One of the many thrilling experiences of having my first novel published was the cover design process. Authors typically don’t have a lot of say when it comes to the choice of cover, unless they’re self-publishing. If you’re lucky (and I was), you’ll be given a chance to offer feedback, and there will be an Option B if Option A isn’t working for you. The first mock-up my editor sent me was the image on the right, below. Soft pink background and a wallpaper pattern of poppy flowers coming through the title text.
What I liked about it: 1. the poppy as symbol, since opium figures so heavily in the story, 2. the colour scheme, which I thought would stand out nicely in the bookstore, and 3. the insider literary nod to Charlotte Perkins Gilman’s classic feminist story “The Yellow Wallpaper.”
However, my gut told me it wasn’t the cover of my dreams. These orderly rows of poppies seemed too “Flanders Fields”-ish to me; I worried that they were better suited to a WWI-era than a Victorian story. The salmon-pink background, while feminine and bright, seemed a bit too tame. And who besides me would ever look at this cover and think of Charlotte Perkins Gilman (answer: nobody).
Sumptuous, pretty, and mysterious. These were my three keywords for the cover I was after. And what came across my desk next made my heart pound with its exactly rightness (bottom image= the book’s final cover). The opium-poppy is still central, but gone is the domesticated, drawing-room quality. Nor is it a bouquet or an arrangement in a vase. Instead, the thick, twining stems arise mysteriously from off-page, the flowers wrap around the jacket, and the black background suggests depth and danger. If you look closely (and of course I looked and looked), there is even a liberal dusting of pollen.
I never laid eyes on the other two options (the image above with girl’s silhouette, and the top-left bouquet against the peach background). I guess they were weeded out at some point by the design team at Razorbill. But it was great fun to get in touch afterwards with Grace Cheong, the genius freelancer behind all of these designs. She eventually posted them in her online portfolio as “final cover design followed by selected comps.”
Thanks again, Grace, for the beautiful cover. And thank you, Lynne Missen, Lisa Jaeger, and the rest of the Razorbill squad for your patience with me as a first-timer!