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Cover art may be the toughest task facing self-published authors. Last weekend, Andy Carpenter (ACD & Co. principle and former VP & Art Director St. Martin’s Press) and Eric Baker (design director of O Design and The Design Observer contributing editor) shared some cover design resources for self-published authors.
GalleyCat prowled the floor of the Self-Publishing Book Expo last Saturday. We picked up some book pitching tips and encouraged self-published authors to enter our ongoing Book Pitch contest–a chance to win a free ticket to the eBook Summit in December.
At the Expo’s “Design and Illustration: How Your Cover Can Sell Volumes” panel discussion, Baker and Carpenter shared a list of public domain image collections and other book cover resources that self-published writers can use. “When you self-publish, it behooves you to dress up your book as much as possible,” Carpenter reminded the audience. The complete list of resources follows below.
Here's more from the journal: " Gull, born in Peshawar, has been painting since the age of thirteen. Twenty-two years ago he settled in Karachi, where he now teaches his craft to two young apprentices. In addition to trucks and buses, Gull decorates buildings and housewares and has worked for several consulates in Karachi, as well as traveling to Kandahar, Afghanistan to paint trucks there. Commissioned with the assistance of the British Council in Karachi, Gull produced two chipboard panels to be photographed for the magazine's cover, using the same industrial paints with which he embellishes Pakistani trucks."
Simon & Schuster has unveiled the cover for journalist Bob Woodward's forthcoming book, Obama's Wars. The 441-page tome will hit shelves on September 27th, Wooward's 16th book.
Here's more from the release: "Working behind the scenes for 18 months, Woodward has written the most intimate and sweeping portrait of Obama making the critical decisions on the Afghanistan War, the secret war in Pakistan and the worldwide fight against terrorism. Drawing on internal memos, classified documents, meeting notes and hundreds of hours of interviews with most of the key players, including the president, Woodward offers an original, you-are-there account of Obama and his team in this time of turmoil and uncertainty."
The cover image is embedded above. In addition, The Washington Post will publish excerpts from the book on the week of publication.
The Penguin imprint Grosset & Dunlap released Dick and Jane and Vampires this month, bringing the mash-up trend to children's books. We caught up with Penguin designer Megan Bennett to find out how they created more than 80 mash-up images for the book.
Bennett explained: "This book was truly a collaborative project. After the author, Laura Marchesani, had brilliantly reinterpreted text from the original Dick and Jane stories to fit the addition of Vampire to the plot, it was my job to see that the illustrator did the same with the addition of Vampire into the illustrations. Laura and I worked together, using her manuscript, to compile the art suggestions for each story.
She added: "Then, I amassed a sort of digital library of original Dick and Jane illustrations from the previous stories that would be used in this book. This library was passed along to the illustrator, Tommy Hunt, with the illustration suggestions."
Yesterday we mentioned the recent episode of Bravo's Work of Art, in which contestants competed to see who could design the best book cover for selections like Frankenstein and Alice's Adventures in Wonderland. The winner was contestant John, for his futuristic pineapple. But today we're going to look at the runner up, Nicole, who appears to have created a design for Alice that really could be a book cover--and, in fact, is.
John C. Ford, an author and GalleyCat reader, points us to a book by Heidi Durrow called The Girl Who Fell From The Sky, which shares some key characteristics with Nicole's entry. Ford explains on his blog: "I'm loathe to speculate too much here, as I have no idea how the Bravo contestant came up with her design, how she executed it, or even when the episode was taped. Yet, at first glance, it would appear that the two designs share significant similarities. The female form in the Alice cover [pictured on the left] is facing the opposite direction, does not appear to have braids, and seems to have her legs positioned differently. But at the conceptual level--a stark, silhouette image of a female form falling in free space--well, they appear nearly identical."
It's a stretch, but he's got a point. Again, there's simply not enough to call foul play--people use silhouetted girls in art all the time. If she did copy the Durrow book cover, she's guilty of being lazy. And if she didn't, then she's guilty of unoriginality. What's worse?
Two Jersey Shore castmates landed a book deal yesterday and we joked: In this celebrity-obsessed publishing environment, could reality TV shows replace creative writing MFA programs? Then, we uncovered the sobering video clip embedded above--a book cover shoot featured inside a reality TV show.
