PASS IT ON ISSUE 74
PASS IT ON
Knowledge Is Power
www.jackiehosking.com
Issue 74.
Hi everyone! Welcome to the new look PASS IT ON! 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.
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Please ensure that your submissions are ACCURATE and clear. I will accept no
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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
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Past issues may be viewed at my website www.jackiehosking.com
CONTENTS
GENERAL INFORMATION
SEEKING
REPLIES TO SEEKING
NEW PUBLICATIONS
SPECIAL EVENTS
MARKET OPPORTUNITIES
COMPETITIONS/AWARDS
WRITING COURSES/WORKSHOPS
NEW WORK STYLE SKILLS
HAVE YOUR SAY
ARTICLES
PUBLISHER GUIDELINES
AUTHOR/ILLUSTRATOR PROFILE
YOUR WRITING TIPS
USEFUL BOOKS/WEBSITES
BOOK REVIEWS
INDEPENDENT CHILDREN'S BOOKSHOPS
CRITIQUE GROUPS BULLETIN BOARD
MILESTONES
INSPIRATIONAL QUOTES
ADVERTISEMENTS
PASS IT ON SUBMISSION GUIDELINES
GENERAL INFORMATION
On 10 January 2006, the United States Postal Service will introduce eight
postage stamps featuring animals from beloved children's books:
* Very Hungry Caterpillar (created by Eric Carle)
* Maisy (Carle)
* Wilbur (drawn by Garth Williams)
* Fox in Socks (Dr. Seuss)
* Wild Things (Maurice Sendak)
* Curious George (H.A. and Margaret Rey)
* Olivia (Ian Falconer)
* Frederick (Leo Lionni)
Here's my suggestion for some stamps featuring animals from Australian
children's books:
· The Muddle-Headed Wombat (Ruth Park)
· Belinda (Pamela Allen)
· Fox (Ron Brooks)
· Selby (Duncan Ball)
· Any animal book by (Trish Oktober)
Perhaps other PIO readers can suggest some which we can forward to Australia
Post?
Postage rates have increased in the
ounce) from US to Aust has gone up 4c, to US 0.84.
For other changes, see link...
http://www.usatoday.com/money/economy/2006-01-09-postage-rates_x.htm?POE=NEWISVA
We've all heard of the growing list of celebrities who've written and
published children's books (like Madonna, John Travolta, Sarah Ferguson and
Spike Lee to name a few). Well, add another well-known identity.
'Senator Edward M. Kennedy has signed with Scholastic to publish his first
book for children, about a day in the life of the Senate from the point of
view of Senator Kennedy's dog. My Senator and Me: A Dog's-Eye View of
by Scholastic Press.'..*/Children's Bookshelf from
Publishers Weekly/* / /
On a brighter note, at least Kennedy will donate the net proceeds from his
book to charities, including Read Boston.
Sheryl Gwyther
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SEEKING
Regarding Elizabeth Hutchins comments on short story collections, Elizabeth,
how does one go about submitting a ms to an organisation such as AATE? You
mention that you have had three stories published in their collections and
also worked with them "for many years". When I checked out AATE's website, I
couldn't find any mention of author guidelines or submissions. Do they
commission all short stories? Do you have to be an established children's
author or can new writers submit unsolicited mss? Your advice would be much
appreciated. Arna Radovich
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REPLIES TO SEEKING
RE: Dorothy "There's a Lion at the bottom of my garden" - reminded me
instantly of Margaret Mahy The Lion in the Meadow
Happy New Year Jackie and all who read PIO.
In response to Dorothy and her query about her story of 'a lion at the
bottom of the garden.' Read The Lion in the Meadow,' Margaret Mahy. This
perfect picture book kick started the wonderful career of Margaret. My
advice to all new writers in borrow everything of hers from the library and
read, read, read. She's the best of us all!
As for story collections:
Landmarks, Puffin, 1991
Goodbye and Hello, Puffin 1982
Family, Mammoth 1992
Top Drawer, Phoenix,1992
Personal Best, Mammoth, 1997
H2O, Stories of Water, 2005
The Champion & Other Stories, Phoenix, 1996
Ten Out of Ten, Phoenix, 2003
The Blue Dress, Hodder, 2002
Most of these would suit the age group.
Libby Gleeson
I have some children's short story anthologies in print, Buried Secrets and
Warped. These are stories with a twist. Also Fortune Cookies, which has an
Asian theme. All are published by Random House. Christine Harris
www.christineharris.com
In answer to CT, I sent 2 ms to Penguin for their Chomps series last
October. One was returned last Friday as a 'thanks but no thanks', but the
other is still out there somewhere. I can't decide if this is good news or
bad! Jane
To AR;
My rejection for Aussie Nibbles from Penguin took about 5 months. It was a
positive rejection, but a rejection never the less. Lynn Ward
Can anyone advise: Do publishers seek the opinions of kids before they
publish books for them,...or is it just a decision by "big" kids?
Sometimes. I have been asked for my opinion, as a teacher-librarian, on a
list of potential topics for a non-fiction series and did a survey of the
students to get their opinions. I'd like to think this information was used.
