Cover Artist Love: Paul Young

I've said many a time how happy I am that my covers have all been done by Paul Young.  He's created a look and feel for Maradaine, while giving each series its own flavor, and he's done that by being very aware of the nature of the work, and being receptive and giving with his talent.

Now, I could go into further raving about his work on my covers-- like ALL DAY-- but I've done that before, and I want to do something a bit different.  I want to highlight some of his other works.  Pieces of his for other covers for other writers that really worked for me.  Evocative images that draw my curiosity about the stories hiding behind them.  That's a big part of what Paul does, and I'm glad a piece of that work goes to my books.

Why Perfect Gravity's cover does not feature a shirtless cowboy and robot cat

I've never worked directly with a cover artist or designer. I've never had any say in a cover once it was done.

Aaaand now you're thinking: this gal is completely unqualified to talk about awesome cover designers. You are, as usual, completely correct.

At my level of power in the biz (i.e., none), I don't talk to artists, designers, or art directors. I don't offer feedback on final designs. I don't get a yes or no. If there's something truly wrong about a final cover, I can point out that detail and it may or may not change. I think the reasoning here is that I don't know markets or reader expectations nearly as well as the people who are in charge of bringing my story to the public. So I bow to their experience and expertise.

However! What I can show you is a peek at the one thing I do get to contribute to the cover-design process: an information packet that describes the characters and setting. I send these in at product launch time, right at the beginning, and they are supposed to function as a cheat sheet so the designers and artists don't have to slog through reading the whole book.

I love filling out these things and sharing my inspirations and wishes; it's one of my favorite parts of book production. Here's what I sent Sourcebooks for Perfect Gravity (note that the images I included are all copyrighted, so I can't post them here, but I've included a short description of each in [brackets] and I'm sure your imagination or Google-fu can illuminate the rest):

Hero (Kellen Hockley)	Race:  Texan (okay, not a race, but definitely a type) Complexion: Tan from spending a lot of time outside Age:  30 Body (height/build):  He gets a lot of exercise. Um, I used this image for inspiration: [pic of Scott Eastwood shirtless] Hair color/length: dark blond Eye color (one word):  blue Facial hair?  Nothing really in the story, though he does go a few days without a shave there in the middle and could definitely be scruffy. Clothing: He wears jeans and boots a lot. Stetson sometimes (outdoors only, because down-home manners!). A belt buckle. At the very end of the book, at a fancy-dress shindig, he wears a tux. Thusly: [pic of Scott Eastwood in a tux] Signature Accessory: A cat. He rarely goes anywhere without Yoink, a cloned, bionic kitty. She’s cinnamon-and-white striped and has metal horns protruding from her wee skull, near her ears. The details aren’t hugely important. If y’all decide to put a cat on the cover, I don’t think it matters too much what kitty looks like. [pic of shirtless cowboy holding a cat] My dream cover for this book would feature a shirtless cowboy holding a bionic cat. But probably that stock photo would be really, really hard to find.
Heroine (Angela Neko)	Race:  Bengali/Japanese Complexion: more South-Indian than Japanese, so kind of latte Age:  early 30s Body (height/build):  short, slight, in command (of everything). Bit Napoleonish. Hair color/length: Black. Can be in any style: she goes from having a super fancy updo to being bald to having a short pixie cut at the end. Eye color: dark brown [pic of Priyanka Yoshikawa] Tattoos, body marks or piercings? Nothing that you’d want to feature on a cover. Clothing: Conservative high-fashion futuristic chic. Tailored to within an inch of her life, but with flights of couture weird. In terms of style and deportment, I think of her as a mashup of Huma Abedin, Padme Amidala, and Alexander McQueen. [pic of Huma Abedin in her wedding dress] [pic of vaguely steampunk long-sleeved Alexander McQueen dress with buckles and frogging on the bodice] [pic of Padme Amidala in her heavy velvet addressing-the-Galactic-Senate costume] Key Accessory: Elbow-length biodeterrent smartgloves. (That, uh, just look like regular gloves, those heavy-duty long things the Victorians wore to keep the whole world off their skin.)
Setting/description (similar to first book in series)	The year 2059, so near future. Look should be futuristic but gritty. Western U.S. desert (so, lots of scrub-brush flora and bumpy horizons) with an unexpected giant megastructure (an arcology, like those mongo buildings in BladeRunner) jutting out of a vast, dark nothing.  Also scenes in post-apocalyptic underwater Galveston and a futuristic Guadalajara.
Design ideas/inspiration	This movie poster sums up the mood nicely: [pic of Cowboys vs Aliens movie poster featuring Daniel Craig's backside] Also has cowboy, futuristic-looking tech, impending doom clouds. Nice.
Cover descriptive words	Techno, sexy, old-west, bleak, futuristic

