It’s Decorative Gourd Season! Autumn Equinox and Fall Feels, Pumpkin Farms, and Decisions About Cover Art

At the entrance to JB Grower’s Pumpkin Farm

It’s Decorative Gourd Season! Autumn Equinox, Pumpkin Farms and Fall Feels

I promise I am going to talk about real serious writer book stuff in a minute, but for this first part, can I say…whee, it’s decorative gourd season and I am celebrating fall by visiting pumpkin farms and burning candles like there’s no tomorrow.

We visited one pumpkin farm on the autumn equinox and another the next day. We had beautiful, unsmoky weather and I decided we should take advantage of it before it all turns into the inevitable winter rain. (Someone joked that Seattle has three seasons: rain, summer, and smoke. Sort of true for the last few years!) Besides getting to talk to local farmers, which I love, it gave me and Glenn a chance to get out of the house, into fresh air, get some mild exercise (I’m still using a cane, there’s only so much pumpkin farm tramping I can do), but it also sort of helps your body know: hey, we are changing seasons, pay attention to the leaves, to what is blooming and what is dying, what grows out of the ground, the colors of the sky. Haven’t poets been writing poems about that stuff for years? Fall is my second favorite season after spring (although Seattle springs are mostly damp and brief), and I’m sure many of you feel the same.

Anyway, this first gallery is from McMurtrey’s farm, which is really mainly a Christmas tree farm that we used to go to way before we moved out here to get our trees, but they do a bunch of seasonal stuff for kids and have a beautiful patch of dahlias and sunflowers and pumpkins. Small but photogenic.

The second gallery is from JB Grower’s Pumpkin Farm and Puzzle Patch, on NE 124th (south of their lavender farm and on the other side of the Sammamish River), which is acres of corn maze, acres of what they call a sunflower walk—it has a pattern you can see from the air, which is kind of cool—and just a huge working farm for pumpkins as well. They have a little gift shop for snacks and gourds and amazing pumpkin candles made by a local candlemaker, and it’s adorable—and enormous (tons of parking too). Great for kids who have a lot of energy to burn off, but also fun for farm nerds like me who fondly recall their childhood farm life in Tennessee, for instance. I’ve gotten to know the farm manager at JB Grower’s, who is also a writer and avid reader, and it kind of makes me wish I’d gone into agricultural science instead of pre-med. I could be running a farm right now! LOL. Seriously though, all this farm interaction has made me really glad I stayed in Woodinville and didn’t flee to even more remote ex-urbs during the pandemic, which we seriously considered.

Anyway, I hope these photos help share all the “fall feels” and show how much I appreciate the place I live and the people I live around.

From JB Grower’s Pumpkin patch, with sunflowers

Decisions About Cover Art

Well, I told you there would be serious writer talk and here it is: I am in the middle of working with BOA Editions on deciding what the cover art for Flare, Corona is going to be. Their designer came up with a bunch of options and now I have to narrow them down and eventually pick one.

If you follow this blog, you know I’m sort of a visual art nerd and have friends who are artists and go to galleries a lot, so usually I walk into a book deal having already picked my cover art and artist, but it wasn’t like that this time around. I had the idea of using a solar eclipse shot with a corona, but that seemed very literal (although eclipses do show up throughout the book) for a book about experiencing a cancer diagnosis, an MS diagnosis, and then, bam, the coronavirus years. (Hey, it’s still me, so it’s got some funny sci-fi and speculative stuff in between, don’t worry.)

Sunflowers and Dahlias @ McMurtrey’s

So, I wasn’t really sure at all about what I wanted or needed to communicate about the book with the cover art, which I consider super important—after all, it, not your words, is the first thing the reader experiences with the book. You’re lucky if they glance inside or even at the blurbs on the back—if they don’t like the cover. So, a lot of pressure, right? Anyway, BOA has been terrific about it, and whatever we end up with will be “right” for the book, right? I’ve even contributed photographs for other people’s cover art, so this should have been a breeze, but it wasn’t, and I think part of it is I didn’t go in with a clear idea of what the cover needed to be.

Anyway, soon I’ll be able to share cover art and blurbs and all that good stuff with you! But I wanted to talk about the process—this is my sixth book, not my first, so I wanted to share how these decisions get made. Sometimes the publisher, not the writer, has a clear idea of what they want for the cover, but that hasn’t been the case for me yet. I’ve worked with wonderful artists (some of whom are now good friends) on the cover art along the way, and I am very grateful for that. My only wish is that I myself was a better visual artist, so I could just—boom—design my own brilliant covers exactly representing what’s in each book. Sadly, my only visual artistry skill is photography, and I’m still learning even on that skill set. Anyway, it’ll be nerve-wracking until it’s done.

And I’m doing a podcast for Halloween on spooky poetry, so stay tuned here for more news about that coming up!