Dianne Bates's Blog, page 4
February 1, 2017
Today's interview is with Australian author/illustrator&n...
Today's interview is with Australian author/illustrator Alison Reynolds who has been publishing since 2003 with Five Mile Press. She talks here about her latest two children's books. Can you tell readers about your book? My two latest books are PICKLE AND BREE’S GUIDE TO GOOD DEEDS – THE PLAYGROUND MEANIES and PICKLE AND BREE’S GUIDE TO GOOD DEEDS – THE BIG SNOW ADVENTURE.These are the latest two picture books in the Pickle and Bree’s Guide to Good Deeds series aimed at children 4- 8. They explore social etiquette and positive behaviour in a light, humorous way. The Playground Meanies is about bullying and The Big Snow Adventure tackles respecting rules.
Each book features a Handy Guide to Good Deeds on the last page, which can be used as a discussion point for adults and children.
What is the book’s history to publication? The Five Mile Press http://www.fivemile.com.au/ commissioned these books as part of an ongoing series. The editor approved my initial concepts after a bit of toing and froing. Why did you choose Five Mile Press as your publisher? I’ve worked with The Five Mile Press for many years and value highly my relationship with them. They’ve offered me many wonderful opportunities to write many different style books. They’re perfect match for somebody like me who enjoys a challenge.How long did it take from submission of your manuscript to receipt of advance copies? The whole process from initial concept to being edited took about five months.
Which editor did you work with? Was there a lot of work that needed to be done to your manuscript? How was the editing experience for you? I worked with the super talented Melissa Keil at The Five Mile Press. She manages to point out where the text can be improved with tact and perspicacity. There was not as much work needed as for the first two books, because I know the characters now. With Melissa, I feel we’re working together to make the books the best books they can be.
Who is the book’s illustrator? Why do you like her work? Mikki Butterley is a brilliant illustrator who lives in the north of England. She comes from a background of creating cards, and her attention to detail is extraordinary. I adore her work for the sense of fun she captures. Whatever wild wacky idea I come up with in the text, Mikki seems to be able to match it up with a gorgeous illustration. I also love her colour palette.
Anything else you’d like to say about your publisher? I would recommend The Five Mile Press to illustrators and other authors. They produce a range of different fabulous products, which makes it an exciting company to work with.
Have you written other books for children? I’ve had over 70 books published, including board books, picture books, chapter books, choose-your-own-adventure style books and even a non-fiction adult book. I work for different publishers, which helps me maintain a flow of work.
Do you belong to a writing group? I’ve belonged to a few writing groups in the past. One group has transformed into a lunching group of close friends as I’m the only one who still writes on a full-time basis. I firmly believe writing groups can be excellent especially when you’re starting out, but you need to be in one that suits you. If you find you’re in a toxic writing group that makes you feel bad, belittled and if you’re the one who is doing all the work, run. I’m lucky enough to be working with editors who give me thoughtful, excellent feedback, so I’m not in a writing group at the moment.
I had a few outstanding writing tutors/mentors when I studied, for example Janey Runci, Sari Smith, Rachel Flynn and Marg McKenzie.
What are you now working on? I have an idea that I’m playing with for a series for 6- 8 year olds. I’m not at the stage of sending it out to publishers yet, but hope to be there soon. I’ve had a variety of books published, including picture books, board books, chapter books, middle grade books and even an adult non-fiction book.
Anything else you’d like to add? To aspiring writers out there: never give up; never give up; never give up.
I would love you to check out my website at www.alisonreynolds.com.au
November 19, 2016
Motivating Yourself to Write
‘Superglue’, that’s the answer I give when people ask how I motivate myself to write day after day. ‘Apply it to the seat of your pants and face the screen.’ It’s a glib answer, but basically this is the surest way to achievement.
There's nothing like the feeling of starting to write a brand new story. You’ve probably been thinking about it for days or weeks before you actually sit down at your computer and start tapping away. The characters are real in your head; the plot sounds promising, and you are motivated. This is going to be The One, the great international best-selling novel.
Your initial feeling of excitement can last for weeks. It's rewarding to see the word count increase as days pass. It's a joy to open your laptop and spend hours in your fictional world, forgetting all your everyday chores.
Comes the day, though, when you turn on your computer and instead of having fun writing the next scene, you stare at the screen and find yourself thinking about anything other than your story. Visitors are coming for tea, your carpets need vacuuming and your garden is neglected. You type a few sentences, but when you read them through they sound about as interesting as last week's shopping list. Is it worth pursuing, you ask yourself. Perhaps it’s just one of those days. You write in your diary, make a cuppa and bring in the washing. All the time you’re thinking about how difficult it is to write, how nobody said you ‘have to’ write, that getting published is almost impossible given bookshops are closing. Doubts and negative thoughts crowd your head.
Before too long, this becomes the pattern of your days. Sometimes you manage to write a description - even finish a chapter - but more and more, you find reasons not to write. You moan to your family and colleagues about how you’re procrastinating and you ask yourself ‘how can I get over this writer’s block?’
Here is the cold, hard truth: motivating yourself to do anything that’s hard work, like losing weight, doing your taxes, exercising daily – and yes, writing -- is not possible. You cannot motivate yourself to write. What you can do, is put a plan into action. Work out a system to get what you want.
First, know that the rewards have to be greater than the pain, or you won't do it. We spend our lives trying to avoid pain and to seek out that which is pleasurable. Yes, it’s true! The good news is that once you realise this, you've just taken a giant step towards your ultimate goal - getting your book finished and then getting it published.
Here are a few tips on how to reach your writing and publishing goals. First of all, you need to get serious. This doesn’t mean enrolling in countless courses, networking, going to writers’ festivals or reading writing magazines: none of it will do any good if you don't get serious about the actual WRITING. To have finished pages mounting up, you have to write. To get a manuscript complete enough to submit to a publisher, you have to write. You have to write regardless of whether you’re in the mood; whether or not there are family dramas or you’ve got a head cold. Superglue time is the published writer’s bottom line!
What are some ways of getting out that tube of glue? As indicated above, you need to put writing first. Make it your daily priority. Give it at least an hour a day. One hour out of twenty-four is doable. If you can't spare just one hour a day for your writing, then you are simply not serious.
If the reason you can't spare an hour a day is due to a genuine emergency (a serious illness, for instance), then that's different. Give whatever the crisis is your full attention, then get back to being serious about your writing as soon as it’s passed. Set up a routine for your writing until it becomes a habit. Don't let anything get in the way. If something totally unexpected comes along to derail you and sabotage your writing time, then make that time up before the week is out.
Map out your road to publication. You need to go through a process to do this, so be businesslike and create a checklist. This might include necessary research, writing crucial scenes, finishing a chapter at a time, finishing the first draft, editing the draft, getting feedback (perhaps paying for a manuscript assessment), re-polishing the draft. Make checklists not only for characters, but also for setting, plot, completion dates for scenes (or chapters), editing and polishing your work. Also rough out deadlines for each list. Goal-setting – setting up systems -- needs to be a priority.
One of the best ways of motivating continuity on your writing project is to find support, either with a writing buddy or through a workshop group that meets regularly. It really helps to be accountable to someone, to have support in setting up good writing habits and maintaining discipline with the goals and deadlines you’ve set up, and to critique each other’s work. Your writing support can be a single person whose opinions you trust (perhaps someone else on the path to publication), or it can take the form of a writing course with set tasks, an online assessment/editing forum, or a reputable critique service. Beware, however, of ‘supporters’ who don’t take the writing as seriously as you do: some forums can generate into chatty emails that aren’t focused on achievement.
If you want to be part of a writing workshop that meets regularly to critique works-in-progress, and you don’t know of one, then find one. This might involve putting a notice in your regional newspaper or library, contacting the nearest writers’ centre or asking your council’s community arts officer for local writers’ groups. A good size
group is four to five. Meetings might be once a week, month or fortnight.
Ready to get serious? Then stop reading this article, and clear the decks - mentally, socially and physically. Arrange a quiet writing area that is yours alone. Commit your writing plan and time to paper. Find a writing buddy or writing critique group, then START!
Discipline and good habits will get your book written, and motivation will come from seeing the results.
© Dianne Bates
A former magazine and newspaper editor, Dianne (Di) Bates is author of over 130
There's nothing like the feeling of starting to write a brand new story. You’ve probably been thinking about it for days or weeks before you actually sit down at your computer and start tapping away. The characters are real in your head; the plot sounds promising, and you are motivated. This is going to be The One, the great international best-selling novel.
Your initial feeling of excitement can last for weeks. It's rewarding to see the word count increase as days pass. It's a joy to open your laptop and spend hours in your fictional world, forgetting all your everyday chores.
Comes the day, though, when you turn on your computer and instead of having fun writing the next scene, you stare at the screen and find yourself thinking about anything other than your story. Visitors are coming for tea, your carpets need vacuuming and your garden is neglected. You type a few sentences, but when you read them through they sound about as interesting as last week's shopping list. Is it worth pursuing, you ask yourself. Perhaps it’s just one of those days. You write in your diary, make a cuppa and bring in the washing. All the time you’re thinking about how difficult it is to write, how nobody said you ‘have to’ write, that getting published is almost impossible given bookshops are closing. Doubts and negative thoughts crowd your head.
Before too long, this becomes the pattern of your days. Sometimes you manage to write a description - even finish a chapter - but more and more, you find reasons not to write. You moan to your family and colleagues about how you’re procrastinating and you ask yourself ‘how can I get over this writer’s block?’
