PASS IT ON ISSUE 50

PASS IT ON - ISSUE 50: DATE 25/7/05





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 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, interactive 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 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. (submission guidelines can be found at
the end of the newsletter)

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 more new friends.

Past issues may be viewed at my website www.jackiehosking.com



GENERAL INFORMATION

INFORMATION FOR NEW AUTHORS

All publishers and creators are eligible for an annual payment from the
Federal Government for Public Lending Rights (PLR) and Educational Lending
Rights (ELR). These are schemes to compensate for the fact that in library
buying, royalties are paid for only one book which may be borrowed by many
readers. You only need to fill in a form once (for each book) and the PLR
money will be deposited every May/June into your bank account. Payment is
not retrospective. Authors only get PLR if they are contracted to receive
royalties, so do not accept flat fee payments if you want to receive PLR and
ELR.

NB: Books in educational libraries eg school,TAFE, university are eligible
for ELR; PLR is for books in public libraries.

CAL is Copyright Agency Limited. As for PLR, you need fill in a form once
only for each publication. Payment is to compensate for photocopying of your
work. Income from CAL fluctuates from year to year, whereas PLR income is
generally steady, depending on how many titles you have in print.

VALUABLE CONTACT FOR CONTRACTS AND LEGAL ADVICE:
Arts Law Centre of Australia ph (02) 9356 2566
Australian Society of Authors, ph (02) 9318 0877
OTHER HELPFUL CONTACTS
Australian Book Publishers Association, ph (02) 9281 9788
Australia Council (Literature Board) ph (02) 950 9000
Children's Book Council (NSW branch) 02 981 0037
Copyright Agency Ltd 02 9394 7600
Copyright Council 02 9318 1788
PLR/ELR ph 1800 672 842 or ph 06 279 1650 (see above)
The above information was provided by author Dianne (Di) Bates
www.enterprisingwords.com


At this time of year, it's useful to know about Income Averaging for Special
Professionals. Yes, that's us. Doesn't it make you feel good to know that
the Tax Office thinks you're special? Even better, it might help you pay
less tax, particularly if your income, like mine, varies hugely from year to
year.
If you get a larger than usual amount from your writing one year, like a
grant, royalties or an advance, you can declare yourself to be a Special
Professional, and that larger than usual amount, instead of being taxed all
in one year, is spread out over four years. (I suspect that this is a
not-very-subtle way of describing it. But the basic idea is that you pay
less tax.)
You don't have to register or anything. I think there's a box on the tax
form that you have to tick - or just tell your tax agent. There's a fact
sheet on it at www.ato.gov.au - do a search on income averaging.
Lian Tanner





SEEKING

Is anyone able to confirm if REED FOR KIDS is still in the publishing
business? If so, do you have any details of publisher and contact email?


I was pleased to read Edel Wignell's advice about subscribing to the
"Australian Bookseller and Publisher", particularly because in part, it
answers a question I've been meaning to ask other readers of Pass It On.

I've been wondering as a new writer, to which writing societies others have
chosen to belong (and why), and similarly, to which writers'
newsletters/magazines/journals others have chosen to subscribe (other than
PIO, of course)?

It seems there are so many to choose from, that it would be a very costly
business to subscribe to them all, and also a very time consuming one to try
and read all the material sent.

Should I, for example, be subscribing to "The Fellowship of Australian
Writers" as well as the "Victorian Writers' Centre"? And how beneficial is
it for an Australian writer to subscribe to the American "Children's Book
Insider"?

I wonder if it would be useful if we ran a section in PIO for a few weeks,
where contributors sent in reviews of the various writers' organisations and
publications that there are around.


I was inspired by the story of J.K Rowling's beginnings and also Wendy
Barrett's story last week. Is it possible for other published authors out
there to mention how they got into writing and how they got their publishing
break? It might provide extra motivation for those of us making sacrifices
at the moment to keep writing and writing.
Thanks, Pete Carnavas.


A few months ago, a contributor mentioned buying a back brace to help
improve posture and reduce RSI while typing. Can that contributor let us
know if the brace is helping, and, if so, what brand it is?
Thanks. JM


I've just consolidated some of the info from my home page to a site called
"The Writing School". You can visit it at
http://www.wordgarland.com/writingschool.htm
If anyone knows anyone who offers REASONABLY PRICED writing-related
services, could you let them know they're welcome to either a page or a link
at the school? All I ask is that the service is a legitimate one that (a)
doesn't cost an arm and a leg and (b) states its costs up-front.

Thanks! Sally Odgers


I would like to suggest a new section in PIO to share and acknowledge
member's publishing successes and competition wins etc. Unfortunately I
don't have anything to contribute to this section (yet!) but I would love to
know when and where my 'PIO family members' are appearing in print. Sandy.


Has this happened to you?
I had been writing regularly for 2 magazines (linked) for over 2 years, (and
getting paid) when both magazines changed editorship. Now my work is no
longer wanted!!! Or should I say one of the editors was prepared to have a
short piece from me but she could no longer pay me for it! When I asked her
why, there has been (excuse the cliché) deafening silence.
Is this a common occurrence?


