Everything You Wanted to Know about Publishing a Picture Book (But Didn't Know Who to Ask): part 3--Illustrating

In the first two parts of this series, I showed you why you might want to publish a picture book, why I prefer to publish through CreateSpace, and what goes into writing a picture book. Now it’s time to discuss what makes a picture book a picture book—illustrations.  

Illustrate It

There are so many ways to produce artwork for a picture book; but no matter how you do it, you’ll save time and make your art look its best if you make it the right dimensions, amount of room for text, dpi, format, and so on from the start. This article is about how you can do just that when preparing a picture book for publication with CreateSpace.

Every illustrator works differently. I like to draw a storyboard as thumbnails, sketch individual pages with a pencil on a piece of paper or cardboard, ink it, scan it, and then color it on my computer. Some like to draw on a tablet, like a Cintiq, that inputs their work directly into a computer. (I’d probably do that myself if I could only afford one!) Others like to work almost entirely on paper or canvas. And still others prefer to work in clay or another three-dimensional form of art that has to be photographed before it can become a picture book. No matter how you plan to do it, it’s best to keep in mind from the start what you’ll need to make the finished book look great.

The stages of an illustration from Fay Fairy’s Very BIG Problem: a pencil drawing; the inked drawing (in this case drawn on top of a light board to let me make changes more easily and avoid unsightly leftover pencil lines or smudges); the drawing digitally colored in the correct dimensions, format, and dpi required; and the final page with text added and with all the elements combined with the background, ready to be turn into a PDF for uploading. (I did originally draw thumbnails for this picture book, but I no longer have a copy of them.)

Dimensions

It’s best if the dimensions of your artwork match the pages of the finished book, plus a bit extra for edges that will probably be trimmed off. This is particularly true if you intend to choose the bleed option for your book, and you probably will. “Bleed” means that the artwork you submit will run a little past the edges of the trimmed book. You'll probably want that, because otherwise any color backgrounds you create might have unsightly white edges if the book doesn't get trimmed exactly right (which it almost certainly will be).  

CreateSpace has a few basic trim sizes it prefers to print books in, and—except for the square 8.5”x8.5” trim size—all have portrait dimensions, not landscape. I was surprised to discover this, since I own so many picture books with landscape proportions. You'll notice that the first pencils I did for this book were in a landscape format. That turned out to be strangely lucky, because it meant I had a lot more space on the page to put text than I had originally thought. (CreateSpace does offer a landscape option when you click on “More Sizes,” but because these additional sizes aren't industry-standard, they might not fit bookstore or library shelves and aren't recommended.)

CreateSpace’s recommended trim sizes

With CreateSpace, you need to add 0.125 inches to all edges of the page that might be trimmed, which means adding 0.125” to the width and 0.25” to the height (since the top, bottom, and outside edge of the page will be trimmed, but the side of the page next to the spine won’t be). I chose the 8.5” x 11” size, because I like big picture books (they seem to work better for books that adults are meant to read to children), and because I felt the large size better reflected the title, Fay Fairy’s Very BIG Problem. This meant I had to create finished artwork that was exactly 8.625” wide (8.5” + 0.125”) by 11.25” high (11” + 0.25”).

Space for Text

Of course, the amount of space you'll need to leave for text will depend on the amount of text that will go on that page, as well as the chosen font size and leading (the space between the lines). Some old-fashioned picture books have so much text on a page that they have little or no artwork on any page that contains text, leaving illustrations to every other page in the book. Usually, these books will have text on the left and illustrations on the right. Some picture books have only have a word on each page, and some even have no words at all. Most, though, need to have about a quarter to a third of the page available for text. This space doesn't have to blank, but it shouldn't contain too many colors or include any important or distracting elements.

It’s best if the text is at least an inch away from the edges of the books on all sides—including the gutter (the side of the page that meets the spine). In fact, you should try to avoid putting anything important within half an inch of the top, bottom, and sides of the page. The external edges might get cut, and the reader might not open the book wide enough to see what’s in the gutter. This is especially true for double-page spreads.

Another thing to keep in mind when it comes to double-page spreads is to avoid putting horizontal lines near the gutter. The two pages might not line up correctly vertically, so a horizontal line might end up looking oddly higher on one page than another.  

Dimensions and Format

When you’re inputting artwork or manipulating it on a computer, work in 300 dpi (the minimum required by CreateSpace) and CMYK (which are printer colors, not computer monitor colors). Save in your art software’s native format, whatever it may be. (For example, I work in CorelDraw, so I save my files either in cdr or ctp format.) Anything else, like gif or jpg, might alter the look of your artwork or degrade the digital files each time you save them. Don't worry about compatibility issues. No matter what format you work in, you'll eventually have to convert the entire book into a pdf file when you upload it to CreateSpace (I'll go into how to do that in the next article).

I also recommend that you avoid over-saturating colors. This is something I learned when I was a comics magazine editor. It’s best to err on the side of caution. For example, 100% Cyan and 50% Magenta make a very nice dark blue. Yes, you can go with 100% of those two color and add some black to create a really dark, dark blue, but it’s overkill. When it comes to printed books, less usually works better. Also, if you can avoid putting bright red next to black, you probably should. Those two colors don't like each other (which is something I learned when I was a layout artist at a newspaper).

