One of the most consistent comments/compliments I’ve received on Between Here and Gone is what a striking and lovely cover it has. And looking at it, you can’t imagine the book with any other cover, can you? It just so perfectly captures the essence of the story. With one glance you know it’s a female-centric period piece, likely involving a journey, whether metaphorical or literal (or in the case of BHAG, both). One would think it was easy to arrive at this cover and yes, once we found the perfect image, it was. Getting there, however…
As many of you are aware, Between Here and Gone began its publication life on Wattpad, the online publishing platform that allows writers of all stripes to post their work. At that time, BHAG had been out on the submission rounds, had received many rejections, some decent feedback, and I was absolutely convinced it was never going to see the light of traditional publishing day. But I didn’t want what I felt was a good story languishing on my hard drive so I decided to perform an experiment. I would revise, based on the notes I’d received in rejection letters, and post the story, a chapter a day, on Wattpad, and see what sort of response it could garner.
So I set up my profile, prepared the first chapter to load, and…well, I needed a cover, didn’t I? Something that would give readers a hint of what they were getting, yeah? I’m no graphic artist, but I figured I could throw something reasonably decent together with the tools at hand. I scoured the internet for appropriate pictures, played with layouts in, of all things, the iPhoto card program, and came up with this:
Pretty, innit? I loved the wistful expression on the model’s face and the dreaminess of the background. The title font I was less fond of, but given I was working with limited options, it was sufficient. It was elegant and readable and didn’t distract from the overall effect.
Flash forward almost three years later. Between Here and Gone had sold to Diversion Books and we needed a cover. Both Marketing and Design loved my Wattpad cover and wanted to know if they could use it as a springboard for the new cover. (I mean, really, it is a gorgeous image, isn’t it?)
One teeny, tiny problem, however.
The image I’d used, which I had thought was an out-of-copyright image from the annals of Look magazine, was in fact, not. Umm… whoops? And when I contacted the art gallery that owned the rights to the image about the cost to acquire usage, they never even responded to me.
So we had to start from scratch.
No problem, right? I provided the Diversion team with a slew of images of the sort I could imagine working for the cover. I knew I wanted a female-centric cover and one that conveyed travel or adventure or movement. After all, Natalia and her journey are the absolute emotional center of this book, with the time period setting the background for the events.
Time passes—we get the first prototype.
It was…not right. Mind you, I can see exactly what the designer was going for and I can’t say that it was a bad idea, but its execution was all wrong for the tone of the book. The bright colors and cartoon-like graphics suggested a light, classic-era Shopaholic-style chick lit, rather than a more dramatic women’s fiction/coming-of-age story. And certainly, nothing, other than perhaps the shape of the glasses, suggested the time period. Certainly not the font—and if you discount the importance of the correct font, just take a look at titles like Stewart O’Nan’s West of Sunset or Helen Simonson’s The Summer Before the War.
One glance and you have an immediate sense of the when of the time period. Even if you can’t pin it exactly, you know it not to be contemporary. Of course, the graphics aid considerably, but the font supports the graphics. In the case of the first BHAG cover, the font didn’t do much to support the graphic or the story. It was serviceable enough, but like the cover itself, not right.
TL;DR It didn’t work. Armed with constructive critique that the colors and images needed to be a bit more period/locale specific, the cover designer returned to the drawing board.
And lo, we got Cover 2.0:
Well, then. We were on the right track. I did love the color scheme. And the geometric graphics definitely had a mod 60s sort of vibe to them. I liked the idea of the NYC skyline although I was a bit disconcerted by the visual of One World Trade Center—but I knew that was something that could be dealt with in production.
Unfortunately, however, the legs threw me for a loop. I know the image was supposed to convey the sense of walking (the motion I had requested), but just having disembodied legs didn’t work for me (and the fashion hound in me felt that the shoes gave more of a 30s vibe than 60s). And while a period font might have made a strong argument to support of the cover, the one used was again, nice, but somewhat generic and unremarkable.
By this point, I was concerned the designer and the team in general wanted to strangle me, but I knew in my gut we needed the perfect cover for this book and moreover, that the perfect cover was out there waiting to be created.
Luckily, the Diversion team was exceedingly patient and tolerant with me and once again allowed me input into what I thought would make the perfect cover. So I set to work, searching out images and cover examples—finally, I stumbled across a stock photoset that seemed to capture everything I was looking for. On a wing and a prayer, I emailed off the links and…they loved them. A few weeks later, I received these:
Needless to say, I lost my tiny little mind with excitement. Here was the cover I’d been longing for—two of them, in fact! Now, to choose. While I loved the font on the all-turquoise cover and liked that you could see more of the car, it was the coral/turquoise ombré shaded cover that whispered, “Me. Pick me. I’m the right cover.”
And it was. I loved that the young woman was the focus of the cover. That she was staring off into the distance, whether it was looking back to where she’d been or looking forward to where she was going, who knew? It was up for interpretation. I loved that while her expression was wistful, there was still a focus and determination about her. And I loved that you got a distinct sense of the when of the piece. It didn’t have to be exact, but it was enough for the reader to be able to ascertain that yes, this is a mid-20th century set story.
It was perfect.
And judging by the reactions I’ve received since it was revealed back in October, you all think it’s perfect, too.
Let me just thank the Diversion Team and my wonderful, wonderful cover designer again for their patience and for allowing me to be such a big part of the process. Most authors, we’re never given that gift and to have had it, for a book that means so much to me, defies words, really.
Between Here and Gone is on sale now!