Browsing Tag

Charlotte Wood

Literary adventures — around Canberra and on to Iceland

20 November 2019

Is anyone else hanging for the end of the year? I’m so madly busy right now and the pace isn’t going to let up until Christmas Day. It helps that I’m editing some incredible books which I’m so excited to see in print, but I’m also hanging out for the Christmas break when I can drink prosecco and eat mince pies and do very little other than laze about and read. Okay, so with three children that is probably going to remain an illusive fantasy, but a girl can dream.

Let’s stick with November for now which has offered up a few highlights of its own. First up was the annual celebration for the ACT Chief Minister’s Reading Challenge for which I am an ambassador.

Accepting a thank you gift from one of the Reading Challenge participants

It’s such a joy to be a part of this initiative which aims to transform kids into book addicts for life. The challenge asks them to read a minimum of 15 books but there is no set list — they can read whatever sparks their imagination. This is so important because with so many forms of entertainment competing for kids’ attention, we need to help them find the books that sing for them, the books whose worlds they won’t want to leave.

So it’s wonderful to hear about the Reading Challenge’s success stories. This year one of the standouts was a student from Holy Spirit Primary School who set himself the goal to read 1000 books over the six months of the challenge. He wasn’t previously a particularly avid reader but he smashed that 1000! I must say I’m a tad jealous. I manage about 100 novels a year — if only I could somehow claw back those luxury after-school hours of primary school again! I would only need a live-in chef, housekeeper, gardener and taxi driver to achieve this. Ah, there I go into fantasy land again.

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Another standout was two students with vision impairment who completed the challenge, one in braille and one in large print. Neither of them were big readers before. In fact, the student who read in braille (from Caroline Chisholm Primary) had previously avoided reading at all costs. But the challenge saw her reading at both recess and lunch! Hearing these stories makes my heart swell a little. Okay, a lot. Hats off to all the students who completed the challenge this year, and I look forward to going on more reading adventures with the challenge next year.

Picture book workshop participants dreaming up stories

 

This month I also helped a bunch of writers create their own fantasy lands of sorts when I taught a full-day picture book workshop. It was lovely to hear that it was the ACT Writers Centre’s most popular workshop of the year! This meant that it was elbow room only as we got cosy in the glorious upstairs space of Harry Hartog’s bookshop at the ANU. Could there be anything more wonderful than talking about how books work when you are surrounded by them? (No, is the correct answer.) They were a gorgeous and engaged group and I look forward to seeing some of their names on future picture book covers.

November also marks the end of an era for me. Since 2008, I have spent almost a decade teaching editing at the University of Canberra (yes, I realise those numbers don’t add up but I had a brief break in there). It’s been wonderful getting to know the students and seeing them go on to do all sorts of fabulous things in the world, and I’ve learned so much about myself along the way. A massive shout out to all the brilliant postgrad students who made it such a pleasure.

I’m going to briefly dip into October now because I had the absolute pleasure of interviewing literary superstar Charlotte Wood, who also happens to be one of my all-time favourite authors. As I discovered, she is also a generous and generally delightful human. We spoke about her new novel The Weekend, which is a brilliant book that examines old age and friendship. I devoured it, appropriately, over one weekend, and I’d strongly encourage you to do the same.

Harry Hartog events manager extraordinaire, Katarina, pronounced our conversation her favourite event of 2019. It was for me too! It doesn’t get better than chatting with a writer whose work you have admired for years.

Finally, my most exciting November news — drumroll please! I was thrilled to receive a phone call from artsACT a few days ago to say that my grant application was successful. This means I’m travelling to the Iceland Writers Retreat next April where I’ll be working on my second novel. It is one of the world’s most lauded retreats, with a phenomenal line-up of internationally successful authors running masterclasses. Needless to say I am dying of happiness!

Beautiful Iceland — where I’ll be come April!

Well, that’s it from me for now. Excuse me while I go back to dreaming of mince pies and endless (primary-school style) hours in which to read. And maybe an Icelandic adventure or two.