Re CV guidelines.
I had 2 stories accepted for publication but unfortunately the whole scheme
did not eventuate.
How should I list this in my CV? (or do I?)
Tessa


Question re Australian compiler seeking short stories (mentioned in last
week's PIO) I don't want to sound sceptical, but why aren't the compiler's
name and details listed here? Also, is there a theme?
SG


I'm looking to write an article for a school publication regarding an issue
brought up in PIO - major booksellers bypassing lesser-known Australian
children's book authors for the bigger sellers. If you've had some
experience with this I'd love to hear your story. Email Courtney at
c_brideson@hotmail.com


No Royalties
Did anyone else have books published by Barrie Publications for the Momentum
Series. Two of my books which had only recently been published at the time,
were taken over by Macmillan Education and made out of print. It's galling
to discover from my ELR printout that about a thousand copies of each book
have been sold to schools without any royalty paid. I don't understand how
this can be allowed. Perhaps someone can explain it. MW


I was lucky enough to be able to attend the Writing for Children day at the
NSW Writers' Centre on Saturday. I felt quite smug when, at the end of her
speech, Di Bates mentioned PIO and it seemed like every head around me bent
as people scrambled to copy down the web address, which I already knew.

I was wondering, do educational publishers ever publish 'read to' books (as
apposed to 'read alone' books)?

Thanks, and thanks to all for a very informative talk.




REPLIES TO SEEKING





NEW PUBLICATIONS


Paul Collins' third book in The Jelindel Chronicles, Dragonsight, has been
reprinted two weeks after its initial publication date.







SPECIAL EVENTS


ALEA STATE CONFERENCE & BIENNIAL LATROBE UNIVERSITY,
BENDIGO CHILDREN'S LITERATURE CONFERENCE
AUGUST 5-7, 2005 IN BENDIGO

To all you published and not-so-published colleagues out there will we see
you at the conference in Bendigo?

If people are wanting to know what is going on in schools now with the roll
out of the new curriculum (VELS) and the focus on Middle Years Literacy
issues, then this is the conf. to be at - and you will get a year's free
membership to ALEA as part of your registration.

In the world of networking for writers (of fiction, non-fiction and
curriculum materials) this is conference is a must - schools are looking for
savvy and well integrated texts to use with their students - this conference
will help you to connect.

Registration by Friday would be appreciated, registration on ALEA website
www.alea.edu.au

Why not consider a tax deductible weekend or day in glorious Central
Victoria? Sarah


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


The Wynnum Library, Brisbane QLD is in the process of organizing a visit by
Kerry Neary at 10am on Tuesday 23 August at Wynnum Library. Kerry is the
Queensland Judge for Children's Book Council Book of the Year.

10am, Tuesday 23rd August
Wynnum Library
Bay Tce
Wynnum Central QLD 4178

If you, or anyone you know is interested please let me know asap.
Thanks,
Nomiki Georgiadis
Email: nomikig@iprimus.com.au





MARKET OPPORTUNITIES

Someone suggested Tertiary Press as a possibility for publishing children's
books. I emailed them and this is the reply I got. It may be of interest
to others. Jane

Hi Jane
Tertiary Press is not traditionally a publisher of children's books although
we have published one or two. Our main focus is on books about children for
adults (largely for people studying childcare in TAFE). We also have a
strong market in childcare centres and kindergartens. If you think that your
manuscripts fit this mould then I would be very interested in reviewing
them. Our website is www.tertiarypress.com.au





COMPETITIONS/AWARDS

If you and/or your publisher reside in and have had a children's book
published in 2004 and you live in the ACT, there is a competition just for
you. Information / Enquiries: Contact the ACT Writers Centre on 02 6262 9191
or admin@actwriters.org.au



31 August, Character Short Story Contest. For short stories for children,
up to 1000 words and open genre. US$3 entry fee per story, maximum of three
stories per writer. Prizes will be awarded in two categories: adult (17
years of age and older) and child (to 16 years of age). First prize in each
category is US$50. 2nd prize a gift certificate to Writers Digest Book Club.
3rd prize a one year subscription to CharacterS. Enclose a short (3-4
lines) bio with each submission. Email entries to hotdog@nhvt.net or post to
P.O. Box 708, Newport, NH 03773 For full details visit
www.cdavisnh.com/contest.htm


This is for adults, but someone may be interested.

Port Stephens Regional Fellowship of Australian Writers
Short Story Competition

Sponsored by Port Stephens Council

Prizes
First $250.00
Second $150.00
Third $100.00

Closing Date : extended to Friday 10th August 2005

Story Length : maximum 3, 000 words

Entry fee : $5.00 per short story

Judge Jill McKeowen of The Hunter Writers Centre

No entry form required. Entries will not be returned
Normal competition conditions apply.
No author's name to appear on entry. Include cover sheet with
title, length of story, author's name, address, phone.
Enquiries: Phone 02 49 841198 Entries to:-
The Competition Co-ordinator
Rona Tilden
FAW Port Stephens
C/o Post Office
Salamander Bay
NSW 2317

Please include stamped addressed envelope if a result sheet is required.





WRITING COURSES/WORKSHOPS

Dear Pass It On Readers

I attended the Writing for Children/Young Adult Day at the NSW Writer's
Centre on Saturday 23rd July. I thought I'd summarise some of the talks I
attended for the benefit of those who couldn't attend. It was a pleasure to
see quite a few people from the Pass It On family. Can I please ask a
favour to anyone who was present? I did my best to scribble down most
comments, but if I've missed anything, or misinterpreted someone's
comments, can you please add or correct in the next edition of PIO? Thank
you in advance.

WRITING FOR CHILDREN AND YOUNG ADULTS: TRENDS PAST, PRESENT AND FUTURE

BERNADETTE WELCH has been an associate editor of Viewpoint: On Books for
Young Adults for the past 10 years. She is a lecturer in Information and
Knowledge Management at the School of Business Information Systems RMIT
University.

