PASS IT ON ISSUE 47
PASS IT ON - ISSUE 47: DATE
Hi everyone! I hope you have all had a fantastic week. Thanks to all who
have contributed and a special hello to all new members. Thank you also to
everyone who has offered support and encouragement, I really do appreciate
it. Please enjoy this week's issue of PASS IT ON.
A Disclaimer of Liability
Please ensure that your submissions are ACCURATE and clear. I will not have
time to double check the information and I will accept no responsibility for
any errors or omissions contained in the information submitted. PLEASE be
careful.
To unsubscribe send an email to jacket@smartchat.net.au with "unsubscribe"
in the subject heading.
WHAT IS PASS IT ON?
PASS IT ON is an on-line networking newsletter for those involved with or
interested in the children's writing industry. It is emailed to subscribers
every Monday.
PASS IT ON will survive only for as long as YOU the CONTRIBUTOR determine. I
am the collection point for YOUR submissions. I am one cog in a tool that
has the potential to be very powerful.
If you wish to receive PASS IT ON - email me, Jackie Hosking at
jacket@smartchat.net.au and I will send you the most recent issue of the
newsletter. If you like what you see, please request an invoice and I will
add you to the subscriber's list.
If you join in July it will cost you $24.00 If you join in August, it will
cost you $22.00 If you join in September, it will cost you $20.00 etc
Please contribute as often as you can and be assured that I will treat your
contact details with the utmost confidentiality.
I look forward to making many new friends.
Past issues may be viewed at my website www.jackiehosking.com
GENERAL INFORMATION
· Two messages from Edel Wignell:
1.
Note that Highlights for Children magazine (
All Rights. If they accept your work, they will pay a once only fee. They
will be able to use it as often as they wish in the magazine, in
anthologies, CD-ROMs. You will not be able to send it to another magazine or
a short story anthology, revise it as a picture-story text or extend it as a
chapter book novel. You will never receive fees for translation,
merchandising or electronic rights.
Every item you write has terrific possibilities for further marketing. One
of the aims of the SCBWI this year is to alert publishers to the fact that
they ought to respect the copyright of creators. The SCBWI Publications
Guide to Writing & Illustrating for Children (available to members of SCBWI)
includes a Magazine Markets Guide with guidelines and details of rights
requested by each market. See www.scbwi.org
2.
Have you heard of HIPPY? It is a literacy program (Home Instruction for
Parents of Preschool Youngsters) that helps parents from disadvantaged
communities to teach their children to learn to read and to enjoy reading.
The program, begun in
children's educational success. Now HIPPY operates in
Zealand
program was started in 1998 by the Brotherhood of St Lawrence in Fitzroy.
Recent news is that Readings Books & Music (well-known to Melbournians) are
helping Fitzroy's HIPPY families. When Harry Potter and the Half-Blood
Prince, the fifth in the bestselling series, is launched on Saturday 16
July, all Readings stores will be holding a magical Harry Potter Party from
8 am, and $5 from each purchase of the book will be donated to the HIPPY
Literacy Program.
· Telling it as it is!
Everyone says you need a Big Name to get your work published, but you don't
often see this as written fact. So here it is in a rejection letter:
'Thank you for sending (Title of Book) to Jane Curry Publishing. We have
just started our children's fiction list and at this stage are only
publishing well-known authors.' C
Author colleagues and friends might be interested in this response I
received from an enquiry to free online
(www.kidmagwriters.com), edited by very helpful Jan Fields.
Q: At KMW, we have a number of readers from outside the
which makes us very happy - and one of our readers asked about getting a
agent. Obviously sending submissions to US agents and publishers can be an
expensive process and email would certainly be helpful - but how do you get
US agents to answer their email? We asked around and one agent offered this
insight:
A: Without a referral, every submission is considered "unsolicited" no
matter where they come from. Despite flaws, e-mail is still the best way to
make contact. If book history and sales are strong enough, and the agent is
interested in working with writers in other countries (many just don't want
to deal with all the additional paperwork unless project is particularly
strong), chances are as good as anybody else's.
I have been attempting for over two years to find a
experience is that despite my strong publishing record (90 books published),
they are not interested in even responding to email enquiries. Dianne (Di)
Bates
FICTION AUTHORS
BOOKBLASTER E-QUERY SERVICE GETS RESULTS!
We can send your query letter to over 500 agents and
publishers by email
Picture this . you open your email inbox and there are numerous requests
from literary agents and publishers, all wanting to read YOUR manuscript.
Now gaining access to literary agents and publishers who handle fiction is
possible with Bookblaster.
The comprehensive query campaign that we offer can deliver almost instant
results. It's highly effective and takes the hard work out of querying,
leaving more time to write.
All you have to do is send us your query letter and Bookblaster will email
it to over 500 agents and publishers.
All emails are individually sent and are generated from your personal email
address, which means that the agents and publishers will respond directly to
you. A list of all recipients is made available to you to assist you in your
campaign management.
