Aren’t they gorgeous? I’ve been lucky. It doesn’t take a special study to know that book covers matter. A good cover inspires a potential reader to pick up the book to learn more; a bad cover barely registers as the book browser moves on to a different title.

Some people believe that originality and a fresh approach are key to producing good book covers. That’s not entirely true. While we have a tendency to scorn cliches, there’s a reason that certain images, colors, and fonts are used repeatedly. A book’s cover, after all, exists primarily to help market the book. It gets about three seconds of our attention to do that. One quick glance at that cover should not only make a good first impression but should help the reader categorize the story within the pages as well. Using elements familiar to particular genres triggers instant recognition in our brains. That’s one reason you won’t find elegant, flowing font and pastel colors on the cover of a tense thriller, or big, blocky fonts and gun illustrations on a romance. Sticking to general design standards for a particular genre lets a reader instantly know what sort of book to expect; connecting cover imagery to books that have been successful in the past further encourages that reader to take a chance on a new title.

You can tell a lot by looking at my three book covers. With the otherworldly nature of their illustrations, ANGEL CAFE and THE OPEN CHANNEL imply some supernatural chills. ANGEL CAFE in particular has some pretty spooky font going on, and if that didn’t communicate the nature of the book, the tagline would help: “Some spirits are best left alone.” The mood continues for THE OPEN CHANNEL, although the font here has a slightly medieval feel, telegraphing the fact that part of the story takes place in the 14th century.

If you guessed from their covers that my first two books belong to a different genre than NEWPORT does, you were correct. NEWPORT is historical fiction, and its cover evokes its era (the story is set in 1921).

Just as we know what we like when we see it, we also know what we DON’T like. If a great book cover can encourage sales, the unfortunate downside is that a poorly designed cover can become the butt of jokes. It was only a matter of time in our internet-saturated world before a website like this happened.

NEWPORT’s cover was designed by Amanda Kain. ANGEL CAFE’s cover was illustrated by David Stevenson, who also designed the cover of THE OPEN CHANNEL. I am indebted to them for keeping me off of that website.

I do, however, have a confession to make: as excited as I am about my novel’s audio release, I’ve never actually listened to an audiobook.

I know. What rock have I been living under? Because now that my own book will be available in audio formats, it seems that everybody I talk to not only listens to audiobooks, but adores them. One friend tells me that listening to audiobooks together is a cherished part of family vacation road trips. Another says that stories and earbuds enhance his long walks. The AAA guy I didn’t know before I went in for a Triptik swears by them. (Yes, there is a story behind why I now know this about the AAA guy, but we’ll save that for another time.)

The audiobook business is booming. Last year, over 35,000 titles were released in audio formats, compared to around 12,000 in 2011. By the end of 2014, the global audiobook business was worth more than two billion dollars. Not bad for an industry that began back in the 1930s, when the Library of Congress created a “talking books” program to provide reading material for veterans blinded in World War I.

My informal poll of people who listen to audiobooks revealed that the narrator of the book is hugely important. Some listeners have disliked entire books because the narrator’s voice does not seem to “fit” the story. The AAA guy (really, he needs his own post) actually buys audiobooks based on who is narrating them and is such a fan of one narrator that he’ll buy any novel the guy narrates, regardless of whether there is any interest in the story itself. So, clearly, choosing the right narrator for NEWPORT mattered. (No pressure there. None at all.) Fortunately, my publisher did most of the hard work, presenting me with three competent narrators from which to choose. There was no way I could mess this up.

What an interesting experience, listening to each recording and trying to decide how NEWPORT should sound! When I write, I do sense my characters’ distinct voices and vocal inflections, but I’ve never had to translate what I hear in my head into actual tone. Which narrator had the timbre that would best express the mood of the story? Did any of the three possibilities have particular vocal nuances that might help listeners differentiate between speakers in conversation? Did one voice help weave the texture of the book’s historical settings better than the others? In the end, I used sheer intuition to make my decision: NEWPORT will be narrated by Audie-Award-winning actress Johanna Parker. (You can learn more about her here.)

Not everybody agrees that listening to books instead of reading them is a good thing. A recent study at the University of Waterloo in Ontario indicated that the freedom to multitask while listening to an audiobook may prevent the mind from absorbing  words it hears as effectively as those it reads. Maybe. But we are all so busy these days that reading time is often at a premium. For many, this isn’t an “either/or” choice. Listening is often the only way that a book might ever get “read.”

I can’t help but be a fan of any method that allows me to share my novel with readers. I’m also looking forward to listening to the story myself, experiencing NEWPORT in a whole new way.

And then I want to talk it over with the AAA guy.

1. love, love, love it;
2. can’t imagine how anyone on earth could love, love, love it;
3. think the author needs serious help.

You want to review this book online because

1. everyone should read it – it’s THAT good;
2. nobody should read it – no person’s karma can be THAT bad;
3. the author needs serious help.

My last blog post talked about how influential customer reviews can be. But if I had a chance to review the reviews, I’d say that some are better than others, and that it has little to do with whether or not the reviewer liked the book.

Here’s my subjective list of a few approaches to avoid when writing an online book review:

“This book was boring.” Details would help. Why didn’t this book suit you? Sometimes the type of book one reader finds dull is exactly the sort another reader enjoys.

“I liked the story, but I gave the book one star because it is morally offensive.” Different issues offend different readers. In this case, it’s helpful to be honest about your own sensibilities right up front: “The fact that the characters swore made me uncomfortable because I don’t believe in taking the Lord’s name in vain.” In a world where a low rating can hurt sales, try not to give a competent novel an overall poor review on the sole basis that parts of it did not jibe with your personal beliefs.

“I liked this book right up until (MAJOR PLOT POINT REVEAL THAT MAKES IT TOTALLY UNNECESSARY TO READ THE BOOK).” Please. I’m crying, here. Please, please don’t give away plot twists that authors took hours and hours to create, plot twists we hoped would raise the story to the next level, plot twists that …please don’t.

“The characters in this book were written by someone with an emotional IQ of three.” Try to remember that a real person wrote this book. Please don’t be mean. Okay, maybe the author DOES have an emotional IQ of three, but can you think of a more constructive way to get your point across, something less personal and more related to the book itself?

“This book was just a beach read, not up to my usual literary standards at all.” Please try to remember that the review is about the book, not how erudite the reader is.

So, what’s a reviewer to do? Glad you asked.

In my opinion, the best – and most credible – book reviews allow readers to draw their own conclusions about whether or not a particular title is for them. The reviewer does this by focusing on the book itself: did the plot keep you turning pages? Were the characters interesting? If something didn’t work for you in the story, why didn’t it? Would this novel appeal to a certain kind of reader? Would you recommend this book to a friend? Why or why not?

It’s interesting to note that positive reviews come with their own pitfalls. There are readers who doubt the validity of every five-star review, suspecting that they’ve been written by relatives of the author, friends, or paid services (oh, yes they do). I have friends who distrust all positive reviews these days. They prefer to choose their books based on bad reviews, figuring that at least those reviews will be honest. And, as mentioned earlier, one person’s poison can be another’s feast.

So, however you feel about that book you plan to review, remember that the power is yours … wield it wisely.

And keep reading.