Book Cover Illustrations

The Critic #2 by Duncan Long

Reading my post from last Friday about literary snobs and snobbish critics, I became a bit worried that readers might think perhaps I was prejudiced toward such folks.

I am.

Of course I refuse to take personal responsibility (and hereby place full blame on society).

Perhaps some of my anger stems from to the review of my first novel published several decades ago. I suspect most writers can tell similar horror stories. My story is short and not so sweet: A local paper published a review penned by a critic who mistook my tongue-in-cheek style as being an attempt to create a serious science fiction novel. To be fair, on the surface, the book was marketed as science fiction and sold as such. Mostly because it was science fiction. But it wasn’t serious — just the opposite. Lots of illogical plot twists and outrageously overblown characters.

With the critics mistaken notion that it was supposed to be a serious book, the review went south from the first paragraph, with the reviewer contending that I couldn’t be taken seriously in my writing efforts. Each joke and preposterous plot twist I’d written to skewer the genre become another nail in my coffin. Using a whole half page of the newspaper and a nice large photo of the cover so no one could miss the title or who the author was, the hit piece meticulously assailed my efforts, assuring readers that the book wasn’t worth reading.

Sadly, those in the community who hadn’t (and now wouldn’t) read my book assumed the critic knew what he was writing about — after all, he was a highfalutin college professor and the article printed in the local paper. In those pre-Internet days, newspaper pretty much had the final say. For days people I met on the street shook heads and clucked tongues, telling me I must have feel bad that the review had been so brutally “honest.” Others diplomatically looked the other way when they spied me, as if I’d become a leprous Invisible Man.

So, with one misreading of my book and a hastily distorted review, a single egotistical critic had transformed my success into something — at least in the sight of my friends and neighbors — to be ashamed of.

I was crushed by the review as well as the ability of people to believe the worst about me.

And then I felt doubly betrayed when the local paper refused to print my reply (in hindsight, it was likely a good thing that the paper failed to publish my angry rebuttal — though the flame war between me and my critic likely would have been interesting. At least until a duel to the death brought it to a halt).

I guess I eventually got the last laugh as the reviewer went on to write… nothing in the way of his own books (those who can’t become arrogant critics, perhaps). As near as I can tell from recently Googling his name, he’s pretty much sunk into obscurity (hopefully without inflicting injury upon any other authors). And today the newspaper is struggling to stay in print.

Meanwhile — and I say this in all modesty (for any critics that have trouble with tongue-in-cheek) — I went on to eventually pen over a hundred books, many finding homes with major presses.

Perhaps I should thank that critic for his misunderstanding of my book and his ham-handed review. After all, his contention that I lacked talent as a writer possibly spurred me on to prove him wrong.

Behind every successful author is a surprised critic, perhaps?

But I’m still not forgiving.

I’m often bothered wondering how many newly published writers, after being bad-mouthed by some venomous viper of a critic, decide to go into another line of work. When this happens, it’s a loss of dreams for the beginning author, and a loss for society and literature, too.

Thus I remain an angry critic of arrogant critics who fire off their words without understanding, tearing down others in a futile effort to build themselves up, despite their obvious lack of talent.

Leading to that blog post last Friday.

And now another today, it seems.

But I promise I’ll quit picking on those critics who must ride unarmed into any battle of wits.

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When not discovering what distance a critic will sail when thrown from a tall building, Duncan Long enjoys creating digital paintings for magazine and book covers for authors and editors. You can sample his illustrations at Duncan Long’s Illustration Portfolio
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The Literary Snob by Duncan Long

Author Jack Eason recently posted an excellent article about Literary Snobs. Any writer — especially a beginning writer — would do well to read his post.

Ditto for artists, musicians, or others in creative fields who often face such critics.

Sadly, snobs often become critics, both professional and amateur. And unlike those critics who do their best to be fair and accurate, the snobbish critic is too often a bitter, jealous little so-and-so whose only goal is to belittle those with talent and thereby gain notoriety at the expense of the person who has created a quality book, painting, or tune.