Here is the cold, hard truth: motivating yourself to do anything that’s hard work, like losing weight, doing your taxes, exercising daily – and yes, writing -- is not possible. You cannot motivate yourself to write. What you can do, is put a plan into action. Work out a system to get what you want.
First, know that the rewards have to be greater than the pain, or you won't do it. We spend our lives trying to avoid pain and to seek out that which is pleasurable. Yes, it’s true! The good news is that once you realise this, you've just taken a giant step towards your ultimate goal - getting your book finished and then getting it published.
Here are a few tips on how to reach your writing and publishing goals. First of all, you need to get serious. This doesn’t mean enrolling in countless courses, networking, going to writers’ festivals or reading writing magazines: none of it will do any good if you don't get serious about the actual WRITING. To have finished pages mounting up, you have to write. To get a manuscript complete enough to submit to a publisher, you have to write. You have to write regardless of whether you’re in the mood; whether or not there are family dramas or you’ve got a head cold. Superglue time is the published writer’s bottom line!
What are some ways of getting out that tube of glue? As indicated above, you need to put writing first. Make it your daily priority. Give it at least an hour a day. One hour out of twenty-four is doable. If you can't spare just one hour a day for your writing, then you are simply not serious.
If the reason you can't spare an hour a day is due to a genuine emergency (a serious illness, for instance), then that's different. Give whatever the crisis is your full attention, then get back to being serious about your writing as soon as it’s passed. Set up a routine for your writing until it becomes a habit. Don't let anything get in the way. If something totally unexpected comes along to derail you and sabotage your writing time, then make that time up before the week is out.
Map out your road to publication. You need to go through a process to do this, so be businesslike and create a checklist. This might include necessary research, writing crucial scenes, finishing a chapter at a time, finishing the first draft, editing the draft, getting feedback (perhaps paying for a manuscript assessment), re-polishing the draft. Make checklists not only for characters, but also for setting, plot, completion dates for scenes (or chapters), editing and polishing your work. Also rough out deadlines for each list. Goal-setting – setting up systems -- needs to be a priority.
One of the best ways of motivating continuity on your writing project is to find support, either with a writing buddy or through a workshop group that meets regularly. It really helps to be accountable to someone, to have support in setting up good writing habits and maintaining discipline with the goals and deadlines you’ve set up, and to critique each other’s work. Your writing support can be a single person whose opinions you trust (perhaps someone else on the path to publication), or it can take the form of a writing course with set tasks, an online assessment/editing forum, or a reputable critique service. Beware, however, of ‘supporters’ who don’t take the writing as seriously as you do: some forums can generate into chatty emails that aren’t focused on achievement.
If you want to be part of a writing workshop that meets regularly to critique works-in-progress, and you don’t know of one, then find one. This might involve putting a notice in your regional newspaper or library, contacting the nearest writers’ centre or asking your council’s community arts officer for local writers’ groups. A good size
group is four to five. Meetings might be once a week, month or fortnight.Ready to get serious? Then stop reading this article, and clear the decks - mentally, socially and physically. Arrange a quiet writing area that is yours alone. Commit your writing plan and time to paper. Find a writing buddy or writing critique group, then START!
Discipline and good habits will get your book written, and motivation will come from seeing the results.
© Dianne Bates
A former magazine and newspaper editor, Dianne (Di) Bates is author of over 130
November 17, 2016
All of Us Together
Today's guest is CBCA multi-award winning author Bill Condon whose latest book, All of Us Together, was recently published by About Kids Books (http://www.aboutkidsbooks.com) Bill kindly offered to answer some questions about this family story which goes straight to the heart.Why did you set your book All of Us Together in Australia during the 1930s Great Depression?I suppose the main thing was that it seemed a very interesting time in Australia’s history, and one that was brimming with possibilities for a writer. Also, today’s children probably don’t know much, if anything, about the hard times their ancestors lived through. I thought that writing a family story set in that time was a good way to give them an understanding of the Depression. But I should point out that I wasn’t interested in giving any kind of history lesson. For me, the historical aspect is very much in the background. First and foremost, I tried to write a story that would keep kids turning the pages.
The seeds of this book were probably first sown when I was in my teens, perhaps even younger. Back then my parents used to tell me about their experiences in the 30s. Like most young people, I probably didn’t listen very closely, but I must have been tuned in subconsciously. And so, when I was hunting around for a new project, the Depression gradually bubbled Was your own family anything like Daniel's?In lots of ways, yes. Like Daniel, the main character in All Of Us Together, I have two sisters. In my story, Daniel is the oldest, whereas in real life, I was the youngest – and I still am! My mum and dad were working class people, the same as Daniel’s parents. And the really big similarity between his family and my own is that, like Daniel and his sisters, we had the great good fortune to have loving and kind parents.
What would you say are the themes of All of Us Together?I didn’t set out to write a themed book, or to be moralistic or preachy. I think that would be death to any story. However, themes do emerge. Daniel’s parents teach their children to be honest and to respect others. Of course, honesty is not always easy, so when Daniel makes mistakes, he knows he has to take the consequences. The love and support one gets from family is also evident, as are issues related to mateship, bullying, and coming to terms with grief.
How long does it take you to write a book?It’s very hard to give an accurate answer. I started All Of Us Together last year, and worked on it for several months before consigning it to the Too Hard Basket. In January of this year I changed it from third person to first and dived back into, starting all over again. This time I didn’t quit and it took about seven or eight months to finish. So with this one it’s been well over a year. Some of them take a lot longer.
You have won quite a few book awards: how important are they to you?I’d be lying if I said they didn’t matter. Just about every writer surely dreams of winning the glittering prize. However, I think there is a lot of luck involved in it. The year I won the Prime Minister’s Award (2010) all the other shortlisted writers had reason to be confident. Each of them had won other awards or been shortlisted. Mine was the only book that hadn’t had any previous success. I’m sure if there had been betting on the result I would have been a rank outsider. There are so many good books that I feel should have won awards, but which missed out. What I try to remember is that the glitter vanishes quickly, and few remember who won last year’s big prize. And too, just being published is a pretty big deal.
Have you started on your next writing project?Not yet. It isn’t that long ago that I finished All Of Us Together and so I think I’m a little more brain-dead than usual. Hopefully that won’t last much longer.
November 16, 2016
SURVIVING REJECTION
In writing, as in life, rejection is frequent. Pro-active writers, in particular, are more likely than most to face rejection. At one time I had 47 consecutive manuscript rejections, while my annual acceptance rate varies from ten to thirty percent. Despite this, I have managed for many years to make a living from writing.
There are numerous reasons for manuscripts to be rejected. The quality of one’s material might not be up to standard. A manuscript might have problems with length, style, tone and/or subject matter. Or it might simply be that any given editor is having a bad day. Alternatively, it could be a case of bad timing: another manuscript with a similar theme might recently have been selected. The odds of having a manuscript picked up from a slush pile suggest that writing on spec is a gamble. As with all gambles, it’s impossible to have a 100% guarantee of success.
There are other ways in which a writer faces rejection. It might be that a book is published, but it’s unfavourably reviewed, or that it’s simply not reviewed. Being overlooked can be more difficult sometimes than having one’s work harshly judged. The best way to respond to bad or outrageous reviews is to just put on a brave face and move onto the next project. If your work is overlooked by reviewers, the only revenge is to try harder to promote your title. Writing articles about how the work came to be published and submitting it to whichever market will take them – paid or unpaid – is one way of having one’s work noticed, as is making use of social media.
Some authors face rejection when their book – favourably reviewed --- is not listed in literary awards. Again, this is a matter of putting on a brave face and just being thankful to at least have your book published: so many writers have never found a publisher. Tell yourself that not everyone can be short-listed, let alone win awards. If you don’t find yourself in the final half dozen, reassure yourself that although it’s good for one’s ego to be an award winner or ‘listed’, what ultimately counts is commercial sales. Sometimes an author who misses out on short-listings can find that their title appeals to the mass market and might even be short-listed (or win) reader choice awards. In the children’s book industry, names such as Jennings, Griffiths and Ball come to mind: the Children’s Book Council of Australia (CBCA) largely ignores their books, but these same authors often figure in children’s choice awards.
If you are in the book industry for the long haul, then you need to develop strategies which will reap acceptance and/or success. Probably one of the best ways is to diversify. This means writing more: the more projects you have on the go, the more likelihood there is of publication. Write for different markets. Write non-fiction as well as fiction. Write short stories as well as novels, plays as well as articles. You can also recycle previously rejected material. Re-work it into a different format so that it can be submitted to another market. Give old material new angles. Detouring to new projects can give one renewed enthusiasm. Re-writing, in order to create work of high quality, is yet another way of working towards publication and/or short-listing.
Taking rejection personally and complaining about judges’ and publishers’ bias or ignorance is futile and self-destructive. One needs to be thick-skinned and determined. Persistence and self-belief are the keynotes. Time and again I have succeeded as an author because of these qualities. For example, it was my 16th submission of The Last Refuge manuscript that saw success when it was taken by a publisher: I had re-titled it and recycled it to the very first publisher to whom I had submitted, and it was that publisher which ultimately accepted it! (It then went on to be published in translation and to win a book award.) Recently my friend and colleague, Edel Wignell, succeeded in placing a manuscript on her 65th submission! Now that is persistence!
