publishing

ADELAIDE WRITERS’ WEEK, PART 2

by Irma
9 March 20143 July 2017

Festivals always afford writers the chance to talk shop, and Adelaide Writers’ Week was no different. There were so many wonderful conversations — both on and off the stage — about this industry that we’re all part of in one way or another.

On stage, the combination of English writers Margaret Drabble and Helen Dunmore resulted in one of the best sessions I’ve been to at any festival. Drabble and Dunmore covered a huge amount of ground but I’d like to pick up one particular strand of discussion. Both authors spoke about how difficult it is for new writers to get published these days. ‘It was easier for us,’ Dunmore said. ‘Now writers have to be so savvy. And I do think talent is missed.’ Drabble added, ‘Now novels never even get out of the slush pile.’

But if you do manage to get your first novel published, the difficulties are far from over. If your book doesn’t sell as well as the publisher expects, the second won’t be published. There are many authors out there now — prize-winning, critically-acclaimed authors — who can’t get their books published. As Malcolm Know once said, ‘Bad sales are the wall through which novelists can no longer ghost.’ These days an author can produce a novel a publisher considers to have literary worth and still not get published.

BookScan, introduced in 2001, tallies book sales from Australian stores and provides publishers with detailed data. In other words, everyone knows exactly how many copies your last book sold. And if it wasn’t ‘enough’ the next book won’t find a publisher. As Dunmore noted, the major publishers are ‘terrified’ of publishing short fiction collections ‘because your figures will go down. And next time your novel is published everyone will look at that and orders will go down’.

The result of all this is that sales and marketing departments wield great power. And they don’t take a long view. As Dunmore said, ‘We were allowed to develop from book to book and not have great success but for new authors now there’s a lot riding on that first book.’ She went on to note that some writers ‘need three or four books to find their stride’ and in the past were granted this license. The publisher invested in the author because they believed in them. Dunmore concluded that the current sales-driven approach ‘is bad for readers as well as writers’.

A session later in the week on ‘Reading in the Marketplace’ delved deeper into these issues. Rebecca Saunders from Little, Brown Book Group (UK) explained how Amazon and Goodreads inform their acquisition decisions. They look at the number of reviews an author has and their average rating. Given that Saunders is managing a commercial imprint, the authors she is interested in will typically have thousands of reviews with an average four- or five-star rating. She also looks at the most heavily borrowed books in libraries.

Even just ten years ago publishers didn’t have access to any of the data that is now collected via Amazon, Goodreads, Facebook, Twitter and eReaders (from which publishers receive very detailed information, right down to that sentence you underlined on page 108). All of this means that more than ever readers are driving publishing decisions. For example, Saunders said that prior to the success of Fifty Shades of Grey they would never have acquired a book of erotic fiction ‘because we wouldn’t have been able to get it into the supermarkets’, therefore limiting sales. Now, of course, they know that ‘there is definitely an appetite out there for erotic fiction so we have followed suit’.

However, there are clearly problems with simply following readers. As Daniel Crewe from Profile Books (UK) said, what about the books that readers ‘want to read that they don’t yet know they want to read’. Got that?! He cited Lynne Truss’ Eats, Shoots and Leaves, which has been a bestseller for Profile. ‘Prior to that book, thousands of people wouldn’t have said they wanted to read a book about punctuation.’ And yet 10 years after it was first published it is still selling.

When I asked the panel about those earlier points made by Dunmore and Drabble concerning newer writers Saunders admitted that ‘it can be a little bit brutal’. However, she mentioned Gillian Flynn as an example of an author that Little, Brown remained committed to during her first two books, which sold modestly, before Gone Girl exploded into a bestseller. ‘Bestsellers are one in 100, so if an editor believes in an author and sees a place for them on their list they will continue to support them through at least a few titles.’ Crewe said that Profile Books do invest in authors long-term but that ‘the majors tend to have less patience’.

So where does all this leave us? A question worth posing is, would a book like James Joyce’s Ulysses be published today? Certainly not by any of the major publishing houses. It’s an awful thought that so many books widely considered to be of cultural importance simply wouldn’t be published today. And we would be the poorer for it.

Are you feeling as depressed as I am? Well, there is a glimmer of hope and it lies largely with the smaller independent publishers. Even some well-established authors are now turning to the independents who are still willing to invest in writers they believe in. But that’s a story for another day.

The final installment, Writers’ Week, Part 3, will be along shortly…

ADELAIDE WRITERS’ WEEK, PART 1

by Irma
7 March 20142 July 2017

I have always considered Adelaide Writers’ Week to be the Mecca of Australian literary festivals, and last week I made the pilgrimage for the first time. It didn’t disappoint.

Set in the Pioneer Women’s Memorial Gardens under marquees and shade sails, the outdoor setting lends the event a relaxed, convivial feel. Combined with perfect summer weather (I’m told previous years have seen temps in the forties but this year we were blessed with 32 degrees tops) and a stellar line-up of writers, I was in seventh heaven all week-long.

