PASS IT ON ISSUE 57
PASS IT ON - ISSUE 57: 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.
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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
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Please contribute as often as you can and be assured that I will treat your
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many more new friends.
Past issues may be viewed at my website www.jackiehosking.com
GENERAL INFORMATION
Exciting PUBLISHING NEWS at ABC Books
Belinda Bolliger, former publisher for Hodder Headline, is now publisher of
ABC Books. ABC Books is fortunate to have Belinda who is a gifted publisher
and editor.
Vic Writers Centre Information Update
______________________________________
VWC seminar: Writing for children and young adults
with Nicolas Brasch
Tuesday 13 September, 6.30-8pm
You don't have to be J K Rowling to make a living writing for children and
young adults. And despite what you might hear, publishers do want to hear
from new and unpublished children's writers.
In this seminar Nicolas Brasch looks beyond the obvious witches and wizards
to discuss the breadth of writing styles for children and young adults.
Learn about markets, including the important library and educational
markets; how to approach publishers; and contracts, royalty payments and set
fees.
Nicolas Brasch is the author of more than 150 published books for children
and young adults, and his books have been sold in almost all
English-speaking markets around the world.
When: Tuesday 13 September,
Where: Victorian Writers' Centre, 1st
Street
Cost: $25, Members $15/$10
To book for this seminar, please call the Centre on (03) 9654 9068.
What is The Writers' Diary?
Designed by writers for writers, this financial year diary (1 July 2006 to
30 June 2007) is professionally published and contains exclusive tips from
industry experts, writing exercises to inspire and motivate, together with
record-keeping forms, important contact details AND much more!
I'm still editing the website, but thought you might like a sneak peak. I
haven't finished the links or the thankyous yet - but I'm getting there.
Thanks for your support, we appreciate it.
The Writers Diary
SEEKING
Wanted to purchase second-hand the following books:
Australian Childhood, an Anthology by Gwyn Dow and June Factor; Don't Throw
Rocks at Chicken Pox by Bill Condon;
Abomination by Robert Swindells;
The Strange Affair of Adelaide Harris by Leon Garfield;
The Wild Child by Harry Mazer;
Angel's Gate by Gary Crew.
Contact dibates@enterprisingwords.com
I am seeking information re work preparing indexes (indices),
particularly for children's non-fiction. I'd appreciate any pointers and/or
leads. Thanks Aveen abeedles@bigpond.net.au
A lady turned up at my local writers' group this week and loudly proclaimed
that writing doesn't need to have a beginning, middle and end. As a new
writer, this confused me so I went looking on the internet and searched
through my books on writing and discovered that without them, the writing
will be incomplete.
What I'm now wondering is, if there's any kind of writing that doesn't need
a beginning, middle and end? Thanks for any help in clearing up the puzzle
for me
REPLIES TO SEEKING
· Re: Does anyone know why Lothian Books is no longer accepting
submissions?
Helen Chamberlin was told to slash her list by 50%. I guess that no longer
leaves any room for unsolicited submissions!
Re a question about NSW School Magazine, Edel Wignell says that they don't
have themes. You can send anything in the following forms: short story, play
script, articles and verse. Some time ago, the editors were discussing the
idea of themes for each issue and asked regular writers for their opinion. I
replied that, as the Victorian magazines have themes, it would be
disadvantageous if NSW followed suit.
Magazines with themes are great because the writer has a starting point.
Many items that I have written would never have been created if I hadn't
been thinking about a theme. The only problem is that the magazine editor
receives many similar items - especially articles. If you choose to write
non-fiction, the first idea that comes into your head is likely to spring
into the heads of other writers, as well. This has happened to me many
times. I try to find different angles - something fresh. Sometimes it's
possible to get a rejected item published elsewhere - even one of the NSW
magazines.
Magazines without themes are great because they are a welcoming market for a
huge diversity of ideas. Whenever you are inspired to write something, you
may find a home for it at the NSW School Magazine.
RE: US Publishers. Can anyone tell me
1. if submissions have to be sent on USA4 paper? This is different from Aus
A4.
I made this same enquiry in PIO previously for a submission to a
anthology. The submission guidelines required the use of paper eight and a
half inches wide, and eleven inches in length. This is referred to as
'American letter' and is difficult and costly to get in
PIO subscriber) emailed my enquiry to the editor of the anthology (thanks
Julie), and received the following reply:
"Julie, I think paper size A4 is fine. Any paper size you guys can get is
fine. Don't worry too much about it. Just get me the stories."
I expect this would be true in other cases as well.
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.
