PASS IT ON ISSUE 67
PASS IT ON
knowledge is power
www.jackiehosking.com
Issue 67.
Hi everyone! Welcome to the new look PASS IT ON! A lot more professional
don't you think? I hope you have all had a fantastic week. Thanks to all who
have contributed and a special hello to all new subscribers. Thank you also
to everyone who has offered support and encouragement, I really do
appreciate it. Please enjoy this week's issue of PASS IT ON.
A Disclaimer of Liability
Please ensure that your submissions are ACCURATE and clear. I will accept no
responsibility for any errors or omissions contained in the information
submitted.
PLEASE be careful.
To unsubscribe send an email to jacket@smartchat.net.au with "unsubscribe"
in the subject heading.
WHAT IS PASS IT ON?
PASS IT ON is a weekly, on-line, interactive, networking newsletter for
those involved with or interested in the children's writing industry. It is
emailed to subscribers every Monday.
PASS IT ON will survive for as long as YOU the CONTRIBUTOR determine. I am
the collection point for YOUR submissions. I am one cog in a tool that has
the potential to be very powerful. (submission guidelines can be found at
the end of the newsletter)
If you wish to receive PASS IT ON - email me, Jackie Hosking at
jacket@smartchat.net.au and I will send you the most recent issue of the
newsletter and an invoice. If you like what you see, please return the
invoice along with your payment and I will add you to the subscriber's list.
If you join in July it will cost you $24.00 If you join in August, it will
cost you $22.00 If you join in September, it will cost you $20.00 etc...
(all subscriptions will then be due on
Please contribute as often as you can and be assured that I will treat your
contact details with the utmost confidentiality. I look forward to making
many more new friends.
Past issues may be viewed at my website www.jackiehosking.com
GENERAL INFORMATION
AUSTRALIAN SOCIETY OF AUTHORS MEDIA RELEASE
Writer honoured for contribution to public life
The following is embargoed until
The Australian Society of Authors, the principal advocate for the
professional and artistic interests of Australian authors, has awarded Inga
Clendinnen the 2005 ASA Medal.
The Hon Dr Meredith Burgmann, President of the Legislative Council of New
South Wales, presented the Medal at a ceremony in the Jubilee Room of NSW
Parliament House on
The ASA Medal is presented biennially to recognise the achievements of
authors (including illustrators) who have made a significant contribution to
the Australian community or Australian public life.
Inga Clendinnen is an internationally recognised historian and writer whose
work continues to surprise readers with its depth of knowledge and breadth
of interests.
Inga first came to national attention as a teacher and researcher of the
Aztec and Mayan cultures. Then, in 1990, Inga became desperately ill with a
rare liver disease, and was expected to die. Unable to continue her
research, Inga challenged herself to depart from her training as a historian
to write the acclaimed personal narrative Tiger's Eye (Text Publishing,
2000).
Also during this long illness, Inga went on to research and write Reading
the Holocaust (Text Publishing, 1998), a book that effectively "cleared a
space" for Holocaust discussion to be freshly and "impassionedly" taken up.
In 1999 Inga presented a survey of Aboriginal history for the 41st annual
Boyer Lectures on ABC Radio National, and continues to speak compellingly
about indigenous lives in
published as True Stories. Her book Dancing With Strangers (Text Publishing,
2003) investigates the relationship between the British and Indigenous
Australians during the colony's first five years.
Inga continues to write and to challenge readers' expectations,
demonstrating extraordinary research skills, empathy for others and a
dedication to the craft of writing.
Inga Clendinnen will attend the ceremony at NSW Parliament House at
The ASA Medal is awarded biennially. In 2003 the Medal was awarded to Tim
Winton.
The ASA gratefully acknowledges the support of Copyright Agency Limited,
Allen & Unwin, HarperCollins and Random House.
Please contact Jeremy Fisher on 9318 0877 for more information.
SEEKING
I am looking into writing for RIC educational publishers in WA. Has anyone
worked with them? Can you tell me what their contract is like in regards to
copyright? Do you lose all rights?
Thanks very much. All information is appreciated.
ME
***I contacted the above mentioned publisher and this was their
response...***
Good morning Jackie, I don't deal with contract information myself, but our
Managing Editor tells me that the author retains copyright of their own
work, while we have exclusive use of that work for the duration of the
contract. We also retain copyright of how the work looks on the page i.e.
layout. all work written in-house by our writing group (all experienced
teachers - of which I am one!) is under copyright to RIC. I hope this
answers your question for you!
Noeline
--
Noeline Pullen
Educational Editor
_________________________________
R.I.C. GROUP Incorporating:
R.I.C. Publications
Prim-Ed Publishing
We are looking for literacy and numeracy resources which are fun and
interesting for young people. We are based in
and our target group is mainly young Indigenous people, not in school or
employment. English is a second language for many of these young people. I
am keen to hear your ideas about resources (including computer based
resources) which engage young people and teach some level of literacy and/or
numeracy at the same time.
