The Final Testament of the Holy Bible

finaltestament-back-1You will either love or loathe this blurb. It has the same effect as James Frey himself. But even its biggest detractors will have to admit that it deserves to be called a Fixabook Power Blurb. It does exactly what every blurb should do — it challenges, intrigues and excites the reader.

The complete and confident focus on the author stops you in your tracks. This is a fiction blurb unlike any other. Particularly clever is the way in which the first paragraph, by moving from negative to positive statements, plays with the reader’s emotions and underlines why Frey has such a polarising effect.

The shout-out is also cleverly pitched:

“Now James Frey has written his greatest work, his most revolutionary, his most controversial.”

All three of these are bold, confident claims which challenge readers to agree or disagree — a clear call to action to pick up the book and find out what it’s all about. This challenge is reiterated in the Evening Standard review.

The review quotes, too, are well chosen to offer differing perspectives. The Time review jolts the reader yet again, as nothing else on the cover has suggested Frey is “entertaining”. This adds yet another layer of interest to an already compelling blurb.

What do you think? What we love about this is that it forces everyone to have an opinion.

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Madeleine

madeline1This is a very good blurb.

A book like this was always going to provoke controversy and stir up very emotive reactions.

The danger was that it could come across as a money-grabbing exercise by Kate and Gerry McCann. They aren’t a couple who the public have taken to heart and this book could easily have triggered a new wave of criticism.

This blurb will stop a lot of that negativity in its tracks.

The first thing we notice are the photographs of Madeleine. One as we remember her and then alongside it, an age-enhanced version to show what she might look like now.

Immediately this signals that this is no ‘Look back and weep’ story — This book isn’t dredging through the past to set the record straight — instead it is about making sure that the hunt for Madeleine is kept an ongoing issue.

This is reinforced by the copy below, which doesn’t go down the obvious route of tabloid titillation (“Read our story” / “Hear our side” / “Follow our heartbreak”). In fact, the blurb is very deliberate in its attempts to put the emphasis on the ongoing search for Madeline and the need to do more:

“It is a sad fact that not a single police force anywhere is proactively looking for Madeleine (as is the case for many other missing children). I am sure this book will re-energise that search for our daughter and the public will get behind the Find Madeleine campaign once again. It is simply not acceptable that the authorities have given up on Madeleine — especially when no comprehensive review of the case has been undertaken. Our daughter and whoever took her, are out there. we need your help to find them” Gerry McCann.

The language here is very astute.

The small reference to ‘other missing children’ combats criticisms that other abducted children need to be thought about too.

The comment about ‘this book re-energising the search’ directly explains why it has been written and challenges any thoughts that the couple are ‘cashing in’

The public getting behind the Find Madeleine campaign once more’ is an explicit play on our heart strings and makes us think guiltily about the way we have all so easily forgotten the case and moved on.

The final words “we need your help to find them” is a powerful closing line and absolutely seals this book as being part of the wider campaign to save their daughter rather than anything less honourable.

It is interesting that the quote comes from Gerry — He was always the moody bloke in the background when the case first broke. Here is able to re-establish himself in a new and more positive light.

And the strapline? — Still missing. Still missed — A very succinct and emotive message that absolutely sums up the blurb and the book as a whole.

All together this is a well crafted, clearly thought through and extremely well written, piece of communication. It is less of a book blurb and more of a campaign message. Which is exactly what it needed to be given the high emotions that surround this case.



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The Great Gatsby

great-gatsbyWith rumours of a Baz Luhrmann remake of The Great Gatsby due to go into production, we thought it would be interesting to revisit the way in which the story is presented within the publishing world.

This might be an older blurb but the manner in which it talks to readers is still widely used today.

And unfortunately, it is not that great.

You see, the whole blurb is dedicated to regaling us with what a significant book this is:

“…Fitzgerald brilliantly captures both the disillusion of post-war America and the moral failure of a society obsessed with wealth and status…”

“…in chronicling Gatsby’s tragic pursuit of his dream, Fitzgerald recreates the universal conflict between illusion and reality…”

“…Gatsby is probably Fitzgerald’s best, and certainly his most finished book…”

This is all very well and after reading this blurb, one cannot help feeling that yes, it is a very important book.