Storyboarding

Create a storyboard that shows you how even and odd pages will look next to each other. Remember to keep the first page alone on the right (which is the standard for books that don't start with a double-page spread), and remember that even pages of books in English will go first on the left, and odd pages will go after them on the right. Try to design side-by-side pages that complement each other or at least don’t tell a story you don't want to tell. Consider things like where your characters are looking and how the colors on these pages will best look together. In general, characters looking to the right are looking toward the next page of the story, and that’s usually (but not always) a good thing. Colors should be balanced in some way, so that if a color appears on one page, it will often help to have that color or a similar color on the facing page. Also, consider how the eye will flow through the two pages, whether any of your lines are pointing at something, and whether that’s something you want to stand out.

The first storyboard page for my as yet unpublished picture book, Happiness for a Dollar. The top line of this storyboard includes the cover, interior title page, copyright page, and the first page of the book. All lines after it show what the even and odd pages will look next to each other. You might notice that the girl in the story is facing right, while the boy is facing left. That helps indicate that she’s looking forward to the rest of the story, while he’s apprehensive.

 And Let’s Not Forget…

Aside from the story itself—which should fill 32-38 out of 40 pages—you'll need to design the cover, back cover, copyright page, interior title page, and any other extra pages that will be going into the book. Have fun with them. There’s no reason why any page in your book should be boring. Here’s the copyright page of my book, for example:

The copyright page for Fay Fairy’s Very BIG Problem

 Notice the color background and the magic wand at the top of the page.

I also used the interior title page to tell part of the story. It’s the first time the reader gets to see Fay as a fairy, and it’s important, because she doesn’t look like a fairy again until the end of the book. You’ll also noticed that I used different shades of the same color as the copyright page so the two will look right side by side. Fay’s magic wand is also on both pages.

The interior title page of Fay Fairy’s Very BIG Problem

You might want to design filler pages for the back and possibly the front of the book to make sure that a shorter story can fill 40 pages without any of those pages being blank. (This is a mistake I made, because I figured that CreateSpace would be okay with a 32-page book. That’s NOT the case. They turned my 32 pages into 36—an unusual number, considering that most printers prefer the number of pages to be divisible by eight. If I had known that, I would have filled those pages myself.)

You’ll need to have a file with just the front cover, so that CreateSpace, Amazon, and others can show the cover on your book’s page; but you’ll also need an additional file that includes the front cover on the right and the back cover on the left, with 0.002252” times the number of pages added to the width to account for the spine. For example, a 40-page picture book will need the file with the front and back cover to be 0.09008” wider than the width of the cover and back cover alone side by side. (For example, a 40-page book like mine with pages that need to be designed so that they are 8.625” wide will have a combined front and back cover file that is 17.34008” wide, which is 8.625” + 8.625” + 0.09008”) The front and back cover should more or less match up at the spine, because there’s a possibility that a part of the front cover near the spine might end up in the back, or vice versa.

Make sure that the back cover of your book has a space at the bottom right, where CreateSpace can insert a barcode.

And finally, as with the story, the illustrations in a picture book need to be clear enough to convey the story easily. Also, as with the story, they need to appeal to both the adults who will buy the book and the kids that the adults are buying the book for. Look at recently published picture books to get an idea of how the different visual elements work. And again, as with story, you can read Writing with Pictures: How to Write and Illustrate Children's  Books by Uri Shulevitz for more information on this topic.

~*~

Okay, so now you should have the text and the illustrations for your picture book ready for publication. In the next and last article in this series, I’ll show you how to prepare it all so you can upload it to CreateSpace, publish it, and start selling it.  

Everything You Wanted to Know about Publishing a Picture Book (But Didn't Know Who to Ask):

Part 1—Introduction

Part 2—Writing

Part 3—Illustrating

Part 4—Publishing

Everything You Wanted to Know about Publishing a Picture Book (But Didn't Know Who to Ask): part 2 of 4—Writing

After publishing four novels for kids, teens, and adults who love YA books, I decided to publish a picture book: Fay Fairy’s Very BIG Problem. I ran into a few problems of my own, and so I decided to write this series of articles to remind me how to avoid or overcome those problems next time, and so others can do the same.

In the first part of this series, I showed you some of the right and wrong reasons to indie publish a picture book, the skills necessary to do it right, and why I choose to indie publish with CreateSpace. Now we're going to look at the first stage of creating a picture book—writing.

Write It

If you're reading this, you probably already have something written down or you at least have a good idea of what it is you want to write. I have, however, noticed a few basic mistakes that picture-book writers often make when they're starting out.

First, a picture book should be under 1,000 words—and under 500 words is even better. Little kids have short attention spans. Make a picture book too wordy, and your book will probably lose their attention. So make it as short as you can, and make every word count.

Second, a picture book isn't just a story with pretty pictures added to it. A picture book needs pictures to tell the story. So if your story contains any words that can simply be shown in the illustrations . . . Cut. Them. Out. For example, if your story says, “Abigail had red hair,” or even “Abigail’s red curls bounced as she walked,” cut out the part about how her hair looks. Let the illustrations simply show what Abigail's hair looks like. If you're not an illustrator, don’t even mention it in the illustration notes unless it’s vital to telling the story. You might feel inclined to tell the illustrator, for example, that Abigail has red hair because your daughter has red hair, and you want the character to look like your daughter. But if it's not really vital to the story, leave it out. Let the illustrator best tell his or her part of the story the best way that the illustrator knows how. Maybe that’s drawing Abigail with red hair, but maybe it's drawing her with black hair. Maybe it’s by drawing Abigail as a bunny rabbit. The important thing is to give the illustrator the freedom to make your story the best that it can be.

The manuscript for Fay Fairy’s Very BIG Problem. Notice that the illustration notes only explain things that are necessary to the story and that are not easy to infer from the story itself. Also note that the words are in the font and format that will be used in the finished book to make it easier to copy and paste the words directly from Microsoft Word into the artwork.

