Sep
12th
Sat
12th
Sep
2nd
Wed
2nd
Spiegelman. He had seen DFTS on Charlie’s desk at Abrams’ New York City offices, and seen some of the discussions on the cover design.Art generously spent two hours talking about covers and cover design with me. I wish I’d recorded that conversation for future reference!The gist of Spiegelman’s comments and insights was that the cover has to really sell the heart and soul of the book. He expressed the importance of making an emotional connection to the potential reader/buyer. The main image on the cover might best convey the promise of drama, and of something compelling.He suggested that we take the most dramatic moment in the book and portray it on the cover. Alas, the Carters’ story has a lot of intense emotional drama, but none of it is of the screaming match/thrown crockery/drunken spree variety that some later country music biographies might contain.He also challenged us to get asymmetrical with our design. Our previous designs had tended to center everything. He suggested that an offbeat, asymmetrical design might further leap off the shelves and connect with the reader.
Aug
30th
Sun
30th
It’s not accident, I think, that so many horror films rely on some ancient object or person (a mummy, a vampire, a long-forgotten curse) coming back to life. The past can easily feel like a threat, a reproach to the living, a competitor that can’t be easily bested.
Are you angry? Punch a pillow. Was it satisfying? Not hardly. These days people are too angry for punching. What you might try is stabbing.
Aug
28th
Fri
28th
In 1942, Highsmith graduated from Barnard College, where she studied English composition, playwriting and the short story. Living in New York City and Mexico between 1942 and 1948, she wrote for comic book publishers, turning out two stories a day for $55-a-week paychecks. With Nedor/Standard/Pines (1942-43), she wrote Sgt. Bill King stories and contributed to Black Terror. For Real Fact, Real Heroes and True Comics, she wrote comic book profiles of Einstein, Galileo, Barney Ross, Edward Rickenbacker, Oliver Cromwell, Sir Isaac Newton, David Livingstone and others. In 1943-45 she wrote for Fawcett Publications, scripting for such Fawcett Comics characters as the Golden Arrow, Spy Smasher, Captain Midnight, Crisco and Jasper. She wrote for Western Comics in 1945-47. When she later wrote The Talented Mr. Ripley (1955), one of the title character’s first scam victims is comic book artist Frederick Reddington, a parting gesture directed at the earlier career she had abandoned: “Tom had a hunch about Reddington. He was a comic-book artist. He probably didn’t know whether he was coming or going.
Aug
27th
Thu
27th
You have control over action alone, never over its fruits. Live not for the fruits of action, nor attach yourself to inaction.
First EC Horror Cover. As of next issue the title would change to ‘The Vault of Horror’
I find this Johnny Craig design really appealling.
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