2011’s Best Blurb: Battle Hymn of the Tiger Mother

tiger-mother-xWe were torn between the sheer power of this blurb and the delicate intelligence of the blurb for ‘Madeleine’. In the end ‘Battle Hymn of the Tiger Mother’ won out because it is so damn powerful. It is a polemical piece of writing that grabs your attention and really makes you think.

Here is what we said about it at the time:

This is a POWER BLURB.


The kind of book description that picks you up by the scruff of the neck, slaps you around the face and then dumps you in a crumpled heap on the floor, leaving you wondering what has just happened.

No wonder everyone is talking about Battle Hymn of the Tiger Mother.  The author is on television and radio all the time and the book is splashed across the review pages of the press.

Not since Gina Ford have so many smug middle-class mums raged so much about a book.

The publishers must be rubbing their hands in glee as they watch the PR machine hit overdrive and the book scream up the sales charts.

The writers of the blurb should take huge credit for the furore that surrounds this title. Few blurbs in recent memory have been so polemic.

But this is not simply a case of a book selling itself because of its controversial content. There is genuine skill at work here. The publishers have used the blurb to manipulate consumer emotions in the deftest of ways.

For a start, the blurb is written as a series of killer soundbites, each listed as a bullet point which makes them quick to read and easy to pass on through the all-important word of mouth.

The final bullet — linking as it does to the previous one — is a wonderful shock at the end of the piece. It ratchets up the tension just as you think it couldn’t get more extreme.

6) THE ONLY ACTIVITIES YOUR CHILD SHOULD BE PERMITTED TO DO ARE THOSE IN WHICH THEY CAN EVENTUALLY WINMEDAL

7) THAT MEDAL MUST BE GOLD

Few people could read this without wanting to:

A) Throw the book at somebody

B) Read the inside cover with the same kind of fascination and horror as one watches a car crash

C) Talk about it with their friends

The other strength of the bullet point format is that it reads like a manifesto. This is crucial as it makes the book appear very aggressive and didactic.

Even the use of upper case letters makes it feel as though the author is shouting at us.

All more grist to the PR mill…

It feels like every aspect of this back cover has been crafted to create outrage and column inches. And it has worked.

But…

From our point of view, the most interesting dynamic at work here is the fact that this blurb is not very representative of the book itself.

In reality this book is a story — the journey of a mother.

And even though it has all the elements that have been picked up on by the media, it is much more open and the author is far more vulnerable than the blurb would have us believe.

The first hint of this comes in the inside cover, which does a very good job of shaking the consumer out of their initial rage.

tiger-inside-x

The line “It was supposed to be a story about…” is brilliant.

At once we are disarmed by the honesty of the writer and realise she is not the sanctimonious ogre we had first thought. The sharp contrast between this and the shock of the back cover is very potent and before we know it we are reading on..and on…

Sadly, of course not everyone will do this. Many people will only read the headlines and be left with a very innacurate view of this book. But at least they have heard about it, talked about it and may even want to find out more.

So this blurb works precisely because it is a poor representation of the book it is trying to sell. Years ago this would have been a criticism but increasingly marketing is taking over from editorial when it comes to defining the role of the blurb and its subsequent content. Nowadays (especially within non-fiction), publishers are happy to take awareness versus understanding because noise is what sells.



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Heston Blumenthal at Home

heston-blumenthal-at-homeWe love this cover.

A celebrity chef cookbook that breaks all the rules.

- For a start it is largely black: Dark covers are never used for cookbooks. Instead we are constantly bombarded with bright whites and primary colours evoking Spring, the outdoors and nature. This late night setting makes us think of secret treats and hidden pleasures. It also suggests something that can be ‘knocked up’ quickly and easily on the spur of the moment (A neat piece of re-positioning for Heston)

- We hardly see any food:  Normally cookbooks go for the raw ingredients, the rural setting or the finished meal — Here we can just make out a few ingredients — the most visible being wrapped in foil (!) which again reinforces the simplicity message. This is food we can make from stuff left in the fridge rather than having to pre-order exotic ingredients it from our nearest Deli.

- Heston’s big face isn’t plastered across the front: Instead he is hidden in the shadows. Although it has to be said the brilliant lighting reveals just enough of his iconic bald head and glasses for him to be recognisable. But even this is done so well and so subtly that actually, we feel rewarded for recognising him.

- There are no straplines or quotes: The overall layout is wonderfully clean and simple.

All in all this is a great piece of work. A very confident move by a publisher gambling against Jamie at Christmas time.

We want to buy a copy just to support them.


