Beginning to End, The Making of Light from Other Stars, Part 2: Lea Beresford
Beginning to End follows a book from acquisition to bookshelf. For this "season," we're honing in on Light from Other Stars, about a young astronaut hopeful and an invention that alters time. The novel is author Erika Swyler's second, following her much-lauded 2015 debut, The Book of Speculation. In our first article, we spoke with Swyler's agent Michelle Brower. Next up: Lea Beresford, senior editor at Bloomsbury Publishing, working with Swyler to ready the book for publication next year.
Eric Wilder’s Dynamic Approach to Between Two Worlds
Designer Eric Wilder loves to take several visual approaches to a creative brief, hoping one will resonate perfectly with both publisher and author. Such was the case with Wilder’s design for Between Two Worlds, David Sorensen’s memoir about growing up as the hearing child of two deaf adults. When he received the brief from Gallaudet Press, Wilder decided to use both the abstract and the concrete in the cover designs he submitted. Ultimately, Gallaudet and Sorensen chose a design whose colors and shapes evoked the liminal space the author occupied in his formative years.
William Morris, Designer & Provocateur
The best designers aren’t just designers. They’re thinkers, dreamers, makers, tinkerers, dabblers, doers, and provocateurs. Case in point? Consider William Morris, influential member of the Arts and Crafts Movement, poet, textile artist, political oppositionist, Medieval fanboy, and book cover designer. A 19th-century giant of design, Morris defied Victorian ideals of mass production and proved that the best designs always belong to the artisan, not the machine. Even today, we look to Morris’s textiles and typefaces as we try to create book covers with staying power.
David Doran Keeps it Minimal for the Cover of Extinctions
David Doran is an award winning illustrator based in Falmouth, UK. From his studio by the water, he works with international brands, magazines, festivals and publishers creating illustrations of all shapes and sizes. His debut book Alphabet Cities is available now in a bookshop near you. Here he takes us through his process for creating the jacket for the hardcover edition of Josephine Wilson’s Extinctions.
Julia Dixon Evans, Channeling Points of View for How To Set Yourself On Fire
In Julia Dixon Evans' debut novel How to Set Yourself on Fire, 30-something Sheila and her 12-year-old neighbor grow increasingly obsessed with letters to Rosamond, Sheila's recently deceased grandmother, from Harold, a lovestruck neighbor. While Sheila's voice provides the book's primary viewpoint, Harold's voice adds a second narrative rhythm.
Later in the book, Sheila, whose own life tends towards chaos, attempts to impose order by hanging the letters on laundry lines strung around her apartment. Evans's own creative process involved a similar moment of organizational imposition.
The Illustrator's Practice: Jennifer Heuer
For the past 7 years I’ve been working out of the Pencil Factory in Greenpoint Brooklyn. It’s been such an inspiring space to work out of. Having a crew of creative and talented friends up and down the halls has helped shape how I work over the years. Before I moved in here I wasn’t quite as confident in my illustration chops, but when you’re surrounded by some of the best in the biz, you get to have fresh eyes and opinions on projects.
Sarah Smarsh on the Challenges of Writing Heartland
Each author struggles with her own worst stretch of creation. For some, fanning the spark of an idea into a fully formed concept stands out as most agonizing. Others get caught in the middle stages, struggling to find a way out of narrative tangles and research rabbit holes and multiple storylines. While each phase of her book Heartland had its challenges, writer Sarah Smarsh told Spine that the hardest might have been final edits—letting go of a book she’d worked on for some 16 years.
The Illustrator's Practice: Jeff Östberg
I was born in 1988 in a town called Kramfors in the northern parts of Sweden. It's a very small town so I spent a lot of my time drawing from a young age and I think growing up in a town like that has been important for my process. After college I moved to Stockholm to keep studying art and started with two preparing art schools followed by three years at Konstfack University of Art, Crafts & Design where I did a BA in Graphic Design & Illustration and graduated in 2013. Thereafter I had a year where I did a lot of music which I also love, went broke and started working in a store I hated so I kept building up my portfolio and webpage and some time after launching my page and posting stuff on Behance things started to move. Since then I've been working full-time illustrating.
Emily Mahon Discusses Designing the Cover of What If This Were Enough?
When the stars align and the universe is kind, an author’s voice aligns perfectly with a designer’s vision. Such is the story of Emily Mahon’s cover for What If This Were Enough by Heather Havrilesky. Mahon’s simple, no-nonsense, pearlized cover illuminates the humor, emotion, and topical scope Havrilesky brings to the page. And that, dear book lovers, is how all-time favorites are made.
The Writer's Practice: K.M. Jackson, As Good as the First Time
K.M. Jackson has ideas, for books and books, for series upon series. "I have more ideas than I have time," said the author, whose romance As Good as the First Time launches this month. "The ideas come way too fast." Her new bulletin board is covered with ideas. "They come from the weirdest spots." Her Pinterest board is full of ideas. "The spark could come from anywhere."