With the advent of the Internet, the critic/snob has a gained a grand soapbox from which he can hold court, doing no little harm with his book or movies reviews.

No matter how untalented and unqualified, a snob will always find a way to put his boot on the neck of anyone with talent, and thus raise his own status (at least in his own eyes). For those snobs without the ability to maintain a blog, there are always customer rating systems like those found at Amazon.com or other businesses where good books and products can be badmouthed.

The snobs are with us always, and if creative souls aren’t careful, the putdowns a snob issue from all his orifices can be crippling indeed.

Many snobs hide in the safety of the virtual world. But occasionally a writer will have the misfortune to encounter these “intellectuals” in person, where they often play a two-step game. If you find yourself the victim of such an exchange, it will likely go something like this:

First, upon learning you are a writer, the snob will ask, “Have you written with any publisher I’ve heard of?” — as if the only presses of worth are those he has heard of.

If your work is with a small press, the snob will most likely dismiss your labor with a snicker and upward-turned nose.

If you have the good fortune to be with a well-known press, you’ll still lose at the snob’s game. He’ll pause only a moment to recover his bluster, and then follow with something like, “Yes, but when are you going to do some serious writing?” — as if your accomplishment is something anyone might do were they willing to stoop so low. In the snob’s eyes, you are only a “serious writer” if you spin some pretentious literary drivel that few will ever read, and which will only be published by in tiny literary quarterly.

My friend Phil Hunter has suggested the best reply to either the snort or this follow-up question is, of course, a thoughtful fist to the snob’s mouth.

However, if there are witnesses about (and sadly, snobs will usually make sure there are before engaging in their verbal bullying), a writer must do his best to maintain self control, perhaps turning the tables with a counter question, “So, have you ever had anything published anywhere other than in journal or blog that no one reads?”

Be sure to have your own snicker ready when he replies.

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When not daydreaming about punching snobs in the snoot, Duncan Long enjoys creating book and ebook cover illustrations for authors and editors. See his artwork at Duncan Long’s Illustration Portfolio
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Barnes and Noble as well as Books-A-Million fired warning shots across the bow of Amazon.com. It appears that since Amazon.com blocked sales of Nook titles, Barnes and Noble returned the favor by blocking sales of Amazon.com titles, with Books-A-Million jumping into the fray as well. What’s a little unclear is what all is banned by each side, and whether a white flag will be waved by all sides if the bans of rival products are dropped. I’m betting that everyone will be selling all products before too long. However if there is a battle, likely the larger galleon that is Amazon.com will prevail.

See more here: Barnes & Noble: We Will Not Carry Amazon Publishing Titles In Our Stores. And here: Books-A-Million Won’t Carry Amazon Titles, Either

A few links for those interesting in self publishing and the publishing industry:

How to write a Kindle bestseller

An Open Letter to Barnes and Nobles gives some nice insight into the current transition from large publishers and agents controlling the publishing industry to the wide open markets being created by self-publishing authors and small presses.

Half the fight in getting accepted as a self publisher is creating a product that looks professional. Without that, most readers say, “No thank you” and move on to another title. Here’s a blog post that gives a nice wrap up and how to make a professional-looking product: The Complete Guide to Self-Publishing a Book that Doesn’t Suck.

Here are a few experts with thoughts about the future of publishing print books and magazines: Looking Ahead: What Will Become of Print (By 2017)?

And finally, some thoughts on “Lean Publishing.”

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Duncan Long watches the publishing industry going ons with horror. When distracted, he illustrates book and magazine covers for self-publishing authors as well as HarperCollins, Paladin, Asimov Science Fiction Magazine, Pocket Books, ILEX, and others. See more of Long’s illustrations at: Duncan’s Book Illustration Gallery
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Another slew of original illustrations from the flying monkeys at the Duncan Long Studio, each looking for a home on a book or magazine cover. Horror, science fiction, and fantasy all looking for the right home on a novel or with a short story.

And currently all rights are available for each of these illustrations.

And now…

I must get back to work as the flying monkeys are getting out of hand in an artwork fight.

