Cover Tales

By Mary Jo

Book covers are an enduring subject of  interest and debate for both authors and readers. Receiving one's first book cover is a moment of high anticipation. 

Is the cover attractive? Does it accurately represent the type of book it is? 

Do the models look anything like the characters within the covers? 

Does the heroine have three arms?  (Yes, that happened, and no one noticed until the book came out. <G>)

 

I've had some very good covers in my time, some that were mediocre, a few that made me cringe.  One of the great joys of indie publishing backlist books is being in charge of our own cover designs. If they don't work, we know who to blame. <G>

But in recent years, I've entered a new phase: plot points inspired by the finished artwork.  Kensington, my publisher does covers very early to use in promotion, so I get emails from my editor asking what the characters look like and can I suggest a scene for the cover?  I'm usually wandering in the woods of early pages and not good for much except physical character descriptions. 

So when the cover arrives, I usually say, "Oooh, pretty!  How can I incorporate this s scene into my story, which isn't written yet?"  The fun of this is that the ideas sparked by the cover art have sparked some very cool story elements. 

For example on Once A Soldier, the heroine is holding a sword in both hands as if making a presentation. She's wearing a yellow gown, the setting is a Spanish style hall, and the cover is all golden.  So the Muse came up with a scene where Athena is indeed presenting a sword, wearing a yellow dress, and the ceremony of presentation is a nice addition to the story that I probably wouldn't have thought of on my own. 

Since the first Rogues Redeemed cover had a heroine with a weapon, that became a theme for the series covers.  A good part of Once a Rebel is set in the War of 1812 and the heroine experiences the burning of Washington and the Battle of Baltimore.  As a city burns in the background, Callie is holding a pistol at her side, so I made sure she knew how to use it, and had occasion to do so.

The Once a Scoundrel cover shows the heroine, Rory, clasping a cutlass while perched in the ship's rigging.  She's no swordswoman, but I conjured a scene where she's imagining herself as a lady pirate, which fit the great cover illustration.  Gabriel was explaining to her how to hold and use the weapon. <G>

Once a Spy was set around the edges of Waterloo and both hero and heroine become involved in spying.  I suggested the heroine could be on a horse, and sure enough she is, even if her riding position is more than a little odd.  Suzanne is wearing a what looks like a scarlet ball gown that had the long sweeping skirt of a riding habit.  There's a cannon in the background.  I tried to figure out how I could get her on the field of Waterloo in ball gown, and failed.   But I did figure out how to give her a good reason for wearing a scarlet gown, and I produced a white horse for her to ride.  Very intrepid was Susanne!

Most recent was the cover of Once Dishonored, in which Kendra, the  heroine, is dressed as a swordswoman and holding a fencing foil.  The whole fencing salon subplot camn from that cover, and Wench Andrea's lovely blog on the real Angelo's Fencing Academy. A lot of interesting scenes took place at that fencing salon!

People ask writers where we get out ideas. The answer is everywhere!  And sometimes that means inspiration from the cover that the story will be wearing. <G> 

How much does it matter to you if a cover illustration represents the story well?  Is 'attractive and the characters have the right coloring enough,' or do you want more?

Mary Jo, who likes the cover to represent the story well

Comments

[Donna Jo]

It makes me crazy when the cover seems to have no relationship to the story.
I read one set during the Congress of Vienna. The woman on the cover was a redhead wearing an emerald green ball gown.
The main character was blonde, her best friend was brunette, her chaperone had gray hair...not a redhead in the entire book, male or female.
As for the green dress, she must have worn it between action shots, because it did not appear on any page of the book.

[Karen]

I just finished one book, which I love, but the cover irritates me because there are 3 children depicted and it's spposed to be an older brother and younger twins and the cover instead shows older twins and a younger brother. But as I adore both the author and the story,I mostly ignore it. It irrates me every time I re-read the story though! But I love the covers that you've had on the Rogues Redeemed series. So many gorgeous dresses I would love to own! However, i love the stories inside more!

[Karen Hackett]

First of all, I love the covers on the Rogues Redeemed series except for the one for ONCE DISHONORED. The outfit portrayal reminded me of the Errol Flynn movies of him in tights and his fancy sword fights during period of Queen Elizabeth the First.
The covers of the Rogues Redeemed are incredible and eye-catching on the bookstand. That is how I discovered Mary Jo Putney as a writer, and the rest is history.

[Karin]

I prefer the cover to match the story, but it so often doesn't happen in romances. I particularly recall stories where the hero has some sort of scarring or facial injury, but on the cover he is handsomely perfect. So one learns to ignore it, and it doesn't stop me from enjoying the book. I do like the Rogues Redeemed covers with the weapons theme, except for Once A Spy, where I feel like like she's about to fall off the horse!

[Mary M.]

