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Posts Tagged ‘W.H. Chong’

SWF LogoThe theme of this year’s Sydney Writers’ Festival was ‘have we got a story for you’. Right from an opening ‘address’ that was performance rather than talk from story-teller Daniel Morden, which you can listen to here, the tone was set.

My highlights:

1. James Wood’s finger drumming. (Oh, and his thoughts on Winton, Stead, Carey, Naipaul, Sebald, Franzen, DeLillo, Austen, Auster, Zadie Smith, Lydia Davis (winner of 2013 Man Booker International), and his love for Keith Moon’s drumming.)

2. Novelists Edward Rutherfurd and Hannah Kent ‘sparring’ with Oxford University historian Faramerz Dabhoiwala on the nature of truth in history fact and fiction. I say ‘sparring’ because at times they seemed to be in agreement: Rutherfurd argued history students should be made to write a short story every term so they can visualise the past rather than recite mere facts and figures. Dabhoiwala responded by saying he has his students write the history of today or tomorrow in order to show them that writing history is indeed a matter of perspective and selection. I’ll be writing more on historical imagination soon.

3. Carlos Ruiz Zafón, a literary gentleman, talking lovingly about old book stores, the art of translation, the fact his Shadow of the Wind series will never be made into films because it would be a betrayal of the books. What resonated most, though, was him urging us to resist the ‘cultural deforestation’ underway at the hands of global technology companies.

4. The annual book design panel, with design luminaries like Hall of Famer W.H. Chong from Text Publishing, which you can read more about here.

DSC03676 - Saturday sun

Saturday sun @ SWF

5. The Silent History story ‘app’ as one possible future avenue for e-books. Purely digital, its serialisation is nothing new — Dickens and others used to sell stories in the same manner. But the geo-delivered ‘field reports’, which are an adjunct to the serialised story and which you only receive to your phone or tablet if you’re standing within 10 metres of a particular point, is exciting. They can provide a sort of fictional walking tour of places you visit.

6. ‘Love and laughter’ with Graeme Simsion and William McInnes. There was plenty of both. When he was bored working on an old TV series, McInnes used to write disturbing fan letters to fellow cast members! Simision wrote the screenplay for The Rosie Project but couldn’t find funding for the project, so asked his agent if writing it is a book would help, to which the agent said, ‘Only if it’s a bestseller’. The rest as they say is history. The movie rights have been optioned, and there are two book sequels in the pipeline as well.

DSC03668 - Saturday sun at SWF

Sun-spangled waters @ SWF

7. The Sydney Morning Herald’s Best Young Novelists, and in particular Majok Tulba, a Sudanese-born Aussie, with a wonderful smile and charming nature, who spoke of how he came within an inch of becoming a child soldier, and how that experience inspired his Beneath the Darkening Sky; how a friend in a refugee camp showed Majok a book and told him there were machines you could speak into that made your voice into a book; and how, despite the struggle  to learn English, the real struggle was to get the painful images of civil war onto the page.

8. Gillian Mears discussing Foal’s Bread. Heart-rending and heroic. I’ll never forget it. For more, click here.

9. Daniel Morden’s performances, both the opening night ‘address’ and his (unbelievably free!) rendition of (most) of Homer’s Odyssey. There was good reason the likes of Cate Kennedy were in attendance to hear the epic tale retold. It was spellbinding stuff, proof of the power of story-telling and of aural story-telling in particular. If it goes up on a podcast, check it out. Also, Morden has put many stories, including The Odyssey into book form for young (and young-at-heart) readers.

DSC03688 - Vivid Customs House in Circular Quay

Vivid Customs House in Circular Quay

10. Talking books against the backdrop of Sydney Harbour under clear skies (on the weekend at least!), with the amazing Vivid Festival adding even more interest for both locals and visitors after dark. In response to The Guardian’s quip that Sydney doesn’t do rain well (true) Carlos Ruiz Zafón said that Sydney was beautiful even in the wild rain we had on Saturday night. As for sunshine…well, we do that pretty well!  

Did the Sydney Writers’ Festival have a story for us? No. It had hundreds of them, enough to sustain us until next year’s festival. The 2013 edition was a resounding success for new director Jemma Birrell. Congratulations to her and her team. And a huge thank you to all those blue-shirted volunteers.

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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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