* No matter what time it is, past, present or future, good writing is
always needed!
* Children's Issues stay the same, eg right of passage, but the way we
interpret them is different.
* Books for children need to be good, because there are lots of other
places that they can get their narrative.
* Children are more visually literate these days.
* Sometimes I read a book and think, "Who is this author writing for?"
Make sure that you are writing to children, and not adults.
* Books are under more scrutiny than magazines. Magazines can have swear
words in them, but if a book has a swear word in it, there can be so
much controversy.
* There is so much in the Fantasy genre right now. How much more can we
take? The market is getting saturated.
* There is some really good historic writing out there. For example,
books by Jackie French.
* There is more material published for younger readers than Young Adults.
* Know your market and your readers.
* Graphic novels seem to be a good way to go. One writer said that his
books are just comic books that have been called Graphic Novels. Children
enjoy Graphic novels.
* Move away for writing 'just for boys'. Focus on "good writing"
because good writing is for everyone.


MARK MCLEOD won the Children's Book Council's Lady Cutler Award in 2001 and
in 2003 the Australian Publishers Association Pixie O'Harris Award for
services to children's literature. In 2004 he was Project Manager of the
ABC"s "My Favourite Book". He is National President of the Children's Book
Council of Australia.

* If you've noticed the trend, that you're too late! The great writers
are going to MAKE the trend.
* People read against their actual lives. It is a mistake to think that
a book about football is going to be read by football players. It will
probably be read by people who don't play football. A child going through a
divorce is unlikely to read a book about divorce.
* We have failed getting teenagers into bookshops. Teenagers don't want
to be in the aisle with the fluffy books.
* In regards to fantasy. Ten years ago a book about homelessness might
have got a look in, but today it's much harder. Fantasy is not necessarily
escapism, but it's away of seeing the same issues dealt with in a different
environment.
* Publishers don't rule the roost now. The salespeople have a huge say
in whether a book is published or not.
* If you know something isn't right about your book, fix it before you
send it in.
* Write what you want to write, and be yourself.


MARGARET HAMILTON'S company, Margaret Hamilton Books (1987), achieved a
reputation for high quality books before becoming a division of Scholastic
in 1996. Margaret has served as the National President of the Children's
Book Council of Australia and received the CBCA NSW Lady Cutler Award, the
ABPA Pixie Harris Award, the CBCA Nan Chauncy Award and the 2004 Dromkeen
medal.

* I love picture books and have published them in spite of trends. The
trends have been that kids don't read picture books and that they don't
sell.
* Critical Literacy has the potential to kill the enjoyment of reading.
* The language in books today is more in tune with teenager's thinking,
but shy away from using playground vernacular in your book because it will
be dated by the time it's published.
* These days the writing is more fluid and eloquent.
* I always had the policy that I wouldn't publish what I didn't want my
daughter to read.
* The reason why "poo and spew" books are still so popular is because
there is a new reader born every minute! ABC books published a book called
"Whose Poo?" Many of the adults were not keen on the idea, but the book has
been quite successful.


RAY TURTON is the editor of the journals Magpies; talking about books for
children and The Literature Base, and is a major contributor to The Source,
an online subject guide to children's literature.

* Fantasy has always been around, but it drifts in and out of the
mainstream at different times. Harry Potter is a clever re-working of old
stories. Rowling is a good storyteller and she uses good narrative.
* Writing for the 8 -12 year olds is the burgeoning market. Series
novels are everywhere.
* There are more good ripping yarns these days.
* There are more spy series.
* There are new re-tellings of old stories such as Frankenstein.
* There are lots of different physical coverings on books, because books
have to capture the attention of buyers.


IRENA DUNN was the chair for that session. She is the Executive Director of
the NSW Writer's Centre.
* Know your market. Go in to book stores and libraries and see what the
publishers are publishing. Research websites and read the publisher's
guidelines.


EDUCATIONAL VERSUS TRADE MARKETS: WHAT'S THE DIFFERENCE?

JENI MAWTER is the best-selling author of the hilarious "So" series: So
Gross! (2001), So Feral! (2002), So Sick! (2003), So Festy! (2004), So
Grotty! (2004), So Stinky! (2005). Other trade fiction books include a
picture book, There's a Sun Fairy in our Garden (2001) and a junior novel
Team Dream.

* Trade books sell in bookshops, while Education books are available in
Schools and libraries. In the trade market, generally parents and
grandparents buy the books for children, while in the Education market,
teachers and librarians buy the books.
* There are big wins in writing for trade, but there can also be big
losses. You really are only as good as your last book (and your last sales
figures). Andy Griffiths once said to me, "When you write for trade, you
have to go out of your safe place, out to the edges. And there's only one
problem, you can fall off the edge."
* All the doors are not closed to new writers. Small publishers are a
good way to get your work published.
* Agents are harder to get than publishers.

Di Bates has published 90 books for the educational and trade markets,
including The New Writer's Survival Guide (Penguin books) and Wordgames:
Activities for Creative Thinking and Writing (Longman). She has won
national and state literary awards, and her books have sold overseas in
translation. See www.enterprisingwords.com

* Children's welfare, rights and achievements are my passion.
* I like being a freelance writer because I can be my own boss and work
from home.
* I write for both markets. Versatility as a writer will earn you an
income.
* Writing for children can include TV and film scripts, song lyrics etc.
* Know your market, and know how to edit your work.
* Be persistent!!
* In a Non-Fiction proposal you should be clear about your aims. Let the
publisher know how they will make a profit. The profit is their bottom
line.
* Do NOT sell your copyright. You lose two valuable sources of income
PLR and ELR. I refuse to work for peanut shells!
* Education books stay in the marketplace longer, but educational writers
can be financially poorly treated.
* I am always looking for gaps in the market, and there are many of them.
* When you get a contract, negotiate clauses because publishers expect
it, but realise that you must make compromises.
* I subscribe to the Australian Bookseller and Publisher magazine, and
the weekly Blue Newsletter.

