PASS IT ON ISSUE 54
PASS IT ON - ISSUE 54: 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
I received a manuscript back from Allen and Unwin who state they are
definitely not looking at unsolicited submissions for picture books.
Writing Dynamo
Children's author Jane Yolen has published nearly 300 books, but she's got
plenty more stories to tell.
http://g.msn.com/0MN2ET7/2?http://www.msnbc.msn.com/id/8917828/site/newsweek&&CM=EmailThis&CE=1
The Australian Society of Authors is delighted to announce that NSW
Education and Training Minister, Carmel Tebbutt will tonight present the
Meritorious Service to Public Education and Training Award to a remarkable
individual in recognition of her outstanding contributions to public
education and training throughout the State.
The recipient of the 2005 Meritorious Service to Public Education and
Training Award is Ms Libby Gleeson, renowned author and teacher.
Ms Libby Gleeson
Award-winning author Libby Gleeson, former Chair and current Treasurer of
the Australian Society of Authors is a passionate advocate for public
education, particularly with regard to literacy and learning.
As an established and well-regarded professional author, Libby visits public
schools frequently throughout the school year to talk to teachers and
students about books and reading. She believes strongly in the power and
significance of the written word and has encouraged other writers to take
children's literature and its readership very seriously. She is involved
with teachers, literacy consultants and others to improve teaching and
learning in public schools.
It is Libby's strong belief that children's books should never be infantile.
As a parent, her commitment to government schools is shown by the
educational experiences of her three children, who have all attended public
schools.
Book of the Year Awards have been posted today
at:
http://www.cbc.org.au/winner05.htm
HARRY GOES ECO FRIENDLY
28,000 trees - more than what would fill
According to activitists, that's what was saved when Raincoast, a
based publisher, printed J.K. Rowling's latest book HARRY POTTER AND THE
HALF-BLOOD PRINCE by using recycled paper entirely. Groups in support of
printing on recycled material are urging people who are planning to buy a
copy of the latest Harry Potter to consider getting one that's printed on
100% postconsumer recycled paper by ordering a Canadian edition. Some went
as far as calling for a boycott of the
of those who don't subscribe to this idea are saying that the most
eco-friendly way to read this book is simply to borrow a copy from the
library or a friend! As it turned out, HALF-BLOOD PRINCE sold 6.9 million
copies in the
copies in the
all previous Potter records.
SEEKING
Melbourne Writer's Festival - How to get published day.
Any of you who are attending this day, look out for me - I have a table at
the Industry Expo. Stop by and say hello and have a chat - love to meet you!
There might be some people who have been on my list and received the
Bulletin for years, but I've never met. And I always enjoy meeting new
children's book people. So please stop by!
Dr Virginia Lowe
Create a Kids' Book
www.alphalink.com.au/~vlowe
PO Box 2, Ormond Victoria 3204
ph: 03 9578 5689
fax: 03 9578 3466
mob: 0400 488 100
Hi All,
I'm a really big fan of American writer/illustrator Maurice Sendak and feel
that his trilogy Where the Wild Things Are, In the Night Kitchen and Outside
Over There have a legitimate claim to be the finest achievement in
children's literature. I don't know if there ever has been a children's
writer who won the Nobel Prize for Literature (Kipling could perhaps be a
contender) but wouldn't it be wonderful to see someone from our field get
up. Maybe if there's enough interest through the PIO network we could get
together a submission and put it to a politician or ambassador (I think that's
how it has to be done) to suggest his name (or someone else's) to the Nobel
committee.
Subject: Resubmitting Out Of Print Published Children's Books
I was one of those unfortunates with six Barrie Publishing titles rendered
out of print, little more than a year or two after publication. Recently I
received advice that a trade picture storybook (1995) has gone out of print
and the rights revert to me.
Can anyone enlighten me on whether it is worth the effort of trying to get
these previously published books published elsewhere? I have seen a
suggestion in PIO, to do a rewrite, change names, title, etc and send out
them out again. Should I tell the publisher I am submitting to, that the
book was previously published? In one sense it may suggest to them the ms is
worth a look; in another sense they may immediately discount it, in view of
the fact that the previously published title might still be out there
somewhere.
Any thoughts or advice would be appreciated.
thanks
Wendy
If any subscribers to PASS IT ON have more than 3 fun, positive, action,
crime and/or adventure books published for ages 8 to 15 in the broader
genres of mainstream, fantasy or science fiction and would like to be
included in a special edition newsletter with national mass distribution to
schools and bookshops, please register your interest to The Crusader Club
Secretary at needie35@hotmail.com. In the subject line, please use the
keywords: Special Edition
This will be a FREE teacher/student resource involving interviews about the
author's most recent book, including an insight for students into what it's
like for you to be a writer and will be compiled by volunteer student
members of the Kirby's Crusader Club, so no payment will be available for
contributors, however ongoing promotion of your book will be provided
through the free online database.
If interested in being included, please provide replies as follows to the
above email address:
Please note: space is limited so no more than 450 punchy exciting words
(total) in answer to:
Author's name:
Author's website:
Author's Region/town/city:
State:
Total books written:
Countries published in:
Movie rights, merchandise or other exciting offshoots:
Title of Featured Book:
Blurb (10 to 25 words):
(A colour cover image under 30k jpeg or gif image will also be published if
supplied)
Place where your book is set:
A: 1 to 6 words
Genre(s):
A: 1 to 6 words
Extract from an independent review:
A: no more than 25 words for the review extract, plus reviewer's name, the
magazine/newspaper/bookshop/library or school where it was published and
their date of review
What's the inside info about your life as a writer?
A: 50 to 80 words. (usually mentions home or work life, family, hobbies
and/or pets)
Do you have another job as well as being a writer?
A: 1 to 10 words
Why do you love to write?
A: 10 to 80 words
What inspired you to write your book (or series which includes this book)
A: 10 to 80 words.
What surprised you during research, writing or publishing of this book?