Third, make your story kid, parent, teacher and librarian friendly. You’d think this goes without saying, but you wouldn't believe how many writers insist on writing stories that are meant to appeal just to kids or just to parents. Of course, you want kids to shout, “Again!” But that’s not going to happen if an adult doesn't buy the book first. Of course, you want an adult to buy the book. But that’s not going to happen if the kid isn't going to want to hear it.

You should also consider what your picture book offers a parent, teacher, or librarian that can't be found in another book. A parent, for example, might need a picture book about blended families or living with a developmentally disabled sibling or a bunch of other stuff that Dr. Seuss never considered writing about. A teacher might need a book about dinosaurs or rivers or a recent historical event or how to deal with a bully. And librarians are constantly being asked for books on topics they don’t have. Having a book on a needed topic can be a great way to land those paid classroom and library visits that—as we saw in part one of this series—can be a picture-book writer’s or illustrator’s bread and butter. Obviously, this is true for nonfiction, but it can also be true for fiction. So ask yourself what your book might offer its potential buyers, not just the kids that make up the intended audience.

One way to do this is to imagine offering your services as a visiting author to an elementary school teacher. That teacher is going to want you to do more than just read your book. What are you going to teach kids in connection with your book? Are you going to make your author visit interactive? If so, how?

Fay Fairy’s Very BIG Problem, for example, has a page in the back explaining how I created the story by taking an ancient Indian parable—”The Blind Men and the Elephant”—and changing it by asking, “What if the story were told from the elephant’s point of view?” I would start my author visit by telling the kids the original parable and how it gave me the idea for my book. Then after reading my book to the children, I would ask them to pick a story they all knew, like Cinderella, and I would ask them to see how many different stories they could create by changing parts of it, like the point of view character or the setting. It would be a creative exercise, and it would also teach them a bit about writing and the parts of a story. So how can you turn an author visit into something more for a teacher and her class? It’s something you should think about before you've even published your book.

The story behind your book—whether if it’s the story of how you came up with the idea or how you got it published—can often be a great topic for an author visit. This page at the back of Fay Fairy’s Very BIG Problem explains the simple method I used to come up with idea for it—and how the reader can use the same method to come up with his or her own story ideas.

Fourth, know the difference between a picture book that a parent reads to a child and a picture book that a child reads on his or her own. The first can have longer and more complicated words and sentence structure, but the second has to have short and easy to read words and simple sentence structure. I Love You the Purplest by Barbara M. Joosse is a good example of a book that was meant to be read to a child. Green Eggs and Ham by Dr. Seuss is a good example of a book that a child is meant to read on his or her own.

Fifth, map out your book so that you’ve worked out what text goes on what page. CreateSpace prefers picture-books that have exactly 40 pages. Subtract the interior title page and the copyright page, and that means ideally your story should fill 34-38 pages. Pay attention to the rhythm between odd and even pages. Unless your book is made up entirely of double-page spreads, odd pages should go on the right, and even pages should go on the left after the reader has flipped the page. This means that odd pages are great places to ask questions, and even pages are great places to answer them. For example, on an odd page it could say, “What should Gloria Gorilla wear to the ball?”  The child thinks about it for a moment, picturing a ball gown. The page is flipped, and . . . The child giggles as she sees that Gloria Gorilla is wearing a swimsuit, or pajamas, or a spacesuit, or pretty much anything that seems a silly answer to that question.

This is the storyboard I made for my still to be published picture book, Click the Dog. While a writer who isn't an illustrator probably won't make a storyboard, writers should map out their picture books in a similar way, using text instead of illustrations.

Study hundreds and hundreds of modern picture books. Pay attention to what goes into them, how many words they have, how the pictures tell the story, how they appeal to both the adults that buy them and the kids the adults buy them for, the length and complexity of the words and sentences they use, and how the story is mapped out. Also ask yourself if this is a story that has been told before. If so, what does your story offer that’s new? If not, why hasn’t a book like yours been written before?

And finally, when you’re sure you've written the story you wanted to write in the best way possible, edit and edit and edit it some more. Get other people to look it over for you. If you can, join a critique group for picture-book writers, get your manuscript critiqued at a SCBWI (Society of Children’s Book Writers & Illustrators) conference, or find someone nice enough to critique it on Verla Kay’s Blue Boards, which are now the official SCBWI boards. Picture books are very short, and every word has to be exactly right. There’s no room for errors. And it helps to get a second pair of eyes to look it over. Of course, you need to be open to honest feedback. Just remember it’s not about you; it’s about making your story the best that it can be.

Once you're done, put the text in the size and font choice that you want. I asked my Facebook friends, who are mostly writers and illustrators, about recommended font size. The consensus was that a 16-point font is best for picture books. However, I found that was too small for the size I was planning to print the finished book, which was 8.5” x 11”. I chose a 20-point font instead. I also discovered that nowadays sans-serif fonts are considered the norm for picture books, because they're easier to read in short passages, particularly for young children. Helvetica is considered the best, but because I work on a PC, I chose Arial, which is similar. And I chose Arial Rounded because that fit better with the soft, rounded, and elephantine look I was going for in the book. I chose a 1.5 line spacing, because more distance between lines makes it easier to read; and I chose not to paragraph indent, because there were too many paragraphs that were made up of just one line. I also made sure that the final line of each paragraph with more than one line had at least two words on it, so it wouldn't look strange. I find it’s easier to format paragraph text in Word than in a graphics program, like CorelDraw, so I did all of this in a Word file with extra-wide margins. That way I could just copy and paste the text for each page from Word directly into CorelDraw without having to make too many adjustments.

