Author Photos on #BookCovers

I love books. Love bookstores. Love book marketing. Love walking the aisles, looking for trends, studying decisions made in book design.

Like the decision to change a book’s cover when the book is made into a movie.

JoJoCoverThose are fun. Makes me wonder if there should be two lines at the register: one for the book lover who bought the original book design; another for the movie lover who bought the cover with the actors on it. Want to see more like this? Check out Isaac Fitzgerald’s July 16, 2014 Buzzfeed Books article “14 Book Covers Before and After They Were Made Into Movies” for cool side-by-side comparisons.

I also find it interesting when there’s no jacket copy at all. Like Gillian Flynn’s The Grownup. I suppose, technically, there is jacket copy. A four-word question that gets to the heart of the matter. If you like ghost stories, buy this book.

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And then there’s this: Sylvia Day’s One with You. A novel by an author whose brand is so huge, it’s just her picture on the back of the book. My first response to a book with no jacket copy is always one of (slight) disappointment. When I pull a book from the shelf, I expect to flip it over and read what it’s about, not see who wrote it. Now I have to hunt for the information.

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But on second thought, it’s a probably a good idea to put a certain faces on the product. (Gasp! Did I just call a book a product?! Shame on me! But yes, I did.) Promoting the artist is how the music industry promotes music. Album covers and book covers require similar marketing and design practices. It’s wise to study both industries. And avid readers know what their favorite authors look like. Reading a great book makes you feel something about its author. Makes you feel connected to them. Seeing them in a bookstore provokes a response that’s like saying, “Oh, hey! There she is. Hello, favorite author. Let me buy your book.”

Speaking of hello . . . Hello, David Baldacci! You’re looking handsome on the back of The Last Mile.

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While gazing upon his handsomeness, I noticed a second level of marketing decisions at play in book cover design. Sylvia Day and David Baldacci’s poster photos were on hardback editions. I assume this is because hardbacks are targeted to readers who love and follow these authors and will buy early to consume the story, and buy in hardback to collect the work of the author they love. Smart.

Here’s a peek of David Baldacci’s The Guilty in paperback. Lower price than the hardcover, with more information on the jacket, perhaps for the reader who may not “know” him and love him the way a loyal reader would. Photo, story tease, quotes.

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Here they are sitting next to each other. Hardback on the left, paperback on the right.

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The audiobook version appears to be direct lift of the front cover, with black borders added to conform to the square shape. So, the front cover is the same on all formats. Back cover changes for the hard and paperback.

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And then there’s Clive Cussler’s The Pharaoh’s Secret. You can see Clive’s photo from across the room, but when you pick up the book, you’ll notice it’s written by Clive Cussler AND Graham Brown. Poor Graham. Where’s his picture? I mean, my gosh. Have you seen a picture of Graham Brown? Whew! So super cute. If they wrote the book together, why not put both of them on the back cover? If not a side-by-side of separate photos; if not a huge photo of Clive and a smaller photo of Graham near the bar code; then maybe a photo of them sitting together? Laughing. Being chummy. After all, they wrote a book together. Surely, they can sit for a picture.

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But on second thought, with yet another nod toward smart decisions in book marketing, I’m thinking Graham’s quite okay with Clive’s image splashed across the back cover (notice the font size of each author’s name on the front cover – one is clearly the headlining author). Because hey, the smartest marketer in this set up might be Graham for landing this business venture. Graham’s first novel released in 2010. Clive Cussler’s been writing and building an audience since 1967. I suspect Graham’s quite happy reaching some of Clive’s readership – which in turn, should build his own.

What do you think? When you browse for books – do you notice these things? Or am I just a whack job with a lot of time on her hands . . .

 

 

Top Trends in #BookTitles

All the Books We Cannot See: When Book Titles Follow Trends

AllTheLightWeCannotSee

I talk books with a whole lotta people, and usually, I can navigate discussions without completely embarrassing myself. But not so long ago, while musing about book titles over email, I failed to make the connection that my book companion was talking about ALL THE LIGHT WE CANNOT SEE, you know, that 531-page World War II novel by that multiple award-winning author, Anthony Doerr. That one. That little-known, rarely talked-about book, that oh, let’s see . . . WON THIS YEAR’S PULITZER PRIZE FOR FICTION.

That one.

She had just finished reading it. Me? I must have been tired (was it a late-night email exchange?), or maybe I was distracted (so many books, so little time) . . .

Doesn’t matter.

I so utterly failed to realize that what she was talking about was THAT SPECIFIC BOOK that I completely confused and cluttered our conversation, until finally, she realized the synapses weren’t firing in my brain, and very politely indicated that she was referring to Doerr’s novel.

Oh. Duh. (“I totally knew what you were talking about!”) Not.

How embarrassing.

And frustrating! Because I know this book – heck, it’s sitting on my desk waiting to be read. So why did I flub up the conversation? Was there something wrong with the neurotransmitters in my brain? Did the receptors across my synaptic cleft suddenly decide to take a freaking nap?

Maybe it’s not my fault.

All three of these books released in 2014 within 90 days of each other, all with very similar titles, and very similar covers. Two of them are even about war.

AllTheLightWeCannotSeeINTheLightOFWhatWeKnowAllILoveAndKnow

And then there’s this:

the girl on the trainthe boys on the boat

And how about this? Two books by (very) different authors, both titled: THE DOUBLE. But thanks to book cover design, one Double, really is double. So together, they read: The Double, The Double, The Double. Which, to my mind, is a triple. Or maybe it’s six. I don’t know.