This was a while ago, but more recently, we surveyed students in three
primary schools about their preference for two potential covers for my own
book. Their preferences were certainly taken into account. SB
Pam Rushby asks if anyone has had a similar experience to hers of having
written a story that was very like something that later turned up in a novel
by John Grisham.
Yeah. Several times, but I was not as lucky as Pam, who at least got into
print first. I've written stories that have been just about ready to go when
some big name got in first. Some have been published in small press
magazines, but never had the chance to go further because of this. One, for
example, was a series set on a world populated by the descendants of Celts
who had left Earth centuries before spaceflight. Before I could get them
into novel form, Patricia Kennealy Morrison wrote a book - first of a
series - called The Copper Crown, about a bunch of Celts who were living in
a world settled centuries before Earth developed spaceflight. Personally, I
don't think her novel was as much fun as my stories, but there you are. :-)
SB
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NEW PUBLICATIONS
The cake-eating hippopotamus books celebrate their 26th year continuously in
print, this year.
Penguin has just issued a new edition of 'My Hippopotamus is on Our Caravan
Roof Getting Sunburnt' illustrated by Deborah Niland and there are teachers'
notes and activities suitable for summer competitions and libraries at
www.hazeledwards.com A classroom playscript suitable for junior primary is
also available in the Bushfire Press publication ' Our Cake Eating Hippo
Plays' and there is a link from Hazel Edwards' website to Bushfire Press.
In early February, Lothian will release the picture book 'Antarctic Dad'
researched during Hazel Edwards' 2001 expedition, and brilliantly
illustrated with wildlife and Antarctic vehicles flaps by Kevin
Burgemeestre. Retaining family links when parents work or live away from
home , is one of the themes. A classroom playscript is available directly
from hazel@hazeledwards but it will soon be freely downloadable in February
from www.hazeledwards.com which has teachers' notes and activities for both
titles. Pan Macmillan is distributing Lothian titles.
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SPECIAL EVENTS
SCBWI NYC Conference to host celebrity slate of top executives and
award-winning authors and illustrators.
On
Illustrators will hold their Annual Winter Conference at the Hilton New
York, NYC.
This year's conference features a special President's panel with the top
executives from four major children's publishers - including Chip Gibson
(Random House Children's Books), who many now recognize from his guest TV
appearance on Martha Stewart's Apprentice; Lisa Holton (who recently joined
Scholastic from Hyperion); Rick Richter (Simon & Schuster Children's
Publishing) and Doug Whiteman (Penguin Books for Young Readers). Featured
authors include Marc Brown, Nikki Giovanni, David Almond and Francine
Pascal.
This conference provides a unique opportunity for published and aspiring
authors and illustrators to meet with experts in the field, including
publishers, literary agents, editors, art directors and prominent authors
and illustrators.
SCBWI is the largest children's writing organization in the world. Executive
Director and President, Lin Oliver and Stephen Mooser will be speakers.
Mooser, a former magazine reporter and documentary filmmaker, is the author
of over 60 books for children. Oliver, formerly the Senior Vice President of
Television and Home Video at MCA/Universal, now runs her own production
company, Lin Oliver Productions. Among her projects are the animated feature
of E.B. White's The Trumpet of the Swan and the Emmy-nominated Showtime
Family Film, Finding Buck McHenry. She is also co-author, with Henry
Winkler, of the Hank Zipzer series.
A complete list of session speakers visit: http://www.scbwi.org/events.htm
For those who who want to participate in SCBWI, there is the International
Conference
17-
Speakers will include Shona Martyn publishing Director of HarperCollins,
Children's Publisher Lisa Berryman HarperCollins, Linsay Knight Children's
Publisher Random House, Margarite Lammond Commissioning Editor Scholastic,
Laura Harris Children's Publisher Penguin, Sherman Sherman Art Director
Charlesbridge
Australian Chapter SCBWI, with articles, newsletters, and conference
details.
www.scbwi.ampl.com.au
The Norman Lindsay Festival of Children's Literature
25th and 26th March 2006
Norman Lindsay Gallery Springwood
14 Norman Lindsay Crescent Faulconbridge
talks and workshops for children and adults featuring Andrew Daddo, Kim
Gamble, Bruce Whatley, Emily Rhodda, James Roy, Susanne Gervay & more.
For programme: www.nsw.nationaltrust.org.au
Bookings: ph 02 4784 3832
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MARKET OPPORTUNITIES
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COMPETITIONS/AWARDS
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WRITING COURSES/WORKSHOPS
Create a Kids' Book Workshop: We have a workshop scheduled for 21st January,
specifically for a couple of teachers who need it while they are still on
holidays. However at the moment there are too few participants to run it.
Maybe you would like some stimulation to your writing/illustrating course
before school goes back too? Jacqui Young the artist and myself (all round
"expert"!) will be running it at
Saturday. Cost $150. Contact Virginia on vlowe@alpalink.com.au or 03 9578
5689, as soon as possible.
New Year's Resolutions
Those young adult/ children's writers finding it hard to write regularly may
find that enrolling in a single subject in a Diploma of Professional
Writing at one of the TAFEs such as Holmesglen Institute , may be a way of
gaining a constant critique group, workshopping a chapter weekly and getting
a novel length project completed within a year.