Take the first step towards publication by signing up for either the Book
Agents Blast (Agents only) or the great value Bookblaster Pack (Agents and
Publishers).
To find out more, go to:
http://www.scriptblaster.com/bookblaster.php
SEEKING
from Steven Herrick:
I wonder if anyone can help me with relevant contacts in New Zealand for a
reading tour I am planning of the country during the month of January
2006?
I already have a number of readings booked in libraries but I'm open to
any suggestions.
You can contact me on my email at sherrick@exemail.com.au
thanks.
I too, was disappointed that no one passed on the information about what
those 'gaps in their Aussie Nibbles, Chomps and Bites series' mentioned at
the
have that tidbit of information. Wait! Maybe I missed reading it. If so will
someone please tell me where to find it.
***This information was included in issue 45 - hidden away in the "Special
Events" Section - sorry about that. I've included it again here.
Information will continue to be updated on the website - and I have now put
up the transcript of Lisa Riley's session at the last forum (Lisa is
Associate Children's Publisher at Penguin Books). Many thanks to Lisa for
giving permission. - http://www.staff.vu.edu.au/profwriting/cwforum.htm
REQUEST FOR AUTHORS/ILLUSTRATORS BOOKFEAST 2005
Bookfest is a
difficult social issues. It is a NON PROFIT function where authors and
illustrators are invited to attend and donate their services.
Michael Fraser donates his time freely over the past years, as have other
librarians, in the interests of children an books.
Authors may bring their books to sell there. However, this event is about
giving to the community.
Bookfeast has becomes an annual, popular literature festival for students
from public and high schools in the
The event aims to encourage young people to read and to
recognise the value of Australian literature. It is a chance for
approximately 300 school children and their Teacher Librarian to share lunch
and conversation with some of their favourite Australian authors and
illustrators.
This year, Bookfeast is being held on
Fairfield RSL and will be opened by the Honourable Bob Carr. We hope to
attract 30 authors and illustrators to give their time between
and
accompanied by their Teacher Librarian. We ask you to share conversation
about your work, how you got started, and why you love what you do.
This is a non-profit event. As such, we consider every author, illustrator
and publisher to be 'supporters' of Bookfeast - to promote literacy,
education and awareness of Australian literature.
If you are able to give us your much valued time and support on the day, or
would like more information, please contact:
Michael Fraser
Assistant Principal
Fairfield Public School
Tel: (02) 9724 1065
Mobile: 0402 296 664
Or,
Josie Worner
Manager, Education and Public Programs
Casula Powerhouse Arts Centre
Tel: (02) 9824 1121
Email: education@casulapowerhouse.com
Elizabeth Wilhelm, editor of an online teen writing group, is looking for
mentors.
Anyone who's interested can learn about the mentoring program here:
http://www.absynthemuse.com/index.php?option=com_content&task=blogsection&id=6&Itemid=81
Here's the mentor application:
http://www.absynthemuse.com/index.php?option=com_mosforms&mosform=4&Itemid=85
REPLIES TO SEEKING
for Ethleen, who wanted these book titles resubmitted:
Making A Good Script Great by Linda Seger (Samuel French, 1987)
Because I started out as a playwright and came later to children's fiction,
I use a lot of scriptwriting techniques when I'm working on a novel. I find
that thinking about a story in terms of the three act structure, turning
points, action points, barriers and reversals helps me to keep it moving,
keep it interesting, and create a good solid structure. This is the book
that I originally used when I started writing plays - and still refer back
to often when I find myself stuck or lost
Scriptwriting Updated by Linda Aronson (Allen & Unwin, 2000).
This book is wonderful - it gives a lot of different ways of thinking about
antagonists and protagonists, as well as myriad questions to get ideas and
to help you look at a story in a new light. I find that it works just as
well for children's fiction as it does for scriptwriting. However it's a
more complex book than Seger's, and if you are interested in having a look
at this sort of material, I suspect that Seger's book is probably a better
place to start.
Lian Tanner
NEW PUBLICATIONS
SPECIAL EVENTS
Lis Bastian and Ian Dalkin take great pleasure in inviting you to meet
CAROLINE MAGERL
at the opening of her new exhibition of paintings
2pm Saturday 2nd July (open every day through school holidays)
Stop Laughing This Is Serious Gallery
3 Hat Hill Rd Blackheath, 2785
Caroline's work can be viewed on our website:
www.stoplaughing.com.au
Queensland artist on show
One of the greatest honours that can be given to an artist is to be
described as "a painters' painter". Caroline Magerl, the
featuring in Stop Laughing This Is Serious Gallery's next exhibition, is
just such a painter. While there is a deep philosophical and emotional
undercurrent in all her works, it is the extraordinary handling of colour
and paint, and the obvious revelling in what paint can do, that makes
Caroline's work a magnet to those who love to paint. Her paintings are both
figurative and abstract, with subtle layerings, glazes, sgraffito and
confident passionate brushwork. This obvious confidence, which at the same
time manages to avoid becoming slick, has grown from years of experience at
honing her talent - first as a cartoonist and then as a children's book
illustrator. Despite this there is nothing illustrative about the paintings
in this show.
