This is part of my ongoing series where I’m documenting the development of my serial novel, Razor Mountain. Be forewarned, there are spoilers ahead! You can start from the beginning here.
I revised Chapter One, with special attention to the opening. I spent time evaluating options for book covers.
More Book Cover Action
Much like in my writing, I’m finding that making a good book cover is not about the first draft. It’s about revision, revision, revision. I am, admittedly, trying to be cheap and do it myself, instead of dropping cash on the many fine businesses that would be happy to provide professional artists to help me out. I got myself into this mess, and I’ve been doing my best to get myself out of it.
A couple weeks back, I had rough ideas for what a Razor Mountain cover might look like. First and most obvious thing: with a title like that, it pretty much has to have a mountain on the cover. Apart from that, the book is in many ways about duality: past and future, acceptance and denial, life and death, God-Speaker and Christopher. That’s not necessarily an easy concept to get across visually, but I had a vague idea of the mountain being split in half, and the shape of a person in a dark space beneath it, also split or doubled. I imagined a line down the middle, with the regular colors on one side, and a photo-negative effect across the other side.
I continued to think about what I wanted. I looked at lots of book covers. I researched tools and techniques and companies and prices. I wrote a post about it.
I tried creating a prototype by hand, with colored Sharpie felt-tip pens. I enjoy doodling and painting from time to time, but I was not particularly satisfied with the result in this case. It does look slightly better in person — the lighting is bad and the colors are pretty washed-out in this photo — but it’s not something I want to put on the front of my book.
Next, I moved on to Canva. I started by modifying their premade templates. My next cover was certainly better, but it’s a little too simple, with even fewer visual elements than the Sharpie disaster. It also looks a bit outdated, like a paperback cover from the 70s. In retrospect, the font is more of a fantasy font, with a vaguely runic look. Still, this looks like a book cover to me, even if I’m not that excited about it.
I came back a few days later, energized to make another attempt. With some Canva experience under my belt, I trolled through Pexels for royalty-free images of mountains, silhouetted people, cities, etc. I also fired up GIMP (a.k.a. GNU Image Manipulation Program) and did some light editing. I’m hardly a graphic designer, but I’ve played around with GIMP and Photoshop in years past, so I can do some simple things like filters or gradient transparency.
The end result was actually pretty close to my original vision. I spent a surprisingly long time on little tweaks, like the silhouette of hills that separate the top section from the bottom. Fonts are also incredibly difficult to get right. I spent ages flipping between fonts. I still vacillate between this being too cheesy and just right. It definitely feels more like a thriller font.
I also created several different layouts with these same elements slightly rearranged. Unfortunately, different services want square (or even circular-cropped) “cover” images, and in some cases I may want the image without the title and author overlaid, for cases when they already appear in text nearby.
I don’t have too many specifics to report on the editing front. I took several more passes through the first two chapters, mostly making small line edits. Now they’re going to my first beta reader, my wife. I’ll be back to looking for more critique partners and beta readers this upcoming week.
I continued revising and editing the first two chapters and I created a book cover that I’m satisfied with.
I’ve done my outlining and prep for Razor Mountain. I wrote my author profile and my book description. I’ve got a couple of chapters in revision, just about ready to go. But I don’t have a book cover.
Why Yes, I Am an Old Man
I grew up in a time where traditional publishing was effectively the only publishing. Self-publishing was basically a scam where unpleasant little corporations tricked authors into spending a bunch of money to print a tiny run of their book that would be available nowhere and bought by nobody.
In that strange and distant age, there was an oft-quoted adage: “In real publishing, money always flows toward the author.” If you’re in traditional publishing, that’s still generally true, but we now live in a world where self-publishing is definitely real publishing and a viable strategy for many authors. But self-publishing means that the author is taking on all of the tasks that were once managed by a publisher, and taking on all the risk that entails. In self-publishing, money doesn’t always flow toward the author. In many cases, you have to spend money to (try to) make money. For me, at least, that takes some getting used to.
Those costs can include a variety of things: copy editors, content editors, proofreaders and sensitivity readers; indexing; book design and formatting; marketing; and cover design. The folks at Reedsy have a good post on how these costs can add up, although they should be taken with a grain of salt since they make their money as a marketplace for exactly these kinds of services.
As an old man who still thinks traditional publishing is pretty cool, I ended up accidentally backing into self-pub in the form of an experiment. I wanted to write a serial novel, putting it out into the world as I wrote it (more or less). There are only a handful of authors that could get a traditional publisher to sign on to a project like that, and let me tell you, I am not one of them. Publishing a serial novel has its own unusual considerations, but at the end of the day, it’s self-publishing, and it involves many of the same considerations that self-publishing any other novel would.
If you’re looking at self-publishing and you need a book cover, what are your options?
You can do it yourself. But should you?