The Bravo reality show Real Housewives of New York City recorded that book cover shoot for Jill Zarin. She's a member of the Housewives cast and co-author of Secrets of a Jewish Mother: Real Advice, Real Stories, Real Love. The reality TV star co-wrote the book with her mother and sister, both celebrities as well.
Here's more about the book: "In what could be thought of as the Jewish Mother's Guide to Life, Jill Zarin, the breakout star of Bravo's hit series, The Real Housewives of New York, teams up with her sister, Lisa Wexler, award-winning host of daily radio program The Lisa Wexler Show, and her mother, the estimable Gloria Kamen who made a splash on Jill's series last year. Secrets of a Jewish Mother shows readers that being clear about what you want is the best policy, and standing up for yourself and your family is always the right way to go."
Today part-time book designer Charlie Orr launched a unique project--designing a hypothetical book cover for a book that a well-known author will never write. "I ask authors to imagine a book that they could, or might want to write, but never actually will, then write a description of that imaginary book. Then I design a cover for it," Orr explained.
Here's the jacket copy for McCann's imaginary book: "In the 17th Century vast numbers of Irish men, women and children were forcibly transported to the American colonies by the British government. In this spectacular reinvention and examination of history, Colum McCann goes to the heart one of the great untold stories of our times as he follows a group of Irish indentured servants on their voyage to the West Indies, their plight on the Atlantic seas, their subsequent serfdom and their eventual liberation on the wave of a bloody revolution. This is a gripping portrayal of another century, another continent, another loss, told in McCann's unique trademark prose, simultaneously stripped down and lyrical."
Joseph Conrad, Ernest Hemingway, Franz Kafka, and other smoking hot authors are coming to a cigarette pack near you. But these literary lights won't need a Surgeon General's warning.
As the rest of the world debates price points for digital books, Tank Books is wrapping print editions of classic stories in some innovative packaging--a cigarette pack that fits easily inside your pocket or purse. The site made this GalleyCat editor remember his younger days as a literary smoker, and we heartily endorse this healthier alternative.
Here's more from the site: "The flip-top cigarette pack is one of the most successful pieces of packaging design in history. TankBooks pay homage to this iconic form by employing it in the service of great literature. We have launched a series of books designed to mimic cigarette packs--the same size, packaged in flip-top cartons with silver foil wrapping and sealed in cellophane. The titles are by authors of great stature--classic stories presented in classic packaging; objects desirable for both their literary merit and their unique design. The complete set comes in a stunning tin--perfect as a really original gift." (Via AgencySpy)
After a week of digital book news, it's time to look at some good old fashioned print book covers. Over at Vintage International, artist John Gall was hired to create new covers for the Vladimir Nabokov backlist.
To celebrate the event, the Vintage site is sponsoring a small contest. Readers can pick a favorite cover and explain why in the comments section. The winner takes home a copy of their favorite book.
Here's more from the site: "As an homage to the author's love for collecting butterflies, each cover was created using pins, paper, and butterfly boxes. Below, see them in all their glory. Click through for larger images. And just for fun, tell us which is your favorite! Then leave a comment with your reasons why--the most original argument will win a copy of the book they've chosen."
Amazon.com's Omnivoracious blog has launched a poll asking readers to choose the best book covers of 2009, in categories ranging from fiction and nonfiction to "classics reimagined" (seen above) and "famous faces." The initial reaction from their readers is somewhat tepid; "is this the best you can do?" asks one reader. "I could pull ten more interesting book covers from 2009 off my personal library shelf and I don't even read that much."
You may recall that we love finding out why a book cover changes between the ARC and the published edition, so when we met playwright Victor Lodato at the launch party for his debut novel, Mathilda Savitch, a few weeks ago, we came prepared to ask him about the switch Farrar Straus Giroux made with his dust jacket.
"I met with the art department at FSG, and they were very open to my ideas," Lodato said of the cover selection process. "I mentioned a number of things, but I said that I really like silhouettes, and I mentioned that I thought something that looked like a strange storybook for children would really work." The art department came up with the illustration at left (which is still being used on certain European editions, hence the "Roman" tagline in the middle). "Both my editor, Courtney Hodell, and I thought this was a great cover," he recalled, "but maybe it just needed to be... sexier in some ways. It was a little cold. So they wanted to play with some other ideas."
