You Heard it Here First: Cover Reveal for Linda Phillips Second Book!

Since Carol already covered the path to publication of my second book (Light Messages/July 2018), we thought it would be fun to go into detail about the cover development process. 

First, the title has been changed from Heart Behind These Hands to Behind These Hands.  Here is the blurb:  

Fourteen-year-old Claire Fairchild has always known music would be her life.  She enters a prestigious contest pitted against Juan, a close childhood friend.  It doesn’t help that her thoughts about him have turned romantic. But nothing compares to the devastating news that both younger brothers have Batten disease. 

While attending a conference about this rare neurodegenerative disorder, Claire receives word that she has won the contest. Her musical goals no longer seem relevant.  She can’t reconcile the joy that classical music would bring to her life while her brothers are succumbing to an early and ugly death.  

When Claire accompanies a friend on a school newspaper assignment, she meets a centenarian with a unique musical past and only one regret in life. Claire knows something in her life has to change before it’s too late, but what will it be?  

THE PROCESS

I am fortunate to have an editor, Elizabeth Turnbull, who has drawn me into the cover selection process from the beginning.  

When Elizabeth sent me this first cover proposal, she liked that it was bright, fit the Teen/YA motif, and that it illustrated the musical aspect without being too literal.  She acknowledged that while this book has a serious theme, the cover was playful enough not to scare readers away. 

My first reactions were positive but I had questions. At that point we were still uncertain about the title, so I wanted to know if Behind These Hands would work with this picture as well as Heart Behind These Hands. I wondered if the picture of the girl with the hand-heart signal shouldn’t be bigger. At first glance, I liked that the colors were youthful and bright. 

Elizabeth agreed that the hand-heart might be more prominent, and at that point, she was leaning towards the longer title, but she asked if I would like her to test the two options with young readers. I immediately said “YES” and thought how lucky I am to have an editor who values my opinion. Maybe that emboldened me because I confessed that pink had never been my favorite and could we try some other bold colors. I made another suggestion, accompanied by a picture of my granddaughter making the heart shape closer to her heart instead of her eyes. 

Enter Carol after I invited her into the conversation.  (remember:  joined at the hip writing buddies?)  She was unsure about the colors, but she asked if I wanted her to send out the picture to several teens, some of whom had taken her writing classes.  “YES!” I shouted again.

These teen readers responded with variations on the same reaction:  the cover implied this was a “cute, fluffy read” or a “light romance.” One indicated that the color combos weren’t her favorite either, and she suggested replacing the lavender font with a navy blue. When I passed this info on to Elizabeth, I began to worry about whether we had gone too far in the wrong direction.  I asked if we could try a girl at the piano.

Elizabeth was way ahead of me, and said they had already tried that and visually, it didn’t work.  She wanted to avoid getting too literal with the book and the characters.  She also said after testing the two titles broadly with young readers and on Twitter, they were running neck and neck.  She agreed the color scheme should be changed.  

At this point I felt both appreciative that my input had been sought, and confident that those who know more about cover art than me were hard at work. Then one day, while I was sufficiently occupied with revisions, this new image appeared in my inbox.

Elizabeth felt that the model covering her eyes reflected the protagonist’s desire to do the same.  She said the color scheme “popped” and had definitely moved away from “fluffy.”  She graciously said “I’m glad you pushed us to keep rethinking.”  She requested my input again. 

I loved the colors, but experienced a “disconnect” about the covered eyes.  I just didn’t relate to it—at first.

Elizabeth responded with solid reasoning. “I think the hands over the eyes also add movement and interest. They build curiosity. You want to allow the reader to picture the character in their own imagination. So that's why you'll see so many profile shots, back shots, or other obscured views of models.”

Sensing that I still had hesitations, she elaborated on the market research. “When we tested the idea of a piano image, your target readers indicated they'd be less likely to pick up the book because they'd be afraid it was ‘boring’ and only about ‘classical music.’ One of the things I love so much about Behind These Hands is that it IS about piano and classical music, and it's presented in such a fresh and youthful way that all kinds of readers will get into it. You make these themes cool and relatable, but first we have to draw the readers in with the cover.”

These words from Elizabeth turned the tide for me. She knows infinitely more than I do about cover appeal, and besides all that, she believes in my book!  

I was humbled and responded, “I appreciate your empathy for the teen market.  Another thing that just occurred to me is the tie in to the eyes and the ability to see. Blindness is a big part of Batten Disease.  And then there is Claire’s own evolving vision of how she sees herself in relation to her brothers.” 

Elizabeth and I went back and forth one more time about the title, and in the end, we both agreed Behind These Hands was the best fit.  She said, “It's a strong title that invites the reader to wonder ‘What is behind these hands?’  Nobody will mistake this for a teen romance!”

Elizabeth sealed the deal. “I'm so glad you like the cover! We'll start populating online sites with the book data and cover.  P.S. You might want to do a "cover reveal" with your readers!”

