What Sells a Book?


Book covers

I’ve often seen independent authors posting a series of cover images online and asking people to choose their favourite; or they might ask a handful of friends what cover they’d buy. Choosing a book cover with either method doesn’t make a lot of sense. I have been telling my family I’m going to paint my bedroom for the last 15 years, but there it is, the same ugly shade of pink it was in the late 1990s.

My point is that people don’t always do what they’ll say they’ll do. A better question to ask friends or people on forums is “what were the last five books you purchased?” Now you’re researching the books that actually did sell—at least once. You can also get some idea of what sells by searching best sellers’ lists, although Amazons’ figures can easily be skewed by a sudden bump in sales and the New York Times doesn’t include all books in its calculations. If your book is not in a mainstream genre, it might be more difficult to compare, but even studying books not in your genre will give you an idea of design trends and what people are buying.

Buzz sells books

But does the cover really matter? What motivates someone to actually purchase a book? In a 2009 book buying survey by Verso Digital (US), just more than half of 5,640 US respondents said they purchased books based on author reputation. Forty-nine percent said they bought books others recommended to them, and 45 percent used price as the deciding factor. Reviews influenced 37 percent of book purchasers, artwork played a role for 22 percent and advertising, 14 percent.

This is a quite a change from a 1999 survey by Penguin Books that cited jacket blurbs as the criteria for 73 percent of book purchases, followed by recommendations at 62 percent and price at 57 percent.

While new authors can do little about their reputations just starting out, they can influence other areas. It would appear that particularly for new authors, getting buzz about your book is essential, and if you’ve written a good book, and sell it at a good price, then the author reputation part will quickly follow. And there are case studies that support this theory. Word-of-mouth has been credited with the success of Dan Brown’s The Da Vinci Code; Eats Shoots and Leaves by Lynne Truss and The Lovely Bones by Alice Sebold,. Each has sold millions of copies. Two have been made into movies.

Website or blog essential

Online presence was shown as another key factor to book sales and it’s another element completely within the author’s control. When the same respondents were asked what made them aware of books online—especially important for independent authors who often depend on online sales, the number one response was search engine results, with 58 percent of people saying they plugged in search terms to find reading material. Author websites and blogs was the second most popular resource, with a respectable 30 percent; social networks brought particular books to the attention of 20 percent of respondents and online advertising yielded 17 percent of reported awareness about a particular book or books.

The obvious conclusion here is that authors need a strong website or blog that will raise them higher in search engine results and help make them a familiar name to potential readers. This is a topic I’ve researched and written about in the past, and it’s nice to see statistics backing me up.

Is the cover important?

What about the book cover though? There are no current statistics on this, although there is anecdotal data.

In the late ’90s Penguin redesigned covers for its Modern Classics series. Soon after, sales soared in the under 25 demographic.

In the March 2006 meeting of the Association of American Publishers, Marcella Smith, director of small press relations for Barnes and Noble, discussed the remake of the cover for The Little Book That Beats the Market (Wiley, 2005).

In the March 24, issue of Publisher’s Weekly Daily, Smith is quoted as saying the original book jacket was pale blue and featured a dollar sign. After discussing the cover with buyers, the publisher decided to change the book jacket to a more classic dark blue with white lettering, which they felt better suited a traditional business audience. It became a hit and the jacket was credited with the book’s increased popularity.

One of the issues for factoring cover design into sales statistics is that unlike books by well-known authors and those published by large publishers, independent authors are usually doing most, if not all of their sales online.. The only statistics available are relevant to print books sold in stores, and they don’t necessarily generalize.

So, do online covers matter? I’d have to say yes. First of all, it’s quite easy to weed out books that are self-published when the cover is obviously amateurish. One can only assume if there was no effort put into professional design, then there probably wasn’t much effort invested in editing, or layout or even research and story development. The cover is a necessary bit of polish, like a well-pressed suit.

Since covers are often only displayed at one or two inches online, a book cover is pretty much at the mercy of good advertising techniques to get the click-through on a page filled with similar books. An easily-read title and strong use of color are going to play a role.