Reassure yourself that your manuscript is of high quality but maybe there are reasons beyond your control – political or financial, for example -- that stop publication. Instead of using your energy to complain and carp, work harder and smarter. You, too, can survive rejection!© Dianne Bates
Dianne Bates has published over 130 books for young people – but she still has at least 10 unpublished children’s book manuscripts, all of which she believes are publishable! Her most recent book is a children's poetry anthology she compiled: Our Home is Dirt by Sea (Walker Books Australia). Di’s website is www.enterprisingwords.com.au
There are numerous reasons for manuscripts to be rejected. The quality of one’s material might not be up to standard. A manuscript might have problems with length, style, tone and/or subject matter. Or it might simply be that any given editor is having a bad day. Alternatively, it could be a case of bad timing: another manuscript with a similar theme might recently have been selected. The odds of having a manuscript picked up from a slush pile suggest that writing on spec is a gamble. As with all gambles, it’s impossible to have a 100% guarantee of success.
There are other ways in which a writer faces rejection. It might be that a book is published, but it’s unfavourably reviewed, or that it’s simply not reviewed. Being overlooked can be more difficult sometimes than having one’s work harshly judged. The best way to respond to bad or outrageous reviews is to just put on a brave face and move onto the next project. If your work is overlooked by reviewers, the only revenge is to try harder to promote your title. Writing articles about how the work came to be published and submitting it to whichever market will take them – paid or unpaid – is one way of having one’s work noticed, as is making use of social media.
Some authors face rejection when their book – favourably reviewed --- is not listed in literary awards. Again, this is a matter of putting on a brave face and just being thankful to at least have your book published: so many writers have never found a publisher. Tell yourself that not everyone can be short-listed, let alone win awards. If you don’t find yourself in the final half dozen, reassure yourself that although it’s good for one’s ego to be an award winner or ‘listed’, what ultimately counts is commercial sales. Sometimes an author who misses out on short-listings can find that their title appeals to the mass market and might even be short-listed (or win) reader choice awards. In the children’s book industry, names such as Jennings, Griffiths and Ball come to mind: the Children’s Book Council of Australia (CBCA) largely ignores their books, but these same authors often figure in children’s choice awards.If you are in the book industry for the long haul, then you need to develop strategies which will reap acceptance and/or success. Probably one of the best ways is to diversify. This means writing more: the more projects you have on the go, the more likelihood there is of publication. Write for different markets. Write non-fiction as well as fiction. Write short stories as well as novels, plays as well as articles. You can also recycle previously rejected material. Re-work it into a different format so that it can be submitted to another market. Give old material new angles. Detouring to new projects can give one renewed enthusiasm. Re-writing, in order to create work of high quality, is yet another way of working towards publication and/or short-listing.
Taking rejection personally and complaining about judges’ and publishers’ bias or ignorance is futile and self-destructive. One needs to be thick-skinned and determined. Persistence and self-belief are the keynotes. Time and again I have succeeded as an author because of these qualities. For example, it was my 16th submission of The Last Refuge manuscript that saw success when it was taken by a publisher: I had re-titled it and recycled it to the very first publisher to whom I had submitted, and it was that publisher which ultimately accepted it! (It then went on to be published in translation and to win a book award.) Recently my friend and colleague, Edel Wignell, succeeded in placing a manuscript on her 65th submission! Now that is persistence!
Reassure yourself that your manuscript is of high quality but maybe there are reasons beyond your control – political or financial, for example -- that stop publication. Instead of using your energy to complain and carp, work harder and smarter. You, too, can survive rejection!© Dianne Bates
Dianne Bates has published over 130 books for young people – but she still has at least 10 unpublished children’s book manuscripts, all of which she believes are publishable! Her most recent book is a children's poetry anthology she compiled: Our Home is Dirt by Sea (Walker Books Australia). Di’s website is www.enterprisingwords.com.au
November 14, 2016
BUZZ WORDS – INTERVIEW WITH DIANNE (DI) BATES
This interview was conducted by Edel Wignell who asked Dianne (Di) Bates about an online magazine, Buzz Words for those in the children's book industry which she founded in 2006 and which is published twice a month ten years later.
Tell us the genesis of Buzz Words: when and how the idea arose, and why the time was right for the launch of an e-journal. Working as a writer and living in regional Australia means that I don’t always have access to conferences and courses. As a result I have always been pro-active in generating means by which I can become involved: for example, in the past I’ve founded CBCA and FAW regional branches. More recently I’ve used emails to maintain networking contacts in the children’s book industry. I founded a weekly networking newsletter, CAINON, for children’s authors and illustrators which has since evolved into Pass It On, compiled by a young writer whom I mentored early in her career. Buzz Words (All the Buzz about Children’s Books) is another phase of my personal need to network and to share my knowledge of what is happening in the children’s book industry.
At first I was thwarted because my computing skills are limited, but I’ve been fortunate to have the help of Sandy Fussell, a new children’s author whom I mentored at the time. It’s largely due to Sandy’s computing assistance that I’ve felt confident about launching a more ambitious project than a short newsletter.
Originally I offered a free monthly newsletter to those who had supported my manuscript assessment service: this developed into the monthly e-zine Buzz Words which I officially launched in July 2006.
Outline the kinds of information that you pass on to readers and your strategies in discovering it.Like most other magazines, Buzz Words has regular features, some of which I commission, but most of which I compile. First of all is general information about the children’s book industry which I cull from many sources including the net, newspapers, magazines, e-zines and writers’ newsletters. I also list new publications which come from publicity releases sent to me by book publishers.
There are markets, competitions and opportunities, mainly of interest to writers: much of this material I’ve gathered over my 25 years of working in the children’s book industry. I troll the net for information about festivals, conferences, courses and workshops: I also belong to many writers’ organisations and take information from their publications.
Every month there are interviews with children’s authors and/or illustrators and others in the children’s book industry. For these guest profiles I ask people who are prominent and/or pro-active in children’s books. To date I’ve interviewed CBCA volunteers, publishers, publicists, librarians, magazine editors, literary agents et al. There are often people who’ve been working for decades in children’s books who have high profiles but whose personal circumstances are not generally well-known. One example is December Buzz Word guest, Margaret Hamilton, former librarian, bookseller, editor, publisher and CBCA volunteer and fund-raiser whom I’ve known for many years but until I interviewed her, I didn’t have an overview of her remarkable career in children’s books.
The January 2007 issue will feature interviews with Peter Bishop, Creative Director of Varuna Writers’ Centre and Jonathan Shaw who was editor of the NSW School Magazine for 12 years. Nobody seems to be interviewing people who devote so many faithful years in the industry. Every month, too, I offer a profile of a children’s publishing house, outlining the company’s specific publishing outcomes.
An important section of Buzz Words is the children’s book review blog (http://www.buzzwordsmagazine.com). In the past two months for example, over 70 reviews have appeared: currently there are 20 voluntary reviewers. For me personally, two of the most interesting features of Buzz Words are The Inside Scoop and A Foot in the Door where commercially and self-published authors write about their experiences of publication.
In addition, there are sections titled Useful Books/Webs Sites, Letters to the Editor and Classifieds. Finally, Buzz Words offers three or four articles every month. I write some, but I also pay specialists for articles pertaining to children’s books or to writing for children. In the next issue, for example, there’s an article called Afternoon Tea with Robin Klein, another article on the American children’s poet Jack Prelutsky, an article on reviewing books for young people, and I’ve been promised another article about a children’s author working in schools.
Not only does the journal provide a huge amount of information, but it has interactive elements, too. You encourage participation and award prizes. A feature of each issue has been the Kathleen Julia Bates Memorial Writing Competition. Describe it, and responses to it. (What is the inspiration for the establishment of the competition? Don't answer this Di, if you'd prefer to be silent.)Children’s book publishers have been generous in supplying me with review copies and giveaways for Buzz Words, so I’ve been able to offer monthly writing competitions – and giveaways - for subscribers. In searching for annual competitions for children’s writers, I found there were very few on offer and none whatsoever in some areas, such as children’s poetry, non-fiction or book reviews. Not one to wait for other people to take the initiative, I decide to organise regular competitions myself and have done this to honour the memory of my daughter, Kathleen Julia, who passed away at the age of two. So far I’ve run thirteen competitions, more recently a children's poem competition.
The response to the first picture book competition more than covered the judge’s fee and prize-money but I was out of pocket for the poetry competition. I suspect this is because the outlet for children’s poetry in Australia is extremely limited with the result that, unlike the situation in the UK, not many of our writers take up their pens in the cause of children’s poetry.
Buzz Words has wide appeal, not only to writers and illustrators of children's books, but increasingly, to teachers, librarians and parents. How did this come about?Buzz Words centres on children’s books, so it’s only natural it would be of interest to librarians, teachers and parents. A number of my subscribers work in publishing, but the majority are pro-active children’s authors.
To the 'nuts and bolts' of organization: all journals are prepared ahead. How do you cope with the need to keep the journal fresh with current news, and to constantly prepare for later editions? Perhaps be specific by outlining what you are doing right now.I have templates for issues 12 months ahead so whenever I see anything that’s planned for the future, such as a writers’ festival or a competition, I immediately go to the month in question and make a note of that event. I pencil in suggested authors, illustrators, special guest and publishing house profiles for forthcoming issues and brainstorm ideas for possible articles. For the most part, I try to do all I can to accommodate those who support Buzz Words: many of my subscribers are people whom I interview, for example. I also do what I can to promote writer-subscribers’ forthcoming titles. I believe in supporting those who support me.
