PASS IT ON ISSUE 51
PASS IT ON - ISSUE 51: 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 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 a weekly, on-line, interactive, 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 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 and an invoice. If you like what you see, please return the
invoice along with your payment 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
The Writer Gazette www.writergazette.com was voted Best Site by Writer's
Digest for 2002, 2003 and 2005. It's an invaluable resource for all writers.
DC
** Counting on the Caterpillar **
It's said to have sold a copy for every second it's been in publication and
now the film rights have been sold for a seven-figure sum. So what sets The
Very Hungry Caterpillar apart from the thousands of other charming
children's books?
http://news.bbc.co.uk/go/em/fr/-/1/hi/magazine/4717503.stm
>From emails I've received this week, it is obvious new writers are having
problems in some areas, so hopefully this will help:
Ø You only have to have published one book title in order to apply for
and receive PLR and ELR
Ø If a professional writer or organisation advises you on what to do
when negotiating a contract clause, then for goodness sake follow their
advice!!
Ø Before you sign a contract, learn the difference between net receipts
(also known as publishers' receipts) and recommended retail price (known as
RRP); always try to get RRP to protect your own financial interests. Net
receipts represent a clever way for publishers' accountants to pay you a lot
less money than if you receive RRP
Ø If you have never negotiated a publishers' contract before, then pay
to get your contract read and negotiated on your behalf: you can do this
through a literary agent (they do want to know you when you have a contract
in hand), the Australian Society of Authors, the Arts Law Society of
Australia, or an arts' lawyer. Every clause in a contract is open to
negotiation. By negotiating clauses professionally, believe me you will save
yourself a lot of money and angst in the long run!
Ø Join CAL as soon as you contract a book; do not allow your publisher
to collect your CAL, PLR or ELR, if you can possibly avoid it
Ø If a publisher tells you they don't pay royalties, don't believe
them. They can and do, even if it is only a small amount. If they still
refuse, take your manuscript elsewhere. Do not be held to ransom by
publishers who work from far bigger buildings than your home and who are
paid far bigger annual salaries than most published authors see in a decade
Ø Never sell copyright (also known as assigning copyright), and never
accept a flat fee payment only (because you will miss out on PLR, ELR, CAL
and other payments). Learn the difference between assigning copyright and
licensing copyright.
Ø If you want a professional writer/author to mentor you, then offer
your services to them, and please remember to say "thank you" if one of us
spends our valuable time responding to your emails and/or letters (if you
write to us expecting a reply, please include a stamped self addressed
envelope, also known as a ssae). Buy the helpful author's books and read
them! Give the author positive feedback: one day you might find out what it's
like to be a published author - and it's not all fun and games!
Ø Finally, some of us genuinely want to help new writers, but they too
often do not help our industry by not acting in responsible, professional
ways. Ignorance is no excuse for acting like an amateur and accepting less
than industry standards.
Contributed by DC
Contract Advisory Service
The ASA provides quick and inexpensive advice on all types of publishing
contracts for members (both full and associate) with expert industry advice
on print and digital/electronic contracts for a flat fee of $110 per
contract. For more information please call Amanda on 02 9318 0877.
SEEKING
Would any PIO readers know the titles and authors of children's books about
dogs, cats and/or horses which were originally published in countries other
than
dibates@enterprisingwords.com
Many thanks for the contribution re-capping the information given during the
recent Writing for Children and Young Adults day, run by the excellent NSW
Writers' Centre.
Unfortunately, in the first session re Trends Past, Present and Future I
missed Bernadette Welch's reference to a well received Young Adult book.
Apparently this author speaks with great immediacy and with a strong voice.
There was an enthusiastic response from the audience. Would anyone who may
have been present know which title and author was being referred to? Sorry
for being vague with any further details.
B.A.
CRITIQUE GROUPS? I haven't included this for a few weeks but would like to
offer it again only this time the format will be a little different. I will
include another section at the end of the newsletter called "Critique
Groups" that might be used as a noticeboard. If you would like to find or
create a critique group then send me an email with CRITQUE GROUP as the
subject heading along with your request and I will post it on the
noticeboard. You might like to include details such as:
1. How long you've been writing
2. What genre you prefer (so long as it's children's/YA)
3. Whether or not you are published
4. What you are looking for in a critique group and what you can offer.
5. Your contact details or you can go via me if you'd prefer.
6. Anything else you can think of.
I think this is a more efficient way of doing it as it ensures that only
like minded writers are in the one group. I would suggest no more than six
members per group. This seems to have worked in the past.
REPLIES TO SEEKING
I have a suggestion regarding (from this week's PIO):
I would like to suggest a new section in PIO to share and acknowledge
member's publishing successes and competition wins etc.
How about calling this section, MILESTONES? There's already something
similar in the Qld Writer's Centre mag and it's always worth reading. Let's
face it, we writers are curious critters and love nothing more than seeing
what everyone else is up to.
Tessa asks: 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?)
In
something like: BA,
kudos from merely attending. Maybe Tessa could copy their example? 2
stories, Magpies (unpublished).
Ruth Starke
To the person wondering about which publications to subscribe to, I
subscribe to Children's Book Insider and find it value for money. Although
it is based in the
relevant to writers wherever they are based.
I paid US$22.95 which will provide me with 12, monthly issues emailed at the
beginning of the month. They are generally around 6-8 printed pages, so they
don't take long to read. While each issue contains information about US
publishers, sometimes this information extends to trends and what publishers
and librarians are looking for, so it's not exclusive.
I have printed out and filed all the issues I've received and often go back
to them.
Caroline Christie
To the person wondering if Reed For Kids was still in business:
This company was taken over several years ago by a pram company (that's
right, a pram company) who changed the publishing arm name to Read For Kids.
Although they were no doubt very good at selling prams and other assorted
baby paraphernalia they knew little about the publishing business. Editorial
staff were dispensed with to the best of my knowledge - they certainly
disappeared from the projects I'd been working on for Reed For Kids, which
eventually trailed away to nothing. However, perhaps they started up again?
MC
In response to the writer in PIO49 who enquired about submitting a
previously published poem to a publisher:
I've published poetry for adults, rather than children, but I imagine the
basics are the same. There is not really a case where you would submit a
single poem to a publisher. Single pieces would be placed in magazines or
anthologies, something you have already done. Once you have a publishing
history in this area, and sufficient material, you could submit a manuscript
(usually a minimum of around 40 poems to a publisher), but be aware that few
publishers in this country are currently publishing collections of this
nature. When publishers put out an anthology of poetry, they generally draw
on existing published material or ask known poets to submit material. In
some cases, there may be a general call for submissions. So the short answer
is that there is not really any reason to send a single poem to a publisher,
but if you would like to sell your piece again, you could try offering it as
a reprint to a children's magazine. Just be clear about the conditions under
which it was previously published when you make the submission. I hope that
helps.
