The author says:

An enslaved Seer in a fantasy land must avoid death at the hands of her future in-laws and escape her abusive would-be groom, to the backdrop of civil unrest, wide-scale oppression of her fellow Seers and magickal assassination attempts.

This is a hard copy cover illustration.

The blurb reads: “How far can you push a Seer before she snaps and pushes back? THE TAINTED SHRINE follows Kanika, a subjugated Seer with her life and the fate of her country at stake, who must escape an unwanted relationship with the Crown Prince and take her chances in a treacherous political landscape – though her people may still never forgive her. However, the prince’s position at court is not as stable as Kanika might like. His brother Meto and sister Elsephere plot at every turn to usurp the crown and destroy any trace his affair with a lowly Seer like Kanika ever existed. And all the while, danger lurks on the fringes of their city, waiting to strike and wipe out invaders and defenders alike.”

The genre is medieval epic fantasy with real-world parallels to domestic abuse, colonialism and mob mentality. There is a moderate focus on the fantasy religions and a fair amount of political intrigue, as well as moderate gore and dark themes. Target audience is new adult/adult, primarily women between the ages of 18 and 35, who are interested in medieval fantasy, political intrigue, spirit-based magic systems and feminism. Would appeal to readers of Ursula K. le Guinn, Robin Hobb and George R. R. Martin.

I submitted a completely different previous cover concept for this novel several months ago. I am both the book’s author and the cover illustrator. Thank you for taking another look at my book cover.

[original submission and comments here]

Nathan says:

This version works much better in thumbnail than the last — there’s instant comprehension both of the image subject and the genre.  I do think the type needs to be a little clearer in thumbnail; make it either bolder or larger.

At full size, I think the art needs more refinement.  The figure’s belly is just a flat waxy area, and both her eyes and her boobs are off-kilter.  You could also add some texture to the fabric she’s wearing for contrast.

Other comments?

The author says:

It’s 1959, in the village of Hightown, north of Liverpool. Soon it will be Bonfire Night, and Jim’s making his own fireworks. Crazy Joe Materson says there’s an unexploded bomb in his garden, and Dad’s in league with him to blow up the sand-stealing excavator. When dead Uncle Buddy appears from out of a stain on the wallpaper and takes Jim back to World War 2, that’s bad enough – but then Old Beardy, the Beach Hermit, gets involved.

Genre: Fiction, historical (1959 / 1942)

Nathan says:

I think the biggest problem here is that the artwork isn’t up to snuff — specifically Uncle Buddy.  If you could get the artist to rework him (and perhaps simply re-tinting him all in spectral colors would work), you’d have it.

Other comments?

The author says:

The novel, The Battle for Taiwan, is set around the South China Sea and is the second in a series of books. There is a slight change of action in this second book as its focus switches from an early sea battle, which the Chinese lose, to dramatic internal problems in China. Chinese faceless generals and other powerful people take the opportunity of disorder in China to steal three nuclear bombs. These faceless men act first against Taiwan and then Vietnam. Our hero Matt Fraser, accompanied by his loyal friends, hunt down the faceless men. All this happens against a backdrop of the faceless men trying to assassinate the new President of China who was not their preferred choice. In the mold of Sum of all Fears, the action is both suspenseful and surprising in its outcomes. Once again the book is fiction, but it draws heavily on actual events for its story line.

Nathan says:

First up: You say it’s the second in a series. I can find The Third Gate listed for you on Amazon; is that the first book? If so, you’ve missed an important opportunity for branding. Ideally, books in a series should maintain the same font choices and art styles so that they look to be of a piece — you want readers and fans of your first book to be able to pick it out from the background noise on Amazon or in the bookstore.  I’d advise you to start work on the second cover by returning to the first cover and deciding what to modify: The color scheme? The particular images (keep their same place in the layout)? etc. (If that’s not the first book in the series, then ignore this paragraph.)

On top of that, while filling in a country’s geographic borders with another image is a design trope with a long and distinguished history, in this case it works against you.  The image inside the border is a longer-range shot than the surrounding background, and so the internal image looks like a hole to something more distant — there’s more confusion than recognition, which works against the goal of immediate comprehension of a book cover.

At this point, one way or another, rethinking the concept of the cover will be more help than tweaking the present one.

Other comments?

The author says:

Q: When trusting your baser instincts threatens to strip your hold on sanity, who do you turn to?

A: A turkey in the woods.

A primal force awakens in Tommy after learning of his mother’s impending death. She’s all right, not in the hospital on life support or anything, but her days are numbered. Returning to Buffalo made all kinds of sense, but Tommy’s efforts to “take care of” his mom faceplant when she refuses to let him help around the house. He teeters on the cusp of crashing into old patterns – but this canine has learned a few tricks since leaving for LA. Tommy engages his writer-brain in passing the time concocting elaborate plots, second-guessing his cousin’s livelihood – certain something more nefarious is brewing. And yet, who is he to point fingers when waking up covered in dirt with no memory becomes a regular “thing”. Amidst a neurotic, potentially psychotic, break Tommy is forced to face a past ready to plow right into his future.

Reminiscent of Salinger’s Catcher in the Rye, I Animal immerses you in the head space of a Xennial neuroses.

[original submission and comments here]

Nathan says:

This cover certainly isn’t as guilty of “false flagging” as the last one was.  Bravo!

I’ll let others weigh in on how appropriate it is to the novel, since I hate The Catcher in the Rye and am therefore definitely not your target audience.  I’ll just weigh in on a couple of design choices:

• Where did the comma in the title go?
• I appreciate the use of negative space as a design element. However, I think you’ve taken it too far with how small the byline is.
• The same goes for the tagline, with the added problem of the ornate handwritten font. Rule of thumb: The smaller the type is, the more readable it needs to be.

Other comments?