But what this blurb fails to do in any shape or form, is persuade anyone to read it on the basis of the story.

One can read the whole of the back cover of this book and come away with no idea what it is about.

This happens time and time again with the ‘Classics’.

Publishers know them so well, they assume that everyone else does too.

They devote their back covers to selling the cultural and historical significance of the book but forget to tell people about the story itself.

(Another book that suffers from this constantly is our own favourite  - 1984)

If Publishers want to recycle novels and bring in new readers (beyond students who are forced to read them anyway) then they have to get out of their ivory towers and remember to sell the story just as much as they sell its ‘importance’.


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the art and craft of approaching your head of department…

perecThis whole book is a wonderful piece of packaging — simple, striking and beautifully finished.

The blurb — written by the author and translated fantastically well — is a model that all publishers would do well to follow.

Rather than being a standard, detached explanation of the content, this blurb demonstrates the wit and conceit of the book by mirroring it and thus becoming part of the whole reading experience. We get an instant sense of the author’s humour and cleverness without being forced to read a publisher-created mini-review, as so often happens on blurbs. What better way to grab the reader’s attention than by getting them to start reading the book itself as soon as they pick it up?

The text design adds to the game. The different-sized fonts make you read then re-read the text in a variety of ways — you can’t help but smile as you do so.

It would be wonderful to see this done for all sorts of genres. What about the first chapter of a thriller starting on the back cover? Or writing your blurb in the voice of the narrator or protagonist? So effective, yet so simple.

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The Coincidence Engine

leith-2What a load of tosh.

Here is a blurb that is trying to be clever and ends up being utterly unintelligible.

The whole concept of coincidences is fascinating and the subject matter of this novel could be genuinely interesting.

Unfortunately, the writers of the blurb have failed to bring it to life. In fact, they have made it sound ridiculous.

By crashing together random sentences, their hope (surely?) must have been to create some of the magic that comes from the collision of seemingly unconnected events. Unfortunately, it fails spectacularly.

Not only is it difficult to follow but almost impossible to connect with at any level (emotionally, intellectually or otherwise).

The only hope for this blurb is that it creates a perverse cult following. Somehow, we doubt it.

Apart from the writing we do have to say that we like the way the designers have played around with the barcode. At least that is interesting…

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1984

1984-blurbThe best thing about this blurb is the spooky, disjointed effect of the layout. It makes the text look lost and vulnerable against the oppressive white space, and thus communicates far more about the nature of 1984 than many more wordy blurbs ever can.

The copy itself is well crafted and unique amongst the many 1984 blurbs we’ve seen. The first sentence bravely voices an unease that many new readers might be feeling — “Why is this book relevant any more”? — and tackles it head-on. It brings the book firmly and concisely up to date and gives it resonance for everyone.

The last sentence is absolutely brilliant in being so specific about “the last four words”. For those familiar with the book, it both reminds them of the tragedy to come and flatters them by highlighting their knowledge. Conversely, and equally effectively, it may send them scurrying into the pages to remind themselves what the last four words are. For new readers, the detail of this sentence is hugely intriguing and a clear call to action to buy the book and read it right to the end.

Lots of thought and care have been poured into this blurb (and, indeed, the whole jacket). As a result, just a few simple elements combine to have a stunning and unsettling impact.

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Creative Disruption

creative-disruption-2-1Creative Disruption has a great title, a fascinating premise and a really good front cover with a clear, no-nonsense strapline — “What you need to do to shake up your business in a digital world”.

It’s a real shame, then, that FTPH seem to have lost their nerve with the blurb.

Absolutely everything has been crammed in:

  • Three long reviews by eminent figures in business (none of them women, suggesting that this creative disruption is perhaps not as radical as the book implies)
  • Another strapline — “There’s been a change in the rules.”
  • A paragraph of background information
  • Two questions addressed to the reader
  • A synopsis of the book, including a long list of all the case studies included
  • A direct statement and a related challenge.

The resulting mess means that there is no one clear message to grab our attention and make us want to read more.

It’s a shame, because there are some really strong elements here. This blurb would have so much more impact if it was cut right back to:

THERE’S BEEN A CHANGE IN THE RULES.