Looking at future issues, I see that I’m considering an interview with a manuscript assessor and my publisher boss who is launching a new children’s magazine at Easter (I’m his story editor): I’m also preparing articles about Nutcote, Bologna Children’s Book Fair and Performance Sharing (an alternative to Readers’ Theatre). Now and again I receive proposals for articles for Buzz Words, but I’m not interested unless they pertain to children’s books and are of general interest to my subscribers.
Mentoring has long been one of your special interests, and many successful creators say that you first recognized and generously encouraged their talents. The creation of Buzz Words brings you great pleasure. Is this part of your talent and passion for sharing?I’ve mentored many new writers over the years as a means of giving back to my industry. I’ve given my time freely, but more recently, when I needed income, I offered paid mentorships. Since I recently took up a job as a children’s magazine editor, I’ve ceased both paid mentorships and manuscript assessments. At the moment I am only informally mentoring a handful of new writers, some of whom have become friends: I love to see them having their manuscripts accepted for publication! What I’m creating with Buzz Words is an e-zine which has been missing in the industry and which I think is sorely needed. I just wish more people knew about it and took out subscriptions!
Please provide subscription detailsBuzz Words (All the Buzz about Children’s Books) is available for $48 per annum ($2.00 per issue). Payment can be made by money order or cheque (payable to Di Bates) or online. For more information, contact Di Bates c% http://www.buzzwordsmagazine.com Sample issues are available.
Tell us the genesis of Buzz Words: when and how the idea arose, and why the time was right for the launch of an e-journal. Working as a writer and living in regional Australia means that I don’t always have access to conferences and courses. As a result I have always been pro-active in generating means by which I can become involved: for example, in the past I’ve founded CBCA and FAW regional branches. More recently I’ve used emails to maintain networking contacts in the children’s book industry. I founded a weekly networking newsletter, CAINON, for children’s authors and illustrators which has since evolved into Pass It On, compiled by a young writer whom I mentored early in her career. Buzz Words (All the Buzz about Children’s Books) is another phase of my personal need to network and to share my knowledge of what is happening in the children’s book industry.
At first I was thwarted because my computing skills are limited, but I’ve been fortunate to have the help of Sandy Fussell, a new children’s author whom I mentored at the time. It’s largely due to Sandy’s computing assistance that I’ve felt confident about launching a more ambitious project than a short newsletter.
Originally I offered a free monthly newsletter to those who had supported my manuscript assessment service: this developed into the monthly e-zine Buzz Words which I officially launched in July 2006.
Outline the kinds of information that you pass on to readers and your strategies in discovering it.Like most other magazines, Buzz Words has regular features, some of which I commission, but most of which I compile. First of all is general information about the children’s book industry which I cull from many sources including the net, newspapers, magazines, e-zines and writers’ newsletters. I also list new publications which come from publicity releases sent to me by book publishers.
There are markets, competitions and opportunities, mainly of interest to writers: much of this material I’ve gathered over my 25 years of working in the children’s book industry. I troll the net for information about festivals, conferences, courses and workshops: I also belong to many writers’ organisations and take information from their publications.
Every month there are interviews with children’s authors and/or illustrators and others in the children’s book industry. For these guest profiles I ask people who are prominent and/or pro-active in children’s books. To date I’ve interviewed CBCA volunteers, publishers, publicists, librarians, magazine editors, literary agents et al. There are often people who’ve been working for decades in children’s books who have high profiles but whose personal circumstances are not generally well-known. One example is December Buzz Word guest, Margaret Hamilton, former librarian, bookseller, editor, publisher and CBCA volunteer and fund-raiser whom I’ve known for many years but until I interviewed her, I didn’t have an overview of her remarkable career in children’s books.
The January 2007 issue will feature interviews with Peter Bishop, Creative Director of Varuna Writers’ Centre and Jonathan Shaw who was editor of the NSW School Magazine for 12 years. Nobody seems to be interviewing people who devote so many faithful years in the industry. Every month, too, I offer a profile of a children’s publishing house, outlining the company’s specific publishing outcomes.
An important section of Buzz Words is the children’s book review blog (http://www.buzzwordsmagazine.com). In the past two months for example, over 70 reviews have appeared: currently there are 20 voluntary reviewers. For me personally, two of the most interesting features of Buzz Words are The Inside Scoop and A Foot in the Door where commercially and self-published authors write about their experiences of publication.
In addition, there are sections titled Useful Books/Webs Sites, Letters to the Editor and Classifieds. Finally, Buzz Words offers three or four articles every month. I write some, but I also pay specialists for articles pertaining to children’s books or to writing for children. In the next issue, for example, there’s an article called Afternoon Tea with Robin Klein, another article on the American children’s poet Jack Prelutsky, an article on reviewing books for young people, and I’ve been promised another article about a children’s author working in schools.
Not only does the journal provide a huge amount of information, but it has interactive elements, too. You encourage participation and award prizes. A feature of each issue has been the Kathleen Julia Bates Memorial Writing Competition. Describe it, and responses to it. (What is the inspiration for the establishment of the competition? Don't answer this Di, if you'd prefer to be silent.)Children’s book publishers have been generous in supplying me with review copies and giveaways for Buzz Words, so I’ve been able to offer monthly writing competitions – and giveaways - for subscribers. In searching for annual competitions for children’s writers, I found there were very few on offer and none whatsoever in some areas, such as children’s poetry, non-fiction or book reviews. Not one to wait for other people to take the initiative, I decide to organise regular competitions myself and have done this to honour the memory of my daughter, Kathleen Julia, who passed away at the age of two. So far I’ve run thirteen competitions, more recently a children's poem competition.
The response to the first picture book competition more than covered the judge’s fee and prize-money but I was out of pocket for the poetry competition. I suspect this is because the outlet for children’s poetry in Australia is extremely limited with the result that, unlike the situation in the UK, not many of our writers take up their pens in the cause of children’s poetry.
Buzz Words has wide appeal, not only to writers and illustrators of children's books, but increasingly, to teachers, librarians and parents. How did this come about?Buzz Words centres on children’s books, so it’s only natural it would be of interest to librarians, teachers and parents. A number of my subscribers work in publishing, but the majority are pro-active children’s authors.
To the 'nuts and bolts' of organization: all journals are prepared ahead. How do you cope with the need to keep the journal fresh with current news, and to constantly prepare for later editions? Perhaps be specific by outlining what you are doing right now.I have templates for issues 12 months ahead so whenever I see anything that’s planned for the future, such as a writers’ festival or a competition, I immediately go to the month in question and make a note of that event. I pencil in suggested authors, illustrators, special guest and publishing house profiles for forthcoming issues and brainstorm ideas for possible articles. For the most part, I try to do all I can to accommodate those who support Buzz Words: many of my subscribers are people whom I interview, for example. I also do what I can to promote writer-subscribers’ forthcoming titles. I believe in supporting those who support me.
Looking at future issues, I see that I’m considering an interview with a manuscript assessor and my publisher boss who is launching a new children’s magazine at Easter (I’m his story editor): I’m also preparing articles about Nutcote, Bologna Children’s Book Fair and Performance Sharing (an alternative to Readers’ Theatre). Now and again I receive proposals for articles for Buzz Words, but I’m not interested unless they pertain to children’s books and are of general interest to my subscribers.
Mentoring has long been one of your special interests, and many successful creators say that you first recognized and generously encouraged their talents. The creation of Buzz Words brings you great pleasure. Is this part of your talent and passion for sharing?I’ve mentored many new writers over the years as a means of giving back to my industry. I’ve given my time freely, but more recently, when I needed income, I offered paid mentorships. Since I recently took up a job as a children’s magazine editor, I’ve ceased both paid mentorships and manuscript assessments. At the moment I am only informally mentoring a handful of new writers, some of whom have become friends: I love to see them having their manuscripts accepted for publication! What I’m creating with Buzz Words is an e-zine which has been missing in the industry and which I think is sorely needed. I just wish more people knew about it and took out subscriptions!
Please provide subscription detailsBuzz Words (All the Buzz about Children’s Books) is available for $48 per annum ($2.00 per issue). Payment can be made by money order or cheque (payable to Di Bates) or online. For more information, contact Di Bates c% http://www.buzzwordsmagazine.com Sample issues are available.
November 12, 2016
FINDING A PUBLISHER
I have published over 130 books, mostly for young readers. I'm constantly searching for publishers appropriate for the book I'm writing or planning to write. Hopefully these clues will help you, too, track down a publisher. Good luck!
1) Write your book.
When you're starting out, publishers want to see a finished product, or at least part of a finished product. They want to know that you're capable of writing the whole novel. So before you approach a publisher or, even research the market, write your novel.
2) Research the market.
First you need to know what sort of book you've written. Who is your reader? Males? Females? Both? What is the age of your audience? Is your book genre fiction? What genre? What about the length?
Visit local book stores and look for books similar to your own in length and genre. You'll find the publisher's information easily, both on the cover and inside the book. Write down a list of the publishers you find that might be interested in work similar to your own.
3) Research the publishers.
I own a copy of The Australian Writer's Marketplace. You can buy Writer's Marketplace reference books for other countries as well, including the USand UK. You'll find details of many publishers in this reference resource. These details include their address, phone number, email address, website and submission requirements.
