Fiona Jayde is the owner, art director, and award-winning designer of Fiona Jayde Media, a company that offers book cover design, editorial, and marketing services to authors.
Book cover designer Fiona Jayde creates images for all genres, including horror. Jayde said her cover for William W. Johnstone’s Carnival “creeped the heck out of me.”
Jayde won 2013 RONE Awards for Fantasy and Best Contemporary Romance covers, melding her creativity with a business-like marketing approach to create beautiful book covers.
Jayde agreed to a fun and in-depth email interview with HorrorAddicts.net.
We started off with a quick ten-question lightning round before jumping into the real ten-question interview.
THE LIGHTNING ROUND
- A favorite movie? The Cutting Edge (from the 90s)
- Favorite binge-watching series on Netflix? Hmm … Tough question. I rewatch Dick Van Dyke, Star Trek TNG, and Star Trek Voyager on a regular basis.
- A favorite author? Nalini Singh and JR Ward
- A favorite book? Three Musketeers
- A favorite visual artist? Boris Vallejo, Michael Whelan, Luis Royo
- A favorite musical artist? Evanescence, Lindsey Stirling, Etta James
- Any song stuck your head? At the moment? “It’s always best to match your tea and cake. Look at all the colors. What matches can you make.” I bet you can’t get that out of your head either.
- A favorite website? Lifehacker.com
- Pet peeve? When people use “i” or “u” when emailing. Texting I can live with although I don’t like it, but in an email? Also, spitting in public. Gross.
- You have one last meal. What do you want to see on that plate? Ukrainian Potato Salad, Hubs oven-baked chicken, and Grandma’s Napoleon cake.
Fiona Jayde’s book cover design for William W. Johnstone’s The Uninvited buzzes with a nightmarish insect motif.
THE REAL INTERVIEW
Q1: Where are you from and where did your artistic eye and talent originate? Any artists, books, or movies inspire your style?
FJ: I’m originally from Old Europe, the part of Romania that was annexed by Soviet Union. My artistic journey started when I discovered internet in college and spent hours browsing through fantasy artwork. This is how I fell in love with fantasy artists like Luis Royo, Michael Whelan, and Boris Vallejo. The funny part is I couldn’t draw – and still really can’t, despite going to art school. Somehow, I always had a knack for all things digital and when I learned Photoshop, it was love at first sight. (Okay second sight, because it took me a bit to figure out that sucker.)
Q2: You’ve been a book cover designer for 10 years. What compelled you to start your own business in this field?
FJ: Funny story there: just like many writers who start out by throwing a poorly written book at a wall and declaring “I can do better”, I started out as an author who got a truly … shall we say … remarkable book cover and swore I could do better. Now, anybody with rudimentary skills in image editing can say that, but it took me years to figure out just knowing Photoshop isn’t going to cut it. What you see – the end product – is the execution. The unseen underlying factors fuse together marketing studies with compositional and graphic design to create a mouthwatering product package. (How’s that for a mouthful?)
I hadn’t planned on this being my career. I was working as a full-time web developer/project manager and doing covers on the side, but when I came back from maternity leave, my company laid me off. Best kick in the pants ever. I went into cover design and packaging design full time and haven’t looked back.
Q3: In the age of Amazon and ebook readers, are book covers as important in this digital age as they were in the days when hardcovers and paperbacks ruled? If so, why?
FJ: Book covers are just as important, but a much more “faster” scale. People browse the same digitally and physically: a book cover catches their eye, they pick up or click on the book to see it close up, then read the blurb/cover copy. In the digital age, that process is a hundred times faster – instead of walking past books that may or may not catch your eye, you’re scrolling past tens and hundreds of books, and clicking on a select few that pop. The importance of the cover is the same, but the ratio of “what gets attention” is that much smaller now due to the sheer volume of things competing for that attention. It’s that much more vital to connect to your audience and make the best use of the tiny thumbnail you’re afforded when readers are browsing.
Q4: You use a “go big or go home marketing approach” for your book cover designs. How may this marketing approach differ from the author’s vision?
Fiona Jayde’s book cover design for William W. Johnstone’s A Crying Shame inserts the mysterious image of a bloody body amid the haunting mist of a secluded swamp.