A: 10 to 80 words
If students are doing assignments on this book, what special insight into
symbolism, metaphors, choice of title, characters or research can you
provide:
A: 10 to 80 words
Secret writing tip for students:
A: 10 to 30 words
Personal pet peeves:
A: 10 to 30 words (i.e. when polishing a manuscript, what niggling spelling,
punctuation or grammar seems to bug you the most, no matter how many books
you've written... or anything else that haunts your creative process...
answer to this one, inspires students to know that even professionals make
mistakes and have to work on their editing and presentation)
When you were aged 8 to 15, what job(s) did you think you would have (if not
a writer):
A: 1 to 10 words
What you're working on next: (Optional)
Are you available (and approved) for paid school visits at ASA rates?:
Are you available for free school visits in your local area during book
launch months?:
Is your computer/internet connection set up to do online chats?:
Do you speak/webchat in any languages other than English?
Deadlines:
30th August for
or 30th of September for authors from other states.
Hello PIO People
I'm wondering if any publishers can assist me on the issue of managing
royalties. I have written some picture books for the RSPCA and together we
are going about self publishing them. We have the editing, design,
printing, marketing and distribution under control but would like to know
how to process royalty payments in the near and distant future. At first we
considered up front payments for myself and the illustrators but apparently
it's easier to claim PLR and ELR if royalties are paid (?) And it might be
more cost effective for the RSPCA. We want to look at all options. So
could anyone give me some advice on the accounting practices used to divvy
royalties out?
ALSO.. are there any illustrators out there interested in doing one or two
picture books for us? Obviously as the project is designed to raise
awareness and funds for the RSPCA we are hoping for a greatly reduced rate.
The RSPCA could provide a donation receipt for the difference between your
payment and the amount you would normally charge. If anyone is interested
please contact me at t.l.musgrove@bigpond.com
While I'm here, are there any designers or printers interested in the
project? (We haven't signed anyone up yet). A reduced rate would also be
considered a tax deductible donation or possibly even a sponsorship with
your company mentioned as such on the books.
Thanks, Lisa Musgrove.
Does anyone have a current list of topics/submission deadlines for the NSW
School Magazine? If yes, could you please post them in PIO next week? I have
been trying to track them down for some months, but the website is not yet
operational and I haven't had a response to my letter (with SSAE) or email.
Your help would be appreciated - by more than just this little PIO
subscriber, I suspect.
Does anyone know why Lothian Books is no longer accepting
submissions?
Help wanted...
Can anyone suggest the name of an agent who represents young adult fiction
and who is not too busy to take on new clients? Published author asking.
REPLIES TO SEEKING
RE: Does anyone know the name of the editor at Scholastic now that Alf
Mappin has gone?
Margrete Lamond has taken his place.
In PIO 52,
rejections' if they consider work to have merit. My experience has been that
some certainly do. I have had a number of rejections where editors took the
time to outline what they saw to be strengths and weaknesses of the work
submitted, and request to see future submissions. Although I've been stalled
at this stage for a while now, and am yet to see that elusive first
contract, it does make me feel that I must be that step closer. At the same
time, though, I wouldn't make the reverse assumption - i.e. if you're not
getting these, your work doesn't have merit. I've had submissions that one
editor has raved about come back with multiple form-letter rejections from
others. There's an element of subjectivity, of course, but we also all know
how overworked editors are. In many (most?) cases, even if they liked it, if
it wasn't enough to buy it, it goes back with a form letter, leaving us none
the wiser. Good luck with your submissions!
Megan
When should a writer include art notes with a pb manuscript? What form
should they take? What level of detail (if any) is useful to an
illustrator?
THE TALKING YABBY AND THE UNMENTIONAL SHIP'S CAT:
ILLUSTRATIVE NOTES FOR PICTURE BOOKS
Virginia Lowe
Do picture book text submissions to publishers need notes about the
illustrations? In fact do they even need to be paginated?
Some children's editors say this is not only not necessary, but a
distraction and a disincentive to accepting the work. You are asking a valid
question if you query the practice. Perhaps then you are safer not to?
One editor I am thinking of - I read her comments some years ago - says
that she actually cuts off the notes on illustration before she passes the
manuscript on to an illustrator to look at. She wants to see the illustrator's
own uninfluenced ideas first.
Now, I am not an editor, only a humble assessor, but I have been assessing
the work of would-be children's authors for many years, and the majority of
them are aiming to write picture book texts.
There are several things to remember here. Firstly, this editor is looking
mainly at the work of well known authors anyway, who probably know how to
write a picture book text with their hands tied behind their backs (as it
were). They know what will make a good picture book, and they know it will
get thorough attention from both the editor and the illustrator.
The people I am assessing for (mainly) are unknown. They may be fortunate
enough to reach the editor's desk, but on the other hand they may just be
chosen from the slush pile by the next person to plunge into it. This may
not be a person with much visual imagination at all. Everyone gets to read
from the slush pile in a publishing house! You want to help them visualise
it as a picture book.
In fact it is not the illustrator that the notes are for, but all the people
whose hands your manuscript has to pass through, before it reaches the stage
of being offered to the illustrator. You need to clarify what you have in
mind.
This doesn't mean you spell out everything. You might want your protagonist
to look exactly like your grandson, but you can't tell the illustrator that
he has red hair and freckles and usually wears a paisley shirt, because you
can be sure the illustrator will have another character in mind - and so
he/she should have. In fact there is very little that actually needs
spelling out. Often it will not make any difference to the story what the
characters look like, or where they live, for instance. It might be useful
to give the protagonist's age for instance - it might not be clear at the
beginning that they are two rather than five.
However the best picture books have a subtext, something that is in the
pictures but not in the words. Think of John Burningham's Come Away from
the Water, Shirley or all of Anthony Browne's. Or there is Gillian
Rubinstein's Cat In, Dog Out with Ann James' illustrations, or Drac and the
Gremlin by Allan Baillie, with pictures by Jane Tanner. None of these
written texts would have made sense without the illustration notes, or
perhaps they would have made quite different sense.