Create – and keep up to date - your own list of publishers who publish in your chosen genre. As a writer of books for young people, I have a comprehensive contact list which I regularly update by keeping my eye on publishers’ details in trade magazines, by swapping information with other writers with whom I network and by phoning publishers at least once annually.
The Internet has made finding publishers a much easier task. If a publisher has a website, and most of them do, then visit the website. Research what they are publishing. And look for submission information. Firstly, do they accept unsolicited manuscripts? Your manuscript is unsolicited if a publisher or editor hasn't requested to read it. In other words, your manuscript is unsolicited if you're sending it to a publisher without their prior knowledge.
A lot of publishers include submission guidelines on their websites, which you can easily downloaded. Always read a publisher's guidelines and always follow their instructions. Give your manuscript the best chance. If guidelines aren't readily available on a publisher's website, then send them a polite and professional email asking for a copy of their guidelines.
The reason you conduct research on publishers before you submit a manuscript is to save you time and money. There's no point sending your horror novel to a publisher that only publishes romance novels. There's no point sending your children's picture book to a publisher that doesn't publish children's books or picture books. There's no point sending your unsolicited manuscript to a publisher that doesn't accept unsolicited manuscripts.
4) Be professional
When you deal with publishers or anyone associated with the publishing industry it pays to always be polite, friendly and professional. Publishers are looking for writers who can produce great novels and conduct themselves professionally. This includes submitting your work in a professional manner. A neatly formatted manuscript, accompanied by a well-written query letter will be more readily accepted than a hand-written, unedited story!
You can find plenty of articles about query letters, manuscript submission and formatting here: http://www.fictionfactor.com/submission.html
5) Be Realistic
Biggest does not equal best! Almost every writer wants to see his or her own book up there on the best seller lists. But aiming your book at the biggest name publishing house you can locate is not always realistic - nor is it always the best possible publishing home for your precious work. In many cases, a smaller, more specialised publisher might have a better chance of placing your book in front of the right readers for your particular genre.
6) Research again!
Just because you may have found the name of a publisher willing to publish a book similar to your own does not necessarily mean they are still accepting submissions! Keep a close eye on websites that list publishers actively seeking manuscripts. Some of these even list publishers who are no longer accepting submissions, so you'll at least have some idea of where NOT to send your work.
Here are some links to help you find a publisher's website:
http://home.vicnet.net.au/~ozlit/austpub.html
http://www.publishers.asn.au/links.cfm?doc_id=35
http://www.publishers.ca/CNM_Index.wws
http://www.lights.com/publisher/alphabetic.html
http://www.publishers.org/member/members.cfm
http://www.ukwebstart.com/listbookpubs.html
http://www.booktrust.org.uk/publishers/pubindex.htm
Naturally there are many more websites on publishers that you can find for yourself by searching the Internet.
You can also access the names of Australian publishers by purchasing the Australian Publishers’ Association annual list of members.
You are in the driver's seat of your writing career. Take control and target your submissions to the best of your ability. And that means researching the market and researching publishers.
© Dianne (Di) Bates
1) Write your book.
When you're starting out, publishers want to see a finished product, or at least part of a finished product. They want to know that you're capable of writing the whole novel. So before you approach a publisher or, even research the market, write your novel.
2) Research the market.
First you need to know what sort of book you've written. Who is your reader? Males? Females? Both? What is the age of your audience? Is your book genre fiction? What genre? What about the length?
Visit local book stores and look for books similar to your own in length and genre. You'll find the publisher's information easily, both on the cover and inside the book. Write down a list of the publishers you find that might be interested in work similar to your own.
3) Research the publishers.
I own a copy of The Australian Writer's Marketplace. You can buy Writer's Marketplace reference books for other countries as well, including the USand UK. You'll find details of many publishers in this reference resource. These details include their address, phone number, email address, website and submission requirements.
Create – and keep up to date - your own list of publishers who publish in your chosen genre. As a writer of books for young people, I have a comprehensive contact list which I regularly update by keeping my eye on publishers’ details in trade magazines, by swapping information with other writers with whom I network and by phoning publishers at least once annually.
The Internet has made finding publishers a much easier task. If a publisher has a website, and most of them do, then visit the website. Research what they are publishing. And look for submission information. Firstly, do they accept unsolicited manuscripts? Your manuscript is unsolicited if a publisher or editor hasn't requested to read it. In other words, your manuscript is unsolicited if you're sending it to a publisher without their prior knowledge.
A lot of publishers include submission guidelines on their websites, which you can easily downloaded. Always read a publisher's guidelines and always follow their instructions. Give your manuscript the best chance. If guidelines aren't readily available on a publisher's website, then send them a polite and professional email asking for a copy of their guidelines.
The reason you conduct research on publishers before you submit a manuscript is to save you time and money. There's no point sending your horror novel to a publisher that only publishes romance novels. There's no point sending your children's picture book to a publisher that doesn't publish children's books or picture books. There's no point sending your unsolicited manuscript to a publisher that doesn't accept unsolicited manuscripts.
4) Be professional
When you deal with publishers or anyone associated with the publishing industry it pays to always be polite, friendly and professional. Publishers are looking for writers who can produce great novels and conduct themselves professionally. This includes submitting your work in a professional manner. A neatly formatted manuscript, accompanied by a well-written query letter will be more readily accepted than a hand-written, unedited story!
You can find plenty of articles about query letters, manuscript submission and formatting here: http://www.fictionfactor.com/submission.html
5) Be Realistic
Biggest does not equal best! Almost every writer wants to see his or her own book up there on the best seller lists. But aiming your book at the biggest name publishing house you can locate is not always realistic - nor is it always the best possible publishing home for your precious work. In many cases, a smaller, more specialised publisher might have a better chance of placing your book in front of the right readers for your particular genre.
6) Research again!
Just because you may have found the name of a publisher willing to publish a book similar to your own does not necessarily mean they are still accepting submissions! Keep a close eye on websites that list publishers actively seeking manuscripts. Some of these even list publishers who are no longer accepting submissions, so you'll at least have some idea of where NOT to send your work.
Here are some links to help you find a publisher's website:
http://home.vicnet.net.au/~ozlit/austpub.html
http://www.publishers.asn.au/links.cfm?doc_id=35
http://www.publishers.ca/CNM_Index.wws
http://www.lights.com/publisher/alphabetic.html
http://www.publishers.org/member/members.cfm
http://www.ukwebstart.com/listbookpubs.html
http://www.booktrust.org.uk/publishers/pubindex.htm
Naturally there are many more websites on publishers that you can find for yourself by searching the Internet.
You can also access the names of Australian publishers by purchasing the Australian Publishers’ Association annual list of members.
You are in the driver's seat of your writing career. Take control and target your submissions to the best of your ability. And that means researching the market and researching publishers.
© Dianne (Di) Bates
November 10, 2016
CHECK YOUR CONTRACTS
Contract checklist (per Australian Society of Authors)Before you sign, make sure you understand the implications of these clauses
Where your publisher offers their standard contract, check that it:Has a firm date for publication Has rising royalties, paid on recommended retail price, not net receipts Gives approximate price and minimum print run Has a revision clause Binds the publisher to show you proofs Defines responsibility for the cost of illustrations, indexing, photographs and so on Has at least two accounting periods per year Makes the publisher responsible for the loss of manuscript or book stocks Has an effective termination clause. Check also that it does not:Assign copyright to the publisher Assign digital/electronic rights to the publisher Allow alterations without your consent Allow royalties calculated on the price of sheets sold Allow overstock or remainder sales within two years Set a price for future Book Club sales Take a share (other than agent’s commission) of non-print rights Hold reserves beyond the second accounting date Ask extended rights such as overseas rights without proof of ability to exploit them Purport to assign or waive your moral rights Include a consent to an act which otherwise would be a breach of your moral rights.From Barbara Jefferis, Rob Pullen and Lynne Spender Australian Book Contracts 3rd edition (Keesing Press).
Where your publisher offers their standard contract, check that it:Has a firm date for publication Has rising royalties, paid on recommended retail price, not net receipts Gives approximate price and minimum print run Has a revision clause Binds the publisher to show you proofs Defines responsibility for the cost of illustrations, indexing, photographs and so on Has at least two accounting periods per year Makes the publisher responsible for the loss of manuscript or book stocks Has an effective termination clause. Check also that it does not:Assign copyright to the publisher Assign digital/electronic rights to the publisher Allow alterations without your consent Allow royalties calculated on the price of sheets sold Allow overstock or remainder sales within two years Set a price for future Book Club sales Take a share (other than agent’s commission) of non-print rights Hold reserves beyond the second accounting date Ask extended rights such as overseas rights without proof of ability to exploit them Purport to assign or waive your moral rights Include a consent to an act which otherwise would be a breach of your moral rights.From Barbara Jefferis, Rob Pullen and Lynne Spender Australian Book Contracts 3rd edition (Keesing Press).
3 smart ways to crank up your creativity
Expand Your Know-HowIf you want to excel at something, learn as much about it as possible. "It doesn't do much good to simply say 'I'm going to be a painter,' " says neuropsychologist Dr Rex Jung."You have to know about colour blending and brush strokes." Biology backs this: When we're being creative, our frontal cortex (the part of the brain where memory is stored and retrieved) is activated. That makes sense, because in order to come up with ideas, you need to have info from which to draw. "The more you try, the more knowledge you'll have at your disposal when dreaming things up," he says.
