Why So Serious?
Excellent news! Pivot's book cover - created by the fabulous James at Bookfly Designs - won an award!
http://www.thebookdesigner.com/2013/1...
The award is a gold star from e-Book Cover Design Awards. Pivot even received a medal, which can be seen on the bottom of this site: http://www.bookflydesign.com/
So happy!
Thanks to James and Kira, yet again. James, as I have said before, is a fabulous cover designer. I laud him greatly, and I hope he has a well-deserved sense of satisfaction.
On a completely separate tangent, I found an interesting quote the other day by Margaret Atwood - author of the Madaddam trilogy (oh how I LOVE that title)- on writing out of chronological order. She says:
"I didn't originally intend to write three. But I am a Victorianist, and therefore familiar with modes of storytelling that are not linear. In fact very old writing tends not to be simply plot-driven and linear. The 1001 Nights, for instance. The Iliad, the Odyssey, And in the 19th C, Frankenstein, Wuthering Heights, The Turn of the Screw, Dr. Jekyll and Mr. Hyde.. boxes with boxes, stories within stories. I suppose I like layers of experience: it looks like this from here, but go down here and a whole different vista opens up. As happens when we meet a person, then delve into who they really are. Never judge a person by lipstick alone."
Boxes with boxes. Stories within stories. Does that ring a bell? I love it, too.
A text that pivots is like a body out of place, waiting for alignment. Or, as though written on the flesh of rose petals and thrust into the air.;-) The pieces scatter everywhere.
Not only that, but - as in the case of Vonnegut's Slaughterhouse Five - the bitter can only be taken with the better. If the past is too dark, too dirty, too frightening, the only way to take that pill is with a little sugar, a little magic in the mix. But when it mixes... there's sometimes no knowing what was really in the past, what is in the present, where the magic and the horror lie. Sometimes there is no knowing where we're going. These kinds of texts are the best, I believe. The ones that take you to the brink of what is knowable and then give a little push to make you topple.
http://www.thebookdesigner.com/2013/1...
The award is a gold star from e-Book Cover Design Awards. Pivot even received a medal, which can be seen on the bottom of this site: http://www.bookflydesign.com/
So happy!
Thanks to James and Kira, yet again. James, as I have said before, is a fabulous cover designer. I laud him greatly, and I hope he has a well-deserved sense of satisfaction.
On a completely separate tangent, I found an interesting quote the other day by Margaret Atwood - author of the Madaddam trilogy (oh how I LOVE that title)- on writing out of chronological order. She says:
"I didn't originally intend to write three. But I am a Victorianist, and therefore familiar with modes of storytelling that are not linear. In fact very old writing tends not to be simply plot-driven and linear. The 1001 Nights, for instance. The Iliad, the Odyssey, And in the 19th C, Frankenstein, Wuthering Heights, The Turn of the Screw, Dr. Jekyll and Mr. Hyde.. boxes with boxes, stories within stories. I suppose I like layers of experience: it looks like this from here, but go down here and a whole different vista opens up. As happens when we meet a person, then delve into who they really are. Never judge a person by lipstick alone."
Boxes with boxes. Stories within stories. Does that ring a bell? I love it, too.
A text that pivots is like a body out of place, waiting for alignment. Or, as though written on the flesh of rose petals and thrust into the air.;-) The pieces scatter everywhere.
Not only that, but - as in the case of Vonnegut's Slaughterhouse Five - the bitter can only be taken with the better. If the past is too dark, too dirty, too frightening, the only way to take that pill is with a little sugar, a little magic in the mix. But when it mixes... there's sometimes no knowing what was really in the past, what is in the present, where the magic and the horror lie. Sometimes there is no knowing where we're going. These kinds of texts are the best, I believe. The ones that take you to the brink of what is knowable and then give a little push to make you topple.
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