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GPT is set up by The Ministry of Culture to encourage the publication of Taiwanese works in translation overseas, to raise the international visibility of Taiwanese cultural content, and to help Taiwan's publishing industry expand into non-Chinese international markets.

Applicant Eligibility: Foreign publishing houses (legal persons) legally registered in accordance with the laws and regulations of their respective countries.

Conditions:

1. The so-called Taiwanese works must meet the following requirements:

A. Use traditional characters
B. Written by a natural person holding an R.O.C. identity card
C. Has been assigned an ISBN in Taiwan

i.e., the author is a native of Taiwan, and the first 6 digits of the book's ISBN are 978-957-XXX-XXX-X or 978-986-XXX-XXX-X.

2. Applications must include documents certifying that the copyright holder of the Taiwanese works consents to its translation and foreign publication (no restriction on its format).

3. A translation sample of the Taiwanese work is required (no restriction on its format and length).

Grant Items:

1. The maximum grant available for each project is NT$600,000, which covers:

A. Licensing fees (going to the copyright holder of the Taiwanese works)
B. Translation fees
C. Marketing and promotion fees (limited to economy class air tickets for the R.O.C. writer to participate in overseas promotional activities related to the project)
D. Book production-oriented fees
E. Tax (20% of the total award amount)
F. Remittance-related handling fees

2. Priority consideration is given to books that have received the Golden Tripod Award, the Golden Comic Award, or the Taiwan Literature Award.

Application Period: Twice every year. The MOC reserves the right to change the application periods, and will announce said changes separately.

Announcement of successful applications: Winners will be announced within three months of the end of the application period.

Application Method: Please visit the Ministry’s official website (https://grants.moc.gov.tw/Web_ENG/), and use the online application system.

For full details of the GPT, please visit https://grants.moc.gov.tw/Web_ENG/PointDetail.jsp?__viewstate=oRWyc5VpG+PNII1HENWzEl8qiFfwAwJw7oJCOHz4L408lIe/efs7z+WTtc3mBJBkYvZhpy/Mg9Q

Or contact: books@moc.gov.tw

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Mystery writer Shimada Soji burst onto the scene in 1981 with the release of The Tokyo Zodiac Murders, a novel brimming with chilling perversions and the pure pleasures of deduction. The novel set Japanese mystery writers on the path of the Third Wave of Orthodox Writing (also known as New Mystery), venerating early mystery writers like Edogawa Ranpo and Yokomizo Seishi. By the ’90’s, the works of New Mystery writers were slowly being translated and published in Taiwan in Mystery magazine. Followed in the 2000’s by the systematic translation and publication of American and British Golden Age mystery writers by publishers like Yuan-Liou and Faces, a new generation of Taiwanese writers in their twenties and thirties were itching to try their hand at constructing detective stories that revolved around a central ruse. Crown Publishing jumped on the bandwagon with a smorgasbord of projects: the JOY Series, which focused on contemporary American and European crime fiction; a selection of Shimada Soji’s works; the collected works of Ayatsuji Yukito; and the Mystery Fan series, which published other Japanese authors. In 2008, seven years after discontinuing the Crown Award for Popular Fiction, the publisher established the annual Soji Shimada Mystery Award with the inaugural prize going to Mr Pets’ Virtua Street in 2009.

Virtua Street

One of the great contributions of the Soji Shimada Award is that it brings together authors and readers: in recent years the award has helped smooth the way for the sale of overseas publishing rights for recipients. In addition, the award has facilitated interactions between Taiwanese and Japanese crime fiction. The short story submission prize established by the Mystery Writers of Taiwan has also played a significant role in raising the profile of Taiwanese crime fiction authors, acting as a much-needed proving ground for aspiring novelists after the closure of Mystery magazine left a dearth of publication opportunities. Without these developments, the market for original crime stories might have sunk to a far lower nadir than seen today.

