Dianne Bates's Blog, page 7
March 20, 2015
Signing Your First Book Contract
© Dianne Bates Getting one’s first contract is probably the highlight of a new author’s writing life (next to first hearing that a publisher wants to publish her book). However, it can be easy to receive the contract and in a moment of blissful ignorance, sign and date it with a flourish – only to later discover you have signed your life away. I’ve signed hundreds of publishers’ contracts over the past 30 years, so I, too, have blundered along the way. Here are a few "nevers" I would suggest when signing a contract: * Never let a publisher bully you. Never! If you are inexperienced or nervous and you have a contract, then is a good time to contact a literary agent and get them to negotiate on your behalf. (Agents are more interested in writers who already have contracts.) Alternatively you can contact the ASA (Australian Society of Authors), a private arts lawyer or the Arts Law Centre, all of whom will advise you on what rights you should accept. If at any time during negotiations, the publisher tries to bypass your agent re the terms of the contract, be firm and refer them to your agent. * Do not sign the option clause in your contract. The option clause basically says that you agree to submit your next manuscript to the company. It is unnecessary and for many reason it’s to your advantage not to. You can always submit your next work to the same publisher who gave you the first contract. Or to anyone else! * Never sign with book publishers for "devices which might be invented in the future" Negotiate these separately, when the publisher is ready to publish via non-book means. * Never assign CAL (Copyright Agency Licence, or photocopying) payments to your publisher, but DO register your book with CAL as soon as it is published * Never let your publisher take your share of ELR and PLR payments. (If in doubt, ring the Lending Rights' people and ask them what to do). Lending Rights is a Federal Government payment to compensate authors for their books held in public and educational libraries. * Never refuse to take an advance against royalties. Even if it's only $300, take it. If a publisher says he can't afford it, find a publisher who can afford it. Do you want to deal with a liar? Advances should always be non-returnable. If the contract is signed and your publisher reneges, you are entitled to what is known as a "kill fee" which compensates you for the work you have done, or have missed out on doing. * Never take a flat fee payment: if you do, then you will never get ELR and PLR payments which are worth a lot of money to you over a period of time. Lending Rights payments are only made where there is a continuing interest in the book (ie royalties coming in). Always check every single clause in your contract: be especially careful with percentages on subsidiary rights and book club deals. Also, watch the translation and film rights clauses and make sure you negotiate for as much as you can. · Re negotiation tactics, put everything in writing. Talking to publishers in person or on the phone about contracts can be emotionally charged, so it is best to put it in print (either email or snail mail) and keep paper copies of all email exchanges. Create a paper folder marked with the publisher’s name and keep papers in consecutive date order, including royalty statements, letters (or emails) to and fro etc. Date everything. This will prove very helpful in the long run if you need to check on anything, or if there is a legal problem. If it is difficult for you to negotiate your contract, get an agent, a lawyer or the Arts Law Centreto negotiate on your behalf. · A CONTACT IS A LEGAL DOCUMENT. NEVER LOSE IT. KEEP IT IN A SAFE PLACE.RISING ROYALTIES If you negotiate for rising royalties make sure you keep an eye on the number you sell and let the publisher know if they conveniently forget that the clause is there. A rising royalty means you are to receive a greater percentage of royalties depending on book sales. You might, for example, have a royalty of 10% on the first 3,000 copies sold, rising to 12% thereafter. Don't let all your great talent and many hours of work be under-valued by yourself and/or your publisher! ROYALTY STATEMENTS Whenever you receive a royalty statement, always check how many copies there are remaining; if it approaches 50 (which indicate the book is close to going out of print) immediately write to the publisher and give notice to reissue or reprint the book. If they don’t want to do so, ask to buy remainders at discount (offer 50 cents, and negotiate from there.) According to your contract, when the book goes out of print, the rights will revert to you so you can get your book published elsewhere, if you wish. Get the publisher to put it into writing that rights have reverted to you. I have done this quite a few times. REMAINDERSSometimes publishers decide to get rid of stock in their warehouse. There can be numerous reasons for this, including old stock making way for new, or stock not selling and taking up valuable space. In any case, most contracts indicate – or should, as it is to your advantage – that the author gets first right of refusal. Having remainders means that you can dispose of them as you wish (donate them to schools, give them as gifts to family and friends, or sell them.) Often the publisher will offer the remainders to you at a certain price. But it is better if you make the first offer. I generally ask to buy remainder stock (which might be up to 1,000 copies) at 50 cents a copy. The publisher will agree or (mostly likely) make a counter offer. Always make sure that the agreement you reach results in the publisher paying the freight charges (they get them a lot cheaper that you will.) You can sell your remainders at RRP, if you wish, or at discount at Markets Your local schools To book shops Conferences Schools where you present Via the internet Via your website By mail orderIf you donate your books to organisations, such as schools or charities, you can claim a tax deduction (as a donation or for promotional purposes). If giving the books away is part of your marketing yourself as an author, you can also claim a tax deduction. Make sure you keep accurate transaction records, including date, price, quantity and customer. I was once stuck with 500 CD books which I was unable to sell, so I donated them to a teachers’ organisation which had a stall at a national conference; that year I made a bonus tax deduction as a result. Dianne (Di) Bates is the author of 120+, many of which are now out of print. Her most recent books are The Girl in the Basement (Morris Publishing Australia), Nobody’s Boy (Celapene Press) and A Game of Keeps (Celapene Press). Di’s website is www.enterprisingwords.com.au Di also offers an online course for those wishing to write for children.