JABIRU NT 0886
Ph (08) 8979 2230
Wish List wanted
A few months ago we asked everyone about a Children's Young Adult Festival,
well we now need the next step from PIO subscribers. The Brisbane Writers
Festival have asked us to compile a wish list of International and
Australian children's authors we would most want to see out here, and why?
(Remembering JK Rowling unfortunately doesn't do personal appearances -
ever.)
Please fill this in and email to jacket@smartchat.net.au before
December 2005
International Author:
NameReason for wanting to see them at festival/conference
1.
2.
3.
4
5.
Australian Author
NameReason for wanting to see them at festival/conference
1.
2.
3.
4.
5.
Thank you.
CYA - see ya later alligator conference organizers.
REPLIES TO SEEKING
Sharon Greenaway asked in PIO Issue 66 if we need to have experienced what
we write about, especially when tackling difficult or controversial issues.
In my case, no. This year I wrote a play called Mirror, Mirror. It is about
eating disorders, an issue I have not personally experienced (- except as a
comfort eater!) I researched the issue, including interviewing a range of
people who do have direct experience of eating disorders - patients,
parents, brothers and sisters, medical people, counsellors, music therapists
and more. I read and read - books, magazines, internet pages, fiction,
including a wonderful short play by Hazel Edwards (thank you, Hazel!), and I
listened to a lot of music. I also worked with drama students at a local
school to help 'adjust the focus' to suit today's adolescents. When Mirror,
Mirror was performed, several staff and patients I had interviewed at the
eating disorders clinic came to see the play and then gave me their
feedback - a moving and powerful process for us all.
Above all, I think that what we neeed as writers for YA audiences and
readers is the ability to empathise.
Sue Murray
Information for Sharon Greenaway.
Coincidences always surprise me and two have occurred recently. I borrowed
Saving Francesca from the town library and had no sooner finished reading it
than I heard that the author, Melina Marchetta, was to speak at a Children's
Book Council meeting in
Greeaway mentions Melina's other book, Looking for Allibrandi.
characters often take over their own lives. She had no idea that John was
going to kill himself until one day it struck her - "My God, he's going to
kill himself!" This is what she told us. Melina said people often think she
was writing about her own life but in fact she left school at 15 and was
working in a bank when she began to write. Her family was very supportive
but didn't know anything about writing. The experiences in the book were
partly based on her sister's school life and her friends, as they had the
opportunity for education. She also said that after the book came out, she
was able to go to university and studied to be a teacher. Now she is a full
time teacher and loves it. Melina gets little time for writing though. Her
students often read through her work and comment on it which is invaluable.
She is writing another book and it will be out next year she hopes, so watch
out for it.
Helen Evans
Re: Do you believe that an author needs to have had some similar personal
experiences to be able to write about such dramatic things such as teenage
suicide, or other heavier type subjects, and be able to sound 'real'?
As many authors do I tend to write about my own experiences or what has
touched me personally, but if we were only allowed to write about that,
there would be a lot of subjects not tackled. With sensitive research and a
heart feeling for a subject I believe we can write about topics outside our
experience. A female writer writing with a first person male character is
doing just that. I wrote about an Afghan girl in 'Soraya the storyteller'
but I am not Afghan. Others write about cultures or experiences different
from their own with varying degrees of genuineness. I believe the thing to
watch is that we do quality research, be sensitive and produce a creative
work that rings true, otherwise our lack of experience in that subject will
show in our writing however worthy our intentions.
Rosanne Hawke
Christine Aldred requested advice for new writers. Edel Wignell sent the
following to the address given in PIO, but it didn't transfer. A bit
self-promotional at the end, but, What the heck?
Verbs are the powerhouse of your writing. Why write, 'Jack walked slowly
along the street,' when you can say, 'Jack strolled...'? In fact, if you
look in a thesaurus, you will find more than fifty synonyms for 'walked'.
When you are revising your ms, look at every verb and consider whether there
is a better one. Look at every adverb (such as 'slowly'). Most adverbs can
be eliminated if you find an appropriate verb. This will make your writing
fresh, direct and strong.
A thesaurus is your best companion as you revise.
Edel Wignell is a freelance writer, compiler and journalist. Look at the
verbs in her junior historical novel, The Long, Sticky Walk (
2004).
NEW PUBLICATIONS
SPECIAL EVENTS
Montsalvat 'Future Poets' A poetry reading by children. Sunday 4th December
Shire and beyond will read their own poetry on stage. Kids' band, The Wally
Washboards ( featuring Myron Lysenko on washboard) will entertain you, local
publishers Flat Chat Press and BlueCatBooks will sell books and our feature
poet is MPU's own, David Campbell, who will read his own poetry to the
children. Children who wish to read must be booked in as they will receive a
certificate of participation and a book. For enquiries call Fee 0417 358280
or email prohort@primus.com.au
MARKET OPPORTUNITIES
Authors required in
UC Publishing is producing for The Council for Christian Education in
Schools another cycle of their successful Religion in Life series. Thanks to
PIO last year we contracted a number of authors to help writing groups
across
religious education in government schools. However, some of these authors
are not able to help us with the writing of the new cycle material in 2006.
