A Filler Post, For Real – With a Recipe!

Richard Skinner

I really have no idea how I am accomplishing anything today – see my post from earlier in the week. Right now, it’s 94 degrees inside, which is ten degrees less than outside anyway. I really don’t believe my weather site that says there’s only 34% humidity, though.

So, I finally decided to get this post out for a promise that I made a couple of weeks ago or so, over on Sarah Hoyt’s blog. I had mentioned that my wife had an old family recipe for cookies that required 190 proof vodka as one of the ingredients.

Diversion here… I might as well admit that I have an extremely idiosyncratic memory. I can remember phone numbers just fine, the numbers of all the bank cards, every family Social Security number (but not what year they were born). I can remember the plots of books that I have read. I can remember the spelling of words that perhaps a half dozen people in the world ever actually use. I have vivid recollections of places that I have seen only once in my life.

What I don’t remember are the things that most people don’t have a problem with. People’s names (yes, I do remember the kid’s names, even if I don’t always attach them to the proper owner of same). When and how I came up with a writing idea (although I usually do remember the idea). Or, in this case, where a recipe came from.

It turns out that this recipe (which I have nicknamed the “rocket fuel recipe”) is not an old family recipe. I thought it was, because the wife refers to a hand-written copy when she makes it. Nope. It actually is out of a book, and is hand-written because: a) it is not in the form that we in the West usually see recipes, and b) she had lent the book to her sister several years ago.

Well, I got the book back from the sister-in-law this last weekend. And it turns out that it is not a cookie recipe, either! It is actually one for the form of pastry that most people call a cruller. (Okay, I call just about anything that is sweet and crispy a cookie. I cook, I don’t chef…)

So, here is the recipe, which I am cribbing from my wife’s index card, not the book. Although – if you are interested in Polish cooking at all, I can heartily recommend the book (the sister-in-law is not getting it back for a while, I want to try several things in it). It’s called Polish Heritage Cookery. I’ve linked to the hardcover for it, although the Kindle version is about ten bucks cheaper – when you take a look at it, you will notice that the publishers don’t quite have this ebook thing down yet (the Look Inside is scans from the print book, which makes me somewhat doubtful of the Kindle version). The recipe also doesn’t include the pictures from the book on how to make the shape, and I can’t find any web diagrams. Sigh. Another good reason to get the book – it has plenteous and good illustrations.

Angel Wings (Faworki / Chrust / Chruściki)

2 cups white flour
5 egg yolks
1 tablespoon butter, softened
2 tablespoons sour cream
1 tablespoon 190 proof vodka (6% distilled vinegar may be substituted)
Pinch of salt
1 and 1/2 pounds lard (shortening or vegetable oil may be used, but with loss of flavor)
Confectionary or granulated vanilla sugar

Sift flour onto a cutting board, making a well in the center. Place the egg yolks, butter, sour cream, vodka, and salt into this well, then work it into a dough by hand, occasionally beating it down. When done, the dough should be uniform, glossy, and with small holes when cut into. Force as much air into it as possible! On a floured board, roll the dough out as thinly as you can, then cut and form your angel wings. Heat lard in a large pan to a temperature where a small piece of dough dropped into it floats to the top immediately. Fry the angel wings in small batches that can float freely, turning after approximately 30 seconds when the bottom is golden brown, and allow another 30 seconds for the top to turn. Remove to a rack over paper towels to cool down. When cool, dust thoroughly with the sugar.

A Writer Status Post

Richard Skinner

A friend once told me, “If all else fails, you can always blame it on the weather.” I don’t recall at this late date just what failure he was advising me to use that excuse for, but I’ve always hated the notion.

Well, I’m having some failures these days. And the weather is pretty much the sole reason for them. Sigh… I guess I have to pull that card out.

You see, I live in the desert regions of Arizona. Which actually has pretty darn nice weather for a biggish chunk of the year. (No, I’m not trying to start any “my climate is best” debate here. Just about every place has pretty darn nice weather, just the extent and timing of it differ.)

Except for right now – actually, beginning about with July and through most of August. Right now, it is absolutely miserable, especially for my family and myself. You see, we do not have air conditioning in our house, and this is the time of year when the temperature and the humidity are both sky-high. Sans air conditioning, it is miserably hot during the day; and this does not change all that much once the sun goes down. Right this moment, as I write this sentence at 10 PM, the outside temperature here is 93 degrees and the inside temperature is 94 degrees. Evaporative cooling does nothing to alleviate the heat when we are this humid.

Long explanation / excuse for a short problem. I’m just plain not working at any kind of fast pace – and when I do work (night and early morning), quality takes a nose-dive. Just the way it is right now, and I can only hope to correct this annual problem next year, maybe. In the meantime, looking back at my logs, I am still producing a heck of a lot more, writing-wise, this summer than I did a year ago.

The long range view is that I’m very unlikely to meet any of my self-imposed schedules until September is here. At short range, I’m definitely not going to accomplish everything that I want to do.

So, what I think will happen, after looking at things through the cleaned off reality lens:

1) I’ll continue to get my reviews of other people’s books up on Amazon on a weekly basis. This is something that I have committed myself to, and is very important for supporting those people who have inspired me, and continue to give me encouragement. However, the blog posts that go with them are going to appear at some time, maybe a long time, after the Amazon review is done – I started the one for Dan Hoyt’s 9th Euclid’s Prince on Saturday last, and it might as well be gibberish. I know what I want to say, but the brain’s language center, it is not cooperating.

2) The Learning Curve series will continue, although not on a guaranteed Wednesday schedule. I have started the post for this Wednesday, which is probably going to actually go up on Friday at best. But I have named it “Part One (and a Half)” – I was taking notes for it while going through the readings in Part One, and found myself diverted into expanding on the prompts those posts gave me. The nitty-gritty of actually creating covers will continue at some time, I just don’t know when. These are posts that I need to make sure that I don’t make some stupid mistake(s) on, leading the reader astray.

3) The August Tales By The Road short, Fugitive, will get done in August, and probably mid-month like The Simple Man and The Lass. A fair amount is drafted, and the rest of the plot is synopsized; I should be able to finish it with an hour here and an hour there of lucidity. The base cover image is already selected, too, so that is also something that won’t need a long stretch of mental acuity to finish up. (If it were my first cover attempt, though, I’d be in serious trouble.)

4) There are some “bloggish things” on my list to take care of. Those will also get done sometime soon, although they are a lower priority.

5) In any good hours that are left, I am still working on the first novel (working title, Talons of Vengeance). Absolutely no schedule that I can make on that project – I went back to it after the six weeks of getting the Tales out there and starting up this blog, and was shocked at what I thought was done – and turned out to not be.