The Borrowed

Meanwhile, genre literature in general has provided an injection of energy into the field of Taiwanese story-telling. In recent years, Taiwan’s cultural and entertainment sector, with its emphasis on exporting soft power, has begun to attract international attention. Book rights have led the way with the sales of overseas translation rights for The Borrowed by Chan Ho-Kei and The Sniper by Chang Kuo-Li. The television series The Victim’s Game, adapted from a novel by Tien Ti Wu Hsien, was recently acquired by Netflix. The success of manga/video game crossover The Agnostic Detective, co-created by Xerses and Yingwu Chou, is yet another example. All of this has raised the visibility of Taiwanese creators, and expanded their vision as well, challenging them to create works of increasing breadth, depth, and maturity, characteristics prominently on display in The Baseball Club Murder. Whether it is the clever fusion of Taiwan’s social history into the narrative framework of the Golden Era detective novel, the evocative imagery, or the deft handling of subtle emotional currents, Tang Chia-Bang’s The Baseball Club Murder is never short on charms to court the admiration of readers from around the world.

The Sniper

The Baseball Club Murder is one of three TAICCA Select titles in Books from Taiwan Issue 13 and the recipient of the 2019 King Car Soji Shimada Mystery Award.

On the evening of October 31st, 1938, a body is found on a train travelling the Shinten railway line. The deceased, Chen Chin-Shui, a businessman from Banka, died clutching a bottle of Hakutsuru sake. Early the following morning a train out of Taipei pulls into Kaohsiung, the final stop of the West Coast Line. On board is the lifeless body of Fujishima Keizaburo, president of a Japanese trading company, a knife protruding from his chest. A baseball fan club, the Ballgame Association, where both men were members, is the only link between two cases from opposite corners of Taiwan. The victims met there through their mutual interest in baseball, but repeatedly clashed over their differing views and social backgrounds. While investigating the death of Cheng Chin-Shui, detective Li Shan-Hai of the Taipei South Police Department’s Criminal Investigation Department begins to suspect that the murder of Keisaburo Fujishima some 400 kilometers away may be the key to cracking his own case. As the investigation deepens, this case that hinges on the complex relations between Japanese and Taiwanese people in colonial Taiwan leads Detective Li all the way back to the Tapani Incident of 1915, an armed uprising of Taiwanese locals against Japanese imperial rule.

The Baseball Club Murder

Author Tang Chia-Bang, a baseball fanatic and former news reporter, says the story was brewing in his mind for many years before he finally took time away from freelance journalism to write this, his first work of fiction. The major awards the book eventually garnered were the furthest thing from his mind when he started. At the banquet for the Soji Shimada Award, Tang said, “My first thought was just to write something to share with a few friends.” Perhaps it is the purity of this original intention that allowed Tang to complete a 100,000 word manuscript that seamlessly integrates baseball, railroads, and Taiwan’s colonial history into the structure of a classic crime novel.

Of these three elements, history is paramount. Taiwan of 1938 was a colony of Japan – spoils of the First Sino-Japanese War – and would remain so until the end of the Second World War. The evolving relations between colonizer and colonized, initially characterized by armed resistance but later giving way to the détente of mutual prosperity, are distilled within the novel into the murders of two men, the detective investigating the case, and the villain whose identity is obscured within this murky and contentious mix.

In Taiwan, baseball is a miraculous sport. Now the country’s “national sport”, it was first introduced to Taiwan by the Japanese and gradually took root in the lives of the local people. The sport became a cross-cultural meeting point, a space for interactions on a relatively equal footing, and, for some, an opportunity to completely transform one’s social status. The Kyumikai Club of the novel provides these same functions, but are the conflicts in the club just the usual tussle of competing interests? Or are they a deep running personal vendetta that provides the motive for the crime? The railway setting provides a distant echo of these processes of cultural assimilation (no nation has embraced the subgenre of travel mysteries like Japan), while also being implicated in the novel’s numerous intrigues and puzzles. Like baseball, the development of Taiwan’s railways is intimately linked to Japan, and equally Japanese crime fiction has had a deep impact on Taiwanese readers and writers. That the novel received the Soji Shimada Award may be the greatest acknowledgement of this complex heritage.

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Images Reveal the Feelings Beyond Words

Zhou Jianxin’s ample experience illustrating picture books informs his creative approach to this long-awaited challenge: his first full-length graphic novel. He explains that graphic novels are usually fast paced, narrating a complete event within the space of a page. But Mr. Tsai’s story contained emotional tones that needed to slowly steep before their impact could be fully felt, such as the homesickness, melancholy, and cherished ideals that are conveyed by the aforementioned songs. At these moments, Zhou Jianxin uses the full-page and multi-page spreads so common in picture books to create a sense of stillness, slowing time within the progression of images to allow for sustained emotional development.

