[original submission and comments here]

Nathan says:

Definitely a much stronger execution of the concept than the original. Mostly what we’re into here is fine-tuning.

• The knife still doesn’t pull its own weight; as you can see in the thumbnail, it ends up being semi-invisible in the thumbnail. Part of the problem is that the knife you’re using this time has a shorter blade compared to the handle, and the blade is the only part that’s visible as the “i” in “Lies.”
• The drop shadow on the knife is a little weird, too; viewers can accept shadows on letters against unconnected backgrounds, but this instance means that a knife is casting a shadow on the sky.
• Something about the color scheme makes me worry that people will see “slasher horror novel” rather than “police vs. serial killer novel.” I can’t support it rationally, but something makes me think that tweaking the city lights to be slightly more yellow; and making the lights at street level clearer — especially a couple of dots of blue-and-red police lights — would make a big difference.

Other comments?

The author says:

I am the author as well as the cover artist.

PERLGATE is a young adult sci-fi. The chief of security of a space federation is forced to discharge his best friend after he becomes commander under suspicious circumstances. Longer description on cover.

Issues I’m aware of: I know the earth’s curve doesn’t line up; the program I used to make this (Clip Studio) doesn’t allow multiple artboards to be used in the same file unlike Adobe Illustrator, so I had to eyeball it. I also know my art style makes this look like a graphic novel when it’s really a regular written novel.

Nathan says:

This is going to sound really savage. Please remember that I bear you no no personal malice; I’m just giving you the blunt truth.

If you know that your art style is wrong for this cover, why are you using it on the cover?  Your excuse about Clip Studio vs. Illustrator gives me a clue: You don’t think you can afford better. But here’s the point: READERS DON’T CARE. You won’t be able to stand next to every potential reader and comment, “Hey, I know the cover’s not right, but the novel’s really good anyway.” Your cover has to be able to stand on its own, with no excuses. If it can’t, you’re sabotaging your novel sales, and no number of excuses will make up for that.

The second part of the question is, why are you sending us the cover to critique if you know it’s wrong?  I think I can answer that: You want affirmation.  You want us to say that it’s okay.  I get that, I really do; we all want someone to tell us that our mistakes aren’t as important as we think. But that’s not what we do. We bear you no animosity, but we have no soft spot for you in our hearts either. We’re not your Aunt Gladys, who thinks everything you do is just wonderful.

I get being stretched thin and having to decide whether to put money into a cover or make rent. I really do. In this case, maybe you’ll have to settle for a cover that is less customized to your story in favor of it being professional-quality, if slightly generic.

Tough love. That’s what we specialize in around here.

The author says:

YA fantasy (sequel, so I have to have the same models on this cover as on the first book, which you can see here: https://www.goodreads.com/book/show/62990067-dreamwalker )

Nathan says:

For everyone’s reference, here’s that first book’s cover:

Well, you’ve definitely got branding down…

I think the biggest problem with both covers is that the photo you have on top is just not impressive — between the lack of expression and either the poor original photography or the processing which washes out a lot of the contrast, it’s a lot less worthy of focus than the lower photograph. However, if you flipped it, the currently-on-top photo would be even less worthy of attention, and the readers who focused on it (secondarily, after the top image) would subconsciously feel that they had expended the brainpower to interpret an upside-down image with no real payoff.

My advice is to revise both covers, using the bottom image as your main image, and ditch the whole concept of the flipped upside-down images. I see from your book’s description on Goodreads that parallel/linked identities is a big part of the novel, but I think you can find a different way to indicate that visually.

Other comments?

The author says:

Two years ago, Angelo Barsotti lost his wife. As a Private Investigator, he still can’t get over the fact that he cannot solve the case. Angelo moonlights at McGinty’s as a bartender, which is a known cop bar and a great source of information. Angelo and his best friend and associate Lewis Pollard have just taken on a murder case. While working on this investigation, new clues about Angelo’s wife emerge from an unlikely place. A huge technology firm, a military platoon, and a swarm of lies make this one of the toughest cases that Angelo and Lewis have ever had. Will they catch the killer? Will they figure out Angelo’s wife’s murder? Follow along for the twists and turns in An Army of Lies.

Nathan says:

This is one of those cover concepts that looks good in your head, but… as you can see especially in the thumbnail, the knife standing in for the “i” doesn’t pull its own weight. It might work if you enlarged it so that the blade alone takes up the full space that the “i” would, but then you’d have to jigger things so that the handle is both visible and not blocking text behind it.

As it is, the blood drip doesn’t work like that (blood doesn’t run that way), and the cityscape isn’t as ominous as you want.

Plus: I always think it’s best to keep the book title and series title near each other, and the byline separate.

Other comments?