Of course, anyone living down here in the “monsoon belt” knows that the weather could break at any time; I could start getting the nice massive evening thunderstorms again that cool things off for the night hours. In which case my productivity will rebound. But I’m not betting on it…

Learning Curve – Covering Up, Part Two

Richard Skinner

Here we are – Part Two of the series on creating your own covers. The next step is deciding what pieces of other people’s work are going to be incorporated into the cover. So…

Find the Starting Point(s)

First off, I’m making the assumption that your budget for cover art is like mine – low to non-existent. So your sources for the starting points are rather restricted. Although, to be honest, these days that is not all that much of a handicap. Graphic artists and photographers discovered the internet some time before we indie writers did – there have been low-cost and no-cost sites up there almost since the dawn of the technology.

The three sites that I use – in decreasing order of my being likely to find what I need on them:

Pixabay – https://pixabay.com

The site I use the most, largely because of its sheer convenience and selection of free images. All of the photographs here are free, and licensed (under Creative Commons) for commercial use. (You will see “sponsored images” from Shutterstock in various places – they are plainly watermarked as such. Those are not free, so unless you really, really need that photo, which you are unlikely to, you can just skip those.)

Now, you do need to set up a Pixabay account to download the high resolution photos. Just browsing, no, so go ahead and take a look there yourself right now. I had problems getting my account set up, which you may not have – they send you a confirmation email with a link that you need to finish your account setup, and for some reason that email never got through to my usual inbox. Nor in the spam folder. It just plain disappeared in transit. Very, very annoying… Anyway, I did finally get my account running by creating a Hotmail account and registering through that one. If you use one of the “free” email services yourself, I think that you won’t encounter my difficulties (maybe).

Dreamstime – https:/www.dreamstime.com

Dreamstime has some free images. Honestly, though, I have never found one that I would ever consider for a cover starting point. People with more graphic arts chops than I may be able to create something from them, but I certainly can’t. Note that you do need an account here to even look at very much, although I did not have any problem setting one up.

Most of the images are very low cost, though – so long as you are very careful about how you set your search filters. Always turn on the advanced search – the little gear sticking out below the search banner. For basic searches, on the Advanced Search tab, make sure that the Royalty Free box is checked, and that the Editorial and Exclusive boxes are not checked. For purposes of a low cost cover, the basic royalty free license suffices just fine, you don’t need an exclusive license. You absolutely want to avoid anything that has just an editorial license; that one does not allow you to alter the image, and is very problematic for commercial use. Also make sure that all three of the “extended license” boxes are unchecked – you don’t need any of those licenses for a cover.

Now, on that Pricing: slider – watch that little gadget. I have set it several times, done a search, decided to change my keywords, went back – and it has quietly reset itself to all price levels. Extremely annoying, especially when you have found the perfect image, and come to find out that it is outside of your budget. Set your desired price range and make sure it is still there every time before you click that Search button.

Pricing. Now, here’s an issue that gets rather complicated with Dreamstime. They have two options for buying images – one is a subscription plan, the other is a “credit” scheme. I do not recommend the subscription plans – the lowest cost one is, as of this writing, $39.00 (US) a month, and allows you to download five images in any one month. Way too expensive unless you are doing a lot of covers, and you expect to make a fairly good income every month. The other way is credits – which is what you are setting that price range slider for in the search options. Click on the Prices and download plans in the upper right hand corner of any page to access the current pricing schemes, then on the Credit packages tab. Right now, you can buy 11 credits for $14.99 (US) – which will then buy you about two of the cheapest images (price level 0) at the “medium” or “large” sizes, which is usually what you want.

So here you have to balance your budget against what they have to offer. Not nearly as easy as Pixabay. One thing that I do highly recommend – when you find an image that you think is a possibility, click on it to get the page for it, then right click on the image, select Copy image from the dropdown, and then put it into a new GIMP file. What you have is nothing like you’ll need for your cover – it’s low resolution and will have the watermark on it (no, even if I did know how to get rid of those, I wouldn’t tell you). But you can “play” with it a bit to see whether it really will work for you, before you lay down your money.

Just for reference, here is what I set the search parameters for when looking for the road image in Tales By The Road (although I ultimately did not end up using Dreamstime for that cover). Someday I will be qualified enough to play with the Image properties tab – but that is definitely a subject for much later.

Dreamstime Search Settings

DeviantArt – http:/www.deviantart.com/

Okay, I have to admit that this is more of a guilty pleasure than a site that I look at for cover sources. Although you can find some great cover ideas here, when you are feeling artistically dead…

The absolutely fantastic artists that put some of their work up here can get you lost for hours, literally. A real productivity drain. But – do bookmark the site. There will come a time (hopefully) when you are looking for a professional artist. When you do get to that point, this is a good place to start – look at portfolios, especially if they have done covers for other people, find the person you want to use (and, this being a wide open site, check their references), and open negotiations. (On that, get yourself a copy of Kristine Rusch’s How to Negotiate Anything book. The vast majority of writers – your host included – are completely unskilled negotiators. Kristine’s book will save a lot of heartache when its lessons are taken to heart.)


Whew! That was quite a bit on just the places to get images. On to actually finding the image(s), and getting them onto your system for later manipulation with GIMP. (I’m afraid that I’ll only be showing you how to dig around through Pixabay images, since those are what I ultimately did use as my starting points.)

First, though, before we start playing keyword and search box bingo – let’s refine just what we’re looking for in the images. Now, I didn’t write anything down when doing Tales By The Road – I was pretty much in the role of full time cover “artist,” and I was the only one doing it, so I did just fine with a mental “checklist.” In the future, though, I am going to start getting at least a brief description down, which will be a big help to the spouse when she is trying to cut down the mass to a reasonable number to ask me about. It will also help if you are paying someone else a small amount to simply put images together. Or even if you are still doing the whole thing, but in chunks of “as available” time. Note that the descriptions below are only for the elements that I ended up putting into the cover. I discussed my horrible waste of time looking at people last week – I have way too many images of old men sitting on my computer now.

The road – The Road is a character in the story, so it is really the most important image to get right, for certain values of “right.” I want a road with absolutely no traffic on it, and no urban setting (ideally, with no evidence of Man whatsoever, other than the road itself). It should be winding, not ruler straight – or perhaps just a curve – to have at least some visual interest. Viewed from a normal standing ground level – not aerial, not “artistic” from someone laying down or crouching. Paved, probably with asphalt, but “pebbly” (something like a freshly oiled and graveled surface?), because I’ll want to add a bit of unusual color to it for a slightly not of this time period look. Without our modern lane markings if at all possible. Not all beaten up, either, this is supposedly an advanced material.