Someone who came regularly to our workshops for some time was doing a
picture book on the different experiences of a girl in steerage and one in
first class, coming out from England in the nineteenth century. They would
never have met on the boat in real life (and the author was very firm about
having no anachronisms), but the story I felt needed something to hold it
together, so we invented a ship's cat free to wander the ship as it pleased.
So the cat is there in almost all the pictures, playing with each of the
children, accepting scraps from their different tables. Now you would not
have needed to spell out what the cat was doing on every page - the
illustrator would surely have been able to work out something here - but
just mention that the ship's cat appears on every page. The illustrator
would appreciate the fact that this holds it together, and so, more
importantly, would the person who reads it from the slush pile. Of course
the illustrator might well decide that a ship's rat was more fun, but the
idea of it appearing on each opening is the important part.
Another occasion when some notes are essential is when the words are the
thought processes of an animal. They are not clear without the illustrations
to depict them. You might like to look at my story Yabby set out in the way
I recommend for submission to publishers on my web site. You will see that
if you didn't have the notes, you would have no idea what the yabby is
"talking" about. The notes are vital.
Another story: Some time ago I received three picture book texts together
from someone. Two were excellent, but I felt very luke-warm about the third.
I was puzzled how she could have written two such fine examples and the
other so boring. However when I asked her to set it out in Yabby format -
with the illustration notes - it all became clear, and I was very excited by
it, too. It turned out that all the adventures took place on a four poster
bed, which was transformed each time, and this made all the difference. She
couldn't understand how I hadn't been able to see this. It was perfectly
obvious to her.
And this is another trap to the new author. You might be able to see it so
clearly in your mind that you don't realise that it's not obvious from the
words.
Another thing is that picture book texts should be minimal anyway - no
longer than 800 words at the maximum. There is no room for description, for
instance - the illustrations will "show" what needs to be shown.
For the author to visualise the text as a picture book, we usually advise
them to set it out on a storyboard, and even to cut the storyboard up into a
miniature zigzag book. This way, even if it is only stick figures, the
author can see if there is enough variety in location and in pictures.
Sometimes I receive texts where there are openings and openings of two
people talking (usually the same two). Clearly something more interesting
has to be shown happening in the pictures. There is an article on using the
storyboard on my website.
Finally, none of the children's editors I know - and I think I know most of
the Australian ones - have objected to the Yabby format. They may well cut
off the illustration notes before sending the manuscript on to an
illustrator, but remember you've got to convince them and the rest of the
publishing house, before this happens - the notes are for the first reader.
And you'll write a much more convincing text - something that will make a
wonderful picture book - if you have the fact of the illustrator's role
always in front of you.
And after all, you can always include your story unpaged, and without notes,
with your submission to the publishers - then they have a choice! And good
luck with it anyway - happy writing!
Virginia Lowe
http://createakidsbook.alphalink.com.au
Dr Virginia Lowe
Create a Kids' Book
www.alphalink.com.au/~vlowe
PO Box 2, Ormond Victoria 3204
ph: 03 9578 5689
fax: 03 9578 3466
mob: 0400 488 100
NEW PUBLICATIONS
SPECIAL EVENTS
Stop Laughing This Is Serious Gallery
takes great pleasure in inviting you to an exhibition of paintings for the
new ABC book
Wild Cats Prowl
By Tony Oliver
To be opened at 2pm on Saturday 27th August by
Richard Morecroft
"Wild Cats Prowl is not only an inspiring book about wonderful wild
creatures; it can help motivate us all to protect the brilliant but delicate
balance of the natural world."
from the Introduction by Richard Morecroft
Images from the exhibition can be viewed at <www.stoplaughing.com.au>
Tony Oliver is an award-winning wildlife artist who has illustrated several
bestselling children's picture books including Birds Build Nests and Frogs
Sing Songs in this series. His other titles include Opera House Mouse,
Samantha Seagull's Sandals and Possum in the House.
All his books will be available at the gallery as well as some original
illustrations from Opera House Mouse and Birds Build Nests.
Wild Cats Prowl written by Yvonne Winer. Cats include the caracal, snow
leopard, ocelot, serval, lynx, leopard, jaguar, wildcat, cheetah and more.
Wild Cats Prowl celebrates the beauty and majesty of the big cats and at the
same time mourns for their possible extinction.
* For anyone wishing to spend the weekend in Blackheath accommodation is
available at "The White House" B&B which is a short walk from the gallery
(more information through our website or just email Lis on
ebastian@stoplaughing.com.au)
Stop Laughing This Is Serious Gallery
3 Hat Hill Rd Blackheath. 2785.
Ph. 47877533 or 47875601
MARKET OPPORTUNITIES
USA - HOLIDAY HOUSE
http://www.holidayhouse.com/
Holiday House is an independent publisher of children's books only. We
specialize in quality hardcovers from the picture book level to young adult,
both fiction and non-fiction.
While we publish books for ages four and up, we are now especially
interested in acquiring literary middle-grade novels. We do not publish
mass-market books, including, but not limited to, board books, pop-ups,
activity books, sticker books, coloring books, series books, licensed books,
or paperback originals.
All submissions should be directed to the Editorial Department, Holiday
House, 425 Madison Ave., NY, NY 10017. Due to the volume of manuscripts we
are receiving, Holiday House will no longer accept multiple submissions.
Please send a query letter only, describing what the manuscript is about,
for picture books as well as books for older readers. A SELF-ADDRESSED,
STAMPED ENVELOPE OR POSTCARD MUST BE INCLUDED OR THERE WILL BE NO REPLY.
If we wish to follow up, we will notify you by mail. Once a manuscript has
been requested, the writer should send in the exclusive submission with a
self-addressed, stamped envelope; otherwise, the manuscript will not be
returned.
Send your manuscript U.S. Mail. (WE DO NOT ACCEPT CERTIFIED OR REGISTERED
MAIL, NOR DO WE CONSIDER SUBMISSIONS BY E-MAIL OR FAX.) Do not send
International Postal Coupons for return postage. We will only accept United
States postage for return postage.
