PASS IT ON ISSUE 55
PASS IT ON - ISSUE 55: 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
Thanks to all those PIO subscribers and friends who petitioned the
Australian Women's Weekly to run children's book reviews, the Weekly is now
including children's books in their 'Great Read Guide''. Now we've achieved
this small victory, I'd advise all those who want to promote Australian
children's books to write again to the Weekly and encourage them to
continue, even to present a full page of reviews of Australian children's
books per issue. (They will be more inclined to do this, of course, if
supported by relevant advertising!)
The most important week in the Australian children's book year - the CBCA
annual book awards - has passed with the Sydney Morning Herald's Spectrum
(arts' supplement) ignoring it and its prize-winning authors. Let's now
complain to the SMH about this omission, and also target Women's Day
magazine to review children's books. As has been demonstrated in this case
and re Warrnambool festival, PIO friends have the potential to be an
effective lobby group. We will only continue to strengthen our industry by
taking ACTION, not by being apathetic! Di Bates
>From the SCBWI newsletter.
Helpful info about word-counts
Some of you might appreciate this information for yourselves, writes Robin
Koontz, RA Oregon. So here are a few representative word counts to give you
an idea of where your manuscripts fall.
Fourth Harry Potter 190858
Eregon 157220
Redwall 101289
First Harry Potter 77508
Hoot 61113
Holes 47079
The Giver 43617
Bridge to Terebithia 32888
The Tale of Despereaux 32375
Afternoon of the Elves 27390
Seesaw Girl 16442
The Whipping Boy 13280
Sarah, Plain and Tall 8377
Captain Underpants and the Wrath of the Wicked Wedgie Woman 7389
"Most MG novels usually come in around 30,000+ words," writes Robin, "and
most YA are higher than that. 20,000 words is going to feel light for a YA,
but word count isn't everything. Sarah, Plain and Tall, which weighs in
around the same as a chubby chapter book, won the 1986 Newbery Medal, and
The Whipping Boy, another featherweight in the word count department, won in
1987."
(Thanks to Robin Koontz, illustrator/author & SCBWI Oregon Regional Advisor
http://www.robinkoontz.com http://www.scbwior.com )
Children's
The Schloss Blutenburg, near
million children's books, including some Australian titles, many archived
in underground stacks beneath the courtyard. It is significant because it is
the International Youth Library with an emphasis upon books from all
cultures, related to tolerance. It was founded after WW2 by a remarkable
woman Jell Lepman to replace books destroyed by war or censorship and they
now choose the best of contemporary work with an emphasis upon tolerance.
They also administer the White Ravens awards of 250 books selected from many
cultures and displayed at Bologna Book Fair in
exhibitions later. I have written an article and photos about the
picturesque castle of books which will appear in Viewpoint magazine in 2006.
Meanwhile you can check out their web site and if you don't speak German,
click onto the English.
Claudia Soeffner, their English Language section librarian may be visiting
www.ijb.de
SEEKING
RE: US Publishers. Can anyone tell me
1. if submissions have to be sent on USA4 paper? This is different from Aus
A4.
2. Where can we buy US stamps in
hard for 'the rest of the world'. And that's before they even look at our
work.
Janeen Brian - author
I'm interested in whether anyone knows about children's stories broadcast in
listen to children's stories narrated over the air. At the moment there's a
serial by Maurice Gee, followed by two short stories, perhaps only 5 minutes
each, by other authors. Those stories tell me as much about life in NZ as
anything else could because they're often based intrinsically on children's
experiences here in the country. And what a lovely thing for children to be
able to hear. I keep thinking, what a 'neat' idea; for authors to write
short, fascinating stories to be read at that time of night. Hence my query
about Australian stories at the top of this par.
By the way, as I listen to the radio, I know the power of story reading is
still as compelling as ever!
>From author Peter Taylor
www.writing-for-children.com
After the announcement in PIO of the Winning Writers' 'Wergle Flomp'
competition for parody poems, I submitted something suitably silly and was
amazed and delighted to win a minor prize as one of the top eight finalists
out of 1400 world-wide entrants - a tee shirt, $40 US and a bio and
publicity blurb for my books and site on theirs. www.winningwriters.com .
Many thanks to whoever notified us of that one.
My first book was 'adult non-fiction'. That was easy. It was delivered on a
plate. I was asked if I'd consider writing it. It's a long story and I think
I've told it before. I keep writing. I even call myself a full time writer
(which is true . in between renovating a house, taxi service for children
and all the other things that 'must be done' when you work from home) and
get quite productive at times, producing picture-storybook texts and
illustrations, and non-fiction for adults and children.
I really should send more mss out somewhere - keep them circulating - but I'm
not good at doing that and am very confused. The last one I sent
simultaneously to three Australian publishers, and between them it took 18
months to receive rejections. So how many publishers do you send to at once?
Being fed up with waiting, and wanting to give talks in schools (and justify
calling myself a writer for children), in desperation I self-published it. I
guess I'll get it in the mail again one day, along with other things, but
ideally I would dearly love an agent.
I'm told I could easily get one if I had a contract. It's unlikely a
publisher will knock on my door and ask to go through my computer files, so
yes, I here and now declare I will send things far and wide . and start
pacing the ground by the letter box again. (You've realised. There are times
I'm not a patient person.) On the other hand, should I send direct to agents
if I really want to develop that kind of partnership? Well, we've all heard
that agents are harder to secure than contracts, so, going by the last
attempt to persuade publishers, it could take . How long was that? But if a
contract is what I need, and I've sent my work out to goodness knows how
many publishers, an agent wouldn't have anywhere left to submit to, would
they? Particularly in
Do I submit some pieces to agents and not send them to publishers and
vice-versa? That could lock mss away for a very long time. Do I not submit
to publishers - send only to agents, one at a time (as recommended), and
hope one will quickly send a favourable reply? Send everything to a large
number of publishers and hope that a contract will ensue - so that it's more
likely an agent will be interested in working with me? B - b - but then I'll
have to finish writing something new so they've got something to work with.