Enter Carol!!

And to that I say, “Thank you, Carol, for once again giving me entrée into the writing world.”

Linda Vigen Phillips has a passion for verse and realistic fiction that offers hope and encouragement to anyone facing mental or physical health challenges. Her debut book, Crazy, has led to mental health advocacy through NAMI and the development of a drop-in center for persons with mental illness in Charlotte. Visit her at www.lindavigenphillips.com.   

You Heard it Here First--Linda Phillips' Second Novel Finds a Home!

As many of you know, I enjoy featuring my fellow writers' accomplishments. In that vein, I bring you news from my dear friend, Linda Phillips. Just for the record, Linda and I met 18 years ago when Fran Davis, the regional advisor for SCBW (there was no I back then) asked us to put together the 1999 conference. Linda and I hadn't even met before! But we pulled it off and became prayer partners and writing buddies. Here's proof that we are really "joined at the hip" as Linda often jokes.

When we went shoe shopping recently, we chose the same pair!

Without further ado, here's Linda to tell us about her next book.

What's the Pitch for Heart Behind These Hands?

Clair Fairchild is a teenage piano prodigy.  When faced with the news that both her younger brothers are dying of a rare childhood disease, she must reshape her musical dreams.

How did you come up with the idea for Heart Behind These Hands?

While this is not a sequel to my debut novel, Crazy, the seed for the story is buried (unintentionally) deep in those pages. When I needed to assign a devastating disease to a minor character in Crazy, coming up with Batten disease wasn’t exactly random.

I taught at The John Crosland School (formerly Dore Academy) and The Fletcher School, both of which serve students with learning differences.  At Dore, we had a student who was diagnosed with Batten in the third grade, and his younger brother met the same fate shortly afterwards.  At Fletcher a girl was ironically diagnosed by the same doctor in the same month.  This neurodegenerative disease robs children of all vision, mobility, cognitive and language skills. None of them is expected to make it far into their twenties.   

The girl, Taylor King, has a family that has formed a foundation, Taylor’s Tale, that has raised many thousands of dollars for research.  An older sister, Laura King Edwards, follows Taylor’s progress on her blog and has committed to running marathons in all fifty states to raise awareness. She has written a memoir, Run to the Light, documenting her first-hand experience watching the disease steal her sister’s life.

The first thing I did when I wanted to pursue a book with Batten as the villain, was to check with Laura and make sure my plans to write a fictional novel-in-verse depicting characters with Batten did not conflict with her memoir.  

We’ve since read each other’s work and are celebrating that our books will both be released in the fall of 2018. We’ve started to discuss ideas about the marketing possibilities that may present themselves under these fortuitous circumstances.  

What was your path to publication?

I began working on this book about ten months before Crazy came out.  During that time, you were the first (as always) to read my first twenty pages and then I sent off the first draft to my agent, Julia Kenny before I went into debut book frenzy.  She and I exchanged three rounds of drafts over the next year before she sent the first submissions out in early 2016.  It’s been wonderful having an agent both willing and able to step into the editorial role. 

We got some lovely, rosy rejections on that first round, and then a second round went out in Nov. 2016. It was met with silence. We both felt confident about the story and went into it with eyes wide open about the uphill battle that novels in verse can encounter. We even had some discussions about the fact that the country as a whole was in a particular, political funk at the time, because Julia said more than one of her clients was encountering the same eerie silence. If you find yourself in the same position, don’t dwell on these mysteries. Dive into the next thing as quickly as possible no matter how uninspired you feel at the moment. I did, and I’m better for it, and more than halfway into my third book.   

The second most wonderful thing about my agent is that she temporarily cut me loose from the contract to explore small presses on my own, while offering her assistance to review any offers. I spent about a week considering whether or not to try self-publishing and I quickly realized I lacked confidence in handling the process.  I started sending out queries in January, one of which was to Light Messages, a publishing house represented at a joint WNBA/CWC meeting in March.  When I mentioned that I had submitted to them the editor emailed me the next day saying she hadn’t received it.  She requested it, we clicked, and I signed the contract shortly thereafter.  Note about querying:  don’t be shy about following up. You have nothing to lose and everything to gain, like a “misplaced” manuscript.

Why verse?

I get this question a lot, and all I can say is it seems to be the way I think, or I should say, have thought.  I started out just writing poetry, and moving into novels in verse was like floating down river on a lazy summer day.  However, now that I look upstream and see the wake of ambiguities among readers, librarians, students and most of all, publishers, I’m going to hang up the rubber raft for now.  That being said, to keep the metaphor going, in my current work in progress, I’m slogging along the bank in bare feet which requires a different set of skills. I now must write in complete sentences and use a truckload more words than I’m accustomed to. And then there’s all that punctuation and capitalization that needs to be addressed!  But it’s all part of the journey and who amongst us writers doesn’t love the challenge of a brand new learning curve?