Gallery Director Lis Bastian is thrilled to be showing this new exhibition
of paintings: "Caroline has been one of the Gallery's most popular artists
although so far we've only shown her cartooning and illustration. Her
paintings have been in such demand at major galleries around
it is a real coup for us to finally have a solo show of her work."
First published by the Bulletin magazine, Caroline's work has appeared in
most major Australian newspapers and some international magazines. Her first
children's picture book won that year's Crichton Award for best debut
picture book artist and she very rapidly became one of the most sought after
children's book illustrators in the country. After the birth of her
daughter, Caroline's work became more introspective and she began to explore
painting in oils. While she has just written and illustrated a book that has
been haunting her for years (to be published by Allen and Unwin next year)
it is her painting that helps her to tackle the strangeness of life in a
wry, poetic, timeless way. According to Caroline: "I have an abiding
suspicion that life has a pattern I can't see and each picture I make is
added to a mosaic I am too close to .... I can't see the overall design ....
these words and pictures are my raft , I have to be content to understand in
retrospect or not at all."
Caroline Magerl's exhibition opens at Stop Laughing This Is Serious Gallery
at
and all are welcome to attend. The exhibition will be open every day during
the school holidays, then Friday to Sunday for one month at
Blackheath. Caroline's work can also be viewed at www.stoplaughing.com.au
****************************************************
FROM PRAGUE TO GEELONG GALLERY
Isobelle Carmondy
Will speak about her latest children's story book Little Fur on
Wednesday 7th September at 4.30pm
Copies of the book will be on sale
Bookings essential at Geelong Gallery,
Little Malop Street, Geelong
(03) 5299 3645
************************************************
July "No Frontiers"
A free multi arts performance event features poetry for children from the
new collection "Let's Jabberwocky" edited by Jenny Poulter, published by
Knowledge Press. Poems will be read by some of the authors and children.
Other guests will be Graham Nunn reading haiku and guitarist Andy Mc
Donnell.
Hall
Supported by FAW Qld and sponsored by Arts
MARKET OPPORTUNITIES
· Espresso fiction seeking short stories for children and young
adults. Writers guidelines can be found at:
http://www.espressofiction.com/information_writers.php
· A novel wish-list from a
they DON'T want!
'Here's a home-town newspaper article about a very small children's press in
http://www.tribstar.com/articles/2005/06/12/package/package.txt
With an organization this small, it's very important to make sure that one
submits only appropriate material. Tanglewood's website offers not only a
look at the books it's already issued, but a long list of ways to submit
poorly: http://www.tanglewoodbooks.com/submissions.html
I suspect that what this press considers edgy books must be measured by the
standards of
(from the international SCBWI newsletter)
COMPETITIONS/AWARDS
The Fellowship of Australian Writers WA
National call for applications from poets to our new
2006 Poets-In-Residence Program
The Fellowship of Australian Writers WA 2006 Poets-In-Residence program will
provide two established, one emerging and one young poet with the financial
support, facilitation and writing space to develop or complete work(s) in
progress. The maximum duration of residency will be four weeks full time for
established and emerging poets and two weeks full time for the young poet.
All positions are dependant upon and subject to funding.
Applications close: 30 June 2005
Applications are available by contacting FAWWA by phone: (08) 9384 4771, by
email: fawwa@iinet.net.au or at our website: www.fawwa.iinet.net.au
John Marsden Prize for Young Australian Writers
Closing Date: 31st August 2005
Youth arts organisation Express Media is proud to announce a new national
competition for young writers under 25 years of age. Named after the
organisation's patron, the best-selling Young Adult fiction author John
Marsden (who is also donating a total cash prize of $2000 for the
competition), the inaugural John Marsden Prize for Young Australian Writers
will award prizes of $500 each to two young writers for the best poem and
the best short story entered into the competition. The winning entries will
also appear in the December issue of Voiceworks magazine, published
quarterly by Express Media and dedicated to showcasing the work of young
Australian writers and artists. Prizes will also be awarded to the
runners-up, whose entries will be published on the organisation's website.
The competition, which was formally launched by Mr Marsden on Friday May
6th at the second annual Emerging Writers' Festival (also presented by
Express Media), is now open for entries. Entry forms are available from the
Express Media's website at www.expressmedia.org.au and entry is free.
Entries of up to 3,000 words may be submitted.
WRITING COURSES/WORKSHOPS
· We've had a major change to our
workshop - a different tutor! See the message from Azra below. Still have a
couple of spaces if you'd like to come along.
See you there!
Dita
Sent:
Subject: workshop
Hi Everyone,
I always hate to start with an email like this but unfortunately I have bad
news. Marianne has become quite ill and will be unable to hold the workshop.
