LB&LI- Cover Art: From Form to Finish Part I

Before I begin, let me first start by saying, thanks PBW!

Also, I not only write but I  do covers under the name Natalie Winters. Prior to writing, I worked as a marketing director. I have a vocational commercial art degree, associates of art degree and a BS of Science-Marketing/Business. Never in my life did I think I’d end up an author so I often feel out of my element talking about it. Art, on the other hand, I’ve been doing since I was old enough to hold a pencil. Over the years, I’ve seen and heard author friends of mine struggle when it comes to the art forms and how to fill them out. I’ve seen them love and hate their final covers. Their questions and struggles along with others I’ve witnessed from the artist side of things, gave me the idea to do a workshop on the topic.

I hope you all enjoy this online workshop and don’t hesitate to ask questions, share some of your tips on filling out the art form, offer advice or tell us about your experience with it all. Okay, I’ll hush now and get on with the regular scheduled programing.

An Insider’s Guide to Cover Art Forms

Tips and Tricks for Getting the Best Possible Cover for Your Book.

Ah, the dreaded art form. Most authors see the file, open it once, close it fast and force it from our minds because we have no idea how to best fill it out. When the time comes (okay, when our editor is down our throat about getting it turned in) we sit and obsess over how best to describe exactly what we’re envisioning for our cover. This is where some will give the barest of details, like the title and their name or give so much detail that the artist has a really good idea of the heroine’s dental hygiene routine.

My goal with this workshop is simple, offer tips and tricks for getting the best possible cover for your book. Notice I didn’t say, the cover you want. Sometimes, they aren’t one and the same. The bottom line is always a cover that represents the story and sells books. It’s an easy enough concept but the road to it is not always easy to navigate.

Let’s start first by diving into the cover art form. I write for more than one publisher and each one has a form unique to them. I suspect all publishers that collect input from their authors do. We’ll hit the basics which are really key at all houses.

1.  Sum Up

First, describe your story. Sum it up as best you can. Don’t worry about being poetic or if this is going to be your final blurb, just get the basics of your story on there to help set the tone for the artist. Letting them know up front what the story is about is incredibly helpful. Careful to avoid a full synopsis. A little bit goes a long way. You’ll find that to be sound advice in almost all aspects of the cover art form.

2.  Character Description

When describing your characters., list the key physical features but understand there is only so much an artist can do. Many, not all houses, draw upon stock photo inventories and manipulate photos. Some have artists with Poser capabilities. It just depends on what type of cover everyone is going for. Often forms will ask if you have a preference. What’s important to remember at this stage is that while it might be important to your story that the heroine is a second cousin of Jane Doe, it’s not something that needs to be put in the traits/features. Tell the artist what you can and trust they will offer something on those lines (as close as possible).

3.  Clothing Description

Clothing description, as with all aspects of the cover, do you have links to provide to show examples? Of what they’re wearing, the style they’re into? If so, that’s great, include them. It’s much easier for the artist to have them there and not need to refer to them than to sit and wonder what exactly the author is talking about. Like with character features, state the clothing descriptions but don’t be married to them.

4.  Scenery

The explanation of the story itself will have already gone a long way in setting the tone or feeling for the cover. The artist at this point is most likely already getting the creative wheels spinning on what would best represent that. It’s important to add a little more to that description just in case the artist needs an even clearer view. Do you have links to areas/locations that are close to what you were picturing while writing? If so, include them. Help the artist help you. Don’t have a list a mile long of things you want to see on your cover. Like: Six foxes, two sheep, a castle, a tornado, a flying pig, three flowers, two park benches, snow and the hero and heroine in bikinis, lying on a bed, being held up by four hunks in loincloths. That’s a whole lot to put on a cover and trust me, the end product is probably not going to be something you, the artist or the publisher is happy with.

5.  Fonts

To be honest, this is an area that authors are not asked for input on and it’s normally because the font, in the end, should complement the design/tone. It should become part of it. A lot of the artists have had years of training, schooling, work history, and so forth. Most of them have been trained and also come with a fundamental understanding of design/layout. They want the same thing you do, a great cover, that not only represents the book but sells as well. They have an obligation to both you, the author, and the company, assuring they do their part to grab the readers’s eye to get them to read more about your book.

6.  Genres

Some genres require a little more details than others. It’s normally enough to say, my story is set in present day NYC if you’re doing a contemporary one. Historicals will need a little more detail than that. Tell the author what time/era, give examples, details, links if you can. Futuristics as well. What has changed in NYC? Also, paranormals might need a touch more especially if you’re doing alternate world. In any genre, it’s not enough to say, my story happens in the city. What city? If you don’t list it and you get back a picture of NYC and it’s really happening in Houston you really can’t be shocked.

7.  Have Favorite Covers in Mind?

If you have covers that you absolutely love and really would like something that has a similar vibe, include links to them. This is actually very helpful to the artist. It gives them a clear point of reference as to what it is you like. From there, they can see how best they can work something on that line in with your story and your publisher.

~***~

In Cover Art: From Form to Finish Part II, Syneca—Cover Artist, Ellora’s Cave Publishing- will join us and offer her advice on the process. Throughout the week, I’ll share with you the stages of the art process on my end. I’ll *gulp* put up my concept sketches, comps and finals. You’ll  get author bits/requests that appeared on the art forms I was working from. I’ll also walk you through taking your final cover art and creating a static banner ad to use for marketing and promotions.

Thanks for stopping by!

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