Julia

Julia has taken part in over 1,000 covers meetings during her twenty years as a publisher – and only remembers a couple where no one got cross.  She has published some of the book trade’s biggest brands.

Julia is passionate about the importance of good covers and – most importantly – the way they make the reader feel. She knows how hard it is to get it right when designing by committee… and how easy it is to lose sight of the consumer when every department is clamouring for a say.

Fixabook will help you to get back in touch with your readers and rediscover the art of persuasion.

Fish: Recipes from the Sea

fish-recipes-from-the-seaIt’s just so refreshing to see a cookery title that is a covetable design object in itself.

By challenging convention, with a simple graphic and a non-glossy finish, Fish immediately stands out in a crowded market.

This stunning cover has turned it from the functional to the desirable — a coffee-table cook book that everyone will want to display as well as use.

Phaidon’s design pedigree is serving it incredibly well in the cookery section. More conventional publishers would do well to learn some lessons from this.

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The Flame Alphabet

flame-alphabet_0At Fixabook, we usually like to look beyond lovely design and unpick the points of communication on a cover.

But this one is just beautiful. It looks astonishing at actual size.

And, what’s more, it works really well as a thumbnail — the incredibly strong pattern more than compensates for the small typography to give it real shout and an instant identity on a web page.

We have just one complaint, which many of you will have predicted already… We KNOW it’s a novel. You don’t need to tell us.

Losing that totally unnecessary central insert would give the designers a bit more space to up the font size of the title a little, which would only increase the cover’s impact at a small scale.

But it’s a stunner.

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2011’s Best Cover: Ed

ed_0It is hugely enjoyable to indulge in the beauty of great book covers and what better excuse than a review of your favourites of the year?

And if you want to immerse yourself in a world of great aesthetic beauty and design then we highly recommend the selection posted by The Casual Optimist.

However that is not what we are trying to do here.…
Our job at Fixabook is to focus more on the cover communication process and its effectiveness. While, of course, great, jaw-dropping design is fundamental to this, we feel it is important to highlight those covers that aren’t just ‘beautiful’ but which can teach us something about tight messaging, overcoming difficult hurdles and quite simply being brave.

Ed is a wonderful example of a bold title, a strong layout and an incredible photographic treatment all coming together as a piece of packaging.

Each feeds into the other and makes the whole much greater than the sum of the parts.

Our only gripe is the totally unnecessary strapline.

Here is what we said about it earlier this year:

We’ve featured some fantastic examples of the use of photography to tell a story in political non-fiction — take a look at A Journey or The Third Man.

This cover, however, takes it to a whole new level. For those who know about the Milibands’ rivalry, this image says everything and tells you immediately that this is not a straight biography of Ed but an analysis of a bitter struggle, hidden behind public displays of unity. This is the story that most people want to read and it’s cleverly communicated by this choice of photo, which would work even without the strapline.

The book’s approach and conclusions, however, are rendered ambiguous by this image. Has Ed emerged triumphant from his brother’s shadow? Or will he be haunted and hampered by David for the rest of his career? Any reader will want to pick this up to find out which angle the authors have taken.

For anyone unfamiliar with the story, this picture is both striking and intriguing. Why, on a biography of a political leader, are there two people featured on the front? There must be more to this than a straightforward political profile.

Striking, communicative and well chosen — the perfect approach to a cover image.


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The Marriage Plot

the-marriage-plot-1Hardbacks are having a pretty rotten time at the moment, with rapidly diminishing sales and rising cover prices. Publishers have to work harder than ever to make their hardbacks covetable things of beauty that justify the price tag. They need to be stunning and tactile, with beautifully written, compelling text to draw the reader into their world.

How depressing, then, to see this lame excuse for a hardback — and particularly this utter waste of a back cover. Surely, SURELY, the days are gone when a couple of generic quotes were considered enough to make someone spend money on a premium book? Blurbs need to sell, to convince, to enchant. This text does none of those things… and it looks unbelievably boring as well.

Can you think of any other product category in which this sort of thing would be acceptable? This makes us want to weep.

Come ON, publishers — put some proper selling copy on the back of your hardbacks. Build the design around that copy to make it sing. Get us excited by what we see there. Show us that you believe in your book and we might believe in it enough to shell out £20.

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Mafia State

mafia-state-1Here at Fixabook, we often lament the apparent reluctance of publishers to use great quotes from inside a book on the back cover. They choose instead to plaster their jackets with identikit media reviews and self-important puffs from their authors’ friends.

So three cheers for Guardian Books, who have let this author’s voice do all the work on this cover. Even more cheers when you realise that this is, in fact, non-fiction: an analysis of contemporary Russia.

Mafia State is a big, weighty book. It could easily look like a very dull, rather academic tome. Instead, this blurb, coupled with a very mass-market piece of design, makes it feel like a thriller — scary, personal and mysterious.

Publishing just as Spooks and Tinker, Tailor… hit the headlines, this is an eminently sensible direction to take. It should lift the book above the limitations of its genre.

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Massive Scruffy Type

This is an important book.

Did you hear me?

THIS IS AN IMPORTANT BOOK.

But hang on… won’t that font look a bit corporate and soulless?

Tell you what, rough up the edges a bit. That’ll show ‘em we’ve got heart.


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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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The Night Circus

night-circusThe Night Circus looks like it will be a lovely book — striking, clean and something you want to pick up and feel.

It’s great to see that this principle of simplicity has been applied to the blurb, too. Rather than trying to explain a complex story, Random have gone for three short yet intriguing statements that convey magic, uncertainty and a certain amount of threat.

It’s a shame, though, that this compelling blurb gets lost in a sea of reviews.

There’s already a great quote from Audrey Niffenegger on the front cover — “This is a marvellous book”. We don’t need to hear from her again. This quote is also intensely self-referencing and, as a result, gives the customer very little insight, particularly if he/she hasn’t actually read The Time Traveler’s Wife.

The Tea Obrecht quote offers far more to potential readers by giving them a real sense of how the book will make them feel, yet this is tucked away at the bottom of the cover.

The blurb also suffers by being in a font and colour that are more recessive than the review above it. It becomes the second thing the reader looks at and has less impact as a result. This copy should be what draws you to the book; the review should be the confirmation that you have made the right choice.

We would recommend losing the Niffenegger quote and replacing it with the Obrecht. The blurb could then be beefed up in size and given more weight, so it talks directly and immediately to its audience.

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Go To Sleep

go-to-sleep-1We’re big fans of blurbs that use a good quote from the book to allow the text to speak for itself. Very few publishers do this — a real waste of their authors’ voices and talents.

So we applaud Canongate for seeing the value of Helen Walsh’s bleak and honest approach and for having the confidence to expose it to everyone who comes in contact with the book.

This quote is perfectly chosen. There is no need for any explanatory waffle, and it immediately makes you want to read on to find out how the character got into this state and what is going to happen.

It’s a shame that it was felt necessary to shove on so many reviews, none of which are particularly insightful. Far better to let the text breathe and only have one review (we’d recommend the Guardian one as it does offer something a bit unusual) or, even better, none at all.

Overall, this is a brilliant piece of design. The tear splashes and coffee stains say far more about the chaos and desperation of this new mother’s life than any amount of blurb ever could. A fantastically powerful back cover.

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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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