Megan
>From Paul Collins:
Re Tessa's problem with a new editor and: 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?)
I'd refer to the old saying, "a new broom sweeps clean". One of my first
stories was accepted by Playboy which paid handsomely in those days. The
editor left, and the new editor rejected it, but at least he paid a "kill
fee". If work is accepted, then rejected, ask about a kill fee. Playboy
didn't offer it to me, I had to ask for it. My reasoning was that I had
pulled that story off the market, in the belief that it had "sold". This is
even more relevant is the story/book is topical, and needs to be published
when written. I wouldn't include stories/books in a cv that haven't appeared
(for whatever reason). I had two trilogies accepted by Macmillan when they
were going to publish Net Kids, but the editor was sacked and the series
dropped. It would be pointless including those books in a cv.
Re: 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
This is an extremely sore point with me. Some of my titles went to Harcourt,
who do pay royalties. Others went to Macmillan, royalty-free. I complained
to all and sundry, including the ASA, but no one wanted to listen.
Christopher Stitt and I seemed to be the only authors concerned that our
titles were "sold" and yet we didn't receive a cent from the sale. If MW
wishes to contact me direct, I'll go into more detail
(earthborn@smartchat.net.au). For what it's worth, Margaret Brownie is now
the publisher at Ibis. I'm offering a friendly "beware". Obviously other
authors may feel differently where this publisher is concerned. And may your
voices be heard in PIO. Please list your real name, as I have, if you're
replying on this issue.
To Lynda Calder who says: 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.
Always remember that there are many "failures" out there, and many of them
simply gave up just as they were about to reach success. My SF title, The
Earthborn, was knocked back by every major (and some not so major!)
Australian publishers. An American agent sent it straight to Tor and not
only did they accept it, but they bought the sequel. Just keep sending the
book out -- the next publisher might say yes. I hope so.
NEW PUBLICATIONS
SPECIAL EVENTS
MARKET OPPORTUNITIES
· Vic School Magazines: Topics and Deadlines for 2006
DEADLINES
IssueArticle synopsis/Articles submitted on specMagazine Distribution
112/08/200524/01/2006
211/11/200511/04/2006
303/03/200618/07/2006
419/05/200603/10/2006
COMET 2006
Issue 1/2006 Homes
Comet talks to kids who call different kinds of places home: the city, the
beach, the mountains, the bush. We find out what it's like to live on a
boat, how to build a cubby or tree house and design the perfect bedroom. We
visit a building site and discover all the different types of jobs
tradespeople do: bricklaying, roofing and tiling, electrical work, plumbing.
We visit kids who live in different parts of the world to find out what
their homes are like. We also find out about the different materials animals
build their homes from.
Issue 2/2006 Dinosaur Dig
Comet travels back into the past to find out what it was like when dinosaurs
roamed the Earth. We find out about Australian dinosaurs - where they lived,
what they ate, what they looked like. We visit a museum to see a dinosaur
exhibition and take a trip to Dinosaur Cove on the south-west coast of
Victoria. We investigate fossils, dinosaur footprints and interview
'dinosaur hunters'.
Issue 3/2006 Pirates Ahoy!
Climb aboard the good ship Comet and discover the exciting world of pirates!
We find out about all things piratical: pirate flags, galleons and chests
full of gold doubloons and pieces of eight. We learn how to speak like a
pirate (Aaaarrrr!) and meet some famous pirates such as Long John Silver,
Blackbeard, Anne Bonny and Mary Read. We find out what pirates ate, how they
dressed, and how they made their treasure maps.
Issue 4/2006 Green
In this issue, Comet investigates all things green: grasshoppers, iguanas
and grass. We visit a rainforest to see what grows there and meet
green-thumbed people who work in greenhouses. We discover the importance of
eating green vegetables, meet Shrek and find out where slime comes from. We
also find out all about 'green living' - learning how to recycle everyday
materials, reduce pollution and conserve water and energy
EXPLORE 2006
Issue 1/2006 The Outback
In the international year of deserts, Explore goes walkabout to meet the
people and see the places of the outback. We'll find out about desert life,
the amazingly adapted desert animals and plants, and all about conserving
our fragile desert ecosystems. We'll recount stories of survival in harsh
conditions, and sample outback art, food, lifestyles and lots more.
Issue 2/2006 Vikings
In this issue Explore goes berserk with all things Viking! We'll dig up the
dirt on Viking times, their lives, language, art, trade and spirit of
exploration. Where did the Vikings come from and where did they travel? Come
with Explore on a journey in a Viking long-ship, and follow Viking raiders
as they conquer new lands. Marvel at the legacy still evident today of what
the Viking culture brought to the Western world - if you thought runes were
an invention of JRR Tolkien, think again!
Issue 3/2006 Need for Speed
Can you keep up the pace needed for this issue? You'd better hang on as
Explore chases the planet's fastest moving things, including animals,
athletes, machines and computers; as well as all kinds of transport such as
planes, trains, cars, bikes, boats. If it's fast - we've got it covered!
Issue 4/2006 Fancy That
Explore gets fancy-pantsy! In this issue we'll feature fancy dress,
elaborate national costumes, intricate arts and crafts, stylish fashions
(including the iconic dress styles of celebrities such as Kylie and
Madonna), and spiffy sports such as gymnastics and dressage. Then, we'll dip
into fragrant spices, peer into ornate architecture and try our hand at
intricate calligraphy!
CHALLENGE 2006
Issue 1/2006 Rebel Yell!
Challenge goes revolutionary in this issue about rebels. We'll feature
famous rebels such as Joan of Arc and Gandhi, as well as their different
methods (violent vs peaceful). We'll look back at some of the world's
memorable revolutions, including the French Revolution and the Eureka
Stockade. We'll delve into the rebellious minds of teenagers striving for
independence, the impact of archetypal rebels in the movies and media, music
as a vehicle of rebellion for each generation, and the legacy of defiant art
movements, including the culture of social rebellion in graffiti and murals.
Issue 2/2006 Technology Takeover
What would many of us do without our mobile phone or our PC? In the Western
world, life without many of the gadgets we are used to seems unimaginable.
