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: Series

By Michelle Lee
BWL Art Director

Well, it's been a while, but then again, I have been hard at work crafting covers for the BWL authors when I am not chained up at the university working on the dreaded thesis work.

I know, I know, enough about me - get on with the cover information already.  Sheesh ... 

Series can be the joy, or the pain in the behind, of a cover artist.

Why?

The elements of the covers need to match in a series.   This can be a potential issue when an author either doesn't know ahead of time that they are going to continue in the same universe/with the same characters, or doesn't tell the publisher, or does tell the publisher but the artist isn't told.

Much of cover artwork is done using stock images.  This means, if I know ahead of time that an author is planning 3-10 books using the same characters, that I need to find a model that has numerous usable poses.  This creates an added challenge up front – but pays off in the end.  Because when that second book comes along, I already know what images are options, and I simply pull up my bookmarks and run with it.

Alternatively, if it isn't the same characters – the images still need to have the same feel.  So I will start looking for possibles that would work for future books, or I will make sure that I don’t go with an obscure style image, which would be hard to find a matching one later. 

Almost all of the covers that I have created are ones that I personally like.  (There have been a few exceptions however - I won't lie).  I also work hard to try and make each cover unique, despite the fact that I might have fallen in love with an effect, or with the way elements of a cover have come together.  It’s only fair to each author.  After all, cover art should not be like the suburbs – in my opinion, where possible there should be no cookie cutter version of a cover, duplicated numerous times with just small changes made. Obviously, some releases are in genres that just don't sell as well, or are of a length where the cost of an individual cover can be prohibitive.  I do not argue that they are wrong - it is just good business sense to evaluate cost:benefit ratios.  But if it is possible to create a unique cover for each release, in my opinion it should be done.  Yet, sometimes ... a certain cover will just tug at me, and I really wish I could return to it.  Series offer a happy middle ground - they allow me to return to effects and styles I previously used, without short-changing the author.

Series can also be a pain, since stock art is limited.  Again, if I know ahead of time, I can do my best to limit that having an effect.  But I am also an author, so I know how sometimes, secondary characters catch on with readers … or with the author.  Sometimes they just sit there and needle you, wanting to know when their story told.  So I never hold it against an author if they decide to do a spin off.  I just ask that if an author knows ahead of time that the book I am doing a cover for is part of a series, that they please let me know.  As mentioned in my post about the cover art form, there is a spot for just that, and since many series books with have a series title, that also tends to be a dead give-a-way to me.

So let's get down to discussing the details of what goes into a decision about series covers.

   

As you can see here with Jamieson Wolf’s Hope Falls series, all of the woman have a similar feel to them.  They are all soft, feminine woman, with their gaze over their raised shoulder.  When I was assigned the cover design for these, I know ahead of time that I was looking for a blond, a light haired brunette, and a dark haired brunette.  I wanted them all to have a matching look.  Then, for the background, I needed an image that was wide enough I could pan along it with each cover, so that the background is the same, and yet slightly different, with each cover.

When I don’t know about it being a series ahead of time, then there is a scramble to find images that match what I used before in style.  Take for example these two covers:

The coloration and feel of the image for Family Secrets is rather unique.  It isn't the standard cover image.  There are a lot of warm colors, and there is just a feel to the image that catches the attention.  Now I knew before I selected that image that there was another book in the series, so I made sure that I had something in mind that would work for the second book – Family Ties.  Had I not, it would have been a challenge to try and find an image that had the same feel as the one in Family Secrets.

When I didn't know, or quite honestly if I was told, I didn't catch it (because if Jamie knew ahead of time, I am certain she would have told me) - was that there would be a third book.  So when the third book rolled along, I did have a bit of a challenge to find another image that fit the same feel.  As you can see, there is a slight difference in the feel of the image, but overall, it does match well.  It has the same general pose as the second book, so it ties in, even though the colors are a bit off.

As an example of a series that just came into being (at least as far as I know) is Jude Pittman’s Healing Spirits series.  So I had no clue ahead of time that there would be future books.  It originally was just Bad Medicine.  

Then, she started planning for a second and third book - I am guessing because the characters started talking again.  At that point we had two options – try to match the feel of the first book, or redo the cover for the first book.  

So we have the original Bad Medicine cover, with a woman in a field.  A nice soft cover.  It really didn't fit with where the story-line is going to flow to next.  So unlike in Jamie's case, we decided to go with door number two and instead of matching the existing cover, just started over.

These are the results:

As you can see, the redesign allowed for the mimicking of elements.  Along the bottom of all three covers is a scene image of some kind - a cityscape, a deserted road and a lake in front of mountain, with trees.

Each of the covers has something faded into the upper background - a woman, a martini glass with car keys, and a Native American making music at a drum.

What about if the author wants to keep the cover (or the publisher does) but there still needs to be a way to tie it in?  Well that calls for a compromise of sorts - the tweak.