I hate to disappoint you all, but there is some good news. I have managed to
secure another writer to hold the workshop, Cory Daniells. She has published
over 30 children's books and is well known in the
community. She has also published a speculative fiction trilogy and has been
on the QWC committee.
I understand that some of you may not want to still attend, as you were all
expecting to see Marianne, but Rowena (or Cory as she is known by her
readers) is very experienced in holding workshops and has a lot to offer.
The theme for the workshop will remain the same.
Her bio' is at the end for you all to check out.
Those of you who would still like to attend, could you please email me or
contact me on 55453489 at your earliest convenience, as if I don't have the
numbers I will have to cancel the workshop.
For those preferring not to attend the workshop please let me know and I
will organise a full refund.
Kind Regards,
Rowena Lindquist - Biography
Rowena writes her adult fantasy as Cory Daniells. Her T'En trilogy was
published in
had nearly 30 children's books published. She has been on the management
committee of the QLD Writers Centre and the Brisbane Writers Festival.
Currently she is the Assistant Director of the Aurealis Awards, and Vice
President of Fantastic QLD which runs EnVision, Clarion South, the Aurealis
Awards and will be running the national SF Convention in April next year.
Rowena has six children and lives by the bay with her long suffering
husband. In her spare time she learns two marital arts, Akaido and Iaido,
the art of the Samurai sword.
Relevant web sites.
Fantasy Books -- www.corydaniells.com
Critique Group -- www.corydaniells.com (Click on ROR)
Critique Workshop -- www.sf-envision.com
National SF Convention -- www.conjure.org.au
(Rowena writing as, Cory Daniells)
rowena@corydaniells.com
(Rowena & Daryl Lindquist R&D Studios)
rdstudio@corydaniells.com
Artwork -- www.corydaniells.com (Click on R&D Studio)
HAVE YOUR SAY
HAVE YOUR SAY
The little snippet about writers in schools in Q isn't quite accurate
-- the dept of ed has been insisting that visiting writers be
registered for about 15 years now. However you do not have to
be booked through the Arts Council; you just need to be on the list
they print yearly.
To get on the list you need to pass an audition. The auditions are
not particularly suitable for authors, esp authors without a
performing background. The auditions cost $300+ and you are
authorised for 3 years after that. The bad news is that they sent
out a letter saying that the auditions are to increase in price to
reflect the actual cost to the dept and so far they haven't let us
know how much it will be.
An author can still present at private schools without being
registered and some public schools don't check out whether an
author is registered or not.
Anna
FROM AN AUTHOR
I read the submission from the teacher fed up with paying ASA rates
to visiting authors with horror. Yes, casual teachers will teach all day for
less. So why not get your casual teacher to talk about writing instead?
(Maybe you could get them to take your appendix out at the same time- a lot
cheaper than a doctor.)
Is a writer worth doctor's rates or casual teacher's rates? If it's too much
hassle, and not worth it, why invite a writer at all? (Weird fashion, after
all, having to have a writer for book week.)
Yes, some writers do find it difficult to talk about their work- and aren't
inspiring speakers. Are you inviting them for their workshop capabilities,
or because you want kids to meet the author of the books they love? (Either
reason is valid- but if you want an inspiring speaker, you need to do your
homework and make sure they are public speakers as well as writers.).
But for most writers, speaking to kids is the most exhausting thing we will
ever do. We have an hour to inspire them, excite them, get them reading, get
them writing. We are speaking without a break at a pitch of concentration
far beyond the usual back and forth, often relaxed pace of day to day
teaching. Three hours at that level and it's no wonder that so many writers
have health problems after the pace of book week.
And please...if it's going to be a hassle fitting in a writer with other
book week activities, don't do it! (There are other weeks in the year, after
all.)
HAVE YOUR SAY
RE: A few weeks ago a PIO contributor recommended two books on
Scriptwriting. Unfortunately I have mislaid the names. It would be
appreciated if they could be re-submitted. Thank you.
Ethleen.
In response to the above, I have a tip that other readers may find handy. I
made a new folder in my email program for all PIO so that I can keep them
for as long as I need to refer back to without having to wade through lots
of other emails etc. By this I mean as well as inbox, outbox, sent etc I now
put my PIO into a PIO folder.
Hope this makes sense.
Sharon Greenaway
FROM AUTHOR Jenny Mounfield
In PIO 46, Bev McGregor said:
I have had wonderful authors like Garry Fleming and Di Bates at my school -
what fantastic performers - who are worth every penny, but I have also had
some complete duds! Being a brilliant writer for kids does
not necessarily mean they are brilliant in front of kids.
Good point, Bev. So, what do dud authors do?
I confess, I'm one of the duds, and to be honest I'm perfectly OK with it.
This is the reason I don't put myself in front of a class. I'm no performer,
and while I work with words, I tend to have a lot of trouble finding the
right ones when confronted by a group of kids. If I had the slightest
interest in learning these skills, I'd have become a teacher, or an
entertainer.
Is it possible for a kids' author to find success today without being on the
school circuit?