Contact Holmesglen Institute's Kerry Martin for details.
kerrym@holmesglen.vic.edu.au
This year, the Queensland University of Technology is running an online
Master of Arts program with a speculative fiction focus.
We are seeking published authors who are aiming to complete a novel-length
work of speculative fiction to participate in this program. Over the course
of the year you will work with a select group of other published authors in
developing your manuscript, and will be awarded an MA degree on successfully
completing the program.
Who should apply?
This is a unique opportunity for published novelists who are wanting to
complete a spec fic novel this year. Entry to the degree will be largely
based on your publication record. If you have a significant record of short
story publication in professional markets, please do consider applying also.
Please note that publishing here means commissioned work with a publishing
house. Self-published novels do not qualify.
The exact spec-fic focus is not important. Young adult, fantasy, alternate
history, horror and so on are all within the scope of this program.
Costs
As a recognised research higher degree program from a major Australian
university, you will not need to pay tuition fees if you are an Australian
citizen. A small student guild fee is payable. The only other significant
potential cost is that of travel to and from
residential masterclasses. There may be financial assistance provided to
cover the travel and other costs of attending these.
How it works
Over the course of the year, you will be producing a Master of Arts
(Research) thesis. This thesis will consist of a novel-length work of
speculative fiction, and an accompanying exegesis. An exegesis is an
academic paper that investigates some aspect of your creative practice or
product, including but not limited to questions arising from within the
work. The exegesis is a minimum length of 7,500 words.
How to apply
If you'd like to apply, please contact Craig Bolland at QUT by email as soon
as possible. Please do introduce yourself with a quick bio. Craig will send
you a full information pack, including application forms. Applications are
due 20 January - so be quick.
email: c.bolland@qut.edu.au
Creative Writing and Cultural Studies
Creative Industries Faculty
QUT
Victoria Park Road
Kelvin Grove QUT 4059
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NEW WORK STYLE SKILLS
Top Tactics for Author Interviewing
Many authors are interviewed, and some do the interviewing.
Originally these tips were compiled by Hazel Edwards for a Victorian ASA
meeting some time ago, but are now summarised. NB Most have author web sites
so check on Google for related links
Contributors include:
June Alexander, Journalist & Reviewer, ex- The Weekly Times
Sherryl Clark, author
Jackie French , author
Susanne Gervay Author
Christine Harris, Author
Margaret Clark Author
Sally Odgers author
Dr Helen Mc Grath psychologist
Jan Bottcher 'Simply Events' Co-ordinator & author
Wendy Blaxland Author
Paul Collins Author
Marcus Niski Editor and Interviewer
plus
Heather Heraud, radio RPH Children's Hour presenter also contributed on the
evening.
June Alexander, Journalist & Reviewer, ex-The Weekly Times
As a journalist, I have a lot of contact with publicists and authors.
1. Know your subject. If you don't, don't pretend to know it. Ask Who, What,
When, Where, Why and How? to get all the answers you need.
2. If in doubt, seek clarification. Never take anything- eg. the spelling of
a name, or place for granted. Check and double check.
3. If you are an author, and decide to use a publicist, or if you are
self-promoting, make sure you (and your publicist) are well-informed. Make
sure you have good photographs of yourself on hand, ready to give, to
e-mail, to the Press. Be prepared is a great motto. You are better off with
no publicist than having one who does not have your best interests at heart.
4. Know your audience, or readership, so that you can aim your promotion
towards the most appropriate area of interest, to catch people's interest.
The aim is to sell books.
5. Be ready for some really dumb questions. Answer them with a straight
face. That same person may buy 10 books. Keep your mind on the big picture:
your goal is to sell books.
Sherryl Clark, author
1. Know a reasonable amount about your subject beforehand - if you're
interviewing a writer, read at least one of their books.
2. Use a tape recorder - don't rely on notes (worst interview and article
afterwards I've ever experienced was by someone who relied on very bad
note-taking)
3. Have a focus for your interview. People often range over a million things
and never focus on anything in depth.
4. Don't stick religiously to your prepared questions - allow for a small
amount of digression. It might add gems of interest.
5. Don't put yourself down or apologise or say 'I'm only ..." - it makes the
person being interviewed feel unimportant and that you're wasting their
time.
Jackie French , author
For the interviewer:
Make sure the bloody camera works before you arrive! Very boring sitting
while interviewer fiddles with spare batteries.
Only ask the questions you intend to put into the article, especially if you
are a great fan- shouldn't be an occasion to ask all the personal questions
you've always wanted to know.
Don't bring out your manuscript at the end of the interview and ask for an
assessment.
Don't bring five friends and great Aunt Gladys with you to 'see the garden'.
Even though you may feel you know the writer personally after so many years
of reading their work, they don't know you or Aunt Gladys.
Check the web site first for all the basic questions like 'how long have you
been writing?' so you'll know the general territory before you arrive, and
can ask questions with a bit more depth.
The best questions are the ones the writer has never asked themselves
before; ones that make them think and assess their work or their lives in a
fresh light. These questions are not easy to think of! You will need to know
their work and lives to be able to do it.
When in doubt- and ignorance- just pick a bit of their work or lives and ask
'why?' That way, they will have to fill in the background and details.