The work involves writing, with the aid of a support group of CRE teachers,
two units (one for students aged 8-10 years and the other 10-12 years). A
unit will contain three sessions (approximately) and a session is a 30
minute lesson (6 sesssions all together). The writing task involves writing
a double page in the student book for each session (which is highly
illustrated), and a double page in each teachers book for each session.
Plus a one page introduction to the unit and a small number of BLMs for the
teacher to use - no more than 3 in one unit. The fee for writing has been
set at $1000 per unit (both levels). So a 3-session unit at each level will
pay the fee of $3000, a 4-session unit (at both levels) $4000 etc. Writers
must know middle and/or upper primary-aged classrooms, be trained or
experienced writers, and have a strong understanding of the Christian faith,
at this age group is a further advantage. For further information contact
Gary Underwood at gary@ucpublishing.com Further details of the RIL
materials can be seen on the CCES website: www.cces.org,au
Sue Whiting has been appointed as Editor to Walker Books Australia.
Walker Books are keen to build their new Australian list, with junior
fiction for ages 5 - 8 and / or 8 - 12 being their initial focus. At this
stage submissions through a literary agent are preferred. For further
information contact Sue at swhiting@walkerbooks.com.au or (02) 9517 9577
(ext 119) Monday - Wednesday.
COMPETITIONS/AWARDS
This is a mentorship opportunity from the May Gibbs Foundation, which is
great, but they need to know quite quickly. The person needs to be under 30
and must live in regional Victoria (yes, agist and unfair, I agree, but
there it is) They must have reached a point where they feel that with a bit
more help it might be possible to get their story/stories published. The
mentorship is to take place in February or March.
There is also an Adelaide one which is not as urgent. Again under 30, and
this time an illustrator. This one can be metropolitan or regional, and the
program has to be completed by 30th June 2006.
If you think you are eligible for either of these, fill in the form as per
website www.maygibbs.org.au. The Victorian one is URGENT.
Dr Virginia Lowe
Create a Kids' Book
www.alphalink.com.au/~vlowe
PO Box 2, Ormond Victoria 3204
ph: 03 9578 5689
fax: 03 9578 3466
mob: 0400 488 100
WRITING COURSES/WORKSHOPS
NEW WORK STYLE SKILLS
HAVE YOUR SAY
FROM AUTHOR Libby Gleeson
Further to Edel Wignell's comments on Moral Rights.
These rights sound as obvious and as justifiable as Human Rights but this is
not the case. They are rights that had to be fought for and argued for over
a long period by many in the arts community. This was one of the issues that
dominated the period when I chaired the ASA 1999 - 2001. Along with stage
writers, visual artists, architects, designers and others, we lobbied
Canberra and fought for space to put our case in the media. In 2000 the
legislation was passed into law. If you are interested in knowing more about
this, check out Between the Lines, the ASA publication that deals with all
things legal in your contracts and in your relationships with others in the
publishing business. You can call the ASA 02-93180877 or go onto the website
www.asauthors.org
FROM AN AUTHOR
I read Edel Wignell's "Moral Rights" article with avid interest. Thank you
for such an informative article, Edel.
This year I wrote my first successful article for an American Children's
magazine. It was my second attempt and I really hadn't looked at the fine
print - but on notification of acceptance, I realized I would have to assign
all rights. I wrote to the editor and said I would prefer not to relinquish
my rights but was told either do so or don't publish with us.
I would like to ask Edell a question. Did you have to fight to keep your
copyright with the magazine publishers you mentioned, or was it their policy
for authors to retain copyright? Would you be willing to name a few
magazine publishers who do not want all rights.
FROM AN AUTHOR
I kinda liked this description of the language we love to use...
"Modern English is the Wal-Mart of languages: convenient, huge, hard to
avoid, superficially friendly, and devouring all rivals in its eagerness to
expand."
-Mark Abley, journalist (1955- )
claire
FROM AN AUTHOR
MORE THOUGHTS ON AGENTS
I heartily agree with last week's PIO correspondent answering "no" to the
necessity for a literary agent. My experience is that agents are generally
more difficult to deal with than publishers, if they in fact bother to
respond to an author's overtures. I've actually had two agents and not one
of them has placed any work for me. On the other hand, I have placed dozens
of books with Australian and overseas' publishers, and most of them have
sold successfully. At an early stage of my career, one agent did negotiate
some tricky contracts for me but then failed to check on royalty statements
when she received them to see if they in fact followed the terms of the
contracts (which they didn't). Beginner writers seem obsessed with getting
agents when they are better advised to find publishers for themselves. It's
only then that most agents will be interested, and even then that interest
is not guaranteed. My experience is that published children's authors are
far better sources of help and advice. Most new writers, in my opinion, don't
invest enough time, energy and capital in becoming familiar with markets:
this means attending conferences, talking with industry people, purchasing
industry magazines and books - doing what was described last week as
"hustling." If you have the writing and editing talent, persistence and
market know-how, agent or no agent, it's a cert you'll get published.
