October 29th, 2012 — Agents, Business In The Industry, Market Profile
So, who do publishers and industry pros go to when they need advice? The very same person who just gave us, here at Speakeasy, a crash course in publishing: Alex Adsett of Alex Adsett Publishing Services (AAPS). Alex has fifteen years experience in a variety of areas of the publishing industry, both in Australia and internationally. She has worked for such giants as Simon and Schuster and Penguin, and has also written an array of authoritative articles on various aspects of publishing.
AAPS offers consultancy services and contract advice to all areas of the publishing industry, and has recently taken on the role of literary agent. So whatever you want to know about the industry, chances are Alex has an answer for you.
We recently had a chat with Alex, and I, for one, came away with a whole brainload of invaluable information. So if you’re looking for an agent, if you’re looking for any kind of publishing advice, if you want some tips on submitting your work or writing a great pitch, then you can’t miss what Alex has to say.
And, if you’re extra keen, Alex will be appearing at the upcoming GenreCon.
Speakeasy: Can you please tell us a little about Alex Adsett Publishing Services and the varied range of work you do and services you offer?
Alex Adestt (AA): As part of AAPS, I wear a number of different hats. Primarily, I work as a consultant for authors or publishers offering commercial advice in relation to publishing contracts. For authors, this means reviewing their publishing contracts in comparison with standard industry practice to make sure nothing sneaky has crept into the fine print, and either helping the author negotiate with the publisher, or negotiating on their behalf.
I am also involved with the publishing industry on a number of levels, and love this interaction.
Most recently, my partner and I have expanded into more traditional literary agents. We try to keep a clear distinction between ‘consultancy’ clients and ‘agency’ clients, and an author should never be charged for one and then the other.
Speakeasy: As an agent, what type of writing/writers are you currently looking for? How do you go about developing your list?
AA: I have chosen to concentrate on genre authors and manuscripts only, so I’m staying with the kind of manuscripts I love and know well. This includes speculative fiction (SF, fantasy, horror), crime and mystery, and paranormal romance, for both YA and adult markets.
The list has so far found me. Word of mouth, twitter, recommendations and pitching sessions have all resulted in an avalanche of manuscripts.
Speakeasy: Aside from thoroughly polishing their work, what tips would you offer to writers who might be thinking about approaching an agent? What should authors be aware of when approaching or signing on with an agent?
AA: Firstly, think carefully about whether you need an agent. In Australia, not everyone does. Many publishers are taking unsolicited manuscripts, and if you have managed to get yourself the initial publishing offer, you have managed the hardest task on your own.
Secondly, never sign with an agent who tries to charge you upfront fees for anything. For example, an agent should not charge you a fee to read or edit your manuscript. If they do charge you money for a service (e.g., manuscript assessment), they should offer to refund this fee before accepting you as an agency client. An agent should believe in your work and work for commission (usually no more than 15%) when they sell your work.
Speakeasy: What does a submission need to do to draw you in? Conversely, what are the most common things that immediately turn you off a manuscript?
AA: A polite and professional cover letter helps, with no obvious spelling mistakes. Trying to be too clever or funny in the cover letter or synopsis puts me off. A great opening line, first paragraph and first chapter help in drawing me in.
Speakeasy: What tips would you offer to emerging writers in terms of pitching to agents/publishers? What are some of the common mistakes/weaknesses that you see in first-time pitches?
AA: Be yourself and tell your story. Common mistakes are telling me how much your family and friends loved the manuscript. This is not going to help sell it to me. Also, again, watch out for messy spelling mistakes.
Try to avoid clichés: too much exposition too quickly, having your character describe themselves by waking up and then looking in a mirror.
Speakeasy: Can you tell our readers a little about the risks and rewards of self-publishing compared to traditional publishing?
AA: Excellent question, but the answer could take days. Self-publishing is an avenue to pursue where you can retain the control and sometimes obtain a higher percentage of the sales receipts. However, it is an awful lot of hard work with no guarantee of sales at the end of it. I would always recommend trying traditional publishers first, because they have the expertise and deep pockets to get your manuscript to the widest readers possible. If you do self-publish, you need to consider hiring an editor (both a structural editor and a copy editor), cover designer and typesetter. Consider how you will get your print books into bookshops, and how you will get your ebook noticed in a sea of other self-published works. I’m not saying don’t do it, but go in with your eyes open.
(For more information on self-publishing see Alex’s blog.)
Speakeasy: Clearly, the publishing industry is still in an intense state of flux; can you offer some general thoughts about the state of Australian publishing? What are some of the major issues that still need to be addressed? Are there any people or organisations you see as being particularly innovative right now?
AA: Much of the traditional industry is still a bit nervous about the changes being forced upon them at the moment. Profits and jobs are down, and the biggest publishers seem too nervous to take a chance on any manuscript that is less than a ‘sure thing’.
Keeping the passion and expertise of bookshops involved in the solutions for the industry should be key. I would hate to see bookshops being forgotten in the publishers’ scramble to survive.
In particular, I would love to see the digital-only publishers working with print-on-demand technology to allow bookshops to support new authors. When bookshops are able to order print-on-demand titles at standard pricing and discounts, this gets them back in the game of getting quality books in the hands of the right readers.
Saying that, the market for Australian independent publishers is expanding with the rise of ebooks. Australia is incredibly fortunate to have a thriving indie publishing scene (check out the list over at SPUNC ), and the involvement of some wonderful people. Booki.sh and Readcloud are great ebook solutions for shops, the Small Publishing Network digital distribution network is helping small publishers sell their ebooks globally, and some of the bigger publishers are developing exciting new digital imprints. I think you should definitely keep an eye on Momentum and Harlequin Escape, and print-on-demand company Lightning Source.
Speakeasy: Following on from that, what shifting challenges are writers now facing due to the changes in the industry?
AA: Authors are facing lower advances (or no advances) and being asked to take on more of the marketing/publicity burden. Most publishers that are setting themselves up as digital only (be it offshoots of the big houses or start-ups) are offering higher royalties (40%-50%) for sales, but not all are. If an author is going to take a chance on a digital only publisher, they should be careful about signing away print rights at the same time.
Speakeasy: Is there anything else you might like to mention to our readers?