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Duncan Long and his mammalian friends illustrate magazines and books. His artwork has graced the covers of Asimov’s Science Fiction Magazine and The Sun tabloid as well as books from HarperCollins, PS Publishing, Pocket Books, and Enslow Publishers. He also creates cover illustrations for many self-publishing authors. See more of his artwork at Duncan Long’s Magazine and Book Cover Portfolio
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Rounded up the illustration and layout for the cover of Mary Maddox’s Talion novel. This paranormal thriller is a good read and when the book with this cover becomes available, I’ll be posting a link to it.

And, yes, the book is already in print (and can be ordered here),

Why the new cover? The author and publisher felt a better cover would help sales.

So I was tasked with creating an illustration that captured the innocence of the central character (an attractive young woman) with the added menace of a sociopath in the background — and some hints of supernatural elements in the story as well. I think we achieved that as it is (at least to my eyes) somewhat terrifying and menacing without any actual threat — and no blood or gore (ha).

The story has some serious thrills. A reviewer at the Charleston Times-Courier wrote this about the book, “Silence of the Lambs meets The Turn of the Screw…. The story is propelled by suspense, and made delicious by Maddox’s Ray Bradbury-like gift for deft, deep-shadowed description.”

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In addition to painting pictures of sociopaths, Duncan Long illustrates book and magazine covers. His artwork has appeared on a number of books from self-publishing authors, small publishing houses, as well as large presses. See more of Long’s illustrations at: Duncan’s Book and Magazine Illustration Portfolio
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Piracy is becoming the greatest obstacle for those wanting to make a living in the publishing industry, especially with ebooks. According to NewsCore, in 2011 one in five ebooks were illegally downloaded — twice the number seen during 2010.

It’s likely the rates of piracy are even higher for popular books. A publisher I recently talked to told me he’d discovered one torrent site was giving away 20 pirated copies of the publisher’s bestseller for each copy the press actually sold.

That was only the tally of illegal downloads from one torrent site; who knows how many other torrents were sharing the pirated title as well. It wouldn’t stretch credibility to suspect there might easily be 100 illegal downloads for each book the publisher sold.

Needless to say, the publisher is about ready to throw in the towel with his business, even though he has a very popular book that folks wanted to read and which sold well before the torrents jerked the rug out from under the author and publisher.

Now I know that all illegal downloads aren’t necessarily lost sales (though some are). But illegal downloads also don’t generate interest or additional sales as those in the pro-piracy camp are always promising will happen. All that “free publicity” via massive illegal downloads of pirated titles weren’t helping the publisher sell more ebooks (nor have they from my own personal experience).

No additional sales. No great publicity. No additional revenue to pay the bills.

Rather, the pirated downloads destroy any chance of making much money on a title that has been selling well before the piracy. No wonder many publishers are seeking a legislation fix to the problem.

Imagine how you’d feel if, as an author trying to make a living writing, you learned that sales were nothing compared to numbers of copies being stolen. How would you feel if you were getting only a tiny amount of what should be a fortune for a great book you’d labored for months or perhaps even years to write?

Just how much money must writers and publishers lose to pirates before society rights such wrongs instead of winking and looking the other way?

Has our society become so intent on free content that we’re willing to rob those who create the work we enjoy and even drive them out of business?

Why shouldn’t a writer, artist, or musician make enough money to support that creative person? Or enough to support a spouse and children? What exactly makes you so important that you should be able to cheat them out of money that should be theirs? Why do you put yourself above the law and expect someone whose work you value work for free?

Pirates are killing the golden goose of creativity. But they’re not alone. Anyone who downloads pirated material is also helping them. Those who do nothing to shame pirates and close their sites are the same as helping them rob innocent writers (and musicians and other creative people).

If you enjoy an author’s work, please don’t download illegal copies of their titles. You’re only helping the pirates stay in business through advertising and hurting the writer through lost sales.