 

The inside title page and the first two pages of Fay Fairy's Very BIG Problem. Notice how the title page can also be used to tell a part of the story.

Of course, this is only the part of the writing that involves the story. You’ll also need to write a great title, the blurb (both for CreateSpace and the back of the book), your author bio (at least for CreateSpace, if not for the last page of the book), the copyright information (look at other books for ideas on how to do this), and a dedication or a whatever extra materials you might want to include. Having all these bits of writing done in advance can help make the final parts of creating a picture book and publishing it with CreateSpace a lot easier.

The copyright page from Fay Fairy’s Very BIG Problem. You can go to Copyright.Gov to get an official copyright, but don’t worry if you don’t have one: anything original you write belongs you the moment you write it down, whether you've purchased an official copyright or not. CreateSpace will provide you with the ISBN for your book, so it’s not necessary to purchase one if you publish with them.

For more information on writing picture books, I highly recommend Writing with Pictures: How to Write and Illustrate Children’s Books by Uri Shulevitz. Picture Writing: A New Approach to Writing for Kids and Teens by Anastasia Suen and The Complete Idiot’s Guide to Publishing Children’s Book by Harold Underdown are also great books that deal with the topic. I also highly recommend Underdown’s fantastic website, The Purple Crayon, for all things related to children’s book publishing. It’s just overflowing with useful information.

That takes care of writing your picture book. In the next article in this series, we're going to look at illustrating it. Hope to see you then!

Everything You Wanted to Know about Publishing a Picture Book (But Didn't Know Who to Ask):

Part 1—Introduction

Part 2—Writing

Part 3—Illustrating

Part 4—Publishing

An interview with a grown-up teen novelist: Michelle Izmaylov

What advice would you give to a teenager who wants to be a published author? 

This is complicated. On one hand, you have to be realistic about the challenges facing you in the future and realize that you’re not going to get famous in a single day. Thinking otherwise sets up unrealistic expectations that may cause writers to get disillusioned with the publishing process as a whole. On the other hand, it’s important to remember that you will improve and people will begin to take notice of your writing in the long run. My best advice is to try your very hardest and keep on trucking no matter who tries to get you down, but also be realistic about how difficult getting published can be. Also, don’t count on writing to be your primary career. Even published author almost always have an alternative job that pays the bills. Writing isn’t all that financially lucrative, though it’s good for your spiritual health.

Do you think entering contests is a good idea? If so, is there a contest you would particularly recommend that young writers enter? 

Yes and no. The trouble with contests is that on one hand you definitely increase opportunities for exposure of your writing. On the other hand, it’s easy to lose self-esteem if you lose at a young age. The best thing is to enter contests with realistic expectations and to keep striving to get better even if things don't work out.

What’s the hardest part of writing and publishing a book?

The most challenging aspect is two-fold. First, procrastination and getting easily distracted while writing is a major issue (especially with how readily available the Internet is these days). Second, and more seriously, is the issue of revision. It’s one thing to write a first draft. It’s an entirely different story to have the perseverance in editing your own work, going over and over until you iron out problems that may have cropped up along the way. It’s even harder to get halfway through a novel and realize you didn’t actually write what you wanted to write. At that point it’s important to step back and understand when it’s better to start over, not to mention having the willpower to do so.

To what do you attribute your success? 

There’s a general rule of thumb that says it takes 10,000 hours of practice to get good at any given thing. I'm still nowhere near as good as I hope to be another five or ten years down the road, but I've spend a good amount of time working on various writing projects over the years that have helped refine my abilities. I also feel like it’s important to be more than just “an author.” Writing is for me a hobby, not a job. It’s something I turn to when I have inspiration rather than something I force out of myself. 

What are the advantages and disadvantages of publishing at your age? 

One of the easiest advantages to pinpoint is that the younger you are, the more unusual it is for you to have actually completed a book. Therefore it’s easier to get public and media attention, which will in turn help get word out about your writing. On the other hand, younger writers (including myself at my present age) still have a lot to learn about the world as we refine our philosophical perspectives and have new experiences to add to our existing repertoire. The younger you are, the more challenging it is to write an unusual and well-crafted work honestly worthy of public attention.

What’s the single best piece of advice you've received? 

One of the things that’s always stuck with me is put your nose to the grindstone and work hard. Fairytales can come true, but not from wishing. You have to work hard every single day to make them reality, which is what I’ve tried to do these past years of my life.

Thanks, Michelle!

Michelle Izmaylov's latest novel, Ricochet, is available from Amazon. 

How to Find a Great Book Cover Designer, and the 7 Rules You Need to Know to Work Together (without Driving Anyone Crazy)

Chances are you’re going to want to publish more than one book—and if you’ve put all that effort into finding a good designer the first time, you’ll want to have a good relationship with that designer so that he or she will want to work with you again. Part of this means knowing upfront how much everything will cost, what is and isn't included in the price, when the designer expects to be paid, and how long it will take the designer to finish the work.  

The first step to finding a great cover designer is to get recommendations, and the best way to do that is to hang out in places where other indie authors hang out. Most indie authors are proud to show off their covers—after all, it’s a great way to publicize your books—and are more than happy to tell you who designed them.

One of my favorite indie author hangouts is the ebook experiment group, which I started on Facebook. At the bottom of this post you’ll find links to the websites of different cover designers who have been recommended by indie authors I’ve met there and elsewhere on Facebook.

Twitter chats, like #IndieChat and #MBPA, are another good way to connect with indie authors and to discover book cover designers you might want to work with.