The obvious advantage of this strategy is that it costs no money, and you have complete control of your cover design. The disadvantage is that it will cost your time, possibly materials, and the quality of the output is going to depend entirely on your skill. If you are a visual artist, this might be feasible for you. Just remember, book covers are a specialized art. Even if you are great at painting, drawing or visual design, it won’t necessarily be easy to create a great book cover.
Before you embark on crafting a book cover, look around for good reference material. Browse Amazon or Bookshop, or go to your local independent bookstore and snap photos of covers you like. Consider your book’s genre and the feel you want the cover to have — thrillers are going to have very different covers from romance or memoir, for example.
There are also services that help to make the process easier. For example, Canva has a book cover design template, along with a variety of pre-built cover designs, free and paid. You can change any of the elements to suit your own needs, from fonts to colors to pictures or illustrations. If you need pictures, you can try searching a free stock photo site, like Pexels. These sites have photos that you can use without paying royalties. Don’t use any pictures without a clear statement of copyright and conditions of use!
If you have experience or are willing to put in the time to learn, professional design software can give you even more creative control. Adobe Photoshop and Illustrator are industry-standard tools that require a purchase, or you could use a free tool like the powerful (and goofily-named) GNU Image Manipulation Program — GIMP.
Friends, Family, and Freelance
For most of us, it’s just not feasible to create our own book cover with a high-enough level of quality. However, you might know someone with the artistic skills you lack. Do you have an artist friend, family member, or coworker whose work you respect? Consider offering them a commission. For the amateur artist, it may be fun to work on a project that actually pays, and it’ll be far less expensive for you than other options.
Be aware though, that you’re going to have to collaborate. You don’t want to end up poisoning an existing relationship if you end up disagreeing on the design. Treat this as a professional relationship — make sure to be really clear about what you want, how much you are paying, and how much freedom you’re giving your artist to adjust and improve the design based on their own artistic sensibilities.
And yes, you should almost always pay. Even if your artist is a friend or family member, they’re doing a professional service for you. You’re trying to make money by publishing — it would be a disservice to your artist to not compensate them for their contribution to your success. Look at freelancer and professional rates, and make sure you’re offering a reasonable fee that you both can agree on. (Occasionally, you may have a hard time convincing your artist to accept compensation. Consider something more personal than cold cash — take them out for a nice meal, or give them a gift you know they’ll appreciate.)
This is a broad category, but I’m considering this to cover any artist you do not personally know, who gets paid for their art in any way. This includes amateurs who take commissions, professional freelancers, and commercial services.
If you want to find a freelancer, you can browse sites like Reedsy or Fiverr for artists who are specifically advertising their book cover design services. These are the folks who are mostly likely to have experience in this specific field of design, and some examples for you to look at.
If you have favorite artists on an art site like DeviantArt, you might consider asking them if they’ll create a cover for you on commission. Just be aware that many excellent artists will have never created a cover before, and may not be interested. Even if they are, you’ll want to have a detailed description of what you want.
Finally, there are the corporate options. These are companies who employ professional artists who specialize in book covers. This can be the priciest choice, with some cover options costing upward of a thousand dollars.
On the cheaper end of these services are pre-made book covers. These are somewhat like the Canva templates: professionally-designed covers that can be customized with title and byline. Some services will let you specify minor tweaks to things like the font and sizing of the text, but these are mostly what-you-see-is-what-you-get.
If you’re willing to pay for the most expensive options, you can buy a custom book cover design from one of these services. You provide your input to the company, and they come back with one or more designs. You then pick what you like and make adjustments until it’s just right. This is the most expensive kind of cover design service, but you’re paying for strong creative control and high-quality art and design to get a professional product.
When Ryan Lanz, whose blog I follow, posted his cover reveal, he shouted-out his designers, Damonza, who offer pre-made and custom-order covers. There are at least half a dozen other companies who do similar work that are easy to find with a Google search. I won’t recommend any of these, since I haven’t worked with them and can’t vouch for the quality of service. However, they all have galleries of their work that you can browse to help you make a decision.
Making the Right Choice
Many writers, myself included, want to spend as much time as possible refining their craft — writing! But if you’re going to self-publish, there are business considerations, and you have to take them seriously if you want to maximize your chances of success. As often as we say “you shouldn’t judge a book by its cover,” people do exactly that.
Remember that a book cover is a business decision. You have to decide how important your cover is, and how much time and money you want to put into it. You also need to consider the resources available to you. Maybe you can’t afford a custom professionally-designed cover, but you have an artist friend who is eager to help. Maybe you can sock away a smaller amount of money for a commission or freelancer. Maybe you’re an artist as well as a writer, and you’re willing to put in the effort to make something great in Canva, Illustrator or GIMP.
How about you? Have you self-published? If so, how did you get your book cover? Were you satisfied, or would you try something different next time? Let me know in the comments.
This is part of my ongoing series where I’m documenting the development of my serial novel, Razor Mountain. Be forewarned, there are spoilers ahead! You can start from the beginning here.
I wrote a rough draft of the last chapter and started getting into revisions on Chapter One.
