I found myself staring at those 2 AI examples, and they scream "self-published" (in the worst way). But the ah-ha for me is that, OMG, people (authors, readers, the public) actually are attracted to the AI style. Tabitha called it "polished and specific"; I agree but would add insipid and saccharine and mawkish--to the point of reality-denying. And, yes, fiction is imagined. But by definition, if it is imagined by humans, it doesn't deny human reality.
For my historical fiction, I had kind of envisioned something like one of those AI covers before we actually started working on it. My novel had some dark themes, not supernatural, but ominous in terms of the key relationship, and I had my title, A Wolff in the Family. So I had this idea of a vague wolf face and a photo of the couple, superimposed. It would have looked self-pub, I think. We went with a photo of the couple from 1908 and used dark wall colors with a big crack running up the wall. This was way better than being so on the nose. You get the point from the title and the dark blood red color and the crack. Way better than my original musings.
I’m glad you showcased @Heidi McCrary’s book cover and her reasonable, perceptive, specific feedback during the design process. Unlike many authors, Heidi appears to be highly skilled in interpersonal exchanges — a lead-from-behind leader. (And the cover does make me want to read her book!)
So glad you covered this, Brooke (pun intended!). Adding these observations as a long-time book coach who advises many writers:
Authors have lived alone with their work for so long, they may forget that: (1) publishing is a collaborative effort and their voice is not the only one that matters; (2) a book is also a consumer product and the cover needs to appeal to that consumer in specific ways; and (3) the cover vision that’s perhaps paying rent in the author’s brain is not necessarily the best or right choice for the finished book.
It’s hard to let go, I know. But getting published turns an amateur into a professional—and professionals need to respect and trust the expertise around them.
I’ll bet when the adage “don’t judge a book by its cover” came into common usage, all books were solid brown, red, or green with no paper covers. No airbrushed, pert-nosed nymphs or landscapes—and the title was only found on the binding and flyleaf. These days, a book’s guts and soul need to be wrapped around the front and back to signal whether a book is worth picking up. Marketing makes everything a judgement call.
Fun fact is that book cover design wasn't much of a thing until publishers realized that this was some of the best advertising available. So despite the adage, we very much do judge books by their cover. Our task is to make those covers as great as possible so authors can sell books.
Julie, it's always been an honor working at She Writes Press and absorbing the insight about the cover design process from you and Brooke. It's never-ending education, in the best way.
I feel incredibly fortunate to have found my cover designer, Siski Kalla, through Reedsy. Reiterating what Brook says about being specific: that has been a huge part in the overall amazing experience I've had with Siski. Having a clear idea of what you want, then allowing the cover designer to create their magic, is key.
Sometimes we have an idea that simply doesn't work on the cover of a book, it's not distinctive enough, or it doesn't fit the themes/genre of the story. Cover designers know what works in the marketplace, and which colours and schemes would attract a reader's attention.
Approach it like any collaboration: be open-minded and respect their expertise and artistic gift. You'll thank them later!
Wonderful post, Brooke. Love hearing about your process. My hybrid publisher, Atmosphere (which has been wonderful to work with), invited me to share comps of other literary titles I admired, and why. They also invited me to write a short brief describing my aethestic vibe. They shared all of this with the design team, and the result was that their first round of cover designs was nearly spot-on. I had a favorite from the initial four they offered, and our back-and-forth pretty much mirrored what you described here for I'm Your Person. Professional, inspired, and transparent. What I appreciated in addition to this, was that the designers not only got the book, they got me. :-)
Brooke didn't mention it here (probably because her topic was feedback) but She Writes has an elaborate "cover memo" process in which authors provide the kind of input you describe
Yes, they had a series of questions around palette preferences, typography, illustration vs. photography, and asked for a summary of what visually inspires me. They also had great questions around theme, context, and emotions in the book. Really thoughtful.
This is incredibly helpful. I wish I'd read it a couple of years ago. One recent book of mine (I'm not going to name names; traditionally published) despite being on numerous lists, great reviews, multiple award finalist, loved by readers, has barely sold. I liked the cover when I first saw it. But now everyone I talk to says, "It's the cover." Why? Because it suggests a different vibe/genre/audience appeal from the actual genre/audience. If I'd just asked a couple of questions I might not be in this sad place.