FROM AN AUTHOR
Can I ask you, Jackie, how many PIO subscribers contributed items to last
week's issue? The pickings were slimmer than usual. I note that you say the
newsletter will only continue for as long as subscribers decide, that is for
as long as they contribute. Surely there are plenty more markets out in
children's publishing land than one? Surely subscribers read books and can
review them? Surely authors, illustrators and editors can provide profiles?
Do we need controversies in PIO to ignite interest? Come back GP and DC - we
need you to stir the pot!
***You raise a good point and last week's thinner newsletter (although still
27 pages in word) inspired me to create a PIO flyer and to contact all the
writing centres, both big and small throughout Australia. It also pushed me
to "get more professional" (thank you Marg McAlister for helping me out with
that!) And of course GP and DC are most welcome to contribute their words of
wisdom, so long as they play nice :) ***
HAVE YOUR SAY
To Sharon Greenaway...find something you are passionate about and write
passionately about it. Always works for me.
To Fiona Sievers.....well done! Future Poets at Montsalvat sounds excellent.
Thanks for listening.
Clancy Tucker
HAVE YOUR SAY
For Edel Wignell
Authors need hope ( lots of that). Imagination (a pinch ). Persistence ( a
good big chunk), and reliable information ( whole bags of the stuff).
So don't worry about being a know-it-all. It is good of you to share your
knowledge with us.
HAVE YOUR SAY
Thanks Edel, for a splendidly cogent article on "moral rights", intrusive
and ignorant vocabularies, and contracts in general. I always find what you
contribute informative and worthwhile. You need not fear that your frequent
input in PIO will seem like publicising yourself, as you said. It has never
occurred to me that you are.
Rebecca Maxwell
FROM AN AUTHOR
Recently I've been reading short stories submitted by dozens of children's
authors. What has most surprised me is that not many authors think to
include a title page to their story or to staple the pages together. Many
also forget that paragraphs are indented and right align every sentence.
Sometimes, too, authors submit stories written in 10pt, which is difficult
on the eyes. If authors wish to have their work "stand out from the crowd"
they might give some consideration to the editor whose job it is to read
them.
FROM AUTHOR Hazel Edwards
A Book-Less Author
Last Saturday, I dropped my 'author talks' folder in Balmain, while
hurriedly en route for the Sydney airport after an Australian Society of
Authors meeting. A stranger rang on my mobile to say he had found the folder
on the road runover by a car, thought it looked important and would
Overnight Express Post it to me in Melbourne.
Like most authors who travel a lot, I have all my details of flights,
receipts, contacts, police check and ID in that. I do have backups, BUT.
I am VERY grateful and offered to send him recompense and an autographed
children's book. He said he didn't have any children that he knew of as he
was only 25. But I'd like to publicise this random kindness.
It reminded me. Ten years ago, in a family emergency I was dropped, handbag-
less at the Melbourne airport, en route for Launceston. A woman stranger
gave me $6 for a coffee and a phone call (pre-mobiles) because I looked
upset and the airline staff accepted my author photo on the back of my book
as ID for a replacement airline ticket. I publicised those kind people in
an ABC Tasmanian radio interview the next day.
And I swore to keep my author photos up to date.
Now I'm glad I keep my business cards up to date with my mobile number.
Thank you to the kind stranger Kriston Fahd of Rozelle.
www.hazeledwards.com
FROM AUTHOR Peter Taylor
A while ago, when adding to stories of 'My first book' in PIO, I told of how
I got the contract for my first major book through 'book packagers'. In
America (and probably elsewhere) they are aslo called 'book producers'.
You'll find a list of them here http://www.abpaonline.org/directory.html
They seem to be growing in number. From the 'American Book Producers
Association' site, here's a summary of what they do and how they work. I
hope maybe someone will find it useful to investigate further and see if
they are hunting for an author just like them for a particular requirement.
Book producers, also known as packagers, are some of the most valuable
players on the creative side of the publishing industry today.
Book producers have earned this distinction for their mastery of one type of
book in particular-namely, the "complicated" book. A complicated book is
just about any book that involves more than a straightforward, single-author
text. Complicated books include all manner of highly illustrated or
elaborately designed or multi-authored titles, such as how-to books, coffee
table books, reference books, textbooks, cookbooks, and more. Quietly, these
books make up the backbone of the publishing business.
Creating complicated books is a labor-intensive craft that often involves
whole teams of writers, editors, designers, illustrators, photographers,
researchers, and other specialized talent whose separate contributions must
be integrated into a seamless whole.
No one makes complicated books better than book producers. This is because
book producers are set up precisely for this purpose. Staffed with
experienced publishing professionals and equipped with sophisticated design
and production technologies, they make it their business to devote the
focused time, energy, and attention necessary to bring these projects to
fruition.
But the book producer's mastery of complicated books goes well beyond mere
execution: Book producers are visionary as well, conceiving and developing
the books that they create.