Please allow two months for a response. A proposal under serious
consideration may require more time. If you have any questions about a
submission, please send a self-addressed, stamped postcard. No phone calls
please. Also, please do not submit or query us by email or fax.
Thank you for your interest in Holiday House.
SportingKid: Founded by sports enthusiasts and parents, and features stories
that analyse youth sports trends and products. Writer's Guidelines: Queries
and Articles: E-mail Queries to: mailto: editor@sportingkid.com All queries
(and/or article submissions) must be formatted in a Microsoft Word document.
SportingKid will contact you within four weeks if we are interested in the
query and/or article you submitted. Queries can be pasted within an e-mail
message; please limit to no more than 50 words. Manuscripts must be attached
in a Microsoft Word document. Payments and Contracts: Fees are negotiated
when the article is assigned. All contributors must sign a contract when the
article is assigned. SportingKid does not pay on a 'per word' basis.
Assignment fees will be determined by the editor based on factors such as
number of sources, research, number of sidebars, etc. SportingKid pays upon
publication of articles commissioned. All articles and photographs become
the property of Sporting Kid, LLC and may be used in print or
electronically. PAY: Negotiable. For additional information, contact Michael
Pallerino, Editor, via email at mailto:editor@sportingkid.com.
COMPETITIONS/AWARDS
THE WINNIES - RESULTS
Congratulations to everyone who participated in The Winnies 2005, and
especially to our winners and finalists! We were overwhelmed by the number
of entries, and this response shows very clearly how much this opportunity
is needed by Australian writers.
The final results are as follows:
Tackers (7 to 10 year old readers)
Winner: "Splat!" by Pamela Rushby
Second: "The Autumn Princess" by Ruth Ingram
Finalists: "66 Letters Less Spaces" by Jane Jolly
"The Story of Moises" by Jackie Mansourian
"The Slab Hut" by Cate Whittle
"The Night my Homework Ate my Dog" by Romany Rzechourez
"Metamorphosis" by Hugh Simpson
(The judge reserved Third place as she felt no entrant fulfilled the
criteria)
Nippers (3 to 6 year old readers)
Winner: "Clouds and Rhinos" by Lauren Stanley
Second: "Hiccups!" by Jenny Baber
Third: "Wordy" by Polly Zahari
Finalists: "Jock and his Dog" by June Armstrong
"My Poppy" by Katrina Hardman
"That's Not a Windy Day Hat!" by Wendy Bridges
We're happy to report that The Winnies was financially self-sufficient in
its very first year. We made a decision right at the beginning that we
would pay our professional judges the standard Australian Society of Authors
judging fee, because we both believe that a writer deserves to be paid
properly. The entry fees were sufficient to cover the prize monies we
offered as well as the judging fees. There are still some costs to be paid,
but we should have a (very) small "war chest" for next year's Winnies. And
of course we will reserve the Tackers Third place prize money for next year.
We would like to particularly thank our hard-working volunteer shortlisters
and organisers, who somehow managed to devote substantial time to this
enterprise while concurrently juggling full-time work AND (in some cases)
small children:
Kelsey McDonald * co-convenor, writer, mother of two.
Jenny Fink * Youth Librarian, Central Highlands Regional Library Corporation
(and best pre-school story teller in the business).
Kirsty Armstrong * Children's Librarian, Ballarat Branch Library.
Janette Dalgliesh - co-convener and writer. Janette was responsible for all
administration, and ensured that all stories read by the shortlisters were
submitted completely anonymously.
We owe a great debt of gratitude to our two judges, Hazel Edwards and Krista
Bell, who have supported us tirelessly, and beyond the call of duty.
And finally, a huge, HUGE thank you to all the writers who took the time and
trouble to create their ideas, craft their stories and send in their work.
Without you this could never have happened.
We will be back next year. The Daylesford Words in Winter Festival
committee has confirmed they would like The Winnies competition again for
2006. We plan to launch next year's Winnies early in 2006, to give entrants
plenty of time, and to allow us to get the word out to as many writers as
possible.
Thank you once more for all the incredible support you've shown. We
encourage you to get writing now, and polish those stories until they are
the best they can possibly be. Keep them fresh and original, and remember
to read the guidelines. We'll be back with details of next year's
competition after Christmas, and we hope every PIO reader will participate!
WRITING COURSES/WORKSHOPS
Create a Kids' Book Workshop: We have occasional workshops on Sundays, to
accommodate people who can't attend on Saturdays for work or religious
reasons. There is one on August 28th. It will be at my home in Ormond (it's
full of books, so fairly easy to hold it there). Illustrator/tutor Jacqui
Young will be present (did you notice that she's just had her work accepted
for inclusion in the next Style File? Can't wait to see it!) as well as
myself for the words. 10 - 4, lunch included. Bookings, Virginia 9578 5689
or vlowe@alphalink.com.au.
FICTION MASTERCLASSES
These 4 X 2hr classes, to be held at the South Coast Writers' Centre,
Wollongong, scwc@1earth.net, from Saturday, 7 September to 15 October, are
an ideal and valuable investment particularly for writers of children's
novels, short stories, picture books or young adult novels who know their
work would benefit from another edit and who want to develop the skills to
become their own editor. Through discussions and feedback, the classes aim
to help you develop the skills you need to convert your early draft into a
polished manuscript. We pay close attention to both structural editing (the
story elements) and copy editing (the words on the page), and provide
insights into the publishing process and the role of the professional
editor. Class leader, Dianne (Di) Bates, who has published 90 books - mostly
for young people - will show you how to market your work and will give
practical information to help you develop your writing career.
Modules for Creative Writing Course for Young Writers are now available for
$66 each from the NSW Writers' Centre (nswwc@nswwriterscentre.org.au). These
include Getting Started and Getting Ideas; Characterisation and Dialogue;
Writing a Short Story; Writing Poetry; Self Editing; and Opportunities for
Young Writers. The course would best suit writers aged 10 to 16 years who
undertake assignments which are then read and assessed by a well-published
children's author. Certificates of achievement are awarded for each
satisfactorily completed module.