Having done the cover dance three times, and learned the steps, I appreciate this article. One thing I didn't get at the beginning of being a newbie author was that the cover needs to be attractive on a screen when it's only one inch high! A lot can be lost at that size. I love all my covers and they were, eventually, with back and forth and looking at different type styles and even switching authors a couple of times, just what I wanted. I love all three of them. They really do represent the books accurately, and imply what's inside and what kind of books they are. When I go to a book fair, people stop and look at them, even if they aren't specifically interested in my 3 genres! They are arresting images, and that is the purpose of a good cover- grab a reader.
I was at a table sale today with 14 other authors. No fewer than 3 praised the cover of "Behold the Bird in Flight," my 1st SWP book. We did have some back and forth; the original bird was sitting on the castle; in the final design, she's flying. To me it made all the difference. BTW, the cover memo is so important. I said no women's backs, still a trope. Over and over I hear, "Who did your cover?" Thank you, Julie! For my second book, "Bodies in Arabesque" I got 2 versions, one more literary which I absolutely loved, and one more literal. Although the book is literary (character-heavy), I thought the literal one would draw in the ballet audience. It's going to get oohs and aahs too.
Having done two books with She Writes Press, I can say how I appreciate this process. I respect the results. And welcome the praise after publication from readers.
You and your team came up with a beautiful cover design for THE LAND OF EVERLASTING SKY The questionnaire you give authors to provide the designers with guidance and direction is great. And there were several cover designs to choose from and I couldn't have gone wrong with any of them.
As you know, I love the cover Julie designed for Bless the Birds, even though it is nothing like what I imagined! It's inspired and I get compliments on the design all the time. Plus, the book won two very respectable awards, and people see the cover and pick it up to peruse. All of which fits with what you are saying in this piece about what a good cover should do. Thank you, for both this look at how the process works, what your role is, and what kind of feedback an author can give to be helpful. All wonderfully useful! Blessings and a hug to you.
Thank you for featuring ISTANBUL DREAMING, Brooke! My cover design process was very collaborative, which I’m so grateful for. For your readers’ info, SWP asked me to prepare a detailed Cover Memo, in which I shared details about my book and my ideal readers, as well as images of book covers whose designs I admire and why. I also included images of Turkish tiles and the Istanbul skyline to inspire the designer, Kathleen Lynch at Kat Black Design & Illustration. The SWP design team used that information to prepare six different cover options. I then had the opportunity to share what I most liked about the covers, whether it be the colors, the font, the image, and ask for tweaks to my top two choices. SWP then presented me with three revised options in response to my feedback. Ultimately, the cover I chose was my least favorite as it was originally presented, but after integrating my feedback and swapping the main image under the ornate border with an image from a different design, it became my favorite. After one final tweak, I had the cover for ISTANBUL DREAMING. When I saw it, I knew it perfectly captured my vision and the book’s essence. I could not be happier with it! THANK YOU!
Yes, we had a great back and forth with you drawing from more than one cover comp to land here. It was a good example of some back-and-forthing that was clear and to a gorgeous outcome. You saw the vision under the vision! I love it.
Thank you from your art director for this clear explanation of our process. And yes, as Jude mentions below, AI-generated covers look self-published and cheesy, packed with clichés, and we just don't do that at She Writes Press. We want your books to look great to compete with traditionally published books. Also—and I can get a bit nuts about this as a creative person—AI generated art/design is actually THEFT. The AI systems are “trained” by scraping the internet and outright stealing the creative efforts of millions of artists and photographers and designers without compensation or credit. Right now, there is nothing we creatives can do to protect our work. At some point there will be a mega class action suit over copyright violation, but for now we are in the wild frontier. As Brooke mentions in her post, she will typically not show me AI-generated covers created by authors because she knows it will make me crazy. And if she does show them to me, I never ever pass them onward to our team of designers and artists. So please, let's not go down this road. Let's let some really talented real humans create real art and design.
I found myself staring at those 2 AI examples, and they scream "self-published" (in the worst way). But the ah-ha for me is that, OMG, people (authors, readers, the public) actually are attracted to the AI style. Tabitha called it "polished and specific"; I agree but would add insipid and saccharine and mawkish--to the point of reality-denying. And, yes, fiction is imagined. But by definition, if it is imagined by humans, it doesn't deny human reality.