Once you get a recommendation, check out the designer’s website. Most cover designers today have a website, which should include a portfolio of previously published work. You need to see if the designer is really as good as the writer who recommended the designer says, and you also need to see if the designer’s work fits your particular book. Doctor Seuss, after all, might have designed great covers, but that doesn’t mean he would have been the right person to design the cover of a vampire novel, not unless the title of it is One Fang, Two Fangs, Red Fang, Blue Fang.

So what should you look for when you check out a recommended designer’s portfolio?

Read my two previous posts on cover design ("What You Need to Know About Cover Design Before You Indie Publish Your Novel" and "Indie Publishers, What You Need to Know About Book Covers") to get an idea of what makes a great book cover great. In short, you should look for clarity, the right mood, something that fits in with the current bestsellers in your genre, a good hook, simplicity (as in no overwhelmingly distracting colors or other elements), and something that makes the book stand out among competing titles. Some of those requirements—particularly “standing out”—cost more, so you might want to stick with something that’s just professional and standard for the genre until you can afford something better.

Beyond what you should be looking for, you should also learn to recognize the things you need to avoid. The guest blog post I wrote for Indies Unlimited (Cover Basics, Part II) might help you there. It’s an uncharacteristically snarky, but very funny, post on the things I think but don’t say when I see badly designed covers. Hopefully it will give you a laugh or two, as well as an idea of what not to do.  

Okay, so let’s say you’ve gotten some recommendations, checked out several websites, and found a designer whose work you like. The fonts and images are clear and can’t be misconstrued. (I saw one with what appeared to be a phallic symbol on the cover, which later turned out to be a very strange, stylized Red Riding Hood. Unless you’re writing erotic fiction, this is not a good thing.) The mood (dark, humorous, playful, sexy, etc.) fits the mood of your book. The designer has experience designing books in your genre. The covers you found on the designer’s website had a good hook, one that made you want to open the book and start reading. The covers are simple, in that everything in them tells you something about the story you couldn’t get from the title alone, and nothing is redundant or distractingly overwhelming. It’s contemporary, and not hopelessly outdated. And—if you can afford something special—the cover isn't like one you’ve seen a million times before, one that could fit half the books in the same genre. The price also fits your budget. Great! Now what?

Most designers will indicate on their websites how they want to be contacted, so contact the designer in that way. First find out if the designer is open to working on your project, how long it will take, and how much you can expect to pay and when. Be aware that it might take an in-demand designer several months to finish your project, and allow for that time in your publication schedule. Also be aware that the many designers expect to get paid partially, or even fully, upfront. Some charge for edits. Some don’t. It’s best to have everything clear in writing from the start so that there are no misunderstandings.

Before I tell you how to work with a cover designer without driving yourself—or the cover designer—crazy, let me explain why that’s something you really want to do.  

I’m a writer, but I’m also an illustrator. As an illustrator, I have worked with so many difficult clients that it has put me off working for individuals altogether. I love working with magazines and newspapers, but you probably couldn’t convince me to design your book cover. I’ve been burned too many times.

You don’t want to do that, because chances are you’re going to want to publish more than one book—and if you’ve put all that effort into finding a good designer the first time, you’ll want to have a good relationship with that designer so that he or she will want to work with you again. Even if you decide to work with another designer, that second designer might wonder why you switched designers, contact the first designer, and discover you’re not an easy person to work with. You don’t want to be that kind of client. You want to be the kind of client a designer loves working with, so that your designer will not only want to work with you again but will give you good recommendations for other designers if for some reason that designer can’t help you the second time around.  

That takes care of the “why” regarding not driving the designer crazy. Now let’s look at the “how.”

7 Rules for Working with 
a Book Cover Designer

1. Get everything in writing. If you’re getting a custom-made cover, get everything in writing so you know exactly what you’re paying for, how much it will cost, when you have to pay, and when you can expect to get your finished artwork. Most designers charge at least partially upfront. Some include edits in the price, and some charge extra for them. You’ll need some of this information in writing if you choose to buy a premade cover, but there’s less of a hassle involved when you can’t make changes, like you can with a custom-made cover.

2. Be clear with your instructions from the start. I once knew a newspaper manager who could babble on for an hour without anyone understanding what it was he wanted. No one can give you what you want if you can’t say what it is you want. Be clear. Let the designer know a little bit about your book, like its title, genre, intended audience, mood, and basic plot. Do not drive the designer crazy with too many details.

3. Don’t expect Bloomingdale’s at Wal-Mart prices. While it’s important to have a clear vision, it has to fit the designer’s abilities and your budget. You might want a cover that looks exactly like the cover of the latest bestseller, but some of those are painted by illustrators who work a month or more on that one illustration and charge thousands of dollars. Others require hiring a studio, a photographer, a costume designer, models, and more. Like the Rolling Stones song goes, “You can’t always get what you want…”  Adjust your vision to fit the designer you’ve chosen. Don’t try to change the designer to fit the cover you have in your head. That never works out.

4. Ask questions. One of the best things you can do is ask the designer for input. Maybe the designer has great ideas that never would have occurred to you. Or maybe the designer has made certain design choices you don’t understand. Don’t pretend to know things you don’t, and don’t be embarrassed to ask.

5. Respect the designer. Realize the designer is a professional and trust him or her to make the right choices for your book. If the designer isn’t a professional, you shouldn’t hire him or her.

