
I don’t know what writers would do without the creative genius of cover artists like James Griffin. Use a plain brown wrapper with a stick figure on it? You can imagine how thrilled I was to see Jim’s magnificent painting for The Flame and the Shadow. In fact, I came over all teary.
Yes, I know how important the cover is for that first impression in the bookstore, but my emotional reaction was because Jim had actually portrayed the character of Cenda, the fire witch, the way I’d imagined her. What a beautiful gift to give an author - and no mean feat, believe me!
He had all the details right for a start - the salamanders (look carefully, there are three), the red in her hair, the despair in her face. Perfect!
I simply couldn’t imagine how he’d done it, so I did the obvious thing and asked.
And you can too! In fact, we’ll be choosing two lucky commenters - one for a signed ARC of The Flame and the Shadow and another for a $20 Borders gift card. Questions? Comments? Go for it! You get to satisfy your curiosity and enter the contest - all in one fell swoop. 
1. Your covers are true works of art, but thinking about the combination of processes involved makes my head spin. Would you explain how you do it, please? Step by step!
I really appreciate hearing that bit about my covers. It’s what I strive for and it’s wonderful to hear !I do most my covers now on the computer and that’s been the case for about twelve years or so. Up until the big change, I did all my work in oils on canvas or wood panels, often shipping the paintings in specially made packing off to the publisher with the paint still wet! The process took about a month from the time I received a manuscript, sketched out some ideas, waited for approval, sketched some more, set up and did a photo shoot with models in New York, waited for the pictures to be processed, drew up the image on my board, painted it and sent it off. Changes to the painting were few, because the process of shipping the art back and forth took so much time and it was very hard to make major changes to the finished oil painting.
Since the computer crashed onto the scene, many of those processes have been eliminated. I frequently get assignments with a week to finish them in. No physical art gets sent back and forth, there’s no waiting for pictures to be processed, etc. But strangely, changes have become more frequent and more extensive.
So here’s how I go about creating a cover now.
After receiving the usual one paragraph concept with the hero’s and heroine’s hair colors, costumes and settings, I will do what I call a “shoot sketch”. It’s a rough representation of what the cover will look like with the figures roughed in. All around the border of the sketch I add notes about lighting, costume touches, mood and action notes for the models. A shoot is set up at my favorite studio, Shirley Green’s in New York and models are chosen. I usually do a costume sketch for my costumer, Sharon Spiak. The shoot usually takes an hour, unless there are several scenes, but in any case we have to work incredibly fast. This is one of my favorite parts of the process, directing the photo session and at its best it’s like directing a combination of modern dance and a silent movie.
It is almost impossible to get exactly what was in mind, when faced with the reality of being on the set. What I strive for is capture as close as possible to the spirit and look I’m after, being open to letting wonderful surprises happen. Sometimes I throw out my preconceived idea a just go with what’s happening, because it’s better!
Once I have the dvd full of pictures, I use all the skills I learned in painting, plus the computer techniques that have become my paintbox to turn it all into a finished cover. Starting with the photo, I re-sculpt the bodies and faces, sometimes taking parts from one shot and combining them with another, redrawing faces, bodies, hair and costumes, adjusting the colors to push the whole thing towards my vision of what it should be. Once It is all working together and I’m satisfied with the composition, then I “paint” all over it!
It’s not real paint of course, but digital paint. I use a pen tablet, which has a pressure sensitive tip and can be loaded with an infinite range of colors and textures, to do what I used to do with oils and play with the image. This is my other favorite part of the process and I can get really expressive.
With Denise’s cover, The Flame and the Shadow, this part of the painting became essential to bringing out the fiery eroticism in her story.
2. How much information do publishers give you and how prescriptive are they?
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