The concept began as a brainstorm between my wife and I about the book’s mood and themes. I remember being young and quite struck by the jewel-like eyes on the cover of a book of short horror stories called “Tales from the Midnight Hour.”
THE DARK PROVINCE: SON OF DUPRIN is in no way a horror story, but it was, in part, inspired by how shame is used as a tool in our society. I felt a connection between a book of “devilish tales” and one wrought with themes that many find uncomfortable to discuss: sex and religion.
Step 1: Initial concept sketch by Miya Johnson
Back in November, my wife sketched my cover idea and scanned it to a computer to give my designer something to work with. It consisted of two elements: 1) a woman’s blue eyes that had been almost completely flooded by an an orange hue. 2) The image of a man walking into the light. The former image was created to inspire intrigue and display a certain sense of mysticism that goes hand and hand with the book’s fantasy landscape. The latter image was chosen to represent a journey from which mankind does not return.
Step 2: Professional designer creates a polished interpretation of concept sketch.
In mid January I received the first pass at the book’s cover. I thought they did a really nice job particularly with the eyes. I also appreciated the layout of the title and the use of blacks and grays as the color scheme behind the bright yellow-orange lettering. What I felt was missing was the beauty of the woman whose striking eyes sat poised to grab a prospective reader’s attention. As well, some in my inner circle expressed that the cover could be a bit genre confusing to prospective readers. As one producer/director friend stated during a facebook chat, “It’s badass, Bill, but I wonder if it’s a little thriller-ish.“
In addition to the sketch, I had sent the designer a rough rendering in a word doc that featured Angelina Jolie’s eyes as an example of sensuality. The objective was to display a breath of the “Dark Province’s” seductive culture. I used this and an additional visual that included more shading around the eyes to communicate these ideas to the designer.
Step 3: Author and designer collaborate to add texture and depth to the woman behind the mist. Viola! A new book cover is born!
A thoughtful discussion between the designer and I turned out to be a success! Attention was paid to the eyes and eyelashes to restore the woman’s femininity without softening the cover’s most striking elements. The illusions that gave the woman a more flat, thriller sort of look were shaded and replaced with a more dynamic cloud-like design. This added depth to the image and texture, elements that I felt benefited the entire cover’s presentation.