Producers combine a distinct individual aesthetic with a keen sense for the
demands of the marketplace and a savvy about what is technically feasible to
generate a steady stream of smart, original ideas. They are then able to
pull together the necessary ingredients to see these visions through. It is
largely for this reason that book packagers are also known as book producers
or book developers.
Books created by producers-"packaged books"-defy easy categorization. They
cover an infinite variety of essential subjects: art, medicine, cooking,
history, parenting, gardening, sports, popular culture, self-help, and more.
They run the spectrum of publishing markets, including trade, mass market,
educational, juvenile, professional, and reference. And every year, some of
the most impressive and lucrative titles on the market are packaged books.
Book producers bring their products to market through deals with book
publishers. For the most part, producers make these deals based on proposals
they have developed and written themselves, selling the publication rights
to a book before starting work. This sale, in turn, finances the book's
creation.
Depending on the nature of the particular arrangement, the book packager may
deliver to the publisher anything from an edited manuscript to a
fully-designed computer file to finished books-and the publisher takes the
project from there. Marketing and distribution are virtually always the
publisher's responsibilities.
With each passing year, book producers are becoming an increasingly vital
part of the publishing business. As publishing houses, eager to cut costs,
streamline their own staffs, they turn more and more often to book packagers
to fill the gap. Outside institutions looking to exploit their brands-from
magazines to medical schools-have also come to count on packagers to help
them develop books that will bear their names.
Producers, meanwhile, continue to expand both the volume and the extent of
their activity, providing unique services and greatly enhancing the world's
bookshelves in the process.
ARTICLES
DON'T SELL YOURSELF SHORT ON THE SPEAKERS' CIRCUIT - by Goldie Alexander
HOW DO YOU BALANCE GETTING PROMOTION FOR YOUR WORK AND BEING PAID?
Conferences are specifically designed for writers, illustrators and readers
to meet. They are wonderful events. Readers enjoy hearing flesh and blood
folk talk about their work Writers and illustrators are equally enamoured of
any opportunity to display their wares, and the indirect compliment that
goes along with it.
So why does being asked to speak at a conference sometimes arouse our
creators' collective ire?
In one word: Payment. Who pays, who doesn't, and the reasoning behind this
Many conference organisers assume that authors and illustrators do not need
to be paid for presenting their researched talks, nor for their travel and
accommodation expenses. They seem to assume that the resultant publicity
will be enough.
No organiser would consider asking a catering company to cook for a free
feed. Or an entertainer to perform just for the applause. Likewise, authors
and illustrators are self- employed creators and their time must be costed.
Conference organisers sometime argue that their entire budget is spent on
hiring of halls, publicity etc and that is nothing left over for speakers.
Sometimes these organisers offer to pay accommodation and travel in lieu of
fees, arguing that the major publishing houses can foot the rest of the
bill. Well known writers and illustrators can manage this. Academics have
universities behind them. But where does this leave newcomers and middle
range creators who aren't supported by their small publishers? What about
those creators who work with a more than one publisher? When this happens,
the creators themselves are expected to foot the bill.
For obvious reasons, those creators we spoke to insisted on anonymity.
However examples abound:
For instance, an author was invited 15 months before a major conference to
give a major talk based on her forthcoming book. She accepted and then found
she was expected to pay her own interstate travel, accommodation and the
registration for the entire conference which also included her own session
for which others were charged a fee.
Another author agreed to speak as a 'freebie' for a country conference out
of respect for the author organiser and then discovered participants were
charged. The large profit was used to promote massively expensive publicity
campaign where authors got minor or no billing in comparison with other
'entertainers' who were paid.
Some creators who agreed to speak at a major conference, found they were
programmed on concurrent sessions where there were so many options, only 2-3
people arrived or the sessions were cancelled. At that same conference, a
major interstate author was told that she would be refunded the cheapest non
changeable air fare. This meant that she had to leave at a very early hour,
unless she was prepared to pay the difference and find her own booking. The
extra money was refunded months later.
Another creator was asked to pay a day registration of over $100 to
participate in a panel session on a topic subsequently not related to her
books. She then found that her titles were not available in the conference
bookshop, nor publicised in any way. The final insult was to find that her
name was not on the program.
This creator was invited to donate his time and skills for a low- budget,
'worthy' conference. He subsequently found that participants were charged a
high entry and this money was used to pay for accommodation for organisers
and their partners, publicity and 'freebies' for entertainers.
A creator agreed to speak for 'free' on condition that his books were
available for sale at his talk. Then he was stopped from autographing and
selling his own copies which the bookstore did not carry, this despite
previously providing a list. There was no return to the out of pocket author
who paid his own travel expenses, carpark and registration.
Kids' creators were the most indignant. Payment for them for comparable
sessions with adult writers were often unequal. Examples were given of
conferences where the children's sessions were incredibly well attended.
These sessions subsidised the rest of the festival but the children's
authors were paid less and spoke longer.
So how do we creators get around all this?
It's time a more uniform policy was adopted. The ASA has an easy to download
list of minimum recommended rates for teaching, reading, speaking and
judging. This list includes proposed payment for appearing at Literary
festivals, Residencies, Tertiary Institutions and schools.
