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End Modern Slavery

The Hidden Cost of “Online-Only” Book & Cover Design

Modern slavery and worker exploitation don’t always look like sweatshops. In publishing, they can hide behind glossy websites offering bargain-basement book and cover design, delivered by anonymous “global teams.” Too often, Australian “publishers” (really, author-service outfits) resell these online design packages as their primary design source, pocketing fat margins while offloading the risk onto invisible, underpaid workers.

This isn’t just about shoddy art. It’s about the people doing the work—freelancers and agency workers pushed through opaque labour chains with punishing timelines, recruitment fees, withheld pay, and no recourse if something goes wrong. And it’s about authors who think they’re paying for professional craft and accountability, only to discover they’ve bought a black box.

Why online-only design is a problem

1) Opaque labour chains.
Many “studios” are fronts for broker networks. Your “dedicated designer” may change from job to job, be subcontracted multiple times, or work under coercive terms. If the business can’t name the designer, show their portfolio, or jump on a call, you’re dealing with a labour broker—not a studio.

2) Perverse incentives.
Flat-fee, volume-driven models reward speed over craft. Designers get cents on the dollar, nudging them toward long hours, asset recycling, and plagiarism. That harms workers, authors, and readers.

3) No accountability loop.
When something breaks—missed deadlines, stolen art, unreadable interiors—there’s no accountable human to fix it. Support is a ticketing queue, not a partner.

4) Reputational and legal risk (Australia).
Even if you’re under Australia’s Modern Slavery reporting threshold, clients increasingly require evidence of fair work in your supply chain. Using anonymous, online-only services makes that impossible. If you’re a publisher contracting these services, you risk breaching your own codes and losing author trust.

How it shows up in Australia

  • Author-services “publishers.” Some outfits market themselves as publishers while outsourcing almost everything—editing, layout, cover, marketing—to the cheapest online options. They mark up low-cost gig work as “professional packages.”

  • Design-by-ticket. Authors get a portal, not a partner. No named designer, no phone number, no Zoom, just “submit a change.”

  • Bait-and-switch portfolios. The portfolio belongs to senior designers; your job is handed to juniors or to a rotating offshore bench with stock-template outputs.

If a supplier’s primary value proposition is “cheapest cover, fastest turnaround,” assume the labour risk—and the creative risk—has been pushed somewhere you can’t see.

Red flags (copy/paste for your checklist)

  • No direct line (phone/Zoom) to a named designer or project lead.

  • Refusal to disclose who will do the work, where they’re based, or whether subcontractors are used.

  • Portfolios that can’t be linked to real names/credits (no designer bios, no ISBNs, no client references).

  • Unlimited revisions + ultra-short timelines (a sign of volume throughput, not quality).

  • Contracts that forbid you from naming the designer or seeking independent verification.

  • Prices that are wildly below market for the scope (someone, somewhere, is absorbing the cost).

What ethical publishers and designers do differently

  • Real humans, in real time. You can speak to a named person who owns the result. There’s a phone number and a live meeting on the calendar.

  • Transparent credits. Designers are named in the colophon and on portfolios.

  • Clear sourcing. If parts are outsourced (e.g., e-book conversion, illustration), the who/where/terms are disclosed.

  • Fair timelines and pricing. Schedules reflect actual craft; rates allow dignified pay across the chain.

  • Remediation mindset. If a supplier falls short, the solution prioritises worker and author outcomes—not silent vendor swapping.

How we can fix this—together

1) Demand real-time contact with a real person.
Make it policy: no engagement without a direct line (phone/Zoom) to the lead designer or project manager. Require a contact SLA (e.g., respond within one business day, escalation within 24 hours). This single step dismantles anonymous broker chains.

2) Verify the human behind the portfolio.
Ask for the designer’s name, 2–3 recent ISBNs, and permission to credit them. Cross-check portfolios with public credits. If they can’t share names or credits, walk.

3) Put fair-work clauses in every brief and PO.

  • No worker-paid recruitment fees; no retention of passports/IDs.

  • Transparent subcontracting (you approve subcontractors in advance).

  • Right to audit/assess (light-touch is fine for small jobs), and a plan to fix issues if found.

  • Named designer(s) and approximate hours/roles so rates make sense.

4) Choose accountable suppliers first.
Prefer studios that:

  • publish team bios;

  • list a physical address and ABN;

  • offer real-time contact;

  • agree to credits;

  • can articulate how they prevent exploitation in their own supply chains.

5) Co-sign a simple public pledge.
Publish a 1-page pledge on your site (see template below). Make it easy for authors to compare providers.

6) Educate authors at the point of sale.
Give authors a pre-hire checklist: “Can I speak to my designer? Will they be credited? What’s the process if I’m unhappy? Who owns the art? Where are assets sourced from?” If a provider can’t answer, they’re not ready for your book.

7) Create a local referral network.
Designers, editors, illustrators, formatters: build a directory of verified professionals (Australia/NZ especially). Share workload ethically; keep it human and accountable.

Micro-Pledge (you can publish this verbatim)

Our Design Is Human-Powered & Fair

  • You’ll have real-time contact with a named designer or project lead.

  • We disclose who does the work and where, including any subcontractors.

  • We never use suppliers who charge worker recruitment fees or hide identities.

  • We credit our creatives in the book and on our site.

  • If something goes wrong, we prioritise fair remediation—never silence.

Contact: [Name], [Role], [Email], [Phone]

Supplier email template (use this before you hire)

Subject: Due diligence questions for upcoming book/cover design

Hi [Supplier Name],

Before we proceed, could you confirm:

  1. The name and portfolio link of the designer who will lead this project, plus a time for a quick call (15 mins).

  2. Whether any parts will be subcontracted. If so, who and where are they based?

  3. Your policy on fair work (no worker-paid recruitment fees; no ID retention).

  4. Confirmation that the designer will be credited (colophon/portfolio) and reachable during the project.

Thanks!
[Your Name]

For authors: the 60-second sniff test

  • Can you talk to a real person today?

  • Do they name your designer?

  • Do they show real, credited work (with ISBNs)?

  • Is the price plausible for the hours involved?

  • Do you know where the art/fonts come from?

If the answer to any of these is “no,” keep walking.

Bottom line: Great books are made by accountable humans. If a “publisher” or service can’t put you in real-time contact with a real person—and name the designer behind your cover—they’re asking you to fund a system that hides people, cuts corners, and erodes trust. Let’s choose differently.