New Cover for Make Willing the Prey

Make Willing the Prey had an old cover, and while it was good enough, I wanted something updated and in-line with my Dreams by Streetlight series.  In other words, it needed to match Emerald City Dreamer.  But since this is a prequel, and a bit more scary than Urban Fantasy is supposed to be, I also wanted it to say, "Horror".  Hopefully I've pulled that off here.

I used stock photos that I paid a few bucks for over at pixmac.com.  I used the Gimp for the background art, and Inkscape for the layout.  Inkscape worked out much better in almost every way than my last tool, Scribus. Overall, the project took around six hours, and an extremely low level of skill.

I will be uploading it tonight, so the book should be refreshed tomorrow.

Here is the old cover, since I can't throw anything away:

Final Cover... (or IS it?)

This is what I went with.  I had a number of people offer feedback, and my friend Michael Montoure even did his own fantastic design, which I borrowed some ideas from.  I took all of your advice, except one good suggestion from two people, relating to the title, which would have been too time-consuming to implement with the tools I used.

Everything is uploaded to Amazon and pending publication.  Look forward to an announcement tomorrow.  It's a perfect synchronicity -- tomorrow is St. Patrick's Day, and my book is about faeries!  How's that for lucky charms?

Cover Draft - Judge This Cover

Here it is, at long last:

This is a low-res JPEG draft of my cover with layout.  I am not an expert at design, although I know a couple of the basics.  Please let me know what you think, and if there's something I could do better, please let me know!

This was designed with the Amazon site in mind.  I made sure the title and my name are both readable at super-tiny thumbnail sizes.  I also wanted it to look good at Amazon's medium thumbnail size, and work as a trade-paper cover in a large size.  (It may need slight tweaks for the trade paper version.  My focus was on the initial ebook release.)

Please leave feedback in the comments.  Thanks!

Emerald City Dreamer Cover Art

One of the best parts about going indie is having full control over the cover art.  My artist is Ana Cruz, (DeviantArt profile) and I was able to explain to her my vision, and work with her until the cover art for Emerald City Dreamer was perfect.  She was a joy to work with.  I am very proud of the final product:

I will be doing design myself, which includes cropping and adding the title.

Some people may wonder how this process works.  I will tell you.

I went to DeviantArt.com and searched on "fairy", not only to find an artist, but to get an idea of what kind of cover I wanted.  I had recently browsed the sci-fi/fantasy section at the bookstore to see what current trends were, so I didn't end up with something out of date.

By browsing here, I decided I wanted a photo manipulation style, and then I let my visualization processes stew for a while until I imagined my character in the pose I wanted, with props and background.  I made a terrible sketch in pencil just so I could remember the details, bookmarked the artists and images I liked, and waited a few months.  (I was still running the manuscript past my fellow Wordslingers, and publication was still far off.)

When I returned to the process, I ruled out the artists I had bookmarked for various reasons, so I had to start over again -- this time I searched for "photo manipulation".  I chose three artists based on these criteria:  1) I liked their art, 2) they seemed professional -- i.e. they presented their gallery in a professional manner, they listed the fact that they took commissions, they had their own website, and they had a portfolio of previously commissioned work.

Here are some examples of what I looked for.  Notice the sidebars are well laid out, contain links to offsite profiles including a professional website, and they state she offers artistic services.  Deviant Art hobbyists often do amazing work, but will not list their credentials or mention commissions.  They may or may not be able to do a great cover for you, and who knows if they can act professionally.

I contacted these artists with a professional, serious email, stating my intentions and asking for details such as timeline and price.  I settled on one artist, but her workload was full, so I started the process again, contacting three more artists, at which point I found Ana.