Your suggestions will be gratefully received.
REPLIES TO SEEKING
re: NSW School Magazine topics/deadlines
NSW School Magazines don't seem to use a list of topics/submission
guidelines in the way that the Pearson Magazines do. My experience has been
that they accept/return work that they think fits the readership of the
magazine - primary-aged school children. They pay on acceptance and then
hold the work until a place for it appears. I have a poem that was accepted
two years ago but is still not slated to appear, and another poem that was
accepted less than six months ago that will appear in October. Stories of
mine have appeared six months after acceptance, and eighteen months after
acceptance. That said, the editorship is about to change (you will be missed
Jonathan Shaw). Perhaps the guidelines will too. Claire
Re: Does anyone have a current list of topics/submission deadlines for the
NSW School Magazine?
In my experience, NSW School Magazine doesn't have either topics or
submission deadlines. They occasionally have items within a particular issue
that are related, but I don't think these are the result of deliberate
efforts to solicit material on a theme. In fact, material within each issue
is usually wonderfully diverse. Have you read any of these magazines? The
editor is (again, in my experience) very happy to send back issues out to
writers who want to see what the mags are like. As for submissions, you just
send them in when they're ready. No themes = no deadlines.
The only thing I know they were looking for a while ago is more plays - on
any topic.
Lian Tanner
NEW PUBLICATIONS
SPECIAL EVENTS
MARKET OPPORTUNITIES
FROM BOOK TO SCREEN
I received this email and thought other writers might be interested in this
publication. JM
Would your BOOK, MANUSCRIPT or SCREENPLAY make a great movie?
BookstoFilm.com can help you promote it to film makers!
Join BooksToFilm.com!
http://www.bookstofilm.com
"Where Literature Meets Hollywood"
BookstoFilm.com publishes a semi-annual catalog which is distributed to over
2500 film producers, directors, studios, and film agents
nationwide...including those who produce educational and documentary
films. The Spring 2005 catalog was a huge success, and it is available
online now at our website for current clients and film makers. The film
industry is raving over it! More film makers are contacting us daily for
access to the online catalog and for a print copy of our catalog.
Get your full-page ad in our catalog containing book/screenplay summary,
book review, book photo, book ordering information, author bio, author
contact information, and representation information.
$250 - Fall 2005 Catalog only
$375 - Fall 2005 and Spring 2006 Catalog
(* These are Early Bird prices that expire 9/10/05)
NEW VISIONS OF CAMELOT:
Zumaya Publications announces that submissions are sought for FABLED TOWERS,
a collection of stories to explore both the substance and meaning of the
Arthurian Cycle. Stories of the Arthurian characters, past present and
future, as well as tales relating to the legend are needed. Please -- no
horror, no formula romance, no graphic violence. We're looking for new takes
on old stories - true speculative fiction that extrapolates from the
original. The anthology will be edited by talented writer/editor ASTRID
COOPER, a committed Arthur-ophile for more than 40 years. Length: 5,000 -
10,000 words. Proposed publication date: 2008. Payment: 2 copies of
anthology. Authors will also be able to purchase unlimited copies for resale
at cost plus $2 (
specifically acquired for publication as a trade paperback anthology and in
electronic format. Contributing authors are advised that extensive promotion
of the anthology is intended. Net proceeds will be donated to Doctors
Without Borders and the World Society for the Protection of Animals (WSPA).
Deadline:
Submissions: Please send one print copy of your submission together with a
disc copy (WORD format), to:
KAPUNDA SA 5373.
Include all relevant contact details: name, mailing address, phone number
and email address.
Astrid will acknowledge receipt of all submissions via email. Electronic
submissions? Query first: editorial@zumayapublications.com
For more information: Elizabeth K Burton at the above email address
FLASHLIGHT PRESS
http://www.flashlightpress.com/submissionguidelines.html
For Writers - We accept unsolicited manuscripts for illustrated children's
books
(approximately 1,000 words). Stories should have universal themes and deal
with family or social situations.
Send query email to:
Shari Dash Greenspan, Editor, Flashlight Press at
Editor@FlashlightPress.com
Please do not send manuscripts by email.
For Illustrators - send an email including links to websites where their
work is highlighted, or non-returnable copies of color samples of their
work
which we will consider and keep for future reference.
Emails will usually be acknowledged within ten working days.
Manuscript submissions will be evaluated within three or four months.
AUGUST HOUSE
http://www.augusthouse.com/about/guidelines.asp
Note: August House accepts proposals and editorial inquiries by mail only.
Our editorial mission focuses on world folktales and the art and uses of
storytelling. Please review the following guidelines before contacting us
about publishing your work..
Please address all materials to:
Editorial Department
August House
Please submit proposals by mail. No phone calls or e-mails, please.
Although we review every submission that arrives by mail, you will not
receive a response from us unless we are interested in pursuing publication.
We do not have the staff or resources to respond to queries we elect not to
publish, much less provide a detailed critique.
We will acknowledge receipt of manuscripts immediately by postcard if a
self-addressed stamped postcard is enclosed with the submission. (We cannot
without great difficulty acknowledge a previously submitted manuscript by
phone, as manuscripts are stored in more than one location). If we are
interested in pursuing the project, you will hear from us within four to
twelve weeks.
Please retain your original manuscript/proposal and send us a copy only.
Your materials will not be returned.
August House Editorial Needs
For our general trade line, we are interested in acquiring books pertaining
to folklore, folktales, and the art and application of storytelling.
For our children's picture-book line, we are seeking single-story
manuscripts that feature traditional folktales. We are not looking for
original stories written in fable or fairy-tale style.
For our audio line, we are not soliciting proposals, nor do we distribute
recordings released privately or under other labels.