Zhou Jianxin

The well-thought out variations in color scheme and illustration techniques used in each volume are another highlight of these books. In the first volume Mr. Tsai’s childhood memories are represented by unfussy sketches touched up with pink watercolor for skin tones, a color which also symbolically hints at the red of the Japanese imperial flag. The second volume digitally emulates the relatively stiff forms of ink woodblocks to bring out the dreariness of internment, only introducing color upon Mr. Tsai’s release as he is greeted by the sight of the blue sky and ocean. The third volume, in which Mr. Tsai founds a children’s magazine, Prince, echoes Japanese manga in its use of effect lines and screen tones, accentuating the retro vibe with its maize and maroon palette. The artwork of the as-yet-unreleased fourth volume utilizes modern illustration techniques paired with bright orange accents for a more contemporary feel. By laying out a comprehensive and precise design plan for the entire series, Zhou Jianxin hoped to better convey the passage through the phases of Mr. Tsai’s life. His intent is to use “lines to convey feelings, technique to convey the era”.

Because Son of Formosa is based on the life of a living individual, the creators were both nervous and excited to pass their drafts to Mr. Tsai for review. “Only he could discover those details which we knew nothing about,” Zhou Jianxin says with a laugh. Mr. Tsai’s personal feedback led to the incorporation of additional details for readers to enjoy, like the carved floral ornamentation on the table in his childhood home, and the stage from which the Japanese officers announce the end of the war. “This wasn’t a story we invented on our own. We were concerned about how we represented this living person, and wanted to minimize mistakes.” From the beginning, Zhou Jianxin felt a deep calling to faithfully depict Tsai Kun-lin’s life.

Zhou Jianxin

Reading as a Personal Experience of Collective Memory

At the end of the interview the conversation turns to Son of Formosa’s potential in foreign markets. Yu Peiyun is forthright in her insistence that comic books and graphic novels are a gentle medium, free from the stimulating lights and sounds of high-tech entertainment. Readers can choose a solitary moment to quietly digest a work, giving space for emotional currents to be drawn out in their own time. This kind of reading experience is cherished around the world, allowing comic books and graphic novels to easily cross borders.

While the story of Son of Formosa is a microcosm of Taiwan’s journey through the modern era, from colonization, to totalitarianism, to democracy, these elements of collective memory are not exclusive to Taiwan’s people. They are greater than the history of a single nation. “To international readers,” Yu Peiyun reflects, “Taiwan may seem like a far-away place, but possibly their own country, or neighboring countries, have a similar history. These feelings are something we hold in common.” The potential of Son of Formosa is not only to provide international readers a window on Taiwan. More importantly, it will resonate with ordinary people in all countries who feel caught up in the great tides of history. 

Son of Formosa, the first graphic novel series from Slowork Publishing, depicts the milestones of Taiwan’s modern history seen through the life story of Mr. Tsai Kun-lin. Within its pages, readers witness the shifting panorama of the eras of Japanese colonization, post-war retrocession, the White Terror, the lifting of martial law, and the coming of democracy. Combining the spare but powerful text of author Yu Peiyun and the sensitive artwork of Zhou Jianxin, the four volume series is more than the story of one man – it is a vessel for the memories of an entire generation of Taiwanese.

An Ordinary Life: History in Miniature

Author Yu Peiyun laid eyes on Mr. Tsai Kun-lin for the first time in 2016. At the time she was assisting with an exhibition of writings by victims of the White Terror being held at National Taitung University, and Mr. Tsai attended the opening as an honored guest. The man Yu Peiyun witnessed that night was spry, radiant with energy, at once modest and warmly engaging. Having some understanding of his life experiences, she couldn’t help but wonder, “How could someone who had endured so much give the impression of such warmth and wisdom? Coming into contact with him was refreshing, as if he had the heart of an innocent child.” As she listened to him sharing his memories, the impulse kept welling up inside her to record the story of his life.

(from left to right) Yu Peiyun, Tsai Kun-lin, and Zhou Jianxin

As both a scholar and author of children’s books, Yu Peiyun had discovered that most of the children’s literature available in Taiwan came from overseas. “But we have such rich history and stories of our own,” she relates, “They should be written down.” For this reason she decided to collaborate with Slowork Publishing to produce a book focused on Taiwan: a detailed life history of Mr. Tsai Kun-lin that would serve as a portrait of an era in miniature.

