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Why I Will Never Use a Book Cover Designer

MMT Productions, Canada.

That said, I will never use a book cover designer—a middleman and mercenary—for these additional reasons:

  • Book cover designers, having little to no knowledge of the books they are assigned, rely on clichés and stereotypes to create cover images that misrepresent their stories and mislead their readers. By contrast, authors’ book covers are acts of honesty, promising only what their carefully considered and crafted words can deliver.
  • Book cover designers’ depictions, right or wrong, rob readers of the opportunity to imagine characters, settings, and scenes for themselves based on books’ texts—or, in the absence of textual descriptions, their own preferences.
  • Words are physically beautiful in and of themselves. Their typography—the combination of their typeface, font weight and size, posture (i.e., roman or italic), and color—can be just as impactful as—and more meaningful than—book cover designers’ images.
  • Ultimately, a book cover designer’s job is to make a book look familiar (i.e., like other books). However, an author’s raison d’etre is to make their book feel singular. If a book’s title, blurb, and text, as very deliberately composed by the author, cannot accurately impart its story’s originality, nothing else can. And if a book’s title, blurb, and text, as very deliberately composed by the author, cannot make a favorable impression on prospective readers, nothing else should.

So, rather than initially judge a book by a designer’s cover, reject their biased, hackneyed, and trendy patronizingly salable cover image and remember to find pleasure in a book’s prose rather than its packaging.

“Dracula/Harker: A Gay Gothic Romance” Short Video: A Gay AND a Sapphic Gothic Romance

Dracula/Harker is not just a gay Gothic romance. It also features a sapphic Gothic romance. While the former gradually develops between the Count and Jonathan over the course of the already published Part I, the latter blossoms between Ilse, Countess Dolingen, and Lucy Westenra in the upcoming Part II. However, only time—and more writing on my part—will tell which romance survives and which dies.

“Dracula/Harker: A Gay Gothic Romance” Short Video: What Is “Romance”?

The “romance” in the term “Gothic romance” combines its old meaning of “an adventure tale,” its new meaning of a “love story,” and the characteristics of the Romantic Movement. Consequently, works in this literary genre, as we now know it, use the structure of an adventure tale to tell a love story filtered through the philosophy, steeped in the aesthetic, and heightened by the mood of Romanticism. Incorporating touches of the movement’s focus on the irrational and emotional, the following brief video imparts a sense of Dracula/Harker’s gay Gothic romance.

“Dracula/Harker’s” Van Helsing: Self-Righteous Bigotry Incarnate

Dracula/Harker’s Professor Abraham Van Helsing, unlike in Bram Stoker’s Dracula, is no eccentric, erudite grandfatherly character who tempers his cruel resolve with empathy. Quite the opposite, my Dutch polymath embodies the worst in people the LGBTQ+ community has had to suffer and endure since forever. To understand what that entails if you do not know already, read below my reimagined Van Helsing’s introduction in Dracula/Harker—Part II and shudder at his “humanity.”

Professor Van Helsing’s Journal
August 8th; Dr. Seward’s Asylum, Purfleet
Though now, like me, a physician by credential, my former student, unlike me, not having experience equal to the challenge, proved himself the worthiest of lesser men in admitting his shortcoming by consulting me on the most disturbing case of unrepentant serial sodomite Mr. R. M. Renfield. As John’s former teacher—nay, mentor!—I must ironically thank him for having failed because having studied his patient’s file and examined and interviewed the wretch himself, I fear the pernicious effect his undisguised—no, naked!—degeneracy might have even on a doctor’s trained mind! Fortunately, omnipresent, omniscient, omnipotent Jehovah—may He be eternally praised by His true name!—has seen fit to use me as the instrument of His divine will to safeguard my dearest pupil—and unsuspecting society—from such virulent contagion and vile corruption!

(Copyright © 2025 by Mark Zidzik. All rights reserved.)

Arlo Novak, LGBTQ+ Singer-Songwriter

Arlo Novak is an LGBTQ+ singer-songwriter blending folk-rock, raw emotion, and poetic storytelling. With haunting melodies and heartfelt lyrics, he crafts songs of love, loss, and resilience—igniting sparks of hope, identity, and passion in every note. His debut album, Songs from the Flame, is a testament to the fire within.”

Novak’s Songs from the Flame and “The Ballad of Manor and Har” written by Novak, sung by Nico Lysander, and based on Karl Heinrich Ulrichs’ seminal gay short story “Manor,” are heartfelt testimonies of queer life, longing, love, and loss.

Don’t deny yourself this inspiringly beautiful music and do support the talented musicians who made and shared it.

“Dracula/Harker: A Gay Gothic Romance” Short Video: “The Children of the Night”

“Listen to them—the children of the night. What music they make!”

In Bram Stoker’s Dracula, the indelible phrase “children of the night” refers to wolves. However, in my reimagining Dracula/Harker: A Gay Gothic Romance, the literary appellation refers to bats. Why, you ask? Because, of the two, the bat is the more purely nocturnal creature, unlike the wolf, which is largely crepuscular (i.e., most active at dawn and dusk). However, for Stoker’s purposes, bats’ squeaking and chirping, unlike wolves’ mournful howls, can hardly be called “music”—lol.

Watch the video below to read what my novella makes of Count Dracula’s “children of the night.”

“Dracula/Harker: A Gay Gothic Romance” Short Video: The Elevator Pitch

Ecclesiastes 1:9 (NIV): “What has been will be again, what has been done will be done again; there is nothing new under the sun.”

The video below divulges the two major influences other than Dracula that inspired my reimagining of Bram Stoker’s seminal vampire novel. But before you play it, can you guess which pair of classics, when their stories are combined and interwoven, tell the tale of a young, naive, closeted gay Englishman coming to terms with his true nature while falling in love with an imposing, wealthy, vengeful foreign count? If so, let us see if you guessed right.

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