AA: It’s an exciting time to be a writer. Although the chances of making a living out of it are about the same as ever, there are so many more opportunities available to explore.
Julian Thumm is a freelance editor and writer. He has degrees from The University of Queensland and The University of Adelaide. He has worked with the
Australian Journal of Communication, The University of Queensland Press, and Corporate Communication International through The City University of New York. He is currently based in Brisbane.
October 26th, 2012 — Friday Fry-Up, Uncategorized
OPPORTUNITIES
WRITING ADVICE
INDUSTRY NEWS & COMMENTARY
PLATFORM BUILDING
INDIE PUBLISHING
NANOWRIMO
- Kevin J. Anderson is one of Science Fiction’s most prolific authors and he’s started a series of posts about writing productivity for NaNo participants
And that’s the fry-up for this week. As always, we’re interested in hearing about any links we may have missed in the comments, and we hope you have a great weekend of writing ahead of you.
October 25th, 2012 — Market Profile, Publishers
Hachette Australia is one of this country’s premier commercial publishers. They are home to such local luminaries as Lian Hearn, Kimberly Freeman, William McInnes, and Barry Humphries, to name just a few. Hachette also publish SF under the Orbit imprint and children’s books under the Lothian Children’s Book imprint. The UK and US divisions of Hachette publish such international giants as Stephanie Meyer, Stephen King, Ian Rankin, Nora Roberts and many others.
But, for all the emerging/aspiring/struggling writers out there, don’t let this intimidate you; Hachette is a big supporter of new Australian writers. They periodically open their doors to unsolicited submissions, and run various emerging writer initiatives, such as Hachette Aspiring Authors, which is currently open, and the QWC manuscript development program. So, if you believe that your manuscript has commercial legs, then check out Hachette.
Speakeasy recently caught up with Bernadette Foley, publisher at Hachette Australia, who offered us a golden insight into Australian commercial publishing. If you’re thinking about submitting a manuscript, or preparing to pitch to a publisher, then you can’t afford to miss what Bernadette has to say.
Bernadette will also be appearing at the upcoming GenreCon.
Speakeasy: Hachette publishes a broad array of fiction and non-fiction titles. Are there any particular genres or type of manuscript you are particularly looking for?
Bernadette Foley (BF): Our list is very commercial so we are looking for works of fiction and non-fiction that will appeal to a wide audience. That is, books that will sell as well in an independent bookstore and Dymocks as in Kmart and Big W. We want to find new voices and interesting stories; we are drawn to originality in the story – be it true or made up – and skill in the writing.
Speakeasy: Other than looking over various Hachette publications, what are some of the best ways that authors can determine whether Hachette is appropriate for them?
BF: As mentioned in the question, the best way to decide if Hachette is right for your work is to see what other books we have published and, equally, determine what areas we don’t publish in so you don’t send us something that won’t fit our list. Please keep in mind though, that we want to bring in new books and ideas to our list rather than duplicating what we are already publishing.
Speakeasy: According to the website, Hachette is currently accepting aspiring author manuscripts. Can you tell us a little about this? Who is it open to and when?
BF: My colleague Vanessa Radnidge answers this question: Knowing how hard it can be for emerging writers to have their work seen by agents and publishers (who do most of their reading in their own time), Hachette Australia decided earlier this year to open up to unsolicited manuscript submissions. At the moment we are only accepting adult fiction and non-fiction. We may close submissions at certain times throughout the year but our website will have the details www.hachette.com.au.
Speakeasy: I gather from the Hachette website that you generally don’t accept blind submissions (other than at specific times)? What are the best ways to get your manuscripts looked at by the Hachette team?
BF: Again from Vanessa: We are currently only open to adult fiction and non-fiction and we look at everything that comes in. The way to give your submission the best chance is to polish your work and make it as perfect as you can. Write a cracking synopsis and read the Hachette manuscript submission guidelines and follow them.
Speakeasy: What things typically turn you off a manuscript?
BF: I feel sad when I start to read a fiction manuscript that contains the germ of a good idea but the writing lets it down. The key is to take your time and revise and rewrite until the manuscript is as good as it possibly can be before sending it to a publisher or agent.
With non-fiction it is important to decide if an idea has general appeal or will only interest people who know the writer. For example, family histories or someone’s travel stories might appeal to their family and friends and that is great; write them as a blog or give copies of the manuscript to people who will enjoy it.
Speakeasy: Conversely, what really hooks you in?
BF: A story or idea that is so original or intriguing that I want to tell others about it straight away. Beautiful writing – that is, writing that is appropriate to its genre and has been crafted and polished so it delights the senses. When I come across good writing in an unpublished manuscript I feel like jumping, and sometimes I do.
Speakeasy: Can you tell us a little about what you think makes a good author pitch/proposal?
BF: Writing a pitch is so hard. Pretend that you are working in a bookshop and a customer asks for your recommendation – what will you tell them in a matter of seconds that will entice them to buy the book? The customer won’t remember all the intricacies of the plot but they will respond well if you tell them how reading the book will make them feel; what they will gain from reading it; is it similar to something they have read before; who else will read it, that is, who is the audience for this book. Also, say why the author was the ideal person to have written that book.
Speakeasy: Are there any exciting upcoming opportunities at Hachette you might like to let our readers know about?
BF: Yes. Each year, with the smart and enthusiastic team at the Queensland Writers Centre, we at Hachette run the Manuscript Development Program. The aims of the program are to help emerging writers find out more about the Australian publishing industry; give them the opportunity to work with industry professionals over several days; create a network with other writers; and for us to find new authors whom we can invite to join the Hachette Australia list.
Speakeasy: As an industry insider, what is your take on the state of the Australian publishing industry right now?
BF: It must be one of the most exciting times to be writing and publishing because none of us can take anything for granted. We can’t rely only on the established patterns of producing, selling and promoting books any more. We are now looking at what is tried and true and working out how to combine it successfully with completely new approaches to our craft and our industry. We need to transform ourselves into the wily fox who will be swift, canny and always looking around the next corner. Love it!
Speakeasy: Is there anything else you might like to mention?
BF: Keep reading as well as writing; this not only supports our industry but also shows ways a variety of ways to approach writing. Be patient and take the time to work and rework your text so it is as good as it can be. Remember that authors, publishers and booksellers are in this business together. We all want books – in any form – to succeed and we want our local industry to continue to flourish.
