Last updated on Oct 15, 2025
10 Brilliant Fonts for Your Book Layout
Martin Cavannagh
Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.
View profile →It’s easy to forget that the book fonts we see today result from hundreds of years of design evolution. From designs emulating handwriting to the crisp, clean serif designs you’ll find in most publications, modern fonts are the culmination of centuries of people combining form and function into something magnificent, but that its users barely even notice anymore.
As an author and publisher, you can’t get away with indifference: font selection is an essential step to designing your book — both inside and out. In his post, we're going deep into the topic of font choice in book design.
What Font Are Books Written In?
Before you dive headfirst into the technicalities of design choices, it can help to know the industry standards for book fonts. What font you use actually depends on where your manuscript is headed — and what your agents, publishers or printers expect.
✍️ When Submitting to Publishers or Agents
For manuscript submissions, clarity and legibility take priority over design. Publishers and agents usually have their own formatting guidelines, but the industry default is:
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Font: Times New Roman (or Courier New if requested)
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Size: 12 pt
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Spacing: Double-spaced
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Margins: 1 inch on all sides
📌 Tip: Always check the specific submission guidelines of the agent or publisher. Using Times New Roman won’t get you rejected, but ignoring their instructions might.
📚 When Formatting for Self-Publishing
For printed books, serif fonts are the industry standard. Their subtle lines help guide the reader’s eye, making long-form reading comfortable — which is why most traditionally published novels use them!
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Most common font: Garamond — a classic, elegant serif used in a large share of traditionally published books.
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Font size: 11 pt is standard for trade paperbacks.
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Large print editions: 14 pt or more.
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Other popular serif fonts: Minion Pro, Baskerville, Bembo, Caslon.
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Line spacing: Published books use typographic leading (fine-tuned spacing between lines), not the double spacing used in manuscripts.
📌 Tip: Margins depend on trim size and gutter, but always leave enough room for headers, footers, and the spine to keep your book looking professional and easy to read.
🖥️ For eBooks
For eBooks, you (as the author) don’t control the font in the same way. Most eReaders allow users to choose their own typeface and adjust size, so your job is just to ensure clean, flexible formatting.
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Common default fonts: Arial, Helvetica, Georgia
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Avoid embedding custom fonts unless necessary.
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Keep formatting simple and responsive.
📌 Tip: Use proper styles and CSS in your ePub or MOBI file so the text reflows correctly on all devices.
What is a font?
Let’s quickly clarify the terminology before we get into the nitty-gritty of choosing a font. True typography experts will quickly point out how the term ‘font’ is commonly misused in everyday, non-technical conversation.
Q: What's your process for creating typographic hierarchy in a book design?
Suggested answer
When creating typographic hierarchy in book design, I focus on simplicity and clarity, often following a principle known as "unity of type." This approach ensures that all typefaces work harmoniously to guide the reader through the content without unnecessary distraction.
For example, in the catalogues I design for Neue Galerie New York, I use a straightforward yet effective system. The primary typeface is Neue Bold, a custom font developed specifically for the museum. Its weight and boldness make it ideal for headlines, immediately drawing attention. For secondary text, I use Akzidenz Grotesk Light, which is thinner and provides a clear contrast to the heavier Neue Bold. This contrast establishes a visual hierarchy, making it easy for readers to distinguish between primary and supporting information at a glance.
By keeping the typography cohesive and intentional, I ensure that the design enhances readability and aligns with the overall tone and identity of the book.
William Loccisano
Senior Art Director, Books & Exhibitions
William is available to hire on Reedsy ⏺
For typographers, ‘typefaces’ are different lettering designs, like Times New Roman and Arial. ‘Fonts’, on the other hand, are size, weight and style variations on typefaces, like 12 pt Times New Roman bold and 14 pt Arial italic. However, for convenience’s sake, we’re going to be using the term ‘font’ to refer to both the overall styles of type and their variations.
How to choose a book font
Choosing the 'right' font to use for a book's body matter often comes down to individual taste. With the exception of a few universally reviled typefaces — cough cough, Comic Sans — almost any legible font can be considered. Having said that, there are a few things that any discerning book designer will want to keep in mind.
