04/09/2024 UPDATE: Did you see the reel based on this (very briefly)?
Now only the actual article. . .
It isn't easy figuring out your book cover. For independent authors, there's a lot of behind-the-scenes kerfuffle. From budgets to hiring talent to just knowing what it is you want; and that's without acknowledging the cosmos elephant of want ≠ need.
Sure, some lucky author gets struct with distinct vision for the odd project--that actually works. But more often than not, it ain't so. Stars take a bit of nudging to align, yeah?
Industry rule of thumb tends to lean into "Same but different".
A practice where some creative director or author or talent will look at their project's genre, note what's leading, and slot their own variation into the trend cycle. The point isn't to disrupt, but to get swept up in the wave. They're hoping those readers burning for trending XYZ now have a gaping pitch balck hole they are desperate to fill and will purchase another two to twenty books exactly the same--but different!--in hope curing said book hangover.
It's when everyone (re)discovered NAME OF THE WIND after GOT hit it big. Or that second wind of VAMPIRE DIARIES as a TV show the year after TWILIGHT's first film debuted (2008).
These tailcoat riders are how we get these fun times:
Yeah. Disrupting a trend and setting your own isn't easy though. Obviously. If marketer's knew the golden trick to finding gaps in the market and sounding the alarm to turn the tide, on call, the world would be different. Maybe not better. But different. Who knows.
This article isn't about that.
I want to help you understand how cover illustration and design works on a basic level. Just enough that, when you're ready to leap, you're armed and articulate.
First Things First
A little disclaimer.
What we're about to go through is by no means gospel. It's literally just me being like--this is how I approach things--and hopefully that gets your ball rolling.
And, while there are some amazing cover designs that will be shown--many created by absolute legends in the industry (which I will be discussing in another post later!)--this collection does by no means represent the be-all and end-all of what's happening.
The world is as vast as it is incestrually tiny and thanks to globalisation and continually evolving technology, we are now more the ever the same, while equally splintered.
Further, this collection, though pulled from a variety of top players, probably will demonstrate a lot of my own personal bias. Not to mention regional. So, if I've missed any of your recent favourite editions, apologies for that! Totally is/not my fault.
Lastly, these elements I list aren't in some "correct" order.
All creative aspects are annoyingly entangled.
They do feed off each other while also subject to whims of circumstance and chance. Every book can start with a different element as its critical axis. The trick is recognising when that arises. SO, end of the day, take away what you can! And go do more research.
Now, let's get into it!
What (Book Covers) We're Working With
It may be obvious, but it should still be said, the biggest player in your cover's visual storytelling is your genre. Every genre has it's own visual language toolkit, built over decades if not centuries of prior works. Tapping into that is vital, even if you plan to shake things up.
You need to know your genre.
Seriously. It surprises me how many authors um and ah over this.
Even if your genre is Speculative, figure it out. Now. (And, if it is specuatlive, understand the hierarchy of all the included genre codes and name your primary).
If you can't articulate this, you already need to take a step back and probably re-address your manuscript. Sorry. But it will be SO PAINFUL later on. Chances are, you also have some coded issues within your narrative. . . We don't live in isolation, come on. Know your canons.
This also applies to your demographic. For all the same reasons.
Just look at the contraversay surrounding ICEBREAKER by Hannah Grace. This drama has been going on for months and is still hot in the press. (Read more on that here!)
So, to move on, I have sorted all my curated covers for us into their genres based on Goodreads and Amazon listings. So, not on me if you disagree! On the contrary: It is actually a good exercise to go through and see if you do or don't.
As an example, a book such as A Fate Inked in Blood by Danielle L. Jensen clearly belongs in the fantasy category at a glance. But, for me, if you take away Stuart Turton's inspired title The Last Murder At the End of the World, though pretty, you haven't got much to work with.
Have fun and I'll see you in the next segment of this series which I promise will be more instructive and less wringing your neck about preparations.
Exercise: There's a sneaky cover below in the wrong genre. Can you guess which? Answer below
*Answer: The God of the Woods by Liz Moore is meant to be in Mystery
ABOUT DESIGN BY DAYNA
Dayna is an Australian creative, working globally, to assist freelancers and brands to enable their visual storytelling and practices. From Netflix Documentaries and Best Selling Authors to international and small businesses, Dayna has provided design and creative solutions across a range of mediums. She now focusses on creating striking illustrated book covers. Enquire now to bring your creative narrative vision to life.
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