March 14, 2015
Writing Competition: The Historic Beginning Challenge
For many authors, re-publishing in digital formats means the title, cover, blurb and opening sentence become even more important, because that’s all prospective buyers see. Sometimes the online catalogue or listing allows prospective reader to look at a sample page and often this includes the opening paragraph.
Your challenge is to write two different 100 word openings to the same short story, novel or non-fiction piece. Each must introduce the character, setting and conflict. Content can be the same. It must be your original story and probably is your W.I.P.(work in progress). Labelled Buzz Words Historic Beginning Challenge, these can be emailed to hazel@hazeledwards.com
Closing date is 30 April. The winner who will be announced in Buzz Words will be sent an e- copy of Authorpreneurship: The Business of Creativity http://www.hazeledwards.com/shop/item/authorpreneurship-the-business-of-creativity and Fake ID the YA family history mystery for adolescent readers,
http://www.hazeledwards.com/shop/item/fake-id plus some other autographed print titles such as Chopper Rescue Stories and Activities for mentoring and guided writing.
Below is the opening to my novel, Fake I.D., a YA family history mystery where Zoe investigates who her gran really was.
‘NOT TO BE OPENED UNTIL AFTER MY DEATH.’
It was printed in black on the package.
So I opened it. Gran was dead. So in one way, it was OK to open her envelope. On the day of your gran’s funeral, you expect to say goodbye to her, help pack up the house and her belongings and even arrange for her dog to be looked after. But you don’t expect to find out that she was someone else. Fake ID, that’s what my gran had. For years and years. Now I don’t know who she really was. But I’m going to find out. I have to.
Check out www.hazeledwards.com for background articles, especially http://www.hazeledwards.com/page/aspiring_writers.html Also e-books here: http://www.hazeledwards.com/shop
For a free issue of Buzz Words, an online magazine for people in the children's book industry, write to dibates@outlook.com
Your challenge is to write two different 100 word openings to the same short story, novel or non-fiction piece. Each must introduce the character, setting and conflict. Content can be the same. It must be your original story and probably is your W.I.P.(work in progress). Labelled Buzz Words Historic Beginning Challenge, these can be emailed to hazel@hazeledwards.com
Closing date is 30 April. The winner who will be announced in Buzz Words will be sent an e- copy of Authorpreneurship: The Business of Creativity http://www.hazeledwards.com/shop/item/authorpreneurship-the-business-of-creativity and Fake ID the YA family history mystery for adolescent readers,
http://www.hazeledwards.com/shop/item/fake-id plus some other autographed print titles such as Chopper Rescue Stories and Activities for mentoring and guided writing.
Below is the opening to my novel, Fake I.D., a YA family history mystery where Zoe investigates who her gran really was.
‘NOT TO BE OPENED UNTIL AFTER MY DEATH.’
It was printed in black on the package.
So I opened it. Gran was dead. So in one way, it was OK to open her envelope. On the day of your gran’s funeral, you expect to say goodbye to her, help pack up the house and her belongings and even arrange for her dog to be looked after. But you don’t expect to find out that she was someone else. Fake ID, that’s what my gran had. For years and years. Now I don’t know who she really was. But I’m going to find out. I have to.
Check out www.hazeledwards.com for background articles, especially http://www.hazeledwards.com/page/aspiring_writers.html Also e-books here: http://www.hazeledwards.com/shop
For a free issue of Buzz Words, an online magazine for people in the children's book industry, write to dibates@outlook.com
March 7, 2015
The Anti-Good Kids Book Rant
Just recently I read a book in a children's series titled The Anti-Princess Club published by one of Australia's top publishing houses. It was the author’s attempt to indoctrinate young girl readers into feminism. Basically, the idea is take a trio of girls who want to overcome parental expectations (that is, parents treating them like princesses) and have them figure out ways in which they can be ‘themselves.’
I agree that all young people – boys as well as girls – ought to be raised without stereotypical, sexist expectations, but this book seemed to be just ticking all of the boxes. At the moment, too, there are (and I counted) over a dozen book series for girls who have happy adventures with minor hiccups they need to explore and come to terms with.
I have to say it or I’ll explode! I am heartily sick of children’s books like those above, especially novels for pre-teens, which are about middle-class children with middle-class expectations and petty problems. Sadly, books these days are written by middle-class authors, accepted for publication by middle-class editors and chosen for children by middle-class parents, grand-parents and librarians.
Where are the junior novels about children from dysfunctional or disadvantaged children, and/or children from working class families? Where can a child who’s in care read a book about herself?
What book can the child whose parents are unemployed or who drink too much, or take drugs, have mental illness, or live their lives in confusion, find another child like himself? Which books can these unfortunate children read about kids like themselves which show how those kids manage to find hope in what might seem like a hopeless world?
I want to see – I demand to see -- books which challenge young readers to go beyond their comfortable, middle-class existences. I want young readers to see children like some of their peers who struggle on a daily basis. Where are the publishers brave enough to take on such novels? Where are the writers prepared to go beyond the boundaries of their safe little worlds?