So, while author familiarity is not going to help independent authors just entering the market, they can change this easily enough with a bit of work, and not necessarily a lot of money. A good blog and a professional product are all going to work in their favour and make that second book much easier to sell.

Self-publishing Explodes: Good News From Around the Globe

Self-publishing is becoming “mainstream”, with new figures revealing the number of do-it-yourself books published in the US has exploded, tripling in the last five years to reach almost quarter of a million titles in 2011. New analysis from Bowker – which issues ISBNs for books published in the US – shows that writers are jumping into self-publishing at an unprecedented rate. The number of self-published books in America grew by 287% to 235,625 books between 2006 and 2011. . .  read full article at The Guardian online

 

Although self-publishing used to be a sign a book publisher wouldn’t touch the title, it’s now considered a legitimate step in signing a deal with a mainstream publishing house.

Successfully self-publishing shows a publisher you have a ready-made audience and increasingly, authors are using canny self-publishing strategies as part of the process of signing a book deal.

A veteran self-publisher is online marketing author David Meerman Scott, who has so far shifted nearly a million paid books across eight titles. . .  read more at The Sydney Morning Herald

 

Mystery writer Lee Goldberg, a TV producer for shows such as Diagnosis Murder and Nero Wolfe, says his royalties for January alone were $60,000 — all for eight previously published but now out-of-print novels that he formatted and converted for sale at Amazon. . .  read more at USA Today

Top 5 Questions I Am Asked About Book Design

 1. Why shouldn’t I lay my book out in Word?

Word is a word processing program, not designed to format files for press. There are lots of issues that can and do occur when you use Word to lay out a print project:

  • Sometimes the black text, is only at about 90% when printed, so you’re essentially getting a dark gray.
  • Word does not work in CMYK colors, which are necessary for printed books. It works in RGB colors, which are meant for screen viewing. I’ve written an article on color that you can read, if you’d like more information.
  • Word will display fonts that you don’t actually have. If you choose the italic or bold options in Word, the program will “fake” those effects, even if you don’t have the bold or italic version of the font. This means, your PDF will not have the bold or italic effects you want.

Word can be a fine tool—if used properly, to lay out e-books. RGB color is preferred for e-Books of course, and the fonts will change on various devices anyway.

 2. Where do I get an ISBN for my book?

  •  In the USA you purchase ISBNs from Bowker.

 3. Why don’t I need a barcode on my e-book?

Barcodes are the physical scanning codes you see on products that allow scanners to determine the price. E-books are not a physical product, they are never scanned. You should have an ISBN assigned to your e-book, though.

 4. Does it really matter what font I use for my book?

Yes! Yes! Yes! There are many reasons, starting with professionalism, moving through readability and ending with sales that make it essential to use fonts wisely. You don’t want to alienate even one buying customer. I wrote an article a year or two ago for the Independent Book Publishers Association, and have posted an updated version of it on my blog, that addresses one aspect of fonts, that offers information that might be useful when creating ads for your book, and even the cover design.

A few years ago Stephen Coles wrote a great article on book cover fonts for FontFeed.com. I think it’s still relevant today, and many of my favourites made the list. I recommend you read the whole article, which includes images.

Cole’s top 10 list of book cover fonts:

  • Minion
  • ITC New Bakserville
  • FF Scala & FF Scala Sans
  • Adobe Garamond (one of my all-time favorite fonts)
  • Trade Gothic
  • Electra
  • Fornier
  • Dante
  • Din

 5. Do I really need a website?

Yes! I’ve written about this topic before also, and here’s an excerpt from that article:

I asked well-known agent Andrea Brown of the Andrea Brown Literary Agency, if she thought it was important for authors to have an online presence and she replied, “short answer is yes—authors must have.”

That opinion is shared by Gwen Gades, owner of Dragon Moon Press in Alberta, Canada. “Social media is very important, as is author branding. More and more readers choose based not just on a book, but because they have gotten to know an author “personally”.

