Don't sabotage your book from the start with an ugly cover.

by Aidana WillowRaven

This topic was inspired by an artist's recent submission. Because we are considered a small house, authors and artists alike tend to think we'll accept mediocre work. That, or they just have no sense of aesthetic or quality ... AT ALL.

I won't show you the horrible example that the artist attached to his submission, but I will duplicate some of the things he did horribly wrong, resulting in my immediate rejection (being the Art Director, he has to pass me to get in the gate). I didn't even visit his website to see anything else he may have had in his portfolio. If that was his best (which I can only assume any twit would submit their best work when wanting to get hired), then I didn't need to go any further.

Further more, what author or publisher would ever accept such an ugly cover for their book? I can't repeat this statistic enough: The cover is responsible for 70% of all book sales! The last thing you want is a horrid book cover. Let me show you what I mean ...

(I’m using 4RV Publishing’s recent release, Aldric & Anneliese, by Harry E. Gilleland, Jr, for the example).

I hope it's painfully obvious which cover is the real cover. Just in case you are one of those authors/artists that thinks 'bolder and brighter is always best', let me educate you. The cover on the left is one that is the real cover. The one on the right is the one that mimics many of the amateur errors made by untrained authors or novice wannabe designers.

First rule: Font. Always, always, always make sure the author's name is easy to read. A close second is the title. Font can be stylized to suit the feel and theme of the story, but it has to be easily readable. On the left, the title font fits the period of the story, somewhat calligraphic, like written with a quill pen in the middle ages. The one on the right does not match the story at all. It looks more like a western themed font. This title would imply a ranch setting, not a medieval one. Also, the font on the left is solid and easy to read, not clear and obscured by varying background colors, making it harder to read.

Second rule: Color. Yes, you want your book design to be noticeable. Yes, you want it to stand apart. But, ... let me try that again … BUT, don't hurt the eyes, people. If you mix jarring colors together to shame any tinker (by the way, I am Gypsy, I can say that), it's going to make your book look cheap and amateur. Besides, the background is part of the story, too, not just the title or main element, in this case, the coat of arms. One on the left, the background is designed to look like parchment. What does that red do to tell you about the story? The turquoise? Nothing.

Third rule: Everything. Yes, everything. Everything I do for a cover design means something. It says something about the story found within. In this case, the one on the left tells us the story takes place in a time that shields, swords, and parchment covered in calligraphy were the norm. I even made the shield look like a heart (hinting that it’s a love story, too). Every color, every letter, every element down to how many swords I included, have clues about the story. Even the double, yet crossing, rose vines. Everything must have a legitimate reason for being put there other that to attract attention. If you want your book cover to stand out, let it stand out because it's a great design. 

Don't sabotage your book from the start with an ugly cover.

Aidana WillowRaven

Art Director & VP of Operations
4RV Publishing