Incidentally, I take my hat off to all those performers out there. To be a
talented writer and entertainer is a true gift.
HAVE YOUR SAY
In response to the query about working in Queensland schools: I've
maintained my teacher registration, so no problem with "Blue Cards". But I
have had to take out public liability insurance (this was to do writing work
for the Dept of Education, not necessarily to visit schools). I don't
believe the Arts Council are the only way into schools - I've been booked
direct as an author by many schools.
Pam Rushby, author
In reply to Bev McGregor. Bev comments that a "casual teacher" doesn't
demand a "$600 fee for a day" as an author does. I feel the difference is,
you're not employing a casual teacher, you're employing an author, which
argues different expertise entirely. Working with smaller groups of
students, I find, means that students gain more from the experience - they
get individual attention, which is impossible with a larger group. In my
experience, the key to a successful school visit is discussing both the
teacher's and the author's expectations and needs beforehand, and agreeing
on what's to happen on the day. It doesn't hurt to put this in writing and
for both parties to hold a copy.
Pam Rushby, author (and ex-teacher!)
FROM AN (ENVIOUS) AUTHOR
I have just finished reading Paul Jennings' latest Puffin novel (How Headly
Hopkins did a dare, etc) and am incredibly inspired to create books that
kids will kill for, because if this book doesn't get every reluctant fifth
grade reader highly enthusiastic about reading, I will fall into a heap of
self-doubt about my judgement as a teacher and author. What a fantastic
storyteller Paul is! The book inspires me to be a better writer. I know many
parents and librarians will be shocked if and when they read a certain
section, but when I read it, I rolled around laughing aloud for at least ten
minutes. No other kid's book has kept my interest as much as it did. Its
creator is a genius! DC
FROM AN AUTHOR
I'm sorry but I must disagree with Bev McGregor's suggestion that authors
charge less for a school that is "local". I've worked in schools for over
16 years and take great pride in charging the same rate to Boggabilla
Public School (500 kilometres from my home) as to my local public or
private school. If anyone deserves a discount, it's the children of
distant country schools, not those from the Sydney/Melbourne/Brisbane
area. And yes, I do go to these distant schools, and I don't charge them
for accommodation/meals/etc.
And if you're comparing casual teachers with authors, then perhaps you
should get the casual teachers to run the workshops instead? Sorry, I
don't mean to be rude, but too often we authors seem to be asked to do a
"freebie", or give a discount. Try that on your local plumber,
electrician, teacher, doctor - I don't fancy your chances.
FROM AN AUTHOR
Re a correspondent's comment last issue:
"In fact, the situation is even worse in Qld, as you cannot work in public
schools in the state without being authorized AND booked through the Arts
Council (run by the State)".
This isn't strictly true. Jenny Stubbs from the Ipswich Festival asked
guests if we have a blue card. I subsequently obtained one from the
Commission for Children and Young People and Child Guardian (phew!), even
though I have a clearance from Victoria Police. Jenny later said, and I
quote, "It appears that this is just a Qld requirement but it is only
relevant if you work for 8 or more consecutive days. If you have clearance
from other states fine."
The website Jenny mentions:
http://www.childcomm.qld.gov.au/employment/bluecard/informationSheets.html
The correspondent's comment that you can't get school work in Qld unless
you're booked by the Arts Council is also untrue. I've been booked for two
weeks' work this year without said "authorisation", through my regular
agent. Nor has the Department of Education become involved.
The correspondent also mentions "registration" fees in Qld and NSW (to
present in public schools). I've never been charged these, nor do I know
anyone who has.
I do agree with the sentiments behind the post, though. It's a given that
presenters aren't left in a room with students unless a teacher is present.
Aside from this, I agree with getting a police clearance, but at present it
appears individual States are insisting on their own "checks". Any police
check by its very nature should be a National check, therefore making
multiple checks superfluous. If you're an upstanding citizen in one State,
I'd imagine you are in every State!
As for public liability insurance -- this can cost a thousand dollars plus.
It's simply unfair to insist on it. Luckily I've never been asked for it,
but the way things are going, I can see it becoming a prerequisite.
Personally, I think the schools and libraries should have presenters covered
in their own public liability insurance.
CALL ME PICKY
Being meticulous about spelling, grammar and presentation of work, I was
not sure whether to be appalled or amused on seeing that the word
'practising' in my poem last week had been given the American spelling
'practicing', presumably by the spellcheck. Well, maybe it was Margot the
American site owner's way of getting her own back after my criticism of her
second-rate website.
Elizabeth Hutchins
HAVE YOUR SAY
Two words stood out in Elizabeth's contribution 'Rhyme - Again' (PIO 46)
'The hardest bit... is getting the rhythm exactly right.'
I agree! I went to the website that Elizabeth mentioned and from there
followed the link to
http://www.smartwriters.com/index.2ts?page=swjapril2003#dori where there was
an excellent article about writing rhyming poetry/stories for children. If
you dabble with rhyme (and rhythm!) then I recommend you read this. Easy to
follow and clearly set out, with examples throughout.