I love the concept of the cover setting off book scenes. A gift to the author from the Plot Fairy, hmmm?

While I'm attracted by an interesting cover (just finished a book with a sexy martini on the front--story, not so much), it's first and foremost a shorthand for what I'm about to find in the book. I loved (and still love) the Regency dress covers of trads. The men's clothing couldn't have been too comfortable, with those high collars and form-fitting layers, but it goes straight to my visceral reaction. The wild, shirt-half off ones suggest it's all about the sex, not the story. The current vogue for highly dressed ingenues can attract or not, depending on whether she's in an appropriate setting. A ball gown with evening gloves in a field of daisies? No.

This all acts on me in a subliminal way. And the author, or an interesting blurb (and reviews), counts for more, for or against. But I'm so intrigued by Mary Jo's inspiration-from-cover inversion of the process, I'll be looking more thoughtfully now.

[Pamela DG]

The Rogue covers are all spectacular. That yellow cover practically threw itself into my grocery cart. After reading the blurb, oh yeah, it was in the basket for sure! I love military heroes! Thus starting my search for MJP books. I caught up with your Lost Lords before Callie and Gordon's story came out. You have an excellent partnership with Kensington. They have provided excellent covers to several of my favorite authors.

I recently read an ARC recently that boasted two people of color on the front, but nothing in the book suggested the race of the characters, especially the Celtic names. I was disappointed that the cover and the marketing did not fit the story. (I emailed the author explaining why I was not posting a review. I hope that she might change the cover to fit the book, but somehow I doubt that will happen.)

The question that has been rattling around in my brain lately is "Why would an author choose to write under a pen name.

[Sue McCormick]

I have learned to discount most covers. I sometimes believe that marketing doesn't read.

Cover disasters can happen in textbooks. We had a seventh grade mathbook. The preview of the cover showed and adult, getting at a bank window marked "Loans." The finished cover showed a teen-ager instead. I had to work hard to convince the art director that teachers and parents of 7th graders would object to that! Because of space constraints, the teen-ager stayed on the cover, but the sign read savings.

As you can imagine, the origanal cover could have killed our sales.

[Lil]

I once complained about a cover, which had the wrong hair color, the wrong period, the wrong attitude, and the editor told me that all you need is a long skirt to tell the readers that the book is historical.
Sigh.

[Mary T]

I would always hope that the cover would represent the story well, but if I know and love the author already it doesn't matter so much.

When I first retired and started reading HR novels again, Mary Balogh quickly became a favorite of mine. One of her series (Survivors, I think) had a couple of books with "beefcakes" on the front. Hunky males with waxed bare chests, who bore no resemblance at all to the heroes. I bought the books because I knew who she was and knew the story would be great. If I had not known who she was, I would not have even been tempted to pick up the book. I have a feeling she didn't like them either.

Mary Jo, your covers are fantastic. If there are any stinkers out there, I haven't seen them.

[Beverly Abney]

Since I buy books by author or a review that attracts me and no library copy available, I don't pay much attention to the cover. I either think it is nice and suits the story, or I think it is seriously wrong. I read a lot since I can usually find library copies of books I don't buy, but never buy one based on the cover.

[Rosemary]

I like an eye-catching cover. However, I do get a bit annoyed when the illustration, no matter how beautiful, doesn't match the setting, like a regency-styled dress on a medieval book, or a story set in the 1820s, but the heroine is wearing a dress with panniers and a stomacher.

And artists, if you can't draw/paint a horse that bears some resemblance to a horse, and not a large, very strange looking dog, please don't try....

[Pamela DG]

I hit "post too soon. The other part of the question is "Once you've decided to use a pen name, how does one choose it?"

[Annette N]

I thank you for this post. And I enjoyed looking at all the covers.

I read authors. Either an author familiar to me, or someone who is new and writes the types of stories I enjoy. Generally, that is more important than a cover. That is not to say that I do not like to see beautiful covers.

I do get rather tired of reading about a lovely blonde heroine and on the cover she has black hair. I do not like the fact that neither the publisher nor the author thought it was important to match the cover to the story.

But, if they do not give a darn, why should I care?

I hope everyone is taking care and staying well.

[LindaB]

I read an article about Mary Balogh and her reaction to those "hunk" covers. She didn't like them at all. Her publisher came up with them in an attempt to attract a younger crowd, but Mary thought they were a disservice to her existing readers, as well as sent the wrong message about her books. The result--she now has input into her covers, and she has to like the covers before they're used. That's why the ones after the hunks now feature fully dressed Regency ladies, in era-appropriate garb.