Yes, reader, I am writing them! Nobody’s Boy(Celapene Press), A Game of Keeps(Celapene Press), Here Comes Trouble!(Dragon Tales Publishing) – and two more which are currently looking for a publisher: The Very Best Teacher and To the Moon and Back
The only children’s author of novels for younger readers I can name is the UK’s Jacquelyn Wilson whose books – like The Illustrated Mum, The Suitcase Kid, Tracey Beaker -- are immensely popular. Check out her books http://www.jacquelinewilson.co.ukLet me know if you have read any books such as I’ve described – I want to read them, too!
x
I agree that all young people – boys as well as girls – ought to be raised without stereotypical, sexist expectations, but this book seemed to be just ticking all of the boxes. At the moment, too, there are (and I counted) over a dozen book series for girls who have happy adventures with minor hiccups they need to explore and come to terms with.
I have to say it or I’ll explode! I am heartily sick of children’s books like those above, especially novels for pre-teens, which are about middle-class children with middle-class expectations and petty problems. Sadly, books these days are written by middle-class authors, accepted for publication by middle-class editors and chosen for children by middle-class parents, grand-parents and librarians.
Where are the junior novels about children from dysfunctional or disadvantaged children, and/or children from working class families? Where can a child who’s in care read a book about herself?
What book can the child whose parents are unemployed or who drink too much, or take drugs, have mental illness, or live their lives in confusion, find another child like himself? Which books can these unfortunate children read about kids like themselves which show how those kids manage to find hope in what might seem like a hopeless world?
I want to see – I demand to see -- books which challenge young readers to go beyond their comfortable, middle-class existences. I want young readers to see children like some of their peers who struggle on a daily basis. Where are the publishers brave enough to take on such novels? Where are the writers prepared to go beyond the boundaries of their safe little worlds?
Yes, reader, I am writing them! Nobody’s Boy(Celapene Press), A Game of Keeps(Celapene Press), Here Comes Trouble!(Dragon Tales Publishing) – and two more which are currently looking for a publisher: The Very Best Teacher and To the Moon and Back
The only children’s author of novels for younger readers I can name is the UK’s Jacquelyn Wilson whose books – like The Illustrated Mum, The Suitcase Kid, Tracey Beaker -- are immensely popular. Check out her books http://www.jacquelinewilson.co.ukLet me know if you have read any books such as I’ve described – I want to read them, too!
x
February 14, 2015
The Spires of Kurrong
The Spires of Kurrong by Malcolm Wells (Morris Publishing Australia)For many generations the people of the spires believed they were the only living human race left on their planet. They had been told that Daemons had inhabited the planet surface and driven their ancestors into the domed cities. When Markus and Filona fall in love, they break the strict laws of the domes. Markus is son of the Prefect of Alpha Dome, Filona an innkeepers daughter and their union is forbidden.
The couple flee to the planet surface, despite thoughts of the dangers they might face. What they find there will astound them. The decisions they make for their future will have a dramatic effect on the whole planet.
An interview with Malcolm Wells, author of The Spires of Kurrong
Q. Describe your book in five words or less.A. Breaking the bounds of tradition.
Q. How did the ideas for your book come to you?A. I imagined people living in a confined world in the belief that it was the only safe place to be. Then I wondered what would happen if two people risked everything to break out of that world.
Q. Is there a message in your novel that you want readers to grasp?A. I never intended one, but I suppose it could suggest that one should never be restricted by limits put on one’s life by others. If you are not happy, always look for alternatives.
Q. Why did you choose to write in this genre?A. In my childhood and teens, I was a huge fan of sci-fi, fantasy and horror stories. I have written a number of horror stories that I have yet to submit for publication, but this was my first attempt at a fantasy novel.
Q. Does the life of your main character parallel with your life in any way?A. Perhaps in the fact that I met and married an Australian in England when I was 21, and then moved to Australia on a whim.
To read the first chapter go to http://www.morrispublishingaustralia.com/the-spires-of-kurrong.html
To learn more information about the book and Malcolm follow the blog tour:Feb 14th http://promotemeplease.blogspot.com Interview 15th http://diannedibates.blogspot.com.au Interview 16th http://www.morrispublishingaustralia.com/news-update-blog Profile 17th http://clancytucker.blogspot.com.au Interview 18th http://aussiereviews.com Interview 19th http://www.robynopie.blogspot.com Interview 20th http://elaineoustonauthor.com Interview 21st http://authorjillsmith.wordpress.com Review 28th http://losangzopa.wordpress.com Review
TITLE: The Spires of Kurrong AUTHOR: Malcolm Wells ISBN: 978-0-9942463-1-8FORMATS: Paperback and eBookEXTENT: 244 pagesAU RRP: eBook: $4.99 Paperback: $20.00 PUBLISHER: Morris Publishing Australiahttp://morrispublishingaustralia.comC... Sci Fi/fantasyAUDIENCE: Young Adult WHOLESALE AND RETAIL ORDERS: Morris Publishing Australia - http://www.morrispublishingaustralia.com Paperback and eBook available on Morris Publishing’s website, Amazon and many online stores.