The desert – a sand desert, not a Southwestern type desert. Gobi-type, Sahara, something like that. No vegetation whatsoever, or easily removed for whatever little is there. No people, vehicles, etc.; not even an indication of same (no tire tracks). Just pure sand. Already of a reddish cast (around sunset) if possible. Oh, no dust plumes, the air should have been just about absolutely still when the picture was taken.

The sun – a red giant artwork if possible. That may be hard to find for a free picture, so a sunset, or a red-filtered picture could work as well. I need about two-thirds or three-quarters of it, and it needs to be cloud-free. Sunspots? I really don’t have an absolute preference, although it should probably not have too many; from what I recall, those should be less likely on a red giant? (Not going to research that, going to go with my memory there.) Come to think of it, I can probably go without it being extremely red; I can play with “reddening” it in GIMP.


Okay, now I know what I’m looking for, along with where I’m probably going to have to be flexible. Off to Pixabay! Let’s try “winding country road”…

Urk. That returns seven Shutterstock images, none of which would work anyway even if I were able to shell out money for them. Only six free images. Ouch. One of them might work, but would be a headache to get fixed up. Cracks in the pavement, lane markings, the end of it fades into vegetation… Time to get more sophisticated, I know that other people can make this work, there has to be a way.

Start digging. Sigh, no help straight from the Pixabay page. The FAQ? Uh-uh. Time to Bing it. Ah-ha, found it! Pixabay actually uses a pretty darned sophisticated search system, but the only place you’ll find anything about it is down in one of their blog posts. So that you won’t use up your valuable time – it’s at https://pixabay.com/en/blog/posts/advanced-image-search-on-pixabay-46/. Read it, and experiment.

Armed with the “professional-grade” knowledge, here’s the second (well, actually, fourth or fifth) search criteria: “(country OR countryside) AND (road OR winding)” – much better. Free images are now 775, I surely should be able to find something there. And so I did. Tip: learn to scan the images very quickly. Even with the best of search criteria, there are going to be some there that aren’t at all what you’re looking for. For example, I have no idea what a bee flying near to what looks like an orange tree branch is doing in my results. It can be worse – for some reason my later search for the desert pulled back a lot of images of somebody’s laptop in various orientations.

I also use the little gearbox (for settings) up in the top right corner of the results page to show 150 images per page. That just makes it seem a bit less daunting, when you only have six pages to go through rather than eight (for this search).

Now, on Pixabay at least, when you see a “possible” image, you can take a better look at it by hovering over it with your mouse. If it still looks good, click on it, and you will get the page for that particular image up. Don’t get ahead of yourself, though, and download it right now; go through all of the images first. (I mean that – I have found a good enough image on the first page – and then the image on the last page.) But do save the location – either copy down the web address for that page, bookmark it, or do like I do and “save page as” to somewhere on your hard drive (for me, on Firefox, that is a simple “Ctrl+S” and then the “Enter” key).

You’ve found the image(s). You do have the exact pages marked somehow, yes? You do have your Pixabay account all set up, yes? Time to hit the big green Free Download button over on the right hand side of the image’s page. When you do that, always select the highest resolution image that you are offered; scaling it down, as well as other manipulation, is a job for GIMP – not the Pixabay graphics engine. Save it somewhere that is logical for you on your computer. (For me, and for Tales By The Road, this was in the “Writing\Short Stories\Tales By The Road\Tales By The Road\Cover\Working\Sources” – yes, quite a ways down, but I never, ever find anything that I put into a “My Whatever” folder.

I’m not going to subject you to the whole process for the other two elements of the Tales By The Road cover. Bell time is coming close. But here are the three photographs that I ended up with in my “Sources” folder (seriously scaled down for the blog).

Road Source Image It has lane markings, I’ll have to get rid of those somehow. (This actually turned out to be fairly easy in GIMP – I’ll be showing you how.) The asphalt/gravel surface texture looks fantastic though, exactly what I was looking for. Nice curve to it, and bright white lines along the edge to help me mask it out from the background. Just about a win-win.
Desert Source Image Nice and red. All sand, no tracks. Hmm, a few “artifacts” of what look like people off on top of the dunes; need to get rid of those, but otherwise pretty darn good. All right, looking at the road, these aren’t going to work all that well together as-is. But there has to be a way to flip the desert over from left to right, and to get a “flatter” look for it. (Yes there certainly are ways in GIMP, and they are actually simple.) Winner.
Sun Source Image I knew this was going to be a problematic image to find. But this one will do – fairly red color, although I’m going to try to make it a bit darker (which was not a complete success, as you’ll see later). Once I flip it over from top to bottom, I can just crop off the clouds at the bottom; the background is black, too, which will make it easier to mask off, or just leave alone, since I’ll have a black sky on the cover. I’ll go with this one, definitely.

Phew. Enough for one lesson. Go, now, and apply my “wisdom.” Next week – well, I haven’t fully decided on next week, yet. I may continue with actually building the Tales By The Road cover. But I am also digging back through the homework readings that I gave you last week. With two covers now “under the belt,” I am considering the advisability of taking those, folding, spindling, and mutilating them – to show you all of the places where I went wrong with those designs (and a few places that I think I did right). Check back next Wednesday (hopefully).

Useful Links – Find the Starting Point(s)

First, where to get the graphic arts packages – to follow along later, you’ll need them.

GIMP (GNU Image Manipulation Program)


The link to download the installation program. This takes quite a while to download and install.


You also want the manual, believe me. No, there is apparently no downloadable file; you have to use the online version, which can be inconvenient. Myself, I open it up in the Silk browser on my Kindle Fire.


I’m including the link to their home page here, even though I don’t use Krita (right now, at least). Really, this is a package oriented to the “real” graphic artist. But, if you find yourself with some time, it can be enlightening to watch some of the videos that Krita users have put up on their site; those are awesome.


Filter Forge

Okay, it’s not free. Okay, I didn’t use it on my first cover. Take a look anyway, it’s not all that expensive. (I managed to snag a free copy when they transitioned over from Version 4 to Version 5 – you might get so lucky, as they will apparently be going to Version 6 in not too long. I’m currently dithering over whether I’m brave enough to take a shot at their beta for that…)



To repeat the image site links from above.


Figure out effective search criteria, and I honestly think this is the only site you really need for almost anything you want to do on a very tight budget.



Again, a more “advanced” site – and with very few free images. But they are low cost, and if you cannot find something on Pixabay, there’s a good chance you will here. Watch the search criteria and licenses, though, as I noted earlier.



More of a way to spend an enjoyable couple of hours if you have them. But you may find your cover artist here when you need one for that more “professional” look.



Important legal – and professional development – stuff.