[Quantum]

It may seem a little like the tail wagging the dog, but if custom covers are difficult/expensive then I think it makes good sense to start with a cover that matches the spirit of the book and weave the matching details into the story. For electronic books the cover doesn't seem to be important, but for a paperback to read on public transport, I think I would prefer an attractive/not too exciting picture and a sobering title .... you never know who might share your carriage! For audio or e-book versions however, they can be as sexy or gory as you like ... as long as false impressions for enhancing sales are avoided!

[Lil]

Two of the silliest covers I remember (not counting the three arms one):
1. A book set in the 1600s. The cover had a girl in a 1950s ballet length dress walking barefoot on a beach.
2. Also 1600s, English Civil War. The cover had what looked like a still from the movie Gigi—a woman who looked like a Belle Epoque courtesan reclining on a couch.
When you are an established author, like the Wenches, I think you get more say-so on your covers.

[Teresa Broderick]

Covers are very important to me. I too like the hero or heroine on the cover to match those in the book. It really annoys me when they are completely different. I mean, a lot of work obviously goes into choosing cover so why can't they put that little extra bit of effort and do it right.

[Elf Lawrence Ahearn]

When I indie published The Secret Life of Lords, the cover artist left out my hero's legs in the first draft. That was a wee bit alarming.

[Mary Jo Putney]

That's so annoying, Donna Jo. And I'll bet that the author was even more annoyed!

[Mary Jo Putney]

Karen, what's in the covers matters most, but it's better to have more appropriate covers. Those gorgeous gowns on covers look great, but they are NOT REgency--more like Victorian ball grounds. But I'll forgive "gorgeous" a lot!

[Mary Jo Putney]

Karen, I agree that the costume on Once Dishonored is very Italian Renaissance, but it is eye catching. I've learned to be philosophical. *G*

[Mary Jo Putney]

Karin, you're right about the Once a Spy cover. Luckily Suzanne is a very, very good rider. *G*

[Mary Jo Putney]

Mary M, the plot fairy has been good to me with these inspiring early covers, but I think this is rare because I'm kind of slow as a writer. Really, a cover's first duty is to convey what kind of book it is: genre, tone, the kinds of characters. There's a reason why the clinch covers are so enduring: they say ROMANCE!

[Mary Jo Putney]

Pamela, this is really a whole blog topic! I'll see it the other Wenches would want to do a joint post.

[Kareni]

What an interesting post, Mary Jo, and how propitious that some of your covers served to inspire you! I do appreciate covers that match content. I don't always need people on covers; I'm happy to see the occasional cover with a well chosen object. (Just as an aside, I like the heart shape on the bodice of the gown on the Once a Soldier cover.)

[Kareni]

Just a wee bit for you and the hero!

[Mary Jo Putney]

Sue, ouch on the math book cover! I suspect you're right and that a fair number of marketing people don't think. (Many of them do, and they're great to work with.)

[Mary Jo Putney]

LOL, Lil! Sadly, it is funny. A long skirt is the least common denominator for a historical cover. I try to laugh about the errors; it's better for my blood pressure. *G*

[Christina Courtenay]

I love your covers, Mary Jo - you are very lucky! Especially that yellow one, it's stunning! I think authors always dread seeing their covers for the first time, as you never know whether you'll like it or not. It's a great relief when you do. It's really interesting to read how yours have influenced your stories though - love that idea!

[Mary Jo Putney]

I'm quite sure that Mary wasn't advocating for beefcake on her covers! Luckily, she's very well known and her readers will always buy based on her name alone. Most of my covers that I didn't much like were on much earlier books. I'll let them quietly rest in peac.

[Mary Jo Putney]

LindaB, thanks for confirming this. I'm very glad Mary B. now had significant cover input. It makes a difference, but few authors have that much clout.

[Mary Jo Putney]

Beverly, you are an Alpha Reader with very good judgment!

[Mary Jo Putney]

LOL, Rosemary! Some illustrators can draw anything. Others--not so much.

[Mary Jo Putney]

Annette, I'm pretty sure the authors care about getting it right, but most authors have little power. Art departments are busy, and some of them plow ahead and think the details don't matter. I've been lucky in my publishers and art departments; I've always had at least the hair colors rights, and usually more.

[Mary Jo Putney]

Quantum, covers come in all price ranges, and as with most things, one gets what one pays for. I don't agree that covers are less important with ebooks. If anything, they're more important since that is the first and possibly only way to catch a potential readers attention. It's always better for a cover to reflect the book; a reader who feels deceived isn't going to come back.

[Mary Jo Putney]

Yep, Lil, those are all up for the Silliest Covers Stakes. Established authors do have more input, but there are limits. (Gigi???)

[Mary Jo Putney]

Teresa, I think more publishers try than not, but the failures really stick in our minds. (And in our craws.)

[Mary Jo Putney]

No legs, Elf? And presumably it wasn't sci fi or a medical horror novel. *G* The advantage of indie is if they don't get it right, you're the customer and you make the decisions. (And pay the bill!)

