Well, this is exciting. Sketches for TDDC’s cover art are in, and they are fantastic! But don’t take my word for it…
The artist’s name is Jake Murry. I hired him for two reasons: he understands subtlety and the power of contradiction. TDDC’s cover must convey beauty and danger in equal measure, and if possible, an underlying sense of hope. Difficult themes to illustrate, but perfectly captured in the first sketch…so why is it so hard for me not to choose the second? I love its energy, composition, tilt, the immediate danger posed in its framing. I admit – this probably isn’t the best direction to take, and it would probably be better suited for, say, an image in a trailer. But I’m curious, what do you think? For those of you who haven’t read The Dead Don’t Cry, which would be more likely to draw your attention?
Looking forward to your input!
Beautiful work. I love it. Talented artist.
But which would make for a better science fiction cover?
The more I look at them, the more I’m attracted to the second one.
I know, this is my dilemma.
I would have to say, since I haven’t read The Dead Don’t Cry, the second image would make me pick it up. I think it portrays the feelings you described above. Along with the energy and feeling of movement, the angle of having the two figures looking in one direction makes me wonder what they’re looking at. I want to read your book right now just looking at the cover to find out what they’re looking at.
Adam, thank you for the feedback! I prefer the second as well – I just feel that the first is more traditional. But then, I’ve always gone with my gut, so I think I might have to continue to do just that. Thanks again -
The second one, methinks. The angle is unusual for a book cover and it adds so much. The first (though both are simply gorgeous sketches) feels rather static and generic in comparison to the immediacy and sense of almost-fear/danger of the second.
I haven’t read TDDC, but I would be inclined to pick it up the second cover more.
This may be the general consensus. I loved the first, right up until I saw the second. Thanks for the input!
That’s a hard one. I would pick up either version of the book based on the cover, then again, I would have already picked it up because of the title.
But, because you asked, I’m going to pick door number one–it more closely resembles the narrative style and p.o.v.
I’ve never been so torn – the split has been even, with convincing arguments for both. I suppose you’re right though – both are good enough to do the job. Thanks!
Ashamed that I still haven’t read TDDC this post comes as a relief. Now that I can finally pitch in, I’m going to say that while number two is more likely to grab my attention, number one has seized my imagination. Number two has an intensity that makes me feel as though the Earth has been pulled right from under my feet and these two characters are an allegory for hopelessness. Number one let’s me hold onto the few happy thoughts I have left after having viewed number two. Two stirs emotion; one entrances and makes you wonder. Two asks “what are these two up against?” while one seems to focus more on their relationship and less their circumstance. For me, one just makes me happier.
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OK, that was my first take. I’ve literally been looking at these for a while now and I think the only reason I liked one so much was because two was right there next to it. One alone might be too dull. I’m having a hard time finding hope in two and danger in one.
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One, final answer. What did it for me was picturing the title “The Dead Don’t Cry” above and everything came together for me.
Hey Tep,
Thanks for the feedback. I’ve discussed these and many more thoughts with the artist, and we’ve reached what I believe to be a terrific compromise. Stay tuned to see the finished product! And I’m glad you haven’t read TDDC – it’s evolved quite a bit since you first saw it. As always, great hearin from you.
Both are excellent…but one cpatures my attention more than two.
I look at the characters depicted in the first drawing and I see their shoulders and faces squared in the direction of a path that leads into a wood that seems to curve in upon itself, almost like the two flaps of a venus flytrap awaiting an unfortunate fly to wander into their grasp. As a perspective reader I want to know where that path leads. I also am wondering why the shorter character is leaning into the taller character. The ominous nature of the path into the woods seems to be the clear answer, again more motivation for me to want to read.
Sketch number two is beautiful and clearly illustrates two characters who are close to each other. But why? Out of love? Fear? Both?
It’s a tough choice indeed.
Thank you for the insight! I’ve since made a decision that strikes a beautiful balance between the two. It’ll debut next month, with the official release of the book.