Large publishing houses, including Random House have an online biography for each of their authors that includes book cover images, links to purchase their books, links to personal blogs and websites, as well as Facebook pages. Harlequin has a similar setup for its romance authors. The Penguin Group (USA) has also recognized the importance of authors having and online presence and have a PDF called Penguin Authors Guide to Online Marketing, published back in 2008 (Google the title if you want to see it).

If you’re a small press owner or self-publisher, you’ll want to spend your time and money wisely, and in today’s market that should be in online promotions where you’ll be able to reach the highest number of people for the least amount of investment.

Where To Find Us

We’re usually pretty busy designing books (I design covers, Gwen designs interiors, Stephanie does e-Book formatting), or web sites (I do the design for authors, Stephanie does all the behind-the-scenes coding) and right now I’m working on a project with a major university, building an online archive and library on their Adobe CQ5 Content Management System (CMS). Needless to say, other things get neglected, like this blog.

We are around though and we love comments and to hear from people. We’ll also answer any questions you might have.

Our main site is Book Cover Express. Did you know we also have a site dedicated to e-Book covers? It’s called eBook Cover Express. Then there’s the Facebook page, Book Cover Designer, and my Twitter page @covergal. We’ve also added ourselves to Stumbled Upon, although I can say I have barely had time to glance at it since putting it up. If you have questions, you can also visit me at All Experts.

We’re also often available to write articles and for interviews.

Editors Are Not As Evil As You Might Think. Honest!

 

“Thou shalt commit adultery. That “commandment” was printed in a bible in 1631. The publishers, Robert Barker and Martin Lucas, were heavily fined and lost their printing license as a result. Still referred to as the wicked Bible, the few copies that are still in existence are highly sought collector’s items.

In modern times we have only to look at the $2 million loss Rogers Communications Ltd. suffered due to a misplaced comma to appreciate an editor’s job. According to a Toronto Globe and Mail article, Rogers understood that it had a five-year agreement, renewable for successive five-year terms, to run cable lines across poles in the Maritimes. The agreement began in 2002. In 2005, Aliant Inc., which administers the poles, owned mostly by Fredericton-based utility, NB Power, informed Rogers that the contract was being cancelled and the rates would be increasing to triple the current fee.

Rogers argued that this breached the agreement. In response, Aliant cited the English version of the contract, which said the agreement “shall continue in force for a period of five years from the date it is made, and thereafter for successive five-year terms, unless and until terminated by one year prior notice.” Aliant won.

Lack of editing is often cited as one the main reasons many publications will not review self-published books. On the Direct Contact PR site, Paul J. Krupin has collected a list of quotes from reviewers, who were asked if they review self-published books. While most weren’t completely against the idea, several did mention the editing issue.

Colleen Truelsen, former Editor of Valley Community Newspapers, Inc. in Sacramento says, self-published books are fine, “…but too many of them needed a good editor to catch grammar and misspellings. A book with even a few glaring inappropriate words makes me hesitate to tell our readers about it.”

Editing is also one of the reasons author Amanda Hocking accepted a traditional contract with St. Martin’s Press after becoming a millionaire self-publishing her own series of books.

In a March 24, 2011, blog post she says, “Here are the two considerations I made in my decision (to accept a contract with St. Martin’s): what’s best for my career, and what’s best for my readers. (Notice I didn’t say what was best for my wallet).” She then lists the number two reason as “readers’ complaints about the editing of my books.” Hocking goes on to explain she did hire editors, but in spite of their improving the books and working hard, she was obviously choosing the wrong editors, because readers still complained about errors.

Surfing around the various writers’ and self-publishing forums on Linkedin.com, it appears many authors believe they can edit their own work, or that editors will try to change the integrity of their messages or the tone of their stories.

“Nothing could be further from the truth,” says Dick Margulis, freelance editor and book designer. “A professional editor strives to preserve the author’s voice and to work with the author as a colleague, not to dictate fusty old grammatical rules that do nothing except get the author’s shorts in a bunch. But every writer needs another set of eyes on the text. It’s devilishly difficult to edit your own work and not miss things. I think the reason so many authors have bad experiences with editors is that the editors they think they can afford are not pros. Here’s a hint: a moonlighting or retired high school English teacher is usually not the best choice. Neither is your best friend’s father’s secretary, even if she’s an awfully good proofreader. Editing is a whole nuther ballgame from proofreading.”