Joe Wilson, Using Illustration to Bring The Sealwoman's Gift to Life
The Sealwoman’s Gift is the debut novel by Sally Magnusson and I had the great pleasure of bringing the cover to life. The book is a story about loss and love, set during a true incident in Icelandic history in 1627, when Barbary pirates raided an Icelandic island and abducted the 400 inhabitants into slavery in Algiers. Working alongside Art Director Sara Marafini at John Murray publishers, we decided the contrast of these two settings was something we could use to create a beautiful cover to wrap this book in. I was provided with a package of reference material, including my own work, extracts from the novel and some ideas Sara had about the direction. From here I started to develop some very rough thumbnails to try and plot out a rough composition and idea for the piece.
Christina Dalcher, on Developing her Debut Novel, Vox
With Vox, her debut novel, Christina Dalcher “wanted to create a story about a woman who studied language and yet didn’t speak up as the world changed around her and in the end lost her voice.” In the novel, women are limited to 100 words per day and the country must submit to a value system cruelly enforced by the government. The story of how such a world developed and how it is taken down is bold and riveting. The story of how the novel developed is no less intriguing.
Jonny Pelham on Designing the Cover for Women Talking
Women Talking is based on a real event which happened in 2009 in which almost every woman and girl in a Mennonite village, regardless of their age or status, was raped, sometimes repeatedly, by their menfolk. Miriam Toews imagines a small group of these women gathering in a hay loft whilst the men are away, visiting the city, to discuss how they will continue to live their lives in the aftermath of their ordeal.
The Writer's Practice: Paul Matthew Maisano, Bindi
A writer uses tools and techniques, creates outlines and charts that impose order on characters and places, chronologies and narrative flow. These things matter to the writer. These things are real and useful, and can be employed to manage multiple perspectives and geographies. These things, Paul Matthew Maisano relied on when he was writing his first novel Bindi.
Eric Wilder, Learning to Interpret Cover Design
Eric Wilder, book cover designer and publisher of Spine Magazine, recently designed the dynamic-yet-pristine cover for Learning to Interpret: Working from English Into American Sign Language for RIT Press. The cover, which features traditional letters as well as ASL ‘glyphs,’ encourages anyone who picks up the book to begin the work of interpretation right away, which was exactly Wilder’s intention. “Learning to Interpret is academic in nature and deals with interpreting in American Sign Language. My goal was to come up with a very clean yet engaging cover for the subject matter. And by engaging I mean, I wanted readers on some level to have to interpret the cover for themselves,” Wilder said.
Luke Bird explores Japanese design culture for Convenience Store Woman
I definitely have a bit of “shinnichi” in me. I love all-things Japan and am becoming fascinated by the culture, so I was delighted to get a chance to design this little gem of a novel for Portobello at the back-end of last year.
Joyfully, the brief was particularly thorough and helpful. I noted the editor’s comparisons to Kawakami and Murakami, words like ‘sweet’, ‘charming’, ‘original’ and 'off-beat’. On the flip-side, though, this is a novel which tackles tougher subjects like loneliness and ‘the pressure to conform’. It suggested we try and achieve “Contemporary Japan. Unconventional woman. Supermarket setting. Prize-winning. Best-selling.”, and that we start by looking at brightly coloured Japanese food packaging and possible portraits of the story’s central character and narrator, Keiko.
Sister Act: Vanessa Bell's Daring Book Cover Designs
Every time you refer to her as Virginia Woolf’s big sister, Vanessa Bell rolls her eyes at you from the grave. An acclaimed modernist painter and founding member of the lauded Bloomsbury group, Bell also dominated the world of modernist book cover design. Bell was the queen of the unclean line, and her book covers were the visual manifestation of her sister’s uninhibited, musical prose. If you fear asymmetry, read no further. If you crave kinetic graphics and broken rules, carry on.
Kelleigh Greenberg-Jephcott on Writing Swan Song
Author Kelleigh Greenberg-Jephcott’s start in screenwriting and directing fostered an early interest in adaptation.
“I was always interested in the art of adapting works of literature for the screen,” Greenberg-Jephcott said. She related a life-changing incident from 2006.
“I was in a villa in Provence having received a fellowship for a Tolstoy adaptation I’d written, and was inspired by authors present to try my hand at prose fiction,” Greenberg-Jephcott recalled. “I had a childhood passion for Capote and was intrigued by the women he called his Swans, who kept cropping up in the Clarke and Plimpton biographies, as well as in Truman’s work. I knew what I had in mind for their collective and individual narratives was too expansive a tale for a feature film—even a series risked not fully capturing their unique voices. I began what would become a ten year process of research and gestation.”
The Writer's Practice: Mary Kubica, When The Lights Go Out
Novelist Mary Kubica's fifth thriller, When The Lights Go Out, launches this week. The best-selling author told Spine that each of her books starts with the flicker of an idea, which she fans from several angles to see if anything alights. "A book often begins with a small, subconscious spark of inspiration that's then molded in a very conscious way to see if the spark has legs," she said. "For When The Lights Go Out, that first spark was the twist itself, which was exciting because it's never happened for me this way. Usually I have no idea how my books will end, but only a beginning!"