FJ: For the most part, it’s literally about making the most marketable aspect of the cover as big as possible, and reminding the authors that readers haven’t read the book. For example, an author I recently worked with had a series where the heroine could throw blue fire. Marketable? HUGE! The heroine also happened to turn that fire into blue flaming raccoons. The author LOVES raccoons. Cute? Yes. Marketable? Not for the genre she was targeting. Therefore, Chick with Blue Fire=Big. Raccoons got 86ed.
Q5: You do book cover design for all genres, including horror and fantasy. Do you have a favorite genre? If so, why?
FJ: I don’t know if I have a favorite genre, since most of the work I do all boils down to “pop” factor. As long as I can add “pop” somewhere, I’m happy, regardless of genre. Plus multiple genres ensure I don’t “phone it in” and get too comfortable. This way I can offer fresh takes on existing genre visual “tropes.”
Q6: What’s the key in a successful collaboration with authors in creating book cover designs? Do most authors have a specific cover in mind or do they give you a lot of latitude in your design?
FJ: Successful collaboration works best with clear communication, zero ego and the same goal: a marketable book cover. I like to fuse together an author’s unique premise with what is marketable, and as long as the author works from the “readers haven’t read the book yet” we work exceptionally well together.
For example, an author can request their name to be huge on the cover. That request could be a marketing thing if they have a lot of followers and their name alone can draw a reader. On the other hand, if they are just starting out, a huge name will be an “empty” focal point, covering up something that could be much more marketable for the genre. And if we go back to that small thumbnail, a reader who sees a giant name that they don’t recognize will easily move on to a book with a smaller just as unrecognizable name with a huge visual que for the genre. As long as both the author and I communicate on that level – cold hard marketing being the goal, we will collaborate beautifully and produce a marketable cover.
Q7: Which book was the easiest to create a cover for and why? Which book was the most difficult and why? Or do all covers take about the same amount of time and creative energy?
FJ: The easiest covers boil down to how visual/descriptive and “grounded” an author’s world is. For example, I just had completed a series where the heroine is a witch and had very specific objects/symbols prevalent in each book. That series flowed very well visually because all those symbols existed already, we just needed to “bring them out.” On the other hand, I had a recent horror book with a very existential/internal theme and the author and I had several in-depth discussions about the book and symbols depicted there.
Q8: You won 2013 RONE Awards for Best Fantasy and Best Contemporary Romance covers. How important were those awards to your business and to you personally?
FJ: I’m going to sound like a jaded know-it-all, but in reality, the awards – while great for my ego – don’t really mean that much since the authors of those books didn’t exactly rake in accolades and royalties. Cover design awards aren’t considering the most important function of a book cover – to get click-throughs and sales. I didn’t learn to draw in art school, but the one concept I always carry with me is “function before aesthetics.” If a cover doesn’t get sales, no matter how beautiful, it’s a fail. And a beautiful cover can easily be a fail if it doesn’t communicate to the target market – aka, the reader of that genre.
Q9: Since this interview is for HorrorAddicts.net, I wanted to ask about your horror covers. They are impressive, particularly the ones for The Uninvited, Carnival, and A Crying Shame, all authored by William W. Johnstone. What inspires you to create such unsettling yet beautiful horror book covers?
FJ: Thank you! That clown in Carnival creeped the heck out of me 🙂 Horror is a chance to play for me because the job here is to BE unbalanced and unsettled, to convey that feeling. Most covers are about white space and balance of elements, but horror puts those rules on their ears. Plus, it’s an opportunity for me to bust out the photoshop blood brushes.
Q10: What scares you?
FJ: Although I’m not a writer anymore, I have an incredibly active imagination and ability to spin a plot from the most minute events. Then I end up scaring myself building scenarios in the sand. But in terms of less existential and more real answer, I am terrified of getting lost. I have a terrible time following directions – with GPS no less – and regardless of logically knowing I have a cellphone and can stop for directions, I have an irrational fear of getting lost when trying to drive someplace new.
Check out Fiona Jayde’s book cover designs and services for authors on her website: http://fionajaydemedia.com/