We publish storytelling resources in four formats:
picture books (see paragraph 5 below);
folktale collections;
instructional/how-to books; and
personal story collections.
Proposals for storytelling projects may be accompanied by audiocassettes,
though the material will be judged first and foremost as literature rather
than listening material. For multi-chapter or multi-story books, please send
a query letter or proposal with sample chapters (at least 40 pages in
length) rather than a complete manuscript. Proposals should be accompanied
by a descriptive outline or table of contents. (Do indicate whether or not
your manuscript is currently complete, along with some estimate of a final
manuscript page or word count and future completion date.)
For folktale collections, we are particularly interested in how stories are
sourced, whether your sources are literary or oral. Please be sure your
sample tales include annotations about the story, it sources and variants.
Picture book manuscripts (Please see 6(b) for the types of stories we are
looking for.)
If submitted without illustrations, manuscripts should be typewritten on 8½
x 11" paper. Please be sure your name and address appear on the title page
as well as on your cover letter, and do enclose a list of sources and
variants for the folktale. Bear in mind that our ideal age range is 4 to 8,
and the maximum word count for such titles is 1100, unless there is some
mitigating circumstance (such as cumulative text or a repeated refrain.)
If submitted with illustrations, submit text in typescript as described in
paragraph 8(a) as well as with dummied layout. Submit at least one
illustration in full color.
All manuscripts and proposals should be typewritten, double-spaced, on 8½ x
11" paper, with pages numbered. Please be sure your name and address appear
on the title page as well as on your cover letter.
Biographical data is especially helpful to us in considering proposals and
manuscripts. We're not necessarily looking for authors with strings of
degrees and credentials, but anything that helps establish a link between
author and manuscript is useful to us. Please list any previous publication
history also.
August House will read manuscripts being simultaneously submitted to other
publishing houses.
Terms of Publication: For volumes accepted for publication on our trade
list, we underwrite publication costs and compensate authors by paying a
royalty based on gross sales. Advances are occasionally, but not always,
paid. Unless the author is working through a rights agent, August House
usually retains subsidiary rights (book club, film, paperback, etc.) and
pays the author 50% on income earned from subsidiary use. We reserve the
right to determine binding (hardcover v. paper), print run, publication
date, retail price, and book design.
For Artists and Illustrators
August House considers of submissions of artwork separately from submissions
of text, even if proposed for the same work.
Freelance illustrators may submit portfolio samples to our art department.
(Send to attention of Art Director
August House
P.O. Box 3223
Little Rock, AR 72203.)
Please note that we do not open unsolicited samples sent as e-mail
attachments-they are deleted. Furthermore, we have a strong preference for
hard copy samples (they are also far more likely to be filed for future
reference), but if you still wish to submit samples electronically, you may
send an e-mail containing a link or URL to a website at which we might view
your work. (Send to ahinfo@augusthouse.com with "Attn: Art Director" in the
subject line.)
Never send an original work or irreplaceable copy as a submission. Send
duplicate slides, photocopies (either color of B/W), postcards, or other
such samples as are replaceable at minimal expense. Your materials will not
be returned but will be filed for future reference.
For prompt notification of receipt, enclose a self-addressed, stamped
postcard with a place for our initials and date.
We do not customarily reply to the sender if we anticipate no immediate need
for artwork of the type submitted. This should not be interpreted as a lack
of possible future interest.
August House cannot discuss terms of compensation for artwork except when a
specific use is foreseen.
COMPETITIONS/AWARDS
WRITING COURSES/WORKSHOPS
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.
NEW WORKSTYLE SKILLS
The Tourist Dummy's Guide to Using Internet Cafes
Travel Hints for Using the Internet When Working in Transit
This time the instructions were in Czech or German and the keyboard Z
printed as a Y and vice versa. That's a problem when you have a name with
Z in it and your password also contains that letter. Finding the elusive @
was also a challenge as it was hidden as the third function on a key.
In the past few weeks, I've operated in Polish, German, French, Hungarian,
Czech, English, Austrian and Microsoft icon instructions and I'm not the
world's greatest nor fastest cyber learner despite having a web site for
years (maintained by my friendly geek). But I'm a self-employed author and
needed to maintain contact with my business in Australia.
Accessing Internet cafes in Central and Eastern Europe and Asia is a
challenge for non-geek travellers, especially if you're operating in an
unfamiliar language. In a well used, Prague cyber café, some letters were
worn off the black keyboard in the dark room. An additional challenge to
type blind and on a different keyboard.
1. First find the shop signs (or the flickering screens inside) indicating
an Internet Café. Phone sales shops which do not supply e-mail also display
the word Internet, so check. If in trouble, ask for 'Le Internet?' or
'Cyber café?' Alternatively, ask a 14 year old male or a backpacker. The
best bet is near Backpacker hostels, tourist attractions, currency exchanges
or train stations. Airport kiosks are often out of order or closed to late
flights. Even the Gare du Montparnasse in Paris does not have its own cyber
café. The multi-lingual information booth directs you to a cyber café in a
nearby street. Frankfurt Hauptbahnhof has a stand-up Internet kiosk on
the actual platform, but don't send any romantic e-mails as the rest of the
queue tends to read over your shoulder, checking how many minutes you have
left on the meter.
2. Hot mail can be sent from anywhere, but accessing Australian servers is
more of a linguistic challenge. Not all keyboards are the same. You may
need to change the instructions into English, by hitting an optional
language key. (Admittedly hard to decipher that instruction in another
language, but follow the flags) Watch how others operate. Or choose a
computer where the last user was in your language.
3. Get friends to e-mail you first. Then hit the reply button to give
their e-dress instantly. On unfamiliar keyboards often the @ sign or the .
which is essential for the www. site is missing or hidden. On highly
chargeable minutes it's frustrating to waste time, trying to work the
keyboard for elusive symbols like ~or type the edress rather than send
messages.