Thank you. I will look forward to meeting new writers, readers and old friends over the GenreCon weekend.
Julian Thumm is a freelance editor and writer. He has degrees from The University of Queensland and The University of Adelaide. He has worked with the Australian Journal of Communication, The University of Queensland Press, and Corporate Communication International through The City University of New York. He is currently based in Brisbane.
October 19th, 2012 — Friday Fry-Up
We’re testing out a new approach to the fry-up this week, separating the weeks links into categories to make it a little easier to navigate and find the information that’s most relevant to you. Let us know what you think and, as always, let us know about any links we’ve missed in the comments.
OPPORTUNITIES
WRITING ADVICE
INDUSTRY NEWS
- Screen actor Johnny Depp has joined the publishing world, teaming up with HarperCollins to start the Infinitum Nihil imprint
PLATFORM BUILDING
INDIE PUBLISHING
NANOWRIMO
We’re halfway through October, which means the internet is gearing up for the annual write-fest known as NaNoWriMo in November. If you’re among the swarm of writers preparing for the month-long sprint to produce a novel draft, this handful of links is dedicated to you:
- Writer/Editor Jennifer Brozek offers her NaNoWriMo tips
- James Scott Bell discusses how to write a novel in a month over on The Killzone (personally, I’m a big fan of the Furious Five Hundred to start the day)
- We were reminded of Scott Westerfeld’s phenomenal 30 Days of NaNoWrimo Tips from last year
- Chuck Wendig has collated a NaNoWriMo Primer from the advice previously posted on his site (as always, we warn you that Chuck Wendig’s advice isn’t for the faint of heart)
October 18th, 2012 — Genre, Market Profile, Publishers
GenreCon is nearly upon us, and with this in mind it’s time to check out one of Australia’s ace indie genre publishers, Ticonderoga Publications (TP). Ticonderoga is the brainchild of writer and editor, Russell B. Farr. They specialise in science fiction, fantasy and horror short stories, and have published the work of some of Australia’s best known spec fic writers, including Sean Williams, Kim Wilkins, Angela Slatter, and Sara Douglas, to name just a few.
Recently, Ticonderoga have also ventured into novel publishing and we at Speakeasy are eager to see the first fruits of this new endeavour.
Submissions have just closed for TP’s latest anthology, Dreaming of Djinn, a collection of Orientalist spec fic inspired by the Arabian Nights. They are, however, still accepting novel submissions (for full details and guidelines visit their website).
Speakeasy recently caught up with Ticonderoga editors Russell Farr and Liz Grzyb to chat about their latest publishing ventures, the state of Australian genre publishing, and to generally talk all things Aussie spec fic.
Speakeasy: Can you tell us a little about Ticonderoga Publications (TP) and its place in the Aussie speculative fiction (SF) community?
Russell Farr (RF): Ticonderoga Publications started in 1996 initially to produce a chapbook of the Howard Waldrop and Steven Utley story, Custer’s Last Jump, as I was involved in a convention bringing Waldrop to Australia. It was a small print run, Shaun Tan provided the cover, and it sold for $7.95. At the time Jonathan Strahan and Jeremy G. Byrne were doing remarkable things with Eidolon – both the magazine and also books – and they put up with me hanging around asking dumb questions. At the time the main indie book publishers were Eidolon, Mirrordanse (Bill Congreve) and, standing head and shoulders above them, was Aphelion (the late, great Peter McNamara). I thought what they were all doing was pretty cool, so I was soon following along, publishing collections of stories by Steven Utley, Simon Brown, Stephen Dedman and Sean Williams.
Jump forward to 2012 and we’re still going. We’ve expanded to include my wonderful fiancé, Liz Grzyb, as business and creative partner, and we’ve got between 25-30 titles in print. We’ve published collections by Angela Slatter, Lisa L. Hannett, Kaaron Warren, Felicity Dowker, Justina Robson, Lucy Sussex, Greg Mellor, the late Sara Douglass, and a number of others. We’ve been able to produce a number of anthologies, a Year’s Best Australian Fantasy and Horror series, and next year will start publishing original novels.
We’ve never set out to have an agenda, or a place in the Australian SF community, we just happily hang out there and make what I hope are good books. We don’t really see ourselves as catering to any niche, just publishing what appeals to us – we see so many fantastic writers and want to share them with the world.
We are distributed worldwide by Ingram Content, which means that readers almost anywhere can order our books, or buy them online from stores such as Amazon, Barnes and Noble, and Book Depository. We also sell books directly from our www.indiebooksonline.com site.
Continue reading →
October 11th, 2012 — Creative non-fiction, Digital Publishing, Market Profile
Journalism, like every facet of the publishing industry, has undergone a slew of changes, and Editia has emerged to make the most of these so-called exciting times. Editia is a digital-first imprint devoted to longform journalism and non-fiction shorts spearheaded by the dynamic Charlotte Harper.
Since 2010, Charlotte, and her corporate advisory board (consisting of an impressive range of experienced industry professionals), have been laying the groundwork for the emergence of Editia. This year saw the launch of the imprint’s first title, Anna Maguire’s Crowdfund It! Check out the Editia blog for full details about the title and the array of publicity it’s been receiving.
Cutbacks to newspaper and magazine editorial teams and freelance budgets have meant that longform journalism has become increasingly difficult publish. Strict word limits in the print media all too often constrain the potential of longer journalism, and the slow turnarounds in print publishing have meant that it’s been difficult to publish newsworthy creative non-fiction in a timely manner. Editia, seeing this as an opportunity, has responded, capitalising on digital publishing’s ability to respond immediately to the moment of note.
If you are a journalist or a non-fiction writer, Editia is looking for well-researched, narrative-driven longform journalism or creative non-fiction, between 10,000 and 35,000 words, in a diverse range of areas. For information on Editia submissions visit their website. Submissions for the Editia Prize for creative non-fiction also open on November 30, and this promises to be an exciting endeavour indeed.
We at Speakeasy were thrilled to get the opportunity to speak with Editia doyen Charlotte Harper about her exciting new project.
Speakeasy: Can you tell us how Editia came about and what your hopes for it are?