January 9, 2015
Books by Robyn Osborne
I am a Queensland based early childhood teacher and author. 2014 has been particularly exciting publishing year for me. I have had two picture books trade published,
Going Fishing
and
Going Camping
earlier this year. In November,
Midget Bones' Diary
was published.
Details of the books (as requested on your website) are:
Going Fishing written by Robyn Osborne Illustrated by Colin Stevens (Big Sky Publishing 2014) print picture book, $15.99 ISBN 978-1-922132-56-7
http://www.bigskypublishing.com.au/Books/Children/Going-Fishing/1054/productview.aspx
Going Camping written by Robyn Osborne Illustrated by Colin Stevens (Big Sky Publishing 2014) print picture book, $15.99 ISBN 978-1-922132-55-0
http://www.bigskypublishing.com.au/Books/Children/Going-Camping/1055/productview.aspx
These books are the first two in the My Family series of humorous books about the foibles of family life. These funny and upbeat books are full of stunning illustrations and rhythmic and rolling verse about the ups and downs of family adventures. Ultimately, they celebrate families and shine a light on the message of making the most of every moment. The books are suitable for younger readers 4 - 8 years.
Midget Bones' Diary written by Robyn Osborne (Puppy Care Education, 2014) ebook ($3.29) and print book ($10.79) ISBN 978-1922187987
http://www.amazon.com/Midget-Bones-Diary-Robyn-Osborne/dp/1922187984/ref=tmm_pap_title_0?ie=UTF8&qid=1420784898&sr=1-1
This diary was 'written' by my wonderful canine companion, Snowy. This quirky and humorous memoir follows in the paw steps of Bridget Jones, with a touch of 'Jacki' Collins and a large dose of Lassie thrown in. It is suitable for 12 years +.
My website is http://robynosborne.com/
Details of the books (as requested on your website) are:
Going Fishing written by Robyn Osborne Illustrated by Colin Stevens (Big Sky Publishing 2014) print picture book, $15.99 ISBN 978-1-922132-56-7
http://www.bigskypublishing.com.au/Books/Children/Going-Fishing/1054/productview.aspx
Going Camping written by Robyn Osborne Illustrated by Colin Stevens (Big Sky Publishing 2014) print picture book, $15.99 ISBN 978-1-922132-55-0
http://www.bigskypublishing.com.au/Books/Children/Going-Camping/1055/productview.aspx
These books are the first two in the My Family series of humorous books about the foibles of family life. These funny and upbeat books are full of stunning illustrations and rhythmic and rolling verse about the ups and downs of family adventures. Ultimately, they celebrate families and shine a light on the message of making the most of every moment. The books are suitable for younger readers 4 - 8 years.
Midget Bones' Diary written by Robyn Osborne (Puppy Care Education, 2014) ebook ($3.29) and print book ($10.79) ISBN 978-1922187987
http://www.amazon.com/Midget-Bones-Diary-Robyn-Osborne/dp/1922187984/ref=tmm_pap_title_0?ie=UTF8&qid=1420784898&sr=1-1
This diary was 'written' by my wonderful canine companion, Snowy. This quirky and humorous memoir follows in the paw steps of Bridget Jones, with a touch of 'Jacki' Collins and a large dose of Lassie thrown in. It is suitable for 12 years +.
My website is http://robynosborne.com/
December 30, 2014
Buzz Words
Buzz Words (All the Buzz about Children's Books) In 2006 I started Buzz Words, a subscriber-based twice-monthly online magazine exclusively for people in the Australian children’s book industry. The aim of the magazine is to keep readers abreast of what’s currently happening in the children’s book industry and to give readers opportunities to become informed and published.
As Buzz Words aims to be as up-to-date as possible, I am constantly searching for material such as local and international news, opportunities, markets, competitions and awards, festivals and conferences and up-coming workshops. To do this, I’ve had to subscribe to numerous newsletters here in Australia and overseas, and to pay for memberships of writers’ organisations. I spend many hours every week trolling the internet and social media as well as sending emails, trying to contact individuals who work to publicise their organisations’ events. Being in the industry for over 30 years, I can also rely on my many contacts to keep me informed. A lot of emailing goes on, believe me!
Other features in every issue of Buzz Words are publishing house profiles, short profiles of people in the industry, and an interview. As a productive children’s author I’ve compiled an up-to-date database of in excess of 100 Australian children’s book publishing houses (large and small), together with the names of publishers, editors and their contact details. I use this database -- as well as the internet -- to create the publishing house profiles, supplementing them with logos taken from the publishers’ websites. A few recent publishers I’ve turned the spotlight on are Black Dog Books, Book Island, Laguna Bay and Bloomsbury Spark. Interestingly, while I was researching recently, I discovered a new Australian children’s publisher, Dragon Tales Publishing; I sent them a novel manuscript and they contracted it!
Profiles in Buzz Words are invariably of children’s writers and illustrators. These people are usually subscribers. This provides a great opportunity for other readers to see the ‘faces’ of fellow subscribers so I always include a headshot of the person being profiled. Interviews are generally with other people in the industry, such as publishers, editors, publicists, distributors, booksellers, reviewers and librarians. Sometimes I am able to snare an international ‘celebrity’ (for example Derek Landy, the UK author, in the 1 October 2014 issue).