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When not hunting down and sinking pirates on the high seas, Duncan Long labors as an illustrator with artwork appearing on magazine and book covers from HarperCollins, Paladin, Asimov Science Fiction Magazine, Black Siren Books, Pocket Books, ILEX, Mermaid Press, etc., etc. You can see more of Long’s artwork at: Duncan’s Illustration Gallery
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Here’s a novel written for those wanting to know what it’s like to have a sociopath in your love life.

Yes, I did the cover illustration.

Perhaps the book’s author knew about my sociopathic tendencies.

A Life Lived Ridiculously can be purchased from the author’s website www.ridiculouslife.net, or through Amazon or through Barnes & Noble.

Sample chapters are also available at the author’s web site.

This illustration has a little bit of more of a cartoon feel to it than with much of my artwork. I’m not quite sure why since the characters are pretty realistic. I think perhaps it’s because of the gal’s wide-eyed look and rounded hairdo which both tend to look a bit like that of a cartoon character. Possibly the somewhat skewed perspective promotes this feeling as well. And of course the white background.

At any rate, it’s nice to see my artwork on a novel like this and hopefully this book will help readers who have to deal with the ruthless (if not dangerous) people that are out there in the dating arena.
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When not enjoying his life as a sociopath, Duncan Long creates realistic illustrations book and magazine covers. His artwork has appeared on a number of books from self-publishing authors as well as large presses. See more of his book illustrations at: Duncan’s Book Illustration Portfolio
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Cover Illustration for Asimov's Science Fiction Magazine - Duncan Long

As noted in a previous post, the average book printed by a large publisher averages about 40 percent returns from book stores and other sellers in the USA. In other words, for every 100 books printed by a big press, on an average only 60 are sold.

What happens to the other 40 percent?

Oddly enough, the entire book isn’t returned to the publisher. Only the cover (which one saw noted is rather like a car dealership returning the hood of a car to the car manufacturer for a full refund). How did such a system ever get started? Who would ever think it a viable business model?

Back in the 1930s during the Great Depression, nickel and dime stores, drug stores, as well as book stores weren’t buying many books, magazines, or comic books from publishers. The small businesses were afraid they’d be stuck with products that couldn’t be sold. Consequently, they purchased fewer and fewer publications from publishers.

Knowing that more books and magazines could be sold then the stores were buying, publishers came up with a bold plan to increase sales: They offered full refunds on books and magazines that weren’t sold and to minimize the cost of shipping publications back for a refund, they allowed the refund to be made if only the cover of the publication was returned (with buyers on then honor system to trash the rest of the publication).

This new practice worked very well, and basically saved many publishers because sales abruptly increased once the sellers learned they had nothing to lose if they ordered a few more books or magazines than they could sell. They ordered a few extras that might very well sell — and often they did sell.

It was a brilliant idea that put more money into the pockets of seller and publisher alike.

The disaster came later. The plan was never abandoned once the economy got back on its feet and continues for most large presses even today here in the US. Not only do publishers give full refund, the book seller still has to return only the front cover of the book or magazine to get their money back. So unlike an actual return of products which then might be sold as used or at least recycled, the publisher has only a cover to show for its efforts.

(On a side note, while the books with covers torn off are supposed to be trashed, those working in book distribution warehouses or at book stores often have huge private libraries of coverless books. And in the past, one would occasionally see bootlegged coverless comic books sold in little packs at bargain prices; as a child I can remember buying such bonanzas in gas stations. My dad who was a kid during the Great Depression occasionally sneaked behind the local drugstore to raid the dumpster of coverless comics for some extra reading material.)

More recently this system has apparently allowed “gaming” the system. Some believe that on occasion the the word has gone out that such-and-such a book should be made a “Best Seller.” Stores order many more copies of a book than they could possibly sell.

This gives a huge boost to the apparent sales of the book, puts it into the best seller list, and then if everyone is lucky the public turns out to buy the book that seems to be the new discovery of readers everywhere. But if the book gets panned and the buyers don’t arrive to slurp copes up, huge numbers of the title are returned and the publisher takes a bath.