Charlotte Harper (CH): I’ve always wanted to be a book publisher. In fact, I published my first book, Mr Water, back in 1978, when I was 7, and sent it off to then favourite author Roger Hargreaves. He sent me back a lovely letter featuring Mr Funny.
I fell into journalism as a uni graduate, but kept an eye on the book world, completing a Postgraduate Diploma in Editing and Publishing at Macquarie University in 1999 – the same year my own book, Weird Wild Web, was published by Penguin Australia – and spending three years as a newspaper literary editor soon after.
My background in online journalism and technology writing meant I was well positioned to keep track of the digital revolution in the book industry between 2009 and today. I remember seeing tweets featuring the hashtags #appletablet and #islate in late 2009 and knowing that with the impending arrival of the iPad came my opportunity to launch a start-up that would make the most of social media and ereader technology – and of my own skills and career experience – to help writers to reach readers who are hungry for digitally driven content. I registered the business name Editia in early 2010.
I spent a couple of years researching and tracking industry developments for my then blog, ebookish.com.au, as well as other media outlets, meanwhile putting money aside to fund the business. I have worked closely with a group of like-minded, digitally savvy book industry types who now form Editia’s corporate advisory board.
As for my hopes, I’d love to sell enough copies of our first title, Crowdfund it!, to be able to cover all of our costs for 2013, and then within a couple of years to be able to start hiring staff and building our list from a handful of titles a year to many more.
Speakeasy: In your blog post ‘What is Longform Journalism?’ you say that longform journalism is ‘a popular genre, and the rise of the ebook will only boost it further.’ Can you talk a little about what the rise of the ebook means to forms of writing such as longform journalism? Do you think that longform journalism has been under-represented in traditional media?
CH: There is no doubt that as newspaper and magazine publishers have tightened their belts, the opportunities for in-house journalists to spend the necessary time to write quality longform journalism have dwindled. These same publishers have cut their budgets for contributors too, leaving freelance writers with little scope to dedicate themselves to longer works.
Ebooks offer the potential for writers to reach readers directly, and to be paid for their work on a per sale basis, whether they self-publish, or work with a start-up like Editia in Australia, or the Atavist and Byliner in the US. The Kindle Singles program has proven the model can work.
Longform works are easier to consume on a dedicated ereading device like a Kindle, Kobo or Sony Reader, or a tablet like the iPad, than on a website too.
Speakeasy: As we’ve begun to see with digital-only fiction journals, like the Review of Australian Fiction, the nature of online journals offers a freedom from the constraints of the word limit, allowing a piece to run to its natural length. In your opinion, what does this freedom offer to journalists and other non-fiction writers?
CH: I have been frustrated throughout my career as a journalist at the constraints print places on writers, in terms of space and time. Deadlines for newspapers and magazines are based around printing and truck distribution schedules, rather than the optimum timing for a story or its readers.
Word lengths are dictated by the space available in a particular edition or on a particular page. Advertising levels and editorial judgement of individuals who have no interest in a particular story can mean an excellent feature is slashed in half. I hate to think how many fine words I’ve had to cut out of colleagues’ print articles over the years.
Then there are the pages and pages of research and audio recordings of interviews that journalists collect and often archive without using it at all. With ebook-length journalism, this material can come to life.
The freedom to publish works of journalism at their natural length is, for me, one of the main attractions for working with ebooks and print-on-demand. The ability to make corrections and publish fast turnaround updates are equally wonderful.
Speakeasy: Can you talk a little about the potential that digital publishing has to capture/engage with the Zeitgeist?
CH: I wouldn’t use the word potential here. Digital developments have already shaken up the publishing industry so dramatically that nothing will ever be the same.
Independent authors are going it alone and reaching audiences they could never have dreamed of in the pre-ebook and pre-social media era.
GoodReads groups and global networks of readers sharing comments and highlights via Kobo, Amazon and ReadMill are replacing book clubs in living rooms.
Major publishing houses are publishing fewer and fewer high-cost print titles like cookbooks as content consumption patterns change.
Readers are increasingly discovering (and instantly purchasing) new titles online, leaving newspaper section editors and bricks and mortar stores to ponder their futures.
I hope desperately that the best publishing houses, newspaper sections and bookshops will survive and thrive; mind you, I suspect there will be more pain in all three sectors in coming years.
Meanwhile, lean start-ups like Editia are nimble enough to react quickly to developments in the market. Who knows what will be next for the industry, or for us? We can’t wait to find out.
Speakeasy: Editia has recently launched its first title Crowdfund it! by Anna Maguire. Can you tell us a little about the response this book has received and what you think it means for the Editia project?
CH: The response has been wonderful. My favourite so far was when Sydney Morning Herald literary editor Susan Wyndham described Crowdfund it! as “Zeitgeisty” in an article about Editia’s launch in the Saturday Spectrum liftout (our favourite newspaper section of all).
It was really important for us to launch with a cutting edge title by a digitally-savvy author, and we have done just that. Crowdfunding is huge right now, and growing in profile all the time. If anything, Anna’s book was a little ahead of its time in terms of mainstream reach, because we still meet potential readers who haven’t yet heard of crowdfunding. Fortunately, there are also plenty of filmmakers, entrepreneurs, musicians, writers and artists looking for expertise on the phenomenon, as well as hipsters who just like to be up with the latest tech and cultural trends.
Speakeasy: I understand that although much of Editia’s 2013 list is already full, submissions are still open. Can you offer any insight into what you might be looking for regarding submissions?
CH: We’re particularly keen on narrative longform journalism works, so true stories told using narrative techniques usually found in fiction, and particularly those that demand quick turnaround publishing due to their newsworthiness. The word count is between 10,000 and 35,000 words.
In terms of subject matter we’re interested in the arts, culture, literature, media, travel, technology, politics, business, economics, science, sport, crime, society, life and food.
The work should be insightful with substance that demonstrates a depth of reporting about a real life situation filled with emotion and intrigue. The writing should be well crafted, contain accurate and thoroughly researched information and hold the reader’s attention throughout.
Speakeasy: Entries for the Editia Prize will be opening soon. Would you like to talk a little about this prize, and what it means to Australian journalism?
CH: The Editia Prize is a new award for original and unpublished works of longform journalism of between 10,000 and 35,000 words. It’s open to residents of Australia and New Zealand, and the winner will receive a publishing contract with Editia and a $2500 advance on royalties.
