Category: Book Covers

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Sticks & Bricks: Stories from the Wrong Side of the Tracks

Cover from The Wrong Side of the Tracks: Stories, formerly known as Sticks and Bricks. Cover shows a girl peering through a chain link fence at boxcars sitting on a siding with graffiti painted on their sides.

So many people have been patiently waiting for news of the selection progress with Sticks & Bricks. At last, the editors, have given us the go-ahead to share a longlist with everyone, with heartfelt apologies because family emergencies intruded, and kept the selection process on hold for too long. We won’t be able to fit all of these into the book, but at least submitters can check this list to see if their submission is still under consideration.

Biographies for the three editors of this anthology, with small thumbnail photos for Luanne Smith, Michael Gills, and T.E. Wilderson

The Longlist (and a name change)

Submitted work for THE WRONG SIDE OF THE TRACKS: STORIES

  • Hallmark Town—Linda Heuring
  • A Day In the Life of a Five Year Old Pool Player—Francine Roderiguez
  • Paquete—Dan Timoskevich
  • Backyards—Catherine Alexander
  • All the Lonely People—Alex Stein (lyrics issue)
  • King of the Lake—Christine Rice
  • Dogs Always Bark—Melissa Chordas
  • A White Girl, A Horse, Two Cats and a Dog—Deborah Meltvedt
  • The Lesser Countries—August Tarrier
  • Witnesses—April Asbury
  • Human Statues—Leslie Johnson
  • Settle—Troy Bernardo
  • Diorama—Steve Tem
  • Street Sermon Annie—Vali Hawkins-Mitchell
  • Gonna Like It in the Jailhouse—Polar Levine
  • Whatever Happened to the American Dream—Don Robishaw
  • By the Grace—Gayle Bell (flash fiction)
  • Jets—R. Louis Fox
  • Gina and the Werewolf—Hadley Moore
  • Federico and His Boy—Victoria Ballesteros
  • Canary—Virginia Pina (pen name Watts)
  • Private Duties—Madeleine Mysko
  • The Angel of Lead Belly’s—John Mauk

Solicited Work for THE WRONG SIDE OF THE TRACKS: STORIES

  • Hunger—Pirette McKamey
  • Fast Hands, Fast Feet—Maurice Carlos Ruffin
  • Afterglow—Steph Post
  • Some Get-Back—Eric Miles Williamson
  • Leaving Early—Penn Stewart
  • Grit—Jesse Waters
  • Hard Shoes—Steve Gutierrez
  • The Short Story—Steve Gutierrez
  • Palette—Chavisa Woods
  • Kitty Rose—Jana Sasser (J.C. Sasser)
  • Flowchart—Kim Addonizio
  • Christmas Story of the Golden Cockroach—Ana Castillo
  • Old Dogs—Bonnie Jo Campbell
  • Amusement—Joe Haske
  • TBD—Elizabeth “e.” Stuelke
  • Tea Training—Zary Fekete (Zaqary)
  • The Bride Beneath my Bed—Lee Zacharias
  • TBD—Chavisa Woods
  • The Main Game—Chris Offutt
  • Barbie-Q—Sandra Cisneros
  • TBD—Manual Munoz
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Book Cover Design

No Evil is Wide by Randall Watson Cover

Don\’t judge a book by its cover, they say

…but we all do it anyway.

Because of this, designing a book cover can be one of the most crucial and time consuming aspects of publishing a book (apart from actually writing the book, of course). The cover must be right.

When a book\’s cover is wrong, can give a potential reader the wrong impression of what the book is about. This applies if the cover does not match the book\’s genre; a shirtless man might draw Fifty Shades fans instead of the high-fantasy audience it was meant for. At the same time, a highbrow cover featuring abstract art might appear too \”literary\” for the casual reader, who will probably never read the synopsis on the cover to discover that the book is actually a YA adventure novel.

So how do I get the right cover image?

There are many ways to obtain cover art. On the more expensive end of the spectrum, an artist might be commissioned to create original artwork just for the book. It is also possible to license original artwork and photography that already exists, this is generally costly as well. If you are very lucky, you have artist friends who are willing to share their work at little or no charge. As was the case with No Evil is Wide by Randall Watson. In fact, Watson was spoiled for choice as he has an extensive personal art collection.