Thus, a “best seller” may actual sell poorly if the system has been so manipulated, and the publisher can lose vast amounts of money even though it was a “best seller.”

All this means that books from large presses are likely priced almost twice as high as they would be without refunds.

On the plus side for small presses and self-publishers who do not adopt the big presses’ return policy, it is possible to compete with the big publishers due to reduced waste through the cover-return-refund policy. Likewise, magazines or book companies that sell through catalogs or via subscriptions can realize nearly 100 percent sales on their products as compared to the 60 percent suffered by the big presses.

Of course the big publishers might quickly turn things around if they ever dictate no more returns unless the whole product is shipped back. With the high cost of shipping books back to the publisher, coupled with the work of boxing them up and taking them to a shipping company, that would likely force book stores to make reasonable orders for books and push the percentage of actual sales without returns way up.

Yet, with the economy teetering some days, some fear a new great depression may be just over the horizon. If so, it may have a silver lining for the big publishers since, with their return policy in place, they might once again to the cat bird’s seat.

One thing for sure, the publishing industry and the marketing of books never gets boring.

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When not plotting the overthrow of the publishing industry, Duncan Long works as a writer/illustrator. He’s seen 12 novels published by HarperCollins and has had over 1,000 book and magazine illustrations published by HarperCollins, Asimov Science Fiction Magazine, Delta Press, Pocket Books, ILEX, Paladin Press, etc., etc.) You can enjoy more of Long’s magazine and book illustrations at: Duncan’s Book and Magazine Illustrations
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Another round of articles that try to look into the future of publishing… And one with thoughts about the proper price for an eBook and another on which is better for text, Serif or Sans Serif (the answer is not as simple as you might think):

The Book Publishing Industry of the Future: It’s All About Content

Which Typeface Is More Legible, Serif or Sans Serif?

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Duncan Long has worked for several decades as a writer/illustrator during which time he’s had 13 novels published. He’s also created over 1,000 book and magazine illustrations for HarperCollins, Asimov Science Fiction Magazine, The Sun, ILEX, and self publishing authors. You can explore many of Long’s book illustrations online at: Duncan’s Illustration Portfolio
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Thrice Told Tales - Duncan Long

From time to time, I create new illustrations “just for fun” with the hope that eventually they’ll find a buyer. This generally proves a good investment of my time with most such pictures eventually finding a home on a book or magazine cover. The plus of these self-directed illustrations is that they’re produced more quickly since only my mental vision is in play rather than that of a publisher or art director. Basically these do-it-yourself pieces of art cut out the middle man.

In doing such work, I am often reminded of the old story that Michelangelo, when asked how the statue of David was carved, replied, “It’s simple. You just chisel away the marble that doesn’t look like David.”

Basically I start with the vision I want to see, and then push electrons around on my digital tablet until that picture appears on the monitor.

Since my online horror gallery needed to be replenished, this round of painting was done with an eye toward that genre. Confession: I always feel a little guilty about producing horror illustrations, in part because they are so far removed from the beauty around me and the joy I have in life. Also, such illustrations seem almost obscenely easy to create since anything a little out of the norm starts to seem ugly, horrifying, and/or troubling to the human mind. We each have a mind’s eye conception of beauty, and when that ideal is a little off the mark, the brain starts to feel fear and revulsion.

So horror artwork is basically a job of creating things that aren’t quite right. Anti-perfectionism, if you will.

That said, polishing the rough draft of such artwork so it looks “real” is the flip side of this coin, so in the end the illustration must have the same polish and reworking that would go into a beautiful face or scene. I’m not sure what the moral of the story is, but the process is perhaps a little strange at best.

Precious Ties -- Duncan Long

The Pig God - Duncan Long

Strange Lights In the House - Duncan Long

Will You Still Love Me? - Duncan Long

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Duncan Long loves creating book cover artwork but feels guilty painting horror illustrations. His artwork appears on book cover designs from HarperCollins, PS Publishing, Pocket Books, Moonstone Books, and Enslow Publishers. You can see more of his illustrations in Duncan Long’s Portfolio
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