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Behind the Cover: Designing ‘The Weight of Sparrow Tears’

How author Eric Audrey and designer Nejc Planinšek brought a delicate, powerful story to life through INABC’s Jobs Board.

Behind the Cover: Designing ‘The Weight of Sparrow Tears’

How author Eric Audrey and designer Nejc Planinšek brought a delicate, powerful story to life through INABC’s Jobs Board.

Some titles you forget the second you hear them. Others lodge in your chest and stay there. The Weight of Sparrow Tears is one of those.

Eric Audrey came to the INABC Jobs Board looking for a cover designer for his story set in eleventh-century Kyoto: a forbidden romance between Haruko, a maid pulled into courtly life, and Masanori, a nobleman’s son. Their love is fragile, impossible, and beautiful.

The challenge? Design a cover that captures the lushness of the setting and the heartbreak at its core, and make sure it feels right for Audrey’s specific time period. Eric’s brief was clear: no photorealism, no cozy rom-com vibes. This story needed tragedy, elegance, and metaphor. On his creative brief, he was quite specific: “I want a cover that will lure a reader with its beauty – something that catches your eye like that perfect necklace in a jewelry store….This is not a sans-serif kind of book. I like silhouettes and/or people (perhaps an over-the-shoulder view that highlights the period clothing and hair rather than the face…”


Enter designer Nejc.

Preliminary Stages: The Mood Board and Creative Brief

Eric chose Nejc after reviewing dozens of portfolios that responded to his brief. Eric provided countless references that spanned everything from Heian-era architecture to yamato-e paintings to the sparrow/warbler metaphor at the heart of the story. The collaboration began with blossoms, moons, and seasonal motifs, imagery steeped in Japanese tradition.

It would have been easy for a designer to get lost in the details. But Nejc didn’t just sift through references; he distilled them. Blues and indigos for melancholy. Cherry blossoms for fleeting beauty. Sparrows as a quiet symbol of fragility. Each choice nudged the design closer to the emotional center of the book.

Nejc treated the brief like a compass, not a checklist, and that made all the difference.

Reference images from both the author and the designer

Round 1

The first concepts leaned wide: florals, silhouettes, layered landscapes. Some covers tested how far color could push emotion; others experimented with sparrow symbolism. Think of this stage like sketching the edges of the territory.

As Nejc explained: “The goal of the first round is rarely to design the perfect cover for the book, but rather to establish the proper art direction.”

Not every draft was a winner (they’re not supposed to be). But even here, Nejc’s range showed. He was willing to try bold, imperfect experiments to see what would stick. That courage to explore gave Eric a clear sense of what the book wasn’t, and by contrast, what it might be.

Four of the designs from Round 1 sent to the author

Round 2

By the second round, things began to take shape. Sparrows began to take flight across the page. Blossoms bloomed with purpose. Colors deepened from soft experiments to confident contrasts: sunsets, indigo skies, moonlight.

“The main challenge was balancing the book’s historical elements and coming-of-age romance within a modern book cover style,” Nejc said.

This wasn’t about “options” anymore. It was about circling the one design that felt inevitable.

Four of the designs from Round 2 sent to the author

The Final Design

The winning design landed in midnight blue: sparrows in motion against a luminous sky, blossoms etched in delicate contrast, a sense of motion and stillness all at once.

It’s a cover that doesn’t just decorate the story; it embodies it. A jacket that whispers of loss, beauty, and fleeting love, while still bold enough to command attention on a crowded shelf.

Nejc added: “Apart from Eric’s fantastic collection of reference material, I drew a lot of inspiration from historical works such as Utagawa Hiroshige’s One Hundred Famous Views of Edo, a famous series of woodblock prints I have in my personal library. Similar works ultimately inspired me to limit the color palette, in homage to yamato-e’s more restrained use of color.”

That’s Nejc’s strength: he doesn’t just make covers that look good, he makes covers that feel like the book.

Nejc and Eric’s winning design

Every cover has a backstory. This one began with a brief on the INABC Jobs Board and ended with a design only this story, and only Nejc, could have brought to life.

If you’re an author looking to translate your story into something readers can’t ignore, the Jobs Board is where it starts. Post your brief and find your next Nejc.

Visit The Jobs Board Today

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Designer Requirements

Only a carefully curated group of designers are given access to the creative briefs posted on the INABC Jobs Board. This system ensures that clients receive top-notch, focused proposals from professionals whose talents have been vetted

All designers who will be bidding on your cover design have applied to receive job notifications and have been approved by the INABC admin team. Our approved designers:

  • Are professional book cover designers, not simply generalist graphic designers.
  • Have been working in the industry for a minimum of 3 years, usually more.
  • Must demonstrate a contemporary aesthetic, creating work that feels current and relevant to today’s book design market. We seek professionals who stay informed on industry trends while pushing boundaries with innovative, forward-thinking designs. Our designers know that our clients are not looking for designs that feel “dated.”
  • Regularly and consistently work on multiple book cover projects each month. Over years of designing at this pace, they’ve built portfolios showcasing a substantial body of published work (at least 16 covers for review).
  • Are committed to delivering high-quality, original designs tailored to each client’s unique vision. 
  • Do NOT sell or offer book cover premades. At INABC, we do not condone the offering of pre-made book covers. We are fans of highly bespoke cover work.
  • Do NOT use AI-generated imagery in their commercial work.
  • Have accessible online portfolios showcasing book cover work that are easy for anyone to review.
  • Have extensive experience working with self-publishing authors AND commercial presses.
  • Are available and excited to receive these weekly briefs.

If you are contacted by a designer that doesn’t align with the requirements described above, we ask that you please contact the INABC admin team at ineedabookcover.assistant@gmail.com.

Designer Disclaimer

INABC is not a full-service design agency. It’s a curated directory designed to help visitors identify the designers behind some pretty amazing book covers.

If you reach out to a talented designer from this site, INABC does not take responsibility for the professional interactions that may follow. Each designer in our directory sets their own proposals and contracts. We encourage you to review a designer’s portfolio carefully to make sure they’re a good fit for your project and to communicate your expectations clearly with your chosen designer. Designers and clients are expected to draft, negotiate, and sign their own contracts to ensure that expectations, deliverables, and rights are clearly outlined before any work begins.

While we do our best to curate a talented community, INABC is not involved in the collaborations that follow, and, therefore, we cannot guarantee the outcome of individual projects with specific designers. If you run into an issue with a designer that you find from using INABC, we are open to learning about your experience, but ultimately, INABC will not be involved in any specific disputes. For more information, visit the For Authors page and read our Terms & Conditions.

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