I hope to offer tips from time to time, from a book designer’s perspective of course, on how to get the creative best out of creative types. I will suggest three for the moment. First off, let’s dispel some myths about working with artists:

• They’re not all prima donnas, and successful designers are used to a fair amount of direction and even rejection.
• Sometimes they nail it on the first try, usually it’s an interactive process to get to just the right idea.
• Cover artists are wise to leave fragile egos and artistic temperaments outside the studio door, and you can talk straight, be clear about your expectations and your reactions to the design options they show you.

Having said that, there are some keys to your designer’s soul that will keep him/her working hard on your project, loving it, and giving you more than your money’s worth: 1. Point her to what you like and don’t like. In the assignment phase, load her up with JPEGs and Amazon links and snapshots of covers that you like, especially in categories where your new book fits. She might need a list of no-no’s too: kinds of photos to avoid, competitors you want to not look like, etc., things you know as author/publisher in your field that others may not. She’ll be doing her own research, but your input at the beginning gets her going down the right paths. 2. If possible, specify what you’re hoping to see in round one. If he is to give you three initial design options, let him know, for example, you’d like to see one with the provided photo dominating, one with type and graphics only, and one left up to the designer’s intuition—you know, “surprise me.” Creative latitude within established limits helps designers focus their talents. 3. Give her strategic feedback rather than micromanagement. When asking for revisions on round one of your cover designs, think strategically. Here’s what I mean:

• If the title is weak, say “it needs to be stronger,” rather than “set it in Cooper Black.” Designers care deeply (sometimes too deeply) about typefaces and trends and will do their best to come up with a solution that answers your concern and looks great.
• Perhaps you like a concept but it seems too dark and serious. “We need a brighter, lighter, more optimistic feel” is probably better direction than “make it yellow.”
• Again, no need to walk on eggshells around the “artiste,” just let her work for her fee and do what she does best, and you’ll get a better end result.

Designers are taught to think in terms of “problems” and “solutions.” Good ones get no greater satisfaction than getting inside your head, your market, your product, and coming up with a cover solution that sells your book and makes you proud. Continued: How to Get The Best (and Your Money’s Worth) Out of Your Cover Designer- Part II