Make Problems for YourselfChallenge your brain by coming up with what-ifs. You might ask yourself, What if I had to throw an impromptu dinner and all the guests were vegans? Or, What if I needed to look great for an event but didn't have time for a blow-dry?"By inventing problems and then figuring out solutions to them, you build brainpower," says Dr Mark Runco, a creativity researcher at the University of Georgia, US.
Pick a Letter, Any Letter"This puzzle exercises both sides of your brain," says psychologist Dr Shelley Carson. Set a timer for three minutes, then jot down all the nouns you can think of that start with a certain letter.
Set the timer for another three minutes and think of two categories the nouns would fit into-it might be places (Florida, France, forest) or parts of the body (finger, foot, face). When you're done, set the timer for three minutes again; re-ategorise the words into two more groups.
Make Problems for YourselfChallenge your brain by coming up with what-ifs. You might ask yourself, What if I had to throw an impromptu dinner and all the guests were vegans? Or, What if I needed to look great for an event but didn't have time for a blow-dry?"By inventing problems and then figuring out solutions to them, you build brainpower," says Dr Mark Runco, a creativity researcher at the University of Georgia, US.
Pick a Letter, Any Letter"This puzzle exercises both sides of your brain," says psychologist Dr Shelley Carson. Set a timer for three minutes, then jot down all the nouns you can think of that start with a certain letter.
Set the timer for another three minutes and think of two categories the nouns would fit into-it might be places (Florida, France, forest) or parts of the body (finger, foot, face). When you're done, set the timer for three minutes again; re-ategorise the words into two more groups.
November 8, 2016
Titles That Sell
"I can't think of a title. Do you have any ideas?" I've lost count of the times someone has said this to me! I usually roll my eyes and groan. Do I have any ideas? Not likely. Coming up with a title is hard work. Oh, sure, sometimes the perfect title seems to appear from nowhere... but more often, it involves a lot of brainstorming and some pretty dodgy choices in the beginning.
A pet hate of mine is what I call the 'Nothing' title. You know the kind of thing: "Treacherous Heart"; "Deception"; "The Wedding". When looking at the books I own before sitting down to write this, I actually spotted two novels on my shelves both entitled "The Wedding." Please, a bit more imagination! (Of course, if you're a best-selling author already it doesn't matter much. Your name is going to be twice the size of the title anyway. All your readers want to know is: "Have I read this one before...? No? Great, I'll buy it.")
Your book title is very important, so it's worth spending a bit of time on it - no, a LOT of time on it! Your title needs to sum up the theme of your book in a few words... yet be 'different' enough to stand out. There's no doubt that a good title can help to sell a book, although a bad title won't necessarily affect your chances of acceptance.
FOR NOW: if you're having trouble, at least call the book *something*. That helps you to see it as an entity. It's much easier to imagine it as a finished product when it has a title. You can always change the title later, but meanwhile you can be thinking of your novel by name instead of just 'my book'.
FOR LATER: keep in mind that your name is going to be associated with the title of your book forever more. You will be sending out press releases about your book; you may be doing radio or TV interviews; you are likely to be introduced at author talks and on panels as "Jane Writer, Author of "How to Make a Million Before Breakfast". Your title will be OUT THERE.
Now that you're thoroughly intimidated, let's think about how you can make your title (a) grab attention and (b) have something meaningful to say about your book. ("The Wedding" might say something about the book, but it's too generic - hardly a 'grabber'. Sure, romance readers like to read about weddings... but which novel would you pluck from the shelf: "The Wedding" or "Too Wild to Wed" (a book by Jayne Ann Krentz)? Your title should make people want to pick up your book and read more.) Here are some titles I found on my shelves that are intriguing, or full of promise, or maybe just quirky:
=== Non-Fiction ===
The One-Minute Millionaire by Mark Victor Hansen and Robert G. Allen. (No comment necessary about why this is effective.)
You'll See It When You Believe It by Wayne Dyer (A clever twist on the standard saying)
Men Are From Mars, Women Are from Venus (An inspired choice that has paid off big time)
=== Romance ===
Vows Made in Wine by Susan Wiggs. (This one came from a quote from Shakespeare: "I am falser than vows made in wine". Intriguing both on its own *and* if the source of the quote is recognised.)
The Mist and the Magic by Susan Wiggs. (This is the blurb on the back cover: THE MIST: Caitlin MacBride, mistress of the beleaguered Irish stronghold Clonmuir, made a wish one evening at sunset. "Send me my true love," she whispered. THE MAGIC: As she watched, a man walked out of the mist that rolled in off the water. In John Wesley Hawkins, Caitlin saw a magic she thought had been lost to Ireland forever...)
A further note on Susan Wiggs' titles: Susan has chosen to stay with the same rhythmic pattern for some of her titles, using the formula "The XXX and the XXX". As well as "The Mist And The Magic", she has written "The Raven and the Rose" and "The Lily and The Leopard". (She also has what I call a 'nothing' title: "Embrace the Day" so it just goes to show you can't win all the time.)
Moving right along: Several authors choose to use well known song titles or excerpts as titles. This works well if it's tied to the book's theme. Included in those are:
Nobody's Baby But Mine (Susan Elizabeth Phillips)
It Had To Be You (Susan Elizabeth Phillips)
Walking After Midnight (Karen Robards)
=== Crime ===
A - Z titles
Some of the best known mystery titles are Sue Grafton's books featuring PI Kinsey Milhone. Grafton started with "A is for Alibi" and is working her way through the alphabet. The formula is simple: "[alphabet letter] is for XXXX". So far we have: Burglar, Corpse, Deadbeat, Evidence, Fugitive, Gumshoe, Homicide, Innocent, Judgment, Killer, Lawless, Malice, Noose, Outlaw, Peril, Quarry and Ricochet. (There may be more out that I haven't seen yet.) Naturally you can apply this formula to any genre: fiction or non-fiction.
=== Short Titles (2 or 3 Words) ===
Greg Iles, a popular writer of thrillers, likes short, punchy titles. People now associate this type of title with his books. It's much more of a challenge to relate the title to your book if you choose an ultra-short title, but it can be done. Greg Iles has written "Sleep No More", "Dead Sleep", "24 Hours"; "The Quiet Game", "Mortal Fear", "Dark Matter" and "Blood Memory". The danger of very short titles is that they can become 'nothing titles' very easily, but in Greg Iles' case, each title does relate to the theme of the book.
=== Humour ===
Everyone likes a quirky, humorous title. One I liked was "The Girl's Guide to Hunting and Fishing" by Melissa Bank - which is a humorous novel related to the mating game, not activities in the wild! Other humorous titles that worked for me are: Getting Rid of Bradley (JenniferCrusie) and "When She Was Bad" (JenniferCrusie). There are many more... try going to the library for an hour or so and doing nothing but write down titles that 'grab' you. Then classify them: humorous, song titles, eerie, adventurous and so on. You'll learn a lot.
"How To" books are ever-popular, and these two words in a title often impel readers to make a purchase. Often the "how to" is in the subtitle - for example: "The Perfect Pergola: How To Build Your Own Pergola in 10 Easy Steps".
Pick your own "how to" topic! You might find it effective to link the word "Secrets" with a "How To" title - people love to feel that they're learning something that most other people don't know. (Example: "The Secrets of Property Investment for Retirees: How To Triple Your Nest Egg in 12 Short Months".) A subtitle is an excellent idea for non-fiction - it allows you to choose a shorter, punchier title for the main impact, then add clarification for the reader.
=== How To Find a Good Title ===
1. Spend an hour at the library browsing the shelves and writing down titles that appeal - and why. (You're expected to browse in a library. In a book store you might get a few funny looks.) See if you can figure out, by reading the back cover blurb or reviews etc, how the title is relevant to the subject matter.
2. Use the Internet. Google your way to www.Amazon.comand do the same thing... just research titles. You'll be able to look at magazine titles as well as book titles.
3. Browse at the newsagent. You can often get ideas for titles from the titles of articles in magazines. Check out the phrases used as 'grabbers' on the magazine cover, too.
4. Write down every title you can think of, and all variations of that title. Add different nouns and verbs. Think of how you might be able to use words that relate to colours, numbers, emotions, people and animals.
And After All That...
... be prepared for your wonderful, quirky, clever title to be changed. Aaarrgghh! Sad but true.Often it will simply not appeal to an editor. Sometimes there will be another book about to be released with a similar title. Sometimes you'll be asked to change it because the title gives away too much! (This happened to me. I gave one of my books for kids the title "The Haunted Concert". I thought it was a great title: kids love ghost stories, and most have experienced being in a school concert. The editor pointed out that most of the way through the book the main character was convinced that his substitute teacher (who was very 'different') was an alien. Instead, she turned out to be the ghost of one of the first teachers at the school. By calling the book "The Haunted Concert" I had given the game away. Duh!!! After beating myself around the head a few times, I changed it.)
Can you fight for your title? Hmmm... not likely. Unless you hate it, it's best to accept the change and move on.
Finally, here's a few words about book titles from well-known fantasy novelist Cory Daniells (Author of The Shadow Kingdom). You want something that will leap off the shelves and stick in people's minds. You spend hours puzzling over just the right title for your book, you consult friends and family. And then, when you get accepted, the marketing people change the title. This happened to two out of three books in my trilogy.
But it is still worth taking the time to come up with the best possible title for your book. Why not surf the net and compare book titles by your favourite authors: authors whose books will be on the shelves with yours. Which titles would make you pick up the book?
