I’m delighted to announce that just one week away from official release and our celebratory event, A Hundred Words for Butterfly is now available to buy at several online audiobook retailers across the world, including Kobo, Nook, Google Play, Authors Direct, Libro, Apple, Booktopia, and others. Audible will follow shortly, and I’ll announce that when it’s available.
The book is three hours and 10 minutes long, and superbly narrated by the wonderful voice artist Sarah Kennedy. Hope you enjoy it! And please do consider writing a review and sharing it on the retailer platforms, your social media, etc.
So this is coming on September 15th, the fabulous online event celebrating the release of my audio novel for adults, A Hundred Words for Butterfly! Join us to celebrate, with special guests including me, the wonderful voice artist Sarah Kennedy (pictured below, she narrates the audiobook), and the winners and some finalists of the #100Words4Butterfly writing competition. Come along (virtually!) for a super fun night of games, cocktails (including the one below!), readings and more!
Zoom link to come. You can register your interest right now at the Spineless Wonders Facebook events page for it. The event will start at 6pm, Australian Eastern Standard Time.
Artist and designer Bettina Kaiser created the beautiful cover for A Hundred Words for Butterfly. Today I’m delighted to welcome her to my blog for a behind-the-scenes interview.
Bettina, tell us about your process in creating the cover for A Hundred Words for Butterfly. What preparations did you have to make? What stages did the work go through? What inspired you? And what materials/media did you use?
I really enjoyed reading your book. Currently we are in COVID lockdown, and so the timing was perfect to let myself be transported to Basque country through the story. As I was reading it, I was also researching the places online: Saint-Jean-Pied-de-Port, a beautiful little town and the place where most of the story takes place. The Camino de Santiago and the rolling hills and picturesque Basque countryside it covers. I then allowed myself to get lost a little in Basque traditions. The colours of the houses and window frames, the tricoloured flag, the beret, incredibly delicious looking food.
I empathised with all three characters in the story as well: Alex walking the trail (I love walking), Helen being the illustrator and loving to draw (a fellow artist), and Tony researching his family (an interest I share).
From there I had a few creative ideas of what the cover could look like. Conceptually, they were based on elements in the story that I found significant: the cobblestone streets, the wayfinding symbols of the Camino, Basque colours and symbols, but also the family photos that you sent me and the more recent photos from your visit there.
The art materials I used were just what I had on hand in the studio: acrylic paint, ink, gouache, paper scraps. From there I put together a few layouts to explore three main concepts: picking up the title, the butterflies, and doing a flat lay with other aspects of the interwoven stories, the cobblestones causing Helen’s fall but also representing the path, the Camino, and the twin sisters, one staying inside watching through the window, the other walking on a path.
What were the challenges? And the pleasures?
As with any book cover, my aim is to capture the essence of the book. I always also need to know that you, the author, are 100% behind it. At the end of the day, it is their book, your book, and I would not want to force the cover design “onto” it or indulge in some design folly that is just exciting for me as an artwork on its own. It needs to fit. But it took me a while to find what the essence is for me in your story.
What has now become the cover was pretty early on my favourite, and the more I tried to work on alternative ideas, the more I was drawn back to the actual artwork that we chose. I re-read passages of the book and realised how the stories of the three characters are so intertwined, and also link each character’s past, present and future. The other (unfinished) artwork concepts simply felt too one-dimensional. In my head I even likened this to one of those pinboards in a murder investigation with all the suspects, witnesses, and places, and the threads joining them. That was what I wanted to have the artwork reflect: old and new stories spanning continents. Stories that touched, overlapped, merged.
Then came a tricky point in the process where I was really loving that idea and artwork (which is almost exactly what we have now), but I laboured over other concepts, as I did not want to present you with just one option in a kind of take it or leave it way. But I really felt strongly about the concept and liked it visually too. So, after a few days of mulling it over, I decided that I will show you this artwork and explain with some images and words the ideas/concepts for alternative covers to see what you think. Well, it sure was nice when you concurred, and only a few hours later your very enthusiastic “YES! This is it!” came back.
Your novella was perfect for my lockdown escapism. I really enjoyed allowing myself to mentally wander into the ancient streets of Saint-Jean-Pied-de-Port, to dream of faraway places, and to find out more about the Camino and Basque culture. It lifted me up and touched so many interests of mine though the different characters. I really very much enjoyed the video chat we had initially, and you telling me about your Basque family connections and getting to know you.
