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Posts Tagged ‘Stephen Romei’

SWF LogoOne of my favourite sessions at each year’s Sydney Writers’ Festival is the session on book design, which typically follows the Australian Publisher Association’s Book Design Awards night. This year was no different, with some engaging presentations from award winners as well as the added perspective of design from a publisher’s point-of-view, in this instance from Helen Boyle.

Book design is such a crucial part of getting books into the hands of readers. The old adage ‘don’t judge a book by its cover’ might well be true of people, but it’s certainly not true of books – as Boyle noted. I think we need to put a spotlight on the tremendously creative people who create the not just the face of our books but the entire look and feel of them, cover to cover. Seven Little Australians by Ethel Turner - designer Allison Colpoys

The first talk was by the charming Allison Colpoys, a freelance book designer and illustrator, whose slide on the creative process was hilarious (including one section whose name I can’t repeat and another called ‘panic’. It provided a great framework for discussing the process she went through in designing Penguin’s Australian Children’s Classic series, which won the award for Best Designed Children’s Series.

Picnic at Hanging Rock by Joan Lindsay - designer Allison ColpoysShe described the limited colour palette that was chosen to give the series a vintage look and feel, and commented that the vintage look was becoming more widespread in book design. There are ten works in the Penguin series, and she showed the rules for colour, text panels, as well as icons and section break ‘dinkuses’. She showed some of the options developed for Joan Lindsay’s Picnic at Hanging Rock. Allison also showed two of the new additions to the series, A Fortunate Life and The Power of One.

Sufficient Grace by Amy Espeseth - designer Allison ColpoysAllison was also the joint winner of the award for Best Designed Literary Fiction Book for her cover for Sufficient Grace by Amy Elspeseth, with its striking shadowed trees and drips of blood. It really sets a mood for the story and wants you to pick up the book.

Things I Love by Megan Morton - by Lantern BooksOur next speaker was Daniel New from Lantern Books. He also spoke about series design, offering six categories, from brand series (such as Penguin orange classics), through figurative (think Peter Carey’s newer covers), to genre conventions, to decorative, to conceptual (such as Penguin’s blank white covers that asked readers to draw their own covers and send them into Penguin), to creative partnerships.

Evi Oetomo from Lantern won the Best Designed General illustrated Book for Things I Love. One of the elements of good one-off cover design, Daniel said, is the notion it could easily be made into a series. He offered several images of potential titles in the series that used Things I Love‘s design as the template. Very interesting.

We then heard from Helen, from Templar UK, who backed up what I’ve been hearing at these sessions for the last three years, namely that book design is increasingly important in the digital age, particularly in the thumbnail version of the cover design. She spoke about some trends in UK publishing, particularly in YA fiction, with a predominance of black covers. Ironically, she noted, the ones that have white covers stand out much more now next to their black-faced neighbours, a fact she proved with a shot of a stand of such books.

The Voyage by Murray Bail - designer WH ChongThis sense of trends in cover design was picked up by our final speaker, WH Chong, who has been working for Text Publishing for ‘twenty years’, and is responsible for many of the covers we all know, such as Kate Grenville’s The Secret River and all seventy(!) covers for the Text Classic series. Chong was the other joint winner of the Best Designed Literary Fiction Book, for his cover for Murray Bail’s critically acclaimed The Voyage. He was also inducted into the Joyce Thorpe Nicholson Design Hall of Fame last night. That there are only seven others who have received such an honour speaks volumes for Chong’s work over many years. A hearty congratulations, Chong!

Sarah Thornhill By Kate GrenvilleChong spoke about Stephen Romei’s recent piece in The Australian on the prevalence of the backs of women in current fiction covers, and the debate over softening of books marketed toward women.

I was expecting him to go on to explore his cover for Sarah Thornhill but he went instead to other covers, exploring the question of publishers not wanting to show a face because it potentially creates an image in the mind of the reader as to what the heroine (or hero) looks like.

Stasiland by Anna Funder - designer WH ChongOne fabulously striking cover that slipped through this filtering was Stasiland by Anna Funder. Chong also mused about covers for Kate Holden, Madeleine St John, and one that we’ve all seen recently: Graeme Simsion’s The Rosie Project, throwing up some international (Canadian and Taiwanese) versions to show how the local design has been translated overseas.

The Spare Room by Helen GarnerHe also mentioned Helen Garner’s quote at the recent Stella Prize award night, where she pined for a day when book “designers no longer reflexively put a picture of a vase of flowers or a teacup on a woman’s book cover, even when the book is about hypodermics and vomiting and rage and the longing to murder”.

Her most recent book is The Spare Room (my review), about a cancer sufferer and her carer friend – which Chong designed. It was an interesting discussion, and Chong at times questioned himself in an admirable way, believing it was not a reflexive image, but that it might have been trying to soften the theme for the audience (he offered up some mocked alternatives of possible covers showing angst and suffering which provided a stark alternative from a marketing/aesthetic point-of-view. It’s not easy selling a book whose front image is one of suffering.