If you are writing a series, you'll need to think of a series title and individual titles. · Can you draw on the theme of the series for inspiration?
· Can you link the titles so that the readers will have no trouble remembering them? Think of Janet Evanovich's Stephanie Plum books. 'One for the Money' etc.
· Can you set up a conflict in the title by using two words that contradict each other? I sold a story recently called 'The Nameless King and the Faithless Priest'. But remember, don't get too attached. The marketing team will have their own ideas... but whatever it is called, it is still your book!© Marg McAlister
A pet hate of mine is what I call the 'Nothing' title. You know the kind of thing: "Treacherous Heart"; "Deception"; "The Wedding". When looking at the books I own before sitting down to write this, I actually spotted two novels on my shelves both entitled "The Wedding." Please, a bit more imagination! (Of course, if you're a best-selling author already it doesn't matter much. Your name is going to be twice the size of the title anyway. All your readers want to know is: "Have I read this one before...? No? Great, I'll buy it.")
Your book title is very important, so it's worth spending a bit of time on it - no, a LOT of time on it! Your title needs to sum up the theme of your book in a few words... yet be 'different' enough to stand out. There's no doubt that a good title can help to sell a book, although a bad title won't necessarily affect your chances of acceptance.
FOR NOW: if you're having trouble, at least call the book *something*. That helps you to see it as an entity. It's much easier to imagine it as a finished product when it has a title. You can always change the title later, but meanwhile you can be thinking of your novel by name instead of just 'my book'.
FOR LATER: keep in mind that your name is going to be associated with the title of your book forever more. You will be sending out press releases about your book; you may be doing radio or TV interviews; you are likely to be introduced at author talks and on panels as "Jane Writer, Author of "How to Make a Million Before Breakfast". Your title will be OUT THERE.
Now that you're thoroughly intimidated, let's think about how you can make your title (a) grab attention and (b) have something meaningful to say about your book. ("The Wedding" might say something about the book, but it's too generic - hardly a 'grabber'. Sure, romance readers like to read about weddings... but which novel would you pluck from the shelf: "The Wedding" or "Too Wild to Wed" (a book by Jayne Ann Krentz)? Your title should make people want to pick up your book and read more.) Here are some titles I found on my shelves that are intriguing, or full of promise, or maybe just quirky:
=== Non-Fiction ===
The One-Minute Millionaire by Mark Victor Hansen and Robert G. Allen. (No comment necessary about why this is effective.)
You'll See It When You Believe It by Wayne Dyer (A clever twist on the standard saying)
Men Are From Mars, Women Are from Venus (An inspired choice that has paid off big time)
=== Romance ===
Vows Made in Wine by Susan Wiggs. (This one came from a quote from Shakespeare: "I am falser than vows made in wine". Intriguing both on its own *and* if the source of the quote is recognised.)
The Mist and the Magic by Susan Wiggs. (This is the blurb on the back cover: THE MIST: Caitlin MacBride, mistress of the beleaguered Irish stronghold Clonmuir, made a wish one evening at sunset. "Send me my true love," she whispered. THE MAGIC: As she watched, a man walked out of the mist that rolled in off the water. In John Wesley Hawkins, Caitlin saw a magic she thought had been lost to Ireland forever...)
A further note on Susan Wiggs' titles: Susan has chosen to stay with the same rhythmic pattern for some of her titles, using the formula "The XXX and the XXX". As well as "The Mist And The Magic", she has written "The Raven and the Rose" and "The Lily and The Leopard". (She also has what I call a 'nothing' title: "Embrace the Day" so it just goes to show you can't win all the time.)
Moving right along: Several authors choose to use well known song titles or excerpts as titles. This works well if it's tied to the book's theme. Included in those are:
Nobody's Baby But Mine (Susan Elizabeth Phillips)
It Had To Be You (Susan Elizabeth Phillips)
Walking After Midnight (Karen Robards)
=== Crime ===
A - Z titles
Some of the best known mystery titles are Sue Grafton's books featuring PI Kinsey Milhone. Grafton started with "A is for Alibi" and is working her way through the alphabet. The formula is simple: "[alphabet letter] is for XXXX". So far we have: Burglar, Corpse, Deadbeat, Evidence, Fugitive, Gumshoe, Homicide, Innocent, Judgment, Killer, Lawless, Malice, Noose, Outlaw, Peril, Quarry and Ricochet. (There may be more out that I haven't seen yet.) Naturally you can apply this formula to any genre: fiction or non-fiction.
=== Short Titles (2 or 3 Words) ===
Greg Iles, a popular writer of thrillers, likes short, punchy titles. People now associate this type of title with his books. It's much more of a challenge to relate the title to your book if you choose an ultra-short title, but it can be done. Greg Iles has written "Sleep No More", "Dead Sleep", "24 Hours"; "The Quiet Game", "Mortal Fear", "Dark Matter" and "Blood Memory". The danger of very short titles is that they can become 'nothing titles' very easily, but in Greg Iles' case, each title does relate to the theme of the book.
=== Humour ===
Everyone likes a quirky, humorous title. One I liked was "The Girl's Guide to Hunting and Fishing" by Melissa Bank - which is a humorous novel related to the mating game, not activities in the wild! Other humorous titles that worked for me are: Getting Rid of Bradley (JenniferCrusie) and "When She Was Bad" (JenniferCrusie). There are many more... try going to the library for an hour or so and doing nothing but write down titles that 'grab' you. Then classify them: humorous, song titles, eerie, adventurous and so on. You'll learn a lot.
"How To" books are ever-popular, and these two words in a title often impel readers to make a purchase. Often the "how to" is in the subtitle - for example: "The Perfect Pergola: How To Build Your Own Pergola in 10 Easy Steps".
Pick your own "how to" topic! You might find it effective to link the word "Secrets" with a "How To" title - people love to feel that they're learning something that most other people don't know. (Example: "The Secrets of Property Investment for Retirees: How To Triple Your Nest Egg in 12 Short Months".) A subtitle is an excellent idea for non-fiction - it allows you to choose a shorter, punchier title for the main impact, then add clarification for the reader.
=== How To Find a Good Title ===
1. Spend an hour at the library browsing the shelves and writing down titles that appeal - and why. (You're expected to browse in a library. In a book store you might get a few funny looks.) See if you can figure out, by reading the back cover blurb or reviews etc, how the title is relevant to the subject matter.
2. Use the Internet. Google your way to www.Amazon.comand do the same thing... just research titles. You'll be able to look at magazine titles as well as book titles.
3. Browse at the newsagent. You can often get ideas for titles from the titles of articles in magazines. Check out the phrases used as 'grabbers' on the magazine cover, too.
4. Write down every title you can think of, and all variations of that title. Add different nouns and verbs. Think of how you might be able to use words that relate to colours, numbers, emotions, people and animals.
And After All That...
... be prepared for your wonderful, quirky, clever title to be changed. Aaarrgghh! Sad but true.Often it will simply not appeal to an editor. Sometimes there will be another book about to be released with a similar title. Sometimes you'll be asked to change it because the title gives away too much! (This happened to me. I gave one of my books for kids the title "The Haunted Concert". I thought it was a great title: kids love ghost stories, and most have experienced being in a school concert. The editor pointed out that most of the way through the book the main character was convinced that his substitute teacher (who was very 'different') was an alien. Instead, she turned out to be the ghost of one of the first teachers at the school. By calling the book "The Haunted Concert" I had given the game away. Duh!!! After beating myself around the head a few times, I changed it.)
Can you fight for your title? Hmmm... not likely. Unless you hate it, it's best to accept the change and move on.
Finally, here's a few words about book titles from well-known fantasy novelist Cory Daniells (Author of The Shadow Kingdom). You want something that will leap off the shelves and stick in people's minds. You spend hours puzzling over just the right title for your book, you consult friends and family. And then, when you get accepted, the marketing people change the title. This happened to two out of three books in my trilogy.
But it is still worth taking the time to come up with the best possible title for your book. Why not surf the net and compare book titles by your favourite authors: authors whose books will be on the shelves with yours. Which titles would make you pick up the book?
If you are writing a series, you'll need to think of a series title and individual titles. · Can you draw on the theme of the series for inspiration?
· Can you link the titles so that the readers will have no trouble remembering them? Think of Janet Evanovich's Stephanie Plum books. 'One for the Money' etc.
· Can you set up a conflict in the title by using two words that contradict each other? I sold a story recently called 'The Nameless King and the Faithless Priest'. But remember, don't get too attached. The marketing team will have their own ideas... but whatever it is called, it is still your book!© Marg McAlister
November 6, 2016
BEING BUSINESS-LIKE AS A WRITER
Taxation Departments regard writers and illustrators as 'Small Business'. Even if you are a new writer and don't earn enough money to pay tax, it's a smart idea to work in a business-like way. Then, when the time comes, the transition is easy.
This advice was given in a session called 'Taxation for Writers' at an ASA Seminar that I attended in the early eighties before I was earning enough to pay tax. A tax consultant advised on procedures that would simplify the drudgery of 'getting the figures together' at the end of the financial quarter or year. Here is my procedure, based initially on his advice and changed from time to time to suit different circumstances.
I write short stories, verse, scripts and articles for magazines (for adults and children), as well as junior novels, non-fiction books and picture-stories. I keep track of them by means of Card files and a Day Book. (If yours are major works, such as writing one novel or illustrating one picture-story a year, then you will know at all times where your work is placed.) Available now is software which does this job, but I like the portability of cards and a Day Book.