What impressed me most about Ana was her professional attitude in her email replies.  She stated that she always produces a "sketch" or outline of the art before spending too many hours on it, so that if there were foundational corrections, it saves time and money.  That showed me that she'd given this lots of thought.  If you are commissioning cover art, I would strongly recommend you request this of the artist.  Given that this is a digital image, my "sketch" was full color and consisted of the basic model standing in front of the basic background.  Details such as her hair, props, touch-ups, color-finishing, etc. had not yet been done.  The feedback I gave at this level greatly improved the direction of the image, so I was able to get exactly what I had envisioned.

As an indie writer, my toolbox needs to include the ability to describe an image to an artist in sufficient detail to get what I want.  I'd had some practice on a tattoo I got just a few months before starting this, and I quickly learned not to be fuzzy on any detail.  It forced me to really dive in and not gloss over anything I thought might be important.  Ana was a perfect fit, because she was able to listen.  She got it all, including the facial expression I wanted -- which I thought would be impossible to achieve.

The next time I do this, I will plan ahead a lot further.  It's difficult when you're in the middle of the second draft of a novel to think about the cover art, and to commit to getting started on that piece, especially when you're full of uncertainties and self-doubt.  But the process did take three or four months.  Fortunately, I was far enough behind on the revisions, line edits, and everything else, that it didn't matter.  Of course in the future, now that I've gone through the full process, I should be able to better plan the timing of everything.

They say you should also begin marketing efforts long before release date, and I don't even have a release date.  I've been reluctant to commit to anything until certain things are done -- and it feels weird to market without a cover.  For my second novel, I will be better prepared on all levels.  This novel has very much been a learning process.

The Role of Agents in the Post-Publishing World

This subject has come up a couple of times this week in various blogs.  Scott Nicholson calls agents Unnecessary Evils in Self-Publishing Agents: Unnecessary Evils, and Debbi Mack says she can do everything any e-stributor might do in The 15 Percent Solution.

In some ways, I agree with both.  Services provided by traditional agents are now something of a rip-off, especially if you're a well-rounded person with an eye for design and the ability to make contacts and do business.  Agents have an upper-hand, and this gives the profession a reputation of haughtiness.  They're not any kind of solution because they're part of the problem that we're fleeing, right?  So who needs 'em?

But I do see a role for something.  Let's face it -- not all writers are comfortable with certain aspects of the business-side of writing.  Moreover, even those of us who are comfortable with it, may eventually find some of those detailed tasks distracting... in other words, it may end up being more profitable to shell out 15% so we can focus on doing what we do better -- writing.

We may not call them agents -- though I think there's nothing wrong with using this term.  (As Debbi points out, an agent is “one who is authorized to act for or in place of another; a representative.”)  In this sense, agent is the perfect word.  He may not be trying to sell your book to an editor any longer, and instead may himself be editing your book, hiring a proof-reader, lining up a cover artist, and writing marketing blurbs for Amazon and Smashwords, but these are still representational activities.  To help eliminate confusion, let's call this new breed "indie agents".

Whatever it's called, there is a niche -- something writers will be willing to pay for, and people willing to do the work -- so it will be filled by someone. 

As a self-publishing indie author, I've made a list of activities I might personally find valuable enough to pay 10-20% of my earnings for.  This list is not all-inclusive.  There are many activities I haven't thought of, that other authors need help with, and those would be added to such a list of services.

• Career guidance - Keep a general eye on the markets and offer advice on things like trends in genres, which books to push and which to let go for a while, movements in pricing, trends in marketing, etc.
• Help with marketing, or at least marketing advice - For example, she could submit things to review blogs, or even just tell me which review blogs are worth the time. An agent may even have connections that could accelerate marketing efforts or lend me credibility.
• Editing and proofing. That's right. I've read that many agents are doing editing now instead of editors anyway. If they don't do it themselves, they could farm it out.
• Lining up cover artists, designers, formatters, copywriters for the blurbs, etc.  Negotiating the contracts.
• Handling the business and legal side. Someone to fill the role of "Talk to my agent".  Looking over any miscellaneous contracts to make sure they're legit.
• Eventually some of us indies are going to reach the level of Neil Gaiman, and have speaking engagements all over the world. You're going to need an agent for that. Likewise for film deals, etc.
• Support - Some agents fill the role of emotional support and encouragement. Given the drastic ups and downs of this job, this is helpful for some of us. Where are you going to find an on-demand therapist or life coach (besides in a spouse)? But some agents fill this role for authors.

