Probably not, unless the book is an iconic bestseller with the kind of visual recognition status that makes it identifiable by sight to the masses. In most cases, an old book will need a fresh opportunity in the modern marketplace. That fresh opportunity will likely mean that you need to get a new cover and a new author photo. Give the work a fresh new start. That new start will also likely mean brushing up the description of the book with an eye toward why it is important for today’s readers. It could also include some current endorsements from people who resonate with the readers of the current year. That is not to say bury or drop old endorsements but be aware that younger readers may not know who past icons are, especially if those icons are no longer active or no longer living. Leverage everything you have available to make the cover stand out on digital platforms. Look at the product with new eyes and new expectations.
I love makeovers! Not only do I have forty books on my backlist, and all have had cover makeovers, but the author has too. Nope, I didn’t go under the knife, I just changed and grew with the times. Fashions change, the way books are viewed has changed, delivery methods have changed. Today your covers need to pop as thumbnails online in an ever-more crowded field, so give your work every advantage. Embrace marketplace changes. Have fun. Enjoy the process. If there are elements of the original covers you love keep them, but make them fresh (are you even sure you have the rights to the artwork?) I say go for it. I say go for it!
I’m going to assume (yikes! Danger Will Rogers) that by “old” you mean the book was first released at least 3 years ago. Yes, refresh, re-boot, revise, re-work that cover.
We’ve all been told not to judge a book by its cover. I think that is a cosmic fallacy right up there with ‘one size fits all’. An enticing cover draws me in — at least enough to read the blurb. With an Indie release a good cover says something about the author. It speaks of quality and suggests a promising story. In fact, I bought my two most favorite novels on the basis of the cover.
Take a good look at the covers of books in your genre and the ratings each has received. That will give you an idea of what sort of imagery is selling. Is it a literal graphic depiction or more impressionistic? Consider what is selling. Go from there.
If the original release was highly successful and you feel the cover was a part of that, you could simply update the original look. Covers are like fashion — ever changing and then rolling around to a previous era, only with a ‘modern’ sensibility. One has only to look at the original Agatha Christie covers and those on offer today to see that.
Give your cover design the attention it deserves
Cover designer and author of the fantasy series, The Fireblade Array
It depends on the rights and cover quality. If the publisher paid for the cover, then they likely own the rights. Sometimes the artist will withhold the right to re-sell certain designs or use them as they see fit. It really depends on the deal originally made. If the cover is very good, this is worth pursuing. If it’s even half-average, I’d plump for a new cover to be safe. Just so happens I know a designer…
Ever wonder what industry professionals think about the issues that can really impact our careers? Each month The Extra Squeeze features a fresh topic related to books and publishing.
Amazon mover and shaker Rebecca Forster and her handpicked team of book professionals offer frank responses from the POV of each of their specialties — Writing, Editing, PR/Biz Development, and Cover Design.
Read Rebecca Forster!
On September 15th, Rebecca announced she signed with Wolfpack Publishing. (Read about it here.) Good news for Rebecca, and good news for readers. Until September 30, 2020 Rebecca is have a sale on select titles.
Rebecca marketed a world-class spa when it was still called a gym, did business in China before there were western toilettes at the Great Wall and mucked around with the sheep to find out exactly how her client’s fine wool clothing was manufactured. Then she wrote her first book and found her passion.
Now, over twenty-five books later, she is a USA Today and Amazon bestselling author and writes full-time, penning thrillers that explore the emotional impact of the justice system. She earned her B.A. at Loyola, Chicago and her MBA at Loyola, Los Angeles. Rebecca has taught the Business of Creativity at University of California Long Beach Writers Certificate Program, UCLA and UC Irvine extension. Married to a Los Angeles Superior Court judge, she is the mother of two grown sons and spends her free time traveling, sewing, and playing tennis.
Remember the books are only on sale until September 30, 2020
Greetings! I’m back for my quarterly post about various and sundry things related to writing historical fiction.
In my last post I talked about the delights of playing with words and creating Tom Swifties.
Today I’m talking about the difference between English and English, as in American vs. British.