It needs to be readable
Imagine a beautiful chair. It may be the most gorgeous thing to look at, but if it’s uncomfortable to sit on, then what use is it really? The same goes for fonts. Though you obviously want your font to look nice on the page, it also needs to do its job and be easily readable so that readers can immerse themselves in your words without getting distracted or having to decipher what things say.
To serif or not to serif?
Although you may not know the serif by name, you’ll definitely have noticed these little lines or strokes coming off the end of letters in certain fonts like Times New Roman (and the modified Times font that we use here on the Reedsy blog!).
Supposedly, serifs lead the eye from one letter to the next, making the reading experience easier and less tiring — although there isn’t actually much scientific evidence in favor of this. But as a result of this theory, you'll commonly see serif fonts used for large bodies of text while 'sans serif' fonts — literally, without serifs — are usually reserved for shorter bits of text like chapter titles and headings.
All this said, humans are adaptable and your reader should be able to adjust to pretty much any font after a chapter or so. If there is a font choice that you think would really elevate or set your work apart, feel free to choose novelty over convention.
Style is still important
To draw your reader in, you’ll want a modern, stylish font that will appeal — but this is pretty subjective, so again, go with one that you like. Your font choice should also be influenced by the contents of your book. You can get a bit creative with titles and headings that capture the spirit or genre of your book a little better. Or even go all out and do something funky with the body text — as long as it makes sense for the layout of your book. Many of the so-called font rules can be broken if the situation really calls for it.
Q: What common mistakes do authors make when designing their book cover, and how can they avoid them?
Suggested answer
You don't need every aspect of your story represented on the cover! I get a lot of authors who run through a list of very specific objects, places, and characters they want on the cover, but many times that doesn't align with the best selling strategies for their genre. Depending on the genre, to capture your audience, you may want to focus on a character or two only, or perhaps one setting. But usually not all of it. The main purpose of a cover is to capture the feeling of your book, not tell the whole story. Oftentimes the cover is more of a metaphor or abstracted visual that just indicates a mood. Less is more!
Caitlin b. is available to hire on Reedsy ⏺
A common mistake authors make when designing their book cover is trying to make everything shout. Not every element needs to be front and centre. Part of the skill of a designer is creating the right hierarchy, so the reader’s eye knows where to go first, whether that is the title, the visual, or another key element.
Another issue is not fully understanding the market. Sometimes authors pick the wrong age group or try to make a cover that will appeal to the largest possible audience. In most genres, this rarely works. It is far more effective to focus on the target audience for the book and design something that resonates strongly with them.
Authors often love their characters and want to showcase a favourite moment from the story. While that is understandable, it may not always be the best visual for selling the book. Understanding the story, its tone, and its audience is key to selecting the right imagery and creating a cover that works both creatively and commercially.
Clare is available to hire on Reedsy ⏺
The biggest mistake would be not being open to input. Most people in the book world have a working knowledge of what particular books are supposed to look like. BUT, there is a great big world of book creatives out there who specialize in every single aspect of making a book. Cover design is no different. Authors and designers should ideally have an organic collaboration. Reedsy has given me the opportunity to cultivate this exact skill while working with authors.
Michael is available to hire on Reedsy ⏺
Trying to tell the whole book story on the cover. The cover needs to be simple and eye catching. The design style, like fonts colors and images, will give the hint of the story and attract the reader. Then let the blurb explain the story.
Veronica is available to hire on Reedsy ⏺
I think a lot of authors approach their cover thinking very literally about what they want to depict. Sometimes they want to create a specific scene from the story. And of course, this is normal. The author has been living these scenes and moments, imagining the characters - how they look, what they say, their gestures.
But I try to approach the cover by thinking more about themes - what essentially is your book saying? Is it a story of hope? Of bravery? Of loss? And I try to convey that over-arching theme. That way you'll achieve a timeless design that speaks to your potential readership before they've read a single word. Other times I might focus on a recurring motif that's present throughout the book. What I always try to avoid is recreate the story literally in a single cover image - that method always fails because you're trying to pack in too much information which is impossible and only makes sense once the book has been read.