HAVE YOUR SAY
THANK YOU
I was interested to read the two replies to whether to use the copyright
symbol and date the manuscript. I've always wondered if using the original
date of a story might make it appear old and been around the traps a bit too
often. It's great to learn that I don't really need to date my ms at all. So
thank you to both people who gave their advice, Edell Wignell and anon. :-)
Thanks too to 'CH' for letting us read the notes from Di Bates' Create &
Improve writing course. How I wish I could have been there. It sounds like
it was very informative and a big boost to a writer's knowledge. I love the
idea of fizzing with ideas and the writing exercises. A sure-fired way to
end the dreaded Writer's Block. I have printed the notes to read again.
Gail C Breese
THANKS
Thanks to the person who promptly got back with the editor's name at
Scholastic and for Jackie for running the query.
CORRECTION
The book is HOW I LIVE NOW and the author's name is Meg ROSOFF, not Rostoff.
BA: please note.
FROM AN AUTHOR
Book review
Did anyone read the review of David Metzenthen's YA novel, Falling Forward
in The Age, 6 August? Impression given was that this was a new release: no
mention of the fact it was first published by Omnibus in 1998. What's the
story, anyone know?
>From a WannabeE Author:
Dear DC
I am sorry you have decided to 'decrease your future contributions' to PIO,
out of sheer frustration with those newcomers who won't 'toe the line'.
I assume, as you refer to yourself as a 'professional', that you are a well
published author.
If so, perhaps you forget the agony of slogging (often at your family's
emotional and financial expense), and waiting, and hoping for that FIRST
breakthrough.
Sure, it can be dismissed as an egotistical motivation to just 'get your
name in print', but for some, it is so much more.
It is a validation of the path that some people have been brave enough to
take.
It is the Olympic Gold, that confirms a self-belief, after years of doubting
and wondering, 'what if?'.
It is the motivation to stand firm and keep on going.
Heady temptation for the unpublished, to say the least.
Sure it would be wonderful if writers in this situation could put the
'Profession' first.
Sure it would be noble if they could turn their backs on that Holy Grail of
Trying - the first contract - and reject conditions which exploit the
Profession.
But I at least understand the 'sin'.
Overt disgust at the perceived 'betrayal' is not helpful, though I
appreciate your annoyance.
There are lots of positive ways to educate and influence new writers,
especially through PIO.
I say, increase your valued contributions to PIO, DC.
Continue to take a stand and cajole new writers to consider ethics when
signing contracts.
Please don't dummy spit and take your ball away. It's beneath you.
Looking forward to reading much more from DC.
HAVE YOUR SAY
Thank you to Edel Wignell and the other person who responsed to my query
regarding copyright. I very much appreciate you both taking the time to
write with your advice.
Thanks also to CH for sharing such great inspirational notes from the Create
& Improve workshop.
Val N.
FROM AN AUTHOR
Dear DC, I was sorry to read your comments in PIO last week. I have enjoyed
your contributions to PIO and it would be unfortunate not to benefit from
your obvious experience. Please don't be too hard on new writers. The
writing industry is quite unique in that many people from a wide range of
professional and non-professional backgrounds have a crack and the reality
is that many do not have the skills to get published. Those that do start
off unsure are often insecure about whether they are one of the 'talented
few'. It is not until they start to get offers that they begin to value
their skills and it can take some time before they see themselves as
professionals within an industry. I agree we should all strive to behave as
professionals but in this field in particular I believe this is a process
where guidance and encouragement can only help. Re your comment: "Frankly,
I don't want to help people who won't toe the line." Please keep helping -
your efforts help show where the line is. DS
SELL-EBRITY AUTHORS
I opened a pile of junk mail catalogues yesterday and the first one was for
a large suburban department store chain. On the very first page of the
catalogue were photos of several prominent celebrities from the
entertainment world whose "personal product ranges" were being sold through
the chain.
I leafed through the catalogue to see what the celebrities were hawking and
it turned out to be things like garden products, designer undies, clothing,
etc, all at exorbitant prices. I wondered what I would find when I got to
the "books" section of the catalogue. To be sure, there were
celebrity-authored books being promoted, but they weren't children's books.
They were all adult-works by famous sportspeople.
I am becoming increasingly annoyed (for want of a better word) with the
fascination of all things celebrity in our society. It's particularly
saddening to see that publishers are rushing to sign up celebrities to write
books that can be sold on their names, not their writing talent. There are
many very talented aspiring writers who can't get near some of the big
publishers because they are closed to unsolicited submissions. Such writers
often find it difficult to be taken on by a literary agency, too, which
could help provide the foot-in-the-door they need there. Talk about being
caught between a rock and a hard place!
The number of celebrities who are now writing children's books is on the
rise, particularly in the USA. What annoys me most about such people is
that many of them are not good writers but they land wonderful contracts,
advances and royalty arrangements that Joe and Jane Non-Celebrity-Writer
will never get in a lifetime of writing.
I have heard through international writer-networks that publishers are
trying hard to emulate the success of the Harry Potter series that has
catapulted Bloomsbury to the top of the publishing tree, and so are using
celebrity-authored books as the next best thing because they sell on the
names alone. This is a great shame. "The next big thing" could be lurking
undiscovered in the slush pile somewhere here in Australia or overseas.
Publishers will never know unless they bother to look.
Because I detest this situation so much, particularly the unfairness of it
all, I refuse to buy ANY book authored by a celebrity. This is good news
for published Aussie authors because it means I'll be buying more of your
work!