And this is the cover they came up with:

I think the cover is gorgeous. Does it match my vision? Not really. But it fits smoothly into that urban-fantasy kickass-heroine market, which is where I suspect the publisher was trying to place it.

So, yeah, it's probably best I don't have a lot of control over covers. There are people who are much better at this than I am.

But, just the tiniest bit, I do mourn the shirtless-cowboy-with-a-robot-cat cover that never was.

Cover Artist Love: Gene Mollica Studios

Shout out to the awesome team at Gene Mollica Studios who have done the covers for my Immortal Spy series. I've drooled over Gene's work for years. When I had a series for which I wanted a custom photo shoot, he was #1 on my list. He and his team have been awesome from go, inviting me to be a part of the process, explaining to me how things worked. From costume design to choosing the model to the actual photo shoot, the whole experience was ridiculously fun.  When I mentioned my girl was going to have shadowy tentacles in the later books, I expected him to balk; instead, his enthusiasm went up a notch.

Gene has assembled an amazing team who are lovely, lovely people who are excellent at what they do and at making you feel like your project is their priority (even though, psht, you know they're busy AF, but they are super responsive). I give them a cover-input email and my mss in a Word doc. They send me a beautiful finished book. (Okay, yes, there are a few revision steps in between.) Behold the pretty:

I am so pleased with the first three covers, I can't wait to see what Gene & Team come up with for the next four! (Once I write the books, of course.)

In Praise of Cover Artists

They say you can't judge a book by its cover, but I'm here to tell you that's a blatant lie. People do it ll the time, whether or not they should.

That's the nature of the beast., A good cover can make or break a book and so can a bad one.

My first few book covers were, well, horrid. I mean that. The publishers asked for cover ideas and it was like they took the best I could offer, tossed it aside and hired their next door neighbor's five-year-old nephew to handle it for them. They were work-for-hire books, but that didn't matter even a little to me. they managed to find the worst possible covers as if to prove something to themselves and to me. What they proved to me was exactly  how much a cover can affect sales.

The thing about being a midlist author is sometimes the publishers give you some control and sometimes they don't. In the small presses I could ask for and often receive the artist of my choice. In the big houses, it was "this is what you're getting."

Somewhere along the way I managed to run across publishers who actually consider your suggestions and, gasp, artists who actually read descriptions. The covers for the entire SEVEN FORGES series and for the TIDES OF WAR are all done by one man: Alejandro Colucci. Alejandro is an amazing talent. he also, gasp, actually reads the descriptions I send his way and then does his very best to follow them. His best, by the way, is stunning, as evidenced by the covers below.

In addition to Alejandro I want to point out the stunning talents of one Dan Brereton. Dan is a longtime friend of mine and has been kind enough to offer up several illustrations for covers of books that I am either self-publishing or doing through a small press. THIS IS HALLOWEEN. ONE BAD WEEK and SLICES are all covers created by Dan. His normal work is in illustrating fro his own NOCTURNAL Comic book, or for Marvel or DC Comics in some circumstances. frankly I don;t know how the man has time tp breathe, because if I were in charge of the hiring of artists, he would never have a moment's rest. 