Sleuthing for Source Materials: Piecing Together Taiwan’s Unique History

A work of historical biography cannot be undertaken without first gathering a rich array of source materials. Mr. Tsai had already published a personal memoir, so Yu Peiyun focused on researching details of everyday life that she could write into the story in hopes of striking a chord with readers. One such detail appears in the second volume, as political prisoners are moved to Green Island for internment. Upon seeing the prisoners, the local inhabitants are shocked. “They’re so pale. They look like white woodlice,” they say, comparing the malnourished prisoners to the thin-limbed crustaceans that inhabit the island. In confusion they ask, “They’re all people? Why were we told they were apes (sing-sing)?” The island’s inhabitants had been told that “new students (sin-sing)” would be arriving, a euphemism for prisoners which is also a near-homophone for apes in Mandarin. Humorous details such as these come directly from Yu Peiyun’s research, and were incorporated to more accurately recreate the atmosphere of the times. Yu Peiyun jokes that her research was a bit like solving a historical mystery. Since Mr. Tsai couldn’t possibly provide all of the details to recreate an entire era, it was left her to track down the missing pieces of the puzzle. Fortunately, Yu Peiyun relishes detective work.

In addition to finding historical information to weave into this moving tale, Yu Peiyun put a great deal of thought into the presentation of the story. The title, Son of Formosa (Child of Qingshui District in Chinese) indicates how she differentiates her approach from that of conventional memoirs covering this period of history. She hopes to clear away the clouds of misery and suffering associated with the era, erasing the usual labels, and instead convey that same impression of purity she had on first meeting Mr. Tsai. Although he had lived through political and national upheavals, in the end he was still that innocent child of Qingshui District–a son of Formosa.

A number of period songs also appear in the books. Yu Peiyun relates that Mr. Tsai is a music lover with a fine singing voice, for whom music has an almost redemptive power. Inserting interludes of song into the story highlights this aspect of his character, showing readers how his singing restored his spirits in times of hopelessness and kept the taste of freedom alive in his heart through the darkest years of his imprisonment.

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Sharp-eyed readers may notice a number of Easter eggs planted throughout the comic that have real world correspondences. The publication dates of the series echo the dates of events in the fictional timeline or publication dates of fictional books in the story. These carefully scripted links help create the surreal sense of the interpenetration reality and fiction. Chang Sheng also hoped to maintain some implicit connections to the original series. The period of the original comic is referenced in the Prince album Purple Rain, which appears several times as a device to move the plot forward. In the original comic, Guy Ninemann reincarnates as a variety of life forms, including a dog or a tree. Chang Sheng kept the idea, but changed the specifics, having his Guy Ninemann reincarnate as a robot and a bear.

The cover of the comic book is no exception to the meticulous planning characteristic of the project. Chang Sheng worked with the publisher to ensure that no writing would appear on the outside jacket. By leaving only a symbolic representation of the number nine to hint at the contents, Chang Sheng hoped to leave space for readers to form their own interpretations.

Persisting in the Face of a New Challenge: the Warmth of Hand Drawn Art

Time’s Wheel presented a major challenge to Chang Sheng. It was the first time in his more than ten years of drawing comics that he forwent the use of computer technology, instead producing the art completely by hand. The new approach allowed him to leave a physical record of his progress in the form of the original artwork.

When discussing his work habits, Chang Sheng reaffirmed his belief that maintaining consistent hours and consistent output is the only way craft a superior comic. To stay on schedule he had to work roughly ten hours a day. However, because he was more familiar with computer art tools, producing art by hand took roughly three times as long.

With the additional time required to collect the reference materials on which he bases his realist art style and develop the various links between the real world and the fictional world of the comic, Chang Sheng was soon barely coping with the pressures of staying on schedule. When he was close to missing a deadline, he reluctantly requested aid from his old assistant, the computer. After submitting his work, he couldn’t help joking with himself: “It’s a good thing I’m working on Nine Lives Man. Without nine lives, I’d be dead by now!”