And yet many of these innovations are fairly recent. Challenge looks at how
the world has been changed by technology and how it affects our everyday
lives, from the humble washing machine or the family car, to the Internet
and the ongoing debate about downloading music, to the 'haves' and the
'have-nots' in the technology stakes, plus lots more!
Issue 3/2006 On With the Show!
Roll up, roll up! Come on a show-time journey in this issue as we feature
stage acting, the circus, travelling shows, theatres, big shows such as
musicals, stage makeup, costumes, set design, comedians, local youth drama
groups, opera and dance. It's all about the people, the shows, life on the
road, and a peek at what goes on behind the scenes.
Issue 4/2006 Power House
What goes on behind the doors of our governments? Challenge takes to the
campaign trail to find out about our system of government - who runs it,
what do our local MPs do, who are our leaders and what are the differences
between our system of government and others around the world? We'll look at
the role of the media, how the houses of parliament work, school
parliaments, as well as getting involved and having your say.
MARKETS (Contributed by DC)
MONSTER FIGHTERS: We are looking for a creative writer to work with us on an
exciting new concept for the children's market (ages 2-7). Writers will be
paid $150 for each selected story. Topic: Create a Monster Fighter
hero/heroine character and storyline designed to protect children and fight
their bedtime-specific fears. These characters may be individuals or a group
of Monster Fighters. Typical childhood fears include monsters, thunder,
lightning, ghosts, darkness, loneliness, etc. Please do not limit your
themes to these items. Limit: 5 pages, not including any illustrations.
Deadline: August 31. E-mail submissions and inquiries to the attention of
Mark Marks at mailto:monsterfighters@netzero.net Please include your name,
E-mail, phone, and whether you're interested in working with us on a
continuing basis.
FAMILY FUN MAGAZINE is a popular parenting magazine seeking parent's wisdom
of how to cook in the kitchen with your children, how to get them to eat
healthy, etc. It pays $75 for your tips. Send your ideas with your daytime
phone number to mailto:mgied.familyfun@disney.com or send to Family Fun, My
Great Idea: From Our Readers Editor, 244 Main Street, Northhampton, MA 01060
PARENTS MAGAZINE is looking for less-than-perfect parenting moments
involving you, your kids, and food. Pays $50. Send your stories, along with
your address and phone number, to How Embarrassing c/o Parents, 375
Lexington Ave., New York, NY 10017; fax your story to 212-499- 2077 or email
to mailto:embarrassing@parentsmagazine.com
Y:L MAGAZINE: A progressive new publication for African American girls aged
12-17. This is the stage in life when girls are beginning to discover who
they are as individuals and begin forging identities for themselves. In a
popular culture that floods audiences with images of African American women
as hyper-sexed, money-hungry, objects of desire, Y:L's mission is to inform,
encourage and educate young girls that they don't have to fit into that
mould. By providing them with the tools to bolster their confidence,
self-esteem and self-image, teenaged girls can have a better understanding
of their worth as people. Striving to educate, rather than preach and
persuade, Y:L is to be a reference to help girls make informed decisions in
their lives. By incorporating elements on dating, school, fashion, beauty,
entertainment, fitness, community service and current events, it is our hope
our readers will be inspired to exceed expectations and be more than another
Black girl stereotype. Pays $0.25 per word. http://www.yl-mag.com/
COMPETITIONS/AWARDS
Mentorship for
Young & Emerging Writer
Are you aged 16-30 years?
Would you like the chance to be mentored by one of Australia's
best-known and most-awarded authors?
then read on..
The ACT Writers Centre is delighted to offer an exciting opportunity for a
Young and Emerging Writer to work closely with author Jackie French for an
extended period with a total of 17 personal contact hours. It will cover
editorial advice and guidance, elements of writing and advice about
marketing and publishing.
The applicant must have a substantial existing body of work that would form
the basis of the mentorship. This can be either a number of short stories
or a number of chapters of a novel. Fiction, non-fiction, adults' and
children's writing, short stories or articles would be eligible for
consideration. Submissions of poetry and scriptwriting are excluded from
this particular project.
The applicant must also have ready access to email and have transport to
Braidwood if they wish to meet face to face with the mentor. They should
live in the Canberra region (which includes the shires of Young, Boorowa,
Harden, Yass Valley, Cootamundra, Goulburn Mulwaree, Gundegai, Tumbarumba,
Tumut, Snowy River, Cooma-Monaro, Eurobodalla, Bega Valley, Bombala,
Palerang and Queanbeyan). There will be no charge for this mentorship,
although it is expected that the successful applicant join the ACT Writers
Centre if they are not already a member.
Jackie French, the project's mentor, has written over 120 books for adults
and children in both fiction and non-fiction, has received 40 awards in
Australia and internationally, has had her works translated into 19
languages and has sold millions of books. Her writing spans a variety of
genres including picture books, children's, young adult and adult fiction,
science fiction, history and gardening.
The closing date for applications is 16 September 2005.
Don't miss out!!!
For full details of the application process and selection criteria, please
phone the ACT Writers Centre on 02 6262 9191, email youth@actwriters.org.au
or go to www.actwriters.org.au
This project has been assisted by the Australian Government through the
Australia Council, its arts funding and advisory body.
ACT Writers Centre
Gorman House Arts Centre
Ainslie Avenue
BRADDON ACT 2612
Ph: 02 6262 9192
www.actwriters.org.au
youth@actwriters.org.au
WRITING COURSES/WORKSHOPS
HAVE YOUR SAY
FROM UC PUBLISHING Gary Underwood
Highlights/Young Heroes series with UC Publishing
In regards to the author that wrote:
"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?"
As most of the authors of the 150 books we package each year know, we do not
normally ask writers for an illustrations brief. However, the writer to PIO
forgot to add that these two series are hi-Lo books, Hi interest- low
language level. These books start at only 48 pages and 1000 words, which
averages to 22 words per page. The rest of the page is illustration. We felt
it was impossible with so few words for us to correctly brief the
illustrators, and we wanted the authors to have a strong input into what
they could not possibly explain with 22 words. However, I can also report
that we do not need any more stories for Highlights and I will amend the
website before you read this.
Thankyou to all those writers who understood what I was trying to achieve
with this approach.