Trust me: get a great cover and your book will be noticed. Get a crap cover and the book might well suffer here are a few examples of great covers from fantastic artists.

I am very, very grateful!

Meet My Awesome Cover Designer

The Arrows of the Heart

Our topic this week is Cover Artist Praise. An easy topic for me because Ravven is an amazing cover designer. She's done all three of these for me and clearly rocked them all. 

The Snows of Windroven

 Her portfolio speaks for itself. I can add that she's prompt, efficient, delightful to work with and somehow manages to pretty much nail the cover image the first time, every time, with only minor tweaks needed after that.

The Shift of the Tide

I would like to take a moment to clarify that a cover artist and a cover designer are not necessarily the same thing. I was at Bubonicon yesterday and was on a couple of panels about self-publishing and I noticed fellow paInelists and audience members conflating cover artist and cover designer. Basically, a cover artist does the actual artwork and the designer lays out the titles and font, does the spine, and generally adjusts the art to make an effective cover. In this case, Ravven does both, but not all artists can design covers, and not all cover designers can create the art.

Also, I'm excited to announce that I'll soon have another Ravven cover to share! On November 13, we'll be releasing SEASONS OF SORCERY, an anthology with me, Grace Draven, Jennifer Estep, and Amanda Bouchet. I'm 90% sure my story will be from Harlan's point of view. Should be pretty awesome!

Proud to be Living My Writing Dream

The Author of that marvelous
fairy tale

What am I the most proud of in regard to my writing?

The fact that I have twenty five books published and people besides me actually read them. I love notes and comments from readers about how they’ve enjoyed the books!

I’ve always written, since I was seven and did my first self-illustrated fairy tale about a princess with many sisters, flying cats, flying horses and a riverboat captain hero.

My image of a successful writer at that age was Jo from Little Women, writing in a drafty attic. I never understood how she could make a living at a penny a word though, and her choice of Professor Baer always puzzled me.

I envied (and admired) Andre Norton, who was one of my favorite authors and I had the feeling I could write stories too, with science fiction and a lot more romance. Which of course is what I do now.

Not the Author
DepositPhoto 

I NEVER once thought I could make a living as an author. I went through wanting to be a nurse (hello Cherry Ames, RN), an astronaut (hello geometry and trigonometry and goodbye dreams of being a scientist because I can’t “math the sh*t” out of anything), a teacher (because I idolized several of my high school teachers, which led to a disastrous choice of a college which led to my dropping out after a major illness to marry my high school sweetie – ok, there were a LOT of other factors involved in the situation and the marriage part was the BEST thing I ever did….where was I?!)

I got a business degree because my late husband and I were partners and he was so good at long range planning, which started with both of us having degrees, good jobs, then our first house, then a station wagon, then a baby…

I went to work at NASA/JPL because I loved all things to do with the space program, I could work in contracts and related business areas for them…and stayed for a fulfilling and challenging career full of new experiences.

Yes, they got off the roof. Published
many years later, much revised!

But I never stopped writing. Sometimes it went on hiatus for a long time due to life happening, as when my husband was killed in a bicycle-truck accident when the children were 3 and 5…yeah, it’s a family joke how many years my poor characters were stuck on a temple roof under attack by bad guys because I didn’t touch the writing for so long after being widowed…The stories never went away - I was always thinking about plots and ideas because that's how writers are, but all my energy had to go into the daily effort to keep going and keep the family going.

And in 2010 when I had an empty nest after a LOT of life happened, I dug in and decided to make a real effort at becoming published. I had a few rejection slips here and there over the years when  I got brave enough to send something off into the void but had never made a serious, let’s-get-our-craft-skillz-up-to-par effort and attempted to conquer show vs tell and head hopping and a number of other things…

First book sold in 2011.

Published by Carina Press in January 2012.

Self published my first scifi romance in March 2012.

Left JPL to become a full time author in February 2015.