4. Often you can't 'keep' copies of what you've sent nor re-read. Sometimes
a yes/no option will appear with an incomprehensible question, and the
computer is stopped until you answer, and if you choose the wrong option,
the whole message disappears.
5. Idiosyncratic Internet 'minders' provide 'colour'. In seaside St Malo, I
walked the beach for an hour until the resident 'Geek' whose dog lived
in-house opened the 'doggy' smelling Internet facility. I had misread 'Open'
and 'Close' in French and they operate on the 24hour clock, plus he'd
overslept. But once I spoke to his dog, the geek was most helpful with
attempting to print out a pdf file, in colour. Junk mail becomes very
expensive for a traveller. Get someone at home to access your account and
delete all spam and remove attachments. Otherwise the downloadable time is
astronomical and you may not have enough money to pay in that currency.
6. Costs? Some places insist you pay first in half hour slots. Others
charge on minutes used. Rates are on the wall or ask them to write the
amount in figures as it's easier to work out than words if you don't know
the language. Apart from having the right currency, you must estimate how
long you'll need to use it( you may not know how many messages are there
until you look) In six weeks, I spent the equivalent of $100 Australian in
various currencies to keep my home business functioning. The most expensive
access was Warsaw and Vienna while the cheapest was Berlin because my budget
hotel provided ten minutes free access for guests, and no-one else had found
the facility.
7. Some hotels have e-mail access in their business centres but these tend
to operate only 9-5pm weekdays and are VERY expensive. Our Warsaw hotel
e-mail access cost the equivalent of $8A for ten minutes and the 'help' was
surly and minimal in comparison with the black rimmed spectacled 'geeks' who
generally played computer game inbetween customers in basement or backstreet
Internet shops in Budapest, Paris and Krakow and who enjoyed solving
computer problems. My most unusual site was in a Fight Café in Saverne,
filled with masculine games, and the attendants were most courteous.
8. The most comfortable? A cake and coffee shop in Strasbourg which provided
virtual reality on the screen but real, heavy cream laden cakes to look at,
alongside. By the time I'd paid for the Internet I didn't have enough local
currency for a cake or a coffee. Ironically this was the same café I'd used
two years earlier and had been completely frustrated at being unable to get
through to Australia. Maybe their computers have improved? Or maybe I've
become less of an Internet dummy?
9. Once you've mastered the challenges of Internet cafes, then there are
additional challenges of the mobile phone codes to ring or receive from
Australia, or the phone cards. E-mail is cheaper than phoning and with
massive time differences, loved ones prefer not to be pulled out of bed to
talk in the middle of the night because the caller miscalculated, and added
instead of subtracting eight hours.
PS Even if you check that your mobile is on roam before you leave home,
Telstra doesn't guarantee the connections. For two trips in a row, mine hasn't
worked despite asking for it to be checked. The phone card you buy at
Melbourne airport, to ring home from overseas, which is a flimsy piece of
paper with small call numbers doesn't always work either!
That's one frustration I'm chasing up NOW as a matter of principle!
10. My cyber-phobic husband's favourite was the Munich Internet café because
he could have a beer and look at the rugby memorabilia on the wall while I
wrestled with German instructions. Later my husband posted a message in a
bottle home to our son in Darwin. It arrived by sea-mail, courtesy of
Australia Post four weeks later.
There must be a message in that!
Hazel Edwards' web site is www.hazeledwards.com
HAVE YOUR SAY
FROM AUTHOR Susanne Gervay
EMOTIONAL CBC AWARDS in SYDNEY - 19th August
The CBC awards presentation was hosted with enthusiasm and style by Mark
McLeod and Margaret Hamilton at the beautiful Maritime Museum at Darling
Harbour.
Some Highlights:-
1. Jackie French and her husband Bryan Sullivan collaborated on the Eve
Pownall Award winning book, 'To the Moon and Back' (HarperCollins).
Jackie's speech was moving as she revealed the reason for writing this book
with her scientist husband. It was to give a voice to scientists who in the
main are unsung heroes, as they unlock the mysteries of the world and take
us to the moon.
2. Michael Gerard Bauer's speech after he received the prize for OLDER
READERS for 'The Running Man' (Scholastic). Michael gave up teaching to
pursue his dream of writing this book. His wife and children believed in
him, supporting this life changing decision.
3. Gus Gordon's 4 month baby HARRY was in safe hands in the audience while
he went up to accept his prize for illustrating 'To the Moon and Back'. CBC
PRIZE for DAD OF THE YEAR.
4. Julie Watts received a huge ovation for her 25 years at Penguin. She
assured everyone that she was taking a break from publishing but couldn't
leave the industry that she loved so much.
5. Lisa Forrest's keynote speech was gracious, humorous and filled with the
adventures of BAXTER, who survived his trip up North with his Mum and Dad,
through Lisa singing and reciting Dr Soos and every other children's book
she could remember. She added her own extra words, since she is a wonderful
writer as well.
FROM AUTHOR Wendy Orr
Re Holiday House, and US publishers
For anyone who was interested in submitting to Holiday House, following the
article in last week's PIO - do it! They are a lovely company to deal with:
small, personal (extraordinarily low staff turnover), and they produce
beautiful books. It's nearly seven years since they published my young adult
novel Peeling the Onion, but I was given such a warm welcome when I met them
in New York last month that I'm very keen to deal with them again.
In fact, most of the US publishers do beautiful editions for the first
edition: hardback with glossy dustjacket. Henry Holt also uses very high
quality paper, I presume acid free - when I open their edition of Ark in the
Park it's as fresh and white as the day it was printed. I'm currently doing
a new book with them and they have also been extremely friendly, engagingly
enthusiastic, and efficient.
I also met Random House in New York to discuss the Nim's Island sequel; they
are a much bigger company and the building itself is daunting (!) but the
editors are lovely as well as being thorough and empathetic editors. The
company is excellent to deal with - bonuses like a box of the Scholastic
book club edition suddenly appearing in the mail!