FROM AUTHOR Dianne (Di) Bates
Thank you to all those PIO readers who came up to talk to me last weekend at
the Writing for Children and Young Adults' Festival: it was wonderful to
make contact with you! I would also like to pay tribute to the NSW Writers'
Centre co-ordinate Irina Dunn and her band of volunteers who made the day
such a great success. The range and quality of speakers (including
moderators) was outstanding; no session ran over time; the catering was
excellent; the marketing and publicity was so faultless that the weekend was
fully booked; Reading Matters ran a wonderful bookstall; parking was
convenient. What more could be asked of a festival? Thank you, Irina and
your helpers. I can't wait till the next festival!
FROM A COMPILER
REPLY TO SG who wrote last to PIO last week: "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?" Why does the compiler's name need to be listed?
Successful contributors have been promised ASA rates and all other details
are listed; what more do you need to know? If a theme was required, it would
be stated. What do you have to lose but postage costs? Why be sceptical? If
you don't want to contribute, then don't. DC
FROM AN AUTHOR
Although I have published for many years, it wasn't until recently that I
fully understood some facts about multiple submission and book auctions,
which I would like to share with PIO readers who are perhaps not clear about
this either.
Today's publishers generally accept that because of waiting time involved in
having a manuscript read and assessed, that authors can (and should) submit
a manuscript to several publishers simultaneously (known as Multiple
Submission). However, it is considered ethical by publishers that when the
first approach is made by a publisher interested in contracting the work,
that the author should immediately contact all the other publishers to whom
the manuscript has been submitted and withdraw their submission. If the
author is then unable to successfully negotiate and sign a contract with the
first publisher, he/she should then re-submit to other publishers, including
those from whom he/she withdrew their work.
Regarding book auctions: these are conducted by literary agents who make a
multiple submission of a manuscript to selected publishers. If publishers
are interested in making a bid, they then proceed to create a publishing
package. This package includes a wide range of information including a
contract (with large advance), details of proposed marketing and publicity,
book cover designer, book cover illustrator, and so on. The agent, in
consultation with the author, then chooses the package which most interests
them and negotiates a contract with the successful bidder.
Until I was informed privately by a kind children's publishers last weekend,
I always assumed that an author making multiple submissions used any
successful interest by publishers to "auction" their manuscript, and that a
book auction by an agent involved only the offer of an advance. I stand
corrected and am now better informed! DB
HAVE YOUR SAY
Re an author's comments about Competition Ethics
A timely reminder last week from a couple of contributors that we need to
take a little care that the competitions we enter are legitimate and fairly
administered, and to pay particular attention to those "vanity publishers"
that Edel mentioned. But while there are some unscrupulous competition
organisers around, the vast majority are run by well-meaning and honest
groups or individuals with the view to encouraging writers and promoting
writing and that the fees charged are designed to cover administrative and
judging fees. Each year when I finish up with our annual writing comp for
Young Writers, I am exhausted and again amazed at how time consuming the
whole thing is. Ours is supported by local government and business
sponsorship, which means we don't have to charge an entry fee. Our adult
writing competition also has private sponsorship but to a lesser extent
which makes it necessary for us to charge an entry fee to offset costs.
Despite the fees, it is not a money-making venture and still "costs" us
every year.
I was a bit confused though about whether Clancy was referring to
competitions for "young writers" specifically or more general ones. While
$5 or or even $10 entry fees are quite normal for adult competitions, the
vast majority of competitions designed for young writers, ie, primary and
high school students, have either no entry fee or a reduced fee from $1 to
$5 maximum. Most of them waive the fee or charge a lower fee specifically
to encourage young writers and maximise entries and school support. I think
we are very fortunate in Australia to have an incredible range of writing
comps which support young people and offer some really amazing rewards and
opportunities.
Here is an extract from the Young Writers' Survival Guide (published by ACT
Writers Centre as a pdf file and which lists competitions for young writers
in Australia) regarding competitions. It is targeted at young writers but
the warnings are the same.
A Word of Caution about Competitions
While the vast majority of writing competitions are legitimate and a great
way to inspire you to write and hone your skills, be warned that some
competitions are run by unscrupulous operators who are more interested in
your money than providing a literary service. While it is rare to find a
fake competition that targets children or young people, simply because most
of these competitions have no or very low entry fees, you do need to be
aware of scams, particularly on-line, and be extremely wary about being
offered the chance to have your work published at your own (sometimes very
high) cost. Even teachers need to be aware of potential scams as sometimes
they are targeted in the hope they will pass on information to unsuspecting
students and their proud parents.
If you do have any suspicions, read the fine print and ask around. Your
local Writers' Centre would be a useful starting point - there is one in
every state of Australia, as well as regional Writers Centres and many
Fellowships of Australian Writers.
There are a few competitions around that are really just veiled Vanity
Publishers.[mentioned last week]....There are other scams to watch out for
as well. An "agent" or a "book publisher" has run competitions where the
prize is representation or a book contract. The catch is that this involves
a hefty editing or publication or promotion fee, benefiting them, not you.
Be wary too, of competitions with high entrance fees, especially in relation
to the prizes on offer. Always read the conditions of entry and if so are
worried about something, find out more or don't enter. There are plenty of
legitimate competitions around which offer wonderful prizes.
Here are some things to consider when working out the legitimacy of a
competition. If in doubt, ask some questions.
Entry fee - is it appropriate? Consider it in relation to the prizes on
offer. .
Prizes- Prizes offered may vary and can include money, books, gift
certificates or other prizes. They should be clearly stated. Publication
can also be a legitimate prize (in an anthology or a magazine or by an
established publisher) but DO NOT EVER PAY FOR THIS! There should never be
an additional publication cost associated with a prize. It is normal to
receive a free copy of the publication as part of the prize.
Competition Organiser
If you haven't heard of the organiser, can you contact them apart from via
the internet? Be wary of competitions run by an individual (although some
are legitimate and wonderfully run).
Judges
While many legitimate competitions don't publicise the names of their
judges, some bigger ones do and this can help you work out the prestige that
will be associated with winning a prize.
Conditions of Entry
Make sure you always read the conditions of entry so you know if you are
giving away copyright. Never enter a competition which requires you to
automatically accept a publishing contract if you win.
Christine Aldred
ACT Writers Centre
FROM AUTHOR Ruth Starke
DC asks: Am I the only children's writer who strongly objects to providing
illustration briefs to publishers?