LEONIE TYLE has been associated with children's books for over 25 years and
is Children's and Young Adult Publisher at the University of Queensland
Press, which publishes an eclectic range of approximately 15 titles per
year.

* I don't have a slush pile, I have a treasure trove!
* June, July and August are good times to send in manuscripts.
* UQP caters for the educational and trade market, but we find it
difficult to get books into the trade bookstores, but are we are well
represented in libraries.
* YA Fiction is hard to sell in bookshops.
* Writing for trade can be more creative and it can cross into the
educational market as well.
* Australians write the best YA fiction in the world.
* UQP do literary fiction.
* A lot of non-fiction work has been taken over by the internet. Some
non-fiction publishers, such as Usborne, are now branching into fiction.
* Sending multiple submissions to publishers is okay, but if I accept
your manuscript, don't play me off other publishers. I cannot give you a
huge advance, but you will get a lot of individual care.


PUBLISHERS AND EDITORS: WHAT DO THEY DO? (AND WHAT HAPPENS TO YOUR
MANUSCRIPT!)

LAURA HARRIS is Publisher, Books for Children and Young Adults at Penguin
Books

* As the publisher, the buck stops with me.
* The manuscripts people send in to us are like people's babies. We are
mindful of that and we take it very seriously.
* We get 3000 manuscripts a year. Of that, 2 or 3 new authors will be
published. Looking for Alibrandi and Deadly Unna were unsolicited
manuscripts that were found in the 'slush pile'.
* When a manuscript comes in, I put them in order of Low Priority, Medium
Priority and High Priority. The manuscript then circulates within my team
of editors.
* We are always looking for new talent
* Every two weeks the editors and I have a meeting. This keeps me
updated.
* When we decide we are interested in a book, we contact the author. We
need to make sure that we share the same vision....that we are both 'on the
same page'.
* Print runs vary from 3000 to 50,000 copies.
* Work hard to make your manuscript the best it can be.
* There is so much of the same writing out there. As a new writer your
writing has to jump out even more.
* It's harder to get published in the US and UK than in Australia.
* All books are fighting for space in bookstores.
* From the time a manuscript is accepted, it can take 2 - 5 years before
it's published.
* We are looking for longevity in a writer. It's a long-term investment.
* Books from agents go on the High Priority pile, but that doesn't
guarantee anything. Some books that come from agents are average.
* We do care about your manuscript. They are all read.

SUE WHITING has written over 50 books ranging from romping rhyming verse for
the very young, to non-fiction school texts and novels for upper primary.
Her latest children's novel, Battle of the Rats (Koala Books) is set against
the surf culture of an Australian coastal village, while her latest picture
book, Taming Butterflies (illus. Mini Goss, New Frontier Publishing) deals
with the issue of anxiety. Sue was an editor at Banana Books.

* I read every manuscript.
* A great manuscript really sparkles like a diamond in sludge....that's
not to say that the rest of the manuscripts were sludge!
* The 'voice' is so important. It's all in the telling. A strong voice
is important, without a strong voice the story sounds wooden.
* Tell the story in your own way.
* The writing has to jump out.
* The story should be told through the point of view of a child, not an
adult writing as a child. It's got to be a page turner with characters that
readers will care about. The issues should be important and relevant to
children.
* Some manuscripts have a strong voice but a slim plot. As a writer, you
need to cover ALL your bases.
* Once I like something I take it to the rest of the committee and have
to convince them that it's going to sell.
* When writing 'Battle of the Rats' I found my own voice. It was an
exciting time because I took risks. I gave myself permission to let my
voice come through. I pushed my worries aside (such as, should I say this?
Is this appropriate?). I was bold, cheeky and daring!


LEONIE TYLE

* I look for quality writing, and writers who have at least 2 or 3 books
in them, rather than just one.
* The writing has to be fresh.
Leonie did speak for a while and shared some great stories, but being last
she said: "I knew if I was the last speaker that everyone would cover what
I was going to say!"


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

These courses are being held at the NSW Writer's Centre, their phone number
is 02 9555 9757. I attended one of Jeni's courses two years ago and found
it really worthwhile. I am thoroughly looking forward to Di Bates' course
in August, and finally, Vicki's course is like a pot of gold at the end of
the I-don't-have-time-to-write rainbow! CH :)
WRITING FOR CHILDREN AND YOUNG ADULTS WITH JENI MAWTER
Sunday 31 July, 10am - 4pm
Members $66; Members' Concession $55; Non-Members $99. GST inclusive. Bring
lunch and writing materials. Morning and afternoon tea are provided.
Writing a children's book looks easy. After all, there are hardly any words.
But how easy is it really? This is a course for adults who are interested in
learning the complexities of writing for children - with an emphasis on the
writing of humour. All aspects of story will be looked at, from character,
to setting, to dialogue and point of view. Issues such as writer's block,
presenting a manuscript and approaching publishers will be addressed. The
course is flexible and can be tailored to meet the needs of the group. Both
new and more experienced writers are welcome.
JENI MAWTER is a well-established author who hasn't forgotten what it is
like to be a new writer. Her publications include the highly successful So
series that started with the popular So Gross in 2001 and will see title
number six, So Stinky in 2005. She has written a picture book There's a Sun
Fairy in our Garden (2001) and the Young Adult novel Teen Dream. Jeni has an
MA in Children's Literature and a Diploma in Book Editing and Publishing and
has been teaching creative writing at Macquarie University. She has
presented at the Norman Lindsay Arts Festival, appeared at Fox Studios and
visited schools for Book Week. She is also a speaker for the Lateral
Learning Speaker's Agency.