There is always an article in each issue of Buzz Words. In the last few – and upcoming issues -- there was/is a comprehensive survey of self-publishing (with many links), a look at subsidy publishing, a peek at the behind-the-scenes of book distribution, a recommendation of how to generate income as a children’s author and the experiences of authors in schools. I have researched and written all of these articles, but I have also paid writers who approach me with appropriate ideas.
Other features of Buzz Words are recommended books and websites/blogs, subscribers’ achievements, letters to the editor and -- of course -- book reviews. There are lots of links provided to all of the above.
As Buzz Words editor I have the good fortune to employ twenty excellent book reviewers. Publishers send these women copies of their latest children’s and YA titles and the reviewers send their reviews to me when completed. Buzz Words has a standard reviewing policy and format. If a reviewer feels a book (such as a self-published title) is not up to standard, they are not required to review it. I edit all incoming reviews and then schedule them to appear in the Buzz Words blog http://www.buzzwordsmagazine.com All of the books are provided with links in the magazine in every issue.
Researching, writing and editing Buzz Words – and sourcing photos and illustrations -- certainly takes up a lot of time and energy. But the benefits are many. Foremost I ‘meet’ many in the industry I might not otherwise have met. I also learn much and keep abreast with trends and developments. The feedback from subscribers is always positive. I feel as though I am contributing to the industry which has been so kind to me for the past three decades I’ve been in it.
Dianne (Di) Bates has published 120+ books for young readers, including books which have won state, national and children’s choice awards. Di is a recipient of The Lady Cutler Award for distinguished services to children’s literature from the Children’s Book Council of Australia. She can be contacted via her website http://enterprisingwords.com.au or dibates@outlook.com
November 26, 2014
Thumb Pickles and Other Cautionary Preserves
Darcy-Lee Tindale is thrilled with the release of her novel, Thumb Pickles and Other Cautionary Preserves, published with JoJo Publishers. This middle grade reader, aimed at 10 to 14 year olds, is a collection of stories and includes the parable about a boy who is born with no thumbs (because SOMEONE should not have been running with scissors). Darcy-Lee Tindale believes even villains can fall in love – which she demonstrates in the title story
Thumb Pickles and Other Cautionary Preserves
, while telling the tale of how a person’s difference might influence the way they journey through life. Inspired by Mary Shelly’s Frankenstein and influenced by the 1845 classic collection of cautionary tales Der Struwwelpeter (Stockheaded Peter) by German writer Heinrich Hoffmann, Darcy-Lee responds to the common question authors are so often asked: ‘Then what happened?’ These are the stories you won't believe and the stories your parents don't want you to believe. Klaus Von Fohn loved horseradish way too much; Signor Stupido pulled rude faces; Lorcan O'Reilly never washed behind his ears, and because someone ran with scissors, the children of the whole village of Tenderville lost their thumbs. This collection of cautionary tales shows how ignoring good advice can lead to finding yourself in a real pickle. These are the stories you won't believe and the stories your parents don't want you to believe. Klaus Von Fohn loved horseradish way too much; Signor Stupido pulled rude faces; Lorcan O'Reilly never washed behind his ears, and because someone ran with scissors, the children of the whole village of Tenderville lost their thumbs. This collection of cautionary tales shows how ignoring good advice can lead to finding yourself in a real pickle. These are the stories you won’t believe and the stories your parents don’t want you to believe. This collection includes the story of ISBN: 9780987609618
ISBN-10: 0987609610
Audience: Teenager / Young Adult
Format: Paperback
Language: English
Number Of Pages: 166
Published: 19th November 2014
Publisher: JoJo Publishing ISBN: 9780987609618
ISBN-10: 0987609610
Audience: Teenager / Young Adult
Format: Paperback
Language: English
Number Of Pages: 166
Published: 19th November 2014
Publisher: JoJo Publishing ISBN: 9780987609618
ISBN-10: 0987609610
Audience: Teenager / Young Adult
Format: Paperback
Language: English
Number Of Pages: 166
Published: 19th November 2014
Publisher: JoJo PubliKlaus Von Fohn who loved horseradish way too much; Signor Stupido who pulled rude faces; Lorcan O’Reilly who never washed behind his ears, and because someone ran with scissors, the children of the whole village of Tenderville lost their thumbs. This collection of cautionary tales shows how ignoring good advice can lead to finding yourself in a real pickle.
Darcy-Lee has many writing credits which include plays, poems and prose published in The NSW School Magazine, Celapene Press, Tincture, ZineWest, Black & Blue Publications, Penguin Books and children’s readers with McGraw Hill, Education. This year she was shortlisted at The Australian Crime Writer Association for the Ned Kelly Award, a prize which has been honouring the best crime-writing lurking in Australia since 1995, for her short story The Scars of Noir in the 2014 Sandra Harvey Short Story Ned Kelly Crime section.