As I talked about in a post earlier this week, I spent some time refining my first sentence, first page, and first chapter. I started with the hook.
In the rough draft, my opening paragraph is this:
The cave was a dark, low tunnel, crowded with formless shapes. Christopher struggled to identify his surroundings through eyes bleary with sleep. There was a long roar, followed by a thump. A buzzy, persistent rumble emanated from the darkness around him. Christopher rubbed his eyes and blinked several times, breathing deep and trying to clear his vision.
The first thing I did was get rid of the roar and the thump. I originally intended them to be the sound of other passengers jumping from the aircraft, and the door shutting behind them, while Christopher is still out of it. There’s no more mention of it later on, and it just ends up being confusing and slowing things down slightly. I rearranged and reworded almost all of the rest of it, although the meaning changed very little.
The cave was night-dark and claustrophobic, crowded with indistinct shapes. The cave was night-dark and claustrophobic, crowded with indistinct shapes. Christopher struggled to identify his surroundings through eyes bleary with sleep. All around him was loud buzzing; it permeated his body. He pressed his palms to his eyes and breathed deep, trying to clear his head.
Hopefully the question of where Christopher is and what is happening is enough to hook the reader, without being too confusing. Part of that relies on me quickly revealing more about what’s happening in the remainder of the first page.
The First Page
My goal in the first page is to get across a couple of ideas:
Christopher feels strange, as though he’s been drugged.
He realizes that he is not in a cave, he is in the passenger cabin of a small plane.
Next, as quickly as possible, I need to reveal that the passengers are missing, the pilot is missing, and Christopher is in a world of trouble. This leads naturally into the rest of Chapter One, which is all about answering the question, “what is he going to do about it?”. I think the rough draft does this decently well, so I worked on saying more with fewer words, rewording each of the next 4-5 paragraphs.
This is what my first page looks like, after some revision:
The cave was night-dark and claustrophobic, crowded with indistinct shapes. Christopher struggled to identify his surroundings through eyes bleary with sleep. He was surrounded by loud buzzing; it permeated his body. He pressed his palms to his eyes and blinked repeatedly, then breathed deep, trying to clear his head.
Although his surroundings were shadowy, Christopher could make more sense of the shapes around him as he blinked away his grogginess. The hunched, round shapes were seats. He fumbled around, felt the thin padding beneath and behind him, felt the arm rests.
Christopher’s perception shifted and he understood what he was seeing. Not a cave; an airplane cabin. Why had he thought it was a cave? Moonlight faintly illuminated the outlines of the small, round windows. The prop engines buzzed. Now that he thought about it, Christopher could feel their vibration through his seat.
He tried again to blink away the sleepiness that clung like cobwebs. Even when he had pulled all-nighters in college, he hadn’t felt this discombobulated. This was more like a bad hangover.
Christopher had been skeptical when one of the other salespeople in the department warned him not to sleep on planes when traveling. Better to hold out and hit a new time zone running, one of the veterans had said. Christopher had thought he was exaggerating.
He tried to stand and found himself still seatbelted. He fumbled the clasp open and stood fully, immediately banging his head on the sloped ceiling above. Christopher felt a sudden head rush from standing too quickly, but the pain of his bruised scalp helped to cut through the fog of his thoughts.
It was too dark in the passenger section of the little plane. Before he had dozed off, Christopher recalled little LEDs along the aisle between the seats; recessed lights along the seam between wall and ceiling. He had to turn around to face the front of the plane. Unlike the large passenger planes Christopher had flown on for other trips, this little plane had seats back-to-back, with some facing forward and some facing the rear of the plane. There were only eight seats in the passenger area, and Christopher’s was near the back, facing the tail.
The seats were all empty.
The First Chapter
To revise the rest of Chapter One, I looked at the order of events and made sure I was happy with everything that happened, and what order it happened in. I did end up making some small adjustments from the outline, which is to be expected.
Next, I took several more passes through the chapter to look specifically for some of the things I mentioned in my “firsts” post: adjectives and adverbs, sound, character voice, and pacing. It’s a long chapter (although it’s getting a little shorter in editing), and I still need to spend more time with it to get through all these improvements.
After that, I’ll pass it to my first reader/editor — my wife — and I’ll make more revisions based on her evaluation.
I’ve also been looking at options for cover art. As long as I’m experimenting (and not strategizing for an Amazon e-book bestseller), I thought I might try to make a cover myself. However, when it comes to visual art I’m a somewhat enthusiastic dabbler. I have no formal training. I just occasionally make things for my own enjoyment.
So, I tried making a cover, and I didn’t much like it. Then I started digging more seriously into other options, from paid services to DIY. I can say right now that I won’t be spending a ton of money on a cover (and boy can you spend a lot of money on a cover), but I’m still looking. More to follow.
I revised Chapter One, with special attention to the opening. I spent time creating a book cover that I didn’t like, and then evaluating other options for book covers.