"It’s your book, your baby, and you have every right to have input into what the cover looks like."
Whether you’re publishing an eBook, paperback, or hardcover book – a custom cover designed specifically for your book is always your best option. So, what I’ve cobbled together here are a few guidelines for working with a cover designer, because unless you are very experienced with sophisticated image manipulation software – such as Adobe Photoshop and Adobe Illustrator – and have professional design experience yourself, you really need to work with someone who does. The keywords here are “work with someone.”
1. COVER DESIGN SHOULD BE A COLLABORATIVE EFFORT BETWEEN THE DESIGNER AND THE AUTHOR. Nobody knows your book as well as you do. In fact, it’s highly unlikely the designer will have read it or will have the time to do so. I ask my clients to fill out a questionnaire that gets us started on this collaborative process and then follow up with phone discussions and numerous email exchanges along the way. If your designer is not a collaborative type – find someone else. Period. It’s your book, your baby that you’ve sweated blood over, and you have every right to have input into what the cover looks like.
2. LISTEN TO YOUR DESIGNER. Now that you’ve read #1, I must point out that you work with a designer for a reason – to help you put out an eye-catching cover that will attract buyers/readers. You may have your heart set on 72 pt. puce-colored type for the title, but if you’ve got a decent designer who says, “Uh, no…I don’t think so, and here’s why….” you need to listen. Keep an open mind.
3. BE HONEST. As an avid reader myself, few things tick me off more than buying a book based on a snazzy cover (lots of buyers/readers do this) only to discover that the cover has little or nothing to do with the content of the book. It’s dishonest and I will dump a client rather than do this.
4. WHAT ABOUT TYPE-ONLY COVERS? Unless your name is Tom Clancy, it probably isn’t a good idea. And even Clancy covers usually have some sort of art element on them along with the big type – a chopper, blood splatters, weapon, etc… Clancy has a huge following of slavishly loyal readers. Do you? If the answer is “No,” you need more than type on your cover. There are very rare exceptions to this rule and here is one of them – the U.S. and Canadian cover for the New York Times Bestseller ROOM by Emma Donoghue. I don’t know who designed this cover, but it’s a good job. Why is it an eye-catching exception?
a. The super-short title allows for a huge point size in the type – easily readable from a distance (for book store browsers);
b. The font chosen is an unusual, childish (HONESTY!) one and is presented in a different bright color for each letter;
c. Colorful letters against a stark white background make for high contrast that attracts the eye.
5. CHOOSING STOCK ART. I suppose Nora Roberts might be able to command a pricey photo shoot with models of her choice (think several thousand dollars), but don’t fantasize that you’ll have the same option. Most covers are designed with stock art. Stock photography can be expensive, or it can be free (see the Deadly Voyage cover above), and everything in between. The quality can also vary wildly. Lean on your designer here. From decades of experience, I can spot a lousy photograph with limited possibilities at a glance; chances are the author can’t. Things I look for in a photo, other than whether it is context-appropriate for the book, are: sharp focus, sufficient contrast, adequate foreground and background (for placement of the title, author name, and additional art elements as needed), appropriate color, and that indefinable quality that I call JAZZ (it’s got to turn me on).
6. YOUR COVER ART CAN – AND SHOULD – DO MORE FOR YOU. The most wonderful book in the world (even with a terrific cover) may well remain inadequately sold and read without promotion. Successful authors learn this lesson early on and live it. Can the art elements on your cover be easily used promotionally on items such as: book trading cards, bookmarks, ads, website banners, merchandise (mouse pads, coffee mugs, t-shirts, etc…)? There is no reason why you should have to purchase additional stock art for promotional purposes if you’re smart about it from the start. Discuss this with your designer (hopefully your designer offers these services as well) and let her/him guide you to wise choices that can easily be re-used in marketing your book.
7. WHAT ABOUT USING A PRE-MADE COVER? The trick to using a pre-made cover is finding one that suits your book. Not all designers offer them because they really aren’t good money-makers. I do because I have a weak spot for fledgling authors with skimpy purses. You can see my current stock of pre-made eBook covers here. If you must go the pre-made route, look for two things: the best fit for your book; and, a designer who will insert the title and author name for you at no additional charge (the designer will have a wide selection of fonts to choose from – I have hundreds – and a good eye for the best placement, size, color, etc…).
I asked a Twitter pal of mine, Robin Bradford (aka @Tuphlos on Twitter), who is very savvy about book covers to choose a few she’s seen recently that really grabbed her attention. Robin is the Collection Development Librarian at the Indianapolis-Marion County Public Library and doubtless sees thousands of covers every year – so she should know! Here are her selections and insightful comments:
“[The Watchtower cover is] a very menacing image that tells the reader a little of what they may get on the inside. It looks like a genre fantasy book, you wouldn’t open this book and expect space ships or a police procedural or a cozy mystery. It tells you what to expect without gimmicks or tricks. It’s a tower with some swirls and color and a bird but it looks slick and professional. You CAN do more with less!”
cover] also telegraphs the story a bit; you get the ghostly angle right away. Even though it tells you, it’s still mysterious and draws the potential reader/purchaser closer.”
“[Maps of Hell
is] another one that seems almost tactile. I look at this cover and it almost hurts. I don’t think the pages inside are going to be soft and fuzzy.”
“[Pocket-47] lets you know what you can (or cannot) expect in the book. Not a cozy mystery in a made-up town where knitting and cat collecting leads to murder. The imagery of the gun and the smoke is different than usual, and will draw readers towards the cover.”
After a long career as a journalist – newspaper, magazine, and public relations – Dawn has taken the leap into creative writing. She currently has three books in the works – two novels and a cookbook. As the editor of a professional magazine for educators, she did her own design work and won numerous awards for cover design. Early in 2011, Dawn applied those skills to design eBook covers for some author friends and several web and print ads as well. Now she offers a freelance design service specifically for authors: Book Graphics. Find her on Twitter at @bridgemama, on Facebook as Book Graphics, and on Book Country as snurf.