For writers:
1. Think of what you want the interviewer to write before they arrive i.e.
'My last book is the world's only seminal history of sewerage systems'.
2. If possible phrase this in a memorable way, so you can be sure it gets
included in the article
3. There is no such thing as off the record; never reveal anything you don't
want made public.
4.Be aware the interviewer may write about everything from your Ug boots to
the brand of coffee you served them- again, no such thing as off the record
5. Smile. A world weary condescending frown may help give the impression
that you are the
you a better review if they actually like you.
6. If they bring five friends, great Aunt Gladys and a giant rottweiler who
digs up your petunias, arrive two hours late and just won't go so you have
to feed them dinner and breakfast too...just keep smiling. Then write about
them in turn.
*Note of etiquette: the person who is doing the interview pays for the
coffee, otherwise it looks like bribery, even if you are desperate for
publicity.
Susanne Gervay Author
1. A personal focus when answering questions is often a human interest angle
for media. Only provide details within your comfort zone of course. For
example when I was interviewed for "I Am Jack", the personal focus was that
my son had been bullied and this gave an authenticity to the book and also
inspiration for writing it.
2. Make it EASY for the journalist. Prepare a one page sheet of relevant
information on your book, writing and any aspect you wish to highlight in
the interview. Provide book covers, photos or whatever you think is
relevant.
3. Listen carefully to journalists and answer questions that they want. Do
NOT provide information that YOU are interested in, but which is irrelevant
to the journalist's story.
4. Do your focus BEFORE the interview so that you are prepared for the focus
of the journalist. For example, when I was interviewed on a health and
lifestyle radio programme for my YA novel "Butterflies" I was prepared for
questions on burns, physical, emotional and psychological recovery.
5. Do not retell the story of the book you wish to promote. The journalist
wishes to hear about the issues. When I was interviewed for my YA novel "The
Cave" I spoke about male youth culture, not the characters and the
incidents.
Christine Harris, Author
1. Ask open (ie answers that begin with words such as Why or How that
require more than a yes or no answer) not closed questions .
2. If you are researching, visit the same person more than once. Often they
think of the 'good stuff' after you've gone. Or they are more relaxed the
second time, or you think of questions you forgot to ask.
3. Use photographs or memorabilia as triggers for stories.
4. Speaking to several people at once, in a small group, can relax subjects
and they will spark ideas off each other.
5. If all else fails, get them tiddly.
Margaret Clark Author
1. It is essential that the interviewer has read the book or at least parts
of it. In order to promote this, the interviewer needs to receive a copy in
plenty of time prior to the interview.
2. The interviewer also needs a copy of the author's biography preferably
sent at the same time as the forward copy of the novel under discussion.
3. When being interviewed, try to remember the interviewer's name and use it
once or twice during the interview. Too many times sounds pushy and gushy,
not to use the person's name at all sounds discourteous.
4. Often when doing a phone interview, the listener ( radio) is supposed to
think that the interviewee is in the studio, so it is important not to make
comments that suggest otherwise unless this is brought up by the
interviewer.
5. It is important also to mention the name of the book you are talking
about. Do not labour the point but make sure the listener knows what the
interview is about by referring to it several times, particularly if the
interviewer doesn't discuss the book by name. Remember, you are there to
promote yourself and your work so don't get sidetracked form the discussion
points that you want to emphasise.
Sally Odgers author
Do your homework. Don't ask questions you could perfectly well find the
answers to elsewhere.
Don't ever use the same series of questions for a whole lot of different
interviewees.
Don't praise an old achievement of your interviewee while neglecting new
ones.
Don't ask all solemn or obvious questions. Throw in a few curly ones for
fun!
Dr Helen Mc Grath psychologist
Always treat even the stupidest questions ) respectfully (eg ' so if you
write on
relationships and sex, does that mean your sex life is terrific? [when we
had a book called Friends Love Sex], and make a point such as 'that's an
interesting question because it also relates to..' and then move it to
safer ground.
Always laugh at the interviewer's jokes or funny lines (if you can!) and
don't be competitive with them in this regard.
Have a glass of water nearby for phone interviews as your mouth dries out
more than you expect it will.
Ask the interviewer beforehand to please mention the book and if possible a
phone number for ordering.
Ask the station to hold ordering details for people who might phone them
later and then fax them a sheet of info to use.
Jan Bottcher 'Simply Events' event coordinator & author
simplyevents@relax.com.au
Always start your response in a positive manner, even if the question have a
negative slant - smile.
Before the interview have a clear understanding of what message you are
trying to get out there - never adlib with the media.
If you have a short statement that is extreme important and you want
printed, put it on paper and hand it to the interviewer, don't just rely on
your media release or verbal explanation.
When you first meet the interviewer, stroke their ego a little ( don't over
do it) - I have always found that you get a better, longer and more
interesting interview which results in better copy, just because you have
shown interest in them, rather than focusing on yourself from the start.
Working with the media is like a game, learn the rules and you have a better
chance of getting copy.
Wendy Blaxland: Author
Ask for concrete examples.
Check the accuracy of your information after you have written it up with the
interviewee (not the whole interview, just relevant quotes)
Follow up any leads you're given
Paul Collins: Author
For what it's worth you can never be too prepared! I remember being
interviewed by someone from
Fruit open, just in case I got asked who was in it, etc. Comes the question:
'You have a Tasmanian author in your book. What's his name and what's the
title of the story?'