This information has also been covered in previous PIO's. I've pasted a
couple of the entries below.
· Re: international postage coupons no longer accepted. I have
bought US stamps online from the
took a couple of weeks to arrive. For international mail to
80c for a 1 ounce letter (I send a small envelope and ask the publisher to
recycle the ms). As there's a postage and packing cost, it's worth buying a
couple of sheets.
· POSTAGE OVERSEAS SUBMISSIONS
The trend is that International Postage Coupons are no longer accepted. If
anyone is going to the
stamps for those wishing to make overseas submissions.
Richard.
NEW PUBLICATIONS
SPECIAL EVENTS
The official, galaxy-wide launch of:
'Erasmus James and the Galactic ZAPP Machine'
is on Wednesday, September 21,
at Wollongong Library.
There will be dramatic readings, prizes, refreshments, mystery
guests and the chance to meet zany children's author and award-winning surf
journalist DC Green (he'll be the bloke cracking jokes and signing books).
Everyone is welcome to the launch of this fun-filled adventure story, ideal
for eight to 108 year olds. Other children's authors are also welcome to
come & sell their books! Entry is free!!
The ACT Writers Centre presents the
3rd Canberra Readers and Writers Festival
6-9 October 2005
International, national and local writers in conversation, signing books,
conducting workshops, hosting literary lunches and reading their work.
Guests include: Mike Ladd, Gabrielle Lord, Wayne Grogan, Ian Holding, Kate
Holden, Melissa Lucashenko, Celestine Hitiura Vaite, Greg Baker, Miranda
Darling, Anuerin Hughes, Dr Clive Hamilton, Dr Peter Saunders, Jackie French
and John Muk Muk Bourke.
Most events are free and will be held at the National Library of Australia,
with Writing Military History seminars being held at the Australian War
Memorial on Sunday 9 October.
You can join author DC Green at
live audience-interactive reading from his new book, Erasmus James and the
Galactic ZAPP Machine. Suitable for primary students and all those who like
to make loud animal noises. This will be followed by a panel session on
Saturday, 8 October on Trends in Publishing for Younger Readers from
10-11.15am - a discussion with reviewer Stephen Matthews, and writers DC
Green (PIO readers may recognise the name) and Melissa Lucashenko. It will
be chaired by Belle Alderman, Professor of Children's Literature from the
go to www.actwriters.org.au You can also call 02 6262 9191 for further
details.
All welcome - free event!
ACT Writers Centre
Gorman House Arts Centre
Ainslie Avenue
BRADDON ACT 2612
Ph: 02 6262 9192
www.actwriters.org.au
youth@actwriters.org.au
Invitation:
The Children's Book Council of Australia 1945-2005
You may have already received this invitation, but we're making doubly
certain that you know about this very important celebration. So many people
have been part of the CBCA for so many years. As we celebrate our 60th
birthday AND the achievement of $1 million in donations to the Awards
Foundation, we would like to honour all those who have helped us along the
way. We would be thrilled if you were to spread the word about the CBCA's
60th birthday - a fabulous record of promoting children's books for 60
years - and the remarkable accomplishment of raising $1 million to fund the
Children¹s Book of the Year Awards forever. Hope you can come and please
pass this on to anyone else you think may like to join us...
Double Happiness!
Join us for two very special celebrations:
Our 60th Birthday & Touchdown to $1 million!
Dinner in the elegant surroundings at:
The Tearoom,
Level 3,
Queen Victoria Building,
George Street,
Sydney
Wednesday 21 September 2005 at 7 for 7.30pm.
Cost: $75 per person (GST Inc)
Celebrate with your friends and colleagues at a table for 8 or 10
Guest of honour will be Maurice Saxby, founding National President of the
CBCA.
How to book: Email your credit card details to hamiltonbooks@iprimus.com.au
Or send the attached form to
Enquiries:
June Smith 9630 2424
Margaret Hamilton 9719 8319
MARKET OPPORTUNITIES
Australian compiler seeks short stories to suit ages
words for an anthology. If stories are already published, please state
publication and date of publication. ASA rates offered. Deadline is November
30. Selection will be made by December 30 at which time receipt of all
manuscripts will be acknowledged and decisions posted. Please include
s.s.a.e. with your submission to ensure you are informed. One story per
contributor. Address:
COMPETITIONS/AWARDS
A reminder that the deadline for applications for the ACT Writers Centre
mentorship opportunity close on 16 September.
Mentorship for
Young & Emerging Writer
Are you aged 16-30 years?
Would you like the chance to be mentored by one of
best-known and most-awarded authors?
then read on..