Personally, I’m really excited about it because I think it has the potential to attract both experienced journalists who have recently left the newspaper or magazine business due to shrinking editorial teams there, and young journalism students and those who are starting out in their careers and looking for a challenging way to make their mark.
The opportunity to receive feedback from journalism gurus like Matthew Ricketson and Malcolm Schmidtke would be invaluable to the latter, while the former would benefit from exposure to new digital audiences.
Entry details are available at http://www.editia.com/editia-prize.
Speakeasy: Are there any other upcoming Editia events, developments, or opportunities you might like to tell us about?
CH: We’re planning to publish the print on demand version of Crowdfund it! later this year or early next year, and hold another expert panel event on crowdfunding in our hometown of Canberra to mark the publication of that edition. For regular updates on our events and upcoming titles, readers should follow us on Facebook and Twitter.
Speakeasy: Is there anything else you might like to mention to our readers?
CH: My second child will be born in mid-November, so things will be quiet on the Editia front for a few weeks over the summer. It’s been a big few months!
In the meantime, become a crowdfunding expert – or just enjoy reading about the successes of those creative types who already have – for just $7 when you order your ebook copy of Anna Maguire’s Crowdfund it! directly from www.editia.com or via Amazon, Apple, Kobo, Booku, Bkclb.co or Booki.sh partner stores including Readings and Gleebooks.
Julian Thumm is a freelance editor and writer. He has degrees from The University of Queensland and The University of Adelaide. He has worked with the
Australian Journal of Communication, The University of Queensland Press, and Corporate Communication International through The City University of New York. He is currently based in Brisbane.
October 10th, 2012 — AWM Forums, Agents, Craft of Writing, Writers, Writing Races
One of the highlights of the AWMonline Writing Races is the bi-monthly Special Guests. Racers, often aspiring or developing writers, love the chance to get some insight into the writing practice of accomplished authors.
Last week we had the pleasure of Daniel O’Malley’s company. Dan’s debut novel, supernatural thriller ‘The Rook’, came out at the beginning of this year. Featuring a kick-ass female protagonist, magical amnesia, supernatural spies, and supernatural conspiracies, it’s a humdinger.
The majority of discussion revolved around getting published for the first time; Dan talked us through the sometimes harrowing, mostly hilarious, and slightly bizarre adventure of getting published.
First off, naturally, you have to finish the book. I’ve had a few acquaintances who are really keen to become published authors, but they always seem taken aback that they have to write the book first. Unless there are some exceptional circumstances (like, you’re a movie star), having a good idea usually isn’t enough.
Dan’s primary tip for developing authors was getting a good agent. A past experience of trying to get an un-solicited work published had come to nothing, so he endeavored to get representation.
I was determined that this time I would have an agent. Now, I recommend that approach to everyone. It makes all the difference in the world, having someone in the industry who believes in you, and who is working on your behalf.
One of the most beneficial aspects of having an agent, Dan said, was the rigorous editing process his agent insisted on.
Mollie was very keen to have the work as tight as she could get it before she put it out to people. It took months and months … I had been braced for someone to stomp in and really shred my work to pieces. But most of it was adding stuff. So much of a story is inside your head, that you forget what you take for granted. Working with an editor made my book so much better.
But, when it finally went out, it was quite a quick process. Within a week or two, my agent was teeing up phone calls for me with various publishers. It was a little disconcerting, because it had to be in New York business hours, and I was in Canberra. So, at 3 or 6 in the morning, I would be in my PJs, in the hallway, in the darkness, trying to sound intelligent.
And then Little, Brown put in a pre-emptive bid, and I accepted! I was really excited because the editor who had signed me (Asya Muchnik) is extremely good. She was the editor for ‘The Lovely Bones’, and also, talking to her on the phone, I’d just thought she was glorious. If you have a good connection with someone, working with them is going to be good.
Dan is currently working on the sequel to ‘The Rook’.
I’m excited about it! I have a bunch of other ideas I’m looking forward to (and have made starts on), but I have a contract for the sequel, so that’s the one that gets priority.
It’s coming along pretty well, I think. My mum likes it, anyway.
Read the rest of the conversation at the AWMonline forums. There’s a lot; we Racers tend to be Chatty Cathys, and Dan was a (hilarious) wealth of knowledge.
And check out Daniel O’Malley’s website to learn more about the man himself, and his book.
Coming Up in the Writing Races: Anna Campbell as Guest Racer on October 31st. Don’t miss out.
October 4th, 2012 — Agents, Market Profile
So, you’ve finally finished writing; you’ve buffed that manuscript so hard that you can see your disheveled writer-face in it, and you think the hard work is over. No such luck. It’s time to try and publish that big ol’ sucker, and that means that just maybe it’s time to think about contacting a literary agent.
Some say that finding an agent to accept your work is nearly as difficult as finding a publisher. Well, what we have here is an expert’s take on the process. So, if you think you’re ready to tread those murky waters in search of an agent, or if you’re merely wondering what it is that they do, then have a listen to what Sophie Hamley, Australian literary agent with Cameron’s Management, and president of the Australian Literary Agents Association, has to say.
We at Speakeasy recently had the opportunity to throw a few questions her way. In response she offered us tips on approaching agents and writing pitches and query letters; advice on preparing manuscripts; and insights into the role and work of the literary agent – invaluable reading if you’re thinking of approaching an agent, or if you’re just interested in the business of writing.
Sophie Hamley will be appearing at the 2012 GenreCon. For full details please see the website.
Speakeasy: For those who may not be familiar, can you please talk a little about the role of the literary agent?
Sophie Hamley (SH): In very simple terms, an agent manages the business of writing. An agent helps their writer find and keep publishing with a publisher – hopefully the right publisher! The agent also acts as an intermediary, to give the author guidance about the publishing process (if they’re new) and deal with any issues that arise – anything from the author not being sure what they’re being asked to do in an edit, to helping them prepare for publicity, to talking over a cover with them, and reviewing their contracts for them. Ideally we free up authors to concentrate on the creative part of their job, as being a writer and being able to manage a writing career are discrete activities.
Speakeasy: Numerous stories abound about various author/editor relationships; can you describe, in general terms, the author/agent relationship?