What do you, as both a designer and a reader, see as the most important things for authors and publishers to consider, when it comes to commissioning book covers?
I think authors in particular need to have a lot of trust to put their work, which they have laboured over for so long, and that often is so personal, into an artist’s hand to create the cover. I encourage authors and publishers to look at previous artwork that a prospective book cover designer has created (a good start is our industry organisation Australian Book Designer Association’s directory) and see if they like the general style and design approach.
While the publisher needs to keep their eye on a certain overarching style and standard for their publications, I personally do love that I can more often than not work directly with “my authors”, get to know them and get them to tell me what their work is about, what matters and where their focus is.
As in many things in life, trust and mutual appreciation is key. Many publishers work with a regular stable of illustrators and designers whom they entrust their publications to. I have been lucky to have worked with Bronwyn Mehan and Spineless Wonders on so many projects over the past decade and to have been given a lot of creative freedom. Plus, I am very happy to have often worked directly with the authors.
My pet hates are design for design’s sake (the self-indulgent kind), style trends in book covers. So, dear publishers and authors, I’d say watch out for that!
Does creating a cover for an audio book differ from that for a print or ebook? If so, in what way?
The short answer is no. It is just a different shape, and many projects that I work on need the artwork to be converted into all kinds of formats, ranging from eBook covers to website banners and more. So it is a style, a materiality and elements that you design, and then it is rolled out to different media. In fact, your story, whilst first published as an audio book (I love that format by the way), will also be available now as an eBook by Spineless Wonders.
You work in a number of art and design fields aside from books. Tell us about some of the other things you do.
I consider myself a “Jill of many trades”.
I like the explorative, conceptual aspects of design, but I do have a lot of bread-and-butter jobs that are layouts, websites, logo designs and the like. But I am also an artist and have a separate practice in my small studio – no screens allowed there – just for my art projects. I recently had an exhibition that featured prints, mixed media works, and installations around the current climate crisis and us humans in the environment.
(Book) cover design is where I work across both disciplines. I love it. I love working with authors, I love books and stories, and I love that each one needs their unique artwork. Often I experiment with materials and collages and photos in my studio, and I sometimes do hand lettering, as I did for A Hundred Words for Butterfly. I then photograph or scan it, bring it together on screen, manipulate it if needed, mix, cut, paste, experiment, tinker with typography. It brings it all together and as I mentioned earlier, I am so grateful to be given a lot of trust and creative freedom.
I am absolutely delighted to reveal the gorgeous cover of my upcoming audiobook, A Hundred Words for Butterfly, which will be published by Spineless Wonders Audio in just a couple of weeks: September 13. Isn’t it beautiful!
The cover is designed by the wonderful Bettina Kaiser, and later this week I’ll be publishing a fascinating interview with her about how she went about creating it. Today is all about celebrating an important milestone in the journey of my book: and I’m so thrilled about just how strikingly Bettina has captured the essence of the feeling and atmosphere of A Hundred Words for Butterfly!
My Basque cookalong Live happened last night over Spineless Wonders Facebook and Zoom, and it was a lot of fun! I introduced people to the Basque country, or at least our family’s part of it, told stories–about my upcoming book, A Hundred Words for Butterfly, about my family and even told a Basque fairy tale!–and of course, I also cooked! The cookalong was built around creating the delicious Basque fish soup known as ‘ttoro’ (pronounced ‘tioro’) which is both delicious and easy to make, and judging from people’s messages afterwards, with accompanying photos, it was indeed deemed both by those who joined in the cookalong!
I thought today I’d put up my recipe so anyone who missed the cookalong can still make it if they want.
Ttoro soup from St Jean de Luz
(Basque fish soup)
This gorgeous but easy-to-make fish soup originates from the fishing port of St Jean de Luz, in the French Basque country, but is popular all over the Basque coast. You can find it in restaurants and in homes—everyone has their own version. My mother, who came from Biarritz, had her own, and this recipe is inspired by her gorgeous creation. And like all ttoros, it features the ‘magic ingredient’ of the Basques: piment d’Espelette, which comes from the lovely hills farms around the picturesque small town of Espelette, 24 kms inland from Biarritz. This delicious red pepper powder has a unique flavour, both warmly spicy and piquantly sweet and fruity, which is the reason why this traditional Basque spice has its own AOP appellation in France (the peppers can only be grown in the area around Espelette). Its gorgeous colour also imparts a beautiful red to the soup. You can easily obtain it online: in Australia, order from the Culinary Club or The Essential Ingredient. However, if you can’t get piment d’Espelette, use a god hot paprika(non-smoked). It won’ be quite the same, but it will still be pretty nice.
