Today we’re talking about that Special Relationship….
I’m in the amazing position of having The Night Rainbow being published in several countries, including the U.K. and the U.S.A., where the cover designs have now been developed (I had input into both). I’m delighted with both of them, but they are markedly different (U.K. on the left, U.S.A. on the right):
I’ve asked some very kind booksellers in both countries, and my editor from Bloomsbury U.S.A., to talk about the importance of a book cover, and to try and define what defines the differences in our tastes. Here are some of the first responses:
First, Robert Gray, who from 1992-2005 was a bookseller and buyer for the Northshire Bookstore, Manchester Center, Vermont.
He has also been a contributing editor and columnist at Shelf Awareness since 2006. As a writer, his work has appeared in numerous publications, ranging from Tin House to Alfred Hitchcock’s Mystery Magazine toPublishers Weekly. He has an MFA in Writing and Literature from Bennington College. Rob tweets as @Fresheyesnow
The cover was always a factor for us when buying in stock, though not the deciding factor (excepting, of course those counter books that could be sold as gift items on strength of their covers or titles alone). If a book with a lousy cover was still something I loved and knew I could handsell, content always trumped art. But if a book wasn’t so great and the cover was irresistible, then the decision came down to a question: “Is this a book I know there are readers for, even if I’m not crazy about it?” Another factor I don’t see discussed often: When booksellers are building displays, a great cover always has a better chance of being showcased.
I do think customers instinctively reach for a book with a great cover if it’s on a display or face-out on the shelves. If it’s spine-out, then the game is over before it starts. Ideally, what a great cover does is get the potential reader to pick up the book, maybe scan blurbs on the back cover, open the book and flip through the first few pages.
Anything that inspires a customer to initiate that ceremony is critical.
Looking at your covers, I do think the U.S. cover will appeal more to American readers. I’m not sure I can be more specific than that. It’s an instinctive reaction for me, since I’m not a graphics or even a particularly visually-oriented person. I’ve just watched thousands of books being sold over the years.
When a title is new, and selling well, then it is more likely to be displayed face-out. This is where good design comes to the fore.
Rachel Mannheimer is my editor at Bloomsbury in the USA
It’s difficult to pinpoint how important is the cover design for a novel. With the closing of so many bookshops, and the rise of online shopping – for print books and especially for e-books – I think there are fewer face-to-face encounters, as it were, with the book cover. There are new ways to find books, which are great, but it’s rarer for readers to discover books based solely on an eye-catching image. Still, when I’m in a bookshop, it’s definitely still my eyes leading me. (Then I read the blurbs or reviews on the back). And a memorable image still makes an impression if you see it online, in an advertisement, wherever. The cover conveys something about the style of the book before you know anything else.
When you consider the difference between what readers in the U.S.A. like in a cover, compared to the U.K., I think it’s a matter of a slightly different visual language, and just what the customer is accustomed to seeing – what connotations different visual cues have. Successful British book covers look like other successful British book covers, and successful American covers tend to look like other American covers. And I would say, to be supremely reductive, that British covers can look a bit schmaltzy to American eyes, while American covers can look stiff and boring. But sometimes something works perfectly in both markets! It just depends.
I love the cover we came up with for The Night Rainbow; it’s evocative and stylish. There was discussion early on about how difficult it would be to match the title literally (though the UK cover does come close). But it’s also such an interesting phrase, “night rainbow.” The designer had to work with both its sweetness and its mystery. Also, you had been clear about not wanting a straight representation of Pea; you wanted the reader to have space to imagine. This image the designer found, I love that it shows a little girl, but it’s a bit disorienting; you’re not quite sure what you’re looking at. You want to read and learn more.
Many thanks to Rachel, Anna and Robert for taking the time to comment.
For more discussion on UK versus US covers:
Here’s a link to a brilliant talk by Chip Kidd on Book Design on Seth Godin’s blog.
Some very interesting comparisons of the last year’s novels on The Millions.
Not just a wildly different cover, but a different title too, from Morag Joss
For more information/to see other work by the designers of my covers:
UK: Holly Macdonald
USA: Jennifer Heuer