Maybe ten years ago, I was watching a Lifetime interview with Anne Rice and her family. At one point her husband, Stan, talked about reading Interview with the Vampire for the first time – and he said that as he held the manuscript in his hands, a feeling of elation washed over him. And he thought to himself, “After this, things will never be the same.”
That’s exactly the feeling I got when I first set eyes on the cover art for Four and Twenty Blackbirds. The more I stared at it, the deeper the sensation of blissful falling went; and when I saw it designed into a proper cover for the first time, I dissolved into a thirty minute monologue that consisted entirely of grunted Beavis giggles. I felt so ridiculously lucky.
Authors don’t generally have any say whatsoever over what a book’s cover will look like, so the pins-and-needles of waiting drives me insane. What if I get stuck with something ugly? Tacky? Embarrassing? What if I am forced to hock a goofy-looking book???
I should have never worried. By the looks of things, I am going to have the Prettiest. Trilogy. EVAH!
And I don’t mind putting this out there with capital letters and exclamation points, because it ain’t bragging if I didn’t have anything to do with it. I had no say in the appearance of 4&20bb, and I’ll have just as little say in Wings to the Kingdom and Not Flesh Nor Feathers. I have influence only over the content between the covers. Therefore, it’s perfectly fair and tasteful of me to gush stupidly about how pretty the finished package is.
Here’s the final version of book #1:
(click thumbnails to enlarge images)
And now, finally, Liz has passed along the cover art for Wings to the Kingdom. To say that I am ecstatic, and that I once again did the Beavis giggle marathon would be to understate my squee. Seriously.
All artwork by John Jude Palencar, who I will love forever and ever.
Now you must pardon me. I shall go squee some more now …