SH: It differs from author to author (and from agent to agent). Some authors like to be in regular contact and some do not; some like to be in contact only when there’s a project on the go; some like to be in contact even if there’s nothing on the go. Some agents give editorial advice and some do not, which can also influence what sort of relationship you have with an author. Ideally agents should be able to interact with each author as an individual and tailor the relationship accordingly.
Speakeasy: What kinds of authors and/or writing do you tend to work with? How do agents generally develop their lists?
SH: I look after fiction, non-fiction and children’s books, but not all flavours of those. Agents in Australia have to be more broad in their lists than agents in the US and UK, who can afford to specialise a bit more. Agents always have to take on work they respond to, so the first criterion is, ‘Do I love it?’ After that we have to be pragmatic about whether or not we can find a publisher for the work. For me a big consideration is whether or not the author is suited to the publishing process – are they going to be able to work with an editor and a publicist? Being able to behave professionally (or not) has an impact on the author’s trajectory through the publishing world.
Speakeasy: How can an author determine if an agent (or an agency) will be a good fit for them?
SH: Authors should research agencies before they submit to them. Quite often authors submit to agents who do not represent the sort of work they’ve written, and that wastes everyone’s time. Most agencies have their clients listed on their websites and they may also indicate what sorts of submissions they’re looking for. If they do not, the author is absolutely entitled to enquire before making a submission.
Speakeasy: At what point should an aspiring/emerging/established writer consider approaching an agent?
SH: When their work is as ready as they can possibly make it. That doesn’t mean polishing a manuscript to within an inch of its life – it means not being too impatient about sending it off. Don’t send a first draft of anything. Take the time to ensure that you have done the best you can by your own work. So many authors will do their work a disservice by not giving it time to mature. You can’t write a manuscript overnight – it’s worth taking a bit of extra time to make sure that manuscript is as good as it can be before sending it out.
Speakeasy: Can you outline some of the important things to keep in mind when submitting work to agents? What should writers look for, or be aware of?
SH: The most important thing is to follow the submission guidelines – if you don’t it looks like you either don’t care to or think that you don’t have to do what everyone else does. The guidelines are not frivolous – we all receive a lot of submissions and we need to have a way to compare them.
Also keep in mind that we do receive a lot of submissions and most of us are not reading them at the office – we’re reading them outside of work hours. We get through them as quickly as we can, so calling or emailing to remind us that we haven’t read yours yet is unnecessary. We understand that you want to know, but we’re not superhuman!
Speakeasy: Aside from writing a great book, what things should a writer absolutely do before submitting work to an agent? Can you outline some of the common mistakes that authors make when approaching agents?
SH: As mentioned above, the most common is that they’re impatient – they submit their work before it’s ready. There are lots of ways now for authors to ‘test’ their work – at writers’ centres, in courses. Yes, it’s time consuming; yes, it can be hard. But isn’t it worth it to take the time and do the best you can?
They’re also impatient when they submit – we state clearly in our guidelines when authors can expect to receive a response, but I regularly have authors contacting me before that time to ask why I haven’t responded to them yet. That doesn’t make me feel warmly about them. Agents are looking for great work but they’re also looking for great clients, because we expect to have that relationship for a while. All of your interaction with the agent – not just what’s in your submission – can influence our decision.
Speakeasy: Can you talk a little about pitching to agents and about what makes a good or bad author pitch?
SH: A good pitch tells me what I can expect to read in the manuscript and why I should read it, without resorting to hyperbole. It also shows me that the author can write – some authors complain about having to write query letters, but writers write and it would be unusual if they could only write one type of thing. I have yet to see a bad query letter and a brilliant manuscript – someone who can write a great story usually also has the facility to write a great pitch. But, like writing a manuscript, writing a pitch takes practice. It’s also good for your manuscript – if you can’t describe your story in one or two paragraphs in a way that makes me want to read it, how is any publisher going to be able to do that to persuade a reader to buy it? If an author has difficulty coming up with a pitch, it can indicate that there is actually a problem with the manuscript. If you think you’d be better off talking through the pitch, then say it out loud and record yourself doing it, then transcribe it.
Speakeasy: The Cameron’s Management website presents a range of genres that are accepted in terms of submissions. Obviously you pay close attention to market trends. What type of work is flooding the market right now (the website clearly states no vampire erotica)? Conversely, are there any particular areas or types of work that the market is particularly hungry for right now?
SH: There is far, far, far too much young adult fantasy being submitted now and publishers are saying that they want realistic YA, so any fantasy/paranormal YA would have to be super-extraordinary for me or a publisher to take it on. I also see a lot of chick lit and its variants, but it’s very hard to get that published (because it’s a crowded, but not very big, market).
The market doesn’t know what it’s hungry for – that’s the nature of markets. Demand is, to a great extent, often manipulated by supply. Even Fifty Shades of Grey does not necessarily indicate a hunger for BDSM erotica – it is Twilight fan fiction and that is likely where its ‘tipping point’ came from. If another writer were looking at it and trying to replicate its success, it would be impossible unless there was a very similar set of circumstances around another book’s publication. The other thing to bear in mind is that by the time a trend has been identified, it’s over. Writers should concentrate on writing the story that they really want to write and on making it as good as it can be, and worry about the market later. That is not to say that they shouldn’t look at genres and what’s popular, because the story that they want to write may well be in a genre and therefore they should pay attention to what’s around. But it’s very difficult to devote a lot of your time to writing a novel if your motives are purely cynical and, therefore, your heart’s not in it. In order to be able to commit to it, you have to really want to do it.
Speakeasy: How is the current state of flux in and around the publishing industry effecting the role of the literary agent? As an insider, can you offer us your perspective on the state of the Australian publishing industry?
SH: Our publishing industry, like that of almost every other country that has one, is in its state of greatest ever change. The jobs that all of us do – including writers’ – are changing. A couple of decades ago writing involved producing a story and leaving almost everything else to the publisher. Now writers need to be engaged with what’s happening in their genre, in the community around that genre, and with the world at large. That’s not a bad thing – it’s just a changing thing. And as writers’ jobs change, so must agents’ – in the future we are likely to do a lot of advising and managing and distributing knowledge, and the focus will be less on ‘the deal’. None of us really knows how it will end up. Like all change, it’s a bit scary but a bit exciting too.