Celebrity authors have an unrealistic view of the publishing industry, in my
opinion, because they don't have to do the hard yards that the rest of us do
in our writing apprenticeships. Where we spend days, months, years writing,
editing and submitting our work, getting rejections, requests for re-writes
etc and maybe, one day, getting accepted, celebrities don't go through any
of this in their quest to be published. Their work leapfrogs the slush pile
directly to the acquiring editor's desk (if not higher up the ladder), and
they are fussed over and given preferential treatment. I don't suppose we
can blame the celebrities for thinking that such behaviour is the norm in
publishing when they don't know otherwise.
I'm sorry for posting something so negative to PIO. It didn't start out
that way. The unfairness of it all is just overwhelming.
HAVE YOUR SAY
Responding to Clancy Tucker's Comments About Competition Feedback:
You'll be pleased to hear that most bush poetry competitions organised by
Merv (there are a few) offer feedback from respected poets for the price of
an SSAE. I too was appreciative when I first received written feedback and
my poetry improved dramatically as a result!
FROM AUTHOR Hazel Edwards
I'd like to suggest a new category for PIO of New Workstyle Skills which
could include experimental or media experiences of author/illustrators which
they are prepared to share. I think that many of us are fearful of hi tech
developments and we need to keep learning new technology.
This shouldn't be a category for promoting electronic products but rather a
way of sharing how new skills might be acquired that are relevant to our
core business of books and writing.
See article section for An article by author Hazel Edwards about
participating in the Lab 3000 Virtual Antarctic Conference, Science Week
,August 2005 .
ARTICLES
An article by author Hazel Edwards about participating in the Lab 3000
Virtual Antarctic Conference, Science Week ,August 2005 .
**********************************************
Terms like 'on-line', 'virtual' and 'web-conferencing' can cause stress for
busy teachers, librarians and parents who fear the energy and time required
to learn how to work new technology. They want to help students but are wary
of looking like cyber idiots.
Authors are no different.
When educator-expeditioner Anne Burke approached me to be a presenter in a
Virtual Conference on Antarctica because I'd been on a 2001 Australian
Antarctic Division expedition to research my YA novel 'Antarctica's Frozen
Chosen', I didn't understand what she was asking. I'd never heard of Lab
3000. And I wasn't sure how a virtual conference worked.
Author web-chatting I'd done before. This meant sitting in front of my
computer, typing instant answers to readers' questions which appeared on my
screen across an hour.
This had been part of an Ipswitch Literary Festival and although I'd needed
a drink after the first effort, it was manageable for a non techie author.
My major problem with that had been mistyping fast and having errors appear
at the students' large screen. I can spell, it was just the SEND button was
so fast.
As part of Science Week, this Virtual Antarctic Conference was to include a
number of Antarctic expeditioners with varied expertise including global
warming, palaeontology, oceanography, marine biology and environmental
impact. Palaeontologist-children's author Dr John Long was also presenting.
That was a bonus. The audience was to be primary and secondary students
interested in Antarctica or the medium and they could be in New Zealand,
Australia, the USA or the UK. There was also to be a studio audience for the
whole panel, but each presenter would also do a separate scheduled hour
presentation and answer questions.
In addition, presenters were to provide a ten minute multi-media bio which
could be viewed online ahead of the conference. That terrified me.
I've recently mastered (mistressed) putting my Antarctic photos into
Powerpoint for talks, so I could supply those which followed the sequence of
my published diary 'Antarctic Writer on ice'. But Anne also wanted audio
with them. I don't have this on my computer and knew it would take ages for
me to learn how to do that. So Anne volunteered to 'interview' me and match
it to the visuals. Lab 3000 offered excellent technical support to all
presenters.
We also had to provide a list of linked resources for teachers and students.
I already have www.hazeledwards.com as my author web site which is updated
regularly by Jason, so I wanted to use this existing resource of teaches'
notes on all my Antarctic publications as well as visuals of the book
covers. So a link was made to this. What a relief.
Timing rehearsals was difficult. Each of the presenters travelled widely as
part of their workstyle. Artist Jenni Mitchell would be in the North Pole
and I would be in Germany, just a few days before Science Week 15th-19th
August. But Anne reassured us that with the technology we could operate
anywhere. I wasn't so confident, so I opted to go into the Lab 3000 studio
for my one hour individual session on the Thursday rather than answer from
my home computer and Lab 3000 was where the panel also assembled with a
studio audience on the Friday.
I was hesitant about my skills in providing images to flick behind my
talking head. Lab 3000 staff were SO helpful and compiled a set in ten
minutes from my hurriedly compiled assortment on disk.
Later, students asked for 'more photos'. Visuals work better than talking
heads for graphic orientated students.
The web cam was simple and small. I just had to remember to look at it
instead of the computer screen. My long distance vision is fine, but I need
glasses to read the screen, so this was a hassle, switching between computer
screen to hit the TALK button and looking at the projection of the incoming
calls on the giant screen. Although there was a slight time lag on questions
coming through and an occasional word was difficult to distinguish, the hour
session was very productive.
Student questions were constant, varied and genuinely involving.
'How can we help prevent global warming?'
'Where did you go to the toilet on the ice?'
'What was your most significant memory of Antarctica?'
'What wildlife did you see?'
'What was the coldest temperature?'
'How many penguins are there?'
'Who names the places?'
'What kind of scientists work there?'
'How did you get around on the ice?''
'What was your most dangerous moment?'
'What did the scientists think about the book you wrote?'
'Out of Scott, Amundsen and Shackleton, who do you think was the greatest
adventurer? '
This provoked three different responses from the panel, based on courage,
preparedness and leadership in looking after your team.
The technical support of the moderator who paced the questions and the
'techie' who instantly found relevant Antarctic photos to support the
questions, was great.
What have I learnt?
· Two hours is too long, even for a panel session. One hour is
enough.
· Students embrace technology faster than adults and they enjoyed the
chance to act as interviewers or introducers.
· Antarctica was a dual value topic as the message and the medium
were relevant as e-mail and web cam are used Down South. Presenters had such
different experiences of being in the polar ice and students could see there
were several ways of tackling multi media and scientific problems in
Antarctica.
· I prefer the web cam and the microphone to having to key in answers
in a web chat. It's faster. And the material can also be re-used later.