Creative Commons License (Pixabay)

Yes, it’s in legalese. No, it’s not all that long. Yes, you need to read and understand it if you plan to use any image from the site.


Dreamstime Terms and Conditions

Yes, it’s in legalese. Yes, it is mind-numbingly long. Yes, you need to read and understand it if you plan to use any image from the site.



Kristine Rusch’s book. Read it before you even start talking to a possible outside cover artist. Really, I mean it!

How to Negotiate Anything


For convenience, the link to last week’s post.

Learning Curve – Covering Up, Part One

Tuesday Tidbits

Richard Skinner

Another “snap” post, prompted by Other People’s Blogs. (Yes, that is what I call them; I do track the time I spend on those as part of my professional work day.)

But the title tickles me… I think it will become an (ir)regular feature here – as I gather things of particular interest during the week, I’ll build up a post.

Anyway, this “tidbit” is today’s article by Amanda Green over on Mad Genius Club – KDP Select or Not?, where Amanda lays out all of the reasons for a writer to consider enrolling in the Amazon KDP Select program. Read, absorb, think about it. Amazon is the 800 pound gorilla out there. At some point in your career, you will have to deal with them. Comments too – as usual, many other writers chime in with their thoughts and experiences.

Now, for myself, going into KDP Select was a no-brainer. I’m just publishing the Sybly Whyte short stories at this time – and exploring the Amazon environment along the way. I can make a couple of bucks (literally, so far) while doing so. Sybly Whyte is teaching me things – about formatting for Kindle (yep, couple of mistakes so far, nothing egregious, but I’m happy they weren’t on a the first novel). About getting WordPress to cooperate for composing effective marketing posts (had some trouble over the weekend, now thankfully past). Giving me time to set up decent sales tracking spreadsheets (still some work to do there, but I at least know the problems).

The biggest consideration, though, is that I’m hitting the biggest market first, and the easiest one to change – when (and if) it looks like a good idea to branch out into several marketing channels, the most I have to wait before injecting a book into other channels is ninety days. Amazon doesn’t have a barbed harpoon stuck into me, keeping me tethered forevermore to their platform. (Actually, right now, I don’t think they care – from everything I see from other writers, they know that no matter what you do, they are still going to get the lion’s share, by far, of your sales.)

So, my reasons. Your Mileage Will Almost Certainly Vary. Read Amanda’s piece and decide for yourself.


Oh, I do have a bit of “extension” for Amanda’s post – getting at the “KENP page count” for something you have put into the lending system (either KOLL or KULL, see Amanda’s explanation if you don’t know yet what those Amazon programs are). I’m a stickler for precise user manuals…

To find out what your KENP count is:

1) First wait for your book to go completely “live” – a lot of things are done by Amazon after the book is made available for purchase. Right priority here, IMHO – get it on the virtual shelves first, then figure out the fiddly paperwork for the back end.

2) Once it is live, go to your Bookshelf. Way over to the right of your book, you’ll see a label Book Actions:, below that a button Promote and advertise, and then a button with an ellipsis () to the right of that. Hover over that button – clicking all day won’t do a blessed thing… Click the link for “KDP Select Info.”

KDP Other Actions Button

3a) Now, you’ll get a popup. One of two possibles. If you’re within 48 hours of enrolling the book in KDP Select (and you have not done a free promotion), you can change your mind and withdraw from the program. Note that you will still be published on Amazon, just not enrolled in KDP Select.

3b) Once you’re not able to withdraw your book (for the next 90 days), the popup will ask you whether you want to automatically re-enroll at the end of the 90 day term. The box is checked by default – uncheck it if you are just doing Select as a trial or promotional period. (I leave it checked for all of the Tales By The Road pieces.)

4) Close the popup – if you aren’t changing things, just click the Cancel button. Now you are into your “control panel” for KDP Select. I’m not going over everything you can do here (right now; expect a future post as I learn about them). For your KENP count, scroll all the way to the bottom of the page, to the section labeled Earn royalties from the KDP Select Global Fund.

5) At the bottom of this section, you’ll see your page count. Note: this is where the “fiddly paperwork” may not be done yet – you may see a notice like mine on The Simple Man and The Lass that the Start Reading Location hasn’t been set yet. If you have this, plan to check back again in a few days to get the final page count – the one that Amazon will using.

KDP Select Global Fund

Review – Vulcan’s Kittens

Richard Skinner

Another day late post – but hopefully not a dollar short.

Part of this was the abysmal weather yesterday – one of those days here in Southern Arizona that is miserably hot, and miserably humid – but without any of our cooling monsoon rains. The computer didn’t quite shut down yesterday – but my brain very definitely did.

The second reason is that this is a long post. The idea was to do a “mass-market” review to put up on Amazon, then a “technical” review – something like an after the fact beta review – to follow it. Well, the technical part grew on me, which seems to keep on happening around here. I wish it would stop… (For an excellent review of what reviews are, see Dorothy Grant’s MGC post for Sunday. Sigh, I just missed doing a very neat dove-tailing there.)

I find myself wrapping this up, in draft form, at nearly six seven eight in the evening here. So, it still has to go through my editing phase – hopefully not too much, the weather and the brain are behaving much better today. It should still make it up on the blog before midnight. Then I have to start drafting the next Tale By The Road (Fugitive), which scenes for began coming together last night and this morning. Hopefully, after that, I will get going on drafting the next part of the Covering Up posts, in the optimistic hope that I’ll still make Wednesday for it.

Phew! I thought a few weeks of (theoretically) Sunday posts would be reviews. Um, not much reading time in this week, or the next. This coming Sunday (or Monday, or Tuesday…) will have either a “technical” post with my theory of xeno-intelligence as developed for the series of novels – or possibly a snippet with the draft of one of the chapters for the first novel (now with the working title of “Talons of Vengeance”). Stay tuned, please. Oh, this doesn’t mean that I’m not going to try to catch up with my reviews – but they’ll just be the ones for Amazon, until and unless I hit something that I think is a good “learning experience” for the blog. I’ll let you know when I have put up those reviews – along with a promo link for the book, every little bit helps my fellow writers.

Finally getting around to today’s business: the non-spoiler review of Cedar Sanderson’s Vulcan’s Kittens (click this link or the cover image, either one) – the one that will go up on Amazon.

