Behind the Cover Artist's Curtain: The X Factor

By Michelle Lee

BWL Art Director

Welcome to another exciting edition of Behind the Cover with your host – Michelle Lee.

*cue applause*

This time the topic is what I like to call the X-Factor in covers.  You know what I mean, that little bit of extra something that isn't easy to define, since it varies from cover to cover – but it is there. 

If you missed past episodes of Behind The Cover Artist's Curtain, you can check them out online.

Introductory Post 

The Cover Art Form

Image Selection

Cover Elements

Series

For my first example of the X-Factor, I want to look at series books, since it is easiest to pin-point that little bit of something extra when comparing books that belong together.

So let’s look at Gail Roughton’s War-N-Wit, Inc. series …

Now looking at the cover, you see similar elements.  The witch diver bar.  The guy is on top and the woman on the bottom.  The fonts (placement, color and style) are all the same.  Now you would expect to see something similar with series books – at least those covers I do for series books.  (Check out my last post if you don’t know why – just scroll down to the end).

So what’s different, besides the actual images themselves?

To start, let’s a close look at the divider.  Notice the stars?  See how they change from cover to cover?  Instead of keeping it stationary and in place, I have it shifting slightly with each cover.  That’s the X-Factor.

Also, see the cat in the first cover?  Here’s a hint – it is on top of the author’s last name.

Now look at the second cover.  Is the cat in the same spot?  Nope – in fact, when you do find it, you will see that it isn't even the same cat silhouette. 

Find it yet?

Now … let’s look for it in the third cover - again, different spot and different silhouette.  

Again, this is the X-Factor.  Just a little fun I had while putting the covers together. It also allows the author to have fun now with promotions … maybe even inviting readers to find the cat in the cover.   In this particular case, the author enjoyed the play on the witch’s cat so much she added one into the story.

(you can check out the details on Gail's blog - just continue on down to the comments)

I already mentioned in the series post about Jamieson Wolf’s Hope Falls series, how the background shifted with each book.

 

But what about covers that aren't for books in a series?  Do they still have X-Factor potential?

Well audience, let’s look at another set of covers - this time for Erin Quinn.

  

The X-Factor in these covers is a little more subtle … but if you look, it is there.  Starting with Kissing Kris Kringle … notice the I’s in the title … see the snowflake that dots it?  Also, the I in Erin’s name is the same way.

Now look at the I in Erin’s name in the cover Shaking It Up.  See the heart?  That’s a little X-Factor.

Now let’s look at a couple more covers.  

Jenna Byrnes’ Heads or Tails involves, well, a quarter coin toss. : )  So, if you notice, behind the word TAILS the headlight, it has a quarter.  Just kind of hidden there; a little bit of whimsy.

Oddly enough, another coin is found in Ann Cory’s Penny Serenade.  Pennies obviously play a key component in the story … so within the moon, which is also something that is important in the story, is the silhouette of Abe Lincoln from a penny.

Another good example is the cover for Jamie Hill’s Impulsive.  Since there are four stories in this collection, I wanted to try and get a little something from each of them worked into the cover.  There’s the bottle, for the genie story.  A trumpet for a jazz based tale.  Snowflakes and a mystical mist, for the other two stories – one of which involves a ski vacation and the other – you guessed it – magic.

 Basically, what the X-Factor boils down to is the stuff that I have fun adding in.  Something that maybe the author didn’t necessarily call for in their cover art form, as in the case of Micah the cat for Gail’s covers, or if they did, there wasn’t a real way to work it in except by doing something subtle, like with Ann Cory’s Penny.

Either way, planned by the author or not, these little things make their covers stand out just a little bit more.  It also helps to prove a basis for a “can you spot the ______ ” kind of question for contests.

And that concludes this edition of Behind the Cover.

I really do hope that you have enjoyed this brief glimpse into what goes on in creating a cover – or at least covers I create.

Next up is author branding.  

After that, I don’t have any ideas right off of what I will talk about, so if there is something you would like to see that I haven’t covered yet – leave that info in a comment.

Until next time!