Lodato spent two days looking through art books at Strand Books until he came across a copy of Travelers, a collection of photographs of snow globe sculptures created by Walter Martin and Paloma Muñoz. He brought the book to Hodell, and says she was as enthusiastic about the images as he was; FSG finally settled on "Traveler 48 at Night" for the final cover image.
Lodato explained that he still liked both covers, that they were both relevant to the novel's story of a young girl's journey into the underworld to find answers to her questions about her older sister's death. "I like the playful interpretation of this child going on a frightening adventure," he says of the original, "but this one..." He moved on to the final cover. "The novel's about a child alone in an emotionally frozen landscape, and she's trying to figure out lots of things, from where her sister went to death in general. And this just seemed very resonant to that." (New Yorkers can judge for themselves when Lodato reads from Mathilda Savitch at KGB Bar this Sunday [Oct. 25] at 7 p.m.)
We're hard-pressed to pick either one as "better" than the other, too—but what do you think?
When OR Books announced itself this summer, we were curious to see what publishing books with "a distinctive progressive edge, reflecting the new era of the Obama presidency and the economic and environmental challenges it faces," would look like. We could have looked to co-founder John Oakes's background as the former co-publisher of Nation Books, as Nation senior editors Richard Kim and Betsy Reed have assembled an essay collection called Going Rouge: Sarah Palin: An American Nightmare which OR will release as an ebook and trade paperback perfectly timed to compete with Sarah Palin's Going Rogue: An American Dream.
Among other Nation regulars showing up in the collection: Katrina vanden Heuvel, Patricia Williams, Jim Hightower, Joe Conason, and Katha Pollitt ; Salon is also well represented, as Rebecca Traister and Michelle Goldberg contribute pieces.
Janice Harayda thinks the cover to Dan Brown's The Lost Symbol is a "copycat" of Rhonda Byrne's The Secret. What do you think? Are the covers too close for comfort, or is Harayda reading too much into a pair of crimson wax seals?
Harayda goes on to point out how aspects of the "noetics" Brown talks about in his novel bears similarity to the "law of attraction" from The Secret, but we're willing to chalk that up to the fact that there's only so much New Age philosophy to go around.
Yale University Press has changed its logo after nearly 25 years, perhaps, as UnBeige reports, as part of a larger project to bring the press and the university together under a single brand identity. Not everybody likes the switch, though—so if you follow the link through, you'll see the "compromise version" that designer Chris Rubino created. We liked it, at any rate; what do you think?
Over the years, we've had a lot of enthusiasm for the Penguin Classics covers by comic book artists, but we're especially impressed with the forthcoming 25th-anniversary edition of Don DeLillo's White Noise, featuring artwork by Michael Cho and design by Penguin's Paul Buckley. "I am a DeLillo fan," Cho told us when we emailed him earlier this month after seeing the front cover reprinted in the Penguin catalog, "and White Noise was actually one of my favourite books when I was a teen... No joke—I was actually reading Libra when I got the call from Penguin."
"Paul was very generous," Cho continued, "and I was given complete freedom to come up with the concept, including both the front and back cover, the spine, and the french flaps." You can see the complete design as well as all the other Penguin Classics comics covers (including gorgeous Tony Millionaire artwork for Moby Dick), but we're going to pick out a few of the "comic book panel" images from the flaps, too, so keep reading...
First off, all due honors to Alex Balk for spotting the horrible new Twilight-inspired cover art for Wuthering Heights and writing about it at The Awl. We confess, the intense horror of nightmare came upon us when we gazed upon that wretched, wretched cover, but, as a friend pointed out yesterday, that was only half the story... because what the British division of HarperCollins got so horribly, horribly wrong, the American division actually managed to get right.
