

"Crime is but a left-handed form of human endeavour." W.R. Burnett


Modesty Forbids, Etc.
“Declan Burke’s THE BIG O is one of the sharpest, wittiest and most unusual Irish crime novels of recent years … Among all of the recent crop of Irish crime novelists, it seems to me that Declan Burke is ideally poised to make the transition to a larger international stage.” – John Connolly, author of THE UNQUIET
“Recalls Elmore Leonard’s more humorous works … It’s a perfectly realized, twisted little 1000-piece jigsaw puzzle that slowly snaps together, with more than a few surprises along the way … The humour is of the dark and wicked kind, but both it and the inevitable violence are handled in a refreshingly subtle manner, more ice pick than chainsaw.” – Mystery Scene Magazine
“THE BIG O is one big-old crazy caper with an eerie hint of Elmore Leonard and a brash, bold, ball-bustin’ tempo … As a stylist, Burke is as kick-ass Irish as the great Ken Bruen … The really big appeal of THE BIG O, however, is that there is simply nothing like it – nothing close – on the bookshelves today.” – Crime Scene Scotland
“Declan Burke writes like Raymond Chandler on crystal meth. This character-driven mystery has the velocity of Lock, Stock, And Two Smoking Barrels or Snatch combined with the stylish prose and effortless dialogue of Elmore Leonard at his best.” – Tim Maleeny, author of GREASING THE PINÃTA
“Declan Burke’s THE BIG O is full of dry Irish humour, a delightful caper revolving around a terrific cast … If you don’t mind the occasional stretch of credulity, the result is stylish and sly.” – The Seattle Times
“A tale that begins with criminal intent and snowballs into a messy denouement that leaves little doubt about Burke’s skills as a writer of an ironic and entertaining thriller.” – Curled Up With A Good Book
“A classic underworld caper … with a freshness and often satirical edge that distinguishes it … A hell of a lot of fun to read.” – The Poisoned Pen
“Burke has married hard-boiled crime with noir sensibility and seasoned it with humour and crackling dialogue … fans of comic noir will find plenty to enjoy here.” – Booklist
“Delightful … darkly funny … Burke’s style is evocative of Elmore Leonard, but with an Irish accent and more humour … Here’s hoping we see lots more of Declan Burke soon.” – Kansas City Star
“A noir hybrid of murder and merriment … as if Quentin Tarantino and Buster Keaton had a love-child who could write … There have been few novelists who could plot tightly, create well-developed characters and write laugh-out-loud dialogue – Burke is a welcome new addition. – Mystery on Main Street
“Burke’s the latest – and one of the best – bad-boy Irish writers to hit our shores … the dialogue is nothing short of electric. This caper is so stylish, so hilarious, that it could have been written by the love-child of Elmore Leonard and Oscar Wilde.” – Killer Books
“THE BIG O: absolutely wonderful Irish hardboiled novel … Elmore Leonard crossed with Ken Bruen and Fredric Brown!” – Murder One
“Outstanding ... If you are a Carl Hiaasen or Elmore Leonard fan, don’t miss this dark, wacky story of bad people plotting bad things … Burke’s dialogue is spot on, as are his characters … This is a biting, wickedly funny noir farce that builds to a knock-out ending.” – Shelf Awareness
“THE BIG O is a big ol’ success, a tale fuelled by the mischievous spirits of Donald E. Westlake, Elmore Leonard and even Carl Hiassen … THE BIG O kept me reading at speed – and laughing the whole damn time.” – J. Kingston Pierce, January Magazine, ‘Best Books 2007 - Crime Fiction’
“Declan Burke has managed to get away with breaking all of the rules with his fun comedic thriller … THE BIG O moves quickly as it continually keeps you in stitches. This hilarious novel is filled with plenty of drugs, sex, and even a little rock ‘n’ roll.” – Nights and Weekends
“Declan Burke is regularly compared to Elmore Leonard and Donald Westlake, even though THE BIG O is only his second novel. Anyone that new receiving that kind of praise has earned a skeptical eye, just as Leonard and Westlake have earned their legends. Burke and his cast of losers are up to it.” – New Mystery Reader
“Declan Burke’s crime writing is fast, furious and funny, but this is more than just genre fiction: Burke is a high satirist in the tradition of Waugh and Kingsley Amis . . . but he never forgets that his first duty is to give us a damn good read.”—Adrian McKinty, author of THE BLOOMSDAY DEAD
“THE BIG O is a fun-filled and intense joyride ... The humour’s great, but there’s a lot of poignancy too … The dialogue is wicked and the prose slick and stylish. This man’s going to go a long way.” – Crime Scene Northern Ireland
“Burke shows remarkable skill at weaving a complex story from multiple points of view and pulling the strands together in an engaging fashion, and he clearly has the genius required to pull off a large-scale story.” - Spinetingler Magazine
“Carries on the tradition of Irish noir with its Elmore Leonard-like style ... the dialogue is as slick as an ice run, the plot is nicely intricate, and the character drawing is spot on … a high-octane novel that fairly coruscates with tension.” – The Irish Times
