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All the happenings

8 July 2022

It almost feels like we’re back to normal with events again, and it was so lovely to recently head over to gorgeous Western Australia for the Margaret River Readers and Writers Festival. I took a week beforehand to travel the coast from Bremer Bay to Margaret River and, my goodness, it is stunning! I knew that the beaches were all white sand and turquoise water but I didn’t realise that they were next-level stunning. World class, in fact. If anyone wants to hand me the job of WA publicist, I’m up for it! The weather was warm and we swam and hiked and explored and generally had the most glorious time.

 

I finished up with a weekend at the festival where I interviewed a bunch of lovely people for my Secrets from the Green Room podcast as part of a special partnership with the festival. It was so great to be hanging with my literary tribe again! The first ep with Claire G. Coleman is up now and – like all our guests – she speaks with brutal honesty about the writing and publishing process.

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Following her will be an ep with brother and sister duo Brooke Davis, of the international smash Lost and Found, and Rhett Davis, who won the Victorian Premier’s Literary Award for an Unpublished Manuscript for Hovering. It was such a delight being around these two lovely and very funny humans and witnessing their sibling bond. They both rated the green room soup as the best ever, and they weren’t the only ones to rave about it on the podcast. (Frankly, you may begin to think we have all gone a bit mad on soup, of all things.)

 

Third in line will be New York Times bestselling author Natasha Lester who I finally met after many years of online chat. We got very silly on the blue velvet couch in the green room and generally had a grand time. She is gorgeous inside and out, and I loved chatting with her both on and off the podcast.

Finally, I spoke with Australian literary royalty Craig Silvey of Jasper Jones and Honeybee fame. Because of a mix-up, we had to change the time of the interview to after the festival close on the final day. This meant we were the last ones left inside the locked building, bar the janitor. It felt like the beginning of a crime novel, but thankfully Craig did not murder me in the green room with a microphone stand. Stay tuned for these eps!

There have been more events since I’ve returned to Canberra. I had the absolute pleasure of being in-conversation with Ashley Goldberg about his debut novel, Abomination, at The Book Cow. Ashley took my editing course at the University of Canberra many years ago, so it is especially wonderful to see him publish his first book, and for it to be garnering such great reviews.

 

Ashley’s novel explores new territory for me as a reader. Abomination delves into the ultra-Orthodox Jewish community in Melbourne through the lives of two friends – atheist and secular Ezra and rabbi Yonatan – who are reunited by the sexual abuse trial of a former teacher. Neither of the students were violated by this teacher, and along the book pivots around this case,  it is really about the crises of identity that these two men are experiencing in different ways. The book explores identity, faith, family, love, belonging and what it means to be a good person. It’s such a thought-provoking and beautifully written book. I recommend you get yourself a copy!

Launching the Harry Hartog Tuggeranong store

During our chat Ashley revealed that he originally submitted his manuscript to the Penguin Literary Prize but it was not even longlisted. But guess who ended up publishing it? Penguin, of course, after his agent sent it through the usual channels. Publishing is full of weird stories like this – timing and luck is just as crucial as talent.

Last month I was also delighted to launch the beautiful new Harry Hartog store in Tuggeranong with crime author extraordinaire Chris Hammer and bookselling legends Robert and David Berkelouw. This bookshop is now my local – hurrah for that! A couple of weeks later, as part of their grand opening celebrations, I did a storytime event with my two latest picture books, Seree’s Story and Where the Heart Is. Meeting young readers has to be one of the best parts of this job, and I must give a special shout out to Yusuf from Bonython Primary who is on his way to becoming a published author.

A week later I passed the store and literally found my story. My novel, The Breaking, featured in a particularly gorgeous window display. Always a thrill! #findyourstory

 

Coming up I’ll be at the Canberra Writers Festival on 13 August. It’s great to be back out in the world talking books!