Vulcan's Kittens
Linnea Vulkane is looking forward to a long, lazy summer on Grandpa Heph’s farm, watching newborn kittens grow up and helping out with chores. That all goes out the window the night Mars, god of war, demands her grandfather abandon her and return to Olympus for the brewing war. Now Old Vulcan is racing around the world and across higher planes with Sekhmet to gather allies, leaving Linn and an old immortal friend to protect the farm and the very special litter. But even the best wards won’t last forever, and when the farm goes up in flames, she is on the run with a daypack, a strange horse, a sword, and an armful of kittens. Linn needs to grow up fast and master her powers, before the war finds the unlikely refugees…


Says right here on this card that I’m an official senior citizen, entitled to a discount at the grocery store the first Wednesday of every month. Hmph. Used to be a bit more valuable getting old.

Says here on this other card that I’m male. Check with spouse… Yup. Okay, this “senior” business hasn’t progressed too far yet…

So – why am I here reviewing a “Young Adult” novel, with a female protagonist? Because it doesn’t matter in the least what “audience” a book is supposedly “intended” for. What I look for is a thumping good story – one with characters – one that I feel privileged to follow along with as the plot unfolds.

This is such a story. When young Linnaea goes to stay with her Grandfather for the summer as her mother travels the world on business, she has no idea what she is getting into – but is drawn into an ancient war when she finds herself the guardian for four kittens, who just happen to be children of the Mayan Jaguar God of Terrestrial Fire and Sekhmet, an Egyptian Warrior Goddess. A real heroine, in an exciting non-stop story, something that is all too hard to find these days.

Just an ordinary girl (well, not completely) – who must find the strength to battle the faction of the Gods that wish the kittens harm, sort out her feelings about her own developing powers – and deal with most of the same things that every teenager faces. If you are looking for something to give to the young almost-woman in your life, or the young almost-man, or just keep for yourself to enjoy – pause here and click the buy button. You will not regret it.

There are a couple of problems in this first novel – which you won’t find in Cedar’s later works. There are some issues with a sense of time in the story, and the ending is problematic, so I can only give this book four stars in all honesty. You do want to read it, though – the second book in this series, The God’s Wolfling, will make ever so much more sense after you have read this one.

A note for those who see similarities between this series and the one written by a different YA author. Yes, they are there. Cedar knows as much, and explicitly acknowledges them in her afterword. She also hopes that she did a better job at attacking the idea – I’ll tell you right now that she did a much better job. Enjoy.


STOP HERE – if you haven’t read the book. If you haven’t read the book, get thee hence, hand your silver over to the Amazon, and read it! I’m a patient guy, I can wait… What follows is the somewhat more “technical” review, which does have a few semi-spoilers.


Before I dive in, let’s get a couple of things straight. When a writer reads someone else’s work, unless they are one of the lucky few that can switch off that part of their brain at will, they are simultaneously analyzing the text flowing beneath their eyes. We can’t help it – like any other professional, we are constantly looking for help with our own efforts. What doesn’t work here, and how do I avoid it? What is a beautiful, shiny piece of prose, or scene, or entire chapter, and how do I make mine look so good?

It’s an uncomfortable feeling – and sometimes a dangerous one. We can lose sight of the forest for the trees, people. We have to cultivate an ability to step back and look at the work as a whole – that is what makes a good (or bad) piece of work, not a few blemishes or a few shining passages. The whole work is what matters in the end – and, as you can see from the “mass market” review, Cedar did an excellent job, in my very honest opinion. This being made clear, now I’m going to enter the forest and examine some of the trees more closely.

The main thing that pops out of the entire novel is a lack of time sense. This was noted by one Amazon reviewer, who was confused enough to think that events were actually out of order in the book – which they are not, really, unless I happened to be reading a revised version. Cedar arranges her events in sequence throughout the book, except for a small bit at the end, where she necessarily switches back and forth between the Battle of the Gods on the High Plane and the efforts of Linn and the Coblyns to prepare the “ultimate weapon” at the Nike bunker.

However, the reader does find themselves working to fill out the time span of the events. When Linn arrives at her Grandfather Haephestus’ home, we have one “time mark” – we assume that this is the start of the typical school summer vacation, so it is either late May or early June (no, I don’t know the schedules for Seattle schools – I would look it up if it were important to something I was writing, but I’m being a “typical reader” here). The confrontation between Grampa Heff and the Olympians is clearly that same night – and then things turn vague.

We get another “time mark,” of sorts, at the first climax – when Sekhmet and Steve are collecting the Inuit godling, it is said that autumn is coming to the high tundra. Now, for someone who grew up in the lower 48 – and that is the vast majority of us – there is a vague knowledge that the summer season is very short up there in the northlands – but just how short escapes us. So, the impression that I got was late August or early September… I found myself scrambling to reconcile a three month period with, to be honest, not all that much happening around Linnea, so far as I could tell.

There were very significant things happening, though. Linn was getting training in real survival skills, such as “What do you do when you have to run with only what you have right now?” There is a bare mention of that, when Linn has to make a fire with just her knife and a flint striker (yes, you do normally carry one of those when you’re in the back of beyond, the fire-bow method is the hard way, to be avoided if at all possible). Nothing else, though. When she receives Lambent, her sword, there is a mention of starting “hard training.” But nothing about the training – which would be very hard for a teenage girl, even one with Linn’s admittedly unusual native skills. Sword combat is very different from just about anything else – and it was evident that she did get this training; you do not deal effectively with a zombie hyena without some very serious sword skills. There should also have been some mention of Linn’s growing intellectual development. “Hard training” or not, kitten care or not – a dozen weeks (so I assume, see above) should have been at least a dozen books from Grampa’s library, or more – and we do see the greater awareness of the situation in the Linn of the fall as compared to the Linn just starting summer vacation.

Now these “flaws” would have been reasonably easy to fix. Approached correctly, that is… For a writer with intimate knowledge of survival skills, or a swordsman, it would have been tempting to go too far in the opposite direction – producing “infodumps” on living well when dumped buck naked into the howling wilderness, or the (frankly boring) technical aspects of sword fighting. There are audiences for such things, but they are called “niches” for good reason – and it’s a niche that is highly unlikely to be looking for their entertainment in YA novels.

So, a balance could have been struck here. At least a few more mentions of how Haephestus put Linn through increasingly more difficult exercises in survival; some mention of aches, pains, bruises, perhaps minor wounds, after a session with Bes while learning to use Lambent. All together, these would have added perhaps a page or two, at most, to the novel (two or three page flips for the Kindle version) – but accomplished a better “grounding” for developments later in the novel.

The ending has a “willing suspension of disbelief” problem. This is the second major difficulty – and actually the main one that caused me to give it only four stars. The ending also has a time-related issue – there is a feeling of discontinuity as we seem to go directly from Linn positing that an EMP will kill the immortals, or at least make them very unhappy campers, straight into Linn and the Coblyn strike team boarding their Zodiac on the way to refurbish the Nike missile. We also are rather abruptly thrown into the Battle of the Gods, without any hint of the negotiations that must have occurred between the “good” Gods and the “evil” Gods to reach an agreement to settle matters without involving the humans.