The ACT Writers Centre is delighted to offer an exciting opportunity for a
Young and Emerging Writer to work closely with author Jackie French for an
extended period with a total of 17 personal contact hours. It will cover
editorial advice and guidance, elements of writing and advice about
marketing and publishing.
The applicant must have a substantial existing body of work that would form
the basis of the mentorship. This can be either a number of short stories
or a number of chapters of a novel. Fiction, non-fiction, adults' and
children's writing, short stories or articles would be eligible for
consideration. Submissions of poetry and scriptwriting are excluded from
this particular project.
The applicant must also have ready access to email and have transport to
Braidwood if they wish to meet face to face with the mentor. They should
live in the
Harden,
Tumut,
Palerang and Queanbeyan). There is no charge for this mentorship, although
it is expected that the successful applicant join the ACT Writers Centre if
they are not already a member.
Jackie French, the project's mentor, has written over 120 books for adults
and children in both fiction and non-fiction, has received 40 awards in
Australia and internationally, has had her works translated into 19
languages and has sold millions of books. Her writing spans a variety of
genres including picture books, children's, young adult and adult fiction,
science fiction, history and gardening.
The closing date for applications is
Don't miss out!!!
For full details of the application process and selection criteria, please
phone the ACT Writers Centre on 6262 9191, email youth@actwriters.org.au or
go to www.actwriters.org.au
Here is a link to a contest. It's a
enter but it is small paypal payment and they'll reply by email so no
stamps needed.
If someone has something lying around it may be worth it.
http://www.cdavisnh.com/contest.htm
It's for a newish
link may be of interest too. It's been checked out as legit by a
writing friend who has contacts with Scam-aware and it has Ralan's
backing.
I don't know what they pay for regular publications. But $50US prize money
would make for a wonderful parcel from Amazon (because it's easier for mags
to buy you gift certificates than send the money).
Bren
WRITING COURSES/WORKSHOPS
PIO readers might be interested in a little feedback from the recent
Melbourne Writer's Festival.
I attended several presentations which were aimed at Secondary students as
part of the Schools' Program. Writers such as Isobelle Carmody, Felicity
Pullman, Carole Wilkinson, Morris Gleitzman and Randa Abdel-Fattah spoke
about their work. Obviously we all get our ideas from different sources and
begin to create stories in our own preferred ways, but it is insightful to
think about how these successful authors approach their writing - and some
of us might need to rethink our "preferred ways" to overcome periods of
"block"!
For these authors, ideas for their books had been generated by their own
reading - about a real-life person, an historical event or fact, or
unraveling an alluring literary piece/poem. Within the group the role of
research, and the way in which it was carried out, varied considerably. Some
authors began to collect information and assemble data before "feeling" or
"sensing" the story emerge; others researched more randomly - when and where
they felt the need as their story developed (eg: to paint an accurate
background of an era or assign roles likely to be played in a certain
historical period). Others had an idea fairly clearly shaped before
conducting extensive research to flesh it out. In the case of writers
writing about experiences they had not had themselves, the importance of
talking to the real people (where possible) who had truly lived the
experiences was emphasised. The use of diaries, archival materials and
recorded interviews etc was highlighted as an important part of research. It
enabled these writers to bring greater authenticity and emotion to the
created characters.
In Randa Abdel-Fattah's case, her book was born of her own experiences and a
desire to do something positive in the face of a very topical problem. Her
book explores the life of an Australian Muslim teenager.
Randa, Morris and Margaret Clark presented in such an engaging, hilarious
and honest manner, it was a highly-entertaining reminder of the power of
humour to reach the teenage audience! The speakers were forthright in their
language and in the topics they discussed - as they are in their books. They
generally had an excellent response from an audience who clearly enjoyed
being treated as mature thinkers with problems and issues worth airing - no
matter how silly or profound.
I find that the value in attending seminars like this sometimes lies in
simply being exposed to the personalities and habits of other writers. It
offers a new way of looking at your own writing and, in some cases, provides
valuable information about the audience and the market place. AB
Create a Kids' Book Workshop: artist Jacqui Young and all-round children's
literature expert (!) Virginia Lowe, will hold a workshop at Gasworks Park,
Albert Park, 10-4 on Saturday 24th September.
Come along and enjoy the workshop process with other like-minded people!
There is another at Heathcote (near Bendigo) on October 22nd, and one
specifically on the novel with Jennifer Dabbs on October 15th.
Maybe we'll see you at one!
Contact Virginia Lowe vlowe@alphalink.com.au or 03 9578 5689.