Judging a book by its cover

5 December 2018

Let’s face it. No matter what anyone says, we do judge a book by its cover. Which is why the designer’s job is so important. As an editor I’ve been fortunate to work with some incredible book designers, and one of the very best is Sandy Cull.

So often when I pick up a book because I’m struck by its incredible cover design, I turn to the imprint page and find Sandy’s name. Her work is striking and imaginative, clever and layered. Perhaps best of all, it’s obvious once you read the book that Sandy has understood what the author is trying to say.

Luckily for us, Sandy allowed me to throw a bunch of questions at her and take us inside her creative process.

Sandy’s notebooks

Irma Gold: What led you to book design?
Sandy Cull: I completed a graphic design course and spent several years working in design studios, advertising agencies and then, when I lived in London for four years, magazine publishing.

Once back in Oz, I began freelancing for various magazines in Sydney before art directing a craft magazine for a few years. Wanting to return to Melbourne, a friend told me about a position for a designer at Penguin. It was love at first sight.

IG: What does a typical day, or week look like for you?
SC: I share a studio space with four designers, two photographers and four animation producers. I cycle either to or from the studio four days a week.

Every day I have at least one deadline, but often there are several things on my to-do list. It could be first cover roughs for a nonfiction book, text design for a fiction book, or time allocated for picture searching or photography, painting some hand type or scouting for props to shoot.

I do a lot of my reading on the train and at night, or on extended holidays. As a freelancer, I don’t tend to have many client/author/publisher meetings. Most communication is by email. Publishers make contact when they have a project in mind for me. If I can fit it into my calendar, I usually say ‘yes’.

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IG: Do you read every book that you design the cover for?
SC: I read every fiction book from beginning to end. I could count on my hands the number of fiction books I haven’t read or finished. If I haven’t the time to read it, I don’t take it on.

For nonfiction, I tend to only read some chapters, as well as an introduction and a summary. Recently I have had several nonfiction books where I haven’t been able to stop reading at just a few chapters. I note Rise and Resist by Clare Press, which I couldn’t put down, and The Rapids by Sam Twyford-Moore.

IG: How do you read? What are you looking for as you read?
SC: I take notes whilst I’m reading. I might sketch out things on a moleskin book, or use a drawing app or ‘notes’ on my phone. If there’s something unfamiliar, like a location or a particular phenomenon, or a moment in history, I will do quite a bit of research.

It’s important for me to get a visual accurate, and it provides, in the very least, a starting point. Recently I had to research a particular area of NYC around the beginning of the nineteenth century when the first blimps or dirigibles were being flown. A few months back I spent a day shooting on Phillip Island, where much of a fiction book was set. This saved me sitting in front of the computer conducting exhaustive picture searches and got me out of the studio for the day.

Then there is also a whole treasure trove of images I’ve being collecting by artists I’ve been watching for years. When I’m reading, some of these will come to mind, and I’ll make a note to revisit a particular artist’s work, to see what they’re up to.

Before I go to the screen, I will usually sketch some thumbnails.

IG: What was the most challenging publication that you’ve worked on?
SC: Rather than mention any in particular, generally speaking, the bigger the author, the more challenging the brief. A big-name author usually needs mass-market appeal, so there’s loads more pressure and expectation for sales, and many more opinions involved throughout the process. Ironically, these projects are usually, though not always, less adventurous and courageous from a design point of view.

I do tend to work on books by big-name authors. It’s a complete privilege to work on them, and it’s a huge bonus if it comes more easily than anticipated. I think I tend to get these projects because I do have good stamina, and can usually go the distance that many of these covers travel. Whether that’s a good thing, is debatable.

Most often the agreement between a publisher and a designer is that the designer will supply three rounds of concepts for their quoted fee. These more difficult briefs often end up being many more than that. It can be eight or 10 rounds of finessing and tinkering. And rarely for an extra fee. I’ve outlined the process in more detail later.

IG: Have you been completely wedded to covers that publishers haven’t liked?
SC: This happens all the time. I’m going through a stage at the moment when just about every favourite concept is usurped by my least favourite. When will I learn to not include the concept I don’t want them to choose?

