Covers

Among the many things I have worked on since returning to the world of writing, illustrating has proved to be just as challenging as crafting the story itself. I usually begin with the cover art then go from one chapter to another, visualizing the scene as a whole and freezing each mental image I find until I have one I think would be good to work on.

When I started my first book, I used one image and kept it as the primary for every chapter. After a couple of books under my belt, I decided I wanted to see more. I felt it was just as important to have a chapter illustration as it was to have the cover image for the book.

Now, when I have a book idea, I work on the cover for weeks, assembling sketches and putting together graphics that fit what I envision for the story.

As an example, when I started writing my fourth book, Echoes of Innocence, I knew I wanted to have Tommy and Snowy on the cover facing opposite directions. The story leads them on different paths and I wanted a subtle indication for the reader. In the story, Tommy is distraught over the death of his friend and neighbor while Snowy is doing what he can to save a girl who accompanied the killer. In many ways, they are still together, but for the most part, they are seeing the world from a different perspective. With that in mind, here is how I tackled the cover design:

I always start the process of making my cover art with sketch ideas. Post-its work well for this because when I don’t care for a sketch, I can drop it and add another in its place. By the end, I have a handful of mini-sketches to work with.

Once I decide on one, I start working out how to make it into a cover. I don’t like to make illustrations that look photo-realistic. In my mind, covers that look too real remind me of romance novels. (Egad!)

Next, I find images that fit my idea. Usually I go into my archived pix folder to find something I can use. I take pictures of everything and often have what I need if I keep looking. Sadly, for Echoes, I fell short. The ripple on the ground was easy. Photoshop has tons of ways I can make ripples. There are even online tutorials that show how to do cool effects with colors and texture. Thanks, YouTube!

The problem I had was twofold. I did have the cat face I needed, (Yay!) but the cat’s body wasn’t in the correct position. I finally found an online video of a cat facing the wrong direction, but in the right position. (Well, as close as I could get) I captured the image, flipped it around then warped the body to the position I needed. Next, I put on the face I had and called it done.

Note:  If you don't have an archive of images at your disposal and need to get images, Adobe Stock Photos are good so long as you don't mind paying a little for each image.  If you're on a budget like me, there are alternatives as well.  http://morguefile.com/ is a good resource as is http://www.freeimages.com/ and http://www.splitshire.com/  Always be respectful when using the images another creative has shared online.

The next problem was Tommy. I didn’t have an image of a boy in my archives. I have friends and sunsets, flowers and landscapes, but no pre-teen boys. Searching the internet didn’t do me any favors either. All images were either copy written or not in profile. The solution came from a friend of mine who had family pictures of her grandkids. One was facing to one side in a perfect profile. The wrong direction, sure, but Photoshop makes light work of that.

Since he was wearing a baseball cap, I deleted it and created hair. (Again, Photoshop) I copied the cat’s eyes and added them to the new Tommy. From here, I began the blending process for each section. His hair needed a little lengthening, so I added a few strokes. By the end, the cat’s face looked as if it belonged with the body I assembled. The hair and position of Tommy also looked well. His eyes were just right and the ripples at the bottom had the effect I wanted.

All that was left was the title and my name at the bottom.

Finally, I copied it onto the pdf book template and that was that. Huzzah! Cover be done!

Processing...

Every writer has a process by which they tell stories. Some write only after creating an outline while others write without a plan. There are many labels for these types. Plotters and Pantsers, Architects and Gardeners, Macro and Micro Planners…

You get the gist.

For the more organized writer, you begin with an outline. Outlining involves organizing your story idea with enough detail that it becomes a manageable order of events. This is useful for chapter breaks and story arcs. Once the outline is complete, you know ahead of time what is going to happen so you plan for each twist as you go. Research is also a part of outlining. Information is readily accessible online, so printing out or copying the data makes for a much more efficient process. Maybe you need to know how bridges are made or how car windows shatter. Thanks to the internet, we have more information at our fingertips than ever before. Research might not always make it into your story, but understanding how things work makes for a better flow in the end. When you approach the process in an organized manner, research is a godsend.