What are you going to do? How will you ensure your business not only survives but thrives on the digital revolution?

Fill the back cover with that and the back of the book would work as hard as the front. It would look and feel completely different to everything else and would start to fulfil its promise of creative disruption.

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Beside The Sea

beside-the-sea-2On a fiction shelf groaning with excessively wordy blurbs trying to cram every element of the story onto their busy back covers, the apparent simplicity of this blurb (both in terms of design and content) makes it stand out a mile.

Here’s the full text:

A single mother takes her two sons on a trip to the seaside. They stay in a hotel, drink hot chocolate and go to the funfair. She wants to protect them from a cold and uncomprehending world. She knows that it will be the last trip for her boys.

A haunting and thought-provoking story about how a mother’s love for her children can be more dangerous than the dark world she is seeking to keep at bay.

The French literary bestseller, first published in 2001, has been translated into all major European languages — now for the first time in English.

The first paragraph is pitched perfectly. The scenario is familiar to everyone — seaside, hotel, hot chocolate, funfair — but is delivered in such a bleak and unemotional way that it raises immediate and alarming questions and forces you to open the book and find out more.

Unfortunately, the rest of the blurb doesn’t live up to this opening promise. The second paragraph descends into “review-it-yourself” territory, which always risks alienating consumers. It starts to reveal the point of the story, which only succeeds in reducing the impact of the first paragraph.

The final section is incredibly weak. If you’re going to hype your book, give us some actual facts and figures — The Dukan Diet is a great example of this (OK, perhaps a bit excessive in this context, but it has the right idea). “Translated into all major languages” tells us nothing about whether readers have actually bought it. How many people have read and recommended it? And what have they said about it? The number of translations is classic, irrelevant publisher-speak.

Better still would be to bin those last two paragraphs and use some of the reviews that are buried on the inside flaps. “This novel tears your heart apart…”, for example, would be a perfect complement to the stark opening lines and would force an instant, emotive response in the reader.

So a big tick to Pereine for having faith in simple blurbs. A more commercial approach would make this really compelling.



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Sudbury, 1844

the-postmistress-back-coverGUEST POST BY JAMES SPACKMAN

I have a blurb-related pet hate:

Palestine, 1941″. “Leningrad, 1952″. “England, 31st August 1939″. “Vienna, 1939″.

The opening sentences of the blurbs for Mornings in Jenin, The Betrayal, The Very Thought of You and Quiet Twin.

On the paperback fiction table at Daunts on Fulham Road right now there are fifty two books. No fewer than twelve have blurbs starting either with this exact formulation — location, date — or featuring location and date somewhere in the first line. For example: “In 1901 a young frontiersman named Peter Force comes to New York City” It is 1940, and bombs fall nightly on London” “On 19 August 1936 Hercules the boxer stands on the quayside at Coruña“The year is 1878″.

very-thought-of-you-back-cover books-burn-badly

It’s natural to want to set the scene, but surely we can come up with cleverer ways to do it? And is it really so important to get this information across first? Surely we can arouse a reader’s curiosity better by beginning with something that’s uniquely appealing about the book, letting the bare facts of its setting come later, or even not at all.

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Ape House

ape-house-blurbFirst of all we should applaud the way Two Roads has created a bold and obvious design template for their back covers.

They are clearly branded but the logo is the least significant part of the branding — what people will notice, remember and maybe even look for is the split structure.

The left hand side focuses on the author and gives some insight into why they wrote the book while the right hand side delivers the conventional blurb.

It is very simple and on first glance doesn’t look that special but once you have seen two or three books you realise that Two Roads have developed a very strong (and very visible) brand property here.

Where this whole approach works brilliantly is on the back cover of Signs of Life (See our cover post). The two halves work spectacularly well together and we defy anyone not to read that back cover and be inspired.

This particular back cover however falls flat on its face.

The blurb itself feels like one long, rambling and confused sentence while the author quote on the left hand side about “two way conversations” with apes is vaguely alarming.

Nevertheless, these are early days and Two Roads is probably still struggling to find its voice.

What they have got right though is the design framework. We wonder how long it will be before other imprints start to think more deeply about using their back cover as a branding opportunity for the publisher itself…

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