When one thinks about memoir cover design, the first image that usually comes to mind is a sober portrait of the author, often in shades of black and white or otherwise having the subject posed in a thoughtful, cerebral way. Certainly, this is a representative picture of the memoir standard, and in many cases, the most profitable design route for publishers to pursue. But when might other options work better?
What happens when the book you’ve written doesn’t neatly fit into one specific genre? For instance, what if instead of a book that falls unquestionably into the mystery thriller category, you’ve written one that beautifully straddles the line between personal memoir and war memoir? While this question can certainly influence any number of factors in the book publishing process, it comes into a particularly important light when a publisher begins to develop the marketing plan for a new book.
In recent months, it has become difficult to point to a sector of American society that isn’t touched by political turmoil. Our recent presidential election and the mirroring Brexit vote across the pond mark deep and shifting partisan divides that show themselves in business, sports, educational communities, and the arts. Rather than being distinct from these communities and their conflicts, the publishing industry—because of its very nature—must both contain them and be contained by them.
In Allison Green’s unconventional travel memoir, The Ghosts Who Travel with Me, nostalgia is a running theme. Green devotes just as much time to journeying down memory lane as she does to retracing the famous trout-fishing trip of sixties counterculture writer Richard Brautigan. The Ghosts Who Travel with Me lovingly describes Green’s golden memories of […]