I'm also just about to sign a picture book contract with Jonathon Harcourt
in San Diego, though we had to cancel our Los Angeles meeting. They actually
did an edit on the manuscript, asked for my comments and changes, and then
accepted - interesting way around, but probably efficient.
Generally my experience with American publishers has been that the quality
of editing is extremely high, and the lead-in time is significantly longer,
six to twelve months difference for a book accepted simultaneously in
Australia and the US. The market is obviously bigger, but there are more
books to compete in it, so although the huge advances do exist, my own
experience is that mine have tended to be only slightly larger than my
Australian ones.
FROM Dr Virginia Lowe
Create a Kids' Book: you may be interested to know that our website,
http://createakidsbook.alphalink.com.au, has a new page under "Published
Works" which features the covers of all the people who have been published
after using our services (manuscript assessment, workshop or e-course).
There are also some very nice words from these worthies on the help they
have received - testimonials - and further links for the authors or
illustrators and their books. You may like to have a look. In the past I
have turned down offers of accolades to put on the webpage, on the grounds
that you never know if it is a great-aunt praising the person, or even the
person themselves. However everyone who comes to us does so because she/he
wants to be published, and proof that is exactly what has happened in these
cases makes the testimonials believable. Stop by and have a look! VL
Also.
Congratulations to the organisers of Winnies - such a success. The quantity
of entries (and the quality as well, I'm sure) show that there are just not
enough competitions for people who want to write for children. It's
excellent that the response has ensured financial success for the
competition as well. And also of course congratulations to the winners and
runners up - may this be the start of really big things, like an immanent
contract! I'm particularly thrilled that three of the finalists have been to
a workshop or done the Create a Picture Book E-course. Virginia
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
FROM AN AUTHOR
Dear WannabeE Author
By professional author, I mean one who abides by professional standards and
does not compromise just to see my name in print. Despite my willingness to
accept only decent payment and publishing conditions for my work, I have
managed to publish numerous books, stories, plays, articles and poems for
children both in Australia and overseas. Again and again through PIO (and
personally) I have tried to have new writers understand that if their work
is good enough they will get published; what's more they don't have to
accept poor royalties, no advances and to otherwise compromise my honourable
profession. However, the word does not get through, which is why I've spat
the dummy. I don't get paid to write for PIO, so why should I bother? There
are, I'm sure, many well-published PIO author/subscribers and not many of
them contribute as regularly as I have both under my DC or other occasional
pen-names. An exception is Edel Wignell who is incredibly generous with her
time and energy, and ethical to boot - a fine example to emulate! Meantime,
I voluntarily mentor wannabee writers of talent whom I perceive as being
professional and who give back to their new industry. One of them even
scored a major publishing victory this week, which truly delights me. Talent
will out! If you need to know how to act ethically as a writer, join the
appropriate organisations, and/or obtain industry contract forms and be
guided by their standards. Good luck with the struggle (which I've well and
truly been through, too, you know.) DC
FROM AUTHOR Fiona Sievers
To DC and your other cronies (GP?)
Why don't you people find a life and just get on with it. Have you never
heard of being happy? If I knew who you were (because you hide behind your
initials and choose not to tell us) I would make it my business to read some
of your work to see what all the fuss is about. I hope your constant
negativity doesn't come through in your writing for children. I would love
to read some of your books because I fail to see how such a narky outlook
could make for good writing.
I have bitten my tongue over the weeks but I can do this no longer. There
are many of us who do not thrive on negativity and constant stabs at
'wannabees' doing the wrong thing by your standard. I know you have your
point to make and I can appreciate some of it - but money is not everything.
The mileage I have had from my first Trekkers book has been priceless. I
have had a great piece in the local paper with color photo of me and the
book, our local bookshop has asked me to do an author feature next weekend
and have ordered in copies of my book and I have a few workshops at 2 local
primary schools. These all came about because of the Trekkers book that you
probably would have advised me not to publish with Trekkers, and so maybe it
would still have been doing the rounds with the other publishers given the
long periods of time some of them take to give you any sort of response. Or
maybe it would be sitting in my bottom drawer waiting for the 'right
opportunity' that would benefit you as a professional.
The money we will receive from the Trekkers books may not be as good as we
would like it to be but the other benefits are earning other money and
increasing royalties. So, maybe it is you who is being the selfish one by
trying to make others (new writers in particular) feel guilty for making
choices that are good for them and their own careers. Name anyone who would
happily knock back a legitimate publishing opportunity on 'negative advice'
from a 'professional' like yourself. I certainly wouldn't. But said in a
positive fashion, I may be willing to pay more attention to your cause. It's
hard to plough through all the bad vibes to get to the gist of it all. Maybe
we would be better off without your negative postings. If you have anything
positive to say I would love to hear more. Otherwise I will skip over your
lemony words from now on. I don't need a negative start to my Monday
mornings. Thankfully, the rest of PIO is extremely useful and positive and
is something that I look forward to very much.
Smile J - it's not that bad DC!
(ps Are DC and GP the same person? They seem to have the same sourness about
them.)
FROM A *LUCKY* AUTHOR
In response to comments on PIO issues 53 and 54. Firstly, DC, please don't
stop contributing your valuable comments to PIO. I'm sure lots of
unpublished authors appreciate what you write and learn a heck of a lot from
it. However, don't forget what it was like to start out, trying anything to
get a publisher to notice your work whether in educational or trade. For
many, the constant rejections become too much and they give up. For others,
bad contract or not, an offer of publication is a real validation of all
they've been working for. So you can't blame people for accepting the worst
contracts that you, or I as a published author of almost 100 children's
educational books, would turn down.
For authors just starting out, DC is right that we mustn't undervalue
ourselves. There ARE good publishers out there prepared to offer fair deals
to authors and who value their work. I'm lucky that I have a great
relationship with the publisher of the majority of my educational books that
goes back some years. However, I have had a couple of interesting
experiences recently that reminds me of how rare that good relationship can
be.