That's right, a slight modification to the existing covers that creates a series feel.

So, the story of that goes something like this ...

Once upon a time, there was a fair author princess named Shirley Martin.  And she had a couple of books that were kind of sort of tied together, but the nasty mean evil witch cover artist didn't know that. So she cast a spell on the covers, making them pretty - but not uniform.  (Except for the first two that she knew were in the same universe ... so fonts matched).

Then one day, the good fairy publisher came along, and discovered there was a spell on the nasty mean evil witch cover artist, and removed it with a spell of her own - a fourth book spell.  The most wondrous kind of magic.  That allowed the good witch cover artist to take control of her body again (seems she was just possessed, and wasn't really a nasty mean evil witch) and bring harmony to the covers with a touch-up potion.

 With the help of the touch-up potion, the covers were made to match with the use of the same fonts, and an added border.  Having a little bit of fun, the good witch cover artist also brought elements of the cover out beyond the border (see the sword in book 1, twinkles in book 2, twinkles in book 3, and dragon wing in book 4).

And so our story comes to a good end for the fair author princess Shirley Martin.  And for the good witch cover artist too, because she wasn't fed to the mean 'ol troll.

Great story huh?  Nah, I am not mellow-dramatic in any way!

Now if you are looking for the true moster-load of challenges as a cover artist ... let's check this one out.  Keep in mind, I DID know this was going to be a series ... so that didn't create the challenge.

The challenge on Vijaya's series comes about because they are all historicals ... and finding good historical images is challenge enough.  But some of the books have the same characters, and others don't.  Plus, time keeps on a rolling along ... so while a character might be dressed perfectly in period for one cover, it won't work for another.  So finding historical images of the same person, in the different period clothes that I need?  Um, winning lottery ticket anyone?  Cause that is the kind of luck it would take.  Which means something else has to be worked out.

For the first two books, I did luck out.  Jimmy Thomas fit perfectly for the first book, and for the second book, I found an image on his cover art images website with a woman showed from the back, and him in it.  Keeping the same background, just shifting it to a new angle, I was able to tie that in.  I also needed something to tie the whole series together - so there is the sword, and something wrapped around it.

 Now for the third book, since there was a new hero, I wanted to recreate the feel of the first book, so the heroine is front and center, with the hero faded into the background again.

Even though I kept the same style for the third book, I wanted something different for the fourth book.  Especially where the author said fire is a very important aspect to the fourth book.  So that was the focus of the images.  And yet - if you look behind the hero, you will see the same castle as for book three.  Now the woman chosen is thankfully very close to resembling the woman from the third book.  But what about the guy?  Well - chain mail takes care of that. : )

Now, the mermaid wrapped around the sword places this book with a certain heroine.  All of her books will have a mermaid, just like all of the books dealing with the first heroine had a dragon.  

I already have images planned for wrapping around the sword in each of the future books.

Ideally, when a new hero and heroine is introduced, for that first book, it will mirror book one and three, with any later books involving them done different to match the story aspects.

I did say it was a challenge -but not in a bad way. It makes me stretch my creative muscles.  Now had I not know about this ahead of time - well, all bets would be off then.  Remember, I am working on my thesis, so stress is already a way of life for me. : )

Yeah I know, enough about me ...

So you see, a LOT can go into creating a look for a series - because you do want the books to look somewhat similar.  At least as a reader I know I like it when they do.  I hate it when books change cover style mid-series.  Drives me nuts!  I have actually gone back and repurchased books in a series when they were re-released with matching covers, just so everything matches.

Ok, I never said I don't have issues ...  In truth, I have more issues than Time magazine.  : )

As a cover artist, I do my utmost best to make sure that I keep series matching each other - and make the author happy with the end product.

Stay tuned for the next exciting chapter in Behind The Cover where I will talk about the X-Factor.  After that, we roll on along to Author Branding.

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: Images selection

By Michelle Lee

BWL Art Director

I’ve been called a Cover Goddess a couple of times, and as typical of me, I shrugged it off.  But now, I have decided, that if others are going to award me Goddess-ness, then I am going to start using it. So in true Goddess fashion, I have a few proclamations!

1. No professor shall require a term paper to be written for any class that I am attending during my graduate coursework.  All term papers are to be voluntarily done for extra credit.

2. No final shall be comprehensive.  In fact, finals shall be abolished!

3. This crap with “self-teaching” is not going to happen anymore.  I am paying you, as my professor, to instruct.  Don’t tell me my learning is going to be self-guided.  If I wanted that, I would just buy the textbook and read it.

Wait … what?  You just want to hear the ones in regards to cover art.  You sure?  Cause I have a few more.  Well, okay …

Cover Art Proclamation 1:

No character, from this day forward, shall have hair.  None.  No wavy golden locks, no straight raven tresses.  Nadda, nothing.  Zero, zilch hair.

Number 2 …

What?  I can’t proclaim that characters can’t have hair anymore?  Why not?