[image error] When not scribbling, Darcy is a dramatic arts teacher by day, and has a background in directing, acting and theatre-sports. She has appeared on stage, television and in film. While Darcy is passionate about the performing arts, her first love is story. And while Darcy enjoys seeing the end result on stage or in film, she loves the joy of the first discovery, the author’s voice, thoughts, ideas, themes, and the story in the initial printed word. Her first passion is in books and novels, and the scope and insight a book or novel can give the reader. Thumb Pickles and Other Cautionary Preserves is available in all good bookstores, just in time for Christmas. ISBN: 9780987609618 Format: Paperback Language: English Pages: 166 Publisher: JoJo Publishing Target: 10 – 14 years
Links to purchase your copy: http://www.booktopia.com.au/thumb-pickles-and-other-cautionary-preserves-darcy-lee-tindale/prod9780987609618.html
http://classic-jojo.com/shop/children/thumb-pickles-and-other-cautionary-preserves/
http://www.fishpond.com.au/Books/Thumb-Pickles-and-Other-Cautionary-Preserves-Darcy-Lee-Tindale/9780987609618
November 16, 2014
My Unforgettable Year
Adem Besim is a young man in his early twenties who remembers the angst of the teen years and relates it well in his first book, My Unforgettable Year(Morris Publishing Australia). The themes of this YA novel are many: living up to parents' expectations, bullying, friendships, studying, and dealing with death, and falling in love. This book will be loved by male and female. This is a coming-of-age story about triumph and tragedy, love and loss, acceptance and letting go. Life's looking pretty awesome for 17-year-old, Nathan Thompson. He's the goal-kicking superstar from the small town of Kyabram. Nathan's in his final year of school and has big plans set for the future; like winning the Third's premiership cup, acing his Year Twelve exams, and finally graduating. One problem -his tough and over-bearing father, Mark, has other plans for him. He desperately wants Nathan to be the next AFL player to come out of Kyabram. He seems set to stop Nathan from following his dreams of studying architecture at university. But a thirty-year-old secret of Mark's that resurfaces on Nathan's 18th birthday changes everything. Will it force Nathan and his father further apart or help them reconcile their fragile relationship? On top of that problem, Nathan's year gets worse as he deals with the death of a friend, bullying and first love.ABOUT THE AUTHOR Adem Besim was born in and lives in Kyabram, Victoria. He is presently studying for a Diploma in Professional Writing and Editing at Bendigo TAFE. Adem started his writing journey at 14 years of age.He says, 'I started writing because I'd always had a passion for it from when I was a small child. I was inspired by visits to bookshops with my father, and author visits at school. I always felt at my happiest and inspired listening to authors speaking about their books. That's how I knew that this was what I was born to do - there was nothing else I felt more certain about.'
The book is available from all library suppliers, Dennis Jones and Associates or wholesale from our website http://morrispublishingaustralia.com.It is also produced and available as an eBook and on Amazon, Smashwords, Apple and Kobo.
November 1, 2014
Signing Your First Book Contract
© Dianne Bates
Getting one’s first contract is probably the highlight of a new author’s writing life (next to first hearing that a publisher wants to publish her book). However, it can be easy to receive the contract and in a moment of blissful ignorance, sign and date it with a flourish – only to later discover you have signed your life away. I’ve signed hundreds of publishers’ contracts over the past 30 years, so I, too, have blundered along the way. Here are a few "nevers" I would suggest when signing a contract:
* Never let a publisher bully you. Never! If you are inexperienced or nervous and you have a contract, then is a good time to contact a literary agent and get them to negotiate on your behalf. (Agents are more interested in writers who already have contracts.) Alternatively you can contact the ASA (Australian Society of Authors), a private arts lawyer or the Arts Law Centre, all of whom will advise you on what rights you should accept.
* Do not sign the option clause in your contract. The option clause basically says that you agree to submit your next manuscript to the company. It is unnecessary and for many reason it’s to your advantage not to. You can always submit your next work to the same publisher who gave you the first contract. Or to anyone else!
* Never sign with book publishers for "devices which might be invented in the future" Negotiate these separately, when the publisher is ready to publish via non-book means.
* Never assign CAL (Copyright Agency Licence, or photocopying) payments to your publisher, but DO register your book with CAL as soon as it is published
* Never let your publisher take your full share of ELR and PLR payments. (If in doubt, ring the Lending Rights' people and ask them what to do). Lending Rights is a Federal Government payment to compensate authors for their books held in public and educational libraries.
* Never refuse to take an advance against royalties. Even if it's only $300, take it. If a publisher says he can't afford it, better to go with a publisher who can afford it. Advances should always be non-returnable. If the contract is signed and your publisher reneges, you are entitled to what is known as a "kill fee" which compensates you for the work you have done, or have missed out on doing.
* Never take a flat fee payment: if you do, then you will never get ELR and PLR payments which are worth a lot of money to you over a period of time. Lending Rights payments are only made where there is a continuing interest in the book (ie royalties coming in).
Always check every single clause in your contract: be especially careful with percentages on subsidiary rights and book club deals. Also, watch the translation and film rights clauses and make sure you negotiate for as much as you can.
Re negotiation tactics, put everything in writing. Talking to publishers in person or on the phone about contracts can be emotionally charged, so it is best to put it in print (either email or snail mail) and keep paper copies of all email exchanges. Create a paper folder marked with the publisher’s name and keep papers in consecutive date order, including royalty statements, letters (or emails) to and fro etc. Date everything. This will prove very helpful in the long run if you need to check on anything, or if there is a legal problem.