“This book is a blunt, rude, crude, politically incorrect, raucous, rumbustious, rollicking, romp of a crime caper novel.” – Crime Scraps
“The real treat in THE BIG O is the dialogue. Burke has a knack for sharp banter, and it is a rare chapter that doesn’t have a witty exchange between characters … It’s clear that he’s a writer who deserves a wider audience.” – Independent Crime
“Clips along at a tremendous pace … the dialogue is snappy, stylistic and sometimes laugh-out loud-funny … [a] slightly lunatic caper, albeit this time with a twist in the guts at the end.” – AustCrimeFiction
“This is an extremely funny crime novel that takes Irish crime fiction in a whole new direction. Under the cracking comedy of the book lurks some very subtle and highly skilful plotting and prose.” - Brian McGilloway, author of BORDERLANDS
“Burke effortlessly ratchets up the tension, rings the changes of the perceptions of reality between the characters, provides an element of farce, a few choice set-pieces, some neat observations of domestic minutiae, and keeps the laughs coming.” – Euro Crime (1)
“Burke has [George V.] Higgins’ gift for dialogue, [Barry] Gifford’s concision and the effortless cool of Elmore Leonard at his peak. In short, THE BIG O is an essential crime novel of 2007, and one of the best of any year.” – Ray Banks, author of DONKEY PUNCH
“With a deft touch, Burke pulls together a cross-genre plot that’s part hard-boiled caper, part thriller, part classic noir, and flat out fun. From first page to last, THE BIG O grabs hold and won’t let go.” – Reed Farrel Coleman: Shamus, Barry, and Anthony Award-winning Author of THE JAMES DEANS
“It’s hard to praise THE BIG O highly enough. Excellent writing, great characters, superb storytelling – all played out at a ferocious tempo. By turns it’s dark, funny, moving, brutal, tender and twisted. A book that makes one hell of an impact. More Declan Burke please.” - Allan Guthrie, award-winning author of TWO-WAY SPLIT
“THE BIG O is everything fans of dark, fast, tightly woven crime fiction could want ... As each scene unfolds, tension mounts and hilarity ensues.” – Crime Spree Magazine
“THE BIG O has everything you want in a crime novel: machinegun dialogue, unforgettable characters, and a wicked plot. Think George V. Higgins in Ireland on speed.” – Jason Starr, author of THE FOLLOWER
“A polished, sharp as a tack and witty caper novel … If you’re a fan of the likes of Steve Brewer and Carl Hiaasen, you’ll devour THE BIG O ... Declan Burke is undoubtedly a writer to watch.” - Reviewing the Evidence
“Irish thrillers don’t get much more hard-boiled than this gritty, violent and wildly hilarious kidnap caper.” – Irish Independent
“Faster than a stray bullet, wittier than Oscar Wilde and written by a talent destined for fame.” - Irish Examiner
“THE BIG O has a wonderfully tight and convoluted plot that plays out like a movie … The bad guys are endearing, the good guys are wicked … A kidnap caper that is very funny, exhilarating, violent and snappy … A hell of a lot of fun.” – Euro Crime (2)
“The deliciously complicated plotting, the wry dialogue and the sympathy Burke engenders for his cast of characters made this one of the most fun and purely pleasurable reads I’ve had in a while.” – Detectives Beyond Borders
“THE BIG O is the stuff Tarantino or Guy Ritchie would make into a film, a great fun film like Snatch, Layer Cake or Get Shorty. Filled with as many great characters as Pulp Fiction … [it] would inspire a classic full of tough crooks, wisecracks, drugs, flash and boobies.” – Critical Mick
“A lightening-paced new kidnap caper … with its precision engineered plot, oodles of incident and moments of rampant hilarity, THE BIG O displays a particularly filmic sensibility, part film-noir, part Pulp Fiction – but totally entertaining.” – Verbal
“A kidnap caper with style and plotting more like Elmore Leonard (or maybe Donald Westlake) … a kaleidoscopic narrative that moves forward at a rapid pace … a crime farce of the first order.” - International Noir
“An exhilarating, hilarious and unmistakably Irish escapade in crime fiction ... a very funny thriller, packed tight with cracking moments and sizzling dialogue.” - Village
EIGHT BALL BOOGIE: Modesty Forbids # 2
“The future of Irish crime fiction.” - Ken Bruen, Edgar-winning author of THE GUARDS
“A manic, edgy tone that owes much to Elmore Leonard … could be the start of something big.” - The Sunday Times
“The comedy keeps the story rolling along between the sudden eruptions of violence … Burke’s novel is not just a pulp revival, it’s genuine neo-noir.” – International Noir
“Rigby resembles the gin-soaked love child of Rosalind Russell and William Powell ... a wild ride worth taking.” - Booklist Reviews
“Gerd Quinn is straight from the tradition of Goodis through Thompson to the wry, sly humour of a Willeford … THE FRIENDS OF EDDIE COYLE for this decade … QUINN is not only vital, it's damn essential.” – Ken Bruen

49 comments:
For what it's worth,
I like #2.