CREATE AND IMPROVE WITH DIANNE BATES
Saturday 13 August, 10am - 4pm
Members $66; Members' Concession $55; Non-Members $99. GST inclusive. Bring
lunch and writing materials. Morning and afternoon tea are provided.
Part 1 - How to self-edit to improve your writing: 10am - 12.30pm After a 20
year career in the children's book industry as author, writer, editor and
manuscript assessor, Dianne (Di) Bates understands the self-editing process
which is crucial for the development of a "perfect" manuscript. In this
session you will be given a series of "hands-on" editing exercises to help
improve your prose writing. You will examine different ways of editing,
including working with words and sentences, developing style,
characterisation, dialogue, imagery, etc. The result will be that you will
become familiar with and confident of strategies to make your writing even
more appealing and acceptable to potential publishers.
Part 2 - How to create effective titles and compelling first sentences:
1.30pm - 4pm
If you have trouble with titles, and your novel's or short stories' opening
sentences are lacklustre, this is the session for you. In this session, you
will study a wide range of book titles and first sentences, examining what
it is that make them both effective and compelling. Using title and first
sentences "types", you will then create dozens of titles and first sentences
for your existing - or future - fiction and non-fiction books. Having a file
of potential titles and first sentences is one way of creating ideas for
stories. Prepare for a hands-on, fun and exciting session!
DIANNE (DI) BATES has published 90 books for the education and trade
markets. These include The New Writers' Survival Guide (Penguin Books),
Wordgames: Activities for Creative Thinking and Writing (Longman), Revise,
Edit and Re-Write (Scholastic) and How to Self Edit (Emerald Books), a book
containing 500 editing exercises and solutions. Some of her books have won
national and state literary awards, and have sold overseas in translation.
Di has also been awarded grants and fellowships from the Literature Board of
the Australia Council. She has worked as an editor for children's magazines
and for a provincial newspaper. Currently Di works as a freelance writer and
manuscript assessor. She is married to award-winning children's author, Bill
Condon. Her website is www.enterprisingwords.com.
HOW TO FIND MORE TIME TO WRITE WITH VICKI MORRISON
Saturday 27 August, 10am - 4pm
Members $66; Members' Concession $55; Non-Members $99. GST inclusive. Bring
lunch and writing materials. Morning and afternoon tea are provided.
Still looking at that unfinished manuscript? Wish you had more time to
write? Invest a few hours in this course and you will discover the secrets
of how to master your time rather than be a slave to it. Practical exercises
will guide you through your days, weeks and months ahead. We will also look
at the importance of planning, goal-setting and how to achieve these goals.
By the end of the day, you will know how to use your time more wisely and
how to find that extra time to do what you love... write!
VICKI MORRISON is the Principal of Strategic Solutions Management
Consultants and has over twenty years' experience in business management.
She is also a freelance writer as well as the author of the children's
picture book So Shy?



HAVE YOUR SAY

FROM AUTHOR Dianne (Di) Bates

Thanks Paul Collins and Marianne Guy for supplying the names and contact
addresses of Independent Children's Bookshops in Victoria. We do not,
however, have any bookshops sent to us from PIO readers in states and
territories other than NSW and Victoria. Surely you can help, especially if
you haven't yet contributed to PIO.



FROM AN AUTHOR

Am I the only children's writer who strongly objects to providing
illustration briefs to publishers other than when I write and submit a
picture book text? UC Publishing insists this is a requirement for their new
Young Heroes and Highlights' series. What next? Will authors of the future
only be allowed to submit texts if they can also provide illustrations (and
pay for them)? Once upon a time authors did not have to write book blurbs,
author blurbs, publicity blurbs or illustration briefs. They could submit to
the publisher without having to beg for an agent to represent them. They did
not have to repeatedly try to contact editors via voicemail only. Editors
used to return phone calls. once upon a time. It's becoming hellish to be a
children's author in Australia today! DC



FROM AN AUTHOR

With regards to the author worrying about CAL monies going to the publisher
(in this case Underwood) when the publisher has misrepresented ©, you will
not lose money if you register with CAL as the copyright holder. CAL
currently gives preference to authors for payments due (although CAL might
be going to change things following its recent survey of authors and
publishers.. (For new writers, CAL stands for Copyright Agency Limited: it
collects photocopy payments on behalf of creators and publishers.)



FROM AN AUTHOR

Am I the only person in the world who is sick of hearing the words "Harry
Potter"? Let's fill PIO with stories about successful AUSTRALIAN children's
books! Maybe some Australian publishers might then realise our country is
filled with brilliant storytellers and come crawling to us for our fantastic
manuscripts. Yee haa!


FROM AUTHOR Ruth Starke

Re: Australian Bookseller and Publisher

I agree with Edel that the monthly Australian Bookseller and Publisher is a
great source of information for authors (and readers), but an annual
subscription at $120 is not cheap, especially since many children's writers
already subscribe to Magpies/Reading Time/Viewpoint. Our children's writers
group, Ekidnas, here in Adelaide some years ago successfully petitioned the
SA Writers' Centre to take out a subscription to AB&P for the benefit of all
members, so this may be a viable solution for others. My local library also
stocks the magazine.