Kathryn Apel
HAVE YOUR SAY
>From Catherine McClellan at Lateral Learning:
I just want to make a few comments about author visits in schools as the
topic seems to have been under discussion quite a bit in recent issues of
PASS IT ON.
At Lateral Learning Kris Fegent and I represent a wonderful 'stable' of
authors and illustrators and we hope the work that we do on their behalf
enables them to spend their time concentrating on the creative process,
rather than getting involved in the sometimes quite lengthy negotiations
required when organising school visits. We also feel that the service we
offer makes life easier for both schools and the speakers by providing a
central reference point, with our knowledge and experience allowing us to
match the right speaker to the individual needs of schools and libraries.
Regarding fees, our agency at times barely covers the costs involved in
providing this service. The Australian Society of Authors has set basic
rates for speaking fees for their members, which we regard as a very fair
guideline for the specialist knowledge and skills which they provide.
We spend a lot of time sitting in on various talks and workshops, and seeing
the magic that happens when a connection is forged between an
author/illustrator and the students they are speaking to inspires us to keep
on doing what we do!
FROM AUTHOR Christina Booth
In response to the comments about authors in schools:
I made many visits to schools and I was welcomed by the students very
eagerly, all for free! Don't lynch me. I was very new on the scene and naive
but at the same time it was a real buzz to be able to communicate to kids
about reading and writing in an exciting and interesting way and have their
complete attention, they even wanted my autograph which at that time was
about the same as getting the cleaner to sign for you (but it felt nice).
The staff were not very interested in what I was there to do and even left
their classes to go and do marking (or get a coffee) during my talk! I was
very nearly lynched at the Tye weekend I went to when I quizzed someone
about being paid and how much during a presentation on presentations. I
confessed to doing freebies, I didn't know any better.
I now find that teachers hang about and don't disappear. I justify what I do
by explaining that I will do a lot of preparation before my visit (I do art
work shops with them as well). They may only see me for one day but I put in
one day of prep' at least . I make sure schools get their money's worth. I
now have a special spot on my web site for schools to check before they plan
a visit. You can check it out if it will help at www.christinabooth.com . I
find this helps with some schools as they often don't think it through
before inviting you, especially if you have to travel. For e.g. one school
on the 'big island' (I'm in Tassie) wanted me to travel (1 day there, 1 day
back, plane, bus, train, accommodation for 2 nights!)and spend 1 full day at
the school for an entire $500. I offered it as cheap as I could but they
would not pay more so the kids missed out! (This was before my web site went
up!).
It is like any service really, some do it better than others and hopefully
your reputation as a guest speaker will ultimately speak for itself.
Have fun with it all and be passionate about why we are there in the first
place. The kids just love it!
FROM AN AUTHOR
This week I received an email from a Queensland author who wrote: "I only
wish we could have a children's writers' conference in this country. The
CBC conference has authors as guest speakers but doesn't cater to the
growing field of children's writers who need support and information from
such events." I agree full-heartedly with her and wonder if there is anyone
out there willing to put his or her name forward to help get one organised.
If so, let Jackie know privately or report back in PIO. If I get support, I
guarantee to find the funding and help to create a program which covers all
aspects of the industry from getting started to finding an agent to placing
and contracting a manuscript; I will also recommend speakers who do not have
ego-agendas but who genuinely want to help new writers. You don't have to be
published, but you do need 100% commitment. DC
FROM AN AUTHOR
This week I heard from an industry insider that the big book chains offering
children's books are now engaged in a concerted effort to stock only books
by leading authors. If you've been to your local bookshop lately, you will
notice that there are only certain well-publicised and well-known authors
whose books are available. Can I suggest that as a small lobby group, all
PIO subscribers make it a standard practice from now on to only purchase
books for children from specialist shops? Most of these customer-focused and
caring shops offer a 10% discount to good customers and will post them their
books (the discount pays for postage). I do 90% of my book buying via a
well-known children's bookshop this way. If you have a list of specialist
children's bookshops in your state, could you please send in their names and
contact details to PIO? I'm sure Jackie won't mind putting them all under
one heading and then we can be united in making sure that new and
lesser-known children's authors in Australia get a fairer deal than they are
getting now. Please let all your friends and family know about this
campaign! DC
HAVE YOUR SAY
In response to PIO 45 - Good to hear JM's solution to the Overseas Postage
issues. I must confess that I think about doing those sorts of things (email
acknowledgement in lieu of IRCs) - then chicken out, wondering if I'm
disadvantaging my manuscript! Now that I know others do it, I will too.
Thanks JM!
If others are looking for contact details for the Victorian School Magazine
(after all the recent positive comments) you will find them online at
http://www.pearsoned.com.au/schools/magazines/writers.asp. Deadline for the
October issues are 8th (Comet/Explore) and 15th (Challenge) of July.