Zooming through lockdown

10 September 2021

Like half the country, the ACT is back in lockdown and this means that a bunch of my IRL bookish happenings shifted to Zoom. But one that was always intended for Zoom was F*CK COVID: An Online Literary Affair, organised by the dynamic team at the ACT Writers Centre.

 

When the event was first proposed I remember thinking that online probably wasn’t necessary. Melbourne, Sydney and Canberra weren’t in lockdown — oh, how those days seem like a distant dream! But clearly the organisers are fortune tellers and this event ended up being the highlight of my locked-down weekend. Plus every time I typed ‘F*CK COVID’ it was like a fist punch of defiance.

 

The event sold out in three days. Then more tickets were released, and it quickly sold out again. I was on a panel with Mark Brandi, moderated by Nigel Featherstone, called ‘Hard truths; Risky fiction’, and what an absolute delight it was. Nigel was his usual magnificent and thoughtful self, expertly guiding the conversation, and Mark and I found so many synergies in our work and writing process.

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My ‘set’ for F*CK COVID

Mark’s The Others is an absolute cracker of a book and kept me up until the early hours of the morning. Like The Breaking, which I was there to discuss, it’s tricky to talk about without giving away key plot points! But I found our conversation so rich and thought-provoking, and I hope the audience did too! It’s always difficult post-event to remember exactly what was said, which is why Sue Terry’s incredible write-up of the panel is invaluable! I will defer to her summary of everything, except to say that I work full-time as an editor, not part-time, which makes finding time to write extra challenging, especially when you combine that with being a single parent of three children. But there are cracks in life, and I seize on them whenever I can!

Jumping now to school visits, I wanted to mention the gorgeous kids at Dawul Remote Community School which is located in the East Kimberley region of Western Australia. This is where Zoom comes into its own, because how lucky was I to visit this school remotely! I shared the stage (or screen!) with DeadlyScience’s Corey Tutt. I was fortunate to edit Corey’s brilliant middle-grade book, The First Scientists (Hardie Grant, out 13 October 2021), so it was an absolute blast chatting to the kids with him. They had so many great questions about books and writing, and I came away enlivened, as I always do. My own kids are homeschooling during lockdown and were under strict instructions to keep out! Just one of the many challenges (as all parents know) of trying to simultaneously work and homeschool.

 

Next up was a pre-record for the inaugural Macgregor Primary Writers Festival — a whole week in which the school does nothing but celebrate books and writers. How blissful does that sound! They had an incredible line-up, including Andy Griffiths, Jackie French, Bronwyn Bancroft and yours truly, among others. If only I could travel back in time and be a kid at that school!

 

And finally there was my Editing Essentials presentation for SCBWI (Society of Children’s Book Writers and Illustrators) which covered editing the full gamut of kids books, from picture books through to YA. The SCBWI crew organised a stellar line-up and there was a lovely big crowd who had great questions. When asked which was my favourite children’s genre to edit I had to say ALL OF THEM!

These events have brightened my lockdown immeasurably. Massive thanks to all the organisers who are making sure adults and kids alike have plenty of literary goodness to sustain them in these crazy times.

Secrets from the Green Room

22 October 2020

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…

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.

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Ep 1 is now live! It features my interview with Anna Spargo-Ryan. I can’t tell you how much I enjoyed talking to her about how she grew up with her own publishing house (sort of!), the manuscripts that never made it to publication, how she accidentally pitched a book on Twitter that led to a heated auction, what said heated auction involved (hint: a lot of emotional paralysis on the couch), the worst rejection of her writing life and a whole lot more.

You can find us on Apple podcasts or wherever you listen (obviously we’d love you to subscribe) and all the socials: Twitter, Instagram and Facebook (obviously we’d love you to follow). And you can drop us a line via our website. Hope you can join us for the ride!

Launching in the time of COVID

17 September 2020

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.

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.