Here's the thing: If you're going to imitate one of the most distinctive book cover themes of the last five years, you should at least do it accurately. What's most wrong with the UK cover of Wuthering Heights is where it deviates from the Twilight model: ugly typeface, tiny ugly flower, and an ugly background that isn't sheer black. Now look at the American version: The typefaces are sleeker, and the flower is properly sized and photographed in the same vaguely unsettling way. The American version even has the same taglines—"Bella and Edward's Favorite Book" and "Love Never Dies"—as the British edition, but they look better here. (We still aren't thrilled with the "Bella and Edward's Favorite Book" badge, but it's not as awful, at least.)
Of course, this doesn't resolve the question of whether Wuthering Heights even needs what Balk calls "a fresh vampirey makeover." But we'll see what happens when American bookstores get the new edition later this season...
Earlier this month, we looked at some upcoming books where the authors and publishers are clearly hoping to get caught in Dan Brown's wake, as they explore themes of Freemasonry and American history that are generally assumed to be important thematic elements in The Lost Symbol. So when a new Tarcher/Penguin edition of Manly P. Hall's The Secret Destiny of America (combining two texts from 1944 and 1951), we couldn't shake a weird feeling of déjâ vu, but we figured it was purely thematic—until we got home and took another look at the cover to Mitch Horowitz's all-new Occult America: The Secret History of How Mysticism Shaped Our Nation, one of the books in our initial item. Both covers prominently feature, against a vellum-like background, the image from the Great Seal of the United States popularly known as "the eye in the pyramid," which has the more esoteric name of "the all-seeing eye" or "the Eye of Providence."
As it happens, Horowitz is also the editor in chief at Tarcher, so we asked him about the situation, and he emailed back to remind us that, while the house may be selling Manly P. Hall a bit more overtly than usual as Dan Brown's publication date nears, this particular cover design for The Secret Destiny of America has actually been in use for some time, and he assured us that no similarity was intended between the cover of that book and his own. "I encouraged using the eye-and-pyramid on the jacket to Occult America since that image is so perfectly suited to the subject and is discussed in the book," he explained. "It's one of the most alluring images in American history."
(And it's true: If you're going to write about occult-tinged versions of American history, you're going to wind up talking about the Great Seal of the United States at some point.)
Horowitz added that the two covers used different versions of the Great Seal's eye-in-pyramid imagery (we've blown the two elements up so you can see for yourself, and "beyond that," he said, "I felt that other elements were significantly divergent." Given all the additional imagery on the Occult America jacket, that sounds reasonable to us... but we can't help wondering if we're going to be seeing the Eye of Providence again before this bookselling season is over?
catalog arrived a few months ago, we were intrigued enough by the cover art for Hammer: A Novel of the Victorian Underground to peruse the description and decide we wanted to see what sort of story Sara Stockbridge had come up with for her debut. Who was this woman with all the jewelry and trinkets? What was that man whispering in her ear? Why were those children standing in the background? So we put in a request, and when the ARC came, there was a note attached saying the cover would change, which we didn't think about any further until a finished copy showed up last week—and not only had Norton replaced the illustration with a photo montage, they'd gone and changed the name of the book to Grace Hammer.
What we had seen in the catalog was the cover used for the original British edition, published last year by Chatto & Windus, Jill Bialosky explained to us yesterday afternoon. Bialosky had seen that cover shortly after she acquired the book for Norton; "I was intrigued by it," she said. "It was a very different approach than what we had been considering." The character of Grace Hammer and the group of young pickpockets she'd gathered around her in 1880s London was one of the primary attractions of the novel for Bialosky and her colleagues, and they were drawn (no pun intended) to the way the British cover art brought those elements forward.
The initial reactions from American booksellers, however, were not enthusiastic, and Norton began to reconsider whether the original art was best suited to reach the readership they were after. Bialosky thought back to another of her authors, the late Michael Cox, and the way the covers for The Meaning of Night and The Glass of Time had used visual elements to convey an aura of Victorian-era mystery and suspense; after designer Greg Mollica combined images of a street and a woman in 19th-century clothing, Norton took another look at the title—"it seemed to us that we should soften the title," Bialosky concluded, "that Hammer seemed a little too severe."
And thus Grace Hammer was sent out into the world.
When the finished copy of Beg, Borrow, Steal, Michael Greenberg's collection of autobiographical essays, turned up in our mailbox last week, it felt uncannily familiar to us, so we went digging into the stacks of review copies surrounding our desk until we came up with The Late Age of Print, Ted Striphas's consideration of the continued relevance of the printed book which came out earlier this year.