#1 I find too busy, and for #3 I've never been a fan of authors' names being bigger than titles. #2 I think carries more menace, along with a clean look.
I like the 70's vibe of number three
I can see why you'd be uncertain - none of them jumps out as a great cover. I would definitely agree with Eolai though and pick #2.
Number #2 ( with the author name in any other colors )
No. #1 would be ok-ish with different fonts...
In these times, maybe a picture of a Bank might be suitable. But given the choices, the middle one is more visually interesting.
I prefer number 2, with number 3 as second choice. Number 1 feels too cosy. As though it's a 1920s novel set on a cruise ship.
I like the the way the title looks on number 2, and also the colours of your name. The whole thing looks clean and very professional.
If the fonts for number 3 were switched, I'd like it more - ie if the title was written large in the 70s font (and moved up the cover).
I on the emerging #2 bandwagon!
Though # has a certain appeal!
Definitely #2. 1 looks like it should be on the cover of an Agatha Christie and 3 is like 2 but the font isn't as eye-cayching.
no 2 is strong and gets my attention. 1 reminds me of cheesy gay crime (which is good if it is cheesy gay crime - we've got a lot of that in our house!). Don't like the author name bigger in the last; my eye is drawn to the name instead of the title.
Number 3 for me, though like Donna Moore suggested, I think the fonts should be switched so that the title is written in that cool seventies-type font.
gb
The others are all wrong. The first is best. Fits the story best. (What do they know?)
Definitely number two, in number three the disembodied font for your name makes it look as if you might be dead.
Author names should be smaller or the same size as the title, with no photo of the author on the cover unless they look like Liza Marklund or Camilla Lackberg or Donna Moore. ;o)
I prefer 2 and like its existing font. 3 is awful, looks like it's sunk down the page and squashed in.
Agree with "too busy" and "cosy" comments on 1.
I like no. 1 but perhaps with a different font
Definitely the middle one, Dec.
Number 2, Dec. Totally. I used to work in the advertising biz, and this is the grabber.
Number 1 is indeed a bit 'busy'. Something not right about 3 - too much blue space and the two fonts seem to be shouting at each other a bit. I'd go for 2, but would like to see a bit more space between the author byline and the book title...if that makes any sense from someone who knows nothing about design.
I'm with the consensus view of preferring #2. However, I would look at the font and/or colour and/or position of the title with that one. From a design point of view, the title is very solid and chunky, which is fine in itself, but because it runs into the image of the town, which is also quite solid, it forms one big mass, and your eye isn't quite sure where to focus.
Get some guns in there.
#2 for me as well. I like the title font, but your name is a little weak to my eye. Agree with Elaine regarding some separation between author and title, the current colours rub me the wrong way with such a tight juxtaposition.
#3 isn't bad... damning with faint praise.
Don't like #1's font at all. It's busy, as is the image.
Bet you're delighted though to get it to this stage! Congrats.
Definitely number two, but maybe get the font into a more noir-ish style? It wouldn't be a bad idea to get some kind of crime related picture on there, perhaps hanging over a top corner, such as a weapon or something that appears in the book.
Personally I think that number 2 would be best if you dropped the 'cut and paste' Greek Island clip art and just kept the writing. Unless these are just mockups in which case if the cropped image of the greek town can be integrated better then I'd go with that!
Always hate to tag along with the crowd, but I vote #2 as well.
I vote #1 followed by #3 and #2. I don't like the black title over the island in #2.
v-word: epolosi, which sounds Greek.
#1 looks like a cozy cover. #3, author's name much too big. #2 it is, but can you make the S's into dollar signs? Or is that too American considering the book's contents? Is the dollar sign universal enough to be used that way?
Not thrilled about any of them, but vote for #2 w/ change of color/s on your name.
I'd go w/#2.
I think no. 2 looks like a cheap forgettable thriller - probably a disposable plot - I wouldn't buy it.
No. 3 is slightly worse.
No. 1 is best though needs work. It's unusual and grabs the attention with the juxtaposition of sofas and bars. How about a scuba diver climbing in the window? Agree with others that it's too busy... a simple font and remove the cushions in the foreground.
Number 2 is my pick as well. Although it's fairly conventional, it certainly has the best use of typography and the boldest presentation. (Number 1 is too cartoony, and Number 3's type is too '70s and doesn't stand out well.) But I agree with some others here, that you ought to ask your designer to change the colors in your byline on Number 2 so that your name pops out a tad more.
