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Irma

Secrets from the Green Room

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Mega exciting news! This year I’ve been busily planning a new writing podcast with my co-host Craig Cormick, called Secrets from the Green Room. Craig and I have known each other for more than 20 years. I first met him in my second year studying creative writing when he happened to be my tutor, and since then we’ve made books together, been in a writing group together, and now we’re hosting a podcast together. And boy is it a lot of work starting a podcast! I knew it would be, and yet…

Read More »Secrets from the Green Room

Our tagline is ‘The author stories you won’t hear anywhere else’ because the podcast is taking green room chat live. When writers get together — be it in green rooms or bars or cafes — they talk frankly about the pleasures and pitfalls of writing and publishing in ways that they usually don’t when put on a stage at a festival. So Secrets from the Green Room is going to take you backstage, with thanks to our sponsor and supporter, the ACT Writers Centre.

Season 1 features James Bradley, Holden Sheppard, Karen Viggers, Chris Hammer, Anna Spargo-Ryan, and more. We talk about everything from rejected manuscripts that never made it to publication (Anna Spargo-Ryan), how the publisher you choose can have a big impact on sales — and no, it’s not necessarily about big versus small publishers (Chris Hammer), the perceived glamour of an author’s life versus the reality (Karen Viggers), being snubbed by literary big shots in the green room (Holden Sheppard) and so many other things besides.

Launching in the time of COVID

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Launching a book into the world can be a strange and surreal experience at the best of times, but launching a book into a pandemic just got a whole lot stranger. Authors have been forced to adjust to new technologies and ways of engaging with readers, and reconcile themselves to the fact that events are now all via a screen. So I asked three authors how their recent book releases compare with their previous books — back when we were all naïve and thought pandemics belonged only in novels. Laura Elvery, Elizabeth Tan and Mirandi Riwoe share the best and the worst of their book babies going out during the time of COVID.

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Laura Elvery
In the week after Ordinary Matter came out, my sister and I drove to Brisbane bookshops following an itinerary my publicist had organised. I don’t remember doing this for my first book. It was new to head into a shop and try to non-awkwardly introduce myself. It was new to sign piles of books and try to note all the locations of stacks around the shop. And the whole time sanitising, sanitising, sanitising. (Also new was somebody at one of the shops saying, ‘Wouldn’t it be funny if you had COVID because then you would have taken down all the bookstores in town?’ INDEED! A good joke!)

Strangely, I felt both a little more armoured than I did with my first book (a thicker skin, no newborn baby strapped to my chest, less time on my hands now to fret) but also less armoured (turns out some people actually knew I’d written a book and were waiting for it). In late February 2018 I was about 38 weeks pregnant. The launch for Trick of the Light was this incredibly fun party with 100 people, and it was, for me, all about making it to the event in one piece. A week or so either side and I’d have to reschedule. Look at photos of me that night and I’m just beaming — I’d made it. One week later my son made it into the world too. I sat up in the hospital bed with a stack of copies that Avid Reader had sent along for signing, my baby asleep beside me.

On zooming: disconnected connection

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In the crazy COVID land of 2020, Zoom has emerged as king. I now have online editorial meetings with publishers and authors, and attend book launches, book clubs, writerly drinks, literary festivals and events, all via Zoom. In some ways it’s connected me with the literary community more than ever before, allowing me to flit all around Australia. I can cram in a book launch over dinner, or an in-conversation event while waiting in the car during my son’s basketball practice (restrictions are fun, hey?). But I miss being in the room with people — seeing their faces (in 3D instead of on a flat screen!), drinking a glass of wine, and generally soaking up the good vibes from being among bookish folk.