We creators are aware that organisers may have a limited budget, but often
it is a matter of priorities. The author speaker budget should have a higher
priority than table decorations, free accommodation for organisers' partners
or exotic thematic catering.
So here are some suggestions that may help creators negotiate the speakers
circuit:
1. Festival organisers should be asked to reduce the number of
concurrent sessions and focus on the invited speakers who should be paid.
2. Organisers to use their speakers more than once.
3. Creators to make en effort to ensure that all their books are
available for sale alongside or within walking distance of the conference
hall. Organisers be asked to schedule a signing session immediately after
the talk.
4. When invitations are issued, it should be made clear if a fee is
available for speakers or panel participants and whether they are expected
to pay registration. Often there's up to a year's time lag, so details
should be clear. When the conference invitation is offered, if it is made
clear that the author will NOT be paid, and they are still prepared to
attend and participate, that is acceptable. It is an informed choice.
5. A minimum requirement should be that authors presenting a paper not
pay registration and that all their expenses should be paid.
6. Well-serviced book sales and local media publicity may be worthwhile
with a negotiated lower fee for some authors. But they should have the
choice.
7. An academic who writes the occasional book and has a regular salary
is often prepared to speak without being paid a fee because their expenses
and registration are covered by their educational institution and it is a
'credit' requirement of their employment. But this means the conference is
denied the range of potential speakers if they are limited to those who will
work for free. Morally, an ideas person is worthy of their hire for the job
they do, not whether they are paid from elsewhere.
8. Sometimes it's wisest to forego the fee in lieu of the number of
books sold or the publicity gained from appearing at that event. But this
should be the exception rather than the rule, and the decision left to the
creator rather than the organisers.
PUBLISHER GUIDELINES
Writing for PETA - Primary English Teaching Association
What is PETA publishing?
For over 30 years, PETA has published books on teaching literacy and English
to primary aged children. One of the main aims of PETA, since its
establishment, has been to provide professional publications for teachers,
student teachers and academics as well as more general publications that
address the needs and interests of parents.
PETA books are recognised as leading the field in literacy education. In
addition, many PETA publications have gained a reputation internationally
and a number of titles have been produced as international editions with
overseas publishers.
What does PETA publishing produce?
Each year, PETA publishes at least three books as well as five PEN
monographs:
PETA books
range from teacher reference material suitable for classroom teachers and
student teachers through to publications designed for parents.
PETA PEN series
is a collection of practical, classroom-focused monographs, published as
six- to eight-page A4 documents with a maximum word count of 5000.
A complete catalogue of current PETA books, PENs and other publications is
available on this website.
Would you like to be a published author with PETA?
Apart from commissioning titles for publication, PETA is continually
assessing unsolicited manuscripts. Australian teachers and academics
recognise that PETA leads the field in publishing quality literacy education
titles. PETA is a Department of Education, Science and Training accredited
publisher.
If you would like to submit a proposal for a PETA book, use the Developing a
book Proposal for PETA guidelines. If you would like to submit a proposal
for a PETA PEN, use the Developing a PEN Proposal for PETA guidelines. There
are guidelines and explanations to the publishing process in the Author's
Guide.
Download a copy of the:
Author's Guide (PDF, 161KB)
Developing a Book Proposal for PETA (PDF, 61KB)
Developing a PEN Proposal for PETA (PDF, 79KB)
AUTHOR/ILLUSTRATOR PROFILE
Lorraine Marwood
Edel Wignell reports on the launch of a title by poet Lorraine Marwood, of
Bendigo (Victoria).
that downhill yelling¸ poems by Lorraine Marwood, illustrations by Ozlem
Kesik (Five Islands Press), was launched at the Mechanics Institute (once a
school house on the goldfields) in California Gully on Saturday 12 November
2005 - the building being packed with poetry enthusiasts, both adults and
children.
Before the proceedings began, we enjoyed music by composer/performer, Helen
Croome, singing and playing at the keyboard.
Ron Pretty, Five Islands Press publisher, briefly outlined the proceedings,
and the program began with a segment by young people. It was a thrilling
occasion for many children and their families and friends. Lorraine had been
guest poet at a cluster of 12 local schools, inspiring young poets. Children
from Year 1 to Year 6 were introduced by Co-ordinator, Angie Bysouth, and
read their winning entries in the Kangaroo Flat Cluster Competition, to
great applause.
Albert Ullin OAM, who opened The Little Bookroom, Melbourne, in 1960 - the
first children's bookshop in Australia - launched that downhill yelling. He
met Lorraine through his on-going work with the May Gibbs Children's
Literature Trust, and greatly appreciates the quality of her writing. Albert
mentored Lorraine, as well as Paul Morris, in a regional May Gibbs
Mentorship in 2003 - a week of writing and looking at literature for
children.
Albert Ullin's words were supported by Adelaide writer and poet, Janeen
Brian (who is living for a year in New Zealand). She had whizzed in for this
function and several in Adelaide. Janeen and Lorraine met at one of John
Marsden's Tye Estate programs and, both being poets, a special bond quickly
developed.
