A good cover can make or break a book, especially for on-line buying. In a bookstore, most books are racked spine out, so author name sometimes means more. Readers can pick up your book, thumb through, get a feel for story and writing and then decide. On-line, readers see your cover. It has to say, “buy me, I’m a good book” to the reader. If it doesn’t, why would they take the time to possibly download a sample, or even look at product description? The changes in publishing have given the author many great opportunities and self-publishing is a viable option. However, self-publishing requires the author to make a few major decisions, and one of those decisions is cover.
You have a couple of options. You can do it yourself or your can hire a cover artist. There are many programs out there to choose from. There are many do it yourself programs, free programs, even programs that come with your computer that can create cover design. Even Word has the capability of designing a basic cover, but will the cover be good enough to invite the reader in? The question you have to ask yourself is it worth your time and energy to do it “right”. Hiring someone to do your covers can run as low as $50.00 and as high as $600.00.
This is not an easy decision, especially when you factor in other costs that go into making an eBook available to the reader. We made the decision to invest in the proper tools to do it ourselves because we had the design background, and the technical ability. We purchased the complete InDesign package from Adobe ($1,299.00) partly for the ability to create covers for on-line purchasing, but also because it made it much easier to create the full-jacket cover for our print-on-demand books and for web design.
Even with the proper tools we made a few cover mistakes along the way.
Publishing Mistake #1: Always Judge a Book by its Cover.
This cover sucks. Actually, every single one of the original Atlantis Covers was a disaster except for Assault on Atlantis, which remained almost identical as the original. So why does it suck and why did it make sense to change?
First. It’s too dark. I don’t mean color scheme because you can have a black cover that isn’t bad, but this cover lacks contrast. The color scheme is too similar. The letters and background blend together. If you have a dark background, you want letters that stand out. If you have a light background, you want letters that will pop.
Second. Do you know what the object is in the background? I know Bob does. I’m not going to tell you. You all can guess. Though, if you read the book, you probably know. Point is, what does this cover mean to the reader? I say this cover almost says pass me by.
Third. Logo. Wow. What were we thinking? I know we thought we were being brilliant when we put our very first logo on all our covers for them to stick out like a sore thumb. For those observant readers, you will notice here at Write It Forward we now have a new header. That look will be added to the Who Dares Wins Publishing website. I’ll get into that change in another publishing lesson. The point here is that the logo adds absolutely nothing to the cover. As a matter of fact, it takes a way from the already bad cover, making it worse.
If you were in traditional publishing it would be too bad, suck it up, go promote it’s the only cover you’re going to get. If you had hired someone, you’re be paying them to redo it. If you did it yourself, you’d be redoing it.
So what is best? I recommended if you don’t have the knowledge of basic design and design programs (for example how layers work) then hire someone. It’s why I do the covers and Bob doesn’t.
Publishing Correction #1.
First. It has contrast. The color of the letters, while still complement the background, are bold and pop of the page. The background is vibrant and alive. It’s inviting. It doesn’t look dark and drab and boring. Yet, it is a very simple cover. Simple is often better.
Second. The cover says something about the book. Actually, it says something about the entire series, which involves the Bermuda Triangle, the Devil’s Sea and other strange and eerie places. It invites the reader to take a look inside and see if they are interested in the content. This is critical regardless of whether you are in a store thumbing through all the books in this particular section, or browsing on line trying to find a good read. A good cover can make or break you. We found when we changed the cover, our sales improved.
Third. No distracting white rectangle that means nothing to the reader.
While editing this post, I realized this cover still has one minor flaw. Every thing is centered. We’ve learned that alignment is another aspect you need to consider when designing a cover. Is it time to change it? No.
Publishing Lesson #1.
There is a time when it’s best to leave well enough alone. For a long time the first cover was it. It wasn’t until I had finished with the 6th and final cover in this series that we realized we had a problem. Not all of the books were in print at that time. We knew that it would cost us to make the upgrade and the book had already earned out and beyond. Our business had grown and we had a different set of tools to work with, specifically InDesign by Adobe which allowed me to create covers that I didn’t have the capability before. After much discussion, we began the revamping process. It took at least 6 more tries before we got to this one. Change was necessary, and unlike traditional publishing when it comes to covers after book release, non-traditional publishing allows us to make this change. However, timing is important as well as not rushing things. We had to get it right, and this time we did.
This brings me to a question for all our readers out there. The Bodyguard of Lies cover has gotten some negative feedback. Some readers thought the cover was boring. Too simple. We were aiming for simple and we wanted it to match the Lost Girls cover, which so far, I haven’t heard anything negative regarding Lost Girls. So my question to you is, is it time for us to change this cover? Don’t hold back. Tell us what you think.
Write It Forward!
Over the years, as I’ve learned more about the craft of writing, I’ve revised my process for writing a book. Honestly, way back when, in days of yore, when I was living in the Orient studying martial arts and started writing my first novel because other than getting beat on 8 hours a day, I still had some time to kill, I had absolutely no clue what I was doing. I’d never taken a creative writing class, attended a workshop, a conference, read a book on writing, had a mentor. Nada.
But I had read. A LOT. I read so much growing up in the Bronx, that I had to go beyond our local library branch and find a larger one, because I’d read my way out of the local one.
So I simply regurgitated every thriller I’d read in writing my own thriller. I didn’t even know I was doing that. My subconscious brain had the flow of a thriller and a novel imprinted on it so many times, that I was able to basically mimic all I’d read.