I'm not sure that the secretary's comment was particularly on target: as a
writer, I don't regard AB&P as my 'trade journal', interesting as it is. I'm
in the business of writing books, not selling and publishing them, and there
are other sources for keeping 'up to date' with new releases. I'd say
Australian Author (the ASA magazine) better fits the description of a 'trade
journal'.


FROM AN AUTHOR

Please, is there anyone else out there who is SICK TO DEATH of reading about
and hearing about Harry Potter??? Even the ABC is full-on today, promoting
and hyping the dratted child. The books long ago ceased being a literary
phenomenon and became simply a marketing one.


Have youR say

Re: the Article about the "chance" publishing of Harry Potter in PIO 49.

It just goes to show that getting published is all about luck. What if that
8-year-old girl had never read that Harry Potter manuscript? JK Rowling
would still be a frustrated writer, like most of the rest of us. This goes
to show that Publishing is not about skill or talent or the merit of the
work - it's all about luck, a name and previous fame.

It also says a lot about those test readers that Publishers use. Perhaps
they are not the right people to be test reading these manuscripts, they are
NOT the target market most of the time. This is something I have been saying
for a long time. My own work has found a large following among Harry Potter
and Fantasy diehards, yet I cannot find a publisher willing to take it on.
And it is not for lack of trying, editing or critiquing.

Lynda Calder


FROM Gary Underwood.

.to an UNNAMED author

At least I put my name on the work I send in for comment! I have ignored
many comments regarding this issue for which I have apologised and explained
the reasons before the error. Not all of those I actually mentioned,
including the author that went direct to the publisher to change their
agreement and as a packager we never found out about it. But alas, that can
happen and our systems with Macmillan are better now.

I also ignored the comments about Macmillan's staff looking at the copy on
the shelves to find the copyright owner - forgive me for speaking for
Macmillan but their systems are far more computerised than this, and their
staff far more professional.

I am certain that the publisher will rectify these problems at reprint and I
certainly believe in all our books and hope they reprint or sell overseas.
I hope this reader also becomes more positive about their work.

For someone who has 80 books published you will know how CAL works and in
the contracts supplied and used for those Macmillan's series distribution
has a separate clause which covers this distribution and that would guide
Macmillan's distribution of any CAL income.

I thank Macmillan for taking on both the Breakers and the Trekkers series.
We have published in these two series over the last two years, 120 new
Australian fiction titles by Australians for Australian schools. Many people
were published for the first time. It is a great opportunity Macmillan gave
us as Australian authors. At a time when I see large publishers importing
large programs, or manipulating them for this market, I am proud to say that
we continue to strive to publish more local books/textbooks by local
authors. I think it is time for our unnamed author to get some FOCUS and,
knowing that this problem has been rectified for the future, to move on.


FROM AUTHOR Dianne Bates

I am reliably informed by e-marketing guru and CEO of Writing for Success
Club, Margaret McAlister (http://www.writing4successclub.com), that
"internet marketers have proved conclusively that articles on the subject of
a book sell many more copies than just a recommendation." This information
ought to prove helpful for all of you children's authors out there in
PIO-land who wish to promote your latest book/s. I know that in promoting my
recent children's non-fiction book Money-Smart Kids (Ibis Publishing) the
print media has been quick to pick up on and publish articles I have written
and submitted on aspects relating to the book. Also, if you are ever
successful in having an article published (paid or unpaid), it is advisable
to add a short bio note (including your web address) at the foot of the
article. Most publishers will include it with the article.


HAVE YOUR SAY
Re: Competition Ethics!
In the past few months I've observed the following appalling practices that
must surely discourage young writers.
1. Via a contest's web-site, I accidentally found I was runner-up for
the second year in a row in a supposed "reputable" contest but had not been
advised. Question: What's the cost of an E-mail or a simple certificate of
commendation, a stamp and envelope?
2. A well-known published author was the winner of another "reputable"
contest. The author was one of ten finalists and one of 450 entrants at
$10.00 per entry = $4,500!! Question: Was the author's work just so much
classier than the other entries or was it just so "advantageous" to offer
the prize to a published author to give their contest some lustre? Also, did
the contest organisers even consider offering first prize to an unknown,
struggling writer? Mmmmmmm!
3. A poetry contest named after a well-known writer included 10 prizes
and 4 commendations. This contest enticed 340 entrants @$10 per entry =
$3,400!! Not one of the winners or commendation recipients came from another
State. In fact all came from locations close to the contest centre! (I
checked the map!) Question: Is it about the contest organisers wanting the
winners to be present at the "bickies and cheese" presentation or
encouraging new talent and the writers of tomorrow? One can only speculate.
The average cost per entry was $10.00 per story /poem for the above three
contests and all of them were advertised on the Web. Add to that a postal
order and postage and the whole exercise becomes expensive for young
writers.
I now have serious misgivings about entering any contest, especially when
one compares the income made by the contest with the actual prize money. The
above three examples smack of self-serving, manipulation and nothing to do
with encouragement. I wonder what happens to the excess money left over
after these contests? One can only pontificate!
Get your act together! Do what J.F. Archibald did. Do the nation a favour,
not a disservice! Encourage free speech and fresh, young writers.
Thanks for listening!
Clancy Tucker

· FROM AUTHOR Edel Wignell
Vanity Publishing - Poetry

Occasionally in Australia, we are invited to send poetry for publication in
an anthology. (PIO included such an invitation recently.) No mention is made
of a fee to be paid to poets, but everyone is invited to buy the collection.
Usually this is vanity publishing. These days the invitation is more
enticing than it was twenty years ago. The project is announced as a poetry
competition, with a prize awarded for the best poem.

