“What role do you play in designing the covers for your books?” I’m often asked that.
The answer: not a great deal. In my early years of publishing I didn’t see the cover until the book was published. Of late, art directors share ideas, sketches, even drafts with me. I try to make useful suggestions, but the decision is made by the editor, not me. Is that right?
Consider this: the cover of a book is ultimately an advertisement. It’s marketing, a way of informing and enticing a reader about a book. All well and good, but is the author the best judge of visual images of their own characters? Here’s a true story.
The book I worked longest on was Bright Shadow. A fantasy with something of a complex puzzle, I just couldn’t get it right and worked on it, on and off, for fourteen (14!) years. At the center of the book is a girl, Morwena. I suppose I described her, but not in any great detail.
Shortly before the book was published I dropped in at my editor’s office. “So glad you came by,” he said. “The cover painting for Bright Shadow arrived. Love for you to see it.”
I looked. My first thought was, “That’s not her nose.” Mind, I said thought. I said nothing because the painting was fine. But, it was not Morwena’s nose. Did her nose have anything to do with the story? No. Did I write something about her nose? No. But it proved to me that one writes with unconscious thoughts as well as conscious ones.
That’s why, I think, when it comes to covers, authors are the hardest to please. Someone’s image of your word-defined character can bring unconscious thoughts to the surface. Does it matter? I think not.
4 thoughts on ““That’s not her nose.””
I want this exact same anecdote except about working with Brian Floca on City of Light, City of Dark. Obviously it’s a different level of commitment and interest on your part, so what was different about working with someone illustrating every aspect of a story? How successful was he in conveying what you had in your head? On a less related note, what is your favorite illustration(s) from that book?
Hearing your perspective on cover illustrations is very interesting. I wouldn’t have guessed it was such an indifferent process. I’d also like to hear about which covers you were most pleased with. For instance, the cover of City of Orphans played a huge role in my reading experience. How accurate are the drawings of Maks and Willa?
Thanks!
Working with Brian Floca is always a pleasure. We have a great working relationship. I am happy to have his response to my texts, and I respond to his art. City of Light, City of Dark, was like nothing (a graphic novel) either of us ever did before. We met regularly (we both lived in Providence, RI) and (along with our editor) made constant changes and revisions. I loved the whole process and learned a great deal. When I think of the characters I think of Brian’s art. Would do it again in a moment.
As for covers, it is not an “indifferent process.” It’s just that for the book editor and art director it is an intense process. I, as writer, have less input. As it should be. And, as my blog bit suggests, I’m not always helpful.
The cover art is, may I suggest, never “accurate.” A different artist would have created different images. Not better or worse, but different. The cover of City of Orphans does, I think, portray the main characters very well, and suggests the energy of the novel–and your own response tells me it was a success.
Among the covers I have most enjoyed are the Poppy books, Seer of Shadows, Iron Thunder, The Barn, True Confessions of Charlotte Doyle.
Awesome, thank you for the reply! That was a great read. I’m a huge fan of City of Light, City of Dark and Brian Floca, so I would of course love to hear more about the work you guys did for that graphic novel. I would also love to hear an announcement for a new collaboration project.
Please make a post for both of those things!
Brian Floca and I are seriously discussing a new project. Stay tuned.