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But, look. A book during a pandemic! Could be worse! The good bits: in Brisbane, I can actually go into bookstores and spot Ordinary Matter on a table. I had more people at this Zoom launch than at the one in 2018. My sister-in-law and my little niece sat at their dining table in Copenhagen and watched. My oldest friend in the world, now living in Townsville, could watch. I got messages from writers in other parts of Australia who tuned in. My next-door neighbour could both hear me speaking through our shared apartment wall AND through her laptop. Good times!

More good bits: that I’m published at all. That Ordinary Matter remains a 2020 title and was pushed back only by one month, not a whole year, or not indefinitely. Podcasts and radio interviews. Good reviews coming in. That it’s a privilege to be reviewed at all. That it’s validating to have reviewers mention my second book in the context of the first. That there was a first book at all.

But some disappointing parts remain. I have friends whose books have been delayed, and friends whose livelihoods have suffered. No events at any bookshop, full-stop. No in-person Q&As. After years of writing the damn thing and then receiving early invites to writers’ festivals — no writers’ festivals. That all feels a bit sad. No line of loved ones waiting for their copy to be signed, waiting to grab a hug and a photo and a glass of wine together down the road.

Next time.

Laura Elvery is the author of two short story collections, Trick of the Light and Ordinary Matter, published by UQP in September 2020. She has won several short story prizes in Australia and her work is published in Griffith Review, The Saturday Paper, Meanjin and Overland. Laura has a PhD in Creative Writing and Literary Studies. She lives in Brisbane.

Elizabeth Tan
My first book, Rubik, was launched into the world by the exuberant Brooke Davis in April 2017, at Beaufort Street Books in North Perth. While I remember the night of Rubik’s launch with incredible fondness and gratitude, I also remember hanging from tenterhooks of nervousness for the entire month. Will enough people turn up? How much wine should I buy? How am I supposed to act among all these people from various social groups smooshed together, all of whom know a different me? How can I sufficiently convey my appreciation to everyone?

Smart Ovens for Lonely People launch

As the days crept closer to the June 2020 publication date of my second book, Smart Ovens for Lonely People, I worried about enduring all those anxieties again, but without that propelling energy which accompanies the release of a debut.

In late March 2020, when the whole country was locking down, my publisher, Alice Grundy, emailed me to ask if I wanted to delay the release of Smart Ovens. It was impossible for us to know the best decision. Certainly, I could see the benefit of waiting. But I knew it in my heart: it was time for the book to leave my hands.

The last story I wrote for Smart Ovens was ‘Ron Swanson’s Stencilled ’Stache’, whose protagonist is an ASMR YouTube artist. At the time Alice emailed me, virtual literary events were already popping up. I realised I’d been given the strange gift of not having to organise and navigate a big social gathering. ‘A virtual launch wouldn’t be totally out of character for this book,’ I eventually replied to Alice, adding: ‘e.g. an ASMR-themed launch?’

The launches of Rubik and Smart Ovens were incomparably different experiences — I can’t say one was better than the other. Some of my anxieties persisted, or were replaced with new anxieties, especially about the technical aspects of the launch. My partner, Shane, helped me work out the best way to record, edit, subtitle, and broadcast the launch — I couldn’t have done it without him.

One nice thing about the virtual launch was that people outside my hometown could attend and participate — especially Alice, who I’ve met in person only a handful of times. Alice recruited Bram Presser and Jane Rawson to record ASMR videos to contribute to the launch, which they did spectacularly. I also appreciated that friends who missed out on the live broadcast could still watch the launch later.

What I love most about online events is that there’s a tremendous amount of goodwill — nobody expects perfection. It’s clear that everyone is using the tools, props and software that they have on-hand. We have to be resourceful and imaginative like children. On the day of the broadcast of my launch, with the live chat humming, I felt very much like a child putting on a bizarre, gleeful play for my friends. Together, we cultivated a sweet, peculiar kind of intimacy — a perfect fit for Smart Ovens for Lonely People.