A. CARD FILES
1. Each item of work has its own card, filed in its category: short stories, picture stories, articles, verse, scripts, novels, collections - in sections for adults and children. A quick glance tells the history of the work.
When I send a piece of work out, I write the date and the market; later, the date of acceptance followed by the payment, written in green felt pen, or the date of rejection followed by the next market.
Some items have a long history. If an item is out longer than four or five months, I send a reminder. If payment is slow, I send an account. If the item is returned, I send it out again, and make a notation, 'revised', if I re-write. I offer second rights and send items overseas.
I have retained copyright to most of my work and have been able to offer some for inclusion in story and poetry anthologies. I offer non-exclusive rights so that I am free to market my work again.
On the back of the cards, I note expenses, such as: postages, short story entry fees, photocopying costs...
2. Each market has a card: newspapers and magazines (adults and children), trade publishers, education publishers, radio programs. Five columns show date sent, title, category (short story, verse...), date of acceptance, date of return.
B. DAY BOOK
I use a spiral notebook, page-numbered and divided into sections. Categories are listed on a Contents page under Expenses and Income. Three columns show date, details and fees. Whenever I pay by cheque, I include its number.
1. EXPENSES
Postages: Daily, as I post items, I enter them. My Post Office Box fee is also included once a year.
Telephone: Local and interstate charges are entered on separate pages. Half telephone rental is included.
Fares and Travel: This includes local travel by public transport and travel by car for speaking engagements. (Charges are based on kilometres and the cc capacity of the car.) Fares and travel costs paid by hosts for interstate travel for talks, research, appointments... are recorded.
Printing and Stationery: The usual office items, plus computer software and photocopying - coin-in-the-slot and copycard costs.
Subscriptions and Memberships: Add the cost of daily newspapers, for these are essential research tools for all kinds of writing.
Books: A collection of books may be depreciated annually, or new books related to the earning of income may be listed.
Workshops, conferences and seminars: Registration payments.
Fees: Include fees paid to enter competitions. If you are a compiler, fees paid to authors for permission to include items in an anthology. Fees paid for professional computer maintenance and advice.
Accountancy: Eventually you may decide to engage a tax consultant. This was my decision in 1986 when I had bought a computer, software and printer, and wasn't sure which of three ways was best when claiming depreciation.
Publicity and Advertising: Fliers, bookmarks, photographs and the purchase of your own books to give away.
Home Office: see Special Notes
Donations: List gifts to charitable organisations.
Hardware: Record details of the purchase of computer hardware, office desk, chair and filing cabinet. (Note that computer hardware can be depreciated and software cannot.)
Depreciation: see Special Notes.
Input Tax Credit: see Income: Copyright Agency Limited.
2. INCOME
I list under the following headings:
Features and articles
Short Stories
Scripts
Verse
Royalties
Lectures, Workshops, School Visits
Public Lending Rights and Educational Lending Rights
Copyright Agency Limited - payments made when individuals or organisations photocopy works or segments of works. There is a commission involved in this, which is an Input Tax Credit. Multiply the amount by 11 and list it as a tax deduction.
Sale of books - if you buy new or remainders for re-sale, record purchase price and sales
3. SPECIAL NOTES
* File all royalty statements, receipts, etc, in two large envelopes - income and earnings.
* Originally I had to discover how to depreciate office items, such as typewriter, tape-recorder, computer and printer. Now I leave it to my taxation consultant.
* Claim Home Office or Home Studio expenses on a room used exclusively for this purpose. The area of my study is about one-seventh of the total house area, so I list expenses (lighting, heating, water rates, council rates, insurance, body corporate fee) and divide by seven.
* Other items that may be tax-deductible: depreciation on office furnishings and fittings, repairs to office equipment, furniture and fittings, office cleaning, proportion of home loan interest, proportion of rent for a flat or a house, wages paid to assistants, legal fees in respect to contracts, proportion of overseas travel expenses...
When I engaged a taxation consultant, I explained my organisation and asked whether she had any suggestions. 'That's fine,' she said. 'All I need is your Day Book and totals of extra income from investments and bank interest.'
The system works for me. I hope it works for you!
© Edel Wignell
Edel Wignell is a freelance writer, compiler and journalist. Her latest titles are Tying the Knot: Folk Tales of Love and Marriage from around the World and Tying the Knot: TeacherResource Book for Years 6-9 (Phoenix Education).
This article was first published in Writers' Forum(USA).
This advice was given in a session called 'Taxation for Writers' at an ASA Seminar that I attended in the early eighties before I was earning enough to pay tax. A tax consultant advised on procedures that would simplify the drudgery of 'getting the figures together' at the end of the financial quarter or year. Here is my procedure, based initially on his advice and changed from time to time to suit different circumstances.
I write short stories, verse, scripts and articles for magazines (for adults and children), as well as junior novels, non-fiction books and picture-stories. I keep track of them by means of Card files and a Day Book. (If yours are major works, such as writing one novel or illustrating one picture-story a year, then you will know at all times where your work is placed.) Available now is software which does this job, but I like the portability of cards and a Day Book.
A. CARD FILES
1. Each item of work has its own card, filed in its category: short stories, picture stories, articles, verse, scripts, novels, collections - in sections for adults and children. A quick glance tells the history of the work.
When I send a piece of work out, I write the date and the market; later, the date of acceptance followed by the payment, written in green felt pen, or the date of rejection followed by the next market.
Some items have a long history. If an item is out longer than four or five months, I send a reminder. If payment is slow, I send an account. If the item is returned, I send it out again, and make a notation, 'revised', if I re-write. I offer second rights and send items overseas.
I have retained copyright to most of my work and have been able to offer some for inclusion in story and poetry anthologies. I offer non-exclusive rights so that I am free to market my work again.
On the back of the cards, I note expenses, such as: postages, short story entry fees, photocopying costs...
2. Each market has a card: newspapers and magazines (adults and children), trade publishers, education publishers, radio programs. Five columns show date sent, title, category (short story, verse...), date of acceptance, date of return.
B. DAY BOOK
I use a spiral notebook, page-numbered and divided into sections. Categories are listed on a Contents page under Expenses and Income. Three columns show date, details and fees. Whenever I pay by cheque, I include its number.
1. EXPENSES
Postages: Daily, as I post items, I enter them. My Post Office Box fee is also included once a year.
Telephone: Local and interstate charges are entered on separate pages. Half telephone rental is included.
Fares and Travel: This includes local travel by public transport and travel by car for speaking engagements. (Charges are based on kilometres and the cc capacity of the car.) Fares and travel costs paid by hosts for interstate travel for talks, research, appointments... are recorded.
Printing and Stationery: The usual office items, plus computer software and photocopying - coin-in-the-slot and copycard costs.
Subscriptions and Memberships: Add the cost of daily newspapers, for these are essential research tools for all kinds of writing.
Books: A collection of books may be depreciated annually, or new books related to the earning of income may be listed.
Workshops, conferences and seminars: Registration payments.
Fees: Include fees paid to enter competitions. If you are a compiler, fees paid to authors for permission to include items in an anthology. Fees paid for professional computer maintenance and advice.
Accountancy: Eventually you may decide to engage a tax consultant. This was my decision in 1986 when I had bought a computer, software and printer, and wasn't sure which of three ways was best when claiming depreciation.
Publicity and Advertising: Fliers, bookmarks, photographs and the purchase of your own books to give away.
Home Office: see Special Notes
Donations: List gifts to charitable organisations.
Hardware: Record details of the purchase of computer hardware, office desk, chair and filing cabinet. (Note that computer hardware can be depreciated and software cannot.)
Depreciation: see Special Notes.
Input Tax Credit: see Income: Copyright Agency Limited.
2. INCOME
I list under the following headings:
Features and articles
Short Stories
Scripts
Verse
Royalties
Lectures, Workshops, School Visits
Public Lending Rights and Educational Lending Rights
Copyright Agency Limited - payments made when individuals or organisations photocopy works or segments of works. There is a commission involved in this, which is an Input Tax Credit. Multiply the amount by 11 and list it as a tax deduction.
Sale of books - if you buy new or remainders for re-sale, record purchase price and sales
3. SPECIAL NOTES
* File all royalty statements, receipts, etc, in two large envelopes - income and earnings.
* Originally I had to discover how to depreciate office items, such as typewriter, tape-recorder, computer and printer. Now I leave it to my taxation consultant.
* Claim Home Office or Home Studio expenses on a room used exclusively for this purpose. The area of my study is about one-seventh of the total house area, so I list expenses (lighting, heating, water rates, council rates, insurance, body corporate fee) and divide by seven.
* Other items that may be tax-deductible: depreciation on office furnishings and fittings, repairs to office equipment, furniture and fittings, office cleaning, proportion of home loan interest, proportion of rent for a flat or a house, wages paid to assistants, legal fees in respect to contracts, proportion of overseas travel expenses...
When I engaged a taxation consultant, I explained my organisation and asked whether she had any suggestions. 'That's fine,' she said. 'All I need is your Day Book and totals of extra income from investments and bank interest.'
The system works for me. I hope it works for you!
© Edel Wignell
Edel Wignell is a freelance writer, compiler and journalist. Her latest titles are Tying the Knot: Folk Tales of Love and Marriage from around the World and Tying the Knot: TeacherResource Book for Years 6-9 (Phoenix Education).
This article was first published in Writers' Forum(USA).