· All who visit Antarctica, in person or virtually, are affected by
visiting the last frontier.
· Although I'm not a scientist, a writer can offer different
perspectives. Because a writer is forced to reflect on the significance of
an experience in order to plot fiction or script for animation, or speak in
public, this deepens the impact. Students can experience this also,
vicariously or first hand through their own work.
· Pollution, eco-terrorism, mateship, respect for wildlife and
questions of what is courage and kinds of leadership can also be discussed
from Antarctic fiction such as 'Antarctica's Frozen Chosen' which could not
have been written without Antarctic participation.
Suggestions for Educators:
1. Get best value out of the session by encouraging students to check
the presenters' profiles online beforehand. This means questions and answers
are more specific.
2. Maximum effect for minimum effort. Utilise Antarctic subjects across
media. Read an Antarctic novel as a serial or do a classroom play to tie in
with Antarctica for science and maths as well as media and communication
skills.
3. Follow up by reading the resources offered and the links to relevant
sites.
4. Encourage students to experiment with multi media formats in order to
create their own Antarctic presentations.
*******************************
Author web site www.hazeledwards.com has across media Antarctic
publications including YA novel 'Antarctica's Frozen Chosen', Classroom
play 'Cool or What?' and teachers' notes designing to provoke discussion
on various scientific aspects of Antarctica , picture book 'Antarctic Dad',
Auslan signed video 'Antarctic Lachierberg' and diary 'Antarctic Writer on
ice' which is in varied formats including electronic, Braille and audio as
well as print.
www.lab.3000.com.au/antarctica has profiles of all presenters and an
account of how to participate in a Virtual Conference. Check it out!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"You know how it is in the children's book publishing world: it's just bunny
eat bunny."
Despite this dire warning, which kept flashing up (together with more
inspirational quotations) on the giant screen during breaks between sessions
at the Society of Children's Book Writers and Illustrators conference, this
is the place to learn a lot about the American children's book market - and
how you can be a part of it.
I was fortunate enough to be awarded an Arts Queensland professional
development grant to attend the 2005 conference, held 4-8 August in Los
Angeles, USA. And I was in kids' writer heaven.
Imagine a huge conference hall packed with 1000 people from eleven countries
and 49 American states, every one of them believing that children's books
are not only important, they're essential. The faculty of 72 writers,
editors, publishers, illustrators, marketing professionals and accountants
(yes, accountants, and How to Read, Understand and Check Your Royalty
Statement was one of the most valuable sessions I attended) included
Rosemary Wells, Arthur A. Levine and Tomie de Paola.
The sessions were streamed, to be of value and interest to beginners,
published writers and illustrators. Just a few of the session titles were:
Picture Book Writing workshops; Self Promotion for Published Authors; The
New Rules for Teen Lit; How to Find and Work with an Agent; Writing the
Middle Grade Novel; The ABCs of School Visits; Today's Magazine Market; How
Royalties Work; and lots, lots more.
Published writers and illustrators had an opportunity to set up displays of
their work at an evening reception for editors, publishers and agents.
Writers could also (at an additional cost) have a half-hour one-on-one
consultation with an experienced writer, editor or marketing professional.
There were sessions where writers could network, join in critique groups,
take part in an SCBWidol competition for school presentations. And there was
a conference pool-side party that really rocked. Believe me when I say we
have nothing like this in Australia.
Why I was there, however, was not to have a good time J but to attempt to
get my foot in the door of the USA market. The USA market is Big. Where
Australian print runs number in the thousands, American print runs commonly
go to the tens of thousands. But will Australian books (that is, my books
and your books) sell in the States?
The marketing consultation I attended, the interest shown in my display of
books at the writers' reception (or maybe it was the Caramello koalas I
handed out?) and the contacts I made convinced me that yes, they will. I am
currently in discussions with a New York-based agent interested in
representing my work in the USA. (Yes!!!)
If you're after the USA market, this conference has the information you'll
need. Editors and publishers lay it on the line about what they're looking
for - and what they're not currently looking for. One major advantage of
attending the conference, for unpublished writers especially, is that
editors - even the ones from publishing houses closed to any submissions but
those from agents - offer to look at work submitted to them by conference
attendees. It's a way of getting out of the slush pile.
So, though it's expensive, though it takes 20 hours of red-eyed flying to
get there, this was for me an extremely worthwhile exercise. More than that,
it was entertaining, informative and uplifting. In Rosemary Wells' words,
children need books, they need their imaginations to be set free. They need
the critical thinking skills that only reading can provide. "Children who
read," she said, "will be producers in this world, not consumers."
~~~~~~~~~
If anyone is interested in further information about the SCBWI conference,
they're welcome to contact me at P.Rushby@uq.net.au
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
How to Find Publishers for Your Manuscripts
© Dianne Bates
Finding the right publisher for your work involves a bit of detective work.
A story that's wrong for one house may be perfect for another. To conduct
your search for publishers, you might like to follow these steps:
Obtain a copy of the Australian Book Publishers' Directory from the
Australian Publishers' Association: It contains a thorough listing of most
major Australian children's book publishers, listing their needs, personnel
and more.
Subscribe to a publication that will keep you informed of changes, new
imprints and changing publisher needs. As suggested in previous issues of
PIO, the Australian Bookseller and Publisher magazine and the on-line Weekly
Newsletter, both available from Thorpe-Bowker, are invaluable. (The monetary
investment you make in these essential writers' tools is tax deductible.)
Spend lots of time in your local specialist bookstore looking at recent
titles. In particular, look for books that have a similar tone or theme as
your manuscript. Note the name and address of the publishing company on the
imprint page, and send for their catalogue and writer's guidelines - or
check them out on-line.
Talk to children's librarians in schools and public libraries about popular
books and series. Library distributors are also an invaluable means of
finding out market needs.