High-Concept Comics Translate Better to International Markets

In recent years Chang Sheng has established a formidable track record, winning numerous national and international awards, and selling overseas translation rights in a variety of foreign markets. But if you ask him if he’s satisfied with his work, he responds with characteristic self-deprecating humor: “Ask any creative person. They’ll always say they’re unsatisfied!” But he does admit to a significant point of pride which may be the key to his headway in foreign markets, namely, his works are built around simple, but powerful, core concepts that transcend the demands and orientation of the market.

A concept that’s good enough will always attract readers. When paired with art that presents a clearly distinct visual style, you’ve got a comic that directly impacts the reader, thus transcending the language barrier. Nine Lives Man: Time’s Wheel is a stellar comic book that succeeds in shaking up conventional notions of time and reincarnation. With a high-concept plot and painstakingly detailed artwork, it seems destined to shake up international comic book markets as well!

In 1985, Taiwanese comic artist Push released his highly original sci-fi comic book Nine Lives Man. The comic inspired a generation of readers as they followed the adventures of Guy Ninemann, a man who unwittingly receives nine lives, as he travels between Heaven, Hell, and the mortal realm. One of those young fans was Chang Sheng. In 2018, Chang Sheng, now a comic book artist in his own right, enlisted Push and three other artists to create new interpretations of the classic. With no restrictions on genre or style, the artists agreed only to follow the core concept of “a man with nine lives”.

Calling All Artists: A New Edition of Nine Lives Man

According to Chang Sheng, a comic book becomes a classic because it has some element which transcends the era in which it was created. In the case of Nine Lives Man, the core concept of a man having nine lives always intrigued Chang Sheng, but, as a comic creator he felt frustrated that he couldn’t run with an idea that was not his own. That frustration remained until five years ago, when, through a twist of fate, he had the opportunity to ask the original creator Push if he could draw his own version of Nine Lives Man. He never imagined Push would agree right on the spot, initiating a unique creative project never before seen in the history of Taiwanese comic books.

Drawing inspiration from the prominence of the number nine in the original comic, Chang Sheng wanted to invite nine different comic book creators to participate in the publication of a nine issue series to be released on September 9th, and later release a compendium of the series in 2019. He even hoped to curate an exhibition about the project, among other ambitious ideas. After pitching the concept to publishers and artists across the industry, he was able to recruit only five artists, including himself and the original creator, Push. Although the scale of the project fell short of the original conception, the five artists set to work based on the core concept of “a man with nine lives”. Their creations span the gamut of styles from sci-fi to fantasy to thriller to romance, and even include a sequel that picks up thirty years after the timeline of the original. Taken together, the multiple versions of Nine Lives Man constitute a sumptuous visual feast.

Chang Sheng relates a number of curious episodes from the process of creating the series. The group first began their discussions at a coffee shop called R9. The number nine appeared again on Chang Sheng’s bus ride after the meeting. After deciding to dedicate himself to the project, he began to pay more attention to where the number nine appeared in his life, taking it as a lucky number. Only then did he discover that traces of the number nine ran everywhere in his life.

From Nine Lives Man to Time’s Wheel

Following the plan of the original, Chang Sheng’s Nine Lives Man: Time’s Wheel, tells the story of Guy Ninemann, a man with nine lives, who incarnates as various people (and life forms) to avert a city-wide bomb attack. In the various bodies of a police detective, a prisoner on death row, a writer, a little girl, a grandmother, a robot, and even a bear, he returns again and again to the scene of the incident to see if he can prevent the catastrophic loss of life and untold suffering that unfolds. The story subverts linear time, as well as traditional notions of reincarnation, as the successive lives of the protagonist overlap and interact with one another, each altering the course of events leading to the incident. The bewildering timeline is paired with Chang Sheng’s admirably meticulous artwork to produce an utterly unique reading experience which inspires readers to ponder the very nature of life itself.

Faced with this complex narrative challenge, Chang Sheng prepared himself by plotting the relationships between the characters and events in the story, creating the conceptual map that now serves as epilogue to the comic book. Chang Sheng has always had the habit of first drafting a blueprint of his stories before beginning to draw. Doing so allows him to plan out the foreshadowing, big reveals, and pace of the story. In addition, it allows him to draw the comic sequentially, so he can ensure steady progress. Chang Sheng strives to create stories that conform to the classical dramatic structure of exposition, complication, reversal, and dénouement, both in the broad outlines of the narrative, and in the arrangement of panels and transitions between pages in the comic book format. His goal is to keep his readers hooked, and keep them turning pages.

