The question of what makes a reader pick up a book is crucial to its success or failure; as a writer, it’s a fundamental issue.
Authors are continually reminded about the importance of writing a good synopsis and a compelling back page blurb. The short section we read on the back cover of a book (I’m talking here about fiction, non-fiction has a whole different set of rules and recommendations) is our window into what’s inside. If we don’t like what we see or it fails to pique our interest, we won’t buy it.
It’s a no-brainer then; no matter how well we write, how many cleverly crafted sentences we hone, how brilliant our plot and characterisation are, if our cover isn’t right, it could all be irrelevant.
What happens when we browse books?
Last week Jack and I went to Waterstones in Taunton. As I browsed the tables that fill the ground floor showcasing latest paperback releases and recommended reading, I picked up two or three books from a table and turned them over to read the back page blurb. Then I moved on to the next table and repeated the exercise.
If I hadn’t read a good review, I would never have picked this book up. I really dislike the cover.
It struck me, as I reached the fourth table, that out of the roughly hundred books being showcased that I hadn’t already read, I had only chosen a handful to pick up and read the back. I wondered what had drawn me to them. I went back to each table to see if there were other covers/titles that may prompt me to pick them up and discover more. There were only two more books that I had briefly considered first time around and now chose to look at more closely.
What makes a reader pick up a book?
Like most of the readers I know, when I go shopping for books I’m already primed with one or two titles I intend to buy based on reviews I’ve read, recommendations from friends or further reading from an author I’ve enjoyed. The assistants at Waterstones are also a rich vein of good advice.
I rely on browsing to supplement those choices and I seem to go through a subconscious mental checklist.
First, I pick up award winners or shortlisted novels on the grounds that other, credible critics have read and recommend them. Although having that coveted Booker or Women’s Award shortlist or winner badge doesn’t mean I’ll automatically buy a novel, it does guarantee I’ll pick it up and read the synopsis.
Next, it’s a process of elimination.
Jack and I have very similar tastes in reading. Looking at the covers on offer, the majority (I would say roughly 60-70% of the books on Waterstone’s tables that day) were highly genre-focussed. As such, they worked, unless you’re not a reader of those particular genres. Neither Jack nor I would pick up a book whose cover screamed romance, fantasy, cosy crime or science fiction.
When it comes to literary fiction, it’s much more difficult to identify. There’s no obvious genre branding.
This simple, yet curiosity piquing design and title has helped sell more than 3 million copies
What research tells us about book cover design
It’s a given that the cover is key to why a reader picks up a book and that the title is also important. Beyond those obvious truths, research tells us very little.
According to AI, the cover design is 50% of the reason someone picks up a book. No surprise there. But importantly if you’re a writer of fiction genres like thrillers, romance and fantasy, those books are often purchased on impulse when browsing. These genres also have their proven successful cover colours — dark, moody colours for thrillers; soft, pastel or warm colours for romance etc.
Interestingly, some kind of design that disrupts the pattern of books next to it or in some way shouts for attention is apparently likely to hold the reader’s eye long enough to take in the title and author and maybe to make that vital flip to look at the synopsis.
Other than that, and the genre-specific aspect, it’s down to cover designs that invoke some kind of emotional response. AI tells us 35.5% of readers are looking for familiarity, of the author, a series or a brand. In times of stress and hardship, nostalgia and a feelgood factor attract.
I love this cover but Jack thinks it’s too ‘People’s Friend’. We both agree the content is brilliant.
Titles that might make a reader pick up a book
When it comes to book titles, there appears to be a plethora of factors at play.
First there’s something called the ‘curiosity gap’ which invokes a mental question mark. The examples given in my research results were The Girl on the Train and I’m Glad my Mom Died. I’m not entirely ‘sold’ on this ‘curiosity gap’.
Then there’s contradiction and contrast e.g. My Sister the Serial Killer; Big Little Lies; All the Light We Cannot See. Thirdly, is emotional resonance, those titles that stir empathy, nostalgia or tension. Examples might be Never Let Me Go and Me Before You.
The agreed formula for titles is that they should be short (no more than five words), easy to understand and remember, and easy to spell (important when searching for a title). Research suggests alliterations are also good – Pride & Prejudice, The Great Gatsby, Gone Girl, Angela’s Ashes etc.
Finally, and my own tendency, is towards titles that pique curiosity, for example, The Curious Incident of the Dog in the Night-Time; Eleanor Oliphant is Completely Fine; and Are You There, God? It’s Me, Margaret.
These are all factors to be aware of when deciding on the title and cover design of your novel. But it’s far from an exhaustive list. Next time you’re browsing the shelves of a bookstore or the tables of a book fair, take note of what it is that attracts you to pick up one book and not another.
If you’re an author, you need to know.