This is what happens when you respond. Your poem will be accepted for
publication and you will receive a letter congratulating you on the fact
that you and your friends will soon see your poem in print. You will also
receive an invitation to buy the anthology in one of two formats and prices:
a standard hard cover or a leather-bound, gold-embossed one. Perhaps there
will be three choices with three prices - none being less than $50. You may
also be invited to purchase a scroll or a citation. If you are willing to
pay a little more, it will be framed for you. 'How proud you will be when
your friends see it hanging on the wall of your study or your library!'

Vanity publishing is much more visible in the US. The final pages of the
excellent monthly journal, Writer's Digest (don't ask why the apostrophe is
situated before the 's'! ), usually includes advertisements by half a dozen
vanity publishers. I read an article once (and wish I'd kept it) that stated
how much vanity publishers earn from people who will do anything to see
their name in print.

· THANK YOU!
My deepest thanks to those who so generously replied to my request for
advice about choosing books for children. The talk was very well received
and no wonder, I sounded so knowledgeable thanks to your help Dr Virginia
Lowe, Pauline Deeves , DC and the other contributors. I'm sure others will
be glad to retain a copy of the information it was so comprehensive. MW

A Regional Writer Revived

A huge thank-you to those involved in organising and presenting the
inaugural Curtis Coast Literary Carnivale. I am sure the children of the
Gladstone Region have been enthused by Narelle Oliver, Gregory Rogers,
Krista Bell and Margaret Clark! I know I am! Not just as a result of the
workshops (brilliant!) but during one-on-one discussions with them
throughout the time - and with local presenter Robyn Sheahan-Bright. This
was my first opportunity to network face-to-face with a group of experienced
personnel for the children's publishing industry and I was appreciative of
the generosity shown by each of the presenters in sharing their thoughts and
time. So many questions answered - and so many new ideas and more questions
generated! Margaret was worried I might be offended by her suggested edits
on one of my manuscripts - how wrong she was! I was/am amazed that she would
take the time to share her knowledge to such an extent with me. Thanks
Margaret!

To all of you, thank-you for slotting a regional area into your busy
timetables. You're very welcome to come again!

Kathryn Apel





ARTICLES

The publishing pie

ASA research shows who gets what.
Ah, a new Harry Potter. Booksellers are swooning, publishers are lunching
and everybody's jealous of J.K. Rowling's millions. It all makes writing and
publishing appear very lucrative.

However, the reality is somewhat different. The returns from publishing for
Australian publishers are not significantly different to those from cash
investment. According to the most recent figures available from the
Australian Bureau of Statistics, in 2003 the profit margin for book
publishing in Australia was just 5.6%. That makes the 5.9% currently being
offered by Citibank a very attractive option.

It's not as if big amounts of money are involved either. The entire
operating profit before tax for book publishing businesses in Australia in
2002-03 was a relatively modest $88.4 million. J.K. Rowling earns more all
by herself.

However, publishers still have a better chance of retiring rich than
writers. At the end of June 2003, there were 5,340 people employed in book
publishing. Wages and salaries paid by publishers for the 2002-3 financial
year came to $248.6 million, or 17% of publishers' total expenses, giving an
average salary in publishing of $46,554.

In contrast, for the same period publishers paid royalties and fees to
writers and illustrators of 11.7% of revenues, or $102.6 million. Authors
survive on these royalties, payments for subsidiary rights, lending rights
payments and payments for statutory reprographic rights (administered by
Copyright Agency Ltd [CAL]). Even so, the Australia Council's Throsby and
Hollister report Don't give up your day job indicates that in the period
2000-01 writers had a mean arts income of $26,400 and a median arts income
of just $11,700, reflecting the effect of a few high earners in raising the
mean.

Remuneration is better for publishers. Senior sales and publishing managers
may well receive salaries $150,000 to $200,000; even more with bonus
payments and fringe benefits. Sales representatives have salaries from
$50,000. Administrative staff start at around $40,000. Editors also do
better then authors. Under the Book Industry Award, trainee editors commence
on a salary of $30,600 and the highest grade receives nearly $51,000 plus 9%
superannuation. In practice, many publishers pay above these rates and offer
fringe benefits. Freelancers don't lose out. The freelance rate for book
editors currently appears to vary between $45 and $75 per hour.

Even the humble indexer may earn more from a book than its author. The
Australian and New Zealand Society of Indexers (ANZSI) recommends a base
rate of $55 (excluding GST) an hour for its members.

Payments to publishers and authors from CAL in 2003 totalled $46,956,773.
But this was no cause for authors to splurge on champagne. Only 8.94%
($4,197,337) was paid directly to 4935 authors, an average payment of $850,
or less than $17 per week. Enough, perhaps, for three reams of A4 paper, but
not enough for even an entrée at one of the restaurants publishers love to
lunch at.

One bright spot for authors was the fact that payments for Public Lending
Right (PLR) in 2003-04 increased. The PLR Committee recommended an increase
in the PLR payment rate in line with the annual increase in the funding
allocation for the scheme in 2003-04. The rate per copy of each eligible
book was $1.37 for creators and 34.25 cents for publishers compared with
$1.34 and 33.5 cents in 2002-03. The Committee approved annual payments of
$6,501,793.18 for 2003-04, to be distributed to 8737 claimants of which 8409
were creators and 328 were publishers. The majority of creators received
payments of less than $3,000. Seventeen creators received payments greater
than $20,000.

