The End of Everything

megan-abbottWe like this cover for three reasons;

1) The image is at once obvious but at the same time quite surreal. The over-exposure and sun spots give it a very interesting feel that is far more emotionally evocative than most of the stuff we find on book covers.

2) It seems to have found a way of synthesising a photographic look with the simple and immediate impact of graphic illustration. Uniquely, this cover sits somewhere between the two styles and works all the better for it.

3) The orange and yellow circles of sunlight do a brilliant job of merging in with the WH Smith ‘Buy One Get One Half Price’ roundel — Thus making the sticker look like part of the image rather than something ugly that has been slapped on top of it.

Now of course we know this probably wasn’t deliberate (Oh that it was) but it is nice to know that the Design Gods have been watching and have made this serendipitous union work so well.


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Daughter of Smoke and Bone

smoke-and-boneThe last resort of many publishers is to blow a fortune on special finishes in an attempt to make a cover more interesting.

Invariably it is a waste of money and adds very little to the overall impact.

Luckily this isn’t one of those covers.

That’s because it has integrated the use of a special finish into the cover concept from the very start of the design process.

Ostensibly there is nothing dramatic about this visual — it is simply a blurred wash of purples and whites.

However the addition of the metallic finish transforms it into a flurry of feathers that you can’t help but want to touch as they shimmer in the light.

A simple, graphic background has been transformed into a thing of quite magical beauty.

Gorgeous.

It’s a pity about the obscure and meaningless strapline (“The Doors to Elsewhere are Closing”) — It adds absolutely nothing to the communication.

But hey, we can’t have everything…

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Steve Jobs

steve-jobs-biography This book is due to be released on Oct 24th. Just 18 days after Steve Job’s’death. The timing means that it will probably become one of the biggest books of the year.

Unprecedented media attention aside, the cover of any book about a design icon like Steve Jobs was going to be tough to get right.

We are surprised that the cover isn’t more…interesting.

Given the shape of the book is almost identical to that of an iphone, ipad and even the ipod there are all sorts of more unusual avenues that could have been explored.

Maybe quite rightly, the publishers have resisted doing anything too tricksy and have fallen back on a very conventional headshot and title.

At least the typography is cool.

Its impact comes from the same understated confidence that defines all of Apple’s products. The use of silver-grey for the author’s name is a great touch. At once it recognises that in truth he is far less important than the subject matter and at the same time it nods to the classic silver on white styling that defines Apple’s visual identity.

The rest of the layout is clean and uncluttered, but that’s a no-brainer given this is a book about Steve Jobs.

The publishers have already got off to a flyer as this very same photograph was used across several news channels last night during the coverage of Jobs’ death. That kind of subliminal endorsement is hugely powerful.

Rumour has it that the book was hastily updated to include Jobs’ resignation from the post of CEO of Apple just a few weeks ago.

We wonder how they will handle the news of his death.

It is probably too late to make any changes to the hardback but this may be to the publisher’s advantage…

We urge Little,Brown to create a special ebook edition that brings the story bang up to date.

Of course, this edition would be sold at a premium.

And only available on the ipad.

This is a golden opportunity for a publisher to show how some ebooks (particularly biographies) can deliver tangible benefits compared to their printed counter-parts.

What a fitting way for the book to be launched. Even upon his death, Steve Jobs will be redefining how markets work, how products are bought to consumers and how Apple technology can make a difference.


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Julian Assange: The Unauthorised Autobiography

assangeWhatever your views on the rights or wrongs of publishing this book, we love this deceptively simple cover.

The title has been published with massive publicity, controversy and debate, but the design is cool and clear. It’s only gradually that you realise how disruptive it is within its genre, and how much it communicates about the circumstances surrounding the book’s publication.

The usual autobiographical design convention of the author’s open, honest face is brutally subverted by the savage rip. This draws the reader’s attention to the brilliantly chosen title — again, it takes a while for the contradiction within it to become obvious. But when it does, it gives a clear indication of what makes this book so different and of the conflict it has caused.

A fantastic example of how a great design and a good title can reveal far more about a book than any amount of hyperbolic straplines or breathless endorsements.

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It’s a Man’s World

its-a-mans-worldSo the author of this book has commented in the press that she doesn’t like the cover. To be specific she said that it is “ultimately degrading to women”.

Wow — there are lots of authors out there who don’t like their covers, but very few go public about it. It is part of the unspoken deal between publishers and writers. No one really knows which covers will work and which won’t, so they all shut up about it until the sales have gone way or another (Then they can say whatever they like, fully backed-up by the weight of hindsight).

Of course the press have had a field day with these criticisms. The combination of an unhappy author and accusations of sexism make for great copy. In fact, rarely has The Bookseller website had so many comments about an article on its website (21 and counting)

What is funny is that most people can’t see what the author is complaining about (How refreshingly un-PC).

That is because, ‘degrading to women’ are the words that the media have leapt upon. But it seems that this is not the point that the author was trying to make.

Her real issue seems to be that that she believes this is quite a serious and insightful book about life in the City but the cover has made it feel ‘fluffy’ and ‘frivolous’. In other words, the book is pitched completely wrong. The tone of voice does not represent the content.

Wrong tone of voice…attracts wrong readers…who get frustrated or let down by the content…and don’t recommend it to their friends…and so sales never grow.

All very logical, but the real problem with this cover is that it is just very, very dull.

There is nothing here to engage the reader, arouse interest or grab attention.

Unless of course the publishers knew that their greatest weapon was the author herself. After all, she is a self-published success story — If anyone knows how to generate attention and awareness it will be her.