Poor DC. Personally, I'm gratified to be asked - and Lothian always does
ask. Nobody knows the story better than I do, so I'm perfectly placed to
suggest chapter heading illustrations for my 'Takeaway' novels. That leaves
the illustrator free to choose from my suggestions, and to interpret freely,
but ensures that the illustrations are appropriate and pertinent to the
developing story. I take the point about writing blurbs but, again, nobody
knows the story better than the writer and I've found that writing your
own - or at least, suggesting your own - again ensures that the story is
summarised correctly.
FROM AUTHOR Ruth Starke
A comment reportedly made by Mark Mcleod about 'people reading against their
lives' at the Writing for Children/Young Adult Day at the NSW Writer's
Centre on Saturday 23rd July:
So football players don't read books about football? All those readers of
Specky Magee must be girls or cricketers then. I think Mark's is a false
analogy: a child undergoing or who has suffered a painful divorce quite
understandably might not be eager to read a book about divorce, but a child
with an interest in or passion for something, be it football, horses,
surfing or whatever, will be highly attracted to a book featuring that
subject.
FROM AUTHOR Ruth Starke
A pat on the back and a thank you to Sheralyn Bavinton of Allen & Unwin. One
of my best creative writing students, as part of her last assignment, had to
research the market for her YA novel. She commented:
'While many other publishers I spoke to were quick to highlight the
unlikelihood of new writers getting published, Sheralyn was very
encouraging. She said that Allen & Unwin was always looking for new talent
and showed interest in what I was doing and in my studies.'
Needless to say, that student's excellent manuscript will be winging its way
to A&U some time soon.
HAVE YOUR SAY
Re: Articles - The Publishing Pie
While I agree that authors are, in general, poorly remunerated, I beg to
differ with the figures offered in PIO Issue 50 by Jeremy Fisher of the ASA.
'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 than 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.'
Perhaps you are considering Trade publishing only, but I suspect that a lot
of the subscribers to PIO get their income from educational publishing. I
take particular issue with the starting salaries of admin staff - in my
experience (of educational publishing), the figure is $10,000 less than you
are citing, lower in fact! Could you please let the readers of PIO know
where you found these figures? Is this a small sample, or are these
published statistics? The publishing industry (as a commercial industry) is
one of the lowest salaried around. To imply that $30,600 is an adequate
salary for a professional editor is obscene.
You seem to be of the opinion that publishers 'love to lunch' at expensive
restaurants instead of working hard to get your books published. There is a
severe lack of understanding here, and I would honestly love to know where
this misinformation comes from. As someone who works in publishing (and who
loves it, despite the poor salary), I'm quite offended by your tone.
You could always self-publish and get a much better return on your books,
but of course this would require expertise in the areas of editorial,
production and design, not to mention the full-time job that distributing
your books would be. If you were to explore this as an option, I am certain
you would not find time to lunch at these restaurants with your extra
pennies earned.
FROM AN AUTHOR
Re Underwood Publishing. I know that Gary Underwood's company has received
some criticism in Pass It On of late. I don't wish to buy into whether that
was warranted or not because I simply don't know. However, this is what I do
know from my own experience: Underwood has published one of my books and
Gary and his editing team did a great job. Gary responded to email enquiries
promptly and, where he could, he complied with contract changes I requested.
I would be happy to work with him again.
FROM AN AUTHOR
Thank you...
To the writer who answered my questions about CVs - thanks! Very helpful
advice and I have taken it on board.
THANK YOU!
What a great write-up of the Writing for Children/Young Adult Day at the NSW
Writer's Centre on Saturday 23rd July. Many thanks to whoever took the time
to write such interesting and helpful reports. Was it CH? Please share
your name with us. You deserve to be credited with your fine articles.
Meryl Brown Tobin
FROM A PIO FAN
Recently it was brought to my attention that a subscriber was purchasing PIO
every week and then dispersing copies free to her writer friends. I think
this is mean and would appeal to anyone who is doing this to consider the
fact they are only paying an average of 46 cents per issue. Also, Jackie
Hosking, our esteemed compiler, is a struggling writer herself and mother of
small children trying to support them financially from home: she deserves
your full support, not just financial but moral. It is because of her many
months of providing PIO free of charge that the newsletter continues to be
available. It is the only one of its kind in Australia and an invaluable
help to new children's writers in particular. Please do not be mean: make
your friends pay for their own issues! Writers in the children's book
industry in Australia are generally the most generous of people: do not give
our industry a bad name!
**I feel the need to reply to this and would like to personally thank this
person for their kind spirit. I know that it can be difficult to pay for
something that used to be free and I understand how tempting it is to
justify Passing it On (as that is the spirit in which the newsletter was
created). I'm flattered that PASS IT ON is being past on however, in order
for me to continue producing this very worthwhile product at such a low cost
it requires that the subscription list does not decrease. It just makes
sense, that the more on the list, the cheaper the newsletter remains. Thanks
Jackie J
THANK YOU!
A very big thank you to the contributor who sent in such a detailed summary
of the event in Sydney a couple of weeks back. There was so much valuable
information packed into it.
FROM AN AUTHOR
I am hopping mad!! The 2005 Books Alive Campaign has a budget of $1.8
million to promote Australian books (the idea is you buy an Australian book
in August and lucky you get a copy of Mathew Reilly's latest adult novel.
ho! Hum!) Fifty titles are central to this year's campaign, of which
thirteen are children's books. Only six of these books are by Australians
and not a single one of the six is by a lesser known author than writers who
don't really need the publicity or income (good as their books are) - Jackie
French, John Marsden, Andy Griffiths, Alison Lester or Garth Nix (good
grief, they left out Morris and Paul!) It's not even as though any of these
books (except for Alison's wonderful picture book Are we There Yet?) are
recent titles. I for one refuse to buy a single book in Australia during the
month of August in protest at this ridiculous, money-wasting campaign! If
the Australian Government wants to know how to better spend nearly two
million dollars promoting Australian books, I could give them a few clues.
Obviously our publishers (most of them multinational companies) are not
really interested. GP
FROM AN AUTHOR
I was recently sent an email which stated: "There is currently no national
organisation for children's and young adult writers in Australia. Sure,
there's the Australian chapter of SCBWI but that's essentially an American
organisation run out of America with some local representation." FYI: the
Australian Society of Authors used to have a specialist children's writers
group which was convened from time to time by the extraordinarily
hard-working and wonderful author Libby Gleeson. However, it has not met in
years (probably due to apathy on behalf of members and executive). The thing
is: if children's and young adult authors and new writers want a national
organisation, they need to get working on it and not to rely on others to do
the footwork! My guess is that apathy rules. Thank goodness for dedicated
people like Jackie Hosking who at least keeps lots of children's writers
under one big bright umbrella called PIO.