Behind the Cover: Cover Elements

By Michelle Lee
BWL Art Director

I know it’s been a while since my last post, and for that all I can say is – GRAD SCHOOL.  What, you thought I was going to say I’m sorry?  LOL  Did we miss the last post – I am a Goddess.  Goddesses do not apologize.

Wait a minute.  The hubby is trying to get my attention.

* Five minutes later *

Ok, so I have been informed that while I am a Cover Goddess, and the love and adoration of my husband’s life, (yeah, I added that in, sue me), that I am still, in fact, a mere mortal. Whatever!   

As such, I guess I can apologize for taking so long to get to the next topic in my Behind the Cover series of posts.  I know there are some readers eagerly awaiting the X-Factor post that is quickly coming up.  I believe slacker it a term I have heard muttered under someone’s breath a time or two.  No, wait, that’s at my day job.  Never mind.

Anyways ...

Back to the topic at hand … just what else goes into creating a cover.

So … After I put the images together to see how different elements look together, I place the title and author name on the cover (often not in the color or font that I will ultimately use, but rather just a generic placeholder to start to formulate placement).  Then I start to play around with all the elements – the images, the font (style, placement, color, and effects), shifting them around until I get something that I am happy with. 

Part of an effective cover is making sure the font matches the theme.

Let’s look at Destiny’s Shadow by Rita Karnopp.  Here, the font is of a western style, which is appropriate for a historical set during the time of western expansion.  Now what about a story set in the orient?  The font needs to have an asian feel.

But what if it is a chilling story?  Something a little dark …  Then you have something like the font for Into A Dangerous Mind.  It kind of has a surreal quality to it, which fits the theme of the story.

After I get everything placed, I start in on effects of the font.

That could by anything from a beveling, back-shadowing, to another layer of the same text in a different color.  Whatever it takes to make the text stand out from the images.  Because you want readers to be able to read what the cover says – and not just in a massive size, but also the tiny sizes a lot of websites use.  It has to stand out.

Once I get everything laid out so that it looks good, I start adding in the extras – little things that just make the cover pop.

 What do I mean?

Well … in some cases, it could be a border.  You can see a hint of a border on Into A Dangerous Mind (above).  But it blends in, adding a subtle effect to the cover rather than standing out.  So how about some that stand out.

See how the pearls in Ann Cory’s cover make the pearls the ladies are wearing kind of pop?  How about the rope around the edge of Ginger Simpson’s cover?

In others cases, it might be elements from the story; for example the cover for Impulsive.  This is a collection of stories by Jamie Hill, and I wanted to bring something from each into the cover.  So there is a bottle for the genie, a trumpet for another story, and snow for yet another.  

 We can also see elements of the story in Lee’s Killough’s cover.  This story involves a wolf, and a gun in some form or another – that much is evident from the cover.

 Its little things like that that assists a reader in knowing a little more about the story at first glance.  Obviously, the book’s blurb is a major information source.  But a lot of the times, a reader will see a cover long before the blurb (especially if they are skimming websites for something to read), so I have to make sure that I assist the author any way I can in drawing the reader in.  They’ve worked hard on their story, put together a blurb, made sure the title fits the books and is something that will catch attention, and then it falls on me to wrap their hard work in a pretty package.

At the same time, I have to be true to the reader – creating a cover that actually fits the book.  I know I would be very disappointed if I picked up a book with a smoking hot embrace between a couple, only to find out that all the intimate scenes are ‘fade to black/closed door’.  I would feel like the cover did not depict the book in a true light.  However, something with a soft fully-clothed embrace in a park or something would fit.

Well, I guess that’s it for this issue of Behind the Cover.  I believe the next topic up will be series.  And after that, the X-factor.  So stay tuned.

Behind the Cover Artist's Curtain: The CAF

By Michelle Lee

BWL Art Director

“And so it begins …” 

Just where does a cover begin?  To some degree, it starts in a place that I have no way to touch – within the author’s imagination.  Authors will have some kind of ideas of what their characters, settings, etc look like – and they do their best to get it across within their story.  Some authors will even have an idea on mind of what their perfect cover will end up looking like.

So the first step (that involves me) is a way for an author to get those ideas across to me, so that I can try to bring it to life.