Both covers use images from the work of Cara Barer, who has been "attempting to blur the line between objects, sculpture, and photography" for at least the last half-decade, based on the sampling from her online portfolio—which offers a lot more opportunities for art directors to sample her wares. Or have you seen Barer's handiwork on other tomes already?
The main focus of the article, as it happens, is how Sum appears to be doing much better at Amazon.com than at walk-in bookstores, and Pantheon's subsequent decision to reissue the book with a new dust jacket, after determining that the original cover art made potential readers think it was "a ghost story or a work of science fiction" (as opposed to a work of literary fiction comparable to, in one reviewer's estimation, Italo Calvino or Alan Lightman). We're not 100% convinced by the new cover—our first impression is that it goes too far in the opposite direction—but as we poked around the Internet, we found ourselves charmed by the cover Canongate created for the British edition of the book. (And, we realized, Pantheon's problem could've been much worse; not only is the German cover unexciting, the book has been retitled Nearly in the Other World: or, Why God Reads Frankenstein.)
Then again, we're not the only, or even the ideal, book buyers in America: What do you think of these three covers? Which one would get you to pick up the book and take a look inside?
To celebrate the 25th anniversary of his arrival at G.P. Putnam, employees rallied to design a one-of-a-kind book jacket for editor-in-chief/publisher Neil Nyren. The jacket flaps offer tribute to "[the] master architect of the imprint with the most bestsellers in the publishing industry," along with back cover "blurbs" from the likes of John Sandford and Esther Newberg. "Any aspiring New York Times bestselling author who has not yet been edited by Nyren," the flap copy closes, "should take a number."
You can see the complete cover art for The Nyren Factor thanks to one of his authors, James O. Born. Nyren emailed us to report that the jacket was in fact wrapped around a book, with custom stamping on the binding and blank pages that we suspect will be filled with inscriptions as his authors filter through his office in the days and months to come.
We really don't have much to add this chart, which appeared on Orbit Books publisher Tim Holman's blog yesterday. It is what it is—a compendium of the visual elements found in the covers of fantasy novels published by the largest players in the American sci-fi/fantasy scene in 2008. "The most commonly seen element appearing on fantasy books published last year was, it seems, the sword," Holman observes. "Closely followed by glowy magic, castles, and dragons. I suspect a few covers contained all these elements. Meanwhile, fans of unicorns, maps, and stilettos had a disappointing year, and perhaps were lost to other genres."
It's going to be interesting to see how Orbit art director Lauren Panepinto works a sword into the cover art for Across a Trembling Sea the Cyborg Fairies Dance, that's for sure. (Oh, you hadn't heard about that? Basically, Orbit solicited title ideas for the "most awesomely bad" science fiction/fantasy cover art imaginable, and that's what fans came up with; the artwork that can live up to the promise inherent in that title is under development.)
"The publisher's in-house design team, a few freelancers, and I have been working on tons, and I mean tons, of different cover options. This means that there is a distinct chance we might have tried concepts you might try. Please don't assume we stole it if things look similar. It's not in my best interest to screw anybody, and it'd be idiotic to do it so publicly. That's not how I roll."
But, just in case, entering the competition basically entails a promise not to sue Ferriss or his publisher.
Anyway, various designers criticized Ferriss for basically asking them to give him free samples, to which Ferriss replies, "If you don't participate by submitting, it is impossible for me to exploit you." Fair enough... but then Eric Karjaluoto comments from the sidelines, suggesting that, although Ferriss claims "to help people live their best lives through efficient use of time," this crowdsourcing competition "individually squanders the time of many hundreds, and perhaps thousands, of people." To Karjaluoto, the whole thing smacks of a buzz-building stunt from a canny operator who's "pretty good at seeming like a misunderstood nice-guy... [and] abusing his 'micro-celebrity' status at the expense of those just getting started in their careers."
Publisher’s Weekly broke the news the Bloomsbury has decided to change the cover for Justine Larbalestier’s novel, Liar.