Send submissions to; Magazines Coordinator
Pearson Education Australia
PO Box 1024
South Melbourne Vic 3205
Kat
FROM AN AUTHOR
Anguish and Robbery
Recently I found that a major chain of book stores only has one copy of my
new book in all of New South Wales. When I mentioned this to my publisher, I
was told that some of the big sellers have skewed their buying towards more
commercial fiction and only large literary names, much to the chagrin of
publishers and writers. This is not the case with independent bookshops,
whose owners use their own judgment when ordering books, rather than having
to conform to company policy. This effects the majority of published
writers, so I suggest we throw our support behind the independents as much
as possible. Perhaps interested readers of this could send PIO the names of
independent bookshops from their local area? Even if you live far away from
one of these shops, they will post them to you.
THANK YOU
A big Thank You for all those plotting tips. I'm at chapter 7 now and
working hard on those curves. The article about Cathy Kelley is sobering:
"(She writes) reams of back history for each of her character, then discards
it before starting."
ARTICLES
PUBLISHER GUIDELINES
AUTHOR/ILLUSTRATOR PROFILE
USEFUL BOOKS/WEBSITES
Looking to get your book reviewed? Perhaps you're trying to set up a
bookstore appearance. In either case, here's a very nice site that can make
your life much easier. www.bookconnector.com features a search engine that
delivers links to sites that review children's books (and other genres, as
well). There's also a geographic listing of bookstores, libraries and other
venues to set up signings and readings. There's no cost for the service.
According to the site, they're also in the process of setting up similar
searches for book clubs and freelance book reviewers. Check it out at
http://www.bookconnector.com Submitted by DC
Kid Magazine Writers eMagazine is now updated for July. And because it's
our one year birthday, we're offering a free ebook compilation of selected
articles from our first year. We hope you'll enjoy it.
This month in Kid Magazine Writers -- http://www.kidmagwriters.com
You'll notice we did not update Editors Speak -- we apologize for that but
the editor we had slated for the issue had a sudden family emergency and was
not able to finish our interview. Since it was so close to deadline, we
weren't able to connect with a different editor. It's just another reminder
that editors are people too!
You will find lots of other great content -- insider markets has tons of
specific marketing information this month. And we have articles on magazine
writers and their own websites, magazine writers who do school visits, and
magazine writers who supplement their writing income with test writing.
You'll also find articles on plot, rejection, and writing poetry by the seat
of your pants.
Happy Reading!
Jan Fields
editor
Kid Magazine Writers
http://www.kidmagwriters.com
While searching for more info on Blue Cat Books I came across this summary
of publishers in Australia in their website:
http://www.bluecatbooks.com.au/writing/publishers_list.htm
It is a decent summary of the publishers of writing for children currently
around.
ME
links to a number of editor interviews and related info at:
http://www.cynthialeitichsmith.com/wrllinks.htm#editors_and_publishers
Cynthia's site also has a number of children's writers related articles on
it and details re publishers
BOOK REVIEWS
Team Dream
By J.A. Mawter
Bananabooks, an imprint of Otford Press
Reviewed by Susanne Gervay
'Team Dream is an inspiring story of overcoming barriers and reaching for
your dreams' says Nick Farr-Jones, one of Australia's much loved sports
heroes and former captain of the Wallabies' rugby union team.
J.A. Mawter's Team Dream is a story about grass roots junior rugby union,
with all its community support, schoolboy enthusiasm and internal political
fights. Team Dream explores the game of rugby union from young players'
perspectives. It highlights the hopes and disappointments of gaining a place
in a team; the stress of competition; game plans; dirty tricks on the field;
teamwork; friendship through the sport; skills and the physical demands of
rugby union.
Written with humour and warmth, Team Dream is set in a local school,
community and Rugby Club. The characters feel real, reflecting this local
community. The story of rugby is intertwined with family relationships. Mem
the main character is from a divorced family living with her mother. She
misses her father who is a well-known rugby star and she wants to live with
him. She faces conflicts with her mother and the new man in her mother's
life. The romantic interest Nick, lives with his very alternate father and
grandmother. There are all sorts of families and relationships reflecting
the diversity of families today.
However the real driving force in Team Dream is its challenge to male
domination of rugby union. When Mem Scott pursues her dream to play rugby in
the Under 12's Muttamurra Rugby Club, she faces sexism and barriers to
achieving her dream.
Team Dream has the light touch and humour evident in J. A. Mawter's So
Gross!, So Feral!, So Sick!, So Festy!, So Grotty!, So Stinky!
(HarperCollins) series. It also has the well drawn characterisation of that
series. However Team Dream differs in that it also deals with the thought
provoking issues of identity sexual equality and the role of girls in male
dominated sports.
Team Dream is a warm, accessible novel which both boys and girls will enjoy.
LAUNCH OF TEAM DREAM
TEAM DREAM will be launched 1 p.m. on Saturday 23rd July at the Festival for
Children and Young Adult Literature at the NSW Writers' Centre, Callan Park,
Balmain Road Rozelle.
