Sometimes when a story breaks the traditional rules—by, for example, skipping around in time or being told by more than one narrator—the conventional layout of a book interior is not enough: visual design is necessary to help it make sense.
Nonfiction sales have been on the rise as of late. As book publicists, we must embrace current market trends and learn how to use them to our advantage.
To anyone that’s been paying attention to recent trends in young adult (YA) over the last four or five years, the line-up of books slated for 2019 is both timely and highly anticipated. With the push for diversity in literature and media still going as strong as ever (perhaps even stronger than ever), it seems that publishers have finally started to seriously answer the call. Young adult (and middle grade) lists are heavy with POC leads and the number of books about LGBTQ characters has doubled since the last few publishing seasons (and that’s just looking at books coming out—pun intended—between January and April! The list for May through June is even longer!). This is extra important when you consider that as recently as 2012, just over 1 percent of YA books had any LGBTQ content at all.
I refuse to believe we can’t move past the paperback designs of the past with their jumble of chunky fonts, strange color palettes, and, dare I say, unappealing illustrations of aliens.
I read Edgar Allan Poe in October. Why? For his scary stories. I know what I’m getting from any of Poe’s stories before I read them. Book publishers signal this to me in many ways.
If history is really what makes humans human, it seems like the effort to be more respectful and inclusive of other peoples has to include the acknowledgement of and effort to learn about history.