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We’ve all read Aesop’s Fables and closed the book with a knowing smile, moved by the love, courage, and humour in the stories. However, many of the fables feature one animal who is never very likable: a solitary fox with sharp fangs who is always labelled as cunning and treacherous. As a lover of fables, children’s book author Sun Chyng-Feng noticed that the fox had been treated “unfairly” over the years and decided to write Fox Hatches an Egg to gently invert the role.

Reversing the Character’s Image and Shaping Its Ideal Values

In the interview with Sun Chyng-Feng, we started by discussing the fox’s traditional role as a villain. She talked about how she started writing fairy tales in her third year of university and how she wanted to subvert the traditional way of thinking by challenging the various stereotypes surrounding widely-held gender and class distinctions. As topics like these are very important to her, Sun Chyng-Feng’s typical creative process is to start by deciding on the story’s main notion or subject matter, and then running with a story to express it. For example, Fox Hatches an Egg discusses the process of transforming from “selfish” to “selfless”.

Since Sun Chyng-Feng has lived in the US for many years, collaborating with illustrator Nan Jun on Fox Hatches an Egg was more like a relay race than co-creation. First, Sun Chyng-Feng completed the manuscript and then Nan Jun came up with the image concepts and drew the illustrations. This process gave both author and illustrator the most space for creativity. Talking about the content of the illustrations, Sun Chyng-Feng said there was one image which left a particularly deep impression on her: a white duck egg which takes up almost an entire page. This simple, bold composition captures that moment when Fox suddenly sees the duck egg in the undergrowth and he’s so excited that everything else in his mind goes blank, as if the egg takes up the entire universe.

Love Between Species and the Warm Life of Companionship

For illustrator Nan Jun, the most moving part of the story was the cross-species friendship between Fox and the duck which was brought about by chance but eventually became inevitable. He recalls his own childhood home where his kind-hearted father would sometimes look after stray animals and even adopted piglets, ducklings, and other unusual “pets” by modern day standards. When reading Fox Hatches an Egg he could completely understand how after Fox and duck kept each other company, Fox can no longer see the duck as food and instead feels a wave of affection towards it.

This is why when we asked Nan Jun which image was his favourite, he immediately said the cover: a picture of Fox curled up around the egg and sleeping soundly, with the two characters framed by the shape of a house. Nan Jun admits that the painting process means that you can’t always capture one hundred percent of the scene you imagined, but once he saw the completed cover he felt it had come out even better than he could have hoped. It really captured the warmth between Fox and the duck.

In addition to the subtly revealed affection between the two characters, Nan Jun set the book during autumn and meticulously planned the detailed settings. “The special thing about setting it during autumn was that even though the weather would be cold, the pictures would be filled with the kind of colours which would make readers feel that sense of warmth.” He added that this all tied back in with the feelings between Fox and the duck.

True Feelings Can Transcend Languages and Borders

At the end of the interview, we chatted about the potential for Fox Hatches an Egg to reach an international readership and Nan Jun stated he was particularly confident in the book’s portrayal of the closeness between the characters: “Fox Hatches an Egg will resonate easily with people of all ages and races because emotions are a universal language. It’s a book you can fall in love with as soon as you read it.”

Sun Chyng-Feng also believes that the book tells a universal story about love, and that there are no specific cultural or geographical limitations to it. In the end, Fox is so upset by his actions that he becomes a vegetarian and is more than happy to make that sacrifice. These bittersweet sentiments are what makes this the perfect fable, and also bring a touch of real emotion to the story. This may be why the book resonates so much with readers. 

At first glance, the large full moon on the front cover of Sleepwalking may remind you of the classic film E.T. the Extra-Terrestrial which also features a young boy who goes on a big adventure, but the picture book’s plot twists and the pervading ingenuity of its illustrations help make readers feel the warmth of the affection that permeates its pages.

Stories Born from Childhood Memories

Sleepwalking is based on author Yen Chih Hao’s own experience as he often sleepwalked when he was a child and it was something his father worried about constantly. Looking back on it as an adult, Yen Chih Hao wanted to thank his father and cherish the memory of his grandparents who had passed away, so he picked up a pen and composed this story which only took him thirty minutes to write. The publisher introduced him to illustrator Hsueh Hui-Yin and the way they collaborated was quite interesting: once Yen Chih Hao finished writing, he gave Hsueh Hui-Yin full responsibility and the two of them had zero contact until the draft was completed.