Elizabeth Tan is a writer from Perth, Western Australia. Her first book, Rubik, was published in 2017 by Brio. Her second book, Smart Ovens for Lonely People, was shortlisted for the 2020 Readings Prize for New Australian Fiction. View the Smart Ovens launch: https://youtu.be/zR41sptHI-A.

Mirandi Riwoe
At the very end of February this year, when coronavirus still seemed a distant problem, my husband and I flew to Los Angeles. We stayed in Santa Monica and visited family, rode rental bikes, ate out on the crowded pier, caught Ubers everywhere. By about 5 March, we heard news that a couple of LAX workers had contracted COVID-19 and that people in Australia were hoarding toilet paper. First, I said to my husband, jokingly, ‘I wonder if we should take some toilet paper home with us’, and then, more seriously, ‘I wonder if my book launch will go ahead.’

‘Of course it will,’ he said. ‘It’s on the 27th! Nothing’s going to happen in such a short time.’

Ha.

By the time we arrived back in Australia on the 9th, health warnings and restrictions were kicking off. It’s hard to remember how quickly everything happened, but over the next two weeks, the number of people who could attend my book launch at Avid Reader bookstore shrunk, until only a handful of people, including staff, could be spaced out on their deck. And did I really want to put older people, like my father, at risk? (My mother and two adult children had already had to cancel their air tickets to attend my launch.) Luckily, over the week before my launch the lovely people at Avid Reader practiced Zoom meetings with me a few times, and a couple of days before I was to have my launch, we all decided it was best if we went ahead with a Zoom launch instead. I think I had the first Zoom launch in Australia.

I dressed up — just as I would have if I’d had an in-person launch — in a lace cheongsam, put on my red lippy and perched on my dragon couch in front of my computer clutching a glass of champagne. Of course, I would have preferred to be surrounded by loved ones cheering me on, to hug, to gulp down a little too much wine while signing my book, (I had badges and magnets made up to give away with each book), to eat the cupcakes UQP were going to provide with my book cover iced on top, to go next door to Chop Chop Changs and eat noodles with said loved ones. But there were upsides to the Zoom launch. I get terribly nervous talking in front of a crowd, so speaking to the screen was a little less harrowing. And I got to clutch my daughter’s guinea pigs during question time. The best part of the Zoom event, though, was that so many lovely people who could not have attended the live event ended up coming to my Zoom launch — interstate family, writers and readers, who I love and admire.

Mirandi’s Stone Sky Gold Mountain launch

Missing out on a live launch is such a miniscule thing in the scale of what is happening this year. And I’m so grateful for how supportive readers and other writers have been during this fraught period. Back in March it was very difficult to know what was going to happen. At first I wondered if the release of Stone Sky Gold Mountain should be postponed, but by the time we realised lockdowns and restrictions were going to take place, it was too late. Thankfully, a lot of people have found time to read over the last six months and I hope people continue to find solace in books. There are just so many great novels coming out, despite this pandemic.

Mirandi Riwoe’s novel Stone Sky Gold Mountain won the Queensland Literary Award for Fiction 2020. Her novella The Fish Girl won Seizure’s Viva la Novella V and was shortlisted for the Stella Prize and the Queensland Literary Award for Fiction.

To go in the draw win a book pack of Laura Elvery’s Ordinary Matter, Elizabeth Tan’s Smart Ovens for Lonely People and Mirandi Riwoe’s Stone Sky Gold Mountain simply sign up to my newsletter (sign-up box on this page).

Editing process rundown

11 June 2020

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.

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.