For my historical fiction, I had kind of envisioned something like one of those AI covers before we actually started working on it. My novel had some dark themes, not supernatural, but ominous in terms of the key relationship, and I had my title, A Wolff in the Family. So I had this idea of a vague wolf face and a photo of the couple, superimposed. It would have looked self-pub, I think. We went with a photo of the couple from 1908 and used dark wall colors with a big crack running up the wall. This was way better than being so on the nose. You get the point from the title and the dark blood red color and the crack. Way better than my original musings.
Can I add cringy to your list?
And the final, human-designed cover is so much more compelling and authentic.
I’m glad you showcased @Heidi McCrary’s book cover and her reasonable, perceptive, specific feedback during the design process. Unlike many authors, Heidi appears to be highly skilled in interpersonal exchanges — a lead-from-behind leader. (And the cover does make me want to read her book!)
Same, Theresa! I just pre-ordered it. <3
So glad you covered this, Brooke (pun intended!). Adding these observations as a long-time book coach who advises many writers:
Authors have lived alone with their work for so long, they may forget that: (1) publishing is a collaborative effort and their voice is not the only one that matters; (2) a book is also a consumer product and the cover needs to appeal to that consumer in specific ways; and (3) the cover vision that’s perhaps paying rent in the author’s brain is not necessarily the best or right choice for the finished book.
It’s hard to let go, I know. But getting published turns an amateur into a professional—and professionals need to respect and trust the expertise around them.
I’ll bet when the adage “don’t judge a book by its cover” came into common usage, all books were solid brown, red, or green with no paper covers. No airbrushed, pert-nosed nymphs or landscapes—and the title was only found on the binding and flyleaf. These days, a book’s guts and soul need to be wrapped around the front and back to signal whether a book is worth picking up. Marketing makes everything a judgement call.
Fun fact is that book cover design wasn't much of a thing until publishers realized that this was some of the best advertising available. So despite the adage, we very much do judge books by their cover. Our task is to make those covers as great as possible so authors can sell books.
Julie, it's always been an honor working at She Writes Press and absorbing the insight about the cover design process from you and Brooke. It's never-ending education, in the best way.
I feel incredibly fortunate to have found my cover designer, Siski Kalla, through Reedsy. Reiterating what Brook says about being specific: that has been a huge part in the overall amazing experience I've had with Siski. Having a clear idea of what you want, then allowing the cover designer to create their magic, is key.
Sometimes we have an idea that simply doesn't work on the cover of a book, it's not distinctive enough, or it doesn't fit the themes/genre of the story. Cover designers know what works in the marketplace, and which colours and schemes would attract a reader's attention.
Approach it like any collaboration: be open-minded and respect their expertise and artistic gift. You'll thank them later!
Great shoutout to your designer. They deserve to be roundly celebrated!
She Writes has outstanding covers. It’s so helpful to get the backstory on how they get that way and how authors can help. Thanks so much for this!
Wonderful post, Brooke. Love hearing about your process. My hybrid publisher, Atmosphere (which has been wonderful to work with), invited me to share comps of other literary titles I admired, and why. They also invited me to write a short brief describing my aethestic vibe. They shared all of this with the design team, and the result was that their first round of cover designs was nearly spot-on. I had a favorite from the initial four they offered, and our back-and-forth pretty much mirrored what you described here for I'm Your Person. Professional, inspired, and transparent. What I appreciated in addition to this, was that the designers not only got the book, they got me. :-)
Glad to hear it, Katharine!
Brooke didn't mention it here (probably because her topic was feedback) but She Writes has an elaborate "cover memo" process in which authors provide the kind of input you describe
So good to know that! <3
That's really interesting, Katharine. I hope most publishers do that! How do you describe an "aesthetic vibe"? Did they explain that?
Yes, they had a series of questions around palette preferences, typography, illustration vs. photography, and asked for a summary of what visually inspires me. They also had great questions around theme, context, and emotions in the book. Really thoughtful.
This is incredibly helpful. I wish I'd read it a couple of years ago. One recent book of mine (I'm not going to name names; traditionally published) despite being on numerous lists, great reviews, multiple award finalist, loved by readers, has barely sold. I liked the cover when I first saw it. But now everyone I talk to says, "It's the cover." Why? Because it suggests a different vibe/genre/audience appeal from the actual genre/audience. If I'd just asked a couple of questions I might not be in this sad place.