Wayne is available to hire on Reedsy ⏺
One of the biggest mistakes authors often make when thinking about book cover design is focusing too much on personal preferences rather than the target audience and market trends. While it’s natural to want the cover to reflect their vision, a book cover’s primary purpose is to attract the right readers and communicate the genre and tone of the book instantly.
Robert is available to hire on Reedsy ⏺
Authors often think the cover needs to explain the book, when really it just needs to sell it.
I totally get it — you’ve poured your heart into every twist, every subplot, every character nuance. But a cover isn’t there to explain all that. It’s not the book report. It’s the billboard.
A strong cover grabs the right reader’s attention, sets the mood, and creates just enough intrigue to make them want more. It’s not about stuffing in objects and characters from every chapter — it’s about vibe, clarity, and positioning.
Think of it this way: the cover doesn’t need to tell the whole story. It just needs to make someone want to start reading it.
The job of the cover isn’t to tell the whole story. It’s to make someone want to open the book and discover it for themselves. So don't try to turn the cover into a summary of the book. Let the creative (your book cover designer) make the visual translation of why a reader needs to buy your book.
Arjan is available to hire on Reedsy ⏺
Use fonts to tell a story
For example, the novel Interior Chinatown tackles the idea of typecasting and stereotyping in the film industry. To give it the feel of a Hollywood movie, the book is written in screenplay format using Courier as the standard font.
Needless to say, this is an unusual choice for a novel — using a specific font that is often strongly advised against for book typesetting. But in the case of Interior Chinatown, Courier is a very intentional choice serving a particular purpose and contributing to the impact of the book itself. This is a prime instance in which typical font conventions can be eschewed in favor of effect.
Pro tip: Some sites such as MyFonts allow you to test samples of text in a particular font before you take the plunge and buy it. This is especially useful when choosing among very similar fonts, as you may not be able to pick up subtle differences until you see them in a larger block of text.
10 brilliant book fonts
1. Garamond
Quick fact: Styled after the work of prominent 16th-century engraver Claude Garamond, this family of fonts rose to prominence as a standard option in Microsoft Word.
If this font were a character: Garamond, a 1920s detective lurking in the shadows of a New York alleyway, waiting for a corrupt district attorney to leave a mob-connected nightclub — right at home in a suspenseful thriller.
2. Caslon
Quick fact: Caslon's designer William Caslon spearheaded the development of an English typographic style, sparking a move away from imported Dutch fonts that were common in England at the time.
If this font were a character: Caslon, a no-nonsense bespectacled professor, who still gets visits from ex-students years down the line because they feel like they owe all their success to him. Clear and reliable, Caslon is great for nonfiction.
3. Baskerville
Quick fact: Baskerville was novel in the 18th century for its contrasting thick and thin strokes. John Baskerville, the creator of this font, was heavily influenced by his background in calligraphy.
Q: What challenges do you face when balancing author requests with design principles?
Suggested answer
As an interior book designer, my job is to strike a balance between aesthetics and functionality. A book, after all, needs to be easy for its readers to actually read, and certain designs might look really cool, but practically, be visually straining on a reader's eyes. This is especially true when it comes to font selection and line breaks.
If a client requests something that I think simply doesn't look great, I will tell them it's not my preference and why, but I'm happy to set things up how they want if they disagree. But if they request something that I know will impact readability or goes against typesetting standards, I always tell them this and explain why the readability will be impacted or why the typesetting standards are important.
I strive to work collaboratively with my clients to find ways to make their vision come true, while still staying true to design principles. Sometimes, this will take the form of compromise. As an example, some interior book designs require a lot of handiwork and end up looking gorgeous on the printed page, but fall flat in an ebook where reflowability is necessary for screen-size changes. In these cases, the extras that make the printed book "pop" are removed for the ebook.
Emily is available to hire on Reedsy ⏺
One of the biggest challenges is finding the sweet spot between what the author envisions and what actually works visually for their genre and audience. Authors usually know their story inside out—they’ve lived and breathed it—so naturally, they want the cover to reflect every nuance. But a good cover needs to grab attention in seconds, not tell the whole story.