What I’m finding to be a very valuable practice now, is to look back at some of my old books and try to reconstruct, with my present awareness, what exactly I did in writing those books. Both good and bad. Also, both in craft and business.
The one thing I can remember about every single one of the 50 or so manuscripts I’ve written is what I call the Kernel Idea now, but used to call the Original Idea. This was the moment of conception of the book. Let me give you an example of examining process in retrospect and how it helps me now.
I was in the midst of writing my Area 51 series, which had taken off at Random House. I was doing a lot of research on mythology, ufology, legends, pretty much every far out thing I could find. And I came across a mention of Atlantis.
I’ve always been fascinated by myths and Atlantis is one of the oldest. I delved deeper and found there was only one true source mention of it: by Plato in his dialogues. Everyone else was riffing off that.
So that was the moment of conception of my Atlantis series: What if Plato was talking about a real place? And what if the force that destroyed Atlantis came back to threaten our modern world?
So that’s idea. What about story?
I was also taking a graduate course in physiological psychology. In the bicameral mind (The Origin of Consciousness in the Breakdown of the Bicameral Mind—not a beach read) the two sides of the brain mimic each. But there’s one part, on one side, that doesn’t mimic the same part on the other side—in fact, no one is quite sure what it does.
So. Now I’ve got Atlantis. The brain. And military last stands. Yes, my mind has some weird parts in it too. I’ve always been fascinated by them. But what if they could serve some higher purpose and be connected to a priestess who has a brain that’s different and that area that no one knows what it does—it does something, but only in connection with the spirits of warriors fighting in a doomed battle—do you see how a writer’s mind works? So I ended up with Custer’s Last Stand, Isandlwana, Pickett’s Charge, the 300 Spartans, a gladiator in the shadow of Mount Vesuvius in 79 AD—all eventually were woven into the main storyline. And, oh yeah, I brought Amelia Earhart back from the dead. Three times I think. Well, not back from the dead, but from parallel worlds where she was still alive.
Is your head hurting? Isn’t this fun?
I ended up with a six book series, under a pen name, that my friend, Terry Brooks, loved for some reason. Maybe because he does elves and his brain, well, it’s out there too. The series also sold a lot and is now back in print under my name and my Area 51 pen name, Robert Doherty.
But in retrospect, what did I do wrong and what lessons can I take from that?
- I didn’t consciously know the theme/intent of my series. What message was I sending? It came out eventually in the writing. But you can do a lot better if you consciously know it before writing.
- I didn’t know who the true antagonist was. For the first book it was enough that there was this Dark Shadow coming through ley line gates into our world and doing bad things. But who was the Dark Shadow? What was the plan? WHY were they doing this? Honestly, I didn’t take the time to figure it out before writing first book. I was too excited about all those things bubbling around in my brain. Ever start writing a book too fast? Without having all the pieces you need?
- Point of view. I’m not sure I really knew what POV was back then. I wrote a mixture of third limited and omniscient, without really knowing. I’d go to omniscient whenever I shifted away from my protagonist or a few other main characters. I don’t think it was a major problem, but I could have handled it better by locking down. Into omniscient. Jenny Crusie is the one who schooled me on strict POV.
- I didn’t plan a series. After my experiences with Area 51 and Atlantis my recommendation is this: trying to write a multibook series with a story arc covering the entire series is hard as heck. Because each book has to do two things: carry the series arc; and be a complete story by itself.
- And you have to write each book to please two readers: the series reader who started at book one, and the other reader, the one who picks up book three and wants a good read. The letters from my editor drove me insane: too much info here for series readers; not enough explanation here for stand-alone readers. I swore I would never write a series again, so, of course, I’m doing final edits on 55, a novel of the Civil War that starts in 1840 and goes to the Battle of Shiloh in 1862. Book two will pick up there. ARGH!! BTW: 55 refers to the fact that in the Civil War, in the 60 major battles, West Pointers commanded both sides in—guess how many?
- Pen names. I’ve written under five over the years. The problem is that scatters your audience. I couldn’t really have done it different back then because of contracts. I picked Donegan because it was close to Doherty, which was my Area 51 pen name. But now that I’m bringing backlist out, it’s a bit of a problem at times.
- Genre. Area 51 was racked in science fiction because there’s this flying saucer on the cover (which isn’t in the book). Atlantis was racked mainstream, because the publisher couldn’t figure out what genre it was. We called it X-Files type, Michael Crichton type. I was quite proud I’d invented a new genre: TechnoMyth. It does not seem to have caught on. For writers, being able to find your niche and focus it is key to marketing.
- On the plus side, five years after the first Atlantis was published, this TV show called LOST came out. About halfway through the first season I had contacted a lawyer and asked about intellectual property. There were exact scenes, concepts and characters from my first Atlantis book in that first season. I learned you can’t really protect intellectual property. On the bright side of that, though, I used Lost as a marketing platform to re-launch the series and I believe that’s what’s made it our #1 selling title. (BTW, Abrams is also behind Super 8 coming out later this year, which is about Area 51. Hmm).
Overall, the main lesson is to learn lessons. Everything that happens can be both an obstacle or an opportunity. As far as craft goes, get all the good stuff out of your subconscious brain and into your conscious brain.
And here’s the real kicker, which you’ll see as I do more of these posts intermingled among other Write It Forward posts in the coming months: the more you consciously know about writing, the harder it gets. You can’t wing it any more. You have to do it right!
Write It Forward.