Part of my job at Book Riot requires spending time perusing Edelweiss in order to know the books that are on the horizon. I don’t write a whole lot about book covers over there, but I do take note of them as I work because there is a lot to say about them.

I’ve been highlighting cover changes in YA since this blog began nearly ten years ago, and though they’re still common, it seems to me that cover changes are happening less frequently than they have in years past. I suspect better initial designs and following tried-and-true trends is part of the reason. Make your title font nice and big with one key, easily-identifiable image — likely illustrated — and you’re going to not only catch eyes on book shelves, but you’re going to have something that shows up great on screens. Perhaps that’s part of it, too. There’s a much better understanding of the power of how covers appear digitally, either on a desktop or on mobile, and so there’s even more consideration in the design process than there ever has been before.

It’s also hard not to take into consideration the fact that YA books are primarily purchased by those over the age of 18 and armed with that knowledge, cover designs in YA mirror many seen in adult fiction. There are good things and there are not-so-good things about that. I’d recommend reading this thoughtful piece from a teen reader on the ways that YA can alienate the very age group it’s meant to reach.

This is the first round-up of recent and upcoming YA book cover changes I’ll share before the year ends. I’ve pulled an interesting range of design makeovers. Some do better in their original hardback while others sparkle a bit more in paperback.

As always, I’d love to hear what you think about the cover changes. What do you prefer of these? If you work with young readers, does one seem like it speaks more to them than the other?

Original hardcover designs are on the left, with the new paperback look on the right.

YA Cover Makeovers

 

I’m not going to lie: every time I see the hardcover for Margot Harrison’s The Killer In Me, I’m reminded that I want to read it. The vibes it gives are very much a me-book. It’s desolate. There’s a teen girl at the helm with what is either a clear mission or reflection upon a tough job done. It’s stark and striking. But, in being that way, the title of the book gets lost in the background. The font colors really do fade into the landscape, and not in a way that’s useful for actually remembering what the book is called. The font is also small, making it tough to render on screen. Note that on the hardcover, we get a tag line: “The truth can’t stay buried forever.” I love it, and I love how it mirrors the image of the off-centered girl.

The paperback version, which hit shelves in early October, takes away some of the desolation and starkness. But in exchange, it gives a much larger, more readable title, while maintaining the shovel that was on the hardcover. I’m not a huge fan of the way that the author’s name is stacked and shoved at the very top — not easy to read — and it’s interesting that because the focus is on the shovel and on the title, there’s no longer a tag line on the image. This to me reads much more like an adult book cover than a teen book cover, whereas the hardcover feels much more teen because we see what appears to be a younger person on it.

Neither one is better or worse, as they both have interesting and parallel elements to them. As a reader, I’d gravitate toward the hardcover because of the feeling I get from it, but I see that same reasoning being why readers might pick up the paperback.

 

 

Talk about a dramatic cover makeover. Caleb Roehrig’s White Rabbit had a frenzy of publicity when it hit shelves earlier this year. I ended up picking it up and liking it, and because it’s a psychological thriller/mystery/horror novel, there’s a high body count. The cover is actually pretty fitting, if not also fairly generic. The title and author names are easy to read, and the white and red color choices stand out against the blue and black palate of the image. There are two main male characters as identified by the shadows with the flashlights. And any time there is blood on a cover, you can count me in (Kimberly pointed out that bloody YA covers are a thing right now). The original hardback tells a reader everything you might want to know about the book and you can immediately place it within its appropriate readership.

The paperback, though, is a whole different rabbit. It’s bright and the contrast of the purple with the bright pink really makes it stand out. Visually, it’s a knockout in that department and it shows well both on screen and, I suspect, will pop on shelves. I’m not entirely sure what’s going on with the pink splotches on the purple — maybe it’s blood? But the use of the knife as the “I” in White is really clever and conveys so much about the feel of the book. This cover has a blurb on it from bestseller Karen McManus, which wasn’t on the original. I’m not usually a blurb fan, but I actually think readers who love One Of Us Is Lying would really be into White Rabbit, so it works as its own reader’s advisory tool.

That said, it does not strike me as a YA book at all. It looks like adult fiction. Again, that means and doesn’t mean anything, but I’m far more likely to see teens reading the hardcover and identifying it as a book for them than I am with the paperback. Perhaps that’s the goal, to get more adults to pick it up in paperback, especially with the McManus endorsement.

I like both takes, but for very different reasons. I actually hope we see a rise in covers like the one on the right (with attention paid to making them look as teen-friendly as possible) because they’re so different. The paperback releases on January 29.

