If it’s one thing I despise–in me when I catch myself doing it and in others when I hear/see it–it’s an empty-headed, knee-jerk argument.
Whether it’s from a lack of knowledge, a confirmation bias, or intellectual laziness, when one side of a debate has bothered to gather supportive facts and present a considered argument and the other just parrots old information or rehashes only what they want to hear, it makes me want to pull my eyes out (or my ears, if I have to listen to it).
I feel particularly frustrated when I’m the one that’s factless in an argument…and twice that if it’s something I care about.
Weldon Burge of Smart Rhino Publications is on the editorial staff of Suspense Magazine and was kind enough to interview me in this month’s issue.
The layout is great, the questions were intriguing and fun to answer, and I’m keeping company with Barry Eisler and Alex Berenson on the front cover!
Suspense is one of the leading lights in suspense, mystery, and thriller fiction and you’d be doing yourself a favor by subscribing. They have interviews, news, book reviews, and a short story in each issue as well as a short story contest each year.
Take a peek at www.suspensemagazine.com!
This is the second part in a three part series about book cover design. The intended audience is the self-publishing writer with little design experience. The guidelines I set forth are from my experience working with my own self-published titles, with graphic designers, and about twelve years of web design experience (which is no substitute for experience in print design).
In the first part of this series, I talked about the importance of typography in setting both your title and author line apart from the fonts of workaday web pages, white papers, and emails that have desensitized many readers to the impact and beauty of the most popular fonts.
In this stage, I’ll get away from typography for a second and talk about what I consider the second important attribute of a winning cover: a single, stunning professional picture.