Based on my previous post, Judging a Book By Its Cover, it’s interesting that Bloomsbury invested money to change this book jacket and not keep the “whitewashed” cover.
I must say that I’m surprised that they chose to go with a similar cover. I thought that they would just go with maybe an abstract cover without a cover model.
Will this cover satisfy everyone? Probably not. But it is a major improvement from the original. Plus, I really want to read this book and now I can go into the bookstore and support Justine L. and not feel like I’ve condoned the decisions behind the original cover.
Will this automatically make all the other problems in publishing concerning these types of issues go away? No. But I think we are seeing a watershed moment here. Things CAN change. And for me, that’s GREAT progress. However, this also means we must be diligent and voice our displeasure over issues such as these.
When YA fantasy author Justine Larbalestier gave her fans a first look at the American cover for Liar, back in April, she was understandably excited: "This cover was so well received by sales and marketing at Bloomsbury that for the first time in my career a cover for one of my books became the image used for the front of the catalogue," she blogged. "Apparently all the big booksellers went crazy for it. My agent says it was a huge hit in Bologna. And at TLA many librarians and teenagers told me they adore this cover."
The love, however, is not universal. Earlier this week, an unnamed "outraged, nauseous, [and] flabbergasted" children's book editor blogging at Editorial Anonymoustook issue with the cover, noting that Liar is about a young girl who is "black, with very short hair, and is mistaken for a boy early on in the book by teachers and fellow students," which is pretty much the exact opposite of the model who has wound up on the dust jacket. "I wish I could say I can't imagine what they were thinking," this anonymous editor writes, "but in fact I do have a guess. I just can't imagine why they thought no one would notice." (We've inset the original Australian cover of the novel for comparison.)
As Alicia, a YA librarian blogger, frames the question: "Did the publishers not want to put a black girl on the cover for fear of not selling enough books to their white customers? Or is the cover supposed to be what Micah really looks like, and her description in the book is just another of her lies?"
To address these complaints, Larbalestier has written a new blog post, revealing that she fought that cover every step of the way: "I never wanted a girl's face on the cover," she says. "Bloomsbury has had a lot of success with photos of girls on their covers and that's what they wanted. Although not all of the early girl face covers were white, none showed girls who looked remotely like Micah. I strongly objected to all of them. I lost."
"No one in Australia has written to ask me if Micah is really black," she says of the earlier cover for the book. "No one in Australia has said that they will not be buying Liar because 'my teens would find the cover insulting.' Both responses are heart breaking." But, she continues, she's not alone in finding her fiction "white-washed" by her publisher:
"Editors have told me that their sales departments say black covers don't sell. Sales reps have told me that many of their accounts won't take books with black covers. Booksellers have told me that they can't give away YAs with black covers. Authors have told me that their books with black covers are frequently not shelved in the same part of the library as other YA—they're exiled to the Urban Fiction section—and many bookshops simply don't stock them at all."
"Are the big publishing houses really only in the business of selling books to white people?" she asks. "That's not a very sustainable model if true... I hope that the debate that's arisen because of this cover will widen to encompass the whole industry. I hope it gets every publishing house thinking about how incredibly important representation is and that they are in a position to break down these assumptions." Starting, perhaps, with a new cover for the paperback edition featuring "someone who looks like Micah on the front."
Cover art may be the toughest task facing self-published authors. Last weekend, Andy Carpenter (ACD & Co. principle and former VP & Art Director St. Martin’s Press) and Eric Baker (design director of O Design and The Design Observer contributing editor) shared some cover design resources for self-published authors.
Today part-time book designer 
After a week of digital book news, it's time to look at some good old fashioned print book covers. Over at Vintage International, artist 
Over the years, we've had a lot of enthusiasm for 
To celebrate the 25th anniversary of his arrival at G.P. Putnam, employees rallied to design a one-of-a-kind book jacket for editor-in-chief/publisher 
Over at UnBeige, mediabistro.com's design blog, co-editor 
Publisher’s Weekly broke the news the Bloomsbury has decided to change the cover for Justine Larbalestier’s novel, Liar.
The love, however, is not universal. Earlier this week, an unnamed "outraged, nauseous, [and] flabbergasted" children's book editor blogging at Editorial Anonymous 