Mind went a blank. 'Course, it was a stupid way of putting the question to
me -- it was more a quizz! Anyway, I had a foolproof way of stalling:
"Pardon?" says I, as though I couldn't hear. But that didn't work, because I
still couldn't figure out who she was talking about!
I usually re-read the book that I'm being interviewed about -- an obvious
thing to do, really. I also try to have an anecdotal story on hand, for any
silent moments, or if I'm stumped on something. Laughing is always good --
makes you feel that everything's going well with the interview even if it's
very so-so.
I always make sure I know the interviewer's name -- makes them feel good
when you mention it on air, and the interview is given a more personable
aspect.
I was told by a Penguin publicist once that I should never say 'That's a
good question'. It implies that you're stumped.
Toastmasters always said that you never say 'Thank you' at the end of a
speech. It's the audience, and in this case, the interviewer, who should be
thanking you! Instead say something like, 'You're welcome', to the
interviewer, when he/she thanks you for your time.
Last but not least, if you're getting feedback, and everything you say is
echoing back to you, tell the interviewer even if it's a live interview. I
was interviewed on Sydney ABC once and this happened. I tried going through
with the interview, but knew I was sounding extremely distracted. Despite
the fact that the Penguin publicist was throwing a fit beside me for bailing
out of the interview -- it's your reputation on the line and if you can't
think straight, let 'em know why!
Marcus Niski Editor
My top five tips would be:
Decide early on your interview candidate and have alternatives lined up in
case of rejection or other contingencies.
Do your research thoroughly - but don't overdo it...always allow for
spontaneous lines of questioning when interviewing face-to-face!
Transcribe and/or write up your interview as quickly as possible so as to
eliminate problems with memory reconstruction and inaccuracy. Also, this
allows you to return promptly to your interview subject to clarify any
responses if necessary.
Don't be afraid to try different approaches and formats for your interviews-
find the style that suits you best.
Read as many interviews and profile articles as possible to learn the
art/science of incorporating quotations into your work. After all, this is
the true value and beauty of interviews at work that they allow the voice of
the subject to speak in their own words. Quotations can be astonishingly
powerful at summing up the subject's point of view. For example, when I
asked poet Ian McBryde the question "Why do you write?", his answer was
simple and powerful: "Because I would explode if I didn't!" Doubtless this
was a gem of a quote for use in the article!
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HAVE YOUR SAY
FROM AUTHOR Jen McVeity
Thanks hugely for the list of Children's Book Awards. I've just spent
January cleaning out 12 filing cabinet draws and one of the folders was a
big mess of book awards, much of it out of date. I decided to throw out the
lot, rationalising I could always Google the information when needed.
Then along came PIO about a week later with exactly this information!
Lovely.
Thank you for all you do and all you share.
HAVE YOUR SAY
FROM R Brookton
Regarding Edel Wignell comments on Tauhinu Productions looking for:
"Really good fast paced fiction with lots of excitement and action. Woven
into this will be detailed curriculum science content."
I've got this wonderful story in my head about three children travelling on
a plane as unaccompanied minors - Ethan Rex, Crystal Perry and her little
sister Babs. Of course the unthinkable happens, and Ethan and Crystal use
their knowledge of the properties of matter to get the survivors out of big
trouble, and even attract rescuers.
I emailed Mark Iversen at Tauhini Productions to ask him what rights they
would purchase from me. He replied that they would purchase all rights. So I
won't be submitting the story.
It looks like my next project is getting something together for the Nairda
Lynne FAW awards.
HAVE YOUR SAY
I found Robin Opie's writing tips fascinating. Clearly, all this business
about doing research into children's writing, taking courses, joining
groups, etc. has worked very well for her and good luck to her! We should
all have that kind of success. :-) However, if, like me, you're a
procrastinator, you're better off doing all that stuff later and just
writing first. If you want to know how kids will react, get friendly with
the local primary school. But write. If you're writing for yourself - and
how many of us aren't? - it will work out somehow.
I know that if I'd woken up one morning and said, "I think I'll be a
children's writer," and gone to the local library to do research, or signed
up for a course, I'd never have written anything, with the possible
exception of assignments for my studies. I tend to put things off, you see.
I make a cup of coffee. I check my e-mail. I make urgent phone calls. I
probably wouldn't even have finished the writing advice books! Joining
groups is a good idea to make yourself write something on a regular basis -
it certainly worked for me, and it meant that I got to know other writers,
the start of the networking system you need if you want to start selling.
But in the end, there's just you and your notebook and pen. You have to
write first, not after you've done the research and study. I once went to
speak to a group of kids who wanted to know "how to go about being a
writer". I picked up my exercise book and pen and said, "You need one of
these and one of these." The children got my point, I recall.
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ARTICLES
Even his teddy bear avoids him ...