IG: What is the best thing about your work?
SC: I am in heaven working on books with folks who love books and, without exception, I feel blessed to read a book in manuscript form.

IG: What is the most challenging thing about your work?
SC: I have always loved working closely with editors, and so I do miss the sense of team that’s available in-house, when you can indulge over sets of pages, making the page perfect.

Maintaining balance between lots of work and none is always a challenge. And keeping myself financially viable in a difficult and constantly changing industry.

IG: How long does it usually take to design a book?
SC: It depends on the project, the publisher, and whether I’m lucky to be going through a ‘purple patch’, or am a little uninspired to be very efficient. A purple patch is described in the dictionary as a run of success, but, for me, it’s specifically a wonderfully creative time when I’m firing on all cylinders, when everything seems to come easily. It’s probably quite random but I theorise that if I have too much on, I am probably too stressed to be as creative as I can be.

As a general guide, I usually require a minimum of three weeks to read. I might spend a week researching and shooting, and drawing and scanning, to pull together first concepts, and another week to do another round, and perhaps another week to do a third round.

For the latest Markus Zusak, Bridge of Clay, I received the manuscript in early January and sent final art to press in late June.

IG: What kind of books do you love working on the most?
SC: I love literary fiction and nonfiction. Recently I’ve really enjoyed working on a lot of nonfiction projects that discuss really important and perhaps difficult issues. These books are necessary. Topics have included mental health in the social media age, women and Islam, the ‘Yes’ campaign, the #MeToo movement and, one of favourites of the year, Rise and Resist about revolution.

IG: What’s the most controversial cover you’ve created? Was it deliberately controversial? Or was the reaction to it unexpected?
SC: I recently did a new cover for Charlotte Wood’s Stella award-winning novel, The Natural Way of Things. Encouraged by its courageous publisher, we deliberately chose a rather striking, close-up of a shaven-headed woman staring right into the camera. It was rejected by the supermarket chains who said they wouldn’t stock it with this cover, saying it was too confrontational and aggressive, but it’s completely right for the book. It is amazing that the publisher went ahead anyway. I think more often than not, publishers go for the safe route at their peril, and at the risk of their book being totally overlooked and homogenised with everything else that’s out there.

Another brave cover was Gillian Mears’ Foal’s Bread. I was specifically asked to avoid horses on the cover because it might pigeonhole the book in the ‘horsey’ romance genre. As it turned out, a horse is exactly what we put on the cover but it definitely didn’t look like one of those. I remember punching the air in delight. The close-up image was so arresting and perfect, that it took my own breath away when I found it.

The first cover for Emma Viskic’s debut crime novel, Resurrection Bay, was another brave choice. Again the supermarket chains complained about the forward slashes and asked for them to be removed; for the typography to be changed. Fortunately, the relatively new publisher [Echo Publishing] refused to budge and it not only sold its socks off, the author went on to win several awards.

Way back in 2005, The Cook’s Companion was quite a radical cookbook cover. Featuring a painting we commissioned by Melbourne artist Mathew Johnson, it still amazes me that we got that through back then, and that it remains the cover 13 years later.

IG: Can you take us through the process?
SC: I send out a general breakdown of my processes to self-publishing authors before we get too far down the track. I find this is really helpful for them and makes things completely transparent. Below is an edited version:

I usually like to receive a comprehensive cover brief from the publishers, with all practical details included in the document.

If we proceed, I would supply the author with a blank brief to fill in.

I supply a minimum of three stages of concepts, each with several variations.

These concepts may use low resolution images found from a variety of sources. My fee does not include any image fees.

From first concepts, we usually go to a second stage, where I present ‘second’ concepts if the first stage was unsuccessful or I finesse one of those first concepts. Repeat this process again for ‘third’ concepts, after which we hopefully have a cover approved. High res and final images are sought and I proceed to final art, which I upload to a chosen printer.

If the concepts are unsuccessful, after three stages, we may choose to part ways. This parting is often referred to in the industry, regrettably, as a ‘killing off’, and comes with a ‘kill fee’.