FROM AN AUTHOR
Going through the Australia Council web-site recently - looking for a Grant
for International conferences/professional development, I came across this
criteria, which I think adequately sums up what this body thinks of
Children's authors.
Individuals must have achieved at least one of the following minimum
publication/performance requirements:
- at least one full-length work published or performed
- at least five children's books published.
It's even worse under the NEW WORK Grant category for "established writers"
Apply under this subcategory if you have achieved either of the following
publication/performance requirements:
- three or more full-length literary works published; and/or four or more
full-length literary works performed
- eight or more children's books published.
So, JK Rowling (if she were an Australian) would not be regarded as an
"Established Writer"!!!
"You keep writing there, young Joanne, and one day, you'll make it with the
big boys who write "real" books."
Please, feel free to email the Australia Council, and tell them what you
think.
literature@ozco.gov.au
ARTICLES
10 Reasons Why People Attend Book Signings
by Catherine Franz
This is the survey result of 325 people conducted by myself so I can improve
at my own book signings. After completing the survey, I saw the wealth of
insight it had given me. I felt it was important to share it with a wider
audience. I also interspersed some personal experiences.
The survey was conducted by Catherine in-person with people who attended
book signings at area bookstores in Northern Virginia metro area between
January 2004 and September 2004. A total of 325 people completed the survey.
Here is their response to one of the questions: Why do you go to book
signings?
If you are wondering how this can help you in marketing your book. These 10
items are extremely important. They tell what authors need to give to their
audience in order to increase their books sales and to connect with the
audience. When you know what you audience wants, what they expect, the
guessing fades and transforms into a great book signing event.
Here are the top ten responses in answer to the first question:
1. People desire to be acknowledged for taking their time to come -- by
you, the store, and others that came. Participants who have either already
read the book, come to meet other like-minded people. They have a social
intention and you need to give it to them. Most book signings don't have any
social aspect to them so create one. When you include ways, you will
definitely increase sales. People want connection, they don't want to be
ignored. Get them to talk to the people around them. Introduce one person
you just met to the next person to them. There are many techniques or
create some of your own. A seasoned author learned to do this over time.
Learn to do it sooner.
2. Curiosity. People are normally curious about authors and how they
write, or how they got their book published. Tell them about your journey
with all this. For the wanna-be or gonna-be writers there because their
vision includes what you are doing, give them that feedback. It creates
immediate connection. Even if they didn't come not to buy your book,
usually they will change their mind, just because you settled their
curiosity.
3. Entertainment. Yes, you need to be entertaining. People do want that
and they stick around (meaning they don't get up and walk out) if they get
it. Show energy, use hand gestures, and please stop reading from the page
(number one pet peeve). Over and over again, I saw people leave when the
author continued to read his presentation from the page. People don't
expect perfection. They had a heavy week, or day, and they want some way to
lighten it up. Even if your book is a heavy topic, lighten it up. Comical
anecdotes about yourself are great!
4. Oh, the old, "what's in it for me" discussion. What are the benefits
for them to read the book? Is there some information that will help shift
their thinking on anything? Use testimonials, ones that have some meat on
their bones. Yes, you may need to make some assumptions on where the
audience is at. Go ahead and do that. Create a few that cover a wider
perspective and it will deliver to a wider audience.
5. There is nothing wrong with encouraging more sales. Who else might be
interested in the book. Their boss, friends, sister, who? Go ahead, give
gift ideas. What holidays or events can you tie the book to? Is Christmas,
Mother's Day coming up? Tie your topic and the holiday together if you can.
Mention the type of people who like to read this sort of book. No, don't
say everyone and anybody. This is sometimes hard for authors because they
attach it to "selling." Drum roll...heaven forbid...selling. When an
audience is so enthralled in a book and its story, their mind isn't on
buying two books. They walk out with one and then when turning page three
or five, a flash appears, "Ooops, I should have bought one for my boss." I
guarantee you that it is very unlikely they will return to the bookstore to
buy another copy at that point.
6. Do some things where you make extra connections with the audience. Just
don't sit behind the table. Stand up, shake hands -- no limp ones either,
and look them directly in the eyes when you ask them, "Who would you like me
make this out to?" Ask if they would like another book made out to someone
else?
Here's a SECRET tip. It makes a BIG connection. The Japanese do this all
the time. Put down the pen. When you hand over the book, hold it cover up
facing them with both hands, present it to them slowly, purposely, as if
it's worth a million dollars and a very special gift. Look deep into their
eyes at the same time (okay this part is different than the Japanese), and
say silently in your heart and in your voice, "Thank you." Watch them
light up. Of course, smile.
7. As mentioned earlier, audiences come with a hidden agenda -- to have a
good time. To enjoy themselves. Create that space of joy and lightness for
them. Don't think you don't have any control. The store wants you to
succeed. Share with them what type of experience you want the audience to
have. Ask for recommendations, ask for things that haven't been done before
too. Give inspiration in language, in thoughts, and in stories. Stories
that pulls the heart strings. If there isn't one in the book, find one.
8. There is nothing wrong with giving away a trinket, toy, item, that comes
from one of the characters. Or even it isn't directly and just somewhat
related. You don't need to spend lots of money on promotional items.
Think. This might require approval by the host store. You will usually
find that as long as it usually doesn't cost them anything and it increases
book sales, they will encourage it. Give a gift if they buy two or three
copies. Find a unique magnet, or something funny, something that doesn't
cost much but it just ads to the incentive to buy more than one. Sometimes
the book store is returning something and can give you a remainder sale
price. Ask.
9. You can't say thank you too many times. Remember to smile, say thank
you, and be there with a loving and open heart. This creates an attractive
energy and pulls people towards you.
10. Share tidbits about how the idea of the book came to you. Did you
write 15 minutes a day, a certain word count? Did you get help from others,
who? Did you struggle with some part or something? Was there someone there
for you that inspired your journey? Please not the spouse comment all the
time. To singles this is boring and people said a turnoff. Share tidbits
about your childhood. There is a child in all of us. Share your childhood
with your audience. Especially funny screw-ups.
Well, I hope you enjoyed learning what audiences want at book signings.
This process was definitely an eye-opener for me. It gave me a real taste
of people and their expectations. Maybe another future survey would be to
get people to tell me why are they leaving early.
© Copyright 2004, Catherine Franz. All rights reserved.
