Covering JANE-EMILY: A Look at Design

October 26, 2015 |

This week, both of my posts will be about Patricia Clapp’s classic Jane Emily, as I’m taking part in a read and blog along with Leila Roy and Liz Burns.

It’s been a while since I’ve done a YA book cover retrospective, wherein I pull up as many of the old covers of a book as possible and look at the ways it’s evolved and what/where it might fit into the book’s story. Jane Emily was originally published in 1969, to see a few cover evolutions over the course of its early life. When it was brought back into print in 2007 by Harper, it took on another cover that, despite being new, still harkened back to the original look.

I’ve tried to pull as much information as possible about these covers, but there may be places where it’s missing or unavailable. Anyone who knows more or knows of other cover variations — foreign covers, especially — feel free to let me know. I’d also love to know what you think about these covers, whether or not you’ve read the book. I’m purposefully talking about the covers before the content because, as we know, covers are what “sell” a book. Is a novel from 1969 still able to be sold to today’s teen readers?

You might be surprised.

Original 1969 Cover

The original cover for Jane Emily is quite simple and offers surprisingly little into what the story may be about. The girl on the cover appears to be a teenager, and behind her, there’s a younger girl looking into a wishing ball. The use of flowers here is representative of something in the book, though as they’re rendered here, they don’t make a whole lot of sense to the cover. The house, of course, does play a role in the story.

Design wise, this is dated, but it’s interesting to note that it does contain representations of all the key pieces of the story. Though the fact it’s focused heavily on the older girl — Louisa — seems misrepresentative of what the story’s truly about. This is something I’ll hit on in talking more in depth about the book, but the primary focus is on Jane, who you see looking through the wishing ball in the background.

Looking at this cover wouldn’t suggest it’s a horror read. It looks a little bit like it’s the kind of story a reader who loves Anne of Green Gables might want to pick up. Sure, Louisa has a romance in it and sure, there are moments of sweetness, but the feel of the book is atmospheric and haunting and creepy.

1971 Paperback

There is nothing I do not love about the 1971 Dell paperback edition of Jane Emily. This is a cover that screams horror, that embodies atmosphere, and it puts Jane/Emily in the center of the story. There’s also a really great pull quote from the Booklist review to hammer home to readers that this is a scary read.

It’s interesting to look at the way the house is depicted here, as opposed to how it’s depicted in the hardcover above. In this one, it’s clearly Gothic and sinister. In the hardcover, the house looks like the White House — it’s stately, clean, and not menacing, but elegant. This paperback cover doesn’t have a whiff of romance to it, either.

The look of horror and shock on the girl’s face is so fantastic. This cover would have absolutely sold me on the book when I was a teen reader (or honestly, a middle grade reader wanting to “read up”) and it’d be the kind of book that I’d have scooped up if I saw it in a used book store.

1974 Paperback

The quality of this cover image is bad, but it’s the best one I could find in my searching. From 1974, we take the look in a direction that tries to marry the romantic vibes of the original hardcover with the most sinister feel of the paperback. But this particular cover doesn’t offer a feeling of either one. It’s a weird shade of bubblegum pink, with a young girl who seems to have oddly blue-green skin looking into the mirror ball. There are still flowers here,but they’re roses (which isn’t the flower in the book that matters). And rather than a house in the background, we have a forest, along with a glowing orange orb that could be either a sun or a moon. It’s hard to say, seeing the sky is an odd shade of yellow.

Without question, this cover tries to appeal to female readers. But it also doesn’t do the story justice. You know there’s something odd going on with the mirror ball, but it looks more like a Wizard of Oz type tale than it does a horror read.

I snagged this cover image from a really fascinating post about the book from Kelly R. Fineman from 2008 on Livejournal. I love how she talks about rereading this one and how much she remembers the experiences of reading it.

