contemporary, relevant, provocative novellas
The final design was the culmination of a 3 month collaboration between eponym and DFW.
When Andrew presented us with the first pass proofs, we were impressed with how he well had captured the essence of Khel’s book.
We did not have a clear idea of what the cover should look like, only that it needed to be somewhat enigmatic and not stereotypically post-apocalyptic, because the story, while adhering to the overarching elements of the genre, is not stereotypically post-apocalyptic.
We wanted a cover that could appeal across genres. A cover that could even appeal to those who would not normally consider picking up a post-apocalyptic novella.
The only thing that we were adamant about was that the color-palette not include red, yellow, and orange.
The covers that we referred Andrew to were almost all from literary titles such as Fiskadoro and Last Car Over the Sagamore Bridge — which had to have driven him crazy, trying to craft a literary-esque cover for a book with zombies in it.
The process at Design For Writers is geared for success — they have a very lengthy, in-depth intake form, which not only elicits information, it forces authors to think seriously about what their stories “look” like and what emotional response they want their covers to evoke.
Their attitude is also geared for success — they are responsive, they listen, and they respect their clients’ feelings, wishes, and input.
We learned about Design For Writers at Catherine Ryan Howard’s website. DFW designed the cover of her book, Self-Printed (3rd Ed.): The Sane Person’s Guide to Self-Publishing, and while it has a completely different look and feel from To Thee Is This Word Given, we felt that the cover showed the ability to successfully meld theme and design, and do so well — which is what you are really asking of a cover designer.