2011’s Best Spine: 54

54_0As ever, there were very few spines that stuck in our memories this year. Sure, there were one or two that evolved what others have done in previous years and added a nice twist or two (See Darren Shan and Ciara Geraghty elsewhere on this site) but yet again the overwhelming evidence is that publishers still do not take this aspect of their packaging seriously (despite it being the most visible presence most of these books will ever have in a bookshop).

In the end we chose 54 not because it is brilliant but because of the way it plays with the conventional communication hierarchy (particularly in respect of the author name). This is a brave strategy and in an area where no one is trying anything new we felt it important to reward a spine that was at least experimenting in an attempt to create something fresh and interesting.

Here is what we said at the time:

Elegant. Simple. Different.


Here is a spine that kicks the asses of the books unfortunate enough to be placed around it on a bookshelf.

Just look at it.

It shouts at you.

The publishers have very wisely focused everything on the unusual title.

The difficult author name (Wu Ming) isn’t going to help anybody so it has been kept out of the way.

Instead, they have bought the cover image of a man’s face to the fore. This makes eminent sense as it adds a human dimension to the obscure title. Also, the image is cropped neatly so that we see just one eye peaking from round the corner of the spine. It communicates far more than one might expect. He looks…dangerous.

This is a spine that you want to pick off the shelf — just to learn more about it.

Job done.

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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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Angel

katiepriceKatie Price’s first novel is perfectly pitched to launch her name as a fiction author. Her trademark colours are used in a dramatic and sexy way – a departure from the spangles surrounding her brand. The James Bond style is completely different to anything else in the chick-lit market. Her name and a Jordanesque silhouette dominate – exactly right to attract light book-buying fans.

The strapline is very clever indeed. Emphasising her publishing credentials rather than her celebrity flatters the reader and gives the package unexpected credibility and quality – perfect for hooking in those undecided purchasers who feel a bit embarrassed that they want to buy this at all.

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Death in the Afternoon

deathThis is such a clean, evocative and beautiful cover. The way the eye is led from the bull… to the matador… to the author and title is so elegant.

It oozes sophistication, confidence and style. It is amazing to see the freedom that comes with knowing the book is one of the classics and has been written by a literary giant. Were this book written by a new and unknown author, I am sure the cover would have been covered in reviews and straplines. All meant to help it sell more copies of course, but I wonder if we have forgotten that sometimes a powerful image framed well and presented simply can do so much more than ‘selling’ verbiage.

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