Portuguese Edition

Again, another poor quality image because the same one appears to be used over and over throughout the internet. This particular cover is of the Portuguese edition of Jane Emily. I’ve been unable to come up with a year for this one, as I’ve seen some sites suggest it came out at the same time as the hardcover, but I also found a glut of sites sharing reviews and discussions of this one from 2009.

The cover for this foreign edition is pretty great. It looks a lot like a horror film poster, and it’s effective in telling the reader this is about a younger girl and a house that isn’t all that it seems to be. This is a stripped down look from the others, too, as we don’t see a lot of the elements that make up the story shown. There’s not a mirror ball, nor is there a garden or flowers. Again, the focal point is on Jane, the younger girl, rather than Louisa, the teen in the story.

In a lot of ways, this cover looks like it’s aimed at an adult audience more than anything. It looks mature and complex even in its simplicity.

The font for the title reminds me a lot of Jane Eyre here. I can’t place my finger on why, other than the names looking similar. Perhaps I’ve seen an edition of the Bronte classic with this sort of font treatment.

1993 Beech Tree Books Paperback

If a cover could encompass the 1990s teen paperback aesthetic, this is it. It’s filled with clashing covers, weird illustrations, and it’s smashed together in a collage that indeed includes everything from the book. Where to begin?

First, we have Jane at the center. Kind of. But it’s not really Jane — it’s Emily through the mirror ball. Of course, unless you’ve read the book, you wouldn’t know that. Then there’s Louisa, who takes the big image in the middle of the page. She’s very “buttoned up” here, which I didn’t get the sense of from the book being her look or style. Behind her is the doctor (I believe!) that she begins to see romantically while at her aunt’s home. But that’s not a given; it could be her boyfriend from back home, Marcus. I’m betting though it’s the doctor by appearance alone.

Also included on the cover are the house, which looks more stately than ominous,as well as the flowers and garden that play a role in the story. Then there’s another weird bubble going on in the background, too. I’m not entirely sure the role of that, but I guess they needed to use something to fill the space on the cover since nothing else would bring it all together quite the same way.

The tag line for this, though, is the clincher for me: “A ghost story. And a romance.”

That makes it sound like it’s a possible romance with a ghost, doesn’t it? And yes, there is romance in here, but it’s hardly a big deal in the story and it’s not what a reader will pick this one up for. If they do, they’re going to be pretty surprised about how that all plays out.

2007 Harper Paperback Reissue

Taking bits from the Dell paperback is the Harper rerelease from 2007. I love this cover — it’s absolutely perfect for the novel, as it captures the eerie supernatural spirit. I love especially that it’s askew. We don’t see a hard-on image of Jane, but we see her on the side, holding onto the mirror ball and looking frightened by what she sees in it.

The house, which could look stately, is made to look creepy through the use of the branches and green-blue shades. It’s so simple, but there’s a sort of perfection in the simplicity.

My favorite part, though, might be the font treatment. I love how it feels old and classic, making it clear this isn’t the kind of scary story you’d pick up right now and expect today’s world to be inside. This has an old Gothic flavor to it, right down to the light yellow color on Clapp’s name. My only complaint about the choice in font, though, is that the title isn’t particularly distinct from Clapp’s name. This might not be the case were the title not also a name, which I can see causing some confusion.

While I only have seen the 2007 edition in person, since it’s the one I bought, it’s worth noting it’s also the largest in size. Jane-Emily is only about 140 pages long, so the previous editions of the book are thin. The 2007 edition, though, contains a second book within it, so it’s much more on par size-wise with traditional trade paperbacks in YA today, though it has two books inside.

Hardcover to Paperback Makeovers: 6 YA Changes to Consider

August 10, 2015 |

New catalog season on Edelweiss always makes me excited. It’s not just about the new books; it’s also about those books that end up getting makeovers from their hardback looks into something fresh in paperback.