NEW WORKSTYLE SKILLS
Characters Alive
Being keen on creating a convincing character voice in any story, I was
interested to hear author James Moloney at a recent "No Frontiers" event in
Brisbane, talking about his book "The House on River Terrace". To get an
authentic 19th century feel to the narrative, he found a copy of Tom Petrie's
memoirs from the period and read them aloud, so that when he wrote, the
turns of phrase, the pacing etc would come more naturally. This approach
may sound obvious to some but I'd never thought of doing the "aloud" part of
it. Yet thinking about the extra absorption and feedback involved in doing
that, rather than just reading silently, makes the benefits clear. It also
makes the parallels between writing and acting more pronounced.
Duncan Richardson
Online Literary Festival
I recently had the privilege of being involved with the Online Literature
Festival, organised in conjunction with the Ipswich Festival of Children's
Literature. This resulted in a number of technological firsts for me. I'd
never participated in a chat room and the data projection unit that enabled
whole class participation is a whiz! (Once I figured out how to switch it
on!)
We were able to register our 42 students (Yrs 4-7) for three different chat
sessions, each one unique. Narelle Oliver kicked us off. Unfortunately, we
dropped out part way through this session and were unable to logon again -
so we missed the online launch of her new book, Boom Cha Cha Boogie. But we
did enjoy our brief chat with an author/illustrator we greatly admired.
Our second session was with 'Mystery Guests' - characters from the 2005 CBCA
shortlisted picture books. This kept the kids on their toes, firing
questions to work out who each character was.
Our final session was with Margaret Clark, and by this stage the kids were
competent and confident, with a whole page of complex questions at their
fingertips. We branched out, having the majority of the class participating
via the data projection unit, and a small group of passionate Margaret Clark
supporters on a second computer. I was amazed at Margaret's speed of
response and she answered heaps of questions as a result.
Talking with authors who the kids have long admired was a real buzz for the
students. But there were more benefits than just the 'online' time. Each
session required preparation. Students were immersed in the work of the
author, discussing writing technique (and illustrating in the case of the
picture books) and noting fine details that might ordinarily have passed
them by. Composing questions was brilliant! This showed the depth of their
thinking, and the interest in the topic.
Numerous staff members passed through our room during the days leading up to
the online events and were amazed at the industry generated, and the
involvement of all students. An author study was so much more meaningful
when they knew that they would have an opportunity to put their questions to
the author him/herself.
Leading up to our Mystery Guest session we were analysing books by each of
the author/illustrators. The bell had gone and the children had been set
free for lunch, yet for a further five minutes a group of cool Yr 7 football
lads pored over Jeannie Baker's books, drawing their own conclusions about
'Window' and 'Belonging'. That's interest! (Can anyone confirm - Did Sam in
'Window' marry Tracy in 'Belonging'?)
Well done to authors and organisers. It was a pleasure to introduce you to
my students! We started the Online Festival with fumbling fingers, but were
flying across the keyboard by the end!
Kathryn Apel
HAVE YOUR SAY
FROM AUTHOR Susanne Gervay
Re: Mentors
The NSW Writers Centre has an excellent mentorship programme where Director
Irina Dunn matches up appropriate mentors and mentorees. Mentors are
published authors. I mentored a YA fantasy author and it was a very
successful process.
email - nswwc@ozemail.com.au
FROM AN AUTHOR
Re: Mentors
Re Jenny Mounfield's query on voluntary mentoring: I mentor authors who
approach me. I require no payment except that I expect the author to give
back to the industry by helping new writers and by always negotiating
sensible book contracts and professional payments (eg for speaking
engagements). Some of those whom I mentor help me in numerous ways by
undertaking research, helping with book launches, advising me of new
markets, and forwarding newsletters and interesting information to me. I don't
mind helping anyone, but I cannot abide selfish people who take and never
give. In return, I read and discuss the new writer's manuscripts, work with
them to edit their writing and advise them of markets. I give them any
information which I think will help them in their writing, talk about them
to my editors (when it's appropriate), facilitate workshop groups for them
and generally act as a sounding board. For all other new writers I charge
professional consultants' fees.
HAVE YOUR SAY
Re: Mentors
A PIO member was asking last week about how to acquire the services of a
mentor. Apart from arranging a mentor privately, eg through word of mouth
or networks similar to this, you could contact your local writers' centre
and ask if they can put you in touch with someone suitable in your area.