Cheers,
Jeff
I think one is the most intriguing-except for the font. It makes me wonder what's going on behind the bars, in that living room overlooking the sea. The others just paint a nice picture for me.
I'm with Jon and the 70's vibe, but I'm old....
Much obliged for the feedback, folks ... For the record, I preferred the first one ... Maybe I've got a cosy ol' heart. But, as Ms Witch says, it's close in tone to the book ... which, to be fair, most people wouldn't have known. Also, you're all correct - a writer's name should never be bigger than the title, no exceptions.
I like the second cover too, although I don't like the way the title words into one another ... but I do like the way 'Pays' rises out of the village. Don't like the colours on my own name, though ...
Anyway, ta very muchly, I really appreciate it ...
Cheers, Dec
I like number one. A distant vista always carries a subliminal hint of menace, and that's why we read this kind of stuff, isn't it?
==============
Detectives Beyond Borders
“Because Murder Is More Fun Away From Home”
http://detectivesbeyondborders.blogspot.com/
I like number one it looks very inviting, ready to take a closer look inside the Book.
Declan,
No expert on this and of course, you shouldnt judge a book by its cover and all that, but unfortunately, sometimes I do ... Personally #1 is great - I think it's brilliant. The font is a bit weird though. However, I can see the market out there having a preference for the more traditional crime novel format that is # 2.
Cheers,
PADDY
Numero dos para mi tambien!
Arlene
Number two gets my vote Dec. Good luck with this!
I'd go for no 1 without the Pacman font! To me its the most mysterious cover with the most to say. The others look cheap. And I also agree that authors' names should never be bigger than the title, that just tells me that "the book is crap but we're selling it on the back of past reputation". The major publishers just rip off each others covers and there's too few interesting ones around.
Bright colors always attract me.
I think it's probably the font that puts me off number 1 and makes me think it's a 1920s cosy. I think with a butcher font I would like it best.
Yes, I guss the font on No. 1 does look Pacmanish, which does seem a bit on the cozy side. So lose the font but keep the cover.
==============
Detectives Beyond Borders
"Because Murder Is More Fun Away From Home"
http://detectivesbeyondborders.blogspot.com/
So, you've all changed your minds now?
You know what, I'm leaning back to the 'cosy' cover again ... I think it's the lure of all those cushions, and long siestas on Greek afternoons ... Maybe I need to write a different kind of story.
I did like the Pacman font at the start, but no, it'll have to go ...
Cheers, Dec
Decided I just have to link here to what is now rather old news, but also a little inaccurate, but I can tell your readers need a CAP review.
http://bookwitch.wordpress.com/2008/05/09/the-blue-orange-rave/
I can't help it if people go round changing book titles every so often.
I thank 'ee kindly, Ms Witch ...!
Cheers, Dec
Dec,
Not sure how much advice an old whiskey swiller can give, but here goes. I've not read the book, so I don't know what comes closest to the story, however #1 just seems too whimsical to me for some reason. Maybe it is the font that was used. The picture itself makes me think of some garden-variety novel that has nothing to do with crime or mystery.
Of the three, #2 is my choice, but even here I'd edit it. With everything stacked on top of one another, name, title, graphic, it is too confusing to focus on it. It tends to make me want to glance at it and look away. I think figure and ground all jumble together to make nothing stand out.
#3 is weighted towards the bottom and feels asymmetrical. It doesn't have anything that entices me to want to pick it up.
You know how positive of a guy I am, so take anything I say with a grain of salt, but here's the thing; If I'm in a bookstore browsing, and I'm not looking for a book by someone I know, the cover is what gets my attention first, not so much the name of the story. I can't say any one of the three would compel me to give the book a look.
Glancing over at the Eightball Boogie cover, that one grabs my attention. It has a graphic that is simple, yet compelling. It immediately lets you know that foul play is afoot and mystery is happening. From the three CAP covers, there really is no way of knowing what the book is about. It could be a historical text about Sicily, or about Martha Stewart's time in prison... neither of which would interest someone looking for a mystery/thriller.
Sorry to be such a kill-joy, but I hope something in there helps you a bit. Good luck with it!
You know... the more I think about it, and the post bookwitch left, the more I caution not getting caught up in trying to graphically align the book cover with the story (as seems to be the case in #1). No one that is browsing knows what the book is about, so trying to make the cover an extension of the story line is pointless. Use the cover as a hook. Make it a marketing tool to get someone to pick it up and look at it.
Bookwitch's helpful review aside, most people browsing a shelf whether be it virtual or real may not have read reviews of a given book. If they have, they're likely to disregard the cover anyway. The cover should, as Josh says, be a hook to zap all the casual browsers and make them curious or interested. I still don't think #1 has that nailed.
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