{"id":171324,"date":"2025-07-25T10:00:00","date_gmt":"2025-07-25T09:00:00","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/?p=171324"},"modified":"2025-07-25T10:00:00","modified_gmt":"2025-07-25T09:00:00","slug":"the-pitch-in-a-blink","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/the-pitch-in-a-blink\/","title":{"rendered":"The pitch in a blink"},"content":{"rendered":"\n

Last week, I wrote about elevator pitch (yet again). I said (again) that your One True Pitch has a hundred daughters, and some of those daughters are visual.<\/p>\n\n\n\n

Your book cover is the most obvious example, but Facebook ads would be another one. And whereas you only get one book cover, you can have a zillion FB ads if you want to (and, erm, if you\u2019re self-publishing. FB ads are a niche that only work for indie authors.) What\u2019s more, those FB ads give you hard numerical data on what works and what doesn\u2019t \u2013 and part of my email last week suggested that if the elevator pitch isn\u2019t properly expressed in the image, then it won\u2019t ultimately succeed in terms of sales.<\/p>\n\n\n\n

I\u2019d say that, on the whole, my data bears that out. (And some books have a much simpler way to express their elevator pitch in visual terms. Those books are easiest to advertise.) <\/p>\n\n\n\n

Now, that\u2019s all jolly interesting but: <\/p>\n\n\n\n

    \n
  1. Lots of books won\u2019t get FB ads (because they may be trad published by publishers who focus on print sales).\u00a0<\/li>\n<\/ol>\n\n\n\n
      \n
    1. The success of a book is more heavily determined by a cover than by the ads: if you have a lousy cover, no marketing in the world will save the book.\u00a0<\/li>\n<\/ol>\n\n\n\n
        \n
      1. And the book cover is the older, more senior daughter. The look of the cover has to determine the look of any advertising campaign (and, in fact, any visual materials produced in any context), because all those visual materials have to set up the right expectations: \u201cThis is the thing we want you to buy.\u201d\u00a0<\/li>\n<\/ol>\n\n\n\n

        So what works for a book cover? Well, a strong pitch, visually expressed. <\/p>\n\n\n\n

        As I said last week, you can\u2019t necessarily get the entire pitch into a visual and you don\u2019t have to. You just have to make sure that the pitch and the image are extremely consistent. You need to feel the pitch at least partially expressed in the cover. <\/p>\n\n\n\n

        And, because the most arresting element of any cover is the title, then you really want to think of the cover as being the sum of Image and Title with those two things working harmoniously with one another. <\/p>\n\n\n\n

        Here\u2019s an example of all that working p-p-p-perfectly:<\/p>\n\n\n\n

        \"\"<\/figure>\n\n\n\n

        <\/p>\n\n\n\n

        The book<\/a> is a big bestseller by my colleague, Becca, who’s Head of Marketing and Membership at JW Towers.\u00a0<\/p>\n\n\n\n

        I don\u2019t know exactly how she would frame the elevator pitch, but it\u2019s something like: <\/p>\n\n\n\n

        Woman + creepy guy + remote cabin + letters from a previous wife<\/em>. <\/p>\n\n\n\n

        That\u2019s a pretty damn solid elevator pitch, and it\u2019s right there on the cover. <\/p>\n\n\n\n

        Woman?<\/strong> Yes, in massive text. <\/p>\n\n\n\n

        Remote cabin?<\/strong> Yes, in massive text and as the lead element of the visual. As a matter of fact, the text \u2018cabin\u2019 could mean some kind of beach-side cabin that\u2019s part of a group of 100 or more. This artwork makes it damn clear: this cabin is remote. It\u2019s alone. It\u2019s isolated. <\/p>\n\n\n\n

        Creepy guy?<\/strong> Well, no\u2026 but also kind of yes. The man doesn\u2019t feature in the title or in the image, but you sort of feel him there. The blue and yellow colour tones in the cover have become a kind of uniform for psychological thriller books. The creative part of me never loves a uniform\u2026 but they\u2019re definitely a sweet and lovely guide to genre. They\u2019re another way to convey information. And here, the blue and yellow (and the twilight), all say, \u201ccreepy domestic drama.\u201d So yes, there\u2019s a creepy man around here. You\u2019d feel kind of baffled if you picked the book up and he wasn\u2019t there in the blurb. <\/p>\n\n\n\n

        Letters from the wife before?<\/strong> OK, this is not in big text and it\u2019s not an element in the image. (Nor should it be: it would just look awful if there was some handwritten letters layered onto the image somehow.) But \u2013 well, you have your shoutline to play with, a subtitle, in effect. And that doesn\u2019t mention letters, but it does strongly hint in that direction: \u201cYou\u2019re not the first. Will you be the last?\u201d Nine words that complete delivery of the pitch. <\/p>\n\n\n\n

        The cover + image delivers the whole damn pitch, perfectly. <\/p>\n\n\n\n

        Books almost never sell at real scale unless they deliver a great reader experience, so I don\u2019t want to pull any praise away from Becca\u2019s actual writing. (I\u2019ve just started the book: I\u2019m 50 pages in and loving it.) <\/p>\n\n\n\n