No Evil is Wide

Released in November of 2018, Watson\’s novel is both dark and chaotic and we wanted to make sure that the cover reflected that. Watson wanted to use a piece from his personal art collection for the cover of No Evil is Wide, and there were some excellent paintings to choose from, but we ran into a snag. We didn\’t have permission to use them.

Ownership of a piece of art, doesn\’t mean one owns the right to reproduce that piece of art.

Ownership of a piece of art, doesn\’t mean one owns the right to reproduce that piece of art. Physical ownership does not equal intellectual ownership. The author or publisher must have written permission from the artist to use their work, or a licensing agreement.

Luckily for us, Watson was able to track down one of his favorite artists despite the fact that they were out of touch for a decade. Once we received Charles Moody\’s permission, we were able to create a selection of composite covers, each with a different painting of Moody\’s. (see below)

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Right off the bat, the third cover was simply too bright and did not match the overall theme of the novel, but we weren\’t ready to give up on it, so we changed the background and typography colors, which improved it a lot, but the painting still didn\’t convey a strong enough message. Similarly, the first image of the bird-headed girl, while powerful, didn\’t have the violent appeal of the hand image. The bright reds in that painting screamed for our attention. We could see ourselves  picking up that bright red book at Barnes and Noble. Still, the author, Randall Watson, wasn\’t sold on it, so we tried some variations.

There was still something about the red background and and the framed image that wasn\’t right. The text and the image felt disconnected. Our resident millennial didn\’t like how… \”old\” it felt—like a text book.

We had just read this Literary Hub article discussing the current fashion in covers that focuses on bold text using all-caps. We got mixed replies when we shared that article on Facebook, but I loved the bold type because it is easy to read, even on a tiny thumbnail of the cover. In addition, the font feels as though it\’s a part of the image itself, not just slapped on top of a picture.

With that in mind, after playing around with fonts, colors, and layer blending modes in Photoshop, we came to our final rendition of the No Evil is Wide cover:

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This cover immediately catches the eye–peaks the reader\’s curiosity and makes them ask the important questions.

What\’s up with that dude\’s hand? It looks like he\’s not having a very good time. Is that fire? Why is there an eye there? No Evil is Wide? What does that mean?

All fantastic questions that inevitably end with the most important thing you want a potential reader to think:

I\’m gonna read the synopsis.

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Katherine, Kathryn! What a beautiful cover!

Three covers with art by Kathryn Smith for a new poetry collection by Katherine Smith entitled Secret City. The image shows three covers side-by-side. One with a white background one more orange, and one blue.

Take our poll to tell us which cover you like best. It doesn’t mean we’ll change our minds about the one WE like, but it’s always fun to see what everyone thinks!

While Katherine Smith writes beautiful poetry, Kathryn also creates collages we can’t stop looking at.

The story begins with the Madville crew doing some online research about a new poet we had just signed, Katherine Smith. (Secret City, Madville, August 2022). Expect a preorder page to become available for this collection in May. You’ll find that on our homepage, https://madvillepublishing.com.

But back to the reason for the search in the first place, we were looking for inspiration for Katherine Smith’s book cover. We like to start by looking at an author’s previous covers, so we started by looking at Katherine’s Woman Alone on the Mountain (Iris Press, 2014). After that, our eyes were naturally drawn to the really striking collage art of Katheryn Smith, who turned up among our search results. We contacted her about her art before even realizing she is also a poet. Learn more about her at kathrynsmithpoetry.com

[socialpoll id=”2816372″]

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Under the cover: Judgment Day & Other White Lies

Under the cover of Judgment Day & Other White Lies
guest post by Mike Hilbig

Shortly after my short story collection Judgment Day & Other White Lies was picked up by Madville Publishing, I read “Under the Cover – Mistakes by the Lake” on Madville’s blog where author Brian Petkash describes his process of coming to the stunning book cover design for his debut short story collection Mistakes by the Lake, a collection that is coincidentally my favorite book I’ve read from the Madville catalog. Since my own short story collection is, like Petkash’s, a linked collection with several shared themes, I reached out to Kim Davis, press director for Madville, and asked if it would be possible to have a local artist and graphic designer I knew design the cover for me.