You may also like to consider looking into the various mentorship
opportunities offered from time to time around the country. There is a
range of mentorship opportunities available which are advertised in local
and arts media, local writers centres etc. These include some (I think 10)
recently offered by the ASA, regular various opportunities at Varuna in the
Blue Mountains, one currently on offer with the ACT Writers Centre, Tom
Collins Writers Centre (WA), Express Media, Qld Writers Centre, Northern
Rivers Writer Centre etc. They vary in who they target, genres of writing,
level of mentoring provided, but can offer some fabulous opportunities. Some
of these are fully funded, some require a contribution to the cost of the
program. If you're looking for what's available, keep an eye on your local
literary media or local writers centre, or just do a google search. Look
for some of the organisations mentioned above or type in key words like
mentorship and writing.
I notice, however, that quite a number of the government funded mentorship
programs on offer are for "young" people, with various age definitions but
always focusing on the under 40s and usually under 30s. As an over-40 year
old writer who finds I am now at a time in my life with the necessary brain
and time space, inclination and experience to write, I find this policy to
be limiting and discriminatory. While looking around the web for such
programs I came across a site where two students from Griffith Uni wrote
about their findings from a survey they undertook about mentoring programs.
The site is http://www.griffith.edu.au/school/art/text/oct02/krauth.htm It's
interesting to note that my opinion on this policy of supporting "young
writers" met with similar comments from various others. Perhaps I need to
pass this on to the Australia Council as a major funding body.
I have actually just recently returned from a wonderful week at Varuna in
Katoomba where I was fortunate to be part of the Longlines Mentorship
program. In the company of 5 others writing in different genres, I wrote
madly, was inspired, validated, well fed and watered and had fun to boot.
During various detailed discussions with Peter Bishop, the Creative
Director, during the week, I experienced an exciting breakthrough with a YA
project I had been almost prepared to discard. He intuitively identified a
key problem and helped me see a new path and clear direction and got me
excited about the work. I would urge others to look at their website
www.varuna.com.au to look at the various programs they have on offer. Many
others speak very highly of their own experiences there. It is a marvellous
place where magic can take place.
Christine Aldred
HAVE YOUR SAY
In response to my piece "The Publishing Pie", published a few issues ago,
one contributor working in publishing expressed doubt regarding my figures
relating to salaries in publishing and questioned my sources. The most
recent publishing statistics from the Australian Bureau of Statistics,
however, show the situation is even more distinct than I reported. The ABS
states that in Australian publishing "average wages and salaries per
employee rose 9% between 2003-03 and 2003-04, to $52,300". At the same time,
the amount of royalties and fees paid by publishers "decreased by 11% ($11.7
m)".
I note too that a contributor in the issue of 5 September asks what to do
about a publisher flagrantly breaching the terms of a contract. The answer
is of course to join the ASA and have us act on your behalf. That what we're
here for after all. I urge all authors to support the Society that's been
fighting for authors' rights and payments for 43 years. It's the weight of
numbers that counts after all and makes us strong.
Best wishes
--
Dr Jeremy Fisher
Executive Director
Australian Society of Authors
PO Box 1566 Strawberry Hills NSW 2016
+61 (0)2 9318 0877 Fax: +61 (0)2 9318 0530
0438 318 673
FROM AUTHOR Jackie French
Do bad contracts mean bad books?
When a publishing house gives cut rates to authors they usually do
most other stuff cut rate too...production, editing, PR...
No matter how brilliant your book is, it won't look brilliant if it's
poorly produced- and it may still have the tinge of amateurism if it
doesn't have a good (ruthless) editor punching it into shape.
You just don't lose money with a bad contract- you may well lose the
best chance for your book too.
FROM AUTHOR Libby Gleeson
A correction:
Thanks to Di Bates for telling us about the new publishing venture Blue Cat
Books. I hadn't heard of them but always feel pleased to hear that a new
publisher has started up.
The email address is www.bluecatbooks.com.au
In issue 56 the 'au' was absent and that meant you went to a book selling
company specialising in Americana and military history plus lots more with
nothing to do with Australian books for children.
Have your say
I also recall Where is the Green Parrot but last week I was surprised when I
re-read the text, it didn't attract me very much. I remember it from the
70's and liked it then. I love the words as well as the illustrations in
Where is the Green Sheep. Have people noticed the clever pairs of sheep in
the last spread? There are no words, but we see Dame Nellie Sheep and
NedKelly sheep, boating sheep and floating sheep, singing sheep and ringing
sheep (mobile phone), flying sheep and crying sheep and more. I was not
clever enough to name all the sheep on that page. I feel it is a bonus in
fun for the adults that read the book.
H.
FROM AUTHOR Paul Collins
Courtney says no one replied to her re a proposed article on "major book
chains bypassing their books".
