Tag Archives: typography

Design Matters

Today I’m over at Nik Perring’s blog talking about designing a paperback – inside and out. It’s a fairly brief overview of the whole process  but it looks as if the image of my title page, which is referred to, has either got lost or just not worked on the blog, so here’s what it looks like. OPENING PAGE_04

I wished afterwards I had also incorporated the fish into chapter headings, so that’s something I might think about for a future edition.

For those who would like to know more about how the designing process went along, I’m hoping to write more about it soon for What the Dickens magazine. which reminds me they have a competition going on at the moment with some amazing prizes, so do take a look.

I’m leaving news of the IMEX event at the top of this page, but next blog stop is at TBR on March 5th – see you around!

 

An Invisible Sign of My Own: compelling literary fiction – and a real book

Invisible Sign of My OwnI have only  ever read one short story by Aimee Bender and sadly didn’t like it (not so much the writing as the subject matter, not that I can even remember now what it was) but when an email arrived offering a review copy of an Invisible Sign of my Own, curiosity got the better of me. This isn’t unusual, but the book certainly is, because that curiosity stayed with me from beginning to end, something that marks this out as a bit of a masterpiece.

It was possibly a difficult week for me to  tackle a book that deals with difficult subjects: – you know the ones I mean: illness, bereavement, loneliness, but then I didn’t quite know what I was letting myself in for. The narrator Mona Gray has come up against all of these early on in her life. By the time she is twenty a neighbour’s baby has died and been left behind by its family, her father who inspired her on the running track has fallen prey to some debilitating illness that is too awful to be talked about, and her favourite maths teacher has deserted her just when she thought they would be soul-mates. She continues to find solace in the immutability of numbers, but when she is asked to teaching math(s) in a primary school, death still rears its ugly head in the shape of Lisa Venus, an eight-year-old struggling to deal with her mother’s terminal cancer.

But if death is the subtext, there’s plenty more going on in this beautifully crafted story and as a writer I’m reminded just how much plotting is actually contained in what will be remembered as an elegant and literary novel. Mona fancies the science teacher something rotten but a fear of intimacy makes her eat soap rather than have sex. The hardware store is a harmless interest, but buying an axe that looks like the number 7 is an odd way to celebrate a birthday. Then there are the mysterious numbers littering the neighbourhood, dropped there accidentally, or harbingers of more awful things to come?

I hope my description doesn’t make this sound like a dark and joyless book. If so,  I’m not doing it justice. Even though we worry about them, Mona and her school-children are great fun to be with and eventually she does work out that if death is inevitable, there is a natural order in the universe that makes it easier to bear.

I shall look out for Aimee Bender’s other novel, The Particular Sadness of Lemon Cake. I’m told it’s as good if not better. But I might approach it with caution, and on a day when I have plenty of emotional resilience to hand.

Finally, I read this as a paperback, and it reminded me of the nuances of typography that add to the distinctive character of a book in a way that the Kindle e-book fails to address.

Small but perfectly formed

An interesting coincidence this week – or was it? On Wednesday, thanks to Twitter I picked up an interesting post on Vanessa Gebbie’s blog about the visual impact of fiction, i.e. how layout and typography influence our perception (and enjoyment) of what we read.  This works at different levels, from the appearance of the page – ratio of white space, style and character of the typeface – to the detail of punctuation and spelling conventions, all of which define the character of the text.  For instance, although I tend to dislike how some authors (or their publishers) dispense with dialogue tags and use dashes rather than speechmarks  (because I think very few writers can sustain dialogue like this without making it harder for the reader), I can’t deny that such books wouldn’t be the same if laid out more conventionally. The visual effect is somehow germane to the character of the book. 

Not so Perfect

not quite actual size!

Next part in the equation was the arrival of  my copy of Nik Perring’s short story collection Not So Perfect.  I won’t deny my immediate reaction was surprise -  a very small book indeed! But handy for reading on my twice- weekly bus trips, so into the handbag it went. But it was only on the second outing that I realised the genius of the format, which is not its portability, but in the way it reflects and enhances these stories, some of them flash, some a little longer, but all of them snappy and arresting. Just to clarify, each story has a full title page on the right hand side (recto) accompanied by a line drawing. The following page is blank, and the text starts on the next right hand page. This has the effect of making the reader pause to take in the statement made by the title page and to appreciate its artistry before delving into the text. I particularly like when a story finishes on the right hand page, leaving blank the verso before the next title page. The shorter the fiction, the more important it it so take time reading it. And so in practical terms, the more white space between pieces, the better.  The small page format is just right for the length of the stories and presumably makes the space an economic possibility. A much better choice than bigger pages with more text on each. 

And finally …. I don’t have a Kindle or other e-reader (yet), but assume that at least for the moment all books are reduced (or expanded) to a similar screen size. If so, that’s a shame. Or maybe just a timely reminder of the infinite variety of printed books and why this design classic has endured for so long.