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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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Eat, Pray, Love

eat-pray-love Yes we know that this book has sold 5 million copies worldwide, that Oprah Winfrey loves it and there is now a film version starring Julia Roberts but that still doesn’t make this a good spine. The problem is that it isn’t very readable — particularly on a crowded bookshelf. The publishers have fallen into the classic trap of replicating a front cover idea on the spine and it simply doesn’t work. On the front, the title is made up of different materials that are relevant to each word: So pasta is used to make up the word ‘eat’, prayer beads make the word ‘pray’ and flowers are used for ‘love’. Frankly it looks rubbish but let’s imagine the publishers like it. That is still no excuse for believing that the same device would work at a much smaller size on the spine. In this context the word ‘eat’ gets lost on the white background, the word ‘pray’ is hardly legible and love just looks like a fading scribble. This is laziness. Why don’t more designers (and publishers, editors and sales teams for that matter) spend more time thinking about the spine and make it entirely different to the front cover if need be? Their defence might be that they are trying to stay consistent. Our argument would be that if no one notices the spine then consistency counts for nothing.




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The Little Friend

the-little-friend I had completely forgotten this book… then it stood out a mile on a friend’s crammed bookcase yesterday during a bout of obsessive spine hunting (a habit I recommend for anyone involved in jacket briefing or design).

This is great, thoughtful cover design at its most simple and effective. Very few spines give any indication at all of the nature and content of a book — this is a notable exception.

This spine has clearly been given equal priority to the front cover in the selection of the image, which wraps satisfyingly around the whole book. That single, well-defined eye grabs your attention straight away. It instantly conveys that this is a dark and disturbing story. The designer has sensibly set the title and author in a plain yet clear font so it doesn’t detract from the image. But even here, the simple act of keeping the text horizontal gives this spine yet another point of difference.

Careful spine design can give a title life in a busy section long after the tabletop promotions have been cleared away. I’d love to see more spines like this instead of so many obvious afterthoughts.

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Designs for a Happy Home

designsforhappyA fantastically playful cover that sings off any shelf. It catches your eye immediately then – crucially – makes you scrutinise and interpret it.

Its wit comes from its ironic use of a pretty mundane and familiar scenario – DIY – to hint at personal stories that pique your interest immediately. It’s clever, simple and striking.

designsforhapsmWhat a shame, then, that the paperback looks set to fit squarely into the chick lit-black dress-headless woman stereotype. There are a thousand other books that look like this… Don’t do it. Please?


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Jonathan Strange & Mr Norrell

strangeThis is a strangely beguiling cover. There is nothing to it really, but that is what makes it so strong. With so little to distract you, more attention is focused on the typography, the bird and bizarrely, the ampersand.

Everything feels handcrafted and old, while the overwhelming use of black (in combination with the title) adds an air of mystery.

This is one of those covers that will go down as a classic yet if you had to describe it to someone, it would sound like nothing.

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Eat, Pray, Love

eatpraylove1This is an interesting one – a fantastic first-edition cover that lost its way for the second edition.

Firstly, the imagery is fantastic. It manages to avoid cliché and draws the reader into imagining what the book could be about. It’s feminine but bold and intelligent.

In the first edition, the title is given deserved prominence, centred on the cover. The review is subtly but well chosen to support the look and feel of the cover and to appeal to more than just the chick-lit market. It focuses on the content and flatters the reader, too. The only thing that doesn’t work is the strapline – there’s too much detail in the second line.

eatpraylove2

This has been remedied in the second edition… But the cover has lost its balance and impact. The quotes now focus on a celebrity, the author and the sales figures rather than giving the first-time browser a sense of what’s inside. If you’ve heard of it already, you know it’s a bestseller; if you haven’t, you just want to know that it’ll be a good read. This is a classic case  of a publisher’s urge to use every single decent quote, at the expense of a cover that does its own marketing very effectively indeed.



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The Cardturner

cardturnerA really bold, eye-catching cover that cleverly invites scrutiny. And a nice use of jacket design as a PR driver – it’s available in red or blue. Simple but effective.

The strapline immediately makes me want to read more – specifically, who is the joker? And why is he/she in that position? Is this funny or tragic? The images on the card are also intriguing, with no obvious links to each other or to card playing.

The disruptive visual reference to Holes is a really neat touch. It makes an immediate link between Sachar’s books for his fans and is a great advert for Holes for new readers discovering him via this book.It’s so powerful that the text version of the reference at the bottom of the cover is utterly unnecessary —  an unfortunate product of design by committee, I imagine.

We get it! You don’t need to tell us twice!

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