Catherine Franz, a Business Coach, specialized in writing, marketing and
product development. Newsletters and additional articles:
http://www.abundancecenter.com blog: http://abundance.blogs.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ERROR-FREE WRITING
© Dianne Bates
Whether you're trying to woo a love interest on a first date, interview for
a new job, sell your work to a publisher, or submit a publishing proposal to
an editor, you can never make a second first impression. Sad, but true; it's
one of life's hard facts.
To sell your novel, non-fiction book, short story, and article or play
script, you need to work on that very critical first impression. A surefire
way to make a bad impression is to present poorly edited work. All the hours
of researching, outlining, and writing are squandered if the final version
of your manuscript is not tightly written and error-free.
How can you possibly convince an editor or an agent that you can produce a
great work when there are errors in your queries, on your web site, or in
your marketing materials? I don't know about you, but I lose trust in what
I'm reading once I've seen more than one error. Careless errors lead readers
to wonder if the creator is as careless with the quality of her products or
services.
Okay, now that we've made it clear that you will be judged harshly by your
errors, let's work on ways to error-proof your work.
Edit, Edit, Edit! Proper editing cures not only typographical errors, but
also inconsistent statements, ambiguities, poorly written sentences, and
weak word choices. Appropriate attention to these aspects of writing makes
all the difference between a mediocre piece of work and an excellent one.
Spelling and Grammar Checks: Standard spelling and grammar checks are
available to you on your computer, so use them! Remember, however, they
won't catch everything, so you need to re-read constantly yourself, checking
for problems. You might also like to employ the services of a friend or a
professional editor and/or proof-reader to help make your manuscript the
best you can possibly make it.
Print Your Work: Print a copy of your manuscript and whip out the red pen.
Generally, you will find mistakes you weren't able to detect when reading on
the computer monitor.
Leave it Be: Put your manuscript away for a period of time - the longer the
better - so that you can look at it later with fresh eyes. When you recover
your work, print another copy and again pull out the red pen. Tighten your
sentences, examine your word choices, and hunt down any errors you couldn't
find before. Even if you were convinced there weren't any there when you
put your work in the bottom drawer, you will always find errors!
Ask Others to Read: It's helpful to have friends look at your work. They'll
see it with a new perspective, which in turn will help them find things you
may have missed. But remember, non-writer friends may not always know what
to look for. Friends may also be nervous about correcting you. You need
dead-honest criticism, so if you feel you won't get it from a particular
person, don't ask her to read. The worst people to ask for an honest opinion
are family members, especially small children who all love you and don't
want to hurt your feelings!
Join a Workshop Group: Peers offering constructive criticism can be an
invaluable way to get feedback on your work, and to offer feedback on the
work of others. As an added benefit, you will learn that there's a lot to
gain from correcting others' mistakes. There are many online critique
groups. (One place to look is Yahoo Groups http://groups.yahoo.com).
Nothing, however, beats a face-to-face workshop group: if you don't know any
local writers, you can always do as I've done to secure fellow writing
workshop members and put an advertisement in the Public Notices of your
regional newspaper. Or you can invite fellow writers to workshop with you.
In my weekly workshop groups (of four) are three published authors and one
new, talented writer whom I mentor. We all trust and value one another's
opinions, plus we constantly learn from one another.
Read Books: There are many good books that can teach you to become a better
self-editor. Check out a couple of them. Also, make sure to keep a style
guide handy. One good one is Strunk and White's, The Elements of Style.
There is also my own How to Self Edit (To Improve Writing Style), available
via my website www.enterprisingwords.com
Employ an Editor: A good editor will be able to reveal hidden mistakes and
will ensure that your best possible work is being submitted. There are many
editors who will gladly take your money, so be careful when choosing someone
with whom to work. Ask friends or the Australian Society of Authors for
recommendations. You can find an editor through the Society of Editors
(check out Google for the contact details of a society in your home state.)
Remember, few things undermine credibility as quickly as writing that
contains errors. However, on a positive note, also remember that there are
many actions you can take to avoid them.
Dianne (Di) Bates is a Wollongong NSW-based freelance writer, author of 90
books, mostly for young people. She offers a Writers Career Consultancy via
her website www.enterprisingwords.com
PUBLISHER GUIDELINES
AUTHOR/ILLUSTRATOR PROFILE
FROM AUTHOR Kate Constable
Re: the contributor who's sick of hearing about Harry Potter and wants more
about Australian success stories: I would modestly include myself in this
category! I've had three YA fantasy books published in Australia so far: The
Singer of All Songs, The Waterless Sea and The Tenth Power, forming the
Chanters of Tremaris trilogy. The series has also sold to the US (where I
believe it's doing respectably well; the first volume was short-listed for a
number of awards -- didn't win any though!), Japan, Denmark and, believe it
or not, Slovenia! The most rewarding aspect of all this has been the
gorgeous fan mails I've received from readers who have loved the books (I
had one recently who wanted to know when the final volume would be
"translated" from Australian for America!)
How I got my break: it was very straightforward for me. A couple of years
before, I'd sent another ms to an agent (not fantasy, an adult novel) and
received a fairly crushing but honest assessment and the advice to "try
something completely different". Partly as a result of this, I did change
direction and wrote my first fantasy, which became Singer of All Songs. The
same agent accepted this ms immediately. However she thought it was pitched
either too old or too young! But I didn't alter it and she sent it out
without rewriting.
There was interest from one publisher. BUT they wanted to double the length
of the ms and as I was about to give birth to my first child I stuck to my
guns and said it was impossible (a few years before I would have bent over
backwards to comply, in fact I think I "killed" one novel by overworking it
to incorporate the advice of agents and editors... but that's another
story...) The second publisher accepted the ms at its original length and
"pitch" and, glory glory, asked for two more volumes.
Although I agree that there is a degree of Harry Potter overload in the
media, I must remain grateful to Harry, simply because some of the income
he's generated for his publishers has trickled my way. Four years ago I was
struggling to justify my part-time writer, part-time employment status, even
to myself; now I proudly call myself an author and hope to be doing this for
the rest of my life. So don't give up hope! I guess the other lesson that
emerges from this rambling tale (sorry!) is to have faith in your own work
and don't just chop and change to suit what agents/publishers think will
sell if your instincts say no.
www.kateconstable.com
USEFUL BOOKS/WEBSITES
Ask the Expert is a new service provided on the website of author Maureen
McMahon:
http://www.maureenmcmahon.com./bookmarketing.html . There you can ask a
question about publishing or marketing of books. 120 authors have agreed to
be part of this free service, where you submit your question via a form,
nominate who you would like to answer it and then simply wait for an answer.
