1984

1984-censored It was a tweet by the literary agent, Jonny Geller, that alerted us to this cover. It is his favourite version and quite frankly it has shot right to the top of our list too.

The title and author name are printed in gloss black on a matt black background, so can only been seen when held at the right angle.

This wonderful piece of (apparent) ‘censorship’ might seem crazy at first yet it tells us so much about the story contained within.

In fact, it is perhaps the most concise piece of design communication that one could possibly imagine for this incredible book.

And yet at the same time it is also utterly distinctive, memorable and intriguing.

A remarkable achievement.

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Kiss Kiss

kiss-kiss-spineThis is fascinating because there are only two things here that the publisher really cares about communicating:

The first is that it comes from Penguin. The orange spine and the logo take care of that. They are by far the most dominant aspect of the spine messaging.

Clearly less important in this case was the name of the author. It is discretely placed at the top. Elegant but out of the way.

Finally, at the bottom of the communication pecking order is the name of the book itself.

In fact, it is so unimportant that the white type is pretty much lost against the orange background of the publisher branding.

Those were the days when publishers had the upper hand in author relationships and it shows.

We will never return to those times but there is a half way house — where both Authors and Publishers can bring values that influence and inspire the consumer.

Sadly, few imprints (Two Roads / Nosy Crow maybe?) have shown the vision to make this happen.

This is crazy in an era where ‘Discoverability’ is such a crippling issue.

Publishers should be doing everything they can to give consumers new and interesting ways of finding their books online and stronger imprint brands are an obvious opportunity.

It is happening in other markets such as Gaming (RockStar Games); Music (XL);  Television (HBO); and Film (Pixar). Surely it is not beyond the skills of publishers to turn certain imprints into consumer brands? After all, some are half way there already.

If only the publishers had the confidence to take that final step…



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Kiss Kiss

kiss-kiss-blurbOh how we love this blurb.

It is so short, so direct and so compelling.

More than anything else — it is completely different to the tedious monologues that most publishers serve up today.

It may be from several decades before the advent of social media but this is real consumer engagement. Just imagine how people on twitter would respond to this:

If your taste is for the macabre, the sick, the outrageuos, the unexpected, the horrifying — Roald Dahl will give you orgiastic delight.

If not, you are going to miss one of the most sophisticated collections of short stories in print.

Everything is here. The consumer is given all they need in order to make a purchase. But more than that, their curiosity will be piqued and their pride challenged.

Not bad for a blurb with fewer words than most of the reviews we find on back covers at the moment.

This is a lesson in how to sell a book without having to resort to the plodding plot summary approach.

It is an orgiastic delight.


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Kiss Kiss

kiss-kissThis week we dedicate our home page to an old paperback found in a second hand book stall. What can we learn from book packaging of the past in order to help us in today’s recessionary hit, digital era?

This is beautiful.

Utterly distinctive, bold and memorable.

Everything about this cover feels fresh and confident. (Especially when one compares it to current book packaging).

The author name for a start doesn’t take up half the cover. Yes, he’s a big and famous writer but sometimes the best way to demonstrate this is to be more modest.

Look at the publisher logo: Brazenly placed in the top right hand corner. Publishers would kill to be able to do this nowadays.

Many people think that Penguin are ‘lucky’ to have such a potent consumer brand — They fail to recognise that it only came about because Penguin were supremely disciplined in manging their brand identity across everything they produced and over a period of decades. Covers like this were no exception (no matter how famous the author might have been)

Then there is the typography — very ‘of the period’ perhaps but still cool.

And of course the visual. No cliches here. Just a brightly coloured flash of lips.

Two lips in fact, one encased in the other — somehow communicating two kisses yet not being obvious in any way at all.

The only thing that we might recognise in this cover is the fact that they have used a bold iconic image on a black background — And crucially…given it the space to breathe.

(See our post on Publishing Phenomenons from Twilight; to Hunger Games; to Fifty Shades of Grey to see just effective this can be)

If only publishers today had the confidence to look as though they weren’t so desperate. Maybe we’d get back to covers like this.

Covers that stop shouting at us and start touching us a little bit more.


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Wreck This Journal

wreck-this-bookThis post is less of a critique than an idea…

There’s something so deliciously anarchic about asking readers to scribble on the cover of their books that it must be worth considering for other titles. We all know that books are precious and beautiful… but to subvert this will shock and intrigue book buyers.

There’s a fantastic confidence about this approach, too. It says that the publisher knows the reader will want to keep, use and personalise the book.

Readers could be encouraged to write the page numbers of the most inspirational passages in a self-help title, for quick and easy reference; to buy a work of fiction as a present and write their dedication on the back rather than the title page; to scribble the most-used ingredients or the most successful recipes on the front of a cookery book.

When we reveal so much about ourselves online, why not do it in print, too?

Worth a try, don’t you think?

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A Good Man in Africa

boyd It’s so simple when you see it like this…

What is the main selling point? William Boyd

How do you find it in a bookshop? Look for the name William Boyd.

Rarely does one see a title printed so small and yet in this case it simply doesn’t matter.

Well done to the publishers for keeping their focus firmly on the consumer and ending up with a very neat piece of design as a result.

This is one to copy.


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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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An Evening of Long Goodbyes

an-evening-of-long-goodbyes-1How very refreshing to see an approach to a backlist title that is both creative and commercial.

The success of Skippy Dies was due in no small part to its ground-breaking design. With limited author awareness and an obscure title, the paperback cover had to work incredibly hard to draw in readers. Its bold approach gave it instant stand-out and its own creative brand.

Penguin have sensibly built on this in their repackaging of Murray’s first novel. It is instantly recognisable to fans of Skippy (many of whom will have come to Paul Murray via his second book ) and will also draw in completely new, browsing readers.

We’re big fans of publishers who flag an author’s previous books boldly on the front cover. The shout-out for Skippy here is incredibly confident, with the image references suggesting that Murray is an established and important brand. It’s the only spot-laminated element on the cover, again reinforcing the pedigree of this title.

It would have been all too easy to wait until Murray had churned out a few more books before repackaging his backlist. To do so this soon after the success of his second book is both commercially astute and also communicates great faith in the author.

The previous edition: evening-of-long-goodbyes-previous-pbk

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1984

1984-penguin-spineThere are so many elements on this spine that it just shouldn’t work. The genius of the design is the holding device of the pipes, which divide the spine into neat sections and so make the hierarchy of information clear.

The variations in fonts and direction of type also help to guide the eye. In the case of 1984, the author and title are of equal importance, so each element is given its own strong identity.

Visually, there is plenty to intrigue the reader. What are the pipes? Where are they leading? And why is one broken? The mechanical eye is a nice variation on the eyes staring out from hundreds of other editions. It gives a real sense of a faceless, futuristic dystopia. It’s also a strong focal point on this busy cover, ensuring stand-out on the shelf.

The whole of this cover is stunning and innovative. We’ll post on the front and back soon…

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Various

case-hands

death-and-the-virgin

perfection-pointWhat on earth is going on?  There seems to be some kind of belief that by throwing more words onto the cover a book it is more likely to sell. Straplines are now almost compulsory and quotes are becoming even more profuse.

But these three books take things to a whole new level.

All principles of communication and design have been forgotten. In fact, things have got so bad that they each appear to have no less than two titles. (And even this doesn’t stop the publishers adding the obligatory quotes onto the cover too).

This is design out of control.

In each of these cases, the briefing process must have been shocking and the approval process even worse.

Here is something to think about in the future: When the only solution seems to be to fill the cover with words that are all trying to explain the same thought — there is something going badly wrong.



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