And of course selling is want authors want, what publishers want, want the marketing departments want, and what is front and centre in all design briefs given to our book designers. No pressure then!

The Secret River by Kate GrenvilleI was going to ask Chong about the different briefs he received for Kate Grenville’s The Secret River (a perfect cover in my view) and sequel Sarah Thornhill, books tied together by story and theme but receiving such different cover treatments. Alas, time was called before I had a chance to ask.

There is a huge amount of thought that goes into good book design. It is, of course, much more than just cover designs. But for a work of fiction the cover is the most important aspect of design. A successful cover is more than reflective of the book’s content or theme. It is a marketing tool, requiring careful positioning, focus groups, and the ability to turn heads. Our panel of talkers had this ability in spades. If you ever get a chance to attend this session at future SWFs then I’d highly recommend it.

Congratulations to all the book design award winners, which you can have a look at here.

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Participants: Dame Stella Rimington, thriller author and Chair of the Man Booker Prize judges in 2011; Stephen Romei, literary editor of The Australian; Neil James, executive director of the Plain English Foundation; and Chip Rolley, SWF artistic director.

As chair of the Man Booker Prize judges, Dame Stella Rimington caused a bit of a brouhaha when she suggested that the shortlisted books – and thus the eventual winner – should be ‘readable’.  Many saw this as an assault on the prize’s literary status, a ‘dumbing down’ as it were.  Chip Rolley kicked off this session by asking her what she meant.  She responded by saying that perhaps she’d used the wrong word, that maybe ‘accessible’ would have been a better choice.  She didn’t mean to suggest that it need be populist or simple.  Rather, good books should be true to itself, relevant, something that is bought and read rather than bought and put on a shelf, like Ulysses.  There are no guidelines given the Booker judges apart from that the winner should be the ‘best book published in the year’.  In 2011 there were 138 books submitted to the judges, which they have to read in only a few months, owing to the need to select the longlist.  For any reader this is a herculean task.  Publishers are only allowed two books each to submit, although there are other avenues (previous winners and those requested by the judges among them).  So there is a filtering of books at the publisher level, which is why other genres – a term which is an unhelpful wall in the view of James – do not get submitted.

But is accessible a better word?  Slightly, said Romei, though Rolley said Jeanette Winterson, also a SWF attendee this year, who was scathing in her views of Rimington’s ‘readability’ was of the view: ‘what is wrong with difficult?’  She wanted a writer’s language to expand her mind.

James said that all forms of writing when done well have more in common than might be suspected.  He quoted Winston Chruchill’s wonderful speeches (and gave hilarious management-speak versions alongside) as a means of underlying his point.  Great writing can be simple and direct and inclusive.

Romei, a fan of Ulysses and Moby Dick, spoke about Hilary Mantel’s Wolf Hall (see my review) and its sequel, Bring up the Bodies (review forthcoming), which stand out as both challenging reads – owing to cast of characters – as well as being cracking reads.  They ‘zip along’ – a reference to one of Rimington’s fellow judge’s comments.

James loves being challenged, but not being bored, to which Rimington said she bought Ulysses and got through the first few pages and found it was not giving her anything back, so on the shelf it went.  Romei said that listening to Ulysses was the ticket, something he likened it to TS Eliot’s The Wasteland, another difficult read with many allusions, but which satisfied him because he was the sort of person who liked looking those references up.  (He also highlighted the i-phone/i-pad app of The Wasteland, which will please Sue of Whispering Gums who has highlighted her pleasure with the same app on her blog.)  Part of reading is the learning, said Romei.

Rimington said that a book should be enjoyable.  When asked by an audience member what makes a good story, she said ‘change’ was key.  She talked about Julian Barnes’ Boooker winner, The Sense of an Ending, (my review coming very soon), in which we start with a seemingly boring old man but realise he’s incredibly complex as we move through the story.  James said that there needs to be shape and good characters, as well as what Elizabthe Jolly described as ‘some central mischief’ that animates the story.  He wondered whether literary prizes were somewhat past their best, to which Romei quickly countered that he was against taking ‘stuff’ away from writers, that if anything there should be more of it.

For all of Rimington’s controversial comments, the one thing that was agreed was that the Booker was awarded to a very ‘literary’ novel, something which got lost in the stoush over semantics.  What was interesting to her, was the giant unseen apparatus that survives on generating interest in the award, something that all of us Booker observers love to see.  I mean, what would a Booker shortlist be without some sort of controversy?

While a thoughtful debate, it wasn’t quite as lively as it might have been.  Perhaps we needed Jeanette Winterson on stage too.  Now that would have been interesting!

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