The sessions I found most invigorating were the panels (as opposed to those where an individual author was interviewed about their recent release). By their very nature the panels allowed for a broader discussion of writing, publishing and converging thematic concerns.

I particularly enjoyed Hannah Kent and Elizabeth Gilbert in conversation with Kalinda Ashton. This proved to be an interesting discussion about turning history into fiction. Gilbert talked about the four years of research for The Signature of All Things, saying, ‘You know 20 times more than you reveal.’ She kept boxes and boxes of index cards but said she then needed ‘to have the confidence to forget’. And I loved this analogy: ‘Because I’d prepared so much it was like riding a bike downhill.’

Kent spoke about knowing when to stop researching and get on with the business of writing: ‘When I realised I didn’t need to refer to my notes I was at the point of saturation…That’s when I knew I had granted myself the license to write fiction.’ Kent’s Burial Rites is a book that warrants the clichéd but entirely true ‘unputdownable’ endorsement, and Gilbert’s The Signature of All Things is now on my ever expanding To Read List.

Kalinda Ashton, Fiona McFarlane & Louise Doughty

I am always fascinated by other writers’ processes and Louise Doughty (who was generally marvellous) spoke most candidly about hers. Doughty explained that she doesn’t write sequentially. Every morning she gets up and writes whatever scene comes to her. ‘It gets to the point that I have a mass of mess,’ she said. ‘It looks not so much like a novel that’s being written, but a novel that’s being regurgitated. At that point I panic…and go and have a little cry.’ However, Doughty explained that she quickly gets over herself and begins spreading everything she’s written across the floor. She plots out what happens sequentially and then puts scenes in order. Once the paper trail is complete, she cuts and pastes on her computer accordingly. Doughty recounted how she arrived at Adelaide airport with her latest novel in her handbag. She had already ordered the sheaf of papers but not made the corresponding changes on her computer. Consequently she was clinging onto her handbag!

I also liked the idea of Fiona McFarlane’s document with its clever title, ‘The Moves’ (interviewer Kalinda Ashton — incidentally, an author whose work I also love — said she might have to appropriate this title, and I may too!). ‘The Moves’ was written entirely in red pen (‘to frighten myself,’ McFarlane said) and outlined every plot point. McFarlane used this document to work through ‘many, many drafts to get it [her novel, The Night Guest] right’.

Incidentally, the session with Doughty and McFarlane was a cracker, delving into issues of trust, both within their novels and the reading process itself. Doughty expounded on the idea that we all experience a novel differently, according to our experiences in life and where we are at that particular moment in time. ‘Novels are mirrors in which we see ourselves reflected,’ she said. Doughty illustrated this point by talking about a male friend’s reaction to Apple Tree Yard. He said that for him the book reinforced that ‘it’s possible to love two people at the same time’. As the only person to take this ‘message’ away from her book, Doughty thought, ‘Should I take him out for a drink and find out what’s going on in his life?’ We take from a novel what suits our narrative about our own lives.

Asphyxia with Martha from The Grimstones

Let’s end this post with a bit of fun (I can’t cram everything in here, so Part 2 and 3 will be along shortly). Hanging out in the tinsel-covered kids’ tent was a blast. Sadly, my children were back in Canberra but I joined the merry chaos regardless. Mem Fox is an absolute pro and immediately got the audience laughing. I thoroughly enjoyed watching her in action (kissing the illustrator’s name on every book she read).

Seeing Andy Griffiths talk I wished Master Seven could have been there. He would have been starry-eyed. And it was really something to see the tent overflowing with boys all there to talk books. Many boys are reluctant readers, but Griffiths makes all the right moves to get them hooked. There was lots of laughter and lots of ‘gross’ stories. My favourite moment: when Griffiths revealed that Jill from theTreehouse books is his wife in real life. A noise along the lines of ‘ewwwww’ rolled through the tent. Apparently this was categorised as ‘gross’ humour!

I also got to meet one of my childrens’ favourite authors, Asphyxia. They have exchanged letters and emails, and Master Seven long ago converted our cubby house into a Grimstones-inspired apothecary. He is still in there most days mixing up new potions, a very real example of the way books can fire the imagination.

Writers’ Week, Part 2 will delve into darker territory, namely the commercial side of the industry and how it is shaping publishing lists.

To agent or not to agent?

by Irma
4 August 201321 July 2016

Marion Halligan, Jackie French and Mary Cunnane

I’ve been meaning to write about agents after recording a podcast for Kill Your Darlings journal some weeks ago, but with the release of Megumi and the Bear I haven’t managed to find the time. I promised myself that I wouldn’t upload the podcast until I could write about everything I left out for the sake of brevity but, frankly, that might never happen. So instead let me offer a few thoughts and say that if you’re a writer thinking about getting an agent, this is the podcast for you.