PIO members and friends are welcome to attend the launch.
ph: (02) 9555 9757 www.nswwriterscentre.org.au
Because of Winn-Dixie
By Kate DiCamillo
Contributor: Susie Wilde
If I had to pick the book that most deserved the 2001 Newbery year, it
would be Because of Winn-Dixie, a remarkable first novel by author, Kate
DiCamillo. Even the design of the book is inviting. The print is large, the
margins wide, and the size unusual. All these predict a uniqueness that the
novel lives up to.
This is the story of ten-year-old India Opal Buloni who moves with her
preacher father to Naomi, Florida. She wanders lonely in unfamiliar streets
until her father sends her to the Winn-Dixie grocery store for a package of
macaroni and cheese and she returns with a dog whom she names for their
meeting place.
"He was a big dog. And ugly. And he looked like he was having a really good
time. His tongue was hanging out and he was wagging his tail. He skidded to
a stop and smiled right at me. I had never before in my life seen a dog
smile, but that is what he did."
DiCamillo's style is simple and fresh. Sentences are short and these
represent her viewpoint character well and create an easy to read novel with
a strong voice and a spare beauty.
DiCamillo's artistic gift for structure parallels this style. She works
at several levels at the same time and does so with apparent ease. On a
strict plot level, Winn Dixie's appearance causes Opal to meet some of the
eccentric occupants of her new town. Librarian, Miss Franny Block renews her
storytelling self as Winn-Dixie snuffles at her feet and Opal prods her with
questions. Gloria Dump, seen by local children as a witch, reveals herself
as an extraordinary gardener and someone who listens "with all her heart."
DiCamillo knits together all these friendships into a whole much bigger
than its parts and the miracle is we don't see it happening. Gradually, Opal
opens up communication with her father, understands ways to deal with her
mother's desertion, gets beyond appearances to see her connection with an
apparent bully, makes some kind of healing in each person she meets and even
builds a sense of community. All these are teased into an exquisite fabric
united by a dog who can smile and the kind of understatement only achieved
by total immersion in character. Opal is a likable and selfless character
who finds her own sense of self thorough caring about everyone she meets.
And there is an extra added plus. This is the story of the love between a
child and a dog where the dog doesn't die.
Picture Book Review:
Willow the Wombat
by Natalie Jane Parker
Reviewed by Sally Murphy
Willow decided to explore the basement.His eyes widened and a huge smile
spread across his face as suddenly he realised the rusty old lock was gone.
Willow the Wombat is bored. It is another wet day and he knows his mother
won't let him play out in the rain. When he heads down to explore the
basement, his boredom soon vanishes. His grandfather's old trunk is unlocked
and inside it are old journals and mementoes. Soon, Willow is reading the
journals and reliving some of Grandpa's adventures.
Willow the Wombat is a beautifully presented book, with illustrations sure
to capture the hearts of young readers. It is a large book (30 centimetres
square) and, with gold lettering and realistically detailed water and
wildlife on the cover, stands out as a book children will want to explore.
Willow's adventures are interesting and the subtle messages about judging
the elderly and about using the imagination are good ones, but it is really
Parker's bright, detailed illustrations which are the making of this book.
The details of Willow's fur and the glint in his eyes make him realistic,
even when he's wearing clothes and each of the different settings is
skilfully portrayed and differentiated, giving the various spreads a variety
which children will love to explore.
A favourite illustration is the picture of Willow and his friend Eddie
Echidna on a rock plateau at sunset. The characters are lit by the setting
sun in front of darkened hills and a tiny blue wren observes.
Simply beautiful.
Willow The Wombat, written and illustrated by Natalie Jane Parker
Brolly Books, 2005
You can see this and other Australian books reviewed online at
www.aussiereviews.com.
INSPIRATIONAL QUOTES
Judy Blume:
"The only thing that works with writing is that you care so passionately
about it yourself, that you make someone else care passionately about it.
Books that are written to order are awful. They can't work. Children will
see through that and they won't read them."
ADVERTISEMENTS
Writers' Career Consultancy offers help to potential and newly published
authors with their budding careers.
Check out what's on offer on www.enterprisingwords.com
If you would like to be mentored (for example, to develop a particular
manuscript) with direct and unlimited access over a specific period with a
much-published children's author, editor and manuscript assessor, make
contact and we can negotiate a fee and design a program tailored for your
needs.
Dianne (Di) Bates
PASS IT ON SUBMISSION GUIDELINES
Submit contributions to jacket@smartchat.net.au
Tahoma, 12pt, single-line spacing (not essential but helpful)
Mark PASS IT ON SUBMISSION in the subject line
Submit within the body of the email
Give your piece a title heading: eg New Publications; Seeking; General
Information; etc.
Email addresses and contributor contact details will be withheld unless
otherwise stated
Jackie Hosking
Editor/Compiler "PASS IT ON"
www.jackiehosking.com
posted by Jackie at 10:07 PM
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