Printers
I would expect that most self-publishers do the groundwork with their printer of choice and already have made their choices and have print quotes before they come to me. I can put them in touch with a print broker or production person who can liaise with printers.

Text design
I love designing the internal pages as well, and this usually happens after we have an approved cover. I design the text design to match the preferred page extent.

Typesetting
I generally don’t typeset books from beginning to end, but am happy to do so, if I have time allowed in my schedule. Otherwise I liaise with typesetters.

IG: Can you explain the feedback process?
SC: For the mainstream publishers I am dealing directly with a senior editor. They relay all the feedback from the publisher and from the sales and marketing team. I deal with a publisher directly if they are handling a super important author, or if they are particularly hands-on with the book concerned.

Only after the cover has gone through the back and forth of cover meetings and finessing, more cover meetings, more finessing, and is approved by the necessary people in house, does it get shown to the author. It’s often by then a fait accompli. The agent is also involved at this stage. Very occasionally the author or agent might not be happy but this is an exception to the rule.

The rigour a publisher provides can sometimes result in a better cover, and perhaps a more successful book. Sometimes though it can result in a ‘designed by committee’ mediocre cover that looks like the last bestseller.

For self-published books, the process is usually much more fluid and speedy. All the communication has been between designer and author and there is no sales and marketing department to please, and no agent.

This can be refreshing approach. Though they’re acutely wedded and invested in the book, they can be very accepting of your input. They may have no experience in design and marketing, and are pleased to have a designer guide them through, and help them make the right decisions about what will work.

Window onto some of Sandy’s designs
The China Garden by Kris Olsson
This is quite an old cover but it is still one of the ones I’m most proud of. I bought the cups from an op shop and broke them in the studio, photographed them and superimposed the tulip onto it.

Jasper Jones by Craig Silvey
Another old cover, but I’m really happy with the typography. I placed an old print texture of CMYK dots over the top so it had a 1950s feel.

My Mother, My Father edited by Susan Wyndham
This cover still makes me smile. I put a call out to my friends asking for old watches that I could borrow to photograph. One belongs to my husband and one to a friend, but they are like an old couple, and perfect for this book.

Reading the Landscape: A Celebration of Australian Writing
I only presented one or two concepts for this UQP anthology. I spent hours handwriting some type with a paint brush, as well as producing this more fluid type in the Illustrator program. It felt so right to me. The publisher agreed and went with it immediately. Love that!

This month I have a copy of Sandy Cull’s latest design of The Natural Way of Things by Charlotte Wood to give away. If youd like to get your hands on this incredible Stella Prize-winning novel, simply sign up to my monthly newsletter (sign-up box on this page) before 5 pm on Monday 17 December to go in the draw. 

2016 reading picks

7 January 2017

It’s that time of the year where bookish types reflect on their year’s reading list, so I thought I might as well toss my faves into the ring. In 2016, I read 68 books*, which doesn’t seem nearly enough. Looking at the stats of childless friends, I’ve noticed that they tend to fit in well over 100. Perhaps this is because their reading is not limited to evening hours after children are in bed. Sigh. I look forward to the time when I’m able to dedicate whole weekends to nothing but books and drinking tea.

In the meantime, here are some of my 2016 faves, shuffled into slightly random categories.

what-belongs-to-youClassic: Cry, the Beloved Country by Alan Paton. I’ve been meaning to read this slim novel for a long time and Radio National’s African Book Club prompted me to push it to the top of the pile. It is a poignant and heart-wrenching portrait of a country undergoing great upheaval.

Queer fiction: What Belongs to You by Garth Greenwell. A sharply observed and beautifully written novel about desire and longing and love. An absolute cracker.

Debut: The Paper House by Anna Spargo-Ryan. A moving portrait of a family coming undone; it is a haunting and stylistically beautiful novel. I’ll be keenly awaiting Anna’s next book.

Short fiction collection: Portable Curiosities by Julie Koh. I found the biting and quirky satire of these stories refreshing. A gem of a book.

