The author says:

Girl at Sea is a dark coming-of-age, slightly supernatural novel for adults and mature young adults. Beth, 14, and her crewmate, Silas, 45, have lost their families to violence. They sail the S Pacific, seeking solace for their grief. But Death, in the form of a black Albatross, has a task for them. When Beth’s best friend joins her in Australia, followed by her abusive father, Beth and Silas discover where Death’s journey is leading them.

Nathan says:

The problem here is that you’ve got three main image elements competing with each other — there’s no real focus.  Especially in the thumbnail, the most attention-grabbing bits are the bird’s beak and eyes because of the splash of color, but even the bird seems shoved to the side, and the girl is wedged in at the bottom.

And it’s not even a case of just jettisoning one of the three.  The three images are not only disparate, but actively clashing with each other: the sailboat is in full sunlight, the girl is in interior shadow, and the bird is so brightly colored that it looks painted.

Here’s what I would do:  Place a different photo of a sailboat silhouetted against a fiery evening sky at the top, with everything from the waterline on down being dark; then center the girl against that darkness. (Afraid the bird gets left out.)

Other suggestions?

The author says:

June, 1804 – France. Napoleon is declared Emperor. The port city of Boulogne has been transformed into an armed camp where 200,000 men drill daily for the invasion of Britain with a massive fleet in the harbor. The British Navy pokes and prods to keep them contained, but critical mass is approaching…

Just inside the camp, a small Roman bath is about to be highlighted by two eclipses – in 44 AD and 1914. A Roman Legionnaire, a French Lieutenant, and a WWI Scottish Highlander all settle in for a soak. Mysterious explosions cause all three to duck under the water. Coming up, Titus and George find themselves in the lap of Bayard – in 1804. Trying desperately to communicate, they discover a portrait of Bayard’s wife – Emerald. But… they’re all married to Emerald! Or are they? How to return home? How to escort a future Englishman and an ancient Roman through militarized France on a quest for Emerald without being caught by Napoleon’s Spymaster – already on their heels. How will George deal with his ancestor – an English Commodore ordered to kidnap the new Emperor?

In the summer of 1804, events from one of military history’s crucial focal points provide the backdrop for a race against time – without changing history.

Nathan says:

I understand that you’re trying to work with a budget here, but all the current cover conveys at first glance is “French.” The inclusion of arms from different centuries doesn’t convey anything about time travel, which is the big selling point.

I think you may need to go with custom artwork to do justice to the novel’s hook.

Other comments?

The author says:

A novel about worldwide reaction to a pandemic that occurs a few years after the coronavirus pandemic. Multiple characters in various countries fight a avian flu virus that is worse than coronavirus was. Main characters leads an efforts to get a vaccine to save millions of lives.

Nathan says:

A simple cover can work well, but it needs to be focused, and every element needs to carry its weight.  Here, the asymmetric layout and mild contrast work against the impact this cover could have.

Here’s a five-minute redo to show you the impact it COULD have, with the focus narrowed and contrast emphasized:

(Note: This is not a GOOD cover. It’s just the five-minute version.)

Other comments?

The author says:

It’s been 10 years since the unprovoked Arez attack on Lhasa Space Colony. The war between humanity and the Arez is in full swing with no end in sight. Countless heroes have been struck down by the alien hordes. The orbital cannon on the moon of Titan is the only thing keeping the Arez armada from penetrating further into Terran space. The courageous Captain Jake Takeda has been dispatched to Titan along with the rest of his elite Strike Team. Their mission is to defend the orbital cannon from the viscous Arez ground forces stationed on the exotic moon and to defeat their cruel leader. The dreaded general known only as The Crimson Death.

Nathan says:

I think this is much closer to the bullseye than the last cover you submitted. The genre of military sci-fi is very clearly communicated.

I’m still not crazy about that title font; it sacrifices readability, and doesn’t bring anything in return (it could as easily be on an ’80s-inspired slasher novel).  And I don’t like how the byline is pretty much the only non-centered element.

If the cover art was rendered in separate pieces and composited, then I would suggest you move the cannon to the right so that the planet can silhouette the figure’s head as well.  If not, then I would suggest extending that highlight we can see on the right shoulder up around the top of the head to separate and emphasize it.

Other comments?

The author says:

This book is written for those who are uncertain of their eternal destiny. Many give little thought to what happens when they die. This books lays out the truth about heaven and what changes can be made to help one change the trajectory of their life if necessary to be sure they get to heaven.

[original submission and comments here]

Nathan says:

It’s a complete rework of the initial concept — complete with a new title — but it retains one of the problems of the last iteration: There’s nothing visibly Christian here.  While inclusion of a cross might be too on-the-nose (or not, depending on your content and target audience), perhaps something like a dove would give just the right Christian connotation.

Beyond that, your type placement seems random.  The whole top half of the cover seems explicitly designed as space for the title, so there’s no reason to crowd it over to the left.  And the placement of the description and byline seem like attempts to squeeze text into places not meant for them.  On those elements, my inclination would be to delete the “Not sure? There’s still time” text altogether, and place the byline centered across the bottom in larger type.

And that clock… not only is it squished for no good reason (thus attracting the attention of those of us who regularly complain about such misuse of images at LBC), but its shadow contradicts that of the leaping figure.

Other comments?