Speakeasy: Is there anything else you might like to mention to our readers?
SH: There are a lot of people who write manuscripts – and send them to agents and publishers – but they don’t actually read a lot of (or any) books themselves. It shows. If you are not a passionate reader, you’re unlikely to make a great writer (the exception is people who have a great personal story that can be turned into a non-fiction book). If you’re a writer, other people’s writing is the context for your own work. Don’t compare yourself to other writers, though, and don’t engage in ‘If only’ statements (‘If only I had the talent of XXXX I would be a superstar’). If you have a story to tell, just write it. If you don’t have a story to tell, wait and see if you have one. But don’t force yourself to write a story just because you want to be a writer, because it is very difficult to make it if you’re working with ego alone – you need more. You need talent, yes, but that’s only part of what’s required – you also need to apply yourself. Talent will only take you so far. I see submissions from people who are clearly talented but they either give up too early (when they get feedback, usually, because they don’t want to redraft) or they think that their talent is enough and they don’t need to learn the craft of writing. People who get by on talent alone are rare and they are flukes. If you look at any of the writers you admire, it’s a safe bet that behind their success is countless hours of plain old work.
Julian Thumm is a freelance editor and writer. He has degrees from The University of Queensland and The University of Adelaide. He has worked with the
Australian Journal of Communication, The University of Queensland Press, and Corporate Communication International through The City University of New York. He is currently based in Brisbane.
October 3rd, 2012 — Genre, Market Profile
Historical fiction is huge. It roams across time and space, tethered only by the strands of history, through the Senates of ancient Rome to the shoguns of Feudal Japan, from the cloisters of medieval monasteries to the courts of the Renaissance, from the British civil wars to the American civil war, across all oceans and across all continents.
Historical fiction toys with genre from the epic sagas of James Michener to the alternate histories of Harry Turtledove, the historical adventures of Bernard Cornwell to the romances of Georgette Heyer, and the inter-textual allegories of Umberto Eco. Historical fiction also explores national politics, helping nations understand their past and their present, the glories and the traumas, as seen in Gore Vidal’s American Narratives of Empire series, Eleanor Dark’s Australian Timeless Land trilogy, and such Latin American works as Carlos Fuentes’ Terra Nostra and Gabriel Garcia Marquez’s 100 Years of Solitude. And, in recent years historical fiction has continued to make strong appearances on bestseller lists, and regularly dominate literary awards.
And this brings us to the Historical Novel Society (HNS), an organisation devoted to celebrating historical fiction in all its forms for all devotees, from the professional writer through to the enthusiastic reader.
Speakeasy recently caught up with James Vella-Bardon, co-founder of the Historical Novel Society Sydney (HNSS), to talk all things historical fiction, and to generally nerd-out about a genre we all love in some form or another.
For details on how to join the HNS and subscribe to the Historical Novel Review, visit the HNS website.
Speakeasy: Can you tell us a little about how the Historical Novel Society (HNS), and the Sydney chapter, came about? Can you also tell us a little about what it does, and for whom?
James Vella-Bardon (JVB): The Historical Novel Society (HNS) was started in the UK by HNS founder Richard Lee, in 1997. In my view he’s a true visionary, because his movement has harnessed all of the passion for historical fiction that exists out there. In fact, the demand for HNS publications increases year after year, and several HNS chapters have sprouted up across the UK, USA and Ireland.
I describe the quarterly magazines published by HNS further on in this interview, but I should also add that HNS organises two annual historical novel conferences in the US and the UK, which are huge events and bring fans, authors, agents and publishers together under one roof, to celebrate their passion for historical fiction.
I discovered HNS online when I moved to Sydney from Europe, at which time I was trying to understand how best to market my work in progress or WIP (which is still in progress). For the great unpublished, like me, and for fans of the genre, being an HNS member is a great way to understand the latest occurrences in the world of historical fiction, and HNS serves as your insight into that world.
I was also disappointed to find out that there was no similar society in Australia, so in January 2012 I got in touch with some fellow HNS members to start an Australian HNS Chapter. It was a great decision, because HNSS has got me in touch with so many fascinating people. We have since created an active blog, and two busy social media profiles via Facebook and Twitter, and we are in constant touch with many interesting authors and fans of the genre. We also organise monthly chapter meetings, and two of our members headlined ‘Authors’ Alive’, a literary event organised last month by the Balmain Institute.
The HNSS is a voluntary organisation. Membership is free, since our members are the bedrock of our society, and we are always delighted whenever someone new joins us, thereby further enriching our society. Everyone’s views are important to us, from the international bestselling novelist, to the busy mother of four whose only escape is reading novels, to agents always looking for the next big thing, to publishers who are keen to address a fixed circle of clientele in these challenging new times.
Formally speaking, you could say that our primary purpose is to highlight Richard Lee’s amazing society, but we also get so much back from the society ourselves. Personally speaking, HNS and HNSS have helped me to develop my writing and discover new reading material in ways that the best writing course could not have done. One example of this: when I completed an earlier draft of my current WIP, HNS publications helped me to identify the best agents to market my work to. One of these was a super-agent, who I would never in a million years have expected to get back to me. But get back to me he did, and with a considerable amount of feedback and suggestions. I need not explain that I was bouncing off the walls when I received this, and it was an experience that changed my whole perception about myself and my writing.
HNS has deeply affected my life, and it will do the same for you, if you reach out to it. Our aim is to make other Australian ‘historical fictionistas’ aware of this fantastic movement.
Speakeasy: I know from experience that historical fiction is a genre that can be difficult to pin down, particularly as it sprawls across a variety of other genres (e.g., lit fic, SF, romance, etc.) Can you talk a little about how you might define historical fiction and how the HNS embraces or engages with the various other genres involved?
JVB: Well the hardest thing to pin down is ‘time period’. I know that the official stance of the HNS is that historical fiction includes any novel which refers to events which occurred at least fifty years ago. In this precise moment that means any event occurring precisely before 4.11pm AEST on 1 October 1962. So does that mean that events surrounding the Vietnam War, the first and second invasion of Iraq, 9/11 etc. are not historical events? Tough one isn’t it? But the HNS had to draw the line somewhere and that’s their position.