Not writing in a drafty attic for a penny a word, no difficult professors on the horizon to date or court or be courted by…but living the dream! Of course Jo didn't have to deal with the challenges of promo and marketing and social media and the vicissitudes of various ebook seller platforms and all the other things an author of today must juggle...but in general I get to spend the majority of my time working on my novels and I enjoy a lot of the 'other' activities. Twitter is my favorite thing! I just can't let them eat up too much time or I never do get the words on the page.

So there you have it.

Something to Be Proud Of

In May of 1987, I put on a stupidly expensive evening gown that I'd bought (while still in high school) without any hope of ever getting to wear the thing. If you're friends with me on Facebook, you know I have a thing about wildly impractical gowns. Even though my day to day uniform consists of cut-offs, flip flops and a tee shirt, I'm all about every woman buying at least one such gown in her life. I wish I could tell you I'd limited it to one. What I can tell you is that in May of 1987 I finally had a legit reason to wear my silly evening gown out in public. (Yeah, sorry, I have a photo of it, but only that - it's not digitized. I wish. Frankly, it was over the top and slightly garish, but hey. It was the 80s. I was an artiste. O_o)

I got to wear it for a graduation ceremony that almost didn't get to take place.

It was the graduating class from Cornish College of the Arts. My class from the acting department was graduating ten people. Three years before, we'd started with twenty. Of those twenty, only eight remained (we'd gained a few along the way, too.) Attrition was a THING. An acting conservatory sounds like something that ought to be a walk in the park, doesn't it? It was three years of mentally, emotionally, and physically hard, hard work. Long hours. And lots and lots of digging around in your own emotional guts. For a lot of people, it got too hard and they turned away from it.

Yet even for those of us who dug into each challenge, our paths were not necessarily assured. Each year, we had to be invited back to the conservatory in order to continue studying there. We faced three hurdles, GPA, a professionalism score solicited from teachers and peers, and our final hurdle, a frank assessment by the teaching staff as to whether, in their opinion, we had a future in the craft. That last one came down to a yes/no vote. Clear all three and you got to enroll. Fail any one of them and you'd get a form letter explaining that your time at Cornish had come to an end. Don't call us, kid.

Between my junior and senior year at the conservatory, my stats were solid. Yet when my teachers voted on my potential, I split the staff. Half of them wanted me gone. The other half just as adamantly wanted me to stay. The director of the program declined to break the tie and none of the teachers could talk any of the other teachers into changing his or her vote. So, by the skin of my teeth, I got to stay and I got to graduate. I only knew about it because one of the teachers took me aside and told me about it, after. He also told me that the teachers who'd voted to keep me in the conservatory all cited the same reason. Sheer determination and stick-to-itiveness. He said that if success came down to never giving in, I had it in my teeth.

I'd had no idea that I'd made that impression on anyone - that I was determined (I was). I was disconcerted, and maybe a little defensive about nearly being kicked out, but I was also proud. It was another challenge that made me work all the harder that final year. And I was prouder still to get to graduate despite the doubts of half of my teachers.

This story plays directly into what I'm proudest of in my writing. I won't give up. I've stuck to it and will continue to. Slings, arrows, and outrageous fortune notwithstanding. I keep on keeping on. I have story gripped in my teeth, and I am that bull dog that will not let go. There's no graduating this time. And no one voting over my fate. Just me and the stories. Which in some ways is too bad. Because it means not getting to wear another silly evening gown in public.

I vote we create a writers tea somewhere fancy. White tie. Impractical evening gowns encouraged. We gather once a year to celebrate everyone who stuck with writing, no matter what. Determination. Stick-to-itiveness. That's something to be proud of.

Best Editor Sheila Gilbert

People, I'm so proud that the SFF Community has confirmed the thing that I've known for some time: that Sheila Gilbert at DAW is the BEST Editor.  She's now won the Hugo twice (and has been nominated six times), and she is hands-down amazing. 

Plus: CHECK OUT HER ACCEPTANCE SPEECH.

For real.  THE BEST.