He's young, he's extremely naughty and his books sell almost as fast as
Harry Potter's. What makes Horrid Henry so fascinating for children? Dina
Rabinovitch talks to his creator, Francesca Simon
The Guardian -
http://users.guardian.co.uk/help/article/0,12908,933909,00.html
Horrid Henry
Horrid Henry, © Tony Ross. Taken from the Horrid Henry series of books by
Francesca Simon
I have it on excellent authority that Princes William and Harry are both
perfectly nice types, with the standard range of character pluses and
minuses: William is not the industrious, untroubled one, and Harry is not
the messed-up sex fiend on speed. But what kind of story would that make -
two brothers not distinguished as good guy, bad guy?
Maybe it is because we still are - bizarrely enough for a first-world
country in the year 2005 - a patrilineal monarchy, that we are a nation
hooked on Cain and Abel fables. While the British adult is currently either
fully tuned in, or else listening with half an ear, to the plot twists of
the Will and Eddie Grundy story on the Archers, at playground level another
tale of brothers is steadily lodging itself firmly in the junior
imagination.
Article continues
The truism of children's publishing is that although JK Rowling may have
sold very many copies of books about Harry Potter, the rest of the
children's market has not expanded despite the current plenitude of
children's authors. This is one goose, say the truth-tellers, proving very
picky about where she lays her golden eggs. Well, she just laid another one.
Francesca Simon, author of the stories about Horrid Henry and his peachy
brother, Perfect Peter, has hit the jackpot and then some with her stories
about, yes, deep-seated fraternal grudge-bearing rooted in that age-old idea
that, where there are two brothers, one is destined to be good and the other
bad.
The Simon twist is that the horrid one is the hero. The bad guy is likeable,
while Peter is intolerable -and she doesn't just do that subliminally; not
always, but pretty regularly, Henry comes out on top. It is this that
accounts for the stories' particular appeal to children - the sheer
naughtiness of a grown-up author applauding, indeed celebrating, bad
behaviour in a series of very brightly-covered tales with excellent
illustrations, to be found in every school library in the country.
In fact, I first noticed just how much of a hold these tales had on children
about four years ago when I was regularly reading with reluctant
semi-literates in the top year of my daughter's primary school. These were
hard-core reading-refusers, and I tried every trick in the book. Then I
pulled out Horrid Henry's Nits - excuse the Simon-esque pun -and suddenly I
had a captive audience. Children who wouldn't read suddenly concentrated.
In our Ritalin-infested age, Simon's conquest of children's minds is almost
sensational. Consider this opening salvo: "Henry was horrid. Everyone said
so, even his mother. Henry threw food, Henry snatched, Henry pushed and
shoved and pinched. Even his teddy avoided him when possible." If that's not
a child with ADHD, then I'm not a 21st-century mother.
Writing from the inner depths of Holloway in north London - prime
kid-observing territory, minutes from Highgate and its nannies, and
Islington middle-class parenting foibles - Simon's subversiveness is even
more noticeable: not once does the question of drugging, or even analysing,
Henry enter her pages. It is appropriate then, that an American herself -
birth country. In the
stories are "too British" but, Simon understands, in reality because Henry's
wickedness is just too dangerous for the current goody-goody trend in
American parenting.
But there is no "gritty realism" in Simon's tales -something other
children's authors currently writing in the
gold coin for every time a child has said to me recently, "I just don't want
to read that stuff anymore; it's not for my age." Simon doesn't do underage
sex or parental breakdowns. Consequently she is universally popular -
four-year-olds can laugh uproariously at her stories, and teenagers read
them without embarrassment. She is now selling more than 5m copies - a
million this year alone - which puts her in the same league as Rowling,
Jacqueline Wilson and Philip Pullman. Horrid Henry is in production for the
new ITV digital children's channel.
The first time I interviewed Simon was more than four years ago, when her
books were doing OK, but not selling in anything like the quantities she
culls now. Hers has been a word-of-mouth success - though she has been
writing the stories for 10 years, the very first advertising her publishers
ever did was this past summer. Waterstone's - which now brands its ages
five-to-eight shelves with the Tony Ross drawing of Horrid Henry - didn't
even stock the books until the fourth volume came out. So her sales are a
real barometer of what children actually like: as more and more books flood
the children's market, they are becoming active consumers, positively
choosing the stories that touch a chord.
Back then, Simon lived in the same house she is in now, same husband, same
son, same dog. We talked, then, in her front room, a crowded, multi-coloured
den, with fireplace and cornices and slightly dusty upholstery. Now, the
house shows signs of Henry's profiteering. There are building works above
our heads as we speak - the upper floors are being refurbished, and we sit
in a huge, airy kitchen leading on to the garden, as clean-edged and roomy
and modern as the front part of the house remains Victorian.
It is as if the house has become the dichotomy of Simon's books - there is
the messy, Henry part of her, and the clean-cut Peter. "Yes," she laughs, "I
love the fact that you can have both: the chaotic mess, and then you come in
here, and it's all serene. I just love that!"
She writes fiction in the dark wood of the den, but answers the hundred or
so fan letters she gets each week sitting at her long beech kitchen table.
Simon could not, for all the talk of subversion, be writing from a more
solidly academic background. Henry and Peter are direct descendants of the
medieval studies she pursued: an undergraduate BA from Yale in medieval
history, followed by Older Middle English at
late 1970s - one of the few women there at the time, and she's pretty sure,
the only Jewish female for miles.