I’ve rounded up six recovered YA titles hitting shelves in the next few months that have caught my eye. Some of these are winners and some…well, they should have stuck with the original idea. Perhaps most interesting is something I’ll note at the end of the post. There’s definitely a new trend emerging in YA cover design, and while I think I get the point of it, I’m not sure it’s entirely successful at what it’s attempting to do.

I’d love to hear what you think about these make overs, too. Which ones are great and which ones leave you feeling a little cold? Sound off in the comments and feel free to share any recent cover changes you’ve spotted that have stood out to you. As always, the hardcover image is on the left, with the paperback iteration on the right.

I picked up Jennifer Longo’s Six Feet Over It last year and talked about it a little bit in a post last fall about the microtrend of the death business in YA fiction. This book runs on the lower end of YA in terms of its voice and appeal, as the main character is a young high schooler, as opposed to the older ones that have become more abundant.

When I first saw the hardcover of this book a couple of years ago, it seemed to me like the model looked photoshopped. I spent a long time looking at it, and then I asked multiple people to explain to me what seemed “off” about this image. Everyone said the same thing: her neck looks really, really long. While people who are tall can have very long necks, the way she’s posed in the picture doesn’t show her height, so she looks strange if she’s not been digitally edited. The placement of the book’s title on the headstone is really creative, but the overall feel of the cover itself is dark and not particularly appealing. I like the use of the blurb on this one, as it’s from Jennifer Holm, suggesting that this is a suitable read for the younger teen set.

The paperback makeover for this one doesn’t really do much for me on a personal level, as I’m becoming really over the illustrated cover trend. However, I think this cover fits the book a million times better. It’s not as dark or foreboding, and it has a tiny bit of tongue-in-cheek humor to it, with the way that the girl is on a headstone that has a cartoon-y skull on it. It’s really appealing and inviting in the way that the original look simply isn’t, and more, it speaks to the bit of dark humor in the book itself. The tag line here actually works better than the blurb does on the hard cover, as it says essentially the same thing to readers, just in different words and a different approach. I do find it interesting that Longo is introduced as the author of Up To This Pointe beneath her name, since that book will publish after Six Feet Over It came out.

For me, the paperback is a winner here, even though it’s not my personal taste. It will hit shelves January 12.

Ellen Hopkins was always a go-to for me for readers seeking a good, fast-paced, edgy, dark, realistic YA book at the library. And for a long time, her packaging was brilliant — the books were shorter and fatter than most, and they were easily recognizable on the shelf.

But something happened and all of her work got a redesign to it, making the trim more in line with standard YA trade paperbacks, rather than they had been. The redesign meant a new marketing look, but somewhere in there, it just got really lost.

I’m not sure how I feel about the hardcover for Rumble, as it tries to blend the original Hopkins cover looks with the new one, and I’m not sure it entirely succeeds. But compared to the paperback, which has absolutely zero connection to Hopkins branding….it’s worlds better. The paperback looks really cheap and uninspired, and since it stands apart from all of her other books, I’m not sure it’s going to draw in long-time fans nor engage potential new readers. In many ways, the paperback looks more middle grade than it does upper YA, which is actually a bit of a problem, since her books aren’t aimed at that audience in any capacity.

Who is that stick figure? Why is the font for the title so thin? How come we don’t have the signature look of Hopkins name on the redesign? This looks so flimsy and forgettable in a way that Hopkins and her work simply are not. I have a hard time imagining a teen — or any reader, really! — looking at this cover and thinking it’ll be an intense, dark, gritty read. It looks sad.

Part of me hopes this isn’t a real paperback redesign and it’s instead a mistake that got out. It’d be a real shame to see these books get this sort of treatment because it weakens the work and absolutely weakens the appeal of the way these books look. Cover art and design is really important, especially when it comes to reader’s advisory and connecting the right book to the right reader. This cover is doing this book zero favors.

The hardcover is the winner here by leaps and bounds, even though it’s not spectacular itself. The paperback hits shelves February 2 and I really hope they reconsider this look.