As for fiction, romance, lit fic – anything falls under the ‘historical fiction’ umbrella if it refers to events occuring pre-October 1 1962 – oh it’s 4.12pm AEST now! The HNS embraces crossovers between historical fiction and all other genres, but the lowest common denominator remains ‘historical fiction’.
Speakeasy: Who can/should join the HNS and how do they go about it?
JVB: The HNS caters for all those connected to historical fiction, be they readers, fans, writers, agents and publishers. Their quarterly magazine – the Historical Novel Review (HNR) – is phenomenal. At the front of the mag you’ve got industry updates telling you which manuscripts have been sold by which agent to which publisher and this helps aspiring authors to know which agents to target (and therefore save everyone’s time). The way I see it, this is in itself more than enough reason to buy it.
But that’s not all. HNR provides in-depth interviews with various authors about the writing process, interesting articles about different genres and categories of novels. The real cherry on the cake however, is the review of novels published during the quarter, which are divided according to century – I kid you not!
There is also a wealth of other information on their fantastic website:
http://historicalnovelsociety.org/
Joining the HNS and receiving the HNR at home could not be easier: you just hop onto their website. Annual membership costs AU$80 and you can pay via credit card or paypal.
Speakeasy: In recent years Australian historical fiction has gone from strength to strength (one need only look at publisher lists, best seller lists, or the last 15 years worth of Miles Franklin shortlists). Why do you think historical fiction is so popular in Australia (and in publishing in general) right now? What do you think this preoccupation with history says about Australian writers and readers, or Australian society at large?
JVB: I believe that the reason that historical novels are popular in Australia is the same reason why they are popular elsewhere, and that is because of the ‘infotainment’ that these novels provide: i.e., enjoying oneself while learning about a particular period.
The examples are too many to mention, but why read dry and dull history books about the intrigues of the Elizabethan court when you can pick up Hilary Mantel’s Wolf Hall? Why numb your mind with all of the dates about the Peninsular wars when you can read Bernard Cornwell’s brilliant Richard Sharpe novels? Not to mention Perez-Reverte’s Alatriste novels if you want to discover the world of 17th century Imperial Spain. The list goes on and on and applies to the entire history of the whole world.
Truth be told, it sometimes baffles me how readers can consume so much fantasy and sci-fi when ‘real’ history is already so engaging. As they said in the X-files, ‘the truth is stranger than fiction’ – this is certainly true of ‘real’ human history.
What is certainly true of Australian writers is that they have the advantage of approaching a period – be it in Australia or overseas – with ‘fresh eyes’, since they’re generally free of cultural baggage given that Australia is the world’s youngest continent.
Another reason for this resurgence in interest in historical novels is, perhaps, the times we live in. Ever since the global financial crisis that followed the two wars in Iraq and Afghanistan the general feeling in the developed world is not one of certainty and perhaps it’s during times like these that people like to look back.
Speakeasy: Just for fun, can you tell our readers about a few of you favourite historical fiction reads and/or favourite historical fiction authors?
JVB: My top five favourite novels are the following:
The Last Valley (J.B. Pick) – this story was also portrayed in a brilliant movie featuring Omar Sharif and Michael Caine, and was directed by none other than Sydneysider James Clavell. Although not a commercial success, the movie did justice to a very touching and finely crafted novel.
Captain Alatriste (Arturo Perez-Reverte) – my hair rises just thinking about the brilliance of this novel, set in a wonderfully decadent Madrid that is capital to the crumbling Spanish Empire. Also converted into a great movie starring Viggo Mortensen.
Q (Luther Blisset) – an extravaganza that will keep you entertained for days on end, huge and allegorical in scope yet at the same time unpredictable and intimately personal, but always intelligent and engaging! A must read for all 16th century Renaissance Europe fans!
Beau Geste (P.C. Wren) – novel about the Foreign Legion that is meticulously constructed, and you’ll never see the twist until you read the last word on the last page of the novel, which will leave your head spinning.
Sharpe’s Tiger (Bernard Cornwell) – the work of a master craftsman, the best Sharpe novel in my opinion. It’s gritty and gutsy, and bursting with nail-biting suspense.
Other historical novelists whose work I have greatly enjoyed include James Clavell, Elisabeth Storrs, Dorothy Dunnett, Harper Lee, Tim Willocks, Robert Low, Nikos Kazantzakis and Sven Hassel.
Speakeasy: Is there anything else you might like to mention to our readers?
JVB: Firstly I would like to thank GenreCon for the exposure that they are providing us, and also a big thanks to the people that have helped to breathe life into HNSS over the last nine months.
Anyone out there who is a historical fictionista and wants to join in the fun, please drop us a line at hnssydey@gmail.com. Also please feel free to check out our blog and become members via Facebook and Twitter.
The dream we’re currently working on is launching the inaugural HNS conference in Australia – anyone who wishes to get involved is more than welcome!
Julian Thumm is a freelance editor and writer. He has degrees from The University of Queensland and The University of Adelaide. He has worked with the
Australian Journal of Communication, The University of Queensland Press, and Corporate Communication International through The City University of New York. He is currently based in Brisbane.
September 28th, 2012 — Friday Fry-Up
We’re playing it fast and loose with the Fry Up this week, on account of the AWM team heading off to join our friends at it:Book Australia at BookCamp.
The EWF blog has a brilliant post on the pay-rates of many Australian fiction and non-fiction markets that deal with emerging writers. A great resources and well-worth checking out (and, contrary to the standard internet wisdom, it’s worth reading the comments too).
Tim Parks has a fascinating article on the relationship between money and writing in the New York Review of Books.
Diana Peterfreund on countering bad writing advice given to aspiring writers.
Kristine Kathryn Rusch on why Content is King and writers are lining up to get screwed.
Australian literary blogger Angela Meyer gets interviewed about blogging and social media at The Signal Express.
Matthew Turner highlights 5 Free Services That Help You Build Author Platform for janefriedman.com.
A man in Manila has created an informal public library by putting his book collection out on the street for anyone to peruse and borrow from.
Writer Unboxed on Rebuilding the Optimism.
Nextness compiles 25 Lesson for Creatives taken from Patti Smith’s Just Kids.
The Digital Reader on How Technology has Changed Stories.
It’s short, it’s sweet, and it’s the links that caught our attention this week. How about you? Let us know about anything we missed in the comments.