The abruptness of the transitions aside, though, there is a plausibility issue here. One that really should have received far more careful handling, to keep the willing suspension of disbelief going. An EMP blast (presumably over Mount Olympus, where the opposing forces are centered) would certainly end technological civilization over a wide area – at minimum, all of Western Europe. This is supposedly what Haephestus and his allies want to avoid if at all possible; there should have been a very serious debate before they even embarked on that course of action. Besides considering the very real risk that this action would trigger off the world-wide war to end all of human civilization.

Perhaps, though, they had a way to detonate it on the High Plane, although no hint of this is given? Now, that might work – a “go to Hell (GOTH) plan” for the possibility that they would be defeated in the “conventional” battle, to ensure that the opposition would not gain the power they seek. But there are two problems with this scenario – the first being that such would be an act of treachery, after agreeing to settle the issue on the field of battle in the old-fashioned way. But the second problem with this makes such a theory a non-starter from the gate. The Battle of the Gods was over before the option to go “nuclear” was even ready. Daffyd and his crew were still working on the missile when Linn went into the High Plane to find and succor Bes as he lay gravely wounded on the aftermath-littered battleground.

Sigh. Really, I have no good way in mind to resolve these issues with the EMP option. Fortunately, they do come at the end of an otherwise extremely good first novel – but could potentially turn the reader off for trying another offering. No, it didn’t do that for me, but largely because I knew Cedar through interacting with her on-line, and that her future work could only get better – as it certainly has.(or, rather, by the time I read this, certainly did get better). When I come around to reviewing her later works, you won’t find a mention of any of these plausibility problems, and only a hint of the “time sense” problems – I can only hope that I prove to be as fast a learner when correcting my own problematic issues, whatever those prove to be (and there will be some).

All right – enough of the “Oh God, I hope this doesn’t happen to me. Has it already happened? This is getting scary…” What did Cedar do right in this first novel? What do we pull from this work, learn from, and apply to our own? There is a lot here – but I’m going to hit the four biggest, at least in my not-so-humble opinion.

Keeping the reader moving. Cedar does a very good job at this – the reader is not once led down an alleyway to a blind end, and going “WTF? How did I end up here? Where’s the story?” This is not an easy thing to accomplish, even for an experienced novelist (see my earlier note about “infodumps”) – but it is a sure mark of a first-class writer, or someone with the potential to be a first-class writer.

Unless someone is already a fan of your writing, if you lead them into the swamp, they won’t care that there might be a shining city on the hill just ahead. They’ll put your book down, and there is a very good chance that they’ll never pick it up again. It will end up in the library donation pile (or zapped from their ereader), and the kindest thing they will do is never mention you to their friends and acquaintances. You really don’t want to know about the nastiest things a disappointed reader can do – although, alas, you and I are certain to encounter them someday…

Characters you want to know. Okay, this is “young adult” fiction – which when I was technically in that age demographic myself, meant fiction that emphasized the “good” and didn’t make an in-depth examination of the “bad” in the world.

Um, I’ve sampled some other modern works that are marketed in this category – and that attitude has apparently gone by the wayside. All too many of these modern works, supposedly targeted at our children-transitioning-to-adulthood, are filled with main protagonists and side characters that you would never allow into your home, and fervently hope your own children (if you have them) never, ever, encounter until they are well past that most delicate time themselves. These characters are suffering from severe mental imbalances – either intrinsically, or, more often, from a truly horrible environment around them.

Now, there is a place for such books – there are, sadly, all too many young adults that are in situations like these, and might benefit from someone “like them” in what they read – but the majority just cannot enjoy such a book. Cedar neatly avoids this with all of her characters, including Linnea. Yes, some thoughts and behaviors of “teenage angst” creep in, here and there – but not the “wailing, gnashing of teeth, rending of garments” drama that pervades all too many other works these days. Linn is a young adult – not a teenager that is still, emotionally, an eight year old or even worse. Her adults – Haephestus, Bes, Hypatia, et-cetera, also work well. Yes, they are sometimes annoying for her teenage protagonist, which is perfectly natural from her point of view – but they are not capricious ogre-like authority figures against which she must struggle and “triumph” in the end.

The “right” side wins in the end, at least for certain values of “winning.” A failure to do this is also all too common these days – and, for rather obvious reasons, is usually linked to the character problems. The combination of these failures, though, places a book in my recycle bin – not in the donation pile: I won’t inflict such nasty stuff on any other person.

Vulcan’s Kittens doesn’t have this problem with unsympathetic characters, nor this problem, obviously. Linnea and her extended family do win out in the end, defeating the Old Ones (for the time being), and with hopes for a brighter future now that the crisis of the novel has passed.

However – would be writers – take note! Cedar does not wrap everything up in a nice little package at the end. There are still “hooks” there upon which to base a sequel (which she did, I will be reviewing The God’s Wolfling along here sometime). A bit of advice: always, always, always leave yourself some “wiggle room” to add on to your stories. A continuation for your main protagonist(s). An interesting character whose tale can be developed into another full-length work. Something. This is because you do not know, when you let your work roam free, just what is going to happen to it. Yes, chances are that it will sink into obscurity (deserved or undeserved) – but it could blow up into a big hit. If that happy event should come to pass – you will be besieged by people screaming, pushing, sometimes even threatening you to “get the next one out.” Food for thought – if you are familiar with the works of Conan Doyle, consider how very fortunate he was that Watson did not see Holmes falling into the Reichenbach gorge. He had the chance to back away from his rather hasty decision to kill off his enormously popular detective and continue his story (and resume the nice checks coming from the Strand magazine).

Verisimilitude where it counts. Okay, I hammered the problem with “willing suspension of disbelief” above. Verisimilitude is a different beast, though some people do mix them up. The official definition of the word is “the appearance of being true or real.” That an EMP would disrupt the substance of the Gods has verisimilitude – the problem was the disbelief that the good guys would use it.

Where Cedar absolutely shines in this aspect comes much earlier in the book. Now, I don’t know what the various Scouting organizations teach their participants these days, and it almost certainly varies even within the same organization – but the scenes where Linn makes her fire, and then later hunts for her dinner – these ring absolutely true for anyone who was a Scout in their youth, or has had any kind of training in “roughing it.”

Making the fire… Yep, without something on you for tinder, and in that environment (the mountains of Idaho), you go looking for birch bark. And you always have steel and flint – your belt knife and either a striker like Linn, or a pocketknife like I had (and which annoyingly disappeared during one move) that had a flint inlay along one side. One or the other, or possibly both, are part of your “pocket junk,” just like your keys and something to carry your cash, coins, and/or plastic are always with you when you walk out your urban front door.