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Copyediting

Cartoon Irma talking on a panel at Noted Festival

With copyediting we move from the big picture down to the fine detail. The editor will go through your manuscript with a microscope, line by line, examining grammar, punctuation, spelling, vocabulary, formatting, clarity and awkward phrasing. At this stage it is absolutely imperative that your editor becomes a chameleon. (As you can see from the cartoon, this is a philosophy that I live by! As a sidenote, the irony of the spelling error follows Muphry’s Law, a lesser-known cousin of Murphy’s Law, that states that whenever you write about editing there will always be an error.) But I digress. Back to chameleons. In fiction, the voice is everything. The editor needs to take on the author’s voice, and work with it to make it the very best version of itself, not impose their own. If they can’t do that the result is death by a thousand cuts. The voice — which is what makes every work unique — can quickly become a dead thing. So choose your copyeditor wisely. Some editors have this skill, some don’t.

Proofreading

Page proofs for a book by Nick Earls

This stage is often misunderstood because the word ‘proofreading’ is used differently outside of the publishing context, often to mean a last-minute, super quick check of a document. With a book, proofreading happens once the manuscript has been typeset and the first set of page proofs have been delivered. And it is not a quick process; it is actually slow, careful and time-consuming work. It is essentially a quality control process where you are checking that everything is exactly as it should be. So, indie authors, please don’t ask your mum (who happens to be quite good at grammar) to do the job — I urge you to employ a professional.

In fact, many self-publishing authors neglect this stage altogether, to their great detriment. It’s like taking all the care in the world to build a limited edition car, only to skip the paint job. Once the typesetter enters the text there are a whole raft of errors that can inadvertently be introduced. What’s more, at this stage it is no longer just about the text, there are a new set of elements to consider in terms of design and layout. When I was teaching editing I used to show my students two sets of proofs for the same book: one with mark-up from the author, the other from me as editor. It demonstrated how even authors (with some exceptions) pick up comparatively little. A professional proofreader knows what to look for. They will ensure that the paint job is flawless.

Where can I find an editor?

Now that I’ve outlined the three stages of the editing process I thought I’d answer the two questions that I get asked the most often. The first is about how to find an editor. Firstly, you need to find someone who is qualified. Like every profession, there are people out there who claim to be editors who don’t have the necessary skills or experience. If you head to reputable sources like IPEd or the society of authors in your state you will find a register of editors. Your local writers centre may also be able to recommend an editor who’s a good fit for your book. But one of the best ways to find an editor is through word of mouth recommendations. This brings me to the second point. You need to find someone who has experience working in your genre. So if a writer friend wrote a fantasy novel and you’ve written a middle grade novel the editor who they used may not be right for you. I emphasise ‘may’ here because it all depends on which genres that editor works in.

Finally, know that good editors are in demand and will likely be booked up several months in advance, so be sure to factor this in. Picture books are the exception (for me, at least) because they can usually be fit in around larger jobs.

How much will I pay?

The way it works is that you send the editor either a few sample chapters or the whole manuscript (the latter is better). They will assess whether the manuscript is a good fit for them, how much work is required and how much time it will take. They will then send you a quote that you are under no obligation to accept. After over two decades of working as an editor, my quotes are usually very accurate, but if a manuscript takes me less time than anticipated I always reduce the fee accordingly. If it takes longer, I never increase the fee. It is standard to expect to pay at least half the fee upfront, with the rest paid on delivery of the manuscript. For smaller jobs — for example, editing a picture book manuscript — expect to pay the full fee upfront. You may also be required to sign a contract that will protect the interests of both parties.

Occasionally I am contacted by new writers who think a structural edit of a 90,000-word manuscript is going to cost them a couple of hundred dollars. Remember that you are paying for a professional’s time. And if you don’t employ a professional, your money is probably going to be wasted. Which brings us back to the earlier point — and the most important one to end with — that you need to make sure that you find the right editor for you and your book.

If you have any questions about editing or publishing, please drop them in the comments. And no question is too silly!

Irma has been an editor, both in-house and freelance, for 21 years. She is a professional member of the Canberra Society of Editors and for a decade was Convener of Editing at the University of Canberra. For examples of her work and endorsements, or to get in touch about editing a manuscript, see Editing services.