Sometimes that means gently steering them away from overly complex concepts or scenes that don’t translate well visually. For example, they might want to include several symbolic elements or a very literal depiction of a scene, but too much detail can overwhelm a design. I often explain that it's better to capture the mood or theme than every plot point.
Typography is another common one—some fonts an author loves just might not match the tone of the book or be readable in thumbnail size. I always try to keep them involved in the process, but part of the job is helping them see the bigger picture and how the cover will function in a real marketplace.
At the end of the day, it’s all about communication and trust. I want them to feel heard and respected, while also delivering a cover that works hard for their book.
Evgeniia is available to hire on Reedsy ⏺
It’s my job to bring the author’s vision to life. If I think aspects of the design need to be changed, I’ll show the author alternative sketches for feedback. But ultimately it’s the author’s decision.
Tommy is available to hire on Reedsy ⏺
If this font were a character: Baskerville, lady of the manor, runs the house like a tight ship. Servants quiver under her iron gaze — but her icy exterior melts away when she sits down at her easel. Baskerville clips down the hallways of a transporting piece of historical fiction.
4. Sabon
Quick fact: You may notice from the image above that each variant of the Sabon font has the exact same letter spacing (or tracking, as typographers call it). This is a consequence of limitations of the hot-metal typesetting machines used at the time of its development.
If this font were a character: Sabon, a shy hopeless romantic, steals a glance at the sweetheart who doesn’t know of her true feelings — before finally plucking up the courage to go and say ‘hello’. Hence springs a sweet and dreamy romance.
5. Dante
Quick fact: Dante was originally designed in the mid-20th century, for exclusive use by the Officina Bodoni, a private press admired by book collectors across the world.
If this font were a character: Dante, a mischievous teen who just pressed the forbidden big red button in the control room. The spacecraft lurches. Dante dares to take you on a rollicking sci-fi adventure.
Speaking of which, want to take readers on an otherworldly adventure? Check out our post on how to write science fiction!
6. Bembo
Quick fact: Unlike many typefaces which are named after their designers, Bembo takes its name from the author who first used it in publication: Italian poet Pietro Bembo.
If this font were a character: Bembo, a wanderlusting photographer dining alone in the shade of a palm tree, a third helping of fried fish already on its way — but can it truly fill the chasm inside of him? Bembo is a great choice for some evocative literary fiction.
7. Janson
Quick fact: Although this typeface was actually designed by the Hungarian punchcutter Miklós Kis, it was originally mistakenly attributed to Anton Janson, whose name it still bears.
If this font were a character: Janson — a wise old soul who, after years living the fast life of a musician, has traded in the trumpet for a trowel, growing fruit and vegetables in abundance. Take a trip down memory lane with Janson in your memoir.
8. Bison
Quick fact: This all-caps sans serif font was inspired by the animal from which it takes its name. (But to be honest, we don't really see the resemblance.)
Q: How do genre-specific tropes influence book cover design, and how important are they for appealing to the target audience?
Suggested answer
Very. You want the audience to perceive the book's genre at a passing glance. A part of the design should deliver what the audience expects. But that doesn't mean you can't have fun with the design, either. Start with the tropes, and then put your own spin on them. Best case, you help to modify what audiences expect.
Michael is available to hire on Reedsy ⏺
Genre tropes are crucial in book cover design because they instantly communicate the book's category to potential readers, helping it stand out in a competitive market. By aligning with familiar visual cues while adding a unique twist, a well-designed cover can both meet audience expectations and spark curiosity.
Robert is available to hire on Reedsy ⏺
If this font were a character: Bison, a large and in-charge CEO, feet propped up on the desk, looking out across the city from the 90th floor. Bison brings a sleek and confident touch to headers and titles.
9. Captain Comic
Quick fact: Clearly inspired by the lettering style found in the pages of comic books, Captain Comic is the sophisticated older sister of Comic Sans. Use with caution!