Lorraine has written poetry for adults for 13 years, and has had her works
published in journals, collections and her own collection, Skinprint (Five
Islands Press). She spoke of her experiences as a poet and, in recent years,
her work with children and the judging of poetry awards, the most recent
being the Dorothea Mackellar Awards www.dorothea.com.au/. Lorraine inspired
us with her words on the importance of poetry in the lives of children - and
in all our lives. Her reading of poems from the collection appealed greatly
to the audience. (Not all poets read their works so splendidly!)
Everyone spoke glowingly of the illustrations by Ozlem Kesik, the young
Bendigo illustrator, who attended the launch - her first venture into book
illustration. Her impressions, both bold and humorous, are sure to appeal
greatly to readers.
Finally Ron Pretty read the works of some of the winners of the Taronga
Foundation Poetry Prize - amazing poems by children - funny, moving, apt,
all revealing a special poetic view of themselves and the world.
The launch concluded with a delicious afternoon tea provided by Lorraine and
her family.
that downhill yelling¸ poems by Lorraine Marwood, illustrations by Ozlem
Kesik, Five Islands Press, Melbourne, 2005
Spider Mansion, poems by Lorraine Marwood, illus. Joanne McNamara and Tamara
Marwood, Five Islands Press, 2002
Lorraine Marwood, Skinprint, New Poets 4, Five Islands Press, 1996 (poetry
for adults)
Lorraine is the Australian editor of Tears in the Fence, a UK literary
magazine, and a columnist for the Australian journal The Literature Base.
She has written an e-course, 'Powering into Poetry', which can be accessed
through the New South Wales and Victorian Writers' Centres.
Lorraine has ventured into fiction writing, as well - the latest acceptance
being a title in the 'Aussie Nibbles' series (Penguin). Her other titles
can be found on her website:
www.lorrainemarwood.com
She can be contacted for workshops and speaking engagements at
info@lorrainemarwood.com
The various sessions being offered are described on her website.
For copies of that downhill yelling, ask at bookshops or contact Five
Islands Press, PO Box 1015, Carlton, Victoria 3053
YOUR WRITING TIPS
Creating a You-Beaut, Attention-Grabbing, Gob-Smacking Title
>From author Jill McDougall
A catchy title spells Marketing Success in big fat letters. A fun title
suggests a fun read. A hilarious title says: Belly laughs this-a-way.
A book buyer's attention will be snagged by a clever title well before your
opening sentence has a chance to do its stuff. Remember: Browsers aren't
just people in bookshops - they're busy librarians with computer lists,
time-poor teachers with publishers' catalogues and children with Book Club
order forms.
It stands to reason then, that a stand-out title will make an editor really
want to like your manuscript.
Here's a few tips for creating memorable titles based on my (very informal)
observations:
· Choose a phrase that 'rings a bell' with the reader. Jack be Nimble
(Nigel Williams) comes from a nursery rhyme; The Squeaky Cleaners (Vivian
French) is cleverly adapted from a common expression as is The Other facts
of Life (Morris Gleitzman), and Outer Face (Christine Harris).
· Use a little shock and awe. - Who wouldn't look twice at the YA novel
entitled: Get your tongue out of my mouth, I'm kissing you good-bye'(Cynthia
Heimel)? Or Captain Underpants and the Wrath of the Wicked Wedgie Woman (Dav
Pilkey)?
· For younger readers, there is much appeal in rhyming or alliterative
titles: Anna the Goanna (Jill McDougall), Relax Max (Brian Caswell), Ghost
on Toast (Margaret Clark), Fuzz the Fly (Emily Rodda).
· Word play also works well with younger readers. Nora Bone and the
Tooth Fairy (Brough Girling) features police dog Nora Bone; Cocky Colin
(Richard Tulloch) is a clever story about a cockroach with attitude.
· Use incongruous combinations: The Revolting Wedding (Mary Hooper);
Felix Smith has every right to be a crocodile (Jackie French).
· Incorporate kids' names: Dreadful David (Sally Odgers); Awful Annie
and the Squeaking Chop (JB Simpson). A bookshop manager says that relatives
will often buy a book because it bears the child's name. Sad but true!
· Choose evocative language suggestive of the genre: Words such as zapper.
blast, warp, zone and chill will attract a child looking for a little sci-fi
action. D C Green's recently released Erasmus James and the Galactic Zapp
Machine is bound to capture attention.
A fabulous title carries enormous weight. So much so, that some writers
create the title, then the story. (My chapter book One Scary Knight began
this way.)
So when you've polished up that mss so hard it glares back at you, don't
consider the job finished until you've headed it up with a You-Beaut,
Attention-Grabbing, Gob-Smacking title!
USEFUL BOOKS/WEBSITES
Writing resources for schools by professional Australian authors
http://www.highlightingwriting.com/index.php
CHECK OUT WHAT BOOKS ARE PUBLISHED IN THE USA on website of the Children's
Book Council at www.cbcbooks.org
CHILDREN'S WRITERS' FORUMS
This year we ran a series of forums for writers who are serious about
writing and publishing children's books. Each forum featured a guest
publisher/editor, a guest writer and a Q&A session.