IMHO flat fees are an insult when you think of how much a publisher stands
to make from your work if it is popular. Don't take them if you can avoid
it. I was recently offered commissioned work to write educational books by a
major educational publisher (a competitor of my usual publisher). The
publisher wanted to pay a salary or flat fee for the writing of these books.
Very flattering to be offered the job and they obviously thought highly of
my work... but not enough to offer what they should have - royalties. Would
this be accepted by well known children's authors in trade? I don't think
so.
Also, my advice is to always do multiple submissions to trade publishers on
any fiction you write, whatever they say in their guidelines. In recent
years I have had two kids' novels go through a long process with reasonably
well known publishers that led to nothing. One was held onto for TWO years
while the editor decided if they definitely wanted it or not. The editor was
quite keen on it and it was submitted to her by an agent, yet it still came
to nothing. The other was held onto by a different publisher for twelve
months before I finally, after a few enquiries to them, found out the series
I submitted it for had been put on hold. Nice of them to let the authors
whose work they were hanging onto know, wasn't it... Lucky I wasn't
submitting only to these publishers and wasn't in a hurry to find homes for
the manuscripts.
Finally, don't be afraid to negotiate. Put your 'business hat' on and be
pleasant but firm when negotiating with a publisher. Remember, without
authors, publishers wouldn't make a profit!
Hope some find these comments useful :)
FROM AN AUTHOR
Re: DC and Wannabees.
I've read the comments from DC and replies with interest and just wanted to
add my thoughts.
Since I started writing for children 'seriously' about ten years ago, I've
been overwhelmed by the generosity of children's writers and their
willingness to share their experience and expertise. It's these remarkable
people and organisations such as The Victorian Writer's Centre, ASA and Pass
It On that have taught me how to manage the business side of writing. Trust
me...I still have HEAPS to learn.
Most 'new' writers don't deliberately do the 'wrong' thing. We simply
don't/didn't know any better. New writers need the advice, generosity,
patience and persistence of more experienced writers.
I hope experienced writers continue to advise and assist new writers. As I
said, children's writers are the most generous people I have worked with.
I'm sorry DC isn't contributing any more.
Also.
Congrats to the CBC Book of the year winners and honour books. Hope you
celebrated and enjoyed Book Week.
Thank You
Thank you Megan for your reply re 'personal rejections'. I'm still hoping to
get a note or something just to know if I'm on the right track, but thank
you for your encouragement.
Lynn
HAVE YOUR SAY
Critiquing Poetry
Our critique group has been sharing and critiquing short stories and
serialized books for months. I recently sent a bundle of poems from a book
aimed at primary school children, whose theme is in the title WONDER And The
OTHER SENSES.
My critic in this round wrote back to say she knew which of my poems she
liked, and which she didn't, but that she wished to be more constructively
helpful. She asked me what one might look for from poetry. She is generally
an excellent and perceptive critic of prose, so I took her question
seriously, and found myself enjoying writing a spontaneous catalogue that
may be of interest to others (who may or may not be critiquing poetry). So
here are my suggestions:
I suppose that a critique of poems must be tinged by whether you like them;
but if you don't generally like poetry, then one has to look at whether they
have merit as what they are, rather than as how they affect oneself. (Or not
get involved in the critique of poems at all.)
Then perhaps one looks at whether the poem says anything worth knowing, or
encapsulates an "ahah" feeling, or tickles the fancy.
Also, is it poetic, or not? That means economy of expression, and RHYTHM
(rhyme is Not necessary). Also the variation of rhythm, a sort of changing
pace, can be interesting, from verse to verse. RHYTHM is essential. It might
be hard for a reader to find the rhythm, but it's worth looking for. It
lifts the poem from the prosaic.
It's good to have evocative imagery; or an image that "awakens" the poem
into experience.
Perhaps one can look for whether the poem opens some realm of speculation
for the reader: an area of reflection, wonder.
Finally, I reckon you come back to whether you liked the poem. Did it do
anything for you?
I must make an important point: one cannot read a whole clump of poems at
once. That way one becomes punch drunk and oblivious. I find it important
to be fresh and open to each poem: which makes sense in comparison to
reading a story: the story is sequential, and one has to continue along the
path of it, drawn on by a magnet towards devolution. (So you can stay much
longer at critiquing a story. there is a direct voyage!) But generally each
poem in the bundle has a different and shorter path and reaches a particular
vista by its own terminus. So one has to be standing back at base before
undertaking another poem and a new journey.
I don't know how my poems will stand up to the criteria I suggested. I
forgot about them while writing my ideals! RM
FROM AN AUTHOR
FLAT FEE
There has been a lot of discussion in PIO recently about authors being paid
flat fees for their work. A flat fee means even if the book becomes a
bestseller, the author does not receive a cent above the flat fee paid.
There is no PLR/ELR on flat fee work either. Educational publishers tend to
be the worst offenders (though some educational publishers, such as Thomson
Learning, do pay royalties). Flat fees are often very low and are sometimes
paid in instalments (usually one-third on signing of contract, one-third on
acceptance of ms, one-third on publication), which I'm sure is not how the
editors and designers are paid. Harcourt Education in Port Melbourne is
currently putting together a large educational series and wants experienced
educational writers to work for either a flat fee or a salary wage. I don't
know how much the flat fee is (perhaps another subscriber knows?) but it
would have to be very large for me to accept the job, in order to compensate
for years of missed royalties.
FROM AUTHOR Hazel Edwards
'I don't read anymore, but I listen to stories,'
Maybe it's time for Electronic upgrades to make audio YA novels more
accessible for teenagers.
'I don't read anymore, but I listen to stories,' explained a thoughtful
hi-tech graphic artist of 20. He's not the only one.