If this font were a character: Captain Comic, a dauntless hero, scales a clocktower in the dead of night — aware of what danger could await at the top, but fearless nonetheless. Captain Comic reigns supreme in an action-packed graphic novel.
10. Pequena Pro
Quick fact: Pequena Pro was designed in 2016 by Rodrigo Araya Salas and supports both Roman and Cyrillic alphabets. (Look, these quick facts can't all be winners.)
If this font were a character: Pequena Pro, a talking hippo, is on the lookout for food (as always) when she comes across a family of meerkats stuck on the bank, and offers to help them cross the river. Pequena Pro is delightful for a picture book.
How to access book fonts
The simplest way to get your hands on the most suitable fonts for your book is to work with a professional typographer. They will have access to font libraries and many of these experts can even create bespoke typefaces, should your project call for it.
🤩 The best typographers are on Reedsy
Daniel G.
Available to hire
I specialize in humorous character focused covers, but my style naturally fits both horror and dramatic works too.
Veronica S.
Available to hire
I'm a Senior Designer and Art Director with over 15 years experience in Publishing Design and over 8 years experience in Marketing Design.
David P.
Available to hire
I believe that book cover design has the power to crystalize and elevate the author's intent and expression.
But if you take the DIY approach to formatting your book, then you’ll need to get hold of fonts yourself. Here’s what to know if you’re taking this route:
You don't buy a font, you license it. If you're going to be printing physical copies as well as publishing ebooks, you need to confirm that the font can be used in print and not just in digital work (which some are).
Q: How does a professionally designed cover impact the success and sales of a self-published book?
Suggested answer
I think it determines in most cases whether or not the book gets sold. Either consciously or subconsciously. Part of my job as a designer is understanding marketing and trends. I look at book covers, LOTS of book covers. And take notes. Personally I don't think I'd buy a book with an unprofessional cover. If the author didn't take the cover seriously, then what's to say the story is any better? Is this project something they just typed up and published on a whim? Or is it something they really believe in and want to make the best product possible?
Michael is available to hire on Reedsy ⏺
A professional cover plays a huge role in the success of self-published books because it’s the first thing people notice. It gives your book credibility and helps it stand out, making it look just as polished as those from traditional publishers. A great cover not only grabs attention but also sets the tone for your story and appeals directly to your target audience. In a crowded market, it can be the difference between someone scrolling past or deciding to give your book a chance.
Robert is available to hire on Reedsy ⏺
It's an enormous impact. I would say it's the single biggest factor in whether your book sells. When I see a cover that looks amateurish, I subconsciously assume that the writing is probably going to be at an amateur level as well. It's as simple as that. I always judge a book by its cover. The book may be the greatest work of the new century but if it is packaged in a way that communicates carelessness or lack of attention, then that has huge repercussions for the reputation of the work and the respect that it needs in order to sell.
Just go into any book store. Look at the new released that are elegantly designed. You immediately assume that its worth reading because the author, the publishers, everyone deemed it worthwhile to invest time in producing. That assumption is critical in getting your work out to a new audience. Humans are visual creatures. Otherwise, art, advertising, TV, the internet, social media, none of that would need to exist.
Wayne is available to hire on Reedsy ⏺
First impressions count. An eye pleasing cover ensures that the book gets picked up in the first place!
Tommy is available to hire on Reedsy ⏺
Fonts come in bundles. Quick switch to typography terminology here — to use all fonts of a certain typeface (for example Caslon Regular, Caslon Bold, and Caslon Italic) you need to buy the whole family of Caslon fonts, either individually or as part of a bundle.
Free isn't always good. Free font download links can sometimes carry viruses. Also, bear in mind that the individual offering the free font might not actually have the right to distribute it — and there could be consequences for using them.
On that note, here some trustworthy sites that offer both free and paid fonts:
Paid:
Free:
⚠️ Whether you download your fonts for free or purchase them, make sure to read the Terms and Conditions carefully so that you understand exactly what you are and aren’t allowed to do with them.
All fonts have a time and a place — yes, even Comic Sans — but that place may not be in your book. As you undertake this critical selection process, make sure that you’re thinking about the specificities of your book and precisely what you want your font to achieve.