Hunting for your dinner? Absolutely true. In the real wild, or anything close to it, you do not find many, if any, “vegans.” A diet consisting solely of plant life may be ethically “noble” – but it’s also the road to starvation and death, sooner or later. Without the supermarket and transportation network for getting vegetables with essential nutrients out of season, you are in serious trouble as a vegetarian – unless you have a biggish chunk of fertile land, a serious work ethic (as in “can see until can’t see”), and a goodly helping of luck. You may regret having to kill such cute creatures as a rabbit or a deer – but, like Linn, you swallow that regret, thank your prey for providing enough food for another day, and get on with business.

Verisimilitude in the little things – it goes a long way in helping your reader stick with you when you ask them to believe in the magic, or the technology, or just that your soccer mom housewife really could be a demon-slaying fighter for God (whups, different author, different book – but you get what I mean).

The Simple Man and The Lass Released

Richard Skinner

Yay! I now have two publications under the belt. The Simple Man and The Lass (A Tale By The Road) is now available on Amazon.

Only ONE day after I wanted to have it out – considering that the first was THREE days past the “drop dead” schedule, I’m seeing definite improvement…

I’ve had a hard time figuring out whether to call this the second Tale, or the first, with the original Tales By The Road being the “zeroth.” It’s what I would consider a real short story – actually, skating the official edge of the novelette category, at just under 7,200 words.

I have decided, though, just what these Tales are for me. They’re craft pieces. Not examples of a fully developed craft, but of one just barely beginning. Vessels for seeing what I can do. Can I write “light romance?” Well, I’m not sure of that yet, although that’s a keyword I attached to this Tale. Other Tales will explore whether I can write horror – or historic military fiction – or tragedy – or half a dozen other things. Different places, different conditions, completely different characters.

The only warranty on these is that no two are likely to be the same. We’ll see how it goes…

(TEMPORARY NOTE: The Sybly Whyte page is, sigh, going to take a while to update. Multiple covers are giving me fits. Ah well, another Learning Curve post is being born…)

The Simple Man and The Lass
A simple Man. A lovely Lass. A most curious and ancient Road that tells the tale of their meeting in the green youth of the world. To Erkol, the first human (?) that has ever paused to listen.

One in the series of these rather odd Tales By The Road. Guaranteed to be message free – I hope that you find it to be light reading for a lazy summer afternoon – or any time.

Learning Curve – Covering Up, Part One

Richard Skinner

This post was supposed to go up on Sunday. Then Monday. Then Tuesday. And here it is, Wednesday. With a post that is only the first part. When I refer in the future to the “Demon Post” – this is it. There were a few private issues involved, but the main reason for the delay and splitting up is that this is a larger topic, and I have more to say on it, than I originally envisioned.


First off, a fair warning – this series of posts is about covers. The nitty-gritty of the creation thereof, not the designing of them. Design is very thoroughly covered (pardon) by several other bloggers out there – I’ve included some links at the end of the post to some of the best articles I have encountered so far. (Wednesday note – there are some links at the end. When I began digging into the blog posts that I knew were out there, I began following the links to other posts. And following. And following. There is more out there than I had any idea of. Okay, I thought, there are some compilations by other people out there of the various posts, I’ll just include links to those, too. Ack. Every link to a full compilation that I followed was dead. Bad words abused… So the plan now is to get my own compilation put together over the next few weeks and create a permanent resource page for them. Stay tuned…)

The series is also very specific to the sources (photographs and artwork from free or low cost stock sites) that I use. It’s not about creating artwork from scratch. You don’t want my advice on scratch artwork, believe me – I am not even in shouting range of being a visual artist.

They are also specific to the tools that I have used. So far, only the freeware GIMP – although Filter Forge is also installed on my system, on the recommendation of Sarah Hoyt and others – it is still in the limbo of my “to be learned” pile. So – while the basic operations are pretty much common across all serious graphic arts packages, the details are going to be different unless you also use GIMP. (Wednesday note – I will be getting into Filter Forge very soon now, like tomorrow. So there will be some coverage on using that tool. Delay is sometimes not completely bad…)

Another warning – I’ve admitted to not being a visual artist, but I am also a neophyte at creating covers. While I do believe I am managing to do a reasonably decent job, I am almost certainly not doing it in the easiest and most efficient way possible. At least right now. The purpose of this series, though, is not to make you a cover artist, it is to hopefully make you believe that you too can be a “reasonably decent” one. (I’ll be noting some of the mistakes that I have made so far as well – at the very least, you should learn some things to avoid doing.)

Tales_By_The_Road_CoverSo, all of that preliminary wool-gathering out of the way, let’s get started. First off is knowing what the final cover should look like. Duh. I’ll be using my first published piece, Tales By The Road, as the example for all of the following (well, it’s that or my second published piece – for which the cover is not quite done at this writing, although close to it, so there’s no link yet).


The Design

Having said this is not about cover design, I’m going to talk about cover design. No, I’m not a used car dealer in another life. But the starting point for any cover is having some kind of design in mind. (There are a few people that I think can sit down in front of their computer and just put things together on the fly – I’m not one of them, and I posit that most people visiting here aren’t either.)

What design? Well, read all of the links that I provide for what the design should be. It should be consistent with your genre, and subgenre, and your specific Amazon category (at this time – things change). It should be simple enough that it works as everything from your full size cover down to the Amazon thumbnail size. It has to have places that you can insert the front cover text – the title and your name – and have that be prominent.

Even if your artistic ability is as horrible as mine, make a rough sketch of it, get it visualized on paper. Something can look good in your head, and you’ll see on the paper that it really doesn’t work when viewed from the other side of your eyeballs, or when compared to the “rules of cover design.” My sketch for Tales By The Road is below (pardon the lines, this was done on my notepad while I was taking a short break in the middle of the weekly shopping trip).

Tales By The Road Sketch

Then – take a while to think about your limitations. Not just your artistic ability, or knowledge of the tools, but also your budget – both money and time. Be as pessimistic as you can stand to make yourself, at least at first. Believe me, I was way too optimistic on all four of these considerations. I fortunately was able to learn better, although too slowly and painfully. Let’s run those down, maybe you won’t make the same mistakes…

Artistic ability. I am one of those people that says “Well, I know what I like, and that isn’t it.” Fortunately, I apparently do have a good eye – at least when I look at covers that the more experienced pronounce “good,” I agree with them, and also with most of the flaws that are pointed out. So far, so good. But that eye does not translate into creation. I did figure out early on that people are beyond my skill set. I just plain was not going to get those right. So the first things to go from my sketch were the “green man” and the “wise old man” – although after much wasted time in looking at stock photos.