Do you think they deliberately created a crap cover? (It does appear that way…)

Was this all part of a grand plan to generate a storm in a media tea cup and get us all to notice a book that otherwise would have slipped under the radar?

If so, Avon and Polly, we salute you..



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The Sisters Brothers

the-sisters-brothersOh come on — suspend your cynical comments about this being too ‘tricksy’.

This is a very arresting cover. It leaps off the page when one looks over the Booker shortlist and truly arouses interest.

Even the title and the way it is presented adds to the mystery. Nothing is at it seems on this cover and that sets up the story beautifully.

We like the way the designers have had the confidence to let the visuals breathe — even though the type is strong, it does not get in the way.

As a result, this is a great graphic icon and it is exactly the type of book cover that will work well across all sorts of digital formats (including Twitter)

What we love most about this cover however is that fact that it is a bit of fun. Most publishers seem to feel that to be considered remotely literary they have to make their books look so damn serious. It is great that something as quirky and as humorous as this has made it this far





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The Big Picture

big-pictureThis post is at the request of a male Twitter follower who has contacted Fixabook and asked us to cxplain why on earth these covers are so downmarket and female in tone?

Readers of Douglas Kennedy will know that he is more than capable of exploring human relationships and emotional dynamics but these covers do him a diservice.

They limit expectations of his writing to girly, cliched, American schlock. (Try saying that quickly)

In reality, Kennedy is adept at delivering meaty, fast paced plots that feel more like thrillers. They have garnered a substantial male following, yet most men are embarrassed to be seen with covers like this one.

Just a little bit of reader research would demonstrate how much this author would benefit from a less ‘in-your-face’ female positioning.

At Fixabook, we are all for focusing on a single audience, but when it limits perceptions of a writer and actively alienates a core audience there is something wrong.

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Flipbacks

flipback-booksUnusually, we’re not entirely sure what to make of these.

They feel fantastic — light and portable with a very tactile finish and a nice touch of spot varnish on the back. The paper is lovely and they are absolutely perfect for slipping in a pocket or bag.

They’re a high-risk strategy in the current market, however. The Kindle is now the perfect format for carrying books around or taking them on holiday when space is tight. Kindle editions are also significantly cheaper than these. Three years ago, flipbacks would have had a much greater chance of taking a chunk of the market.

Of course, they are very cool, lovely things, and are much more desirable than a Kindle from a design perspective. But Hodder have chosen to launch the format with resized versions of existing books, even using the same cover designs and blurbs as the original paperbacks. We feel this is a missed opportunity to really make waves and to show the limitations of the Kindle.

It would have been far better to launch with a special collectors’ list of desirable titles, specially created or re-edited for the format, to appeal to consumers with their creativity of design or as a stylish gift. That would have shown the possibilities of the flipback as opposed to the Kindle, and would have really made it something that people talked about and shared.

Once that buzz had reached its peak, and the flipback had become a coveted object in itself, that would have been the time to launch the reformatted backlist — books that people buy for themselves to read rather than to collect or give away.

So a really neat idea, but we’re aching to see a bit more imagination applied to it. Come on, Hodder, show us what the flipback can really do.


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Nemesis

1 Before we start, a couple of ‘thank yous’ are in order: First to the Marketing Consultant who recently made a speech in Slovenia and mentioned Fixabook in his talk (sorry we didn’t get your name). And secondly to the Editor (Nejc Juren) who was in the audience and decided to send us the cover he was working on.

We like this a lot. It feels very fresh and distinctive.

Some may argue that this is because it comes from an unfamiliar market but we suspect not. The strength of this cover comes from how it has handled the Nesbo brand.

In the UK, the approach has been to exploit the link to Larsson for all its worth (and let’s be honest it has been a great strategy up until now).

Here, the designers have got out from behind the shadow of Stieg Larsson, so finally we are starting to see how Nesbo might evolve and start to stand on his own two feet.

The Slovenian treatment unashamedly throws Nesbo to the fore and presents him as a strong author brand in his own right. It is bold and confident — which is exactly how bestsellers should behave.

The graphic layering over the photography is a simple trick but in this case it is very strong, not to mention extremely campaignable.

The clever bit however, is how the branding device also creates a great ‘peek-a-boo effect’ in conjunction with the sexy/scary image behind it. This feeds into the themes of the book and heightens the expectations of tension without having to resort to the traditional cliches of  Shadow Men, Barren Snowscapes and Dark Woodland scenes…

All in all, a great example of how to handle a growing author brand while at the same time communicating the content of the book in a fresh way.

Nice work

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The Case of the Deadly Desperados

deadly_desperados_cover-1Here is a great example of a publisher thinking about branding.

This is clearly the first book in the Western Mysteries series yet from the word go, the designers have thought about a graphic framework that can be used for the long term.

The ‘Wanted’ poster device will work at many different levels:

1) Immediately it sets the scene of the books as the Wild West.

2) It can showcase the central character of each new book without messing up the overall series feel.

3) Simply by playing with the fonts as well as the size and style of the visual, the poster device can be refreshed with each new book

4) There is a huge amount of copy on the front these books (Author name / Character name / Previous books / Series title / Book title) and yet the poster device allows the designers to keep it all looking very clean and legible.

5) It can be made to work extremely well as an ebook cover (particularly for the mono low res versions on the kindle ) if one focuses on the core visual icon of each character

6) It is a strong, simple (and crucially) ‘ownable’ branding device that can be used across many books without the publishers having to re-invent the wheel for each new title.

It is great to see a publisher thinking more strategically about the launch of a new series in terms of the design and branding.

If only more adult books took the same long term view..






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