Actually, here's one who did. But I never received a reply.
HAVE YOUR SAY
IT'S MOMENTS LIKE THESE YOU NEED MENTORS
Mentoring should really be a voluntary thing, in my opinion, if the
boundaries are set properly and people know what to expect from the
relationship on both sides.
Before anyone offended by the suggestion that mentoring-should-be-voluntary
jumps down my throat, I'd like to say this:
In the past I have voluntarily mentored an isolated writer through the
Romance Writers of Australia Isolated Writers Scheme (a very good scheme
helping those writers in isolated areas, or who are isolated for
social/personal reasons), and I did so never expecting any payment from the
mentee. (The RWA would never be able to get mentors for that scheme if they
expected to be paid, I might add). As a result, I found a new friend living
thousands of km away.
Email makes it very easy to keep in touch and if the details of what the
mentoring will entail is worked out before any relationship commences, it
certainly helps. The idea is to pair a more experienced writer with someone
less experienced but committed to developing their craft. Obviously, mentees
shouldn't expect their mentors to talk about money or things like that, but
be able to bounce ideas off them, provide suggestions for approaching
markets, share market info, and even provide work for critiquing if that is
an activity agreed between the partners.
Jenny, who already has books published and is seeking a more experienced
"mentor", could in fact mentor a less experienced writer herself, should she
wish it.
HAVE YOUR SAY
COMMENT - BLUE CAT BOOKS
I was very interested to read Di Bates' report on Blue Cat Books. I queried
this new publisher some time ago and never received a response to my
enquiry. It made me wonder if they accepted any books outside their small
established stable of authors.
ARTICLES
Researching Publishers for Absolute Beginners: a systematic approach
By aspiring author, Marianne Vreugdenhil
If you're like me, you're probably putting off beginning your
research into publishers because you don't know where to start.
Being the sort of person who seeks comfort in lists and tables, I
decided this was the best way for me to proceed. I'm still new to
the world of publishing but I thought I'd write this article as it
contains the sort of information I would have liked from the very
beginning.
WHAT I DID:
Step 1: I bought "The Australian Writer's Market Place". Then I went
to the section marked 'publishers' and read through every entry,
highlighting any publishers who mentioned children's books.
Step 2: I created a table in Word (a spreadsheet in Excel is just as
good) with the following headings:
· Date information collected
· Publisher name
· Unsolicited MSS accepted Y/N
· Picture books published Y/N
· Younger readers published Y/N
· YA published Y/N
· Titles of books published by publishing house
· Does writer contribute to cost of publication? Y/N
· "The Australian Writer's Marketplace" pg. ref. no. (for when
I needed address details)
· Comments
Step 3: I went through each publisher I'd highlighted and looked up
their website. Then I tried to fill in the above information. I
attempted to look at five websites a day to make the task more
manageable.
Step 4: Once I'd filled out the table, I set about crossing out
those publishers who did not fit my specifications. In my case, that
meant things like not accepting MSS aimed at younger readers.
Step 5: Taking note of the publishers left on my list, I went to the
library and to my local bookshop, and looked at a few of the titles
on each of the publishers' lists. Then I decided whether or not my
MS fitted in with that publishing house.
Step 7: I culled the houses that didn't fit.
Step 8: I was left with a shortlist of publishers to whom I could
send my MS.
ANOTHER USEFUL TABLE FOR MATCHING PUBLISHING HOUSES TO YOUR MS:
One other source of publisher information is books themselves. A
while ago, I developed two review forms, one for picture books and
one for young readers/YA. These can be printed out and filled in by
hand, circling the appropriate descriptor. I use the forms to record
information about children's books I've read, who has published them
and what I think of the books themselves.
The headings on the young reader/YA review form are:
· Title
· Author
· Illustrator
· Publisher
· Year published
· Style (first person, third person, number of chapters,
realistic, fairytale, sci-fi, comic, serious, action, fantasy, semi-
realistic)
· Target audience (boys, girls, boys & girls, age range______)
· Word length
· Frequency of illustrations
· Children's Book Council of Australia Awards (Notable, Short-
listed, Honour Book, Book of the Year, Year _____)
· Other awards
· Plot
· Review of story
· Any other comments
The headings on the picture book review form are:
· The same as above +
· Description of illustrations
· Review of illustrations.
Of course, there are plenty of other places to find out publisher
information, but this is a good starting point.
COPIES OF TABLES:
If you're anal like me and would like an already formatted copy of
any of these tables, feel free to contact Jackie who will pass on
your details to me and I'll send them to you.