For those who write with little or no organization, the process is more instinctive. It can be like reaching inside to find every block you have in your mind… then kicking them aside. Writing is the goal and little else. (Inner editors can stand in the corner and zip it.) When writing without a plan, there are no half measures possible. This process requires commitment. You take your spot in the story and just run with it. It might be at the beginning or it might be in the middle. Wherever it is, you take the scene and go. Following the characters becomes akin to taking dictation. The story becomes a movie in your head that is playing with you as a captive audience. Research is something that does not happen until after the story is done. If you have someone in your story with a serious wound and blood loss must be treated, you don’t stop to look up what the symptoms are or what must be done. You make a quick note and move on with the story. You can fill in the details later. Don’t know how to clean a gun, but your bad guy does? Look it up afterwards. When the story is done and your rollercoaster ride has concluded, you can let the editors back in. (Preferably a week or so later)

Editing will be necessary regardless of what method you use. Outlining lends itself to making more preparation, but edits are always needed. Writers don’t put down perfect words when they sit at a keyboard. Mistakes will creep in, repetitive words will happen again and again… Plot holes will grow… In the end, no matter what method you use, the story takes shape and the world you created will become your own.

What method do I use?

Honestly? Both. I outline and plan my stories that I work on throughout the year. Some will see publication soon and others will take years. I research and plan and outline with all the detail I can produce until the story is ready for me to tackle. I especially like finding quotes to add to the beginning of each chapter, giving a glimpse into what the chapter will reveal.

Then there’s November. Every year since 2008, I have taken up the National Novel Writing Month challenge. Basically, you shell out a 50,000 word first draft in 30 days. An outline would be nice for something like this, but with such a deadline looming, the best way I have found to tackle the challenge is writing without restraint. That means I have a general idea of what is going to happen as I sit down, then race the clock (and calendar). Some years are easier than others but for the most part, I’ve succeeded each time.

The point of meeting this challenge isn’t to create a perfect story. It’s to meet the word count of 50,000 words before the month of November is over. The point is to have something to work with. I can think and plan all I want, but without a written story, editing can never happen. A blank screen has no errors, but it also has nothing to work with. You need to edit and no matter what method you choose, you can’t edit until you write.

I enjoy both methods, but then again, I’m a glutton for punishment. And since I also illustrate my own books and book covers, even after the last page is written, there is still work to be done. Just like telling a tale, we recall the journey more than the destination. The journey of writing is always a worthy endeavor I enjoy each and every time.

Critiquing

One thing that writers face on a regular basis is criticism for their works. Some of us need it and some need it a lot more. This goes to both good and bad. Good writing needs good criticism to keep it up to par. It is always appreciated, even though some writers don’t always say so. We are our own worst critics, so when someone says that the chapter we wrote doesn’t work; it isn’t much of a surprise. We know it doesn’t work or we suspect it. Telling us is confirmation that allows us to go back and fix what was missed, or if already published, a good lookout for the next book.

For those of you writing a comment or critique, don’t take issue if the author doesn’t appreciate the feedback. Some of us are thin skinned and often want to write well, but don’t yet have the discipline to continue when others are being critical of our works. I was once in this position and ended up giving up my writing passion for years. (More than a decade) If not for a challenge I discovered when nearing my fortieth b-day, I likely would have continued to steer clear of writing.

Thankfully, I didn’t avoid my passion and now can continue weathering the storm of daily life with the joy of my dreams.

When receiving a critique, I appreciate all comments, good and bad. The good will always be appreciated as it tells me the story has provided enjoyment to those who read it. The bad is also worth having simply because I don’t see what you do. If a typo sneaks in, I might have stared at it for a hundred pass-overs and missed it because it was so obvious. I am thankful every time someone sees this and helps me to be a better writer. When someone points out what they didn’t like about my story, I hope that it isn’t just a general dislike. If you don’t like the kind of stories you are reading, then criticizing them makes no sense. Find what you like and help the writers you read get better. Don’t waste time disliking a genre, book or author just because they don’t write what you prefer. Move along and add to your likes. In the end, it is better for us all.

The best critiques make it clear that the reader wanted to like the story. If there was some element missing, then I for one want to know. By the time I publish, I’ve gone through my story hundreds of times and re-edited so many times, I don’t see the words anymore. I begin a paragraph and my mind is in the story. I see what I want you to see, but not always what is there.

That’s why the comments I get feel like readers tossing me nuggets of gold. Yes, they sometimes hurt. (Especially when you use a slingshot for the delivery) but I need them. They help me craft a better tale and help provide you with stories you can share.

In the end, that’s what every creative outlet is for: To share these dreams with the world and make it a little more enjoyable for us all.