If it is difficult for you to negotiate your contract, get an agent, a lawyer or the Arts Law Centreto negotiate on your behalf.
A CONTACT IS A LEGAL DOCUMENT. NEVER LOSE IT. KEEP IT IN A SAFE PLACE.
RISING ROYALTIES
If you negotiate for rising royalties make sure you keep an eye on the number you sell and let the publisher know if they conveniently forget that the clause is there. A rising royalty means you are to receive a greater percentage of royalties depending on book sales. You might, for example, have a royalty of 10% on the first 3,000 copies sold, rising to 12% thereafter.
Don't let all your great talent and many hours of work be under-valued by yourself and/or your publisher!
ROYALTY STATEMENTSWhenever you receive a royalty statement, always check how many copies there are remaining; if it approaches 50 (which indicate the book is close to going out of print) immediately write to the publisher and give notice to reissue or reprint the book. If they don’t want to do so, ask to buy remainders at discount (offer 50 cents, and negotiate from there.) According to contracts, when the book goes out of print, the rights will revert to you so you can get your book published elsewhere, if you wish. I have done this quite a few times.
REMAINDERS
Sometimes publishers decide to get rid of stock in their warehouse. There can be numerous reasons for this, including old stock making way for new, or stock not selling and taking up valuable space. In any case, most contracts indicate – or should, as it is to your advantage – that the author gets first right of refusal. Having remainders means that you can dispose of them as you wish (donate them to schools, give them as gifts to family and friends, or sell them.) Often the publisher will offer the remainders to you at a certain price. But it is better if you make the first offer. I generally ask to buy remainder stock (which might be up to 1,000 copies) at 50 cents a copy. The publisher will agree or (mostly likely) make a counter offer. Always make sure that the agreement you reach results in the publisher paying the freight charges (they get them a lot cheaper that you will.)
You can sell your remainders at RRP, if you wish, or at discount at
· Markets
· Your local schools
· To book shops
· Conferences
· Schools where you present
· Via the internet
· Via your website
· By mail order
If you donate your books to organisations, such as schools or charities, you can claim a tax deduction (as a donation or for promotional purposes) at full RRP, even if you only pay 50 cents a copy.
If giving the books away is part of your marketing yourself as an author, you can also claim a tax deduction. Make sure you keep accurate transaction records, including date, price, quantity and customer. I was once stuck with 500 CD books which I was unable to sell, so I donated them to a teachers’ organisation which had a stall at a national conference, and that year made an extra tax deduction as a result.
Dianne (Di) Bates is the author of 120+, many of which are now out of print. Her most recent books are The Girl in the Basement (Morris Publishing Australia), Nobody’s Boy (Celapene Press) and A Game of Keeps (Celapene Press). Di’s website is www.enterprisingwords.com Di also offers an online course for those wishing to write for children.
Getting one’s first contract is probably the highlight of a new author’s writing life (next to first hearing that a publisher wants to publish her book). However, it can be easy to receive the contract and in a moment of blissful ignorance, sign and date it with a flourish – only to later discover you have signed your life away. I’ve signed hundreds of publishers’ contracts over the past 30 years, so I, too, have blundered along the way. Here are a few "nevers" I would suggest when signing a contract:
* Never let a publisher bully you. Never! If you are inexperienced or nervous and you have a contract, then is a good time to contact a literary agent and get them to negotiate on your behalf. (Agents are more interested in writers who already have contracts.) Alternatively you can contact the ASA (Australian Society of Authors), a private arts lawyer or the Arts Law Centre, all of whom will advise you on what rights you should accept.
* Do not sign the option clause in your contract. The option clause basically says that you agree to submit your next manuscript to the company. It is unnecessary and for many reason it’s to your advantage not to. You can always submit your next work to the same publisher who gave you the first contract. Or to anyone else!
* Never sign with book publishers for "devices which might be invented in the future" Negotiate these separately, when the publisher is ready to publish via non-book means.
* Never assign CAL (Copyright Agency Licence, or photocopying) payments to your publisher, but DO register your book with CAL as soon as it is published
* Never let your publisher take your full share of ELR and PLR payments. (If in doubt, ring the Lending Rights' people and ask them what to do). Lending Rights is a Federal Government payment to compensate authors for their books held in public and educational libraries.
* Never refuse to take an advance against royalties. Even if it's only $300, take it. If a publisher says he can't afford it, better to go with a publisher who can afford it. Advances should always be non-returnable. If the contract is signed and your publisher reneges, you are entitled to what is known as a "kill fee" which compensates you for the work you have done, or have missed out on doing.
* Never take a flat fee payment: if you do, then you will never get ELR and PLR payments which are worth a lot of money to you over a period of time. Lending Rights payments are only made where there is a continuing interest in the book (ie royalties coming in).
Always check every single clause in your contract: be especially careful with percentages on subsidiary rights and book club deals. Also, watch the translation and film rights clauses and make sure you negotiate for as much as you can.
Re negotiation tactics, put everything in writing. Talking to publishers in person or on the phone about contracts can be emotionally charged, so it is best to put it in print (either email or snail mail) and keep paper copies of all email exchanges. Create a paper folder marked with the publisher’s name and keep papers in consecutive date order, including royalty statements, letters (or emails) to and fro etc. Date everything. This will prove very helpful in the long run if you need to check on anything, or if there is a legal problem.
