Uncovered – On finding the perfect book cover and losing it
Twelve months ago I was going to do a blog about cover design for The Sky So Heavy. But I couldn’t because I was just feeling too many feelings. I’ve always found the process of book-cover design overwhelming. This goes back to high school days and ‘design the cover’ assignments. The expectation that I would put on myself would be crippling, so determined was I to get it perfect. I was a drawer and a reader, so it should have been my thing, right? RIGHT??!! To get it wrong was unthinkable. THE SHAME! The potential for me to produce a work of stunning insight was only equalled by the potential to fail. (I’m not sure that was as profound as I’d hoped it to be. See? I’m struggling. This is why I haven’t written about this before.)
When my own book is concerned it’s about a thousand times worse – if that’s even possible without full psychological breakdown. (First World Problems, anyone?) Imagine if you had to sit down and decide what you wanted your child to look like. That’s the kind of brain explosion I experience when it comes to discussions about cover concepts.
Just to be clear, writers generally don’t design covers for their own books. (If you’re unsure as to why, check out the self-published book covers tumbler. Or just look to the left. There’s a reason professional designers have to go to uni for three years.) Book cover design is tricky and could well be the catalyst for a full-scale psychological breakdown if the level of neurosis exhibited by my fourteen-year-old self is anything to go by. But editors do have a discussion with the author about what they would like or any ideas they might have. As well as what they don’t want.
For The Sky So Heavy I really had no idea. I wanted to put it in the too-hard basket. I eventually nutted some vague ideas out with my editor and we ended up with something that I don’t love, but which seems to be selling well. Which means I’m finding my readers, so the cover’s done it’s job. It’s also worth pointing out that the process took place in the first year of my youngest son’s life, so it’s fair to say I had other priorities and only so much (read: very little) head space to devote to the whole thing.
Then along comes book two – not a sequel, but a stand-alone on which I have worked, off and on, for the last nine years. I have rewritten The Protected completely, not once, but twice. I guess you could say I’m kind of attached to it. (UNDERSTATEMENT.) I have also been far more emotionally present during the whole publishing process this time around, compared to The Sky So Heavy. I won’t go into details, but if you understand the level of pressure I put on myself when it came to designing an imaginary book cover when I was in high school, you can probably guess how my brain copes with the pressure of raising a tiny helpless baby. It’s not pretty. (There’s not going to be a trilogy as far as that narrative is concerned.)
The initial design the publisher sent to me for this next book was one they were very keen on, but I was not. My reasons for disliking it were partly to do with ideas about gendered book covers and partly to do with my aversion to dark close ups of pretty girls’ faces. My editor was gracious and understanding, so sent me another alternative. Which I absolutely loved. Really, truly, loved. We were in agreement, it was done. Over the last two weeks I have gazed at it on and off for long slabs of time in which I probably should have been doing other things.
But then my editor discovered another YA book, newly released in the US, with the exact same stock photo on the cover.
So it’s back to the drawing board, quite literally.
I’ll keep you posted.
In the meantime, if you want to read more about cover design and the myriad of aesthetic travesties that have been created in its name I highly recommend Caustic Cover Critic. Here you will also find many examples of unfortunate cover double-ups that weren’t caught in time…