Is it fall? Or is it autumn? More on that later.
Words are the building blocks we writers and speakers use to create story. We start hoarding those blocks early, and the resulting vocabulary says much about our own personal settings—where we grew up, what our social milieu is, what our family is like.
A case in point—my grandkids’ first words. We waited with bated breath for each munchkin’s first spoken vocabulary word. I coached them repeatedly (and unsuccessfully) to say “mama”.
But for both of them the first word was… DOG! (Yes, we do love our dogs.)
are taught “write what you know”. I wonder why? It’s a lot more fun to step outside the known world. But it does lead to challenges.
The biggest challenge: You don’t know what you don’t know.
For a 21st century American like me trying to set a story in Georgian England, there are a million opportunities to err.
First there’s the issue of etymology. Was a word used during this story’s time period?
A couple of examples from a Regency first draft I was beta reading for a friend:
And a couple from my own first drafts:
Which brings up another potential pitfall for the fledgling Regency Romance author.
Americans and Brits may speak the same language, but we use different words.
I’m fortunate to work often with an editor in England, and so I’ve compiled my own list of Americanisms for my own pre-editing purging.
Some more examples:
This very funny post from a British writer complete with illustrations.
And a list of 60 American English words translated into British English.
Once, long ago, while reading one of Georgette Heyer’s books, I wondered why they kept writing “cosy” instead of “cozy”. Why had so many misspellings slipped past the editor?
The British spelling was different enough to make it a jarring read for this ignorant and unaware American who happens to be a good speller. Fortunately, I’m wise to them now.
There are also punctuation differences. Here’s a short post about some of those.
And a long one about spelling differences.
I don’t believe Regency readers will pillory an author over this issue, so I’ve settled on using American spelling and punctuation in my stories.
One might say, in this area at least, I’m writing what I know!
Do you suppose we’ll ever go “one-world” on the spelling and punctuation rules?
Happy fall (and autumn) to everyone, and I’ll be back in December!
Images credits: autumn leaves and dog are from Stencil (I’d happily claim that dog though!); image of words is from Wikimedia Commons.
Passing by
dusk casts its veil gently
as I walk along
this quiet street
under winged elms shedding
flaky white blossoms
at my feet
the hour is my own
no one here to nettle my peace
other walkers, far and few,
wave or smile occasionally
people come and people leave
I have learned to let them be
for on these intersecting trails
we’re passersby, you and I
© Neetu Malik
(A Sarah Blair Mystery) Book 3 of a series
by Debra H. Goldstein
Kensington Publishing Corp. 2020
ISBN 978-1-4967-1949-2
Sarah Blair couldn’t be happier. Her life’s on track and now her twin sister Emily’s dream of owning her own restaurant, Southwind, has finally come true. Soon Emily will be able dazzle Wheaton, Alabama with her superb culinary skills. But she can’t open until the building inspector clears her and he seems to be dragging his feet. Meanwhile, the nightmare across the street, her rival’s restaurant, Jane’s Place, has just celebrated its grand opening and threatens to eclipse Emily’s restaurant even before it welcomes its first customer.
To make matters worse, patrons are raving about Jane’s Place where Riley Miller, heart breaker and sous chef, is whipping up delicious and healthy recipes to die for.
But when Riley turns up dead it’s up to Sarah, faithful sister and amateur sleuth, to find the killer.
If you’ve read Debra Goldstein’s previous books in the series, One Taste Too Many and Two Bites Too Many, you know that things are never what they seem, and the killer is not who you guess.
Think you’re good at following clues and figuring things out? Convinced you can beat Sarah to the punch? Then you need to read, Three Treats Too Many.
Psst! Don’t forget to try the recipes. They’re a real treat!
Veronica Jorge
See you next time on October 22nd!
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More info →A Slice of Orange is an affiliate with some of the booksellers listed on this website, including Barnes & Nobel, Books A Million, iBooks, Kobo, and Smashwords. This means A Slice of Orange may earn a small advertising fee from sales made through the links used on this website. There are reminders of these affiliate links on the pages for individual books.
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