The Midnight Cartographer
FantasyInk-dark maps that redraw themselves, a drowned city at dusk, and a hard cut to silence before the title card.
A fantasy trailer should not sound like a thriller. Here's how we think about look, pace and score genre by genre — and where your book would sit.
Ink-dark maps that redraw themselves, a drowned city at dusk, and a hard cut to silence before the title card.
Cold blues, a signal from an empty sector, and silence used as the loudest beat in the cut.
Warm rot and river light — a small town, an old secret, and a reveal timed to the final drum.
Golden hour, a harbour town, and two people arriving at the same pier eleven years apart.
Green shade and long takes — a family, a piece of land, and the sentence nobody will say out loud.
Lamplight, ledger ink and a rising brass score under a city on the edge of changing forever.
These are concept slates, not finished films. Our first author trailers are in production now, and we'd rather say so than dress up stock footage. Send us your brief and you could be one of the launch titles on this page.
Before anything is built you get this — the whole trailer on paper, so changes are a conversation rather than a re-edit. Here's a real one, abridged.
Logline. Every map she draws comes true. Something is drawing back.
Music. Orchestral dark fantasy with a music-box motif — a haunted waltz. Slow build from 60 to 110 BPM, celesta and low strings rising to full percussion, then a hard cut to silence before the title card.
Voice-over — low female voice, unhurried, like someone reading a confession by candlelight:
"Every map I have ever drawn… has come true. So I drew a door. I should never have drawn the door. Now something is drawing its way back to me."
The Midnight Cartographer · A. R. Vale — "Some doors should never be drawn." Available this fall wherever books are sold.
Four things decide whether a trailer feels like a film or a slideshow.
We build the rhythm first — where the cuts land, where the silence sits — then hang visuals on it. That's the difference readers feel but can't name.
Three or four lines of text, maximum. A trailer raises a question; the book answers it. Over-explaining is the most common book-trailer mistake.
Properly licensed music chosen for your genre's conventions, because readers have deep expectations about what a thriller sounds like.
Cover art, title, author name and where to buy — held long enough to read and screenshot. Beautiful trailers that forget this don't sell books.
Send your blurb and we'll come back with a treatment inside a working day.