By Kimberly Shorter
My debut novel, Finding Sanctuary, started out as a writing assignment for grad school. What later became my first chapter was a hastily written draft that I snatched off the printer minutes before I had to make the commute to DC for class. I didn’t give much thought to my characters or the setting I placed them in, let alone the tone or cadence of my writing. The following week, my professor handed back my writing assignment and asked to see me after class. I just knew she was going to tell me that my assignment was garbage, and that I would have to redo it.
I was wrong.
“Your characters and this scene are so vivid,” my professor said. “I was reading this wanting more.” (You could have bought me for a penny.) “This is your thesis,” she told me. I couldn’t fathom it. I was barely halfway through the master’s program at Johns Hopkins University, and my thesis was the furthest thing from my mind.
I left class that night imagining the possibilities for the characters and world I hastily created. Eventually, Finding Sanctuary sprang to life. It wasn’t instant. It took time to cultivate the essence of the story, but when I finally hit that writing sweet spot, I could see everything — from the beginning to the end of the story and all that was in between — so clearly.
Well, almost everything.
Envisioning what I wanted the cover of Finding Sanctuary to look like was much more difficult than I thought it would be. I bounced around some ideas with CP Patrick and the Field Order Press team, grateful that they gave me the latitude to come up with ideas. “It’s your book baby,” CP Patrick told me in one of our many phone conversations. “Take your time. Have fun with the process. You’ll know your cover when you see it.”
I tossed around a couple of ideas, but I was fixated on having some sort of artistic rendering of the distinctive row homes in South Baltimore, where much of Finding Sanctuary takes place. When we had our first concept call with Molaundo Jones of The Clever Agency, I mentioned a couple of ideas, one of them being a map of historic South Baltimore. I also considered the mid-Atlantic region as the story spans between Virginia and Maryland.
Molaundo was very thorough and patient during our concept call, listening to me as I vacillated between row homes and maps. It took CP nudging me before I even mentioned the third idea I had. Since Finding Sanctuary tells the story of three generations of women, I thought that could be a concept to consider for an alternate cover image, albeit far-fetched.
When Molaundo sent the renderings of the cover concepts we pitched, the concept I thought had the least potential was the one that took my breath away. As CP had told me – I’d know my cover when I saw it. And I did. Silhouettes of the three different generations of women, each a different shade of brown against an endless blue background — that was the cover I wanted for Finding Sanctuary. I couldn’t stop staring at it. These characters that I didn’t give much thought to in the beginning seemed to come to life in the drawing. Especially Ella, the woman holding the baby. The women that I birthed on the page and introduced to Molaundo only by way of synopsis, were exactly as I had envisioned them. Molaundo and his team even nailed it with the positioning of the women on the cover. Where and how the two women stand bears significance readers will understand when they read Finding Sanctuary.
Seeing the cover of Finding Sanctuary was a very surreal, emotional moment that marked an important milestone in this journey. It’s humbling to have a team of talented people who are so invested in my story. I’m ever so grateful to CP Patrick and Molaundo for shepherding me through the cover design process. I couldn’t be more proud of the finished product.
Finding Sanctuary will debut this fall. I hope readers will love the cover and novel as much as I do!