Evolution of a cover, part 4

This is the final installment on the covers series (parts 1, 2, and 3). I never got this finished for Publishing Renaissance, so this is fresh and new.

Thank you for your continuing indulgence on the travails of designing a cover if you’re not a designer of covers. As I’ve said in the past, it took me almost a year and hundreds of hours of Photoshopping to come to the cover I did, which I affectionately call The Bewbies™. Originally, The Proviso was one book and it was enormous. Then I figured I’d probably do better to split it out into 3 parts, 1 part per romance. Then I realized there was no way to write this in three parts without making everybody crazy.

We are now at the final cycle of decisionmaking, when The Bewbies™ perked up.
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A Lone Artist: Wendy Drolma

Wendy Drolma

I don’t know this woman from Eve. What I do know is that everything about her online presence screams master craftsman and überprofessional.

Got a scene? A masquerade party? A Labyrinth con? A Venetian extravaganza? Mardi Gras? Need some sleep? Want something exquisite to hang on your wall? This is only a sampling. Visit her gallery to get the full effect.

Then buy something from her. This kind of exquisite craftsmanship needs to be rewarded.

[nggallery id=36]

(I may make this a regular feature.)

Evolution of a cover, part 3

Originally published at Publishing Renaissance on February 12, 2009.

 

Thank you for your continuing indulgence on the travails of designing a cover if you’re not a designer of covers. As I said last week, it took me almost a year and hundreds of hours of Photoshopping to come to the cover I did, which I affectionately call The Bewbies™. Originally, The Proviso was one book and it was enormous. I originally titled it Barefoot Through Fire. Then I figured I’d probably do better to split it out into 3 parts, 1 part per romance. This is the story of book 3.
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Everything is still biased against the lone artist.

I didn’t say it. Someone who shall remain nameless said that to me, and it started me thinking about The Lone Artist.

I’ve been to New Orleans, Paris, Venice Beach, New York, London, Amsterdam, and other places where The Lone Artist sets about attempting to earn a living or at least approbation from a crowd of strangers walking by.

Paris, France --- A Street artist draws the face of the Mona Lisa on a sidewalk in front of the Louvre to try to earn money. --- Image by © Owen Franken/CORBIS
In Paris, it was the Ecole des Beaux-Arts students drawing Mona Lisa in pastels on the sidewalk, their hats out for coins.

 

new orleans
In New Orleans, it was a pair of pre-teen boys tap dancing on a street corner, under the watchful eye of their mother, a trumpet player on a corner down the street, and an artist setting up shop in the middle of the St. Louis Cathedral courtyard, right under Jackson’s shadow.

 

amsterdam
In Amsterdam, it was the scantily-clad prostitutes in the plate-glass windows along the canal. (Okay, as “artist” and “lone,” that one’s questionable, but it’s vivid, ain’t it?)

 

london
In London, it was the—what is this guy? Is this classified as pantomime? Definitely performance art. (Shut up. I like mimes.)

 

newyork
In New York, it was the oddball music played by street musicians.

 

venice
In Venice Beach, it was a dude who charged $5 to create origami magic with one strand from one palm frond. I knew it was a living sculpture that would die in an hour, but I bought it anyway because it was so different and . . . unexpected. I admired that he could do it in seconds right in front of my eyes, I admired the work itself, and I kept it for the hour it lasted, then threw it away. That $5 was very well spent.

In a lot of ways, I like being a lone artist. When I go to authors’ websites and read about the difficulties they have working with a publisher, I’m glad. When I go to readers’ websites and read about how sad they are when a favorite author gets cut off mid-series, I’m glad. When I sit down to write and realize that I can do anything I want without having to account to a sales staff, I’m glad. When I know that the readership I’m gathering one by one, to whom I am ever so grateful, now has enough faith in me to go where I take them, I’m glad.

There is one respect I really don’t like it. I don’t like the near absence of distribution. But . . . that’s about the only way I can think of that I don’t like it.  After all, a street performer can only play to the audience that walks by.

It’s not easy. Some days it’s damned depressing. I count on the readers to talk to me and remind me that there is something of worth in what I do, and believe me, I remember it. I count up those emails and screen shots and snippets of conversation here and there, and I keep them, put them in my hard drive bank like coins in my hat.

So when bedtime comes (if it comes) and I fall in bed exhausted from everything I have to do to be a lone artist, it’s the good kind of exhaustion.

Howard Roark laughed.

Evolution of a cover, part 2

Originally published at Publishing Renaissance January 30, 2009.

 

Thank you for your continuing indulgence on the travails of designing a cover if you’re not a designer of covers. As I said last week, it took me almost a year and hundreds of hours of Photoshopping to come to the cover I did, which I affectionately call The Bewbies™. Originally, The Proviso was one book and it was enormous. I originally titled it Barefoot Through Fire. Then I figured I’d probably do better to split it out into 3 parts, 1 part per romance. This is the story of book 2.
Read more