[Mary Jo Putney]

Kareni, I never noticed that heart shape! What a lovely, subtle symbol. Thanks for pointing it out to me.

[Mary Jo Putney]

Christina, the Cover Fairy has been good to me in recent years! It's a nice bonus that the art department is so far ahead of me that I can use them for inspiration. *G*

[Janice Jacobson]

I am extremely fond of the old Allan Kass painted covers that so frequently graced regencies back in the day - including your own Carousel of Hearts and The Would-Be Widow. His use of color and detail was unmatched, I think - and his covers really stood out in the bookstores. It's a shame that you have to get new covers when the original ones were so beautiful.

[Quantum]

"I don't agree that covers are less important with e-books."

I know that many here probably agree but I'm not aware of any hard (statistical) evidence to support that view. For me the order of importance is 1) Author; 2) sample audio / narrator; 3) Title; 4) reviews/recommendations.

From reviews of audio or e-books I don't recall any reference to covers. In fact I would prefer a simple colour scheme on the cover to classify the type of book ... much simpler, cheaper and more informative than a picture. Still, that's the skeptical scientist speaking!

[Vicki L]

Cover's don't make or break a book choice for me luckily. The cover's for the Rogue's Redeemed series have been fabulous and that yellow dress on Athena for Once a Soldier. THAT is a gorgeous, wonderful cover. If I could bear to take the cover off my copy I'd put it in a picture frame. Something about that particular cover has always spoken to me.

The covers that annoy me are the headless ones. I can stand looking at the backs of people. Boring but okay. But chopping heads off...I can't stand. It is a pet peeve of mine.

The most "wrong" cover I ever saw was a Regency with a Halloween celebration type cover. England during the Regency didn't do Halloween like 1950's America. That one still makes me shake my head.

[Susan/DC]

I don't know about all of Balogh's Survivor series books, but some of them had beefcake covers on the US editions but much more appropriate and lovelier ones for the UK edition (e.g., "The Proposal"). I took advantage of a trip to London to buy my copies there rather than at home in the US for exactly that reason (even though it made my luggage much heavier for the return journey).

[Susan/DC]

I'm so tired of the dress falling off/shirt open to waist covers which are historically inaccurate and to my mind counterproductive. There are, however, books that do it right. I commented on another site about a book where the H/h are clothed and the clothes themselves add to the sensuality. The cravat that begs to be untied, the silk waistcoat that begs to be stroked, the subtle colors set off by the red ribbons on heroine's bodice, the way the heroine sits on the hero's lap and their bodies curve as they lean into each other -- to my mine this was a far sexier cover than one with less clothing.
At least the heroines on the Rogues Redeemed covers have pretty clothing (I'd buy the golden gown on Once a Soldier if I had a ball to go to), although I do worry about the horse getting tangled in the long red gown on Once a Spy.

[Mary T]

To tell the truth, I don't normally notice covers all that much. The only reason that the "beefcake" covers stood out was because knowing Ms. Balogh's writing, they seemed sooooo inappropriate. I'm glad she had the clout to change things, because the rest of the covers in that series are lovely.

[Mary Jo Putney]

Quantum, skeptical scientists are always welcome here. The importance of a cover relates to the kind of shopping that is being done. If you know your authors and narrators and reviews, you don't need much more. But if someone is browsing, looking for a new read, it matters. Imagine Amazon saying, "If you like This, you may like This," and showing half a dozen books. The first one a reader will look at more closely will probably be the one whose cover caught her attention first.

[Mary Jo Putney]

Janice, the Kass covers were not only good inherently, but they were excellent branding. When you saw one of those covers, you knew it was a traditional Regency from Signet. But rights to the cover artist belong to the the artist, just as rights to the story belong to the author. So those covers are pretty much out of our reach.

[Mary Jo Putney]

Vicki L--you could take your copy of Once a Soldier to a good copy center and ask them to copy and enlarge on a color printer. You might get a very nice result.

But a Halloween Regency????!!

[Mary Jo Putney]

Susan, only Suzanne's superb riding skill is saving that horse! *G*

[Janice Jacobson]

I remember the three-handed heroine. That was on Castles in the Air by Christina Dodd, and it can be found by googling that book's cover image.

The odd thing is, I bought that book at the time and I didn't notice the third hand either (the knight is holding it) until someone pointed it out. I buy by author name generally and covers don't catch my eye unless they're really awful, or really good.

But I'm an experienced reader - I know what I want by name, generally - a cover's real job is to catch the eye of people who aren't already looking for some specific book - and sometimes a cover I don't like, either for the style of artwork or the misleading information in it, does really stand out, enough to make someone take a second look and pick it up and maybe buy it. After that it's up to the author :)