Occasionally I make the mistake of complimenting authors on
the covers of their books. I mean no
harm. It’s usually done with a feeling of
kindly envy. I love looking at book
covers. However the author usually had
nothing to do with the cover. He or she
wrote the book, so the compliment is somewhat misplaced and could be seen as a
slight to authors who see their own work judged by work they had nothing to do
with.
Unfortunately in terms of time, the mind’s eye can take in cover art at a thousand
to one ratio over its wordy content. And sadly the two (cover art and story)
are not necessarily related – though they should be. In my next life, should I
have the choice, I’ll be a visual artist. Meanwhile, I’ll try to hold my tongue unless I’ve read the
book or I’m talking to the artist.
I like the idea that the book cover reflects the content of
the book in mood and subject, but that is not the designer’s only concern. The
designer, employed by the publisher, must also look to sales. What, in the sea
of images will get potential readers’ attention and what will hook them into
buying?
This is a challenge. If you think about the tables and shelves in the bookstores and all the competing art and type and color, what stands out? They are all screaming, “look at me, look at me!” You pick one, and look closer. Still interesting? Can the cover art get you to the inside cover (flap) copy? Beyond the cover design is the interior design. Does it invite you to read a couple of sentences? Does it make for a comfortable read? Typeface and leading (spacing) are important. Some readers and writers are unaware of all of this. But a book is an object of art — in its totality, which is why many of us consider books more than just a good read, but also sacred keepsakes.
As much as we like to deny it, a book is also a product. As
a commercial enterprise, the design of a book has requirements similar to other
products – a box of detergent, the label on a wine bottle (the bottle itself),
or as Warhol knew, a can of soup. For best selling authors, their names are
brands. Stephen King is Wheaties. And because of that, the cover design is secondary
to the author’s name, which is likely to be the dominant graphic component. 
Of the 18 books of mine that have been published, I have my
favorite covers, as well as my favorite books. They are not necessarily the
same. One of my favorite covers appeared
on an Italian translation. A couple of times I was allowed to pick the cover
art.
But I’ve pushed my own books enough lately. I’d like to show some of the many book covers
that have made me kindly envious. A sampling of those covers are scattered about in this post.
For more, the blog “Rap Sheet” annually highlights the best
in mystery covers in an on-line competition. I look forward to their 2015
posts. Also, Rap Sheet founder and editor J. Kingston Pierce hosts a separateblog featuring many older pulp covers as well – a comprehensive graphic history
definitely worth checking out
Other News:
Severn House will release Killing Frost in trade paperback November 1. I hope bookstores will
take notice. Audible Books has just
released Death in Pacific Heights on
Audio. And finally, The Blue Dragon
novella is now available as an E-book for 4.99. Not about me: Two great mystery conferences happen this
fall. I’ve attended both in the past and
highly recommend them.
October 30-November 1, 2015
The Columbia Club - Indianapolis, Indiana
This is a wonderful, intimate gathering of writers and readers. Attendees are able to interact with authors,
publishers and agents in this low-key, high-quality event. Among the talented mystery writers in
attendance are this year’s special guests, William Kent Krueger and Simon
Brett.
October
8-11, 2015
Raleigh,
North Carolina
This
is big – the biggest crime fiction convention of the year. Thousands show up for hundreds of events and
panel discussions in a spirit of celebration. Many of the most popular crime
writers as well as the most exciting emerging talents are on hand.
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