Like other authors, I have a number of my stories available as audio books
in either tape or CD format including 'Antarctica's Frozen Chosen' (Louis
Braille) which has been quite popular.
Recently I've been asking teenagers whether they would listen to more YA
novels if they were on Ipod or similar.
The answer is yes. It would be COOL!
Is there any publisher producing or converting audio books into the format
suitable for Ipod or similar? What are the technical challenges of
converting?
With the ease of copying, the problem might be to retain copyright and some
form of recompense for the original creator.
What do others think?
P.S. Any radio stations also using audio books for serials? Or even
featuring an 'extract' as a teaser to get kids interested?
That could be a Cool program!
ARTICLES
Truth is far stronger than fiction
By Kirsty Needham Consumer Reporter, Sydney Morning Herald
August 18, 2005
"Real life is a lot more unusual than fiction - the way it's happening,"
said Tom Psomotragos, browsing mostly for art and psychology books in Sappho
Books, in Glebe, yesterday.
Lyndall Judd, who prefers biography and travel titles, agreed: "I'm
interested in different people's perspectives in a modern age of
uncertainty."
Most people browsing in the bookstores of inner-city Glebe yesterday said
they were more interested in non-fiction, confirming the annual snapshot of
the book publishing industry from the Australian Bureau of Statistics,
released yesterday.
Its overview shows non-fiction titles drove book sales in the 2003-04
financial year, with fewer novels being sold as more imported fiction than
local stories lined stores' shelves.
Local titles became cheaper, with the average wholesale price down from
$11.36 to $9.10.
Publishers sold 129 million books in 2003-04, up from 114 million the
previous year. Non-fiction grew to 59 per cent of all general book sales
(sales of $485 million). Fiction fell from 29 to 25 per cent ($208 million).
Children's books grew slightly to 16 per cent ($127 million).
"People are trying to make sense of the world," said David Gaunt, the owner
of Gleebooks. "We are selling vast numbers of books about the state of the
world and Australia's place in it."
Among non-fiction titles, Australian books generated 75 per cent more
revenue, though the sales share of imported non-fiction grew strongly.
"There is strong interest in Australian history and Australian biography,"
said the president of the Australian Publishers Association, Peter Field.
Noting that educational book sales were down, he wondered if there was a
connection with concern over falling literacy levels in schools.
The president of the Australian Booksellers Association, Chris Harrington,
said imported fiction would have been boosted by Dan Brown's The Da Vinci
Code J. K. Rowling's Harry Potter books.
"What we need is new Australian writers, rather than just having existing
writers producing more. The important thing about literature is new voices
being added to the range and new voices writing about current issues," he
said.
The bureau found publishers' profits leapt 75 per cent in the year, although
Mr Field said that over the past three years profits had been flat.
PUBLISHER GUIDELINES
AUTHOR/ILLUSTRATOR PROFILE
USEFUL BOOKS/WEBSITES
Just looked up this site (see below) after reading of it in the CBC
newsletter. It is a wonderful source of information and leads to more info,
I think many readers of PIO would find it of value.
Cheers
Sharon Greenaway
http://pandora.nla.gov.au/pan/44356/20040907/www.statelibrary.vic.gov.au/slv/children/popupbooks/index.html
Hi all,
I stumbled across this website that might be of interest to PIO readers.
http://www.education.tas.gov.au/delic/els/values.htm
There is a list of children's books that Explore the Values of Education.
Titles are divided into the following themes;
· Connectedness
· Resilience
· Achievement
· Creativity
· Integrity
· Responsibility
· Equity
Cheers Tricia
BOOK REVIEWS
Soraya The Storyteller
By Roseanne Hawke
Lothian Books, 2004/2005
Reviewed by R Evans
The book Soraya the Storyteller by Roseanne Hawke has three different
strands, like a plait. Soraya is twelve. She is from Afghanistan but at the
beginning of this book she is starting school in Australia. The first strand
of the plait is about Soraya's life in Australia and her new friends and her
family, Modar (mother), Rafeeq, her younger brother and Kamilah, her
four-year-old sister.
The second strand of the story is in the form of Soraya's diary. In this she
writes about her old life in Afghanistan, and about her father, older sister
Nasreen and twin brothers Qadir and Qamar. The reader discovers why these
people are not in Australia. Soraya also remembers her grandparents, and
misses all these people very much. She also longs for the beautiful country
her mother tells her Afghanistan was before the war.
The third strand of the story comes from Khala, Soraya's "borrowed"
grandmother. Khala's real family "lend" her to Soraya's family. She lives
with the family to help them get used to their new life. Every night Khala
tells Soraya and Rafeeq old stories. These stories are wonderful and
magical, and help the children remember beautiful things about their old
country and life, and about their lost family members. Soraya's favourite
story is of the magical Ebony Horse. Gradually through the book the story of
the horse and the freedom it brings helps her to deal with the terrible
things that have happened to her family. Gradually Soraya and her mother and
brother and sister become less fearful and more like the people they were or
could have been if there had been peace in their lives.
This is a sad and happy story. It seems to me a convincing depiction of
people's experiences; the characters are convincing and strong. I enjoyed
this book very much. If you read Boy Overboard by Morris Gleitzman, you will
find that this book gives a different approach to a similar story.
~~~~~~~~~~~
I subscribe to Jenna Glatzer's AbsoluteWrite newsletter and recently she
announced that her first children's book would be out soon and invited
people to contact the publishers, Moo Press if they were interested in
reviewing it. I sent off an email and last week the book arrived from New
York. I was surprised and delighted. I have written a review and will
include it below for you to include in PIO as I'm sure many readers know
Jenna's work.
Hattie Get A Haircut
by Jenna Glatzer and Monica Kendall
ISBN-10: 0-9724853-0-9
ISBN-13: 978-0-9724853-0-2
Reviewed by Helen Evans
Hattie sits still while her mother brushes and combs her long hair. It is a
peaceful bedtime scene until mother mentions a haircut. Hattie is proud of
her crowning glory. Like most under five year olds, she has a strong will.