If it is difficult for you to negotiate your contract, get an agent, a lawyer or the Arts Law Centreto negotiate on your behalf.
A CONTACT IS A LEGAL DOCUMENT. NEVER LOSE IT. KEEP IT IN A SAFE PLACE.
RISING ROYALTIES
If you negotiate for rising royalties make sure you keep an eye on the number you sell and let the publisher know if they conveniently forget that the clause is there. A rising royalty means you are to receive a greater percentage of royalties depending on book sales. You might, for example, have a royalty of 10% on the first 3,000 copies sold, rising to 12% thereafter.
Don't let all your great talent and many hours of work be under-valued by yourself and/or your publisher!
ROYALTY STATEMENTSWhenever you receive a royalty statement, always check how many copies there are remaining; if it approaches 50 (which indicate the book is close to going out of print) immediately write to the publisher and give notice to reissue or reprint the book. If they don’t want to do so, ask to buy remainders at discount (offer 50 cents, and negotiate from there.) According to contracts, when the book goes out of print, the rights will revert to you so you can get your book published elsewhere, if you wish. I have done this quite a few times.
REMAINDERS
Sometimes publishers decide to get rid of stock in their warehouse. There can be numerous reasons for this, including old stock making way for new, or stock not selling and taking up valuable space. In any case, most contracts indicate – or should, as it is to your advantage – that the author gets first right of refusal. Having remainders means that you can dispose of them as you wish (donate them to schools, give them as gifts to family and friends, or sell them.) Often the publisher will offer the remainders to you at a certain price. But it is better if you make the first offer. I generally ask to buy remainder stock (which might be up to 1,000 copies) at 50 cents a copy. The publisher will agree or (mostly likely) make a counter offer. Always make sure that the agreement you reach results in the publisher paying the freight charges (they get them a lot cheaper that you will.)
You can sell your remainders at RRP, if you wish, or at discount at
· Markets
· Your local schools
· To book shops
· Conferences
· Schools where you present
· Via the internet
· Via your website
· By mail order
If you donate your books to organisations, such as schools or charities, you can claim a tax deduction (as a donation or for promotional purposes) at full RRP, even if you only pay 50 cents a copy.
If giving the books away is part of your marketing yourself as an author, you can also claim a tax deduction. Make sure you keep accurate transaction records, including date, price, quantity and customer. I was once stuck with 500 CD books which I was unable to sell, so I donated them to a teachers’ organisation which had a stall at a national conference, and that year made an extra tax deduction as a result.
Dianne (Di) Bates is the author of 120+, many of which are now out of print. Her most recent books are The Girl in the Basement (Morris Publishing Australia), Nobody’s Boy (Celapene Press) and A Game of Keeps (Celapene Press). Di’s website is www.enterprisingwords.com Di also offers an online course for those wishing to write for children.
October 16, 2014
Buzz Words (All the Buzz about Children's Books)
In 2006 I started a subscriber-based twice-monthly online magazine exclusively for people in the Australian children’s book industry.
Buzz Words doesn’t rely on contributors so it’s not full of self-promotion. The aim of the magazine is to keep readers abreast of what’s currently happening in the children’s book industry and to give them as many opportunities to get informed and published. It is concerned with what is happening currently in the industry: the magazine is comprehensive and structured.
Every issue contains the following: local and international news, a publisher profile, short profiles of people in the industry, an interview, opportunities, markets, competitions and awards, recommended books and websites/blogs, festivals and conferences, workshops, article/s, subscribers’ achievements, letters to the editor (have your say), and of course book reviews. There are lots of links provided to all of the above.
Sometimes writers are commissioned (and paid) for their contributions.
reference for interviews, articles, profiles, etc is given to subscribers. Subscribers are also given the opportunity to advertise for free, if they have a product and/or service. The magazine is as subscriber-friendly as possible. Cost is $48 per year (23 issues).
If you want to subscribe, go to the blog http://www.buzzwordsmagazine.com and check out the LHS of the home page for details of how to proceed.
I can also send you a free issue. Just request one through the Buzz Words blog site.
Buzz Words doesn’t rely on contributors so it’s not full of self-promotion. The aim of the magazine is to keep readers abreast of what’s currently happening in the children’s book industry and to give them as many opportunities to get informed and published. It is concerned with what is happening currently in the industry: the magazine is comprehensive and structured.
Every issue contains the following: local and international news, a publisher profile, short profiles of people in the industry, an interview, opportunities, markets, competitions and awards, recommended books and websites/blogs, festivals and conferences, workshops, article/s, subscribers’ achievements, letters to the editor (have your say), and of course book reviews. There are lots of links provided to all of the above.
Sometimes writers are commissioned (and paid) for their contributions.
reference for interviews, articles, profiles, etc is given to subscribers. Subscribers are also given the opportunity to advertise for free, if they have a product and/or service. The magazine is as subscriber-friendly as possible. Cost is $48 per year (23 issues).
If you want to subscribe, go to the blog http://www.buzzwordsmagazine.com and check out the LHS of the home page for details of how to proceed.
I can also send you a free issue. Just request one through the Buzz Words blog site.