Rachel DeWoskin’s Blind cover is doing something that differs in the redesign than all of the rest of the covers in this batch of makeovers: it adds a model to it. The original hardcover is pretty stark — it’s black, with a title that drives the cover, even though the title itself isn’t full. It’s an unfilled set of letters. Above it are the braille designations and the simple tag line “What do you see when your world goes dark?” You know immediately what the book is about, and the tag line further amplifies that this is a story about a blind character.

The redesigned cover brings a model into the picture. Notice on all of the other cover redesigns in this post, that the human models have been removed. The redesigns are moving more towards using an image-driven, people-less look or they’re using illustrations to render an individual. Not so in this case: but it also really works here, as this particular redesign tells us even more about the story than the original hardcover. We know it’s a girl who is blind, and we know that it might have something to do with fireworks, based on the font used for the title (and spoiler, it’s a firework that causes her to lose her sight). The tag line remains the same, but I think here it’s even more effective.

While both of these are solid covers that fit the story, I suspect that the paperback might have a tiny bit more appeal. Or, at least, gives readers even more insight into what the book’s about. The paperback edition of Blind will hit shelves April 5.

Maybe it’s because I read a little bit in an echo chamber, but wasn’t Skink No Surrender supposed to be a really huge book a couple of years ago? I can’t remember seeing a whole lot about it, other than it’s a title by Hiassen and he’s popular without additional significant hype.

This redesign is really fascinating to me because it definitely feels like the intended audience for this book is being shifted. The hardcover features handcuffs — so you know there’s a crime story here — and you get a tag line that reads “A missing girl, a hungry gator, only one way out…” The title font is what drives the image, and the white-on-red makes it really pop. This cover isn’t spectacular, but it stands out quite a bit from other YA titles since it’s so simple.

The paperback edition of Skink is so different and feels like it’s trying to reach an adult, rather than YA, readership. Or perhaps this cover is really aimed at those adults who read YA and are familiar with Hiassen. Look at the pull quote — rather than make use of the tag line, this one pulls out a review from Time, which calls Hiassen a master of Florida crime fiction. Is that something teenagers care about at all? Adults, on the other hand, will know what that means.

But the thing that’s most interesting to me in the redesign is how the title looks. Where the hardcover tells you the title is Skink No Surrender, the paperback redesign looks as though the title is Skink with the “No Surrender” being almost a tag line within the life raft. This particular redesign looks in line with his adult novels, while the original hardcover looks in line with his middle grade novels.

There’s not one that does it better here. Both elicit about the same reaction from me, but I think that’s because they seem to be serving different readerships. You can snag the paperback December 1.

The redesign of Kate Hattemer’s The Vigilante Poets of Selwyn Academy might be my favorite of the bunch, which is saying quite a bit since I don’t dislike the original look, either. I think that the hardcover is pretty appealing, especially as it has two teen boys featured on the cover in a way that makes them look like your average (art school) boys. The font drives the cover and I think the choices used in mixing the fonts really works. Likewise, the green on yellow color scheme is memorable to me, since I can’t say I see it frequently in YA. Maybe by some eyes it might look a little dated, but I don’t see it.

The paperback, though, I love. I love everything that it says — this is a book about art kids. But it’s a book about art kids that’s not necessarily traditional and that might be quite funny. I get that from the scissors cutting the string there, along with the mustache drawn on the figure’s face. I will say I’m not super keen on the title font treatment, as that thin wispy look just feels weak. And interestingly, there’s been an added tag line to the redesign, which reads “can four best friends, a manikin, and a heroic gerbil save Selwyn?” I find that particular tag line intriguing because what does a heroic gerbil have to do with this?

You can grab the paperback edition, which I think edges out the look of the hardcover, on March 8.

Finally, I don’t want to talk too much about the redesign of Charlie Price’s Dead Girl Moon aside from noting that this is another interesting example of new covers moving away from having anything resembling a real human model on the cover. Both covers convey the mystery here without much problem, though their color schemes and their execution of design differ.

