Well I'm in a new phase, something certain voices in the universe are telling me I should have done all along - I'm designing the cover myself.
The first step was to realise I was never going to get this done (even without doing the design myself) without dedicating time to it regularly, so every Thursday is now Falling day until it's either obviously been a giant waste of time or I'm buying an investment property in the Hollywood Hills off it.
I can't even remember when I came up with the concept, but there are three elements; an image, a black background and a red title. Part of the reason why was because if you look at covers as they appear in Amazon searches, they're pretty small, so I figured only a few simple parts that really stand out from each other will do the trick.
So it was just a matter of finding the right parts for each element, and that's been (I'm still not quite there) a days-long process of mixing and matching different pictures with logo/title treatments of different fonts and just like some of the content of the book, it's been very hard to whittle down. I chose between a classical, powerful serif font like Trajan or Garamond (but might leave that for the movie version), a scratchy, horror movie treatment like you might have seen on the front of Adam Nevill's The Ritual (very much an inspiration), and a straight, slender san serif font all in capitals and slighty blurred to give it a ghostly feeling.
The pictures I'm choosing from are mostly from news websites and some stock shots, so I shouldn't have too much problem getting them as news publishers are so strapped for profits they'll sell anything that's not bolted down, including shots from stories.
Also Mike, a lovely guy I had lined up to do the bridge image showing the new bridge inside who works at Laika Animation Studios, has had to drop out. It was a shame because I felt like we were really on the same page and he did some really good pencil sketches he was kind enough to show me. But he's also been very kind about suggesting some colleagues of his in the industry, a couple of whom have already got back to me, so all's not lost.
In between all that I'm also rereading the extra material, and I've realied I have to do a little bit of rewriting of a few things.
Not the least of which is that I'm moving the bridge collapse forward a year. Don't worry – I'm not changing the entire thing again, just have to make sure I catch every mention of the year of the accident. It was due to be October 2018, but as I'm writing this in March and it's kind of dragging, I thought giving myself another year wouldn't hurt. Even if it takes me the rest of this year to finish (which I hope it won't but then I didn't think I'd still be working on it in 2018 when I decided to publish it this way in about 2010), that gives it however much of this year is left and all next year to build whatever momentum it's going to get.
After that it's the problem of some screenwriter working for Netflix.