creating a telling atmosphere and allowing for a large amount of detail.

Too many to list, but I will say that particularly enjoy illustrators and cartoonists from the nineteenth and early twentieth centuries. Illustrators and political cartoonists such as Arthur Rackham, Edmund Dulac, Sidney Paget, and Thomas Nast really inspire me. When it comes to painters, sculptors, and such, I really do enjoy some of the artists featured in The Hound of Rowan – Rembrandt, Goya, Gauguin, Michelangelo, Leonardo, and Picasso. I consider myself only an amateur dabbler in illustration and, like almost anything, you gain a greater appreciation for a true professional’s skills when you have inched down that path yourself.

While The Tapestry's illustrations will continue to be in black and white, I do enjoy working with color and am sure I will on future projects. We'll just have to see what those will be…

I usually write at night (too many distractions during the day) and hole up in my little office, tapping away while I guzzle coffee. I sometimes listen to music (classical and jazz –nothing with lyrics) for a bit of mood. When I’m on a roll, I’ll see the sun come up and keep plowing ahead. When I’m not on a roll, I’ll stagger off to bed and curse myself for that last cup of coffee.

I brainstorm and doodle in notebooks, but I do my writing on the computer. While I recognize that’s not nearly so romantic an image as painstaking, handwritten manuscripts, I’ve found it to be far more efficient. I think this is particularly true for me as I’m an exceedingly visual person – I like to see how words look on a page and the react to them. On a computer, I can do this quickly and make whatever changes I choose. When writing by hand, this can be particularly tedious and I find that whenever I’m tempted to write out particular sections in longhand, I quickly retreat to the computer.

There are a tremendous number of authors whom I admire, but if I had to single a few out… Nobody who writes a fantasy book can ignore J.R.R. Tolkien – I read The Lord of the Rings every year (appendices too!) and am consistently stumped by the sheer scale of the world he created, its back history, geography, etc. For sheer scale and originality, it’s hard to imagine anything ever quite competing. P.G. Wodehouse is a magnificent role model for writing humor – his restraint, timing, and surgical use of the English language for comedic effect is really unparalleled. Patrick O’Brian’s Aubrey-Maturin series are well-worn and humbling reminders that I will never create books with such beautiful use of language, depth of character, or insight into the human condition. His books are simply a wonderful read, time and time again. I cannot recommend them more. I love Herman Melville’s Moby Dick (although I don’t love his other work), Toni Morrison’s use of language, etc.

Writing and illustrating brings out the best in me—a sense of fun and playfulness, creativity and optimism that can otherwise be smothered by day-to-day responsibilities. When I finish a chapter, brainstorm a plot twist, or envision a new character, I’m not worrying about bills or doing the laundry. I get a jolt of excitement and energy that’s very invigorating and has a bit of the Old Magic in it…. It’s been tremendously satisfying to complete such a large and multi-faceted project.