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Listening to Tegan Bennett Daylight in my car while my son played basketball

The same goes for workshops. I recently ran an online course on The Art of Self-Editing Fiction over three weekends and it was an interesting experience. I’m used to reading the room through people’s body language, eye contact and the general level of energy. With Zoom that’s all gone. Yes, people appear on screen in Brady Bunch-like rectangles, but as the host you only get to see a few of them. What’s more, in order for participants to feel like you’re engaging and looking directly at them, you need to look at the camera. This means that the gallery of participants is not actually in your sightline. And then there’s your slide show and the chat function to manage.

On the up side, because the sessions were spread out over three weeks, the participants were able to exchange emails with me during the week which meant that I got to know a little about them and their writing. It can’t replace chatting with participants in the room, but it was something. And the breakout rooms are a great feature. They enabled me to split all the participants up into pairs so that they could give feedback on the first three pages of each other’s novels face to face. So there have been pluses and minuses, but the feedback on the workshops has been wonderful, which is heartening.

Editing process rundown

Given that I’ve worked as an editor for 21 years it seems crazy that I’ve never written a post that breaks down the different kinds of editing, but I’m about to remedy that! Most of the books that I edit are for publishers, but about a quarter of my work is directly for authors who fall into one of two categories. Either they intend to self-publish, or they want to ensure that their manuscript is the very best that it can be before submitting to agents or publishers (most fall into the latter category). Often writers are unsure about exactly what kind of edit their book needs, so here’s a quick rundown. I’m going to focus on fiction because it’s my first love.

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Structural/substantive edit

If you’re wondering if your book needs a structural edit (sometimes called a substantive edit), the answer is YES! Every single book needs a structural edit, even those by the most experienced authors. This is the big picture stage where the editor is looking at things like characterisation, plot, pacing, appropriateness of language and style for the intended readership, order of chapters and scenes (including whether there are missing scenes or unnecessary scenes), chapter breakdowns, narrative progression and gaps in the narrative, and so on. Every book is different and the list of possibilities is endless. The editor might recommend that the book should in fact begin at Chapter 3, or that a subplot is enlarged, or that a character is cut completely. Be prepared for anything! You will usually receive an extensive report outlining all the areas that need work.

I love this stage because it’s a long conversation between the editor and the author — two people who care deeply about the book and want to see it become the very best version of itself. It’s always a privilege for me to be a part of this highly creative stage of the editing process, and to work so intimately with a text and its author.

Dream realised: on being a debut author

Releasing a book into the world is both terrifying and exhilarating, even more so when it’s your debut.

It’s a precarious business being a writer. As John Steinbeck once said:

The profession of book-writing makes horse racing seem like a solid, stable business.

For debut writers, entering into the world of publishing for the first time often brings with it a confusing cocktail of doubt and fear, validation and joy. So I asked debut authors Anna Downes, Donna Ward and Holden Sheppard to share the highs and lows of their experiences.

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Anna Downes
On the day I received my first offer of publication, my friend took a picture of me.

We were hanging out at her place, trying to keep our kids cool in the ridiculous February heat, when an email popped up on my phone. My friend, reading my expression, froze. As the kids splashed and shrieked in the pool, I held my breath … opened the message … and burst into joyful tears. Squealing, my friend ran inside, returning eventually with a lone can of Jameson’s Smooth Dry and Lime she’d found hiding at the back of her fridge.

‘Congratulations!’ Click.

In the picture, I am sitting on the ground, dripping wet and wrapped in a towel. I’m holding my phone in one hand and a can of whiskey in the other. I’m crying, though you wouldn’t know it from my smile. My face is bright red, my shoulders rounded. I look like I’ve just run a marathon. Out of shot, my children screech and laugh and demand to be fed.

For me, this image pretty much sums up my debut author experience. The woman in that photo, the me of just over a year ago, is knackered, overwhelmed, distracted and a little bit drunk. She’s also very happy; the happiest, possibly, that she’s ever been. She’s worked so hard, sacrificed so much. She’s proud yet stunned that people want to read her words and see them fly. Agents and publishers are handling her precious creation carefully, as if they are the lucky ones. Oh, the validation! Oh, the sweet relief!