If a picture’s worth a thousand words, a book cover’s got to be worth at least forty to a hundred times that, if it’s going to sell what’s inside.
According to Para Publishing, “everyone judges a book by its cover,” and their statistics cite a Wall St. Journal study that reveals that bookstore browsers spend eight seconds looking at the front cover and fifteen seconds looking at the back. Yet the trick is usually getting readers interested enough to pick up the book in the first place.
As many of you know, Forgetting English was reissued last year with a gorgeous new cover.
What most of you don’t know is that I was madly in love with another cover image before falling in love with this one. That first cover was exotic and mysterious and beautiful, in a way completely different from the one above. But we ran into a permissions issue and had to let it go.
Naturally, I thought I’d never fall in love again. My kind and patient publisher, Kevin Morgan Watson of Press 53, assured me that I would.
And I did. Now, I can’t imagine my book having a cover other than the one above.
Below is the first edition of Forgetting English, the cover of which went through several dramatic makeovers (different type styles, different colors, different layouts, with the Gauguin painting the only thing that didn’t change) before turning out like this.
While I’m partial to my new book cover, I’ll always have a fondness for this one — my ex-book, if you will. Going through this process not once but twice was interesting; I think authors (not to mention readers) react to a cover much the way they do to people they meet: There’s an instant connection, or there’s not. A good publisher and book designer understands that and looks for an image conveys what’s beneath the cover as best it possibly can.
Check out this book design case study, featuring Erika Dreifus’s wonderful book, Quiet Americans, which takes us through the steps a book designer goes through in preparing not only a cover but the interior design.
Most authors, unless they publish with a small press, don’t have a say in what their book covers look like (or, they attempt to have a say and are ignored or overruled). For my first book, while the Gauguin painting featured on the cover is one of my favorites, its South Pacific feel evokes only one story in the collection, and I didn’t feel it was a good fit. While I’d already sent along a few cover ideas and even several images, someone had already secured permission to use the art, and there was no room for debate.
When my book was reissued, I was thrilled to work closely with Kevin at Press 53 to find a cover that we both thought was perfect for the book. He understands, as good editors, agents, and publishers to, that while the publisher knows how to best market its books (and is footing the bill for book design, no less), the author also has a valuable contribution to make — and an author who loves his or her book cover will be all the happier to promote it.
For more insights on authors and their book covers, check out this piece in The Awl featuring six writers on book covers and marketing; it’s fascinating to hear from authors who either love or hate their covers, who were consulted or not, and how they approach the strange process of getting blurbs.
When all is said and done, when it comes to our book covers, we authors have to be flexible. If our books are our “children,” as the comparison often goes, we have to let go just as parents do: Parents, after all, never know exactly how their kids are going to turn out. And they love them all the same.