Hsueh Hui-Yin thought that it wouldn’t take much time since the plot was simple and Yen Chih Hao had provided preliminary concepts for the images. She certainly hadn’t expected her progress to be hampered by multiple factors, and the author didn’t push her too much for the sake of quality. Thus, a story which was written in thirty minutes ended up taking five years to illustrate. In fact, it took so long that the editor who’d originally been responsible for the project had gotten married and had children in that time. 

The turning point came when the two of them met after the rough drawings were completed. Yen Chih Hao thought the middle of the story was lacking an important turning point: a scene where the father hugs his son. The editor thought it could be omitted, but Yen Chih Hao persisted and decided to discuss it with Hsueh Hui-Yin in person. To his surprise, he found that Hsueh Hui-Yin also felt that they should add this scene and they both regretted not having met sooner.  

Conveying Profound Issues in Picture Books 

Sleepwalking describes a young boy who sleepwalks out of his house in the middle of the night and embarks on a great adventure. He travels far and wide, his anxious father by his side and protecting him along the way before it transpires that the boy had been going to lay flowers at his grandparents’ graves all along. The father and son embrace and the sleepwalking spell is broken, then their journey home is filled with warm father-son interactions. In the end, the boy returns to his bed and falls back into a peaceful sleep.

At the beginning it seems like an adventure story, but in the middle there’s such an unexpected plot twist and the book ends with an affectionate note between father and son. When asked whether he deliberately planned it this way, Yen Chih Hao quickly replied that a common motive in life is to supplement our inner selves and as we slowly accumulate this material over time it naturally reveals itself so there’s no need to purposely construct something new.

Surprisingly for someone who had already written many works over the course of his career, Yen Chih Hao’s appreciation for children’s literature occurred relatively late. It wasn’t until he pursued a graduate degree in children’s literature that he really came into contact with it and began to slowly figure out his own creative path. It could be said that children’s literature is his safe haven and that he wants to give children hope and spark their imaginations through his works, and that this is where he finds his own creative joy.

While the book explores profound issues such as death and parent-child interactions which might seem a bit serious or difficult for young children to understand, Yen Chih Hao tries to tell the story in the style of a fairy tale. He takes a warm approach to reflecting on life and makes the child’s thoughts the main highlight, which he particularly emphasises by having the father stay silent on the journey. It’s not just about hoping that parents can let their children fly, it’s about wanting children to always have that strong backing and support.

The Shared Dance Between Author and Illustrator

In terms of collaboration between an author and an illustrator, Yen Chih Hao believes that an illustrator should respond to the text and the pictures should bring an additional layer of creativity. With Sleepwalking, Yen Chih Hao left Hsueh Hui-Yin a lot of space for expression: “It’s like two people dancing together, it’s just that I danced the first half then stepped aside so my partner could dance the second half.” He hoped that by having their two life stories intertwine, they could create an even more beautiful third story. A good picture book should be like a film, where the text gets the ball rolling and the images immerse the reader in the story.

The book contains relatively few words and the latter half of the return journey is told entirely through images which gives the narrative a unique style of its own, although this lack of text also puts the illustrator’s storytelling ability to the test. Hsueh Hui-Yin initially painted the images by hand but discovered the pictures looked too crowded so she did the illustrations digitally to reach the perfect balance. If you look carefully, you’ll see that the pictures contain a lot of hidden details which Hsueh Hui-Yin deftly uses to bring the images to life, including the boy’s stuffed animals, the way the moon moves across the night sky to signify the passage of time, and the illustrations in the second half which are in the opposite direction to show that they’re on the return journey.

Hsueh Hui-Yin believes that relative to creating a single illustration or a book cover, illustrating a picture book is more like making an album. A picture book is a complete story, so it is important to pay close attention to the narrative structure and cohesion between plots. The composition and arrangement of images need to be carefully considered and the pictures must convey what cannot be expressed by words.

Sleepwalking’s landscapes are often filled with features that are distinctly Taiwanese, such as its wind turbines, trains, and convex traffic mirrors, all of which remind readers of the island’s beauty. Combining this with the universal feelings conveyed by the story itself and the straightforward illustrations will surely help the book transcend language barriers and impress readers from all over the world.