Also interesting to me is that there’s been a pretty sizable chunk of time between the hardcover’s initial release — October 30, 2012 — and when the paperback will hit shelves — October 20, 2015. Generally, though not always, paperbacks tend to hit shelves about a year after their hardcovers come out. This can change depending upon a number of things, including a book’s popularity. That’s why books like Fangirl and The Fault in Our Stars had a good chunk of time between their hardcover edition and paperback. While I had a copy of Dead Girl Moon when it originally came out, I’m curious about the story here. Did it sell really well? Or, as I suspect the case may be, is the market right now a little bit stronger for these types of stories, so the holdup was to make sure it’d hit at the right time? That’s a question that may never be answered.

Both covers are fine, but again, the removal of actual people and models in this batch of redesigns really strikes me as noteworthy.

Hardcover to Paperback Makeovers: 5 Changes To Consider

June 18, 2015 |

How about another round of books getting new looks in their paperback editions? I’ve been letting these pile up in a draft post and I’m ready to talk about a handful of them now; I’ll talk about some more soon since I’ve got a ton.

Let’s take a look at five of them this time — some of which are great makeovers and some which aren’t maybe as solid as their initial look in hardcover. Which do you think does it better? Have you seen other recent changes you’d love to talk about?

Ally Condie’s Atlantia is getting a pretty dramatic makeover in paperback. Where it looks like an adult science fiction title in its hardcover edition on the left, the change in paperback looks a lot more like a generic YA novel geared toward teen readers on the right. The paperback tells the readers almost nothing — it could be a book in any genre, since it’s nothing more than a big face. The tag line, which is repeated from the hardcover, doesn’t give much insight, either.

While I think there’s maybe more teen appeal on the paperback, I think that’s at the expense of being distinct and memorable. Also sort of interesting is that the author name seems to have shrunk in the new edition. Where it took up two lines and was more prominent than the title on the hardback, it’s gotten smaller on the paperback and the title has sized up.

The hardcover is a stronger image on this one and wins for me. The paperback edition will be available October 20.

The original look for Una LaMarche’s Like No Other followed in the tradition that began with Eleanor and Park — an illustration depicting two teens who clearly have some sort of romantic relationship with one another. It’s a cover trend I’ve never been fond of, since I think illustrated covers like this tend to not only tell you too much as a reader, but more, they actually begin blending together after a while (imagine someone asking for the book that’s got an image of a couple that’s illustrated — you could probably name a pile of them that all came out around the same time). I also think they tend to look a little young. Which isn’t to say I hate all illustrated covers, but rather, I dislike the ones that look like they’re modeling a trend. More, this one bothers me since it’s a story with people of color at the center and we don’t get to see them face first. We just get their backs.

The paperback for this one is a winner, though. While I’m not wild about the models’ faces being cut off, the fact we have their faces facing the readers is noteworthy. These are two people of color, and seeing that on a book, especially with the implication that they’re in some sort of relationship in the story and aren’t the same race, is important. This is a book you face out on a shelf because you know that readers are not only looking for these books, but readers are going to instantly identify with these faces.

However, because we can’t skip a beat with following in the footsteps of trends, I find the pull quote on the paperback unnecessarily distracting. Any comps to The Fault in our Stars at this point feel like they’re a real reach, and while I get it’s an EW review, I think the fact that it’s called “one of the best” since a book published in 2012 really undermines so many other books at the expense of the one it’s featured on. I much prefer the blurb as featured on the hardcover.

Though frankly, you could ditch the quote all together on the paperback and use just the title and image to sell the hell out of it. This is a book that has a nice look that will appeal to teen AND adult readers easily.

Like No Other will be available in paperback on July 14.