~~~~~~~~~~~~~~
A Tale of Two Judges - A report on the 2005 Dorothea Mackellar poetry awards
*Lorraine Marwood*
I grew as a poet because of my involvement with the Dorothea Mackellar
award through an increased understanding of what children and teenagers
are writing about and how they tackle a poem. The passion of teachers,
the passion of the Dorothea Mackellar organising committee all point to
a trust in the power of poetry to transform or enrich lives.
Claire Saxby and I had the privilege of flying to Gunnedah last week to
take part in the awards ceremony and then be part of the small group of
students and parents who were hosted around areas of local interest. We
were shown wonderful hospitality and friendship by Georgia Parkin,
project officer and the committee of volunteers on the Dorothea
Mackellar committee.
We have written a judges' report which actually pinpoints suggestions
for sharper writing and hints for entering the contest next year. A new
category special education primary and secondary was innovative and no
doubt will attract more entries next year.
http://www.dorothea.com.au/
I learnt more about a sunburnt country itself through judging this
poetry competition.
I met contest winners, saw a new landscape ( I've never been to Gunnedah
before), saw a working open cut coal mine, cotton growing on the side of
the road and had the chance to deliver a short speech- always nerve
wracking but great to be given another opportunity to refine my
presentation. As I continue writing poetry for children, I can see my
audience in a sharper perspective and have added knowledge of what
concerns them personally.
*Claire Saxby*
Co-judging this competition with Lorraine was a fascinating and
rewarding experience. I learnt about the difference that can be made in
a classroom when a teacher is able to share their passion with their
students. I learnt that a small group of committed people can offer a
wonderful opportunity to every school-aged child in Australia. The
Dorothea Mackellar Society does this in their annual Poetry Awards. This
year there were over 15,500 entries from small schools and large
schools, from distance education schools and from home schools. A
mammoth logistical challenge ably met by Project Officer Georgia Parker
and the volunteer Committee.
Following our speeches, we were thrilled to be able to call the winners
to the stage to receive their prizes and to hear them perform their
work. From the eight-year-old junior primary winner with his linked cue
cards, to the senior secondary winner and the recording from the primary
special school winners, hearing the winning poems was an extra treat.
I echo Lorraine's comments on the wonderful hospitality we were shown
while attending the Awards Ceremony. We had an opportunity to meet most
of the winning poets from this year's Awards. While the poems must stand
alone to win, meeting the poet gives the poem another dimension. We also
met family members and were welcomed by many members of the committee
who make this competition so successful.
The winning poems and individual judges reports are also featured on the
website mentioned above. We have tournaments for football and netball,
and many other sports. It's great to see this opportunity for children
to express themselves with words. This is a valuable skill and should be
encouraged. Thank you to the Dorothea Mackellar Society for continuing
to promote poetry in Australia.
PUBLISHER GUIDELINES
AUTHOR/ILLUSTRATOR PROFILE
USEFUL BOOKS/WEBSITES
I thought I'd enclose a link to www.katedicamillo.com She writes a journal
once a month and I often read it for some inspiration. She really captures
the wonder and privilege of writing for children and she definitely makes
you want to write well. Lisa Shanahan
BOOK REVIEWS
Erasmus James and the Galactic Zapp Machine
by DC Green (Ibis Publishing)
© Dianne Bates
The back cover blurb of Erasmus James and the Galactic Zapp Machine
proclaims its author DC Green "**the new Roald Dahl". I agree. This is not
to say that this new Australian children's author writes in any way like
Dahl, but the originality, vigour and humour of his storytelling and his
refreshingly idiosyncratic use of language marks him as One to Watch Out
For.
A legendary international surfing journalist from southern NSW, Green
impressed Ibis Publishing executives so much with his writing that they
signed him up for a three book series, a feat almost unheard for a
first-time children's author in today's Australia. (New writers take note!)
So, what is it that makes the first Erasmus James' book such a stand-out?
For a start, Green breaks all the rules, not just in aspects such as
characterisation and use of language, but in punctuation. When did you ever
read a book where an exclamation mark is extended to a series of four? Where
three brackets are used instead of one? At first I found this lack of
convention irritating, but as I became swept up into the strongly paced,
side-splitting humour of the book with its underlying whacks at twenty-first
century conventions, I forgot all of my school-marm, judgemental
reservations.
