I really enjoyed Gemsigns and Binary, the first two books of the ®Evolution trilogy, so I was ecstatic when the publisher offered me a review copy of the third book, Regeneration. I was also asked if I wanted to help promote the book with a guest post by Stephanie Saulter, talking about how she and the publisher collaborated to come up with the cover.
Cover art is an important aspect of book sales, so it's cool reading about the back and forth process with the author, getting the details right so the picture conveys the right feeling for the book. I really like the cover they came up with.
---------------------------------------------------------------
Cover art is an important aspect of book sales, so it's cool reading about the back and forth process with the author, getting the details right so the picture conveys the right feeling for the book. I really like the cover they came up with.
---------------------------------------------------------------
To celebrate Regeneration’s US cover reveal, I thought I’d
tell you a story. A true story this time, and like many truths, one
that confounds conventional wisdom – in this case, the oft-repeated
tale of woe in which an unapproachable and unaccountable publishing
behemoth slaps an unrepresentative (or just boringly generic) cover
onto a book and sends it out into the world, insensitive either to
the text or to the opinion of the person who wrote it.
Sadly, we’re
not talking urban legend here: this does happen. Even
famous, best-selling authors bemoan having no input, nor even seeing
their covers before they’re published. Sometimes, when the
wrongness of what they’ve done hits a particularly frayed public
nerve, the
resulting furore becomes fierce enough to force a change on the part
of the publisher. But the conventional wisdom remains that
authors, as a matter of course, have no say in how their books are
packaged.
Here’s the
thing: while this may be often (and appallingly) true, it’s by no
means universal; and it does a disservice to the publishers who do
work with and listen to their authors to tar them with the same
brush. Despite being neither famous nor best-selling (yet,
they insist, just not yet), my publishers have always
shown me my covers as works-in-progress. They have always
asked for my feedback, and I’ve never been ignored. It’s
been my experience through six covers now: the UK and US
editions of Gemsigns, Binary and Regeneration,
published by Quercus Imprint, Jo Fletcher Books in both markets
(although the two series wound up looking quite different to each
other).
Never has this
spirit of enthusiastic, respectful collaboration been more evident,
or more important, than in developing the US cover for Regeneration.
It was the first time that I found myself not just suggesting tweaks
to an image that I was basically OK with, but having to explain what
was wrong with it and asking for it to be significantly reworked. Now
that the final happy result has been revealed to the world, I want to
share the story of its evolution from that somewhat shaky beginning.
I pitched the idea to Quercus, who have very kindly agreed. We both
think it’s important to demonstrate how things are done when
they’re done well. And to tell more than one kind of story.
The following is
lifted largely from our email correspondence, with some additional
context from Quercus on how they approached the cover and responded
to my comments.
§
Designing the US cover
for Regeneration, the final book of the
®Evolution trilogy
The US covers for Gemsigns
and Binary
Round 1
Quercus’ original idea:
We were lucky to have the same cover designer, Daniel Rembert work on Gemsigns, Binary and now Regeneration. We have been very conscious of wanting all three covers to be coordinated so that the sense of a trilogy would be recognizable. There are several dynamic plotlines to pick from, but we chose to focus on the gillungs’ story – as it directly reflects the progression of the gems from chattel fighting for their rights, to better integrated members of society, to community leaders and innovators. We wanted the image to be underwater but to convey the idea of the quantum battery technology and its use as a power source.
Quercus initially approached Stephanie with the below first cover ideas for Regeneration:
Stephanie’s original thoughts:
“These are beautiful as a picture, but: why is the central image of
a naked nubile female? And: who is she supposed to be? The only
teenage gillung woman in the text is Agwé, and Agwé is black. So if
it’s meant to be Agwé it needs to look like Agwé, which means
properly dark skin and CLOTHING. But much as I love her — and
believe me, my soul would soar at the sight of beautiful black Agwé
with her glowing green hair and cherry-red bodysuit as the cover
image — she’s very much a secondary character, so I’m not sure
why she’d be the cover? That suggests a YA novel. And she certainly
wouldn’t be in such a passive pose, none of them would. If we’re
going to do a gillung underwater against a turbine they should look
more engaged, more dynamic.
“I think part of what’s thrown me as well is that this
composition is such a departure from the Gemsigns and Binary
covers, which had been developing a motif that I really liked: the
raised arms/ fist, the crowd of people, the sense of an engaged urban
community. Regeneration continues that whole theme of the
collective and the communal, and brings it to a climax with the
intersections of family, friends, workmates etc.
“(I’ve lost
a bet with myself; I thought it might be an underwater viewpoint, but
looking up through the water at the quayside crowded with people and
the huge egg-shaped Thames Tidal building rising up alongside.
Something that, when the reader got to the penultimate chapter with
Gabriel desperately trying to get people to leave, they’d look back
at the cover and go ah-ha! …Not saying it should be that,
mind, it just seemed like it would be an obvious continuation of the
motif.)”
Quercus’ cover
design team went back to the drawing board with Stephanie’s
suggestions in mind.
Round 2
Quercus’
thoughts
“Stephanie
provides fantastic, detailed feedback and we went back to the
designer with it. We have been back and forth with the designer about
these covers from the very beginning, so it’s no surprise that the
first interpretation wasn’t quite right.
Featuring a
gillung is essential, we agree, and I think the color palette here is
good—figuring out how to pull off the composition in a way that
captures the same sense of dynamism and community focus as the
previous cover designs is just part of the challenge. We were not
feeling 100% about the main figure (if we were to use her, our
designer would definitely need to finesse some of the detailing with
the wet suit and the skin tone but we really loved the general
composition/direction.”
Stephanie’s
thoughts:
“I too much
prefer the overall direction of this composition, and in general I
like the first image, with the central figure rising vertically and
purposefully, best of all. The background figures are better in this
as well; in the others it’s not clear whether they’re swimming or
drowning, but in the first one it’s pretty evident they are all in
their element. However I also like the fact that more of the topside
buildings are visible in the second image; it sort of contextualises
the swimmers. So I don’t know if it’s possible to maintain that
general upward thrust of the figures in the first image while having
more of the buildings from the second image as well? (I realise part
of this also has to do with where the title sits on the cover, and
the designer will no doubt play around with that far more efficiently
than I can visualise it!)”
“As for the
central figure, yes she’d need to be a bit darker and more
detailed. I’d love her to be a teeny bit curvier and her hair a bit
more cloud-like. The main thing to remember about the gillungs’
physicality — apart from skin tone — is that they are powerful
people. This is a very subtle thing; I don’t mean to suggest that
they should be large or blocky, but if you think of any aquatic
mammal from otters to whales, there is a sort of muscular solidity
about them.”
“You said
you’re not 100% certain about the main figure; are you thinking
about alternatives? Who/ what would you use instead? Because it does
need a strong central component, I think, and at the moment she’s
it …”
Round Three:
Quercus’
thoughts:
“We are always
grateful for Stephanie’s very helpful and comprehensive feedback.
Our designer has incorporated some of these tweaks. The differences
are subtle but effective.”
Stephanie’s thoughts:
“I really like
this, and I think it does the job well — it’s both attractive and
accurate, if you know what I mean. Holding the earlier two covers up
to look at all three in a row, it’s clear that although the images
are different from each other they are thematically related, having a
sort of family resemblance — the altered human figure against a
crowded urban backdrop, the sense of energy and urgency. I like the
cover itself, but also the sense of a continuum.”
The final cover:
Available in bookstores and online, May 2016!
Daniel Rembert's design work can be found at danielrembert.com