Kim informed me, in fact, that it is the intention of Madville to offer author’s more creative control in the publication process, that she believes collaboration makes for better titles. Especially on an element like the cover design, she thinks writers can offer much help in selecting pointed images that direct readers’ eyes to books they will enjoy reading.

Collaborating with Crowcrumbs

In my own case, I knew right away I wanted to ask Crowcrumbs to design the cover. She is an old friend of mine and local artist in Houston, TX who studied design at the University of Houston and does compelling illustrations and graphic design. I also have always sensed a lot of similarity between her work and my own in terms of its thematic nature. In particular, two images spoke to me and told me she would be the best person to ask. 

  • A winged monkey holding a glowing cross by Houston artist, Crowcrumbs. Black and white pen and ink drawing.
    by crowcrumbs
  • Black madonna with a pulsatig halo exposing her chest to show the symbols of Islam, Judaism, and Christianity on her chest.
    by crowcrumbs

You see, my collection is centered around retellings of Greco-Roman and Christian myths that challenge foundational truths in American society like patriarchy, capitalism, and in particular, white supremacy. The above images jumped off the page to me as ones that were both blasphemous and reverent at the same time, images that could reflect my own technique of using meta-narratives that both reify and problematize traditional culture. Additionally, two of the more prominent stories in the collection in terms of their imagery are the opening alternative telling of Genesis “Para(Fa)ble of the Stoned Ape,” where violent sex-crazed stoned monkeys create western civilization by hallucinating and then telling stories of their hallucinations, and also, “‘Per-C and ‘Dusa: A Narrative Representation of a Graphic Epic’ by Angela Ames, PhD,” which is an ekphrastic retelling of the Perseus and Medusa myth in the form of a fake scholarly article. Therefore, the monkey and the mysterious woman adorned in religious imagery felt like they could be synthesized in some form that would make for a great cover to Judgment Day & Other White Lies.

Not to mention, most of the collection takes place in Houston, TX, where Crowcrumbs and I both live. In fact, one of Crowcrumbs’ most sought after images is her sketch of the famous rock music club Fitzgerald’s (RIP) which was once home to many of our favorite local punk bands over the years (buy a print of the below image here!). I figured between the ominous religious imagery, the evolutionary and creationist themes, and her photorealistic interpretations of local landmarks that we would surely find a cover design that was perfect for the book (and I believe the one we eventually came to is, in fact, perfect). 

One of Crowcrumbs’ most sought after images is her sketch of the famous rock music club Fitzgerald’s (RIP) which was once home to many of our favorite local punk bands over the years (buy a print of the below image here!)

Setting out with a few images I picked out of Crowcrumbs’ catalog to give her direction on what kind of design I would like, we discussed the possibility of synthesizing local haunts, religious imagery, and also some imagery from the stories themselves. We also discussed doing a black-and-white color scheme that would align with the discussions on racial identity that are interspersed throughout the collection. Crowcrumbs went to work sketching some rough images that we might use on the cover. 