So for two people, you’ll need:
*Two tomatoes, chopped
*One red capsicum, chopped
*One medium onion, chopped
*Four cloves garlic, sliced
*Olive oil
*Salt
*Piment d’Espelette or paprika(as above)
*Two fillets of fish, cut into pieces(your choice of fish)
*Around 8-10 prawns, peeled and cooked
*A bit of any other seafood you fancy: eg mussels, squid, scallops, etc
(To make it really easy you can simply use a good marina mix)
*3-4 cups of pre-prepared seafood/fish stock (home-made with fish heads/prawn shells, quickly fried with olive oil, salt and piment d’Espelette, then covered with water and boiled for about 20 mins, left to stand till used, then strained. Or you can simply use fish/seafood stock cubes)
Method:
In a good-sized pan, fry the onions and garlic in olive oil till starting to soften. Add the tomatoes and capsicum, stir, add salt and half a teaspoon of piment d’Espelette or paprika, and leave to cook for about 5-6 mins with lid on. Then pour in the hot stock, and allow to cook at a simmer for a further 5-6 mins, to absorb the flavours. Then add the pieces of raw fish, and cook for 2-3 mins. Add the rest of the seafood, including the prawns. Cook for about another 2-3 mins, at a simmer. Sprinkle more piment d’Espelette in. Taste, add salt if necessary. Then take off stove, and serve with bread! The soup also keeps well overnight in the fridge—you can eat the delicious leftover soup, heated up, the next day!
My artist sister Camille Masson Talansier lives in the small town of Hasparren in the Basque country, 25 kms inland from Biarritz. In this charming video, made for the run-up to the release of my audio novel A Hundred Words for Butterfly, you get a glimpse of her life in this beautiful region, and the things that are important to her: art, food, family.
To check out more of Camille’s art, visit her Instagram page here, and website here.
On Friday August 27, at 7pm Australian Eastern Standard time, as part of the events around my upcoming audio novel, A Hundred Words for Butterfly, I’ll be doing a Basque cookalong, as a Facebook Live on Spineless Wonders’ page. During the cookalong, we’ll be creating a simple and delicious Basque fish soup, based on the version my mother used to make and which I grew up with. So that you can have everything ready before the day, I’ve made a video which explains all the ingredients to gather and prep to do before the cookalong.
To join the cookalong, register your interest here or simply join on the day.
At 5.30 pm (Australian Eastern Standard Time) on my You Tube channel, I’m premiering My Basque Country, a little video clip I made, which is about what the Basque country means to me. It’s linked to my audio novel, A Hundred Words for Butterfly (coming out in September with Spineless Wonders Audio ) and gives you a bit of an insight into the setting of the story and my own strong connections to it.
It’s going to premiere at 5.30, and isn’t livestreamed, but I’ll be online at that time to answer questions and interact in the comments. All invited! Below is the link for the watch party. Hope you can join us!
And if you can’t–well the video will be available to watch on my channel any time after 5.30 pm today.
I am absolutely delighted to announce that today Spineless Wonders Audio, who are publishing my audio novel A Hundred Words for Butterfly(which will be out on September 13)are launching a fabulous writing competition linked to the novel. Called #100words4butterfly, it invites people to create ‘100 of your best words’, whether that be micro stories, poems, songs, etc, around four intriguing writing prompts: Pilgrimage; Fork in the Road; Blast from the Past; and Confession. (All the prompts gesture back to themes/motifs in the novel). And there must also be a reference to food and drink in each piece, as that too is a feature of the novel 🙂
The comp is free to enter (via Submittable), and the prizewinners in each category will each win a copy of the audio book of A Hundred Words for Butterfly, while both winners and runners-up will have their work published in a special ebook created for the occasion, as well as being invited to read their work at a fantastic online event celebrating the release of the novel.
Head over to the competition page here for all details. Have fun–and good luck!