        But Becca tells me that the publisher of this book at one stage contemplated changing the title and the cover design. The title was going to be \u201cThe Woman Before\u201d and the image was going to be of someone washing up. <\/p>\n\n\n\n

        You can kind of feel the thinking going on there. This is a domestic drama. Maybe lean on the last part of the elevator pitch more heavily, the idea that this current wife is successor to an unknown previous one? <\/p>\n\n\n\n

        But Becca pushed back, and she was right to do it. The remoteness of the location was absolutely central to the pitch. If you had to trim the pitch down to three elements, not four, it would be: <\/p>\n\n\n\n

        Woman + creepy guy + remote cabin.<\/em><\/p>\n\n\n\n

        The book sells because of teasing the reader: what would it be like to be a woman, alone in some remote place, with a guy whom you now find creepy? The previous wife just gives you a steer on the particular kind of creepiness involved, but that\u2019s kind of secondary. Woman + creepy guy + cabin: that\u2019s the bit that really matters. <\/p>\n\n\n\n

        Oh yes: I will also say that a good book cover should stand at an oblique angle to the title. It should offer a different take, or it\u2019s not really intriguing. <\/p>\n\n\n\n

        The most obvious cover here would have been \u201cpicture of cabin with woman in window.\u201d But then the reader learns nothing from the cover than they have from the title. Those very literal covers nearly always fall flat. <\/p>\n\n\n\n

        When books of mine have failed, the cover has always been at the heart of the failure. <\/p>\n\n\n\n

        Here\u2019s the American hardcover of my first Fiona Griffiths book: <\/p>\n\n\n\n

        \"\"<\/figure>\n\n\n\n

        <\/p>\n\n\n\n

        That sort of expresses \u201cwoman uncertain of her identity\u201d, but it doesn\u2019t say \u201cthis is a crime novel\u201d. It doesn\u2019t reference murder and crime investigation and being a detective.<\/p>\n\n\n\n

        If you were told this was an existential novel by a French feminist philosopher, you\u2019d probably think: (a) yep, perfect cover, and (b) I won\u2019t buy that until the Ice Age after next. <\/p>\n\n\n\n

        Sure enough, that book had stellar reviews\u2026 and terrible sales. <\/p>\n\n\n\n

        Because sales had been disappointing, the publishers decided on a complete rebrand for the paperback edition. They went with this: <\/p>\n\n\n\n

        \"\"<\/figure>\n\n\n\n

        <\/p>\n\n\n\n

        (That\u2019s a weird second-hand image, because \u2013 thank the Lord \u2013 my self-published books have now driven these original versions off the market so completely that they\u2019ve become hard to find.) <\/p>\n\n\n\n

        And that image still fails. There\u2019s some sense of communication with the dead, yes, but in a s\u00e9ance-type way, not a weird-detective way. <\/p>\n\n\n\n

        As a matter of fact, those cutesy suede ankle-boots suggest that what you\u2019re looking at is some sort of women\u2019s fiction based around s\u00e9ances. I mean: there probably IS a niche there, because there\u2019s a niche for almost everything, but if you were a girly-s\u00e9ance sort of reader, you\u2019d be totally put off when you found what kind of book was actually on offer. <\/p>\n\n\n\n

        That book sold all across the United States and Canada\u2026 and sold fewer than a thousand copies: a figure so low I still find it staggering.  <\/p>\n\n\n\n

        Just because your eyes are probably hurting from the badness of those covers, here\u2019s the self-pub version of the cover that replaced those two evildoers:\u00a0<\/p>\n\n\n\n

        \"\"<\/figure>\n\n\n\n

        <\/p>\n\n\n\n

        That cover says: dark crime novel, with a theme to do with the borderline between life and death. That\u2019s good enough: there just isn\u2019t a visually one-stop way to express \u201cmurder story involving a detective who used to think she was dead.\u201d <\/p>\n\n\n\n

        The cover isn\u2019t the pitch, remember: it\u2019s the daughter <\/em>of the pitch. You just need to see a strong family resemblance. <\/p>\n\n\n\n

        That\u2019s it from me. <\/p>\n\n\n\n

        In Delightful Child News, I will just tell you that my elder daughter has created the most excellent word, confuzzling, for anything that is confusing and puzzling. It\u2019s kind of a genius word, and I heartily recommend its adoption. <\/p>\n\n\n\n

        ***<\/p>\n\n\n\n

        FEEDBACK FRIDAY is going on holiday…<\/strong><\/p>\n\n\n\n

        As you probably know, we’ll be doing some serious tinkering with Townhouse over the next couple of weeks. Our aim is to improve it for our members, both Premium and free – but that means it’ll be going offline on Monday 28 July.<\/p>\n\n\n\n

        Feedback Friday is glad you folks will be getting a shiny new space to connect in, not least because it means she can have a well-deserved rest.<\/p>\n\n\n\n

        She’ll be back on 8 August, slightly sunburnt, in her snazzy new home. <\/p>\n\n\n\n

        Til soon. <\/p>\n\n\n\n

        Harry <\/p>\n","protected":false},"excerpt":{"rendered":"

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I've published trad & self-pub. Love both. Best known for my Fiona Griffiths crime series. 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