Those who follow this blog will know that I often bang on about cover failings. I want my covers to be historically accurate. For me that means: no Regency heroes with beards or designer stubble; no twirling round the dance floor wearing knee-high boots; ladies in Regency costume that isn’t swathed in a tablecloth (see left); and hairstyles and accessories appropriate for the period.
It also helps if the cover models look vaguely like the characters in my story, but that’s a rant for another day 😉
Historically accurate backgrounds?
I’ve recently been mocking up a cover for a book I’m writing. It’s set in London in the period between Napoleon’s exile to Elba in 1814 and his return the following spring. My hero is a serving soldier who’s enjoying his first leave for 5 years.
I thought it could be good to show uniformed soldiers in the background on my cover. I found the image shown right.
Good covers are massively important and buyers, increasingly, rely on visuals (the cover) rather than the blurb. That was the latest advice from an independent bookseller at a Society of Authors virtual meeting in early 2021. The bookseller recommended authors aim for clear, concise, beautiful covers, with fewer words and, hence, more impact.
Professor Snape (left) may not be beautiful—and that’s not a cover, either—but he’s certainly clear and concise. And if he made you feel guilty, he’s had impact, too 😉
Criteria for Good Commercial Fiction Covers
Apart from being clear, concise and beautiful, a Good Commercial Fiction Cover Will…
make the genre clear immediately
represent aspects of the story to draw the potential buyer in
shout out the title
shout out the author’s name
work well in thumbnail
and SELL THE BOOK
That’s a pretty tall order and lots of covers fail it. Not only self-published covers, either.
This blog (based on a recent presentation I did for the Society of Authors) aims to help self-published authors work with cover designers like me to get clear, concise and beautiful covers that will sell the authors’ books. Continue reading →
The designer is key to a book’s reception. Readers see the cover before they’ve read a word.
A confession here: it took me a while to realise that this blog entry had to be called Self-Publisher to Designer not Author to Designer. The problem is I haven’t got used to seeing myself as publisher. Getting closer, after this experience, though.
I am a writer. Yet, by opting to self-publish, I’ve engaged in a twenty-first century business (ouch!) with many aspects: editorial, physical and digital production, marketing, sales, communications (that’s PR to you and me) and finance.
Cover design is a whole new area for me. Before I self published, I sold my stories to big publishers. The cover was part of the deal. Sometimes a good part.
First Pitfall — Absent Author
Sometimes not so much. The Author’s input back then generally consisted of doing a précis of the story and describing the characters’ looks. The designer made of that what he/she would. It could be pretty weird. The cover design where the heroine’s only identifiable feature was a bad case of measles is burned into my soul.
This post on Going Indie was originally a guest piece on Sue Moorcroft’s blog. Many thanks to her for letting us repost it here, complete with new thoughts, several months on…
Back in November 2015, I wrote:
Why go indie? At the risk of stating the obvious, I’d say the answer is freedom.
Freedom to ride off into the sunset. What’s not to like?
Here’s an example of independent author freedom in action. As originally published, in the Harlequin Undone! series of short ebooks, His Silken Seduction was well under 50 pages. That was the length the line required, so that was the length I wrote. Simples!