In a way, you're getting two services for cheaper than the price of one: Editor and Agent.  Instead of costing you 80%+15%, it costs you 30% (Amazon's cut)+15%+misc direct fees for outside services.  Let's do a little thought experiment with some rough math, and see where it leads.

It's common knowledge that the more novels you have available, the more you sell.  (That's the topic of another blog post.)  If you spend all your time marketing your one book, and never write books two, three, and four, you're not spending your time efficiently.  The same would go for the other distracting activities I've listed above.

Let's say I currently have three books for sale on Amazon for $2.99 each.  I sell 100 copies a month, and spend 40% of my time on the "business" side: marketing, studying the markets, lining up services, formatting my own work, and so on.  Let's say I also spend more time editing my own work than I should, when after a while I just can't see past my own mistakes.  And I have a bad eye for art, so I pick a poor cover designer, and can't explain to them what I want.  I'm making about $200/month, and am making slow progress on my next novel.

Now let's say I get an indie agent and agree to pay 15% for them to do the distracting things.  For now, I pay them $30/month, but the more money I make the higher that number will go.  But that's a good thing, right?  Because if the indie agent is helping me make more, then it's a fair deal, right?

Now I still have to spend some time doing the business side.  I need to approve cover art, integrate the suggested edits and proofs, make decisions about any movie deals (ha!), and so on.  But now I have an adviser, who is keeping up on the industry, who is doing the most boring aspects, and giving good advice about what I should do.  Now I only spend 10% of my hours on the tedium, and have twelve extra hours per week to write.  Not only that, but the quality of that time is improved -- I don't know about you, but for me, the little distractions get my mind off my story and depleate my energy beyond just the house consumed.

That means my next novel comes out sooner.  Not only that, but my agent, who can focus on this kind of thing, is doing a great job writing blurbs, which is helping my existing three novels to sell faster.  And she got me a couple of interviews on blogs, and a few extra reviews, and now momentum is starting to pick up.  Not only that, but she knows a really great editor who fits my style of writing, who has suggested lots of great changes on my new novel, which makes me a better writer.

Now it's a year later, novel four is released, and I'm selling 500 copies a month.  That's $1000 -- $800 more than I made before.  The agent gets $150, but so what?  Even then, it's $650 more than I made, plus I'm that much father ahead for when book five comes out.

I'm not completely sure I'd make this wager.  But it is compelling.  And I happen to have a good eye for art and can make business deals when I need to.  I know how to do the marketing, and know where to look for trends in the industry, etc.  I can do it, I just don't want to.

But I do know for sure there are a lot of great writers who want nothing to do with the business side.  Ever.  They're not good at it, and they never will be.  They couldn't tell a good cover from a stain on the floor, and can't read the first line of a Terms of Service contract without bursting into tears. 

For that reason alone, I am confident that this role is going to exist, and plenty of writers will be willing to pay for it.

Cover Design for Newbies - Make the Kids Do It

I settled on a title for my new novella yesterday.

Today I spent many frustrating hours designing the cover for: "Make Willing the Prey". I already had a concept in mind, and figured I could easily use public domain clip art and The Gimp. I quickly learned just how wrong I was.

Two of my teenagers were within hearing distance of my various rants, and each time I complained, they offered to design it for me. Finally, I offered them a dollar figure, and pit them against one another to see who could design the best image.

B. hand-sketched a brilliant image, a loose interpretation of my original concept, but one that captured the idea better than I could have myself.

With a good image file, the rest was easy. I'm confident enough with graphics software that I was able to crop and make adjustments, add a title and byline, and have a completed image within a few minutes.

What do you think?