She wants to make her own decision about something as important as a
haircut. Her personality shines through in pictures and text. There is no
way she'll obey her mother in this. Eating broccoli or wearing pointy shoes
is bad enough. But a haircut? Nothing could be worse! It is determination
rather than fear of the scissors or the hairdresser that will decide the
outcome. In her dream that night Hattie faces the problems of hair that
grows like magic. Children will laugh as it grows and is put to use in the
most amazing ways. When rain comes, Hattie, tired from her adventures,
falls asleep with the concerned animals gathered around her. When she
wakes, Hattie has made a decision. A final twist is reassuring to all:
Hattie is still in control, and her cut hair will help another child.
The rhyming text flows easily and will be popular with children, especially
those who are learning to read alone. It nestles comfortably on each page
with Monica Kendall's humorous illustrations. At first glance the
illustrations seem simple because of the white background, but there is a
surprising amount of detail that children will enjoy, including the
expressions on the teddy bear.
This humorous read with an underlying message of sharing and giving, will be
popular with children. Adults will be happy to read it aloud to them again
and again, and may find it useful to begin discussions about fears, and
choices.
This is Jenna Glatzer's first book for children. As a full-time writer
based in New York, she has had hundreds of articles published and 14
non-fiction books. She also produces AbsoluteWrite.com a weekly online
magazine for writers.
Monica Kendall, a graduate of the Art Institute of Chicago, is an
award-winning animator and has produced many shorts, videos and films.
~~~~~~~~~~~~~~
But where is the green parrot? sorry I mean sheep..., September 17, 2004
Reviewer:Jane Swing (Australia)
I was a bit surprised to see this book which seems so highly similar to a
1960s German children's book "Were is the Green Parrot" (published in
English I think by Bodley Head) -okay, we've got a sheep now instead of a
parrot, but the idea and structure are so similar I feel it pushes the
boundaries of what we might expect of originality of concept. I suppose
ideas are not copyright, but it still seems to me a bit rich. Have a look at
Where is the Green Parrot? and make up your own mind.
WHERE IS THE GREEN SHEEP?
Mem Fox 2004
Here is the blue sheep
And here is the red sheep
Here is the bath sheep
And here is the bed sheep.
But where is the green sheep?
Here is the thin sheep
And here is the wide sheep
Here is the swing sheep
And here is the slide sheep
But where is the green sheep?
Here is the up sheep
And here is the down sheep
Here is the band sheep
And here is the clown sheep
But where is the green sheep?
Here is the sun sheep
And here is the rain sheep
Here is the car sheep
And here is the train sheep.
But where is the green sheep?
Here is the wind sheep
And here is the wave sheep
Here is the scared sheep
And here is the brave sheep
But where is the green sheep?
Here is the near sheep
And here is the far sheep
Here is the moon sheep
And here is the star sheep
But where is the green sheep?
Where is that green sheep?
Turn the page quietly.
Let's take a peek
Here's our green sheep, fast asleep.
BUT WHERE IS THE GREEN PARROT?
Thomas and Wanda Zacharias 1965
The train has a black engine with red wheels
An engine driver with a blue coat and cap
A yellow coach with many windows
But where is the green parrot?
The house has a red roof with a chimney
A blue door with a latch
A yellow balcony with flowerpots
But where is the green parrot?
The toy chest has a red ball to throw
Bright wooden blocks to build with
A yellow teddy bear to love
But where is the green parrot?
The table has a pink tablecloth with flowers
Chocolate cake on a yellow plate
Milk in a blue mug
But where is the green parrot?
The garden has a big tree heavy with red apples
A boat sailing in a birdbath
A watering can for the yellow flowers
But where is the green parrot?
The horse has a red mane with tight curls
A blue bridle with yellow tassels
A rider in the saddle with high boots
But where is the green parrot?
The ship has a red funnel with black smoke
A tall mast with gay flags, round portholes
Who is looking out?
And where is the green parrot?
The sky has the sun which sometimes shines
Black clouds which sometimes rain
Flocks of birds which always fly
But where is the green parrot?
Do you know where?
Home.
INDEPENDENT CHILDREN'S BOOKSHOPS
**Note this is a new section - please feel free to add to it**
INSPIRATIONAL QUOTES
Thomas Buxton:
"I hold to the doctrine that with ordinary talent, and
extraordinary perseverance, all things are attainable."
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)
I would be happy to join a critique group if there is a new one forming
I guess you could call me an "emerging writer" ?I have published only poetry
so far (oh, and one short story)
I have a number of children's stories in progress - mainly picture book
manuscripts.
Thanks
Julie Thorndyke
MILESTONES
**A new section for members to share their achievements**
I have just had an article on WW1 Aviation Aces accepted by US children's
magazine, Learning Through History, plus an invitation to submit more. My
first acceptance for more than a year and also my first non-fiction article.
Hope this encourages those who feel they are not getting anywhere to keep
trying and to try other genres. - Hilary Smillie
Website of LTH magazine is http://www.LearningThroughHistory.com
Janeen Brian - author
I've just received my author's copy of Word Weavers - a biography of four
British writers; Robert Louis Stevenson, Beatrix Potter, C.S Lewis and J.K
Rowling, published by Pearson/Longman for their Chatterbox series.
ADVERTISEMENTS
PASS IT ON SUBMISSION GUIDELINES
Submit contributions to jacket@smartchat.net.au
Comic Sans MS, 12pt, single-line spacing (not essential but helpful)
Mark PASS IT ON SUBMISSION in the subject line
Submit within the body of the email
Give your piece a title heading: eg New Publications; Seeking; General
Information; etc.
Email addresses and contributor contact details will be withheld unless
otherwise stated
Jackie Hosking
Editor/Compiler "PASS IT ON"
www.jackiehosking.com
posted by Jackie at 11:16 PM
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