Network with other authors and/or new writers. Networking means sharing, not
just taking. As a writer in a sharing and caring community, you ought to be
swapping information and markets all the time with writer friends and
colleagues. If you don't know where to meet other writers, then advertise -
even in your local newspaper - that you want to contact like-minded people.
Make use of newsletters such as PIO, which contains, at least for me, an
invaluable SEEKING section.
Scan the Web for publishers online.
Before sending your manuscripts to publishers, it's vital that you read
their current writer's guidelines. Knowing exactly what a publisher is
seeking, and how they wish to be contacted can save you a great deal of time
and aggravation. (Note: Many publishers now post their guidelines on their
websites, saving you the trouble of sending in for them.)
~~~~~~~~~
Author of 90 books, mostly for young people, Dianne (Di) Bates offers a
range of services for authors through her Writers' Career Consultancy (see
www.enterprisingwords.com ). This includes an inexpensive mini-manuscript
assessment service and an up-to-date listing of over 110 Australian
publishers of children's and young adults' books.
PUBLISHER GUIDELINES
AUTHOR/ILLUSTRATOR PROFILE
USEFUL BOOKS/WEBSITES
For writers wishing to improve the quality of their prose, can I suggest
that you check out www.foxediting.com, a site written by Canberra editor and
poet, Susan Hampton? Susan not only provides fascinating writing and editing
exercises, but in one section of her site (Writing Topics) she compares two
translations of the same text of Dostoevsky's The Brothers Karamazov,
analysing it section by section so you can see the effect that certain words
have on the reader. It is the best example I have seen to date of how word
selection and placement affect the overall quality of a piece of prose.
In her biographical notes, Susan writes, "I edit manuscripts for writers
seeking publication. This involves some repetitive work, as there are
similar sorts of fixes needed in most new writing: elimination of
superfluous words (that, which, but, lovely, beautiful, wonderful),
scrapping synonyms for said (observed, remarked, replied), and making
greater use of the implied past tense (deleting 'had'). At the same time,
each new manuscript has the author's take on the world, their individual
voice, which I try to 'hear' and help into being." As a manuscript assessor,
I too frequently find these kinds of problems in new writers' works.
Submitted by Di Bates www.enterprisingwords.com
BOOK REVIEWS
The following titles will be reviewed by Laurine Croasdale on
22nd August 2005 on ABC Radio Canberra with David Kilby
Adventures with Rufus the Rhinoceros
by Jan Latta and Jon Resnick
True to Life Books
Dragon Gold
by Kate Forsyth Illustrated by Mitch Vane
Pan Macmillan
No Worries
by Bill Condon
University of Queensland Press
Seadragon Sea
by Margaret Spurling and Danny Snell
Working Title Press
Nightpeople
by Anthony Eaton
(UQP)
reviewed by Susanne Gervay
Anthony Eaton is a powerful new literary voice in the fantasy genre.
'Nightpeople' is the first book in the 'Darklands' trilogy. Set in an
Australian desert generations after a nuclear holocaust, it presents
humanity on the verge of extinction.
Saria is the last child born in Darklands and the only hope for the future
survival of the race.
Beautifully written with believable characterisations, 'Nightpeople',
explores the great themes of humanity - belonging, our need to protect our
environment, leadership and courage.
'Nightpeople' is definitely recommended for those readers who love fantasy
and science fiction. They won't be disappointed.
Breakfast with BUDDHA
by Vashti Farrer illustrated by Gaye Chapman
published by Scholastic
reviewed by Susanne Gervay
Sati is a pussy cat with attitude and extra large pointy ears. 'I Am Sati'
the cat announces. The monsoon may have destroyed Sati's village, but this
cat believes it is 'higher than anyone in the village' and wants breakfast
NOW. Sati believes that it is the 'top cat'. The problem is that others
don't agree.
Finally at the Buddhist temple after many chaotic and funny scenes, Sati
learns that being 'top cat' isn't such a good thing. Sati is hungry and
disliked. By the end of the story Sati learns that peace and harmony are
more important than being the 'top cat'. He is happy at last as he enjoys
breakfast with Buddha.
This is an engaging story related simply and with warmth by award winning
author Vashti Farrer. The illustrations are also engaging as they overflow
with humour, vibrant colours and attitude. Gaye Chapman is having fun.
Buddha with his very large and round head, the numerous dogs cats and birds,
the exploding scenes and of course the quirky Sati, will certainly entertain
children.
There is so much for children to explore in the text and illustrations, as
Vashti Farrer's joyful insight into another culture is intertwined with this
timeless theme.
'Breakfast with Buddha' is a delightful picture book.
INDEPENDENT CHILDREN'S BOOKSHOPS
**Note this is a new section - please feel free to add to it**
INSPIRATIONAL QUOTES
Dorthea Brandt:
"Go confidently in the direction of your dreams. Act as though it
were impossible to fail."
CRITIQUE GROUPS BULLETINBOARD
**Looking to create or join a critique group - here's the place!**
'CRITTERS' is an established Critique Group looking for 2 or 3 new members
to replace those who have left. 'CRITTERS' is a wide-interest group (picture
books, chapter books) with beginning writers who have had limited publishing
experience. It is a straight-talking group offering honest feedback. If you
feel this is your group contact Richard at richardbrookton@hotmail.com with
CRITTERS as the subject.
MILESTONES
**A new section for members to share their achievements**
Congratulations to DC Green, whose first novel for children will be
published this week by Ibis for Kids. 'Erasmus James and the Galactic ZAPP
Machine' is a
funny, fast-paced fantasy about brain zapping, giant mutant chooks and
planetary environmental havoc. The first four chapters can be sampled at DC
Green Yarns: http://dcgreenyarns.blogspot.com/
ADVERTISEMENTS
BOOK LIST NOW AVAILABLE
If you have run out of Australian children's publishers to whom to send your
manuscript, it might be that you do not know all the publishers in the
market. For a comprehensive list of over 100 Australian children's book
publishers with up-to-date contact details, look at
www.enterprisingwords.com under Writers Career Consultancy for details.
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 11:13 PM
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