 

 

 

Can we talk about how fun the hardcover of The Epic Crush of Genie Lo by F.C. Yee is? It’s clearly indicating exactly the kind of book it is: a fun, action packed title with a badass female lead. And the tagline! “A demon invasion is no excuse for bad grades” tells you everything about the book’s tone. That said: aside from being an extremely telling cover, it’s fairly generic. It doesn’t pop and doesn’t offer much in terms of the cultural touchstones within the book. The author’s name is small enough on the cover that, when pulling the images together, it got cut off.

The paperback edition of the book, available June 11 (yes, next summer!), is absolutely dreamy and it’s about as different from the hardcover as can be. The color palate is light and airy, and it’s very clear the book is set in San Francisco, with West Asian cultural heritage playing a large part of the story. We still have Genie Lo in the image, but this time, she’s less the focal point, but what’s neat is that all of the elements above her — the dragons, the mountains, the Golden Gate Bridge — comprise who she is. The title font is lovely and flowy. Yee’s name is a little more prominent, though in the paperback edition, the fabulous tagline is no longer there.

Not having read this book, I can’t pinpoint which one feels more true to the actual story. I have a hunch it might be the hardcover, but I suspect, too, that the paperback plays into some very crucial aspects of the book as well. The original cover? Sells to those who want action and adventure. The paperback? Appeals to readers who are eager for a more internal, culturally-enmeshed book. The original cover speaks to readers who want a louder book, while the paperback speaks to those who want a quieter read.

I really dig both of them and would be curious what others think. Neither does it better or worse. They’re just very different.

 

 

 

 

Veronica Chambers books were among some of the most popular books when I worked in a library that served a large Latinx population, and her latest book is a standalone. The Go-Between hardcover features a lot of fun, trendy elements to it: it’s illustrated, includes a number of bright colors on a black background, and uses the title font cleverly. The “Go” as a pair of glasses — maybe sunglasses, given the palm trees — adds something special to the title itself. There’s no tag line here, and as much as the cover leans into many contemporary YA book cover trends, the cover itself doesn’t tell you much about the book. The girl looks like she might have brown skin, but it’s not entirely clear if she’s meant to be brown skinned or if she’s a girl who has white skin with a dark tan. That ambiguity is only enhanced when you consider the “Go” as sunglasses, along with the waves for water, and the palm trees dotting the cover. It’s not a bad cover but it really doesn’t sell the book.

The paperback, however, is fabulous and tells the reader far more about the book. First and foremost? It’s a brown girl lead character. From her skin tone to the curly hair, there’s no question she is a girl of color. We retain the palm tree motif in the redesign, but they work more cohesively. The font choice for the title is fresher, and the cover itself reminds me quite a bit of I Am Not Your Perfect Mexican Daughter, a book that would be an excellent readalike for this one. This cover features a tagline, and it’s a tagline that really solidifies the comparison to Mexican Daughter and better expresses the tone and feel of the book: “She’s caught between two worlds, but neither will define her.” The girl’s expression, her placement between the trees, the sun peeping over her shoulder. Those aspects are smart.

I don’t dislike the hardcover on this one, but the paperback absolutely nails it. That book is for teens, and it’s a book fans of Sanchez’s title will want to pick up. You can pick up the paperback on April 16.

 

 

Finally, this cover change is one that I can’t stop thinking about. Orphan Monster Spy by Matt Killeen is a book about war, and frankly, I can’t figure out how I didn’t get that from the original hardcover. I’ve been convinced it’s a mystery/thriller. Maybe because it’s eerily reminiscent of a YA series that uses the same red and giant face of a girl that is of that genre. Maybe, too, it’s the title itself. Likewise, the blurb — though by Elizabeth Wein — offers no insight into the book’s content either. It becomes more obviously not a mystery/thriller when you notice what’s going on in the background. Those are soldiers, and buried behind the girl’s head are Nazi flags. It takes a lot of careful attention to pick up on those things, and I think that symbolism and clarity is hard to parse out because of the red and giant face of a girl being front and center.

The paperback, due out on February 19, suffers from some challenges, but it isn’t as muddled as the hardcover is. The fonts for both the title and author are far cleaner and less designed, and while we have an image of a girl running away — a big contrast from a girl who is commanding attention — the tagline on the cover gives far more insight into the book’s content. “She’s a liar. A thief. And the Nazis worst nightmare.” We know exactly where the book is situated and we know that the girl is one who is bound and determined to do something. The planes also situate the book in World War 2. The color palate is far more muted than the hardcover, too, which changes the tone of the book. It’s less aggressive and more somber.

The two covers tell two very different stories. For readers, I think the paperback redesign might be more clear in terms of what the book is about.

 

 

What do you think? Which cover does it better in each of these? I’d love your thoughts in the comments!