I’ve got complicated feelings on the cover remake of Delilah S. Dawson’s Servants of the Storm, and it’s not because I dislike either of the covers. I think they’re both pretty great for depicting a horror story that follows in Gothic traditions. They have similar color schemes; the difference is primarily that they feature a different central image. The hardcover uses a girl who looks creepy, while the paperback makes use of a sign, a storm, and what is probably a not-too-happy carnival in the background.

The paperback’s biggest difference in terms of the feel it gives off is through the tagline: “When we die, we belong to her.” Imagine that on the hardcover. THAT, I think, would offer up a different feel with that cover and be more effective. On the paperback, who does the “her” refer to? There’s not a person on the cover, and thus, there’s not a lot of intrigue in terms of who we’re supposed to be fearing. If the tagline were pulled off the paperback, it would be more effective, as there’s a lot of feeling in the image alone that isn’t necessarily contradicted by the tagline.

I’m not sure one of these covers is better than the other. Both are actually pretty intriguing and would appeal to the same type of reader.

Servants of the Storm hit shelves in paperback on June 2.

The redesign for Sara Polsky’s This is How I Find Her might be one of the most dramatic in terms of the feeling it gives off that I have seen in a long time. The hardcover on the left has, since I initially saw it, made me immediately think of an Amish story. I don’t think that’s the intent, as this is a story about a girl dealing with her mother’s bipolar disorder and suicide attempts. The hardcover, aside from that, does give off a more somber feel than its redesigned paperback on the right.

I’m having a hard time understanding the paperback. This looks like a lighthearted beach read, complete with a repeat of the tagline from the hardcover but in a context that makes it sound like a summer love, as opposed to dealing with a family challenge. More, I’m not sure I understand the font choice (I dislike the font here, period) and the decision to make the “I”s and “How” and “Her” pink, leaving the rest black. Is there something symbolic in it? Am I supposed to read another word in there? I am confused, rather than intrigued.

Neither of these covers tells me anything about the story and neither is particularly appealing or memorable to me, except for how they don’t work. The hardcover might appeal more to older readers, whereas the paperback looks like it might reach younger readers more readily…even though it doesn’t exactly get to the heart of the story.

The paperback edition of This is How I Find Her hit shelves on May 1.

I saved the biggest change to talk about last because there’s so much to talk about with this one. The book on the left is Fat Boy vs. The Cheerleaders, a standalone novel that came out from Geoff Herbach last year. I love this cover for so many reasons; it’s bright, it’s different, and the can is representative of the story and actually plays a role in it. This cover is memorable and stands out on a shelf.

The title, though. While it’s accurate — this is a story about Gabe, a fat boy, and it’s about the things that happen to him in a turf war at school — it’s also sort of a turn-off. It generalizes the characters and creates a strange stereotyping of characters in high school. Since there’s not a lot to go off in terms of the story’s feel from the cover, even though it’s a good one, that title becomes the anchor for readers in terms of what the book will be about. And the title isn’t telling them a whole lot (or maybe it’s telling them everything and that’s not great, either).

The paperback makeover for this book means not only a facelift, but it received a title change, too. Rather than being Fat Boy vs. The Cheerleaders in paperback, it became Gabe Johnson Takes Over, which is a title that is so much better, more engaging, and less reliant upon stereotypes, which really are not at the heart of the story itself. The cover itself is fun, looking like a defaced school notebook, along with ephemera that is relevant to the story. The pop can hasn’t disappeared, though it’s taken a backseat. In many ways, this is a much more generic cover, but it’s not generic in the way you’d forget about it, like a large image of a girl’s face is. Where I usually don’t love when a review or blurb from a review is used on a cover, it works here. Part of why it works is that this book really got lost in the shuffle and because the title changed, this signals to readers that it’s a book that’s earned recognition before. It’s clearly not brand new or fighting for a spot. It’s instead working toward reaching its audience better.

