I’ve been asked several times about the cover art for Subterranea, who did it, and how much they charged. After I answer, the response is usually the same: “Wow, that’s a very reasonable price.”
So was I bummed to learn this graphic artist is raising her prices? Absolutely not!
Ravven is a graphic artist living in the UK. In a recent post, Book Cover Art and Design: How Much?, she explained:
As much as I someday want to work for a large publisher for some proper money, I very much like working for self-published authors and smaller boutique publishers. I very much believe in supporting independent, self-published authors and don’t want to price myself out of that section of the business.
However, I also have to think of what I do as a business as well and eventually start making some money at this, or I should just go back to web design and development. …As much as I love it, the work needs to start paying for itself.
Sound familiar? Of course. It’s the same quandary countless artists face. Sure, every profession is different. Nevertheless, the indie artist must forever balance those two elements: Getting as many gigs as possible without going broke in the process.
Anyway, I commented on Ravven’s post and mentioned my daughter. Alayna is my youngest child. She worked, paid her own way through college, and graduated with a BA in photo-journalism. Alayna has since started her own little photography business. She has a website and gets a steady stream of weekend sessions, apart from two other photography-related jobs she holds down. We’re very proud of her.
But Alayna faces the same problem as Ravven: As much as she loves it, “the work needs to start paying for itself.”
Which is why I’m constantly encouraging Alayna to raise her prices.
Perhaps I’m an oddball for believing this, but when I think of book covers, photos, and artsy / aesthetic stuff like that, price is not the biggest factor. For the life of me,
I cannot understand why an indie author would want to scrimp on cover design.
If I’m shopping for bulk rubber bands or kitty litter, the cheapest price might apply. But for your book cover???
Yes. It’s a collaborative issue. You’ve got to give the artist a measure of leeway to do her own thing. So you may not get exactly what you want. I also understand that budget is different for every author. However, if a book cover artist or photographer is charging professional / semi-professional level prices, not only do I expect professional grade product, I expect professional grade courtesy. In other words, an artist-for-hire recognizes the collaborative nature of the process and incorporates that into her fee.
I understand wanting to be affordable. But not charging what you deserve can give the wrong impression. Which is the point of this post:
Under-charging can be as unprofessional as over-charging.
Hey, I’m a firm believer that “the worker is worthy of their wages.” And the better the work, the higher the wages. Great work, reasonably priced, can get you jobs. But if those jobs are leaving you ragged and not paying the bills, act like a professional… and charge me what you’re worth, even if I have to give you free coupons for an elo boosting service.
There is no subject on which you’ve posted where I felt my qualified to leave a comment than this one.
Getting as many gigs as possible without going broke in the process. is the operative phrase. Since I am balancing two gigs at the same time I understand both sides of that equation. On the one hand I also am working on a couple of projects that will be self-published and money is tight. On the other hand, I do work for other authors publishing their work and the money is tight. The one common denominator seems to be, “the money is tight.”
But the graphic artist doing your cover art (which is great BTW) is at the frontline of getting people to read what you have to say. And, the only compensation they will ever receive for their work is on the front end. If your words sell well, you may also continue to receive residuals for years to come (at least in an author’s perfect world).
Cory Clubb has done all of Athol Dickson’s cover art for his re-released older novels and his current new release. Cory is also balancing the two sides of the same equation: an author and a graphic artist. So here we are all teetering on the same razor’s edge: writers, writers who are also jack-of-all trade publicists like me, and writers who are also graphic artists.
Of the three however, Cory must make a living strictly on the front end. All he can do is wait and hope he did a good enough job that he might be used again in the future.
My final two-cents here is to offer unmitigated 100% support behind everything in this post. Pay people what they are worth and then expect them to give you what you paid for. By the looks of a lot of things I see these days, the problem is that they ARE getting what they paid for. Too bad.
I absolutely believe you can judge something about a book by its cover. I’ve made a reputation for picking mind-blowing SF covers. This is my story.
As you know, one of my passions for our space opera e-zine, Ray Gun Revival, was top-notch cover art. I am a self-proclaimed cover art snob. Setting aside the quality of the stories we published in our first incarnation (when we were a token payment rag), our cover art was always (heh) stellar, going all the way back to our very first issue. I learned that when working on a budget, there were many digital artists out there who would allow us to feature an existing digital creation in exchange for an interview and the opportunity for their work to be featured on the cover of RGR. The issues of RGR were free and all we could pay was exposure and good word-of-mouth. Because we agree on this up-front, everybody got what they wanted, and everyone was happy.
Bryan Thomas Schmidt is currently putting together a professional anthology called Raygun Chronicles: Space Opera For A New Age. He’s pulling from some of the best RGR stories, solicited new stories from writers such as Keanan Brand, and brought in half a dozen stories from headliners like Dean Wesley Smith and Kristine Kathryn Rusch. This project also features another first, the first time we’ve paid for cover art. The reason is simple: this is the first time we’re paying a decent rate for RGR stories and the first time we’re selling the stories for profit.
This is also the first time we’re paying for original cover art. Our publisher, Jordan Ellison, worked a great deal with an artist known more for Fantasy covers. Having seen the thumbnails for Raygun Chronicles, I am convinced this artist will make a name for himself in the SF arena, and believe he will be able to command higher rates on the strength of the cover he’s doing for us. I can’t wait to share the cover – it’s got everything I like in a cover; a frozen moment, a strong character, a ray gun, space, energy beams, and that awesome sensawunda.
In short, when we giving the magazine away, we were able to work with digital artists to republish their works in exchange for exposure (via interviews, the covers, and eternal availability). Now that we’re producing a professional for-sale anthology, we’re paying a professional for a cover, and are thrilled to do it.
Fielding a strong, intriguing, professional cover says you’re serious about your work, and gives people a strong visual image to lodge your book in their minds-eye. Communication and sensible compensation is key. If you’re working on a tight budget, there are people out there who may be willing to work with you, but keep everything up-front. If you’re hoping to profit from sales of your work, pay an artist.
Mike, Great article and topic. I completely agree with Ravven and her pricing concerns. Most all the clients that I’ve worked with comment that my pricing is reasonable and having been very pleased with my work. Quite honestly, I’ve had clients add a bonus for having such pleasurable experience working together. It just goes to show respect and professionalism in the independent arena on both ends can equal a satisfying result.
DISCLAIMER: Cory and I have not spoken to each other in weeks so there was no conspiracy to plead his cause together, though I will take the opportunity to plug his work. Most of this cover art was done by him. http://www.atholdickson.com/
I appreciate your kind words, Tim and shameless plug. Our comments are just over ten minutes apart, but such is the way of the indie world. Great experiences lead to talk and conversations, ultimately, a urning to spread the word on behalf of an individual. Hence our willingness to make a comment on Mike’s blog right here and right now.
The same is true in freelance editing…I hear a lot of editors talking about clients who want just a little more for a little less, and I’ve dealt with it myself a few times. Those are the people I don’t court for repeat business, no matter how well-connected they are.
“I cannot understand why an indie author would want to scrimp on cover design.”
I’d guess that these are the same people who scrimp on editing, then wonder why their books don’t sell and why their reviews complain about homophone errors.
Love the covers to your books! A good cover really makes a difference.