Knowledge of the tools. My prior experience with the “visual arts” consisted of cleaning up screenshots of computer screens for documentation, and doing mockups of new designs. In Microsoft Paint. The only real “digital art” that I had ever done was for a CD sleeve on a software package many years ago, in Corel Draw. The less said about that effort, the better… (My boss told me that I should maybe think about applying for a job at a major laundry detergent company. Yes, that bad. He was actually being kind.) A digital arts package is a whole different ball game, and many of the tools are not at all intuitive for a newbie, even after slogging through tutorials. (Although don’t skip that part of the learning process. This is one place you really do RTFM – Read The Friggin’ Manual.)

Money budget. What the budget is in money really depends on what you are publishing. How much are you (honestly, now) expecting to make on the work that you are covering? How soon? For Tales By The Road, I knew quite well that the total wasn’t going to be anything fantastic, and as a first publication, it wouldn’t even hit its very modest stride before several more Tales hit the Kindle store. So, at 35 cents a sale, and somewhere between a nickel and a dime for a full read from the library – how long before I would make back even the extremely small cost of a stock photo? When I finally ran the numbers – a depressingly long time. So, for these Tales covers, I realized that I was limited to free photos and sweat equity. Again, after wasting far too much time looking at the cheapest photos possible on Dreamstime, I switched over to digging through Pixabay. Note that this depends on the work, and whether it is part of a series that you are planning. If the money is available, the first novel in my planned series is very likely to have a professional, paid-for cover. The long term payoff for having a first-rate cover there, and careful consistency between all of the covers, will make that expenditure more than worth it.

Time budget. Okay, I had some time pressure on Tales By The Road. Scratch “some,” substitute “heavy.” When I finally got serious on doing the cover for it myself, in early June, I had a “deadline” of getting the story published by the end of June. Which I almost managed. As I was entering the last week of June, though, I was getting a bit hysterical – the “painting” I had painfully put together was never going to cover the full height of the cover. Only something a bit less than half of it, actually, although (thank Ghu!) the width was okay. Considering my skill level, I was looking at another two weeks to a month of fiddling around with it if I was going to get it to cover from the top to the bottom. So I punted. I went to a “banded” cover design at nearly the last minute. Title up in the top band, then the “painting,” then the author name.

Now, this banded design is not an absolute “no-no” even today – take a look at the covers for David Weber’s very successful Safehold series – but it is not at all a common thing. In fact, all of the examples that I have handy are on books by established stars – where the bands let the publisher emphasize the author name above all else on the cover. In the case of the Safehold covers, it also let them put “ribbons” above and below the painting (and it is a real painting in his case) that contain sales copy. For Tales By The Road, these considerations don’t apply – it is “Sybly Who?” and no eloquent positive reviews. But I needed to get this beast out the door now. (Not spending more time was definitely the wise choice. Digging through my logs, I was actually shocked; I spent, in total, more than thirty-seven hours on this cover. Going by my average production rate for new words, I sacrificed more than 15K of text for this thing. No, this won’t happen again, probably, hopefully… I’ve managed to make a lot of mistakes. Yes, that is a good thing.

Okay, that is it for this post, and my tiny contribution to the art and realities of cover design. Time for you to head out to the blogosphere and read what the truly knowledgeable have to say. Do some exercises, too; dig through the best sellers in your corner of Amazon, see what those have for covers, think about them in light of the vast experience distilled into the posts that I’m linking to below.

Oh – if you are planning to get started on your own cover, yay for you! If you are, consider the four points I’ve covered today, and maybe make your own sketch. Class should convene again next Wednesday.

Useful Links – The Design

Going Indie for Dummies – 3 Signals and Sophistication

First up is this post by Sarah Hoyt on Mad Genius Club. The purpose of art in a gallery is to sell the art. No, I don’t know any artist that enjoys starving – and I do know several (unfortunately, no cover artists). The purpose of art on a book cover is to sell the words. This is a HUGE difference in orientation, and Sarah will at least get you oriented in the right direction with this post.

Ignorance, Expertise, and Asses

Okay, you’re getting advice here. You’re getting advice (and better) from the blog posts that I have linked to. Inevitably, you are going to get advice from somewhere that you really, really should not be getting it. Kate Paulk is famous for the impaling stakes she always has handy – and this post neatly skewers those who will give you (probably) well-meaning, but ultimately bad, advice. Consider reading this post a vaccination…

The Art of Design
The Art of Design, Part II

With these two posts, Cedar Sanderson digs into some of the technical aspects of visual design, which is a far vaster field than just book covers. She then applies those to the specific needs of designing covers. You might find some places in these two articles slow going – especially if you follow her links (recommended). But these two posts are something you should read and absorb before doing even a rough sketch of your cover. (Um, yes, I look back, and my absorption wasn’t perfect. Sigh. I’m re-reading these myself before I finish up the second cover this week…)

Of Covers and Sales

Sarah Hoyt again, on the real purpose of covers. This one, though, is focused more on how things change, constantly. The covers of yesteryear are all too often totally unsuitable for today, and today’s “killer” covers will be antiquated tomorrow. Now, I don’t think that Science Fiction is going to get away from “painted” covers all that soon – it is rather difficult to get a photograph of a believable alien, or a battle around a blazing blue giant star. Fantasy, though, could change back over to photographs any day, month, year now. Those being the two genres that I write (and read) in, I pay attention to trends in those. But Romance – now there is a genre that changes dizzyingly. Not to mention Erotic Romance – when I was a child, the standard cover for books of that type was plain brown wrapper…

Covers Gone Wild! (Non-Snoop Dogg Edition)

Speaking of Romances… Yep, I don’t read them, I don’t write them. But if you have some time, peruse this archive from the Smart Bitches, Trashy Books website.
WARNING, NOT SAFE FOR WORK! Read some of the “Cover Snark” posts. Yes, readers can be vicious about your cover – avoid becoming a victim! (If you are in the Romance genre, whether as a consumer or a producer – I think I can honestly recommend their whole site. Caveat emptor, though, considering my abysmal knowledge of the genre.)

Cover Her Face, Mine Eyes Dazzle*

This is how I wandered into the last website… Okay, Sarah again, talking about her experiences with bad covers over the years. A post that you should read, definitely – but I’m including this one more for the comments; dig down into those too. Like I say in my blog roll, the people that congregate around the Mad Geniuses are an extremely smart bunch of humans (with the occasionally encountered dragon, cat, ox, or time traveling alien for variety…).


You may have noticed that most of these links, all but one in fact, go to the Mad Genius Club. Very good reasons for this – see the Blog Roll.