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heat-and-lightIndigenous fiction: Heat and Light by Ellen van Neerven. Another short fiction collection, and I’m late to this one (it was published in 2014). I found these stories mesmerising; Ellen is definitely one to watch.

Novella: Wisdom Tree by Nick Earls. I’m cheating a bit here because Wisdom Tree is a series of five novellas (disclaimer: I edited them), but I couldn’t possibly pick just one. One reviewer described Gotham, the first in the series, as ‘the most perfect novella in the history of the format’. Nuff said.

Picture book: Smile Cry by Tania McCartney. My whole family (even those supposedly too old for picture books) love this gorgeous flip book that so deftly allows children to explore their emotions.

rebellious-daughtersNonfiction: Under Cover: Adventures in the Art of Editing by Craig Munro. A rare and revealing behind-the-scenes look at 30 years of publishing at UQP.

Memoir: Everywhere I Look by Helen Garner. I am a fangirl. Garner is a living legend. That is all that needs to be said.

Anthology: Rebellious Daughters edited by Maria Katsonis and Lee Kofman. These essays on varying forms of rebellion are delicious. I particularly loved those by Marion Halligan, Rebecca Starford, Leah Kaminsky, Eliza Henry-Jones, Jano Caro, Lee Kofman, Caroline Baum… Hell, I could list the whole damn lot.

the-writers-roomInterviews: The Writer’s Room by Charlotte Wood. I’m cheating again because this book could technically be listed under ‘nonfiction’ or ‘anthology’, but these interviews with Australian writers deserve a special mention. Each is an honest, thoughtful and insightful discussion about the writing process, and I know that I’ll take different kernels of knowledge away with me every time I return to it.

I’ve started 2017 with Peggy Frew’s stunning Hope Farm, which I devoured over two evenings (and a little sneaky daytime reading while the kids were otherwise occupied). I can only hope that the rest of the year’s books live up to this fine start. And if you feel like picking up any of my 2016 faves do try and support the Australian industry by grabbing them from your local bookstore. It makes a world of difference. Happy reading!

* This figure does not include any of the manuscripts that I edited, with the exception of Nick Earls’ novellas. Nor does it include the many literary journals that I consumed, and the countless picture books and middle grade novels that I read to my children.

making tracks

29 September 2016

I’m in the process of designing a new website with the help of a very talented friend which means that this blog has been even more neglected than usual. But I wanted to put down a few words about Express Media and their recent Tracks program because they are doing such great things to support and develop young writers.

Last weekend saw Express Media bring Tracks to Canberra for a day-long program of workshops and panels designed to develop writers’ skills and understanding of publishing. My part in the day was to speak on the ‘Editing and Publishing: First Times and Best Practice’ panel alongside Duncan Felton (Grapple Publishing), Zoya Patel (Feminartsy) and Ashley Thomson (Homer). We unpacked the writer–editor relationship, the publishing process, and what to expect when working with an editor. We also managed to have a damn good time, as Josephine Cosgrove’s wonderful photos attest.

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I won’t summarise the discussion here, but I will repeat one key point that new writers often struggle with simply because of lack of experience. The editing process shouldn’t be adversarial. A good editor is a chameleon, able to take on the author’s voice instead of imposing their own, and work with the author to make their book the very best that it can be. The process is a long conversation involving extensive back-and-forth. And a successful author–editor relationship will often result in a work that is even better than either the author or the editor imagined. That’s a satisfying outcome for everyone — author, editor, publisher and reader.

Random House’s Meredith Curnow sums it up this way: ‘I just hope that a writer can enter the editing relationship with an open heart and an open mind, but also confidence in their work and confidence in their voice because you never want to change the voice of a writer, you just want to help it be more available to more readers. Editors and publishers act as external readers — they represent the reading public.’

I’ll leave you with two of my favourite articles by Patrick Lenton (on his blog here) and Charlotte Wood (in the Sydney Review of Books here) that elaborate on the author–editor relationship. They are well worth reading, particularly for newer writers about to embark on the editing process.

Thanks again to Express Media, Gorman House Arts Centre and the ACT Writers Centre for producing such a fantastic event.