And keep in mind that even industry icons such as Ernest Hemingway, F. Scott Fitzgerald and Thomas Wolfe had an editor: His name was Maxwell Perkins. He’s credited with being a significant influence in the success of The Great Gatsby.

What Do Their Books Have That Mine Do Not?

Book sales are no easy thing to achieve in today’s market. Even the most riveting stories, polished by the best editors and proofreaders can fade into oblivion soon after they’re released. Reviews help, but it’s difficult to get enough reviews to sway an ambiguous reader into making a purchase, so you might have to promote your book with wit and charm or even controversy. The most efficient way to do this is by connecting directly with your audience online.

For this reason, it’s important to include a professional website or blog in your marketing plan. It can involve a heavy investment in time to create a website, or you can hire someone to do the heavy lifting, but financially, it’s one of the least expensive forms of promotion available.

Blog-style sites are by far the easiest to set up and maintain. Blogs require little or no knowledge of web design and allow the writer to log in and post an article in minutes. Blogs also allow readers to comment on each post, which optimizes the interaction between author and audience. Comments can be turned off or restricted with the click of a button, to avoid any issues with spam. The author is in complete control. Accepting and responding to comments also gives a writer the opportunity to build a customer base and mailing list (as long as he or she asks permission before eMailing anyone) to make announcements.

Fees to have a blog professionally designed start as low as a few hundred dollars. Your dot com (the URL or web address people will use to find your site) will probably cost $15 – $20 per year. While there are plenty of free blog hosting sites available, it’s easier for people to find your site and remember it, if the URL is customized.

You can invite readers to your site via a Facebook page, Twitter, Stumbled Upon and other social networking resources that are fairly easy to set up and maintain—and free.

You, or your graphic designer, can create a customized look across these platforms, so people will immediately be able to recognize it as your brand, which is preferable to having the same header and layout as 100 other authors in your genre—often the case for people using free templates with no customization.

I asked well-known agent Andrea Brown of the Andrea Brown Literary Agency, if she thought it was important for authors to have an online presence and she replied, “short answer is yes—authors must have.”

That opinion is shared by Gwen Gades, owner of Dragon Moon Press in Alberta, Canada. “Social media is very important, as is author branding. More and more readers choose based not just on a book, but because they have gotten to know an author “personally”.

Large publishing houses, including Random House have an online biography for each of their authors that includes book cover images, links to purchase their books, links to personal blogs and websites, as well as Facebook pages. Harlequin has a similar setup for its romance authors. The Penguin Group (USA) has also recognized the importance of authors having and online presence and have a PDF called Penguin Authors Guide to Online Marketing, published back in 2008 (Google the title if you want to see it).

If you’re a small press owner or self-publisher, you’ll want to spend your time and money wisely, and in today’s market that should be in online promotions where you’ll be able to reach the highest number of people for the least amount of investment.

 

 

There’s Just Something About the Word “Just”

Book Cover Express averages about 70 inquiries a week. Quite often the people who contact us are not sure what they want. They know they want a book cover, but beyond that they don’t know if they want a graphic designer, an illustrator, a photographer or a painter. I’m sure there are artists out there who can do it all, but I focus mostly on graphic design. By definition this means I might take a photo for a book cover, or I might create a simple piece of vector artwork in Adobe Illustrator. Most often it means creating an abstract background and making the text the focal point, or it means manipulating images so they work on the cover.

On more than one occasion I’ve had someone say, “oh, you JUST work with stock images.” Well, no…no I don’t, but in defense of designers everywhere there’s very little “just” about working with stock images.

Even a cover with one image will require a lot of work…in fact, just finding the right image can take days of searching, reading licenses and testing different images using watermarked “comped” versions.

