Spot the difference between these two images. Answers below

This is the third part in a series about how my next book, Hunger and Thirst moves through the process of editing to arriving onto bookshop shelves. The first part covered structural and line edits with my UK and US editors at Fig Tree/ Penguin and Tin House / Zando, the second part looked at copyedits and the difference between UK and US editions, and in this part I’m going to look at the US cover. (I’ve seen the UK cover, and it’s very different, but I’m not allowed to officially show it yet.)

Readers ask me a lot about covers: how the process works, how involved I get, whether I get any say; I’ve even been asked whether I design them myself given my art background.

The process starts early with Masie Cochran, my editor at Tin House / Zando asking me to send her any book covers I’ve seen recently that I’ve loved. I don’t know how much these feed into her planning, but I like that it makes me feel like I have some influence! So, I sent her half a dozen, and then a few months later she says she has a cover, and attaches it to an email.

It is the most terrifying moment clicking open on that email. What if I don’t like it? Luckily, that’s never happened with any of my books from Tin House. They’ve all been designed by their in-house Art Director who is now Beth Steidle, and who designed this cover for Hunger and Thirst.

I showed the cover to my husband and I kept opening the email over the course of the next day and I only loved it more. But, I had some very small comments, which I fed back to Masie who passed them to Beth, and then a while later I was sent the revised version.

Did you spot the differences between the two pictures? The one on the left was the first one I was sent and the one on the right is the final cover.

• I wasn’t sure about how the sculpture’s right leg lifts up on the left of the cover. It gave her a look of a mermaid, and so Beth removed that.
• I wasn’t sure that the flies looked enough like flies, and I wasn’t sure about the fly in the words ‘a novel’. So Beth changed the flies, removed the fly within the words, and put another fly on the sculpture’s arm.
• Beth made some changes of her own to the colours and density of the dots etc.

The cover was officially revealed on CrimeReads website, along with an extract from the beginning of the novel (which I edited to make it shorter but still work as a narrative). I also wrote a piece about why this cover works so well for the story:

The main character, Ursula is a reclusive and famous sculptor, and so while the figure on the cover might be one of her carvings, it could also be Ursula herself caught in a moment of turning away from the camera. The first line of the novel mentions a murder and a body, so I love how the red shape on the head implies this might even be the victim. One of the narrative strands is the dares teenagers set each other, and it’s very clever how the fonts bring to mind words scrawled in haste or even graffiti. Another theme is the perception of women’s bodies and in particular body hair, and I love how this striking image picks up on this, not only in the angle of the sculpture to the viewer and the beautiful heft of her, but also how the dots give a subtle indication of hair. And then finally, you see the flies, four of them perched there; an unsettling suggestion that something bad is coming.

What do you think of the US cover – send me a comment!