Buzz
As shared with Tim Murphy
While it might feel cliché to say you shouldn’t judge a book by its cover, the reality is that most of us do just that. A book’s design goes beyond aesthetics—it’s a blend of typography, visuals, graphics, and color that communicates the essence of the story and influences buying decisions. Art director Keith Hayes, renowned for his iconic covers at Little, Brown and Company, unveils the intricacies of his craft.
1. DESIGNING BASED ON ASSUMED BUYER PREFERENCES IS A MISTAKE.
Predicting what will sell is anyone’s guess. Our focus is on capturing the essence of the story and presenting it in a way that’s visually striking enough to catch a shopper’s eye.
2. MY PROCESS BEGINS WITH READING THE MANUSCRIPT.
Amazon
Occasionally, the design solution is clear right away, but other times it requires patience and reflection. This is followed by extensive sketching, often resulting in many discarded ideas. Sometimes, inspiration strikes effortlessly. For instance, while working on Paul Lynch’s novel The Black Snow, I was inspired by a fire scene and envisioned depicting falling ashes as a character gazes at the sky. I experimented with various images of cigarette ash and crafted the typography by hand. The result was well-received from the start.
3. THE MOST CHALLENGING PROJECT? THE ART OF FIELDING.
Amazon
That project went through countless iterations. After reading the manuscript, I struggled to pinpoint the key takeaway. The title hinted at baseball’s significance, so I knew it had to be incorporated. After several attempts, the publisher advised, “We don’t want to alienate non-sports fans, but a subtle nod to baseball would be ideal.” I experimented with various depictions of the protagonist, but none resonated. Then, while casually scribbling the title on a napkin, the Yankees logo’s cursive style sparked an idea. Despite never having hand-lettered before, I scanned my handwriting and refined it using Adobe Illustrator. The response was unanimous: “That’s the one!”
4. THE BEST COVERS CAPTURE THE TONE WITHOUT EXPLICITLY REVEALING THE STORY.
Typography’s power lies in its ability to convey genre—whether it’s a gripping thriller or a literary masterpiece—without relying on imagery. For The Art of Fielding, traditional fonts felt too rigid. Instead, I enlarged my handwriting, stretching it edge-to-edge to reflect the book’s expansive nature.
5. CERTAIN DESIGN CONVENTIONS ARE COMMON.
I FIND IT UNCOMFORTABLE WHEN SOMEONE SUGGESTS, 'CAN WE FEATURE A WOMAN ON THE COVER?' There’s no clear evidence that female figures boost sales. Trends like feet, silhouettes, and even vinyl records—like on Michael Chabon’s Telegraph Avenue—have come and gone over the years.
6. I’M PARTICULARLY PROUD OF THE COVER I DESIGNED FOR ADAM HASLETT’S IMAGINE ME GONE ...
Keith Hayes
...set to release next May. The design pays homage to Peter Saville’s iconic New Order album covers, reflecting a character’s deep connection to that era of music. Without revealing too much, the novel deals with profound themes of grief and loss. I struggled to encapsulate this until I opted to remove two letters, creating a bold, typographic solution.
7. I PREFER COVERS THAT BREAK THE MOLD OF TRADITIONAL BOOK DESIGN.
My dream cover would be purely visual—no text, no title, no author name. I believe this approach could create a powerful and memorable brand identity.
8. MARKETING AND SALES TEAMS OFTEN PUSH FOR BOLD, EYE-CATCHING COLORS LIKE RED.
However, if every cover is bright and red, nothing truly stands out. I prefer working with subdued tones like black and cream to create a more refined aesthetic.
9. THE COVER OF DONNA TARTT’S THE GOLDFINCH DRAWS INSPIRATION FROM THE 1654 PAINTING THE GOLDFINCH BY DUTCH ARTIST CAREL FABRITIUS.
Aiko, Wikimedia Commons
In the story, the protagonist steals the painting and conceals it in newsprint. That imagery resonated deeply with me. Donna’s sole request was to avoid depicting the painting directly on the cover. Surprisingly, she adored the final design, which was a huge relief, as I knew this project had to be flawless. It was one of those rare covers that felt perfect from the start, requiring no endless revisions.
10. A COVER DESIGN INVOLVES INPUT FROM NUMEROUS STAKEHOLDERS.
We hold weekly meetings where designs are presented to the publisher, editors, and sales and marketing teams. Reactions vary—some love it, others critique it, and revisions are often requested. If approved, it’s sent to the author for the final say. Occasionally, retailers like Amazon or Barnes & Noble might raise concerns, leading to a redesign, though this is rare.
11. TYPICALLY, AUTHORS' PREFERENCES REACH ME THROUGH THEIR EDITORS.
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However, there are exceptions. Maria Semple, author of the bestseller Where’d You Go, Bernadette, which I designed, recently visited to discuss her upcoming novel.
12. I ADMIRE ALVIN LUSTIG’S MIDCENTURY DESIGNS FOR CLASSIC BOOKS—THEIR GRAPHIC STORYTELLING IS STRIKINGLY SIMPLE AND BOLD.
Today, there’s a tendency to overload covers with details, insisting, “It needs to convey more.” In the past, covers were elegant packages—bold, graphic, and vibrant, resembling mini posters you’d want to showcase.
13. HELEN YENTUS CREATED A STUNNING SERIES OF NEW EDITIONS FOR CAMUS’ WORKS.
I admire their cohesive design and graphic appeal—take The Plague, for example, where she visually captures the essence of a plague.
14. BOOKS WEREN’T MY PASSION BEFORE I STARTED THIS CAREER.
Originally, I aspired to be a veterinarian. However, I’ve always had a knack for drawing and painting. On a whim, I enrolled at the School of Visual Arts in New York, and that decision shaped my future. Now, I read every book I design. Outside of work, I’m an avid photographer. While I rarely use photos in my covers, photography enhances my design perspective.