Sometimes you need to combine several images, which is the case in a project I just completed. It took five images (four I licensed from Canstock.com and one I took myself) to make the cover. For three of the images, I had to completely remove the background, which meant blowing the image up really large and carefully going around the entire thing, catching and smoothing every pixel to lift out the portion I wanted. Then I had to repeat the process to blend the images into the background and do layer upon layer of shading and lighting to make them all seem like they’re part of one picture.

Here’s the project I’m talking about. The images I used are below I’m not sure I’m going to keep the text in that font or color.


Images that I used to make cover:

 

Most Popular Fonts Used on Book Covers

A few years ago Stephen Coles wrote a great article on book cover fonts for FontFeed.com. I think it’s still relevant today, and many of my favourites made the list. I recommend you read the whole article, which includes images.

Cole’s top 10 list of book cover fonts:

  • Minion
  • ITC New Bakserville
  • FF Scala & FF Scala Sans
  • Adobe Garamond (one of my all-time favorite fonts)
  • Trade Gothic
  • Electra
  • Fornier
  • Dante
  • Din

Book Design

Design elements should be carried throughout the book


Since my site is mainly one for book cover design, I work with a lot of clients who come to me for just that one element of the book.

There is no problem with this, but I like to at least make contact with the interior designer, or if that part of the job is already done, see the finished product. This is so I can create a cohesive look that carries from front cover, through every page and onto the back cover.

The fonts you’ve used; any graphic elements, such as dingbats or lines; drop caps or other features used on the books interior can be mirrored on the cover, and vice versa.

This is not always possible of course, sometimes covers change for various reasons, but the interior of the book stays the same. One good example is once a movie has been made about the book, a new cover will immediately be produced that reflects the move characters and title, but quite often the interior is not altered.

Book Cover Express has a wonderful, very experienced interior designer and through the years we’ve formed friendly working relationships with many others. Collaboration is not usually an issue.

One problem I do run into is with do-it-yourselfers who are creating very amateurish interiors, using Times and Ariel, mixing too many fonts, not spacing paragraphs properly and not understanding punctuation (there is a difference between a hyphen, an em dash and an en dash). Since the cover is the handshake that greets the world, you can’t really afford to display anything that’s no able to hold its own in a competitive world with professionally-designed books.

Try to remember your book is one project and it should have a distinctive look that identifies it throughout.

Text Legibility and Readability

At age 40, most of us can read something 10 inches away. By age 50, that distance is usually closer to 16 inches and it increases as you get older. This condition, called presbyopia, is caused by the eye loosing its ability to focus and approximately 90 million Americans suffer from it.

When you consider this and other eye conditions that affect vision, you can understand how essential it is for publishers to choose fonts with great care. This doesn’t apply just to the interior of the book, but to the title, back cover text, online ads, websites, posters and any printed matter that will be used in promoting your books.

Here’s a little trick that will test the legibility of your font under less than ideal circumstances: just set a few lines and blur the text in Photoshop or similar software. Do letters such as a, o and d fill in? Do tall letters like i and t and l look alike? Are the letters so close together they’re just one big blur? Do narrow parts of the glyph (glyphs are the letters, numbers, punctuation marks, etc.. that we use to write with) vanish all together?

Paying close attention to the height difference in letters, the spacing between letters and worlds and the thickness of each stroke that makes up a glyph

Deep leading (space between the lines) aids legibility. Generally, 1.5 to 2 times the space between the words is sufficient. This can vary depending on the typeface.

For larger printed matter like posters, The Americans with Disabilities Act suggests height and weight ratios for signage should be between 60% and 100% of the height and that each stroke weight should be between 10% and 20% of the height.

Some fonts that fit this criteria include: Futura, Futura Condensed Bold, Futura Book, (but not Futura Light, condensed or bold), Frutiger Light, Frutiger, Frutiger Bold, Gill Sans, Gill Sans Bold (but not Gill Sans Light) Otpima, Bodoni, Bodini Book. Century Schoolbook, (not Century Schoolbook Bold) Garamond, Garamond Semibold, (but not Garamond Bold), Palatino and Palatino Bold.

Remember, no one is going to struggle to read your message.

Graphic Design Resources