I think we’d all agree that the quality of a novel has little to do with its cover. Speaking for myself, I’ve read plenty of unforgettable novels that didn’t have remarkable covers, and my share of completely forgettable novels with gorgeous covers. And yet, people spend a great deal of time and effort designing covers. There are cover reveals when books are released, and quite a lot of animated discussion about what should be on those covers when books are being planned.
There are probably several reasons for this. One is that, especially in today’s crowded market, it’s important to get people’s attention quickly. And that often means a great cover. A cover also can serve as a kind of shorthand to tell people about the novel. For instance, have a look at this cover of Will Thomas’ Fatal Enquiry.
It tells you right away that the story takes place in London. The man’s clothes also tell you that the novel takes place in the past.
This is the cover of Sam Hilliard’s The Last Track.
Just one look at it tells you that the story takes place in a rural area. And the way the man on the cover is dressed tells you right away that the story takes place in modern times. As it turns out, both things are true.
But covers do more than just give a ‘snapshot’ of what’s inside. They also ‘brand’ a novel. Here, for instance is my edition of Agatha Christie’s Mrs. McGinty’s Dead (Yes, I know, it’s been much loved. I had it as a gift when I was a teenager, and no, I’m not saying how long ago that was).
If you notice, there’s a figure of Hercule Poirot on the cover. Christie’s novels have of course come out in dozens of different editions. Each one has some way of ‘branding’ it as a Christie novel.
You can see that sort of ‘branding’ with this cover of Riley Adams’ (AKA Elizabeth Spann Craig) Delicious and Suspicious.
If you look at the top, it’s ‘branded’ as part of her Memphis Barbecue series. And that can be very effective in getting readers interested. Fans know to look for that little ‘brand mark’ when they’re looking for a Riley Adams novel, even if they can’t recall the title they want.
A cover can also give readers a sense of the sort of crime fiction novel they’re considering. For instance, here’s the cover of Lindy Cameron’s Redback.
The cover tells you right away that this is probably not a light, cosy read. And it’s not. The cover also has a ‘thrillerish’ sort of feel to it, and that’s exactly what this novel is. It involves terrorism, international intrigue, and a crack Australian rescue team that goes up against them. A-hem, Ms. Cameron – still waiting for the next Team Redback novel…..
Now have a look at the cover of James W. Fuerst’s Huge.
It’s bright red, so it’s attention-getting. But it doesn’t suggest a lot of violence or a fast ‘thriller’ pace. And actually, this novel has neither.
Some people pay particularly close attention to covers. For instance, collectors of books with certain kinds of covers, or from certain eras, look for the sort of cover they want. Others only pay attention to a cover if it’s particularly off-putting. Either way, covers are a really interesting aspect of the crime fiction novel, even if they don’t always tell you whether a novel is of high quality.
And…speaking of covers, here’s the cover of Patti Abbott’s forthcoming release, Concrete Angel.
You can tell just by looking that it’s got a theme of someone who’s trapped in a tragic situation. And that’s exactly what the novel is about. It’s coming out in mid-2015, and I’m looking forward to it!
What you do think of this whole issue of covers? Do you pay attention to them? Do you collect books from a certain era because of the cover? Do you look for a certain cover artist’s work? If you’re a writer, what are your thoughts on covers for your books?
*NOTE: The title of this post is a line from Styx’s Miss America.