I had the pleasure of interviewing one of Australia’s most experienced agents, Mary Cunnane, and respected authors Jackie French and Marion Halligan, who have opposing views on the value of agents. Jackie only had an agent for two months early in her career and the experience was a negative one. After advice from fellow authors, she decided to represent her own interests. Marion Halligan, on the other hand, has had the same agent for her entire career and swears by her.

One of the issues we discussed was the perils of an agent securing a large advance. All three of my interviewees had some fascinating experiences to share, with Jackie and Marion agreeing about the dangers inherent in accepting a large sum. However, I also want to refer you to this article by Chip MacGregor that Mary Cunnane directed me to. It eloquently makes Mary’s point that an unearned advance doesn’t necessarily equal a loss for the publisher. It’s a clear and compelling argument, though it doesn’t necessarily alter the perception of a book that hasn’t earned out its advance, and the way that might impact an author’s career.

Megumi and the Bear’s big day

by Irma
20 June 20133 July 2017

Organising a kids’ book launch is THE best fun. It’s one step up from a kids’ birthday party and it’s no secret among my friends that I enjoy planning my children’s parties as much as they do. So organising Megumi and the Bear’s big day has been a blast.

Naturally I was hoping for a good turnout but I never dared hope for the kind of crowd that crammed into Paperchain last Saturday. With 65 kids plus their accompanying big people there wasn’t much room to move. It was wild! So often book launches end up being attended mostly by friends and colleagues, so it was wonderful to look around the room and see it filled with unfamiliar faces.

But I’m getting ahead of myself. The day before the launch I baked up a Megumi and the Bear-themed storm. My personal favourite? Snowballs, aka cake pops dipped in white chocolate glaze and rolled in coconut. Just because I liked the idea of them, and they tasted pretty good too. Not that I got a look in on the day. The kids swept in and left not a crumb (well maybe a few on the floor). But that’s just as it should be.

We kicked off with a book reading — the first time I’ve read Megumi and the Bear to an audience, so that was pretty special. And there’s nothing quite as lovely as a carpet full of wide-eyed kids.

While I signed books (including one for a Megumi who lives in Japan — how brilliant is that?), the kids ate bear cupcakes and biscuits, jelly cups, and those snowballs (thankfully they were only thrown into mouths).

Then the kids hit the craft table, making a bear mask each, and the goodie bags disappeared in a wild flurry. We drew the lucky door prize, and thanks to generosity of Meg at The Teddy Bear Shop we handed out impossibly soft teddy bears with the first 50 book purchases to some very happy kids.

After an hour of loud and raucous fun, everyone left clutching their goodie bags, books and bears, high on sugar and words. And the best bit? All of it. Because picture books are where it all begins, and playing even the teensiest part in fostering a lifelong love of reading is as good as it gets.

Next stop Sydney! If you’re in the area on 20 July at 2 pm come and join us for Megumi mark two. The illustrator Craig Phillips is flying in from New Zealand to be there, and bringing with him some original Megumi art. There’ll be more giveaways and food and craft. In short, it’ll be a beary good time. (Forgive me, I just couldn’t help myself.)

Finally a very BIG thank you to all the organisations that donated items for the goodie bags: Walker Book s, National Library of Australia, Sugar Station and The Teddy Bear Shop. And to photographer Ash Peak who took all these gorgeous snaps.

For more photos from the launch head to my Facebook page. And if you still haven’t got your Megumi fill, Kids Book Review’s photo spread of the launch is here.

The story behind the story

by Irma
13 June 20133 July 2017

Riding the publicity trail for a book can be surreal and lovely or exhausting and tedious. Sometimes it’s all of those things at once. It’s a strange experience to talk endlessly about the story behind your book, but fascinating to hear readers’ perceptions of the work. Many reviewers, for instance, have noted that Megumi and the Bear is about never giving up hope. They’re absolutely right, and yet this wasn’t consciously in my mind as I wrote it.

I’ve also realised that in recounting Megumi’s origins I’ve inadvertently given some readers a false impression. I’ve been talking about how this picture book is unusual because the illustrations came first. Craig Phillips emailed me a handful of drawings of a little girl and a bear playing in the snow, inspired by a trip to Japan, and I was in turn inspired to write the story that became Megumi and the Bear. However, it wasn’t until Alex Sloan interviewed me on ABC that I realised people have assumed that the story was all mapped out in pictures and I simply added the words. Not so. The illustrations were only the starting point, or the spring board, for the story. None of those original illustrations are in the finished book, though a couple of pages are variations on them. (Here’s an original so you can see why I fell madly in love with these two. Though you’ll notice how different the bear looks.)

Sometimes in the publicity whirlwind it’s easy to lose the sheer pleasure of finally seeing your precious book getting out and about. As Craig Phillips wrote to me: ‘We should just be enjoying the fact that we have a book out. How many people have their own children’s book out on the stands?? Not many!’ A very good reminder.