There’s something to be said for the old cliche, “You can’t judge a book by its cover.” It would be impossible to determine or even just guess how many excellent books have the least appealing covers or how many of the absolutely worst books have covers that not only gain a potential purchaser’s second look, but are largely responsible for their ultimate purchase.
I suspect we’ve all avoided at least one excellent book and settled for one of the worst instead. Not that we’re apt to admit it, of course.
The longer I’m in my post-retirement career as a novelist, the more I’ve come to appreciate how important the cover is. And I’ve changed a lot in how I evaluate a cover.
I admit it. I want to see some kind of resemblance between the cover and what the book is about. But it doesn’t always work that way.
I was allowed to give input for my three traditionally published novels, and I had very specific ideas. What I didn’t realize at the time is that publishers have various sources they check for stock photos and use a model only as a last reserve. Undoubtedly a more expensive move for them.
My wife and I really liked the covers Barbour Publishing came up with for Found in Translation and Lost in Dreams. The Kim Hartlinger depicted on the first book is appropriately shown with a suitcase. But Kim in the book was petite and looked almost Latina. Not so on the cover. It was still a good cover, though. One readers could connect with it, and that was the important thing.
Barbour very intelligently used the same girl on the cover of Lost in Dreams. That in and of itself was appealing, and it helped to tie those two books together. Kim’s wistful look was perfect for a story that started out extremely seriously.
Although the way LPC depicted Gus on the original cover of The Devil and Pastor Gus was whimsical and clever–I can just hear Gus thinking, “Is this plan to defeat the Devil going to work?”–the cartoon-ish depiction of a stereotypical devil on the upper right not only didn’t fit the book’s depiction of B.L.ZeBubb, we know of people who were afraid to buy the book because of the cover. Not good.
LPC realized the need to try again, and the new cover is immensely more satisfactory. Although I’m not sure exactly what this night-time view of the church represents, it’s intriguing without being scary, and I’m satisfied. I think the addition of those two lines of text at the top helps.
For Rosa No-Name, the prequel to Found in Translation, a novel I’m independently publishing, I knew I would need a professional cover. Not something I could do myself. So I got in touch with graphic artist Ken Raney, who’s done a number of excellent book covers, including some of his wife’s (popular women’s lit novelist Deb Raney).
My wife and I sent him a list of very specific suggestions. Although Ken couldn’t fit those ideas to any stock photos he could find, he sent us four or five photos to consider. We fell in love with two of them. Picking the right one was tough.
But since Rosa No-Name is a fictitious memoir about Rosa from age sixteen to twenty-nine, we thought the more mature Rosa would be the better choice. She looks like she’s actually thinking about her past, and we love that.
Everyone we’ve talked to loves Ken’s cover . We hope it will make people take a second look and hopefully read the description. And then buy it if it appeals to them. We want them to judge Rosa No-Name–initially at least–by its cover.
How do you feel about book covers? Do they make a difference in your buying…or at least in your considering buying? How about leaving a comment?
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