BOOK REVIEWS
Picture Book Review:
The World That We Want
by Kim Michelle Toft
Reviewed by Sally Murphy
The World That We Want is an awe-inspiring offering, with a message about
caring for the environment which is neither preachy nor watered down.
Instead it combines a simple, but catchy text with some of the most
beautiful illustrations to grace a picture book.
The text is a repetitive rhyme, in the style of The House That Jack Built.
The first page, showing birds flying against a deep blue sky, tells us: This
is the air, that circles the world that we want. The next spread moves to
the rainforest, with a cassowary, frogs, snakes, butterflies, trees and
more, and the text: This is the forest that filters the air that circles the
world that we want. From here, text and illustrations move from forest to
the river, beach, water and more, with young listeners quickly picking up on
the repetition and joining in.
Each double page spread features detailed images of the animals and plant
life of the particular environment. The final spread folds out into a four
page spread and shows all of the different environments, moving from air and
forest through to ocean and reinforces the message that all the different
environments are connected to make one world.
The illustrative technique is unusual for a picture book - each illustration
has been hand-painted on silk - but the print quality is superb, with
vibrant colours and life-like definition throughout. The addition of a four
page guide, providing the name of each animal pictured and giving further
information, adds an extra educational benefit.
This picture book is simply breathtakingly beautiful, and sure to delight
children and adults alike.
The World That We Want, by Kim Michelle Toft
UQP, 2005
More reviews of great Australian books can be found at www.aussiereviews.com
Children's Book Review:
Curse of Fire
by Maree Kimberley
Reviewed by Jackie Hosking
Why is Ralph's family cursed?
Ralph's grandfather died in a sugarcane fire and his father died fighting a
huge bushfire in New South Wales. Why is Ralph's family cursed? What do
ghosts, volcanoes and a pair of pyjamas have to do with it? Can Ralph solve
the mystery and save the rest of his family from harm? .
Maree Kimberley's book from the Macmillan Education Trekkers Series - Curse
of Fire - will keep you intrigued as she expertly weaves the threads of
legend and mystery into an adventure that will keep you turning the pages
Kimberley's sense of fun is peppered throughout the story and will appeal to
children aged 9 to 12.
Curse of Fire is Kimberley's first book but I'm sure that it won't be her
last.
Curse of Fire by Maree Kimberley
Macmillian Education Australia Pty Ltd., 2005
More reviews of great Australian books can be found at www.aussiereviews.com
How to Self-Edit To Improve Writing Skills
by Dianne Bates
Reviewed by Del Nightingale
Dianne Bates has written a manual for all those who wish to improve their
writing and their ability to self-edit. It is at once a guide and a
motivator, with interesting quotes and fast moving exercises that lift this
work out of the realms of the ordinary.
It is asserted that in self-editing there is no magic, no tricks, instead,
it is about knowing and applying basic rules. These are laid out for the
reader/writer to move through. In no time you will have slipped into the
'doing' of the exercises. Some will slow you down but not for long for you
will begin to see the process of writing and self-editing unfolding.
Dianne draws your attention not only to the writing but also to the
processes and the protocols of participating in workshops and relating to
fellow writers. Emphasis is placed on the value to the writer of having
'another eye' to read his/her work.
Above all, the writer continues to read, to compare and to develop a
personal style. Here, described in the simplest of terms is the path we
take to writing quality material.
This book will serve as a course of action to awaken, reawaken and enliven
all who seek to improve their writing skill. The exercises are there to
remind, redirect and refresh our writing. It is for dipping into again and
again.
How to Self-Edit To Improve Writing Skills will become a valued resource on
my desk and a companion to writers everywhere.
How to Self Edit To Improve Writing Skills by Dianne Bates, Published by
Emerald Books, India, Only available from PO Box 2116 Woonona East NSW
2517
Ph (02) 4284 3020 Money Orders or
Cheques payable to - Di Bates $20.00 includes P&H
www.enterprisingwords.com dibates@enterprisingwords.com
Del Nightingale. Editor Society Women Writers Vic. Inc.
http://home.vicnet.net.au/-swwvic/
INDEPENDENT CHILDREN'S BOOKSHOPS
**Note this is a new section - please feel free to add to it**
Independent Children's Bookshops in SA:
a plug for two of the best: from Ruth Starke
Interleaves Bookshop
181 Henley Beach Road, Mile End 5031
Tel: (08) 82346451
Assunta Fusco, Karen Middleton
Pegi Williams Bookshop
37 Smith St, Walkerville. 5081
(08) 8344 6457: www.pegiwilliams.com.au
James Williams
Thank you to all that support independent bookstores.
We have found the following independent bookstores offer friendly service
and a good range of independently published books.
Best Mischa and Matt
SA
Adelaide
Mostly Books
Tamra Dempsey
Mitcham Shopping Complex
119 Belair Road
Torrens Park SA 5062
08 83735190
mostlybooks@internode.on.net
Imprints Booksellers
Jason Lake
Hindley Street
Adelaide SA 5000
08 8231 4454
Mary Martin Books
Justin Chadwick
164 Rundle Street
Adelaide SA 5000
08 8444 888
justin@marymartin.com.au
NSW
Sydney
Ariel Paddington
42 Oxford Street
Paddington NSW 2021
02 9332 4581
INSPIRATIONAL QUOTES
William Morris:
"Be willing to have it so; acceptance of what has happened is the first step
to overcoming the consequences of any misfortune."
CRITIQUE GROUPS BULLETINBOARD
**Looking to create or join a critique group - here's the place!**
(see "SEEKING" section of the newsletter for how it works)
MILESTONES
**A new section for members to share their achievements**
ADVERTISEMENTS
Free to anyone who buys my book How to Self Edit (To Improve Writing Skills)
during the months of July and August 2005: a copy of my article, How to Get
Both Feet Past Publishers' Locked Doors.
How to Self Edit (116pp) costs $20 posted. See www.enterprisingwords.com
under Writers Career Consultancy. If you have already purchased a copy,
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Dianne (Di) Bates
www.enterprisingwords.com
dibates@enterprisingwords.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
If you are a writer, even an unpublished one, who wishes to make money from
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if you are not fully happy with the book. To find out more, contact
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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
posted by Jackie at 11:03 PM
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