Two weeks ago, I was able to reveal the cover of my newest novel, The Cure for Dreaming, coming October 14, 2014, from Amulet Books/Abrams. You’ll be able to see the full cover at the end of this post, but first I’m sharing a pictorial journey of how this cover started and what the book’s designer, Maria T. Middleton, did to make it so mesmerizing.
First, she took an archival photograph that I sent her, which features a young hypnotized woman from the Victorian era . . .
. . . then she added her Maria T. Middleton magic to the image. She replaced the plain backdrop with a creepy Victorian pattern . . .
. . . add selected a gorgeous Victorian-style font . . .
. . . plus she added hypnotizing circles that radiate outward from the girl’s head. Those circles will turn into an eye-catching special effect on the finished dust jacket.
Voilà! The full cover of The Cure for Dreaming:
Olivia Mead is a headstrong, independent girl—a suffragist—in an age that prefers its girls to be docile. It’s 1900 in Oregon, and Olivia’s father, concerned that she’s headed for trouble, convinces a stage mesmerist to try to hypnotize the rebellion out of her. But the hypnotist, an intriguing young man named Henri Reverie, gives her a terrible gift instead: she’s able to see people’s true natures, manifesting as visions of darkness and goodness, while also unable to speak her true thoughts out loud. These supernatural challenges only make Olivia more determined to speak her mind, and so she’s drawn into a dangerous relationship with the hypnotist and his mysterious motives, all while secretly fighting for the rights of women. Winters breathes new life into history once again with an atmospheric, vividly real story, including archival photos and art from the period throughout.