She immersed herself in the literature of the "humours"- different
personalities, archetyped. "I've always loved the idea of people having a
humour, and that that defines you," she says. "It's why I love Gothic art
and Gothic architecture - this idea that you have this little arch, and
there's the person fitting neatly inside it." But never, back then, did she
think it was going to emerge as a wildly successful series of children's
books.
"I work hard at making the stories different, to keep varying them - because
otherwise they won't work," she says. "The humour comes from Henry's wants -
that he wants something so desperately that he will do anything to achieve
it, and not think about the consequences. That makes it funny, but it also
stops him from being psychopathic: it's not that he thinks, ha, ha, the
school talent show, how can I wreck that? That just isn't funny.
"No, he's thinking, I wanna go first - why shouldn't I go first, why should
she go before me? He's just massive ego. The humour comes from all the steps
that he will take to make sure he goes first in the talent show. He's not
trying to ruin it - he just wants what he wants. And that's why I think kids
identify with him so - because we all think it'd be great if we were king of
the world, and everyone just did what we want them to; it's stripping away
the whole veneer of 'you go first'."
It takes her no steps at all to burst from there into laughing about how she
was the eldest of four, and the other siblings - one girl and two boys -
came quite quickly in succession, three under the age of three at one point,
and so her medieval studies are now put to good use exorcising all the
sibling demons of a childhood cruelly wrested away by having to be good for
the younger ones. Henry is, needless to say - though his age is never
specified, and he certainly isn't having birthdays every year - the
first-born. Speaking as the fifth of six myself, I have to say: typical
oldest child's revenge.
Guardian Unlimited © Guardian Newspapers Limited 2005
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PUBLISHER GUIDELINES
Clarification from ABC Books
ABC Books is NOT actively seeking manuscripts (non-fiction and 7-10 age
group) at present as printed in Pass it On (Issue 69 and 72). We are a
small team of dedicated editors who receive an extremely large amount of
manuscripts from writers, ABC listeners and audiences, and the general
public. In order to minimise the amount we receive, we have chosen to accept
only manuscripts in the two areas in which we are likely to publish more
unsolicited books, that is junior fiction and non-fiction.
The notice in PIO is incorrect and as a result have received a huge influx
of manuscripts. At this stage, we simply cannot look at any more manuscripts
until end of June 2006.
Please note that we do not accept email or telephone submissions. For future
reference, our address is, ABC Children's Books, GPO Box 9994, Sydney 2001.
If you have sent in your manuscript prior to this announcement, we will
still consider it and respond to you as soon as we can.
I hope this clarifies things. Thank you and best of luck with your writing.
Kristina Schulz
ABC Books
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AUTHOR/ILLUSTRATOR PROFILE
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YOUR WRITING TIPS
Australian playwright Noelle Janaczewska wrote the following about the
process of writing plays. But I am coming to realise that it is just as true
and necessary for writing children's fiction.
'[T]he most crucial and time-consuming part of writing a play is the period
between the initial idea and arriving at a rough draft. For me, this
involves creating a dreaming space for the work; thinking laterally,
irrationally, impulsively and, yes, sometimes around in circles. During this
stage, I become a spy, an explorer, a pop geographer, a bricoleur, a
collector of loose ends, footnotes and curious facts, a public transport
junkie, an inveterate eavesdropper, a scavenger. I scour streets, libraries,
technologies, memories, shopping malls, botanic gardens, dreams, airports,
everything, for questions, possibilities, connections, escapes, stories,
voices, characters, images and metaphors. Often when I set out, I have no
idea where I might wash up; it is not uncommon for me to find myself on a
footpath when I'd thought I was bound for a super highway, and vice versa.
It seems to me that ideas not given a long enough incubation are doomed to
produce, at best pale shadows of their potential, and at worst dull,
derivative and banal scripts.'
Noelle Janaczewska
What a gorgeous description of this process! And in my experience, the best
time to do all this is when you are officially on holiday. That's what I did
with my new book. I'd just finished working on something long and boring,
and was determined to take a couple of weeks off. But the idea for the new
book was nagging at me, so I thought 'Well I'm on holiday, but I COULD just
play around a bit and see what comes up.' Nothing serious. No actual
writing. And not the slightest bit of pressure. Just picking up old
magazines (in between walks on the beach and gardening and reading) and
cutting out faces that gave me that 'ping!' moment, browsing books of photos
to find buildings and animals and landscapes that did the same, wandering
around the library and the military museum and the docks, making up maps and
names and islands. All of it done in a messing around sort of fashion, and
only when I felt like it. No timetable. No sense of having to move things
forward and get things done and get things right (which is how I usually
work). All of it very definitely playing rather than working.
And I had a ball. It was such fun. It really was a holiday, but with a very
satisfying extra bit thrown in. I learned a lot about how my creativity
works, and at the end of it I had the makings of a really interesting book.
When my holiday was over I went on to use a variation on the snowflake
method to work out various levels of character and plot. (See
http://www.rsingermanson.com/html/the_snowflake.html )
Put all this stuff together, and I had more fun writing this first draft
(which I've just finished) than I have ever had writing anything. I doubled
my usual output (2000 words a day rather than 1000) and I suspect (though I
haven't read back over it yet) that it's a better first draft than I usually
write.