Now in an ideal world, I would have time to read each and every story two or three times before I start working on a cover, so that I know all the ins and outs of the story.  Unfortunately, I don’t even have the time to read the story once before working on the cover.

So instead, I work from something called a cover art form, or CAF.  Basically, it is a form that author’s fill out, that takes their story and boils it down to character details, and pivotal settings/scenes.

Each publisher has their own CAF …

I am an artist who likes details.  Lots of details … and options.  I am a big fan of options.  I like it when authors suggest a couple of different ways the cover could go and still be something they are proud of.

Because, that is what ultimately I am trying to create – a cover that the author is proud to have marketing their book.

So a CAF askes for the most crucial elements of a story.  What kinds of things are those? I am including various questions from various CAF's that I have used, all of which I feel am important.

First of all, I need to know what genre line I am dealing with.  Mysteries/Suspense/Thrillers will have a lot different style of cover from a Romance.  For example, let’s look at two books by the same author.

Just by looking at the covers, you can tell which cover is for a romance … and which is not.

And despite being close in genres, a romance will often differ from a Spice line book, since the Spice line tends to be erotic romances.  Although, that is not always the case – some Spice books will still have a softer cover.  But some won’t.

In this case, I bet you can tell which is which.

Next are details of the book itself …

The full title

The author’s name

Series title, if applicable

Then we get into the details of the book itself … and different publishers use different forms/questions.  Some of them that I have worked with are:

* Tone (in other words, is it dark, humorous, colloquial): 

* Specific Genre (contemporary romance, urban fantasy, etc.): 

* Setting (time period AND location):

* Pivotal scene(s): 

* Scenes or settings that are integral to the story: 

* Give us a brief synopsis of the book: (This means, literally, a paragraph or two. The purpose is to give the artist a feel for the action and tone. No more than 150 words.)

* Provide the blurb for this book:

From there, we move on to what could easily be the longest section of the CAF, depending upon the story itself.  The section where the author has to work the hardest – because it is the most crucial, and all that I have to work from to create the cover.  Some of the various questions I have asked are:

* Mood (anything that might help set the feel of the cover):

* Colors (those you want and those you absolutely do not want): 

* Objects that are part of the storyline that you might like to see on the cover:

* Main Characters:  Most covers WILL have a person or couple on it.  Make sure to provide information for each pivotal character.

- Hair Color:
- Eye Color:
- Build:
- Style of Dress (give at least two examples):

- Additional Information (be sure to include any tattoos or piercing, facial hair, etc that are mentioned about the character):

* If there is something you specifically do not want on the cover state it here. This is your chance to speak up – PLEASE use it.

If asked what the most important detail is, I would have to say eye color.  Why?  Because it is the most often overlooked detail when images are selected.  I've had it happen often that an author will find an image that fits their character to a T, from the hair to the clothes.  And then come to realize that the image has blue eyes and the character has brown.

Luckily, eye color is a fairly easy fix.  If I had to suggest which to find images based on, I say go with exact hair color, and let me change the eye color.  Because hair color is a pain to change, and have look realistic.  But eyes are fairly simple.

After that, we look at fonts.  A lot can be conveyed by a font, and it is my job to make sure that each font matches the cover I created, the genre of the book, and most importantly the book itself.  For example, I wouldn’t use a loopy lasso looking font on a serious thriller.  But I might use it on a fun, and whimsical contemporary romance about a woman roping her perfect man – a cowboy.  Conversely, I might use a stark, simple font with sharp lines and pointed tips if the book were a dark vampire romance.

Now, some authors have fonts that are used on all of their books, and they like it that way.  Others don’t mind something different each time.  So that has to be taken into consideration too.  So authors normally have a chance in the CAF to weigh in on the fonts …

Generally, the last part of the CAF directs authors to look at previously created covers for their publication house, and even covers created for other publishers by the house artists, to give a suggestions of styles, colors, look and feel. 

For example, if an author says they  like this cover By Shirley Martin.

What this tells me is that they like a sexy cover with clean, bold lines.  Nothing too busy.  But still has some soft elements – namely the red silk along the side. 

What about the following cover by Rita Karnopp?  