What I like about this makeover, too, is that the cover doesn’t hide that it had a different original title. This is a useful tool for not just readers who may have picked up the book before, but it’s extremely useful for those who will wonder whether it’s a book they’ve purchased for a collection before.

While I’m sad that the cover isn’t the pop can anymore, I think the makeover, both the title and the image itself, does a huge service for this book. The paperback of Gabe Johnson Takes Over is available now.

Color Me Purple: YA Covers Featuring Shades of Plum

May 14, 2015 |

One of the fun types of displays I enjoyed doing at the library was the most simple: books by color. “Have you RED these books?” “C’mon get happy” (books with yellow covers). “I don’t remember the title but the cover was blue.” They’re straightforward and an easy way to get some books out that might otherwise not see display time regularly.

As I was perusing books coming out this year, I noticed something I haven’t noticed in a while, which is purple book covers. I don’t think it’s a not thing nor do I necessarily think we have a new trend, but the array of purple-infused colors caught my eye. I couldn’t not do a big round-up of them.

I’m not going to include descriptions because I think there’s something really appealing about the visual effect alone. All of these are 2015 YA releases — some paperback rereleases of books that had different covers before — and if you can think of other purple or mostly purple 2015 covers, I’d love to see them in the comments.

Of course, if you do a display like this, I’d love to see that, too.

7 More 2015 YA Books with Diversity on the Cover

February 12, 2015 |

Last fall, I did a really quick round-up of YA covers for books coming out this year that featured diversity right square on the front cover. It was not only great to look at them all together that way, but it was nice to find more books to add to my own to-read list.

As more covers have been revealed or re-revealed in the last few months, I thought it would be worth revisiting that topic. Here’s a look at even more fabulously diverse YA covers for books coming out this year. Some of these are less front-facing than before, but they’re worth including because you know the character is a person of color. Like last time, I’ll include descriptions for the book, pulled from Goodreads, as well as the publication dates, so you can put them on your own reading and buying lists.

If I’ve missed some, either on this post or the previous one, let me know in the comments. Let’s see more cover work like this.

Hello, I Love You by Katie M. Stout (June 9): Grace Wilde is running—from the multi-million dollar mansion her record producer father bought, the famous older brother who’s topped the country music charts five years in a row, and the mother who blames her for her brother’s breakdown. Grace escapes to the farthest place from home she can think of, a boarding school in Korea, hoping for a fresh start.

She wants nothing to do with music, but when her roommate Sophie’s twin brother Jason turns out to be the newest Korean pop music superstar, Grace is thrust back into the world of fame. She can’t stand Jason, whose celebrity status is only outmatched by his oversized ego, but they form a tenuous alliance for the sake of her friendship with Sophie. As the months go by and Grace adjusts to her new life in Korea, even she can’t deny the sparks flying between her and the KPOP idol.

Soon, Grace realizes that her feelings for Jason threaten her promise to herself that she’ll leave behind the music industry that destroyed her family. But can Grace ignore her attraction to Jason and her undeniable pull of the music she was born to write? Sweet, fun, and romantic, this young adult novel explores what it means to experience first love and discover who you really are in the process.

P.S. I Still Love You by Jenny Han (May 26, companion to To All The Boys I’ve Loved Before): Lara Jean didn’t expect to really fall for Peter.

She and Peter were just pretending. Except suddenly they weren’t. Now Lara Jean is more confused than ever.

When another boy from her past returns to her life, Lara Jean’s feelings for him return too. Can a girl be in love with two boys at once?

Most Likely to Succeed by Jennifer Echols (August 4, final book in the “Superlative” series): As vice president of Student Council, Kaye knows the importance of keeping order. Not only in school, but in her personal life. Which is why she and her boyfriend, Aidan, already have their lives mapped out: attend Columbia University together, pursue banking careers, and eventually get married. Everything Kaye has accomplished in high school—student government, cheerleading, stellar grades—has been in preparation for that future.