We may run them again in 2006 - if you would like to be on the mailing list,
email Sherryl.Clark@vu.edu.au
Here is a transcript from the first forum - guest publisher was Lisa Riley
from Penguin Books (Puffin). Many thanks to Lisa for allowing us to publish
this on our site.
In November, we had two guest speakers, Eva Mills from Allen & Unwin, and
Jacinta di Mase, a literary agent.
Notes from Eva Mills.
Notes from Jacinta di Mase.
Source: Victoria University's Professional Writing and Editing Website
http://www.staff.vu.edu.au/profwriting/
BOOK REVIEWS
I have submitted this review from Magpies about Christopher Cheng's new
novel because it is such an important novel. It is a recognition of the
Chinese experience in Australia which has until recently, been an
unrocognised part of our heritage.
'New Gold Mountain' gives the Chinese migrants who came to the goldfields in
the 1850s a humanity which unites us all, as they maintain their belief in
family, tradition and justice in the face of racism. it is a timely book for
young Australian readers.
Susanne Gervay
New Gold Mountain by Christopher Cheng
published by Scholastic My Story series
Shu Cheong finds it hard to understand the behaviour of the Big-Noses at the
mining fields of lambing flat. He is incredulous at their lack of knowledge
of things Chinese, unbelieving of their inability to see him and his fellow
Chinese as people. Worse still the government who has sold them mining
licenses treats them differently to the white miners, his father and third
uncle have died in the land of New Gold Mountain and Shu Cheong has been
placed in the care of a new 'Uncle', an educated man who makes his way by
writing letters fir the illiterate miners-both Chinese and European. Uncle
insists on his charge learning to write and speak in both Chinese and
English and to write a diary recording the times. It is a task the boy finds
hard to accept. Cleverly underscoring Shu Cheong's mastery of writing is the
gradual lengthening of his dairy entries displaying growing confidence with
language and writing. Not only providing a Chinese view of the terrible
happenings at Lambing Flat, Shu Cheong's tale is one of alienation, longing
and anger at the inhumane and humiliating punishment meted out to the
Chinese miners. Valuable reading.
Annette Dale Meiklejohn;
Magpies, vol 20, No 4,
Sept 2005.
The following titles will be reviewed by Laurine Croasdale on 21st November
2005 with David Kilby on the Afternoon Show, ABC Radio Canberra. They will
also appear in the Primary English Teachers Association newsletter.
India the Showstopper
Allen & Unwin
Star of Kazan by Eva Ibbotson
Pan Macmillan
Songwriters Speak by Debbie Kruger
Limelight Press
Louisa May Pickett by Rod Clement
Angus and Robertson
· The childrens' book reviews are now being uploaded onto the new
website for the Primary English Teachers Association. Eventually the old
reviews will be available as well. To see the site, go to www.peta.edu.au
and look for 'Children's Reviews'.
Laurine Croasdale
INDEPENDENT CHILDREN'S BOOKSHOPS
CRITIQUE GROUPS BULLETIN BOARD
MILESTONES
INSPIRATIONAL QUOTES
Helen Keller:
"Life is either a daring adventure, or nothing."
ADVERTISEMENTS
Flat Chat Press 2006 Australian Writers Diary
Available for $20.00 plus $3.50 postage.If you are a member of MPU, VWC or
FAW you can have the diary at a discounted cost of only $16.00 plus
postage.(Or arrange for Fee to deliver it to the next MPU event and avoid
postage)
Not just a diary!
Not just writing info, but heaps of poetry specific info, eg competitions,
publishers, quotes,
festivals, tips and much more. Spiral bound with a laminated cover.
Comes with matching bookmark. To order: prohort@primus.com.au or 0417 358280
12 Apostles Holiday accommodation
Need some time out or looking for a peaceful, quiet place to do some serious
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We have a two bedroom cottage, set on one acre just a two minute drive from
the 12 Apostles. Situated on the Great Ocean Road and surrounded by Port
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beaches and the incredible rugged coastline of the Southern ocean are just
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where you can have a coffee or visit gift /surf shops.
If you're interested give us a buzz at any time. Our rates are very
reasonable and range from $90 to $120 per night depending on the time of
year.
You can email us at flaherty@dodo.net.au or call us on 03 5243 9355 or 0438
507 612 (Liz) or 0418 522 551 (Al)
PASS IT ON SUBMISSION GUIDELINES
Submit contributions to jacket@smartchat.net.au
Verdana, 10pt, single-line spacing (not essential but helpful)
Mark PASS IT ON SUBMISSION in the subject line
Submit within the body of the email
Give your piece a title heading: eg New Publications; Seeking; General
Information; etc.
Email addresses and contributor contact details will be withheld unless
otherwise stated
© Jackie Hosking . All rights Reserved Worldwide.
posted by Jackie at 12:36 AM
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