6. Be professional. Be courteous, pay on time, and value the designer’s time, work, and talent. For example, some designers don’t charge for edits, but that doesn’t mean you should push it. There’s no justification for more than one edit, two tops.  It’s possible the designer might come up with a terrific cover concept that doesn’t exactly fit what you have in your book. Maybe the cover has an extreme close-up of a brown eye, and you’ve described your character as having blue eyes. Just how important is the character’s eye color? Does the entire story revolve around it? If so, you should have mentioned it in your brief description of the story. If it isn’t, consider that it’s easier to search your manuscript for blue eyes and replace them with brown eyes than it is for the designer to go back to the drawing board to make those brown eyes blue. You can ask the designer how much trouble it would be to make that change, but only if you’re paying for a custom cover and this is your first edit. I don’t think anything drives me crazier than a client who keeps asking for changes after changes, mostly because that client doesn’t really know what he or she wants or how to communicate it.

7. Give credit where credit is due. Ask the designer how he or she would like to be credited in your book, and make sure you let other indie publishers know what a great job your designer did.

The two most important words to remember are clarity and respect. Ask questions so you have a clear idea of what you can expect, and communicate those expectations clearly. You are a writer, after all, and the Internet is a written medium. There’s no reason why a writer should have a difficult time communicating clearly online. And try to respect that the designer is a professional, one who has studied and worked hard to get to where he or she is in the profession. You wouldn’t tell your doctor what you think it best for your body. You would tell your doctor what’s wrong and ask for his professional opinion. Tell the designer about your book, and ask that designer for his or her professional opinion. Some of the worst designed covers I have ever seen were created by designers who were trying to follow the writer’s detailed instructions. The writer was probably happy with the finished result, but probably not as happy with his or her sales. Treat the designer like a professional, and the designer will see that you too are a professional.

And finally, be flexible. Designers aren’t mind readers. They can’t give you exactly the cover concept you have in your head. But if you’re flexible and clear about what you want, you might get something even better.

* * *

And now, here’s a list of cover designers other writers I know have been happy with. Some charge less, and some more. I’ve only listed the more expensive designers I think are worth the extra money. This is by no means a complete list, but it is a good place to start. If there’s another cover designer you’d recommend, I hope you’ll tell us about him or her and leave a link in the comments below.  

• Dara England has decent premade ebook covers starting as low as $18. These are particularly suited to romance and historical fiction, but you’ll find some YA and paranormal covers in there too. She offers both premade and made to order e-book covers, and her prices are quite affordable: http://mycoverart.wordpress.com/clearance/

• Cheap covers for romance and erotica: http://www.romancenovelcovers.com/ Premade covers are just $45, and there’s a wide selection to choose from.

• I was really impressed by a friend's book cover, and this is the place that did it: http://probookcovers.com/ Right now covers are just $99. These are first-rate covers at a fraction of the cost.

• Great illustrator who does covers: http://www.partzero.com/covers.html (He did the cover for Dust by Arthur Slade)

• Carl Graves (cover designer, reasonable rates) website: http://extendedimagery.blogspot.com/ Client list includes Alexander Sokoloff, Barry Eisler, Erik Lynd, J.A. Konrath, Jack Kilborn, James Swain, L.A. Banks, Lee Goldberg, and Tobias Buckell.

Of course, if you do have the skills and experience to design your own book cover or for some reason you still don’t want to hire a professional, here are some good places to look for images that could look good on your cover and don’t cost a lot:

• http://www.bigstockphoto.com/search/category/abstract/
• http://www.istockphoto.com/
• http://www.stockphotography.com/
• http://www.stockphotos.com/
• http://www.acclaimimages.com/
• http://www.gettyimages.com/

What You Need to Know About Cover Design Before You Indie Publish Your Novel

What are the three best things you can do if you want to learn how to write?

Read, read, and read some more.

The three most important things you can do if you want to learn how to design a book cover are similar: look at lots and lots and lots of book covers. 

But don’t just glance at them like you have until now. Analyze them. Take them apart. Figure out what makes them work—or not work —and why.

But you're a writer, not a cover designer, so why do you need to do this?

If you’re a writer working with a publisher, the truth is you don’t. Most traditionally published writers have no say in what their book's cover will look like. You just have to trust that the publisher's art director or cover designer will make the right choices. They know a lot about design, after all, and their goal is the same as yours: to get readers to buy your book.  

If, however, you’re planning on indie publishing, you need to know a little about how readers look at covers and what kind of covers make readers want to buy books. You have to learn to think like a designer, even if you aren't going to be designing your own cover.

Of course, if you are an indie publisher and you don’t have a design background, you’ll almost certainly be better off hiring a professional designer to create your cover. But how are you going to choose the right designer for you if you don’t know what to look for in that designer’s portfolio?

There are a lot of mistaken assumptions about how book covers are supposed to look, and that has led to thousands of badly designed indie published books.

 It’s time to break down the assumptions so that you can have a better understanding of what will or won’t help you sell your book.

We’re going to be looking at the covers of the several popular fiction series: the Twilight saga, The Girl With the Dragon Tattoo, The Hunger Games, the Wimpy Kid books, and Heather Brewer’s Chronicles of Vladimir Tod. These are all books with great covers, covers that have connected with readers and have probably helped these books sell well. (Perhaps in a future post, we’ll look at nonfiction covers too.)

Let’s start with the books from the Twilight saga:

Notice the beautiful use of black, white and red.

 The red pops off the cover. 

Red has several meanings in Western culture. It symbolizes passion, love, life, and of course, blood—all of which comes to play in the Twilight saga. Notice how the falling petal on the New Moon cover looks like a drop of blood. The red apple symbolizes forbidden fruit and the end of innocence. White symbolizes purity and innocence too. Black symbolizes mystery and the night. All of these things are a part of the story too.