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Here’s two books living lives after life. When placed side by side, you can read them this way: Life after life after life after life.

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(Hat tip to Emily Temple’s March 8, 2013 Flavorwire “The Doubles: 10 Pairs of Great Books With the Same Titles” for catching the LIFE AFTER LIFE and THE DOUBLE similarities. Photo credits belong to that article.)

My point is, I don’t think it’s entirely my fault that I momentarily “spaced out” about a book title. Especially when some writers do it to us intentionally.

The way Jojo Moyes does it, AFTER YOU, sounds almost polite. Or maybe not, if you put both of her titles into dialogue.

“After you?”
“No, me before you.”

after youme before you

So I’m not crazy. Am I? The trouble with some book titles, especially when done to chase a trend, is that they create a crowded marketplace filled not with: ALL THE LIGHT WE CANNOT SEE, but all the BOOKS we cannot see.

But don’t take my word for it. Almost two years ago (so the list is still growing), Vulture.com published “The Book Title with 91 Imitators” based on an article that originally appeared in the February 3, 2014 issue of New York Magazine. The article chronicles the mind-blowing flood of books with the word GIRL in the title. The list is astonishing. Nearly 100 ‘girl’ titles and counting.

Here’s a sample:

I’m thinking this girl should find another hobby. She’s clearly not good at flying.

Now, don’t get me wrong. They look like fabulous books. My apologies to the writers who are experiencing their third incarnation of the same point – first in New York Magazine, then in Vulture and now on my book blog. But doesn’t it make you wonder what Stieg Larsson would say about all of this? He’s probably spinning in his grave because he was the boy who was the first GIRL. But then, wait a minute. He’s part of the problem . . .

thegirlwiththe dragonthegirlwhoplayedthegirlwhokicked

Or, maybe, Stieg’s not the problem. He was simply the first to brand it.

Stieg was Swedish. The above titles were chosen for the English-language market. The original title for THE GIRL WITH THE DRAGON TATTO is: Män som hatar kvinnor, “Men Who Hate Women.”

Too bad for the men who hate women. The word GIRL sure sells a lot of books!

Just ask JoJo. That girl sells a whole lotta books. But with all this AFTER YOU and ME BEFORE YOU going around, it seems someone got left behind . . .

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Great news! I found her. She’s at the Barnes & Noble.

Many thanks to the astute readers of this blog post who are leaving great comments in my comment section, causing me to return to this post to add:

David Benoit at the The Wall Street Journal chimed in on this topic back in November (11/16/15). Here’s his spin on the matter: Loved the Novel About a Girl on a Train? You May Have Read the Wrong Book: Thrillers with similiar names cause some confusion; ‘THIS is not that book!’

girlonthetrain

Thanks for bringing the WSJ article to my attention, Wendy Janes. And thank you, Pauline Wiles, for pointing us to this August 27, 2015 BookBub article by Hannah Reynolds: What Are the Most Popular Title Trends in Your Genre? Reynolds created word clouds for titles in each genre. Interesting to note, the words ‘love,’ ‘bound,’ and ‘cowboy’ all feature prominently in the erotica genre. I feel bad for the cowboy taxed with servicing an entire genre. With all of these girls on the bookshelves, he’s bound to get tired.

Although, he best stay clear of this one . . .

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I suspect once we’ve exhausted THE GIRL ON . . . THE GIRL WITH . . . and THE GIRL WHO . . . titles, we’ll eventually declare that title structure to be over, and done with. Or, gone, so to speak.

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Or maybe we’ll simply toss that ‘girl’ toward the back end of the title, rather than the front, as seen in ME AND EARL AND THE DYING GIRL by Jess Andrews.

Now that [BLANK] and [BLANK] and the [BLANK BLANK] book I just mentioned has been made into a motion picture, even the moviegoers – who may not be aware of the book – will become attuned to that type of grammatical construction for popular titles.

meandearl

Dedicated followers of title trends, take note: the [BLANK] and [BLANK] and the [BLANK BLANK] title construction, and the [BLANK] and [BLANK] and [BLANK] and [BLANK] construction may soon be gracing your bookshelves on a slew of new books.

etta and otto and russell and james

I thought it looked fresh when I reviewed Emma Hooper’s ETTA AND OTTO AND RUSSELL AND JAMES. Although, it’s sometimes hard to remember which name comes first. Is it James? Or Otto? No, wait. It’s Etta. Etta comes first. (Great book, by the way.)

Unfortunately for me, who sometimes lapses into moments of faulty synapses over all the books I (apparently) cannot see — like the aforementioned Pulitzer Prize-winning ALL THE LIGHT WE CANNOT SEE — I sure hope the coming year brings all the right books, IN ALL THE BRIGHT PLACES. So I can see them. Otherwise, I’m going to need new glasses.

AllTheLightWeCannotSeeallthebrightplacesimage

Another Update to this Post:

TheGirlFrancineLaSala

UPDATE:
This update added February 22, 2016 with gratitude given to trendsetting author Francine LaSala who, in 2012, titled one of her books The Girl, the Gold Tooth & Everything long before using the word ‘girl’ in a title was popular. Francine tipped me off to this February 22, 2016 NPR discussion: The ‘Girl’ In The Title: More Than A Marketing Trend. Click to read the article OR listen to this seven minute Morning Edition.