Orestes attacked by the crowd, white on black.
First, we talked about using an image from the story “Fury, Or a Matricide in Sound,” which is a retelling of the Oresteia that involves the heavy metal musician Orestes helping his mother commit suicide to escape from her questionably terminal illness. The image at left comes from later in the night after he has left his mother to die when he stands in judgment of the crowd, who we discussed having a religious component, perhaps like a group of monks. Here, one of those members is stage diving into the waiting arms of that judgment.
'Dusa cover
We also discussed just doing a direct image from the “Per-C and ‘Dusa” story, one where Per-C paints the decapitated Gorgon head in the sky above the First City Tower in Houston, TX in a graffiti type style. 
Fractal Monkey
Then, there was the fractal monkey mind explosion, which again, references “Para(Fa)ble of the Stoned Ape” and also introduces one of the recurrent themes in the collection, the idea that narrative is a fractal process grown out of control where we establish the parameters and influence of time and space on our own psyches by simultaneously imagining ourselves in the contexts of the characters we love and hate in stories, the genres those stories belong to, the tradition those genres emerge from, and the place of those traditions within the process of narrative altogether, finding meaning by noticing self-affine structures that contain symmetry across scales.
Vase cover
Finally, we discussed a Greek style ancient vase with elements from each story spilling out of it, showing the neoclassical mode of critique this collection looks to subvert.
While Crowcrumbs’ initial sketches all had elements that I wanted on the cover, none of them had fully struck me as encompassing the thematic quality of the full-breadth of the collection. So, we discussed perhaps synthesizing some of those cover designs and having a monkey come out of a vase that maybe had a medusa head in the artwork. She sent me back one more initial sketch of that idea. 
She also explained to me that drafting is her first and true love as an artist. She also uses this skill most frequently, since she has been the primary illustrator for George Covington’s biweekly opinion column in the Big Bend Sentinel, a paper covering the region of West Texas where Crowcrumbs used to live and work as a librarian. Her illustrations in the Big Bend Sentinel include similar aesthetics to mine too, like this illustration of a Gorgon head she did for a Covington column about the nefarious nature of Amazon’s Alexa.

She also told me she liked the process because while “it relates to the text, it is also not necessarily true to life, something that makes it both an interpretation and its own creation, and I get to use my other skills at my day job too where I focus on user experience of software design. It forces me to consider the audience and what they will imagine as they read the words and process my artwork.”

Judgement Day And Other White Lies--preliminary cover
The British spelling of the title aside, this was the sketch that finally spoke to me. I gave her the okay to precede bringing that image to completion for the cover design, which ended up being far more detailed and elaborate. Later, when asking Crowcrumbs about her process, she explained to me, “I start on paper, since it is more gestural, it gives me space to play around and is less committal. It can get messy, basically. Then, once I find an image I like, I take a photo and drop it into ProCreate, which is the poor man’s Photoshop. I use the stylus feature there to redraw the image, I add color and definition. Finally, I transfer it to Photoshop, which I use a limited version of to add the finishing touches, since it allows more layering of the design features than does ProCreate.”
Crowcrumbs emphasized that she used a similar, albeit more lengthy process, for coming to a book cover design for Judgment Day & Other White Lies. She read a manuscript copy of the book I sent her and really tried to process not just what images came from the book itself but how those images might be combined in a way so as to evoke a similar theme. This was why, in the end, that even though I asked for a mostly black-and-white cover with perhaps a little color around the edges that she decided for a full-color cover design. 
“I just didn’t think the black-and-white version,” Crowcrumbs explained, “or the later version I made, where the monkey was a traditional brown, were fully hitting on the surrealism I encountered in the book. Your stories pop off the page by flaunting expectations, and I wanted a color scheme that did the same. This was why I went with a traditional orange for the vase and used it on the monkey too while using the more surreal greens and blues and starry sky elements in the background.”

I was thrilled with it when she sent me the initial proof and believed this was where she really came through in taking ownership of the image, as I told her she had free rein to do, since she was the artist and I was the writer. I trusted her skill and trusted her as a person, us being friends for years and all (and in the same online book club together to protect our sanity during the pandemic). 

I just love how the image is both threatening and playful, evocative in the color scheme, and how with the presence of Greek history, a revolver, an egg timer, and a wild monkey, that it creates a true sense of urgency, along with mystery, something that I hope this collection does in terms of engaging white people in their own interest in dismantling white supremacy.

So that’s the story of how the book cover came into being. If you like the cover design, please consider commissioning Crowcrumbs for your own artistic needs. Again, this cover perfectly captures my literary aesthetic in a visual form. Also, you can purchase copies of her prints, as well as t-shirts and stickers with her artwork on it here. Lastly, for those of you local to Texas, be on the lookout for combined readings and art show collabs between Crowcrumbs and me to promote the book release, and to promote Crowcrumbs as the incredible artist and designer that she is.