Having done the cover dance three times, and learned the steps, I appreciate this article. One thing I didn't get at the beginning of being a newbie author was that the cover needs to be attractive on a screen when it's only one inch high! A lot can be lost at that size. I love all my covers and they were, eventually, with back and forth and looking at different type styles and even switching authors a couple of times, just what I wanted. I love all three of them. They really do represent the books accurately, and imply what's inside and what kind of books they are. When I go to a book fair, people stop and look at them, even if they aren't specifically interested in my 3 genres! They are arresting images, and that is the purpose of a good cover- grab a reader.
I was at a table sale today with 14 other authors. No fewer than 3 praised the cover of "Behold the Bird in Flight," my 1st SWP book. We did have some back and forth; the original bird was sitting on the castle; in the final design, she's flying. To me it made all the difference. BTW, the cover memo is so important. I said no women's backs, still a trope. Over and over I hear, "Who did your cover?" Thank you, Julie! For my second book, "Bodies in Arabesque" I got 2 versions, one more literary which I absolutely loved, and one more literal. Although the book is literary (character-heavy), I thought the literal one would draw in the ballet audience. It's going to get oohs and aahs too.
Both your covers were designed by Lindsey Cleworth, a super talented designer/illustrator. We love working with her.
I will add her to the acknowledgements. Thank you for letting me know!
Informative, tough, and fair—quintessential Brooke!
This is what could be on my tombstone! 😂 Thanks, Lyssa.
Having done two books with She Writes Press, I can say how I appreciate this process. I respect the results. And welcome the praise after publication from readers.
You and your team came up with a beautiful cover design for THE LAND OF EVERLASTING SKY The questionnaire you give authors to provide the designers with guidance and direction is great. And there were several cover designs to choose from and I couldn't have gone wrong with any of them.
Your cover turned out beautifully!!
As you know, I love the cover Julie designed for Bless the Birds, even though it is nothing like what I imagined! It's inspired and I get compliments on the design all the time. Plus, the book won two very respectable awards, and people see the cover and pick it up to peruse. All of which fits with what you are saying in this piece about what a good cover should do. Thank you, for both this look at how the process works, what your role is, and what kind of feedback an author can give to be helpful. All wonderfully useful! Blessings and a hug to you.
Thank you for featuring ISTANBUL DREAMING, Brooke! My cover design process was very collaborative, which I’m so grateful for. For your readers’ info, SWP asked me to prepare a detailed Cover Memo, in which I shared details about my book and my ideal readers, as well as images of book covers whose designs I admire and why. I also included images of Turkish tiles and the Istanbul skyline to inspire the designer, Kathleen Lynch at Kat Black Design & Illustration. The SWP design team used that information to prepare six different cover options. I then had the opportunity to share what I most liked about the covers, whether it be the colors, the font, the image, and ask for tweaks to my top two choices. SWP then presented me with three revised options in response to my feedback. Ultimately, the cover I chose was my least favorite as it was originally presented, but after integrating my feedback and swapping the main image under the ornate border with an image from a different design, it became my favorite. After one final tweak, I had the cover for ISTANBUL DREAMING. When I saw it, I knew it perfectly captured my vision and the book’s essence. I could not be happier with it! THANK YOU!
Yes, we had a great back and forth with you drawing from more than one cover comp to land here. It was a good example of some back-and-forthing that was clear and to a gorgeous outcome. You saw the vision under the vision! I love it.
Thank you from your art director for this clear explanation of our process. And yes, as Jude mentions below, AI-generated covers look self-published and cheesy, packed with clichés, and we just don't do that at She Writes Press. We want your books to look great to compete with traditionally published books. Also—and I can get a bit nuts about this as a creative person—AI generated art/design is actually THEFT. The AI systems are “trained” by scraping the internet and outright stealing the creative efforts of millions of artists and photographers and designers without compensation or credit. Right now, there is nothing we creatives can do to protect our work. At some point there will be a mega class action suit over copyright violation, but for now we are in the wild frontier. As Brooke mentions in her post, she will typically not show me AI-generated covers created by authors because she knows it will make me crazy. And if she does show them to me, I never ever pass them onward to our team of designers and artists. So please, let's not go down this road. Let's let some really talented real humans create real art and design.
Thanks for all you do to elevate our program, Julie. We're out here on the frontier holding the line!