At first glance, this is also a fairly straightforward cover, until you start to look closer.  The woman is a bold focus point, but it isn’t as simple as it seems.  The background is stark black and white, suggesting at grittiness.  You also can’t quite make out what the background is, but you can kind of see hints of rocks, trees and water, so it is outside.  Along the bottom, is a man on a horse, in silhouette.  And it is balanced by the dreamcatcher with the author’s initials in it.

So it is a relatively busy cover, with a lot to say.  If an author suggests this cover – it could be for the colors, and the play of softness and starkness.  Or it could be because of the way numerous elements of the story are blended together. 

What about when both ideas need to be blended together?  Something a little bit busy, but sexy!

 Then you have something like Ann Cory’s Unladylike Behavior.  It has a lot of elements, the castle, the pearls, the roses, and the women.  Obviously, the woman the focus, but they the cover overall is soft and sexy, and very feminine.  And notice the roses aren’t quite normal – that is because there is a silk sheet laid over them, and faded in.  The castle has mist around it, in a soft pink to match the roses.  The roses, by the way, are colored to match the lipstick of the two women.

So if an author suggests this cover, I know we are looking at soft, sexy, and yet it can convey numerous elements of the story.

I definitely like when authors mention covers that they like elements of, even if it isn’t my work.  Makes things easier …

Now if you are interested in looking at my cover portfolio, it can be found HERE.  http://eroticdesign.eroticpen.net  I feel I must mention, some of my covers are for erotic romances … so some may be very sexy, and rather hot!  You’ve been warned. : )

So that, in a nutshell, a cover art form. 

I hope that you have enjoyed this brief glimpse into what goes on for me in creating a cover.

Meet Author Ann Cory

Ann Cory was born and raised in Oregon with an overactive imagination, and a love of words. With the loving support of her family, she’s able to devote time to her craft.

She enjoys writing sweet and spicy romance in an array of genres including paranormal, contemporary, historical, urban fantasy, ménage, and western.

BWL: How long have you been writing and in what genres?

AC: I’ve been writing for publication about eight years now, though I’ve been writing all my life. Genres I write include horror, erotica, fantasy, paranormal, western, contemporary, historical, ménage, BDSM, sensual romance, and more.

BWL: Where you do get your inspiration?

AC: Inspiration hits me often when I’m baking, decorating, or outside surrounded by nature. Inspiration can be a word or phrase, lyrics to a song, in a conversation my husband and I are having, and many times from a picture.

BWL: Tell us about your book(s).

AC: Penny Serenade: Tokens of the Heart Book One is a contemporary erotic romance that introduces us to Audrey Kessler who runs a new age gift shop – Tokens of the Heart. 

Audrey has worked hard to get where she is, and her shop has been a success with the locals. Love hasn’t been the same success. When Dominic Blume enters her shop, she wonders if he might be the one, but the first impressions are all wrong. This book also follows other characters who readers can expect to follow throughout the rest of the series.   

The shop, Tokens of the Heart, was inspired by a quaint little shop in Gleneden Beach, Oregon called The Crystal Wizard. Whenever I go there I’m immediately swept up in its magic.

BWL: What about your next book?  Will it be part of a series or a stand alone?  Can you give us a taste to whet our appetites?

AC: Currently I’m working on the sequel to Midnight’s Sweet Kiss, the telling of Olivia and Tate’s story, as well as the second and third books in the Tokens of the Heart series. Since I’m generally tackling several stories at once, along with shorter stories, I’m sure there will plenty more soon.

BWL: What are your hobbies and interests?

AC: I enjoy reading, writing poetry, dancing, going to rock concerts, baking, playing board games with the family, watching movies, and interior decorating.

BWL: What does the future hold for you?

AC: I’ll be juggling my first love, writing, with full-time classes at my local college to prepare for a job as a medical office specialist.

BWL: Where can readers find you?

AC: Readers can find me on Amazon http://www.amazon.com/author/anncory, Twitter http://www.Ann_Cory, Facebook http://www.facebook.com/people/Ann-Cory/617457610, on my Ann Cory Reader group http://groups.yahoo.com/group/AnnCoryReaderCorner/, and kicking around my blog http://anncory.blogspot.com/.  

BWL: Thanks Ann!