There’s one thing that’s noticeably absent in these covers, and that’s anything that screams “vampire.” There’s no mouth with fangs. 

There’s also nothing that screams “romance”: no pretty girl, no embracing or kissing couple, not even a seductive face. All those things that are assumed to go on the covers or YA romance or vampire novels—or romantic YA vampire novels—are absent. These covers break the assumptions, and that makes them stand out.

Great covers usually aren’t obvious. Great covers stand out, because they present something in a surprising way. 

Yes, blood is implied, but it’s not obvious. Keeping things implied means the reader will have to open the book to start reading in order to find out if what’s implied is really there. And that, of course, is your ultimate goal as a writer, to get the reader to open the book and start reading.

A cover is a promise to the reader that the story delivers on. 

Too many cover designers forget this, which leads to far too many covers with fangs, blood, sexy men or women, or couples kissing or embracing. That’s fine for a company like Harlequin Romance. Their readers want all their novels to be the same. They want a predicable formula. Their books are all designed to fulfill the same promise and provide the same value. They are the McDonald’s hamburgers of romance fiction.

But if your novel isn’t published with a company with a reputation for delivering exactly what a specific audience expects, standing out is a good thing. You can’t compete with Harlequin Romance for their readers, so don’t. Instead, get a cover that appeals to a different audience, one that might like to try something . . . different.

The title on the first four Twilight books is small, which doesn’t work quite as well when shrunk down to the size it would appear in Amazon’s search engine (something to consider nowadays if you’re planning to sell your book on Kindle). 

The text type is unique and has fangs in the l and h of Twilight. Again, these are implied, not obvious. There are also girly curves in the w and g, which works well for a YA romance. I highly recommend getting a unique text type, because it will stand out and help define your brand as being different from others.

These are, in short, perfect covers.

So you might be thinking, “If they’re so great, why not just copy what works for these books?”

Unfortunately, too many people have already thought that.

The market is saturated with way too many copycat covers that utilize a red element—like a rose—on a black and white backdrop. The first person who does something stands out, but you can’t stand out by copying that person. It just doesn’t work.  

Now here’s the cover for The Girl with the Dragon Tattoo:

This is the cover I think works best, again because it doesn’t go with the obvious. The book is, after all, called The Girl with the Dragon Tattoo. The obvious thing would be to put a girl with a dragon tattoo on the cover. And that has been done. Here’s another cover for the same book:

In my opinion, this cover is okay but not as great as the one above. Why? Because the illustration is redundant. We already know this book is about a girl with a dragon tattoo. That’s in the title. We don’t need to see it on the cover.

It also defeats one of the greatest joys of reading. When we read, we participate in the creation of the story, because our imagination fills in the blanks. Readers don’t want a cover illustration telling them how to see the character. (And, in fact, this is not the way many have pictured her, as this movie poster shows.)

This is a great movie poster, but showing a picture of the girl works for the movie, because movies are visual experiences. Books—with the exception of illustrated books—are not. Books use words to create a framework for what the reader will see his mind’s eye —but it’s the mind’s eye that will determine what that image will be.

The first cover for The Girl with the Dragon Tattoo is all about the title. It pretty much lets the title speak for itself, which is great, because it’s a great title.

While the font isn’t unique, it’s a classic, and it’s broken in a unique way that implies the violence in the book. (I also used something similar with the cover for Toren the Teller’s Tale, where I put slashes in Toren’s name to imply that she was a “torn” girl. Some have said it looks like a dragon’s claws have gone through it, which works very well for the story.) I like the way the word “girl” is the only complete one in the title, which implies that the girl has a certain strength. She stands strong while those around her are damaged. There seem to be only two font choices on that cover, and they’re compatible, which is great. One of the biggest mistakes that amateur cover designers make is using too many fonts or fonts that don’t work well together.

 I also love that this cover didn’t go with the obvious color choices of black for mystery and red for violence. The cover, I think, works really well for the intended audience. It says literary and mystery at the same time. It’s another enigma for the reader to unravel. Who is the girl with the dragon tattoo? The reader will have to read the book to find out. 

This cover is brilliant in how it eschews the obvious and lets the title do the work.

Now let’s move onto The Hunger Games, and I think with this one you’ll start to see a surprising pattern:

The first thing that stands out is the golden emblem on the cover. All the covers in this series are emblematic. There are no faces, so you get to imagine what Katniss, Peeta, and the other characters look like. And here’s the trend you can see with these covers: the most successful books these days do not show characters on the cover.

This trend makes it easier for the reader to put him or herself into the story. Without a face, the main character could be anyone, even you.

Of course, the emblem works particularly well here, because it looks like a medal that might be awarded to a soldier. That combined with the strong, boxy, almost militaristic font and the word “hunger” belies the playfulness of the word “games.”  Only one letter doesn’t fit the same blocky style, and it’s the “s” at the end of games. I don’t know if this is intentional or not, but it reminds me of the “s” in Star Wars (although less dated), which could make it a clever reference to a classic sci-fi series.

Intentional or not, there’s something about it that I think says “sci-fi.”

Black is a natural color for a dystopian novel like The Hunger Games, so that works. 

The arrow in the bird’s beak and the stylized targets give a hint as to what’s inside. Once again, the reader will have to open the book to find out if his or her hunch was right. Violence, though, is certainly implied, and the little bits of red add to that impression. The cover makes promises to the reader, and the story delivers on those promises.

These are all serious books for teens and adults. What about novels for younger kids? And what about humorous fiction?

Children’s books are designed for an audience that might not get subtlety. The Diary of a Wimpy Kid series is a fun, funny, illustrated children’s book series, and the covers make that obvious.