Erasmus James, son of an inventor who meddles with dad's latest - a machine
which doesn't just move into time, but into Uponia (a whole new, fantastical
dimension) - is a sassy-mouthed boy who wants to get home. Having met King
Reginald the Seventy-seventh, Ruler of Uponia from the foothills of the
Bloodhouse Mountains (etc, etc, etc, etc), Erasmus (Raz for short),
fast-talks his way into surviving by negotiating to sell King Reg a
prototype for a kar. He does this by a modern means, presenting the
tyrannical, murderous Reg with a Lameboy, which, like all Gameboys deadens
Reggie's brain and natural inclinations. The King even condescends to repair
Raz's galactic zapp machine while he sends the boy along the Trans-Uponian
Highway to see the Great Wonder of Uponia.
A talking (and wind-breaking) ninja horse by the name of Franklin is Raz's
mode of transport in a strange land frequented by mutant poultry, which,
early in the piece, have Erasmus thinking, "Didn't those bird-brains know
you can't make an omlette without breaking a few eggs? (I wonder if that's
original?) Which brings me to the other seven things I thought of: crunchy
spuds with roast chicken, satay chicken, chicken wings with a selection of
yummy dips, apricot children, Bayfried Chicken (BFC), chicken burgers
smothered in apple sauce, and, of course, Vietnamese chicken omlette."
My reading of Erasmus James and the Intergalactic Zapp Machine often had me
in fits in laughter, reinforcing the book's back blurb warning, "so funny,
you could break ribs or explode internal organs from laughing so hard". What
the blurb doesn't mention is that if you read the book while in the company
of others, you might annoy them greatly by reading aloud long chunks of
side-splitting sections, which is what I did time and again.
My appreciation of this new author's first book is not totally without
reservation. At times (especially in the introductory chapter), I found
Erasmus' asides broke the story flow and that sometimes Green's
over-statements (such as references to the farting horse and Vietnamese
food) were annoying. Some adults might find the near-end scene of death
highly offensive. But these are small quibbles in a book which plays around
irreverently with all aspects of language.
Underlying all of the book's hilarity is a message about life, about
heroically facing one's fears and conquering them in a world (such as today's)
where mad-men bent on world domination and destruction hold sway, but where
lesser mortals can in the end, with humour, co-operation and persistence and
by overcoming prejudices, triumph. Watch out for DC Green!
**(((By the way, it was DC HimSelf who compared HimSelf with the late and
great Dahl!!!)))
~~~~~~~~~~~~~~
I'm Not Scared (Io non ho paura)
by Niccolo Ammaniti
translated by Jonathan Hunt
Reviewed by Sheryl Gwyther
If you want to be a good writer you need to read great stories. That's one
of the universal truths. (It's also an excellent excuse as to why you're
not tackling that tottering pile of ironing).
But one doesn't need any excuses to read Niccolo Ammaniti's brilliant novel
I'm Not Scared, set in a tiny farming community in rural Italy in the 1970s.
While their parents shelter indoors during a scorching summer day, six
children head out on their bikes into the deserted Italian countryside.
When 9 year-old Michele Amitrano is dared to venture into the darkness of a
rundown farmhouse he discovers something so terrible, he dares tell no one.
His journey towards the final confronting insights about injustice, betrayal
and the loss of friendship will leave the reader breathless.
Ammaniti skilfully captures a child's voice and viewpoint with devastating
precision. His gripping narrative and descriptions of the raw landscape are
uncluttered and utterly truthful, capturing the reader from the very first
sentence. Nothing has been lost either with Jonathan Hunt's flawless
translation.
This story won the 2001 Viareggio-Repaci Prize for Fiction and has been sold
in 20 languages.
INDEPENDENT CHILDREN'S BOOKSHOPS
**Note this is a new section - please feel free to add to it**
Books In Print,
100 Glenferrie Rd
Malvern 3144
This is a general bookshop BUT it holds a wonderful and extensive array of
excellent children's books - fiction and non fiction. The staff are very
knowledgeable, friendly and fantastically helpful - with a specialist in
Children's books amongst them. They are happy to order anything (& call you
when it comes in) and have a great "bonus voucher/book points" scheme to
reward 'frequent buyers'. They produce their own regular bulletins with
informative reviews of children's books and the front window is an
oft-changing joy for keen readers and writers who like to keep up to date
with all the new and interesting titles! AB
Shelly's Bookshop
Shop 3, 274 Green Street,
Ulladulla, 2539.
Ph: (02) 4454 4679
(they specialise in children's books!)
CRITIQUE GROUPS BULLETINBOARD
**Looking to create or join a critique group - here's the place!**
MILESTONES
**A new section for members to share their achievements**
INSPIRATIONAL QUOTES
Ursula K. Le Guin:
"It is good to have an end to journey toward; but it is
the journey that matters, in the end."
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 11:25 PM
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