Payments for Educational Lending Right (ELR) have not increased in the same
manner as PLR because funding currently remains fixed. Educational Lending
Right payments commenced in 2000 as part of the Book Industry Assistance
Plan initiated in response to the imposition of a GST on books. Funding for
ELR commenced in 2000-01 at $8 million, and increased to $11 million in the
final year, 2003-04. An extension of funding of $44 million over four years
from 2004-05 was provided in the 2004-05 Federal Budget to continue ELR
payments up to 2008. For the period 2003-04, ELR made payments totalling
$10.23 million to 8285 claimants. Of these, 7981 were creators and 304 were
publishers.

No author resents J.K. Rowling her sales and income, but all writers know
that writing is rarely a path to riches.

Jeremy Fisher, Executive Director, ASA

Note: the above research is part of a forthcoming ASA report on current
publishing practice.





PUBLISHER GUIDELINES

Sid Harta Publishers
Sid Harta Publishers wish to extend an opportunity to new and emerging
authors committed to seeing their work in print to consider Partnership
Publishing.
This is NOT vanity press and should not be confused with "Self Publishing".
The major difference between Self Publishing and Partnership Publishing
being that under the PP arrangement, Sid Harta Publishers provides the
distribution network, manages the project from line editing, typesetting,
proofing, printing, book design, co funds production, provides promotional
support including a personalized page for the author's work and bio. Sid
Harta can arrange for author launches/talks to promote their title.

Sid Harta Publishers provides this service and will not consider manuscripts
from unpublished authors unless the SHP editors carry out the assessment as
we have not always been impressed with some of the evaluations offered by
other agencies.

Once the assessment has been received, the writer has the opportunity to
revisit his/her work whilst considering the input offered by the editors. In
most cases this leads to re-writing/correcting point of view, a major
problem with new authors, and working on structure and character
development. If SHP's editors give the work a thumbs up SHP would then
contact the author and discuss Partnership Publishing or even publishing in
the traditional sense, depending on what we perceive to be the title's
economic viability.
Sid Harta Publishers
PO Box 1102
HARTWELL VIC 3125
AUSTRALIA

www.sidharta.com.au




AUTHOR/ILLUSTRATOR PROFILE



USEFUL BOOKS/WEBSITES

For anyone interested in Plot and Plotting, the following Twelve Point
Recipe for Plotting can be found in:

Writing for Children & Teenagers

by Lee Wyndham. AF

Writing Tips


1. Who is the main character?
2. Who (or what) is the antagonist?
3. Who are the other people in the story?
4. What does the main character want? Why? What is his or her problem,
goal, situation, greatest need? (This need or want will govern the kind of
person the main character must be in your story. It must be suitable to his
or her age and attainable - but only through considerable effort.
5. How important is it for the individual to get what he or she wants?
(It should be vital. A great deal should be at stake, with serious
consequences if failure occurs.)
6. How does the antagonist prevent the main character from getting what
he or she wants? (This is the conflict, the opposition.)
7. What does the main character do about this obstacle? (Our heroes, big
and little, male and female, must be doers, not people-watchers. They must
win through their own power, not through luck or coincidence. It is their
doing something about the situation that starts the story action.)
8. What are the results of his or her initial action? (Here
complications should set in - new difficulties that make the main character's
situation worse than before, intensifying the struggles.)
9. What do these struggles lead to? (This is the crisis, the crucial
point for the main character. Things just can't get any worse; here consider
the possible Black Moment.)
10. What is the climax? (This is the moment of decision, the point of no
return, where intensity and interest in the story have reached their highest
pitch. The main character must decide which way to go because of the kind of
person you have made him or her. The person's action now governs the answer
to the next question.)
11. Does the main character accomplish his or her purpose or abandon it in
favour of something else? (This is the story outcome, the resolution or
denouement.)
12. What is the theme? What basic truth have you illustrated through your
character's action and reaction?


CBCA Notable Australian Children's Books 2005
http://www.cbc.org.au/notables05.htm


For articles about writing for children:
http://www.writer2writer.com/writing.htm


Authors and publishers looking for websites to review their books may be
interested in this free-to-use site. It allows you to search for suitable
review sites by genre and format, allowing you to target appropriate sites.
It seems to be a fairly new site and there are plans to make the search even
more relevant and detailed. Of course, being a US-based site, most of the
sites listed are American, but it isn't exclusively US (I found
Aussiereviews listed there, for example). Anyway, the link is:
http://www.bookconnector.com/





BOOK REVIEWS

The following titles will be reviewed on 25th July 2005
on ABC Radio Canberra by Laurine Croasdale. They will also appear in the
Primary English Teacher's Association newsletter...

Ruby Parker Hits the Small Time
by Rowan Coleman
Harper Collins

Millie and the Night Heron
by Catherine Bateson
University of Qld Press

Ian Thorpe the Biography
by Greg Hunter
Pan Macmillan

Honey Biscuits
by Meredith Hooper Illustrated by Alison Bartlett
Frances Lincoln




INDEPENDENT CHILDREN'S BOOKSHOPS
**Note this is a new section - please feel free to add to it**


FROM AUTHOR Hazel Edwards
I'd like to recommend:-
BookStreet
482 Hampton Street,
Hampton, Victoria 3188
Run by David and Sharon who actually read books, and so do their children!
Excellent service.
bookstreet@bigpond.com. Phone: 03 9598 5111





INSPIRATIONAL QUOTES

Annie Dillard:

"We are most deeply asleep at the switch when we fancy we control any
switches at all."



ADVERTISEMENTS



PASS IT ON SUBMISSION GUIDELINES
Submit contributions to jacket@smartchat.net.au
Comic Sans MS, 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