Lian Tanner
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USEFUL BOOKS/WEBSITES
Do you have a mind that enjoys the weird, the wonderful and the downright
strange?
I must admit I'm fascinated by the weird and the wonderful and you never
know when little snippets of information like the ones listed on this
website might give you that next story idea.
One of the world's most respected news organisations, the BBC, has listed on
its website http://news.bbc.co.uk/2/hi/uk_news/magazine/4566526.stm 100
facts which are guaranteed to either test your knowledge or raise your
eyebrows.
For example:
Did you know that to escape a threat an octopus can disguise itself to look
like a fallen coconut shell by wrapping six of its legs around its head,
then walking backwards on it's two remaining legs?
Then I saw this:
The Very Hungry Caterpillar has sold one copy every minute since its 1969
publication! This link takes you to the full story:
http://news.bbc.co.uk/1/hi/magazine/4717503.stm
To sell one copy of your book every minute for over 30 years. Imagine that
.....
If you want to check up on names for a piece of writing and how popular a
name was and when, try this fun site:
http://www.babynamewizard.com/namevoyager/
Dale
Margaret McAlister's very helpful explanation of how to use the internet
much more effectively, especially if you are a writer, is now available on
www.howtheheckdoi.com/search_automator_pro.htm
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BOOK REVIEWS
Picture Book Title: Ruby's Wish
Written by Shirin Yim Bridges
Illustrated by Sophie Blackall
Published by Chronicle Books LLC San Francisco, 2002
ISBN 0-8118-3490-5
Ruby's Wish is a gentle tale about Ruby growing up in 19th century China.
Unlike her sisters and female cousins, Ruby dreams not of marrying well when
she is of age, but of going to university-- something only boys can aspire
to. Sophie Blackall's exquisite watercolours of Ruby's expressions, and
Ruby's Chinese world and home draw the reader in straight away.
Shirin Yin Bridges tells the story simply and feelingly, allowing primary
school readers to identify with Ruby. The little surprise at the end makes
it even more poignant. An inspiring book to read to your child--it will take
you to another world, another culture as smoothly as a dream.
Suitable for 6- to 12-year-olds.
Lew Mi Fon
~~~~~~~~~~~~~~~~~~~~~~~
Title : Pig's Day Out
Author: Ros Asquith
Illustrated by: Selina Young
Published by: Hodder Children's Books, 2003
If you have a relative or a friend with a hubby (or maybe it's your hubby?)
who always falls asleep on the couch when taking care of the kids, oblivious
to the mayhem happening around him then read this story! Mummy Piggy is
going out and oh! the woe as Big Piggy, Middle Piggy and Baby Piggy follow
her around the house and sob about having to be left home alone. "It's not
like I'm leaving you with a pig sitter!" says Mummy Pig. "Daddy will look
after you"....And Dad does, after a fashion...The bright and funny
illustrations by Selina Young capture the cheek of the little pigs as they
talk Daddy Pig into letting them have not one but five "quite long" pillow
fights, spreading feathers around the room. He falls asleep as they happily
watch Piglet Channel and draw pictures of him - caught in the act of
snoozing. By the time he wakes up the lounge is a mess of feathers, paper
and crayons. Of course there is a mad rush to bed when Mummy Pig is heard
coming up the path. Lucky she's a kind caring Mummy and doesn't bawl Daddy
Pig out. I am sure he cleaned up the mess all by himself, too (pigs might
fly). Maybe I loved this story because this piggy family reminded me of my
brother - to a trotter! DS
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INDEPENDENT CHILDREN'S BOOKSHOPS
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CRITIQUE GROUPS BULLETIN BOARD
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MILESTONES
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INSPIRATIONAL QUOTES
~Accept everything about yourself - I mean everything, You are you and that
is the beginning and the end - no apologies, no regrets.~
- Clark Moustakas
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ADVERTISEMENTS
The Australian Writers' Marketplace 2006 is not as up-to-date as it claims
to be! Did you know, for example, that children's publishers Word Weavers
and Otford Press (which it includes) are no longer in the publishing
business? If you want a really up-to-date listing of Australian children's
publishers and their contact details, check out what Writers Career
Consultancy offers on www.enterprisingwords.com
Get with the strength
The Australian Society of Authors represents anyone who writes or
illustrates for publication. If you are not yet published you can join as an
affiliate member. Benefits of membership include:
. phone and email advice on all aspects of writing, publishing and the law;
. a subsidised contract advisory service;
. three issues of Australian Author per year;
. eight issues of the ASA Newsletter per year;
. a free-call telephone line for interstate members;
. discounted publications;
. a mentorship program for emerging writers and picture book illustrators;
. a showcase for illustrators' work in the online Stylefile; and
. information sessions and seminars for writers and illustrators.
The ASA lobbies government and industry to promote writers' and illustrators'
professional interests. The Society was instrumental in establishing
Copyright Agency Limited, the Australian Copyright Council and is
campaigning for the continuation and expansion of public and educational
lending right schemes. For more information see www.asauthors.org email
asa@authors.org or call 02 9318 0877.
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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
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© Jackie Hosking . All rights Reserved Worldwide.
posted by Jackie at 12:55 AM
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