To his entire class, Sawyer is an irreverent bad boy. His antics on the field as school mascot and his love of partying have earned him total slacker status. But while he and Kaye appear to be opposites on every level, fate—and their friends—keep conspiring to throw them together. Perhaps the seniors see the simmering attraction Kaye and Sawyer are unwilling to acknowledge to themselves…

As the year unfolds, Kaye begins to realize her ideal life is not what she thought. And Sawyer decides it’s finally time to let down the facade and show everyone who he really is. Is a relationship between them most likely to succeed—or will it be their favorite mistake?

The Wrath & The Dawn by Renee Ahdieh (May 12): Every dawn brings horror to a different family in a land ruled by a killer. Khalid, the eighteen-year-old Caliph of Khorasan, takes a new bride each night only to have her executed at sunrise. So it is a suspicious surprise when sixteen-year-old Shahrzad volunteers to marry Khalid. But she does so with a clever plan to stay alive and exact revenge on the Caliph for the murder of her best friend and countless other girls. Shazi’s wit and will, indeed, get her through to the dawn that no others have seen, but with a catch . . . she’s falling in love with the very boy who killed her dearest friend.

She discovers that the murderous boy-king is not all that he seems and neither are the deaths of so many girls. Shazi is determined to uncover the reason for the murders and to break the cycle once and for all.

Lying Out Loud by Kody Keplinger (April 28, companion to The DUFF): Sonny Ardmore is an excellent liar. She lies about her dad being in prison. She lies about her mom kicking her out. And she lies about sneaking into her best friend’s house every night because she has nowhere else to go.

Amy Rush might be the only person Sonny shares everything with — secrets, clothes, even a nemesis named Ryder Cross.

Ryder’s the new kid at Hamilton High and everything Sonny and Amy can’t stand — a prep-school snob. But Ryder has a weakness: Amy. So when Ryder emails Amy asking her out, the friends see it as a prank opportunity not to be missed.

But without meaning to, Sonny ends up talking to Ryder all night online. And to her horror, she realizes that she might actually like him. Only there’s one small catch: he thinks he’s been talking to Amy. So Sonny comes up with an elaborate scheme to help Ryder realize that she’s the girl he’s really wanted all along. Can Sonny lie her way to the truth, or will all her lies end up costing her both Ryder and Amy?

Of Dreams and Rust by Sarah Fine (August 4, sequel to Of Metal and Wishes): In the year since the collapse of the slaughterhouse where Wen worked as her father’s medical assistant, she’s held all her secrets close. She works in the clinic at the weapons factory and sneaks away to nurse Bo, once the Ghost, now a boy determined to transform himself into a living machine. Their strange, fragile friendship soothes some of the ache of missing Melik, the strong-willed Noor who walked away from Wen all those months ago—but it can’t quell her fears for him.

The Noor are waging a rebellion in the west. When she overhears plans to crush Melik’s people with the powerful war machines created at the factory, Wen makes the painful decision to leave behind all she has known—including Bo—to warn them. But the farther she journeys into the warzone, the more confusing things become. A year of brutality seems to have changed Melik, and Wen has a decision to make about him and his people: How much is she willing to sacrifice to save them from complete annihilation?

Hold Tight, Don’t Let Go by Laura Rose Wagner (available now): Hold Tight, Don’t Let Go follows the vivid story of two teenage cousins, raised as sisters, who survive the devastating 2010 earthquake in Haiti. After losing the woman who raised them in the tragedy, Magdalie and Nadine must fend for themselves in the aftermath of the quake. The girls are inseparable, making the best of their new circumstances in a refugee camp with an affectionate, lively camaraderie, until Nadine, whose father lives in Miami, sends for her but not Magdalie. As she leaves, Nadine makes a promise she cannot keep: to bring Magdalie to Miami, too. Resourceful Magdalie focuses her efforts on a reunion with Nadine until she realizes her life is in Haiti, and that she must embrace its possibilities for love, friendship, and a future.