Artistic freedom!  The heck you say!  But I am a Goddess … but, but …

*Insert several minutes of whining and whimpering*

Well fine then!

I guess I will return to the original topic I meant to address this blog post – image selection and how they relate to covers and artists.

The images that are picked for a cover are crucial.  CRUCIAL I say.  For, after all, they are the core of the cover.  And the cover is what a reader sees first.  Before the blurb, before the excerpt, generally they see the cover.

So you want a nice one.

You also want a sane cover artist.  S.A.N.E.  Got that?  Which means when you are selecting images to suggest, think about what you are asking for.

What I mean by that is, if the image has a woman with fly-away hair (you know what I am talking about, where it looks like a fan was turned on during the photo-shoot) and you don’t like the background, find a new image.  Isolating hair in images is tricky, so it is better if it lies fairly flat in the image.

Also, don’t pick a real dark image of a person, where they fade into a black background, and expect it to work with a sunny day beach scene behind him/her. 

It’s hard, as an author, to pick images.  I know – I am also an author.  So I know that there is a certain way a character is supposed to look, and often times, stock art is just too limited in options.  But doing photo-shoots for each and every e-book an author does is not cost-effective or practical.

So authors have to, in some ways, settle for what is available.  Which can be hard.

But if you take the time to make sure and pick images you are happy with, and that are easy to work with, you and your cover artist will both wind up happy with the finished product.

To that end, I am offering just a few suggestions, off the top of my head:

• Don’t pick images with fly-away hair (see above) unless you LIKE the background
• Don’t pick dark images, with dark background, and expect a bright background to be put in replacing it.  (Also see above)
• Think about how many images you are suggesting.  Often, most covers have 1-3 images.  Any more than that gets costly.
• Think about the perspectives of the images.  If you are looking flat on at a couple, and upward at the background you want behind them, it isn’t going to work together.
• Make sure you know if the image is a photograph or computer generated.  Some times, a computer generated background can work in a cover – other times, it just doesn’t. 

For example, here’s one where it does work:

• If you KNOW you are doing a series, and using the same characters, make sure there are other images of the SAME model that you like for future covers, and that there are enough for however many books you are planning.
• If you know you are doing a series, think about the style of image, and make sure you can find other images in the same style to match your future characters.
• Consider your images carefully – have you seen it/them on a ton of other covers?  If so, you should probably find something else unless you are just absolutely, completely in love with that image and it just fits perfectly and you have to have it or the world will just end in misery.
• Be open to changes … I can’t stress this one enough.  Just because you suggest an image does not mean that it will be used.  Often times there is a very good reason why the cover artist will not use it (such as the sizes not being right, it is more long than tall – such as a woman laying down, it doesn’t match with the other images you selected, it can’t be isolated to fit with the other images, or there are terms that don’t allow for the image to be used on commercial items)
• Speaking of isolating images, when you pick an image of a person, you want at least one side of their body to fully be in the image, not both sides running off of the image.  That allows for the person to be isolated from the background and merged with other images.  (Unless, that is, you just want that ONE image on your cover).

For example:

The image for CODENAME: ROMEO is one that I would not be able to move to the side.  Whereas the woman in WILDING NIGHTS I could move around the cover as needed.

• If you are want the person moved into another background, be careful that you don’t pick an image with something from the foreground blending into the image.  For example, grass or wheat stalks, snow or rain, etc.  Both of these images work because they fit the changed background.  Had the author wanted either of these women at the beach, it wouldn’t have worked.

Well that’s all that I can think of right off.  Hope it makes selecting images just a little bit easier!

As for how I work them together, well, it’s not really something I can put to words.  I have to look at the angles/perspective of images, the colors and brightness/contrast to them, and just play around some times to get the right fit.

I do keep in mind previous covers I have done for the author, and also the genre. The hardest covers for me are mysteries and dark themes, since I like doing light covers.  I like happy couples – and especially SEXY couples.  Which can cause some problems, since I like sexy images, and some romances are sweet.  (So half-naked people just don’t work).

When I select images, I also keep my own “do/don’t” list in mind.  I also look at colors, and sharpness/starkness of images.  It a couple has almost a harsh lighting on them, then I won’t put them on a real soft focus background.  

Also, while brown/red hair can be switched fairly decently to the other, turning an image of a blond into a  raven haired person, vice versa, etc isn't that easy.  So I try my best to find images that fit the hair color as well as I can.

Eye color on the other hand is something that I can modify - so I never worry about it when I pick an image, because I know that I can modify it as needed (provided I know what color to change it to - so be sure to provide that info in your CAF).

Other than that, a lot of image selection for me is just flipping through images on stock sites and seeing if anything jumps out at me.  From there, I work all other elements around the image I selected.

If period clothing is required, then I will focus on the person, and worry about making the background fit.

If a setting is pivotal, and the couple’s attire isn’t that big of a deal, then I find a background that will work and then find a couple to fit.

And so on …