Jenn Stark goes behind the scenes with cover designer Gene Mollica

Jenn Stark, author of Getting Wilde, a novella in the paranormal anthology Twelve Shades of Midnight (out today!), chats with cover artist Gene Mollica about what goes into his creation of book covers.

Jenn: In early spring 2014, I was invited to take part in the indie paranormal anthology Twelve Shades of Midnight (which launches today, Oct. 28!). For this anthology, I knew I'd be publishing under my own name, Jenn Stark, along with 11 other exceptional authors — including Liliana Hart, Darynda Jones, Robyn Peterman and Ann Voss Peterson — so I wanted to create the perfect package for my novella.

To showcase the world of Immortal Vegas and launch the series effectively, I turned to professional photo-illustrator and cover artist Gene Mollica.

Gene's work has appeared on the covers of books by authors such as L.A. Banks, Patricia Briggs, Jennifer Lee Carrell, C.S. Harris, Barb Hendee, Conn Iggulden, Caitlin Kiernan, J.F. Lewis, Richelle Mead, C.E. Murphy, Brian Ruckley and Thomas Sniegoski, among many others.

Together, Gene and I discussed the vision for my series, and chose a model who best represented my Tarot-wielding heroine. Then Gene set to work. A few months later, the cover for Getting Wilde was born.

Taking a break from his newest creation, Gene was kind enough to answer my questions about how he works with art departments of major publishers — and, increasingly, independent authors and multimedia collaborators — to bring his designs to life.

Jenn: How would you describe your work?

Gene: I am a photo-illustrator specializing in fantastical and otherworldly images for the entertainment industry, most frequently for book covers. Originally a painter, I made the switch to digital media in graduate school. The advances in digital illustration and photo manipulation now make the work I've always wanted to create possible — and I've developed a very specific style that I bring to these pieces.

For example, lighting models for covers is completely different than lighting for normal photography. I'm making accommodations for an environment that must be created later, a background that doesn't yet exist. It requires a lot of rim light and contrast, and a truly dramatic light fall-off that almost has the effect of Rembrandt light.

While the process is self-taught, I've built on the principles I learned from gifted illustration instructors — particularly Anthony Russo at the School of Visual Arts (NY). Back when I was in school, digital photography didn't exist. I could only take the photo so far as projecting it onto an illustration. Still, I enjoyed tracing the photo, and painting part of it. Anthony pointed out that my perfect niche would be somewhere between photography and painting. And now, with today's technology, I've found that niche.

Jenn: What's the best part of the work for you?

Gene: I would say the collaborative element. Creating covers that authors feel translate their original ideas perfectly, and offering a window into that world for the reader, is as much fun as I've ever had. To see an author's vision come together during post-production into a cinematic cover is certainly stressful, but it brings the most joy.

The unique pieces we construct for our covers are also exceptionally cool. For Thomas Sniegoski's series, we built a gun out of fish bones. We've hand-created a full ensemble of steampunk accessories for Bec McMaster's London Steampunk series. Most of our costumes — particularly for historical or high-fantasy books — are custom designed. And yes, we do get requests from readers and authors to order or re-create the pieces, from blades to jackets to full gowns!

Finally, I love how the work is constantly expanding. In addition to book covers, I'm now turning my eye to gaming illustration, movie posters — anything where I can help translate a creative vision into one-of-a-kind art.

Jenn: Can you describe your process — and how you work with authors?

Gene: The entire process can take anywhere from a few weeks to a few months, depending on whether custom pieces must be made. An author, publisher or creative professional contacts me and we discuss the vision and parameters of the project, and the timeline needed. The more information I can get from the art director or the author herself, the better — subtle nuances of character, the world, the key conflict of the story … all of it helps create a stronger end result.

Once the basic elements are set, I work with the author or art director to select a model. Then I manage the photo shoot, and build the cover around the photo. Just as an engaged, thoughtful author or design team can help ensure a brilliant cover, a smart, committed model can absolutely transform the work, so choosing the right model is critical.

Once the cover image and supporting illustration is finalized, it's on to type design. Many publishing houses handle this process in-house, but for authors like Jenn, I work with members of my team who are masters at typography and layout.

Jenn: What have you noticed most in terms of trends in the marketplace for covers?

Gene: In the past few years, the market has turned around completely. When I first got into this business, chick lit novels were hot. Then the focus became vampire tales. After that, there was a more general influence of paranormal romance, which exploded into a myriad of subgenres, including steampunk, shifters and urban fantasy.

Epic fantasy has always been a mainstay of cover work, but it's now bigger than ever. Also, as with Jenn's cover, urban fantasy is striking a stronger chord with readers, particularly stories with a heavy emphasis on characters. These heroes and heroines have a lot of depth — there's more to talk about, describe, create. The more intricate the character, the more we work to express those details in the costume or expression or what he or she's doing.

Finally, the crossover impact of movies and gaming cannot be denied. Years ago, art directors at major houses weren't sure if they wanted a "cinematic" look for their covers. Now it's considered a key way to connect with today's more sophisticated audience.

Jenn: What's next for you?

Gene: I've developed a work process that allows me to accommodate just about any project, which is a very exciting place to be. Increasingly, I find that I tend to be contacted by the right people at the right time — those who want to convey a layered, intricate world at a glance. I can handle design, illustration and of course custom photography. Coming up, I'm very excited to be exploring new projects with multimedia elements, as well as continuing my cover work. If an author or creative professional is willing to take the leap and commit to the process, I'm there to help bring his or her vision to life.

To learn more about Gene, visit www.genemollica.com or Facebook. To find out more about Jenn and her books, visit www.jennstark.com.