 A book cover has to fit its intended audience’s needs, and children need clarity.

A book cover also has to promise something the intended audience wants. (And of course the book must then deliver on that promise.) 

The typical reader of Diary of a Wimpy Kid doesn’t want mystery, romance, violence, or even something that will make him think. Nope, the typical reader of Diary of a Wimpy Kid just wants to laugh with—and at—a kid who is probably a lot like the reader or like someone the reader knows.

Subtlety also works better for mystery and suspense than it does for comedy, but that's truer still when it comes to comedy for children. Woody Allen is funny, but his movies—particularly his later ones—appeal mostly to a sophisticated audience. Kids aren’t that sophisticated. They find the exploits of Captain Underpants a hoot. The covers of the Wimpy Kid books, with their utter lack of subtlety and sophistication, are perfect for their intended audience.  

There’s a drawing of the main character on the cover. It says right there on the cover that this is “a novel in cartoons,” and the drawing makes it clear what kind of cartoons we’re talking about. These aren’t sophisticated New Yorker cartoons. These are the cartoons a kid draws in his notebook when he’s supposed to be writing down the day’s homework assignment.

It’s an honest self-portrait. He isn’t handsome, cute, or strong. He isn’t happy. He can’t even stand up straight under the weight of his backpack. He is the reader, or at least a kid the reader knows. He doodles on lined notebook paper, maybe dreaming of bigger and better things. He has a diary, but he doesn’t really like it, so he stuck one of his own drawings on it to make it more his own.

One of my favorite parts of this cover is the shiny “tape” that holds the ripped piece of notebook paper down. It feels like you can pick the tape off, like a real kid stuck real tape on it. The word “diary” is written in a font that might be used on a real diary, but the other text is cartoony and looks hand drawn.  The cover tells you exactly what you’re going to get, and the story—the novel in cartoons—delivers exactly that.

Lastly, I’d like to discuss a brilliant cover you might not have seen. 

These are the books in the Vladimir Tod series by Heather Brewer:  

Like the Twilight covers, these covers use black and white to make the single color element on each book pop. However—and this what makes these covers so brilliant—the single color element that pops is a smiley face with ironic fangs. That exact same smiley face with fangs is on the cover of all the books in the series, which raises its status from being a simple design element to a logo.

Why is this a big deal?

Because logos are instantly recognizable. 

When we see a logo we’ve seen before, it brings to mind experiences we’ve had with that brand. In other words, if you like the first book in this series, you’ll like the other books in the series, too, and you’ll instantly be able to recognize them by that fanged smiley face. Even if you haven’t read the books and have only seen one cover, chances are you’re going to know this series is familiar to you the next time you see one of these covers, even if it isn’t the same cover. 

That’s brand recognition, and that is huge. Not only will it work for your books, but it will work for your book promotions, including things like bookmarks and t-shirts. Think of the potential for merchandising! Not only can you sell those things, but those things will help sell your books. 

Of course, the logo has to fit the series, and it this case it does. While Vladimir Tod is a vampire, he’s also a regular teenage boy just trying to survive. The fanged smiley face works perfectly to capture the darkly humorous (or humorously dark) mood of this series.

You might also notice how the title on these covers have almost disappeared. They aren’t as important as those logos, although they are great titles. Here’s a different cover for the first book in the series.

While the title is nice and clear, and it plays with the two meanings of the word "bites," there’s nothing particularly humorous or ironic about the cover's design. This cover is a very good cover, but it misses the point. It doesn't make the promise the book delivers on. Instead it makes a promise that might appeal more to Twilight fans. It aims for a similar audience, but not the exact right audience. The deliciously ironic fanged smiley face, though, more accurately promises what the book delivers. It captures exactly the right audience. Which proves that sometimes a clear title works, and sometimes something else works even better.

Speaking of books that don’t have clear titles on the cover, I thought I’d throw in just one more:

Do you see the title? No? That's because it's not there.

But can you still figure out what the title is? It takes a little bit of thought, but you can work it out. There’s a star and then a girl. So the cover of the book is...?

If you guessed Star Girl, you are correct. 

Star Girl  by Jerry Spinelli is about a girl who’s different, a girl who stands out. Doesn’t it make sense to give it a cover that stands out too? And a cover without a title does just that.

 SO WHAT’S THE BOTTOM LINE?

• Study the covers of books that appeal to your intended audience. What works? What doesn't? Why does it work or not work? What’s been overdone? Is there a look you would consider dated? Is there a classic look? If so, what differentiates one from the other?
• How can your book stand out from the crowd? Do you have a strong visual in the title? If you do, does the cover need to show that visual or would that be redundant? Is your book illustrated? If so, do you think an illustration should be on the cover to show the reader what's inside?
•  What does your book give the reader? How does that align with what your intended audience wants? How can the cover promise to give the reader what the reader wants and what your book delivers?
• How can you make the font stand out in a way that fits your book? And how can you make your fonts work in harmony to appeal to your book's audience and deliver your message?
• How many colors are on the most successful books in your genre? What are those colors? Are they overdone? If so, how can you shake it up to make your book look different?  

Of course, this is only a very brief overview of some elements of book cover design; but if you're an indie author, you don't need to know everything about how to design a cover. You only need to understand why designers make the choices they do. In the end, it's all about the designer using his or her expertise to help you sell more books. In a future blog post, I intend to go into how to choose and work with the right designer for your book. 

What about you? There are so many books with wonderful covers. What are some of your favorites? Try looking at them while asking yourself the questions above. What do you think makes them great and why? Are your favorite covers dated, current, or timeless? What makes them that way?