PASS IT ON ISSUE 76
PASS IT ON
Knowledge Is Power
www.jackiehosking.com
Issue 76.
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PASS IT ON.
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PASS IT ON is a weekly, on-line, interactive, networking newsletter for
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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
USA POLITICIAN TURNED KIDS' AUTHOR
Ted Kennedy is writing a children's book with his dog, Splash.
The Australian Society of Authors is extremely pleased that it has been
successful in its nominations of Dr Inga Clendinnen, Ms Jill Hellyer and Mrs
Doris Pilkington Garimara for awards in the Order of
January 2006
"The ASA is heartened by this recognition of Australian authors," said Dr
Jeremy Fisher, the ASA's Executive Director. "All three have made major
contributions to our literary culture in different ways. Inga Clendinnen is
not only one of our foremost historians; her later works on the holocaust
and the European occupation of
Hellyer is a wonderful poet whose first work was published in 1946. Jill was
instrumental in the foundation of the ASA in 1963 and served as its first
secretary, working from her home in
the rabbitproof fence is already an Australian classic."
Dr Clendinnen was awarded the ASA Medal for the impact of her writing on
public awareness in November 2005. A resident of
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; Nita Kibble literary award 2001). 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 (winner New York Times book of the year
award 1999). 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
subsequently published as True Stories. Her book Dancing With Strangers
(Text Publishing, 2003; winner of the 2004 Kiriyama Award) 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.
Jill Hellyer, a resident of
founding of The Australian Society of Authors, becoming the organisation's
first executive secretary (1963-71) and was eventually made a life member
for her dedication. Over many years she has been a poetry contributor to
literary magazines, such as
has published two works of selected verse, Song of the humpback whales
(1981) and The exile (1969) and a novel, Not enough savages (1975). She has
also edited a biographical work, Fifty Years in Psychiatry : D.W. H. Arnott
(1980) and compiled Tomb it May Concern : Epitaphs for the Living and the
Dead (1993).
Doris Pilkington was born on Balfour Downs Station in the
toddler she was removed by authorities from her home at the station, along
with her mother Molly Craig and her baby sister, Anna. They were committed
to Moore River Native Settlement. At eighteen,
as the first of its members to qualify as a nursing aide at the
worked in film/television production. In 2002 she was appointed Co-Patron of
State and Federal Sorry Day Committee's Journey of Healing. She has written
four books and Follow the rabbit proof fence was made into a major film.
Contact: Jeremy Fisher, 02-9318-0877; 0438-318-673
--
Dr Jeremy Fisher
Executive Director
Australian Society of Authors
+61 (0)2 9318 0877 Fax: +61 (0)2 9318 0530
0438 318 673
Australian Society of Authors: Principal advocate for the professional and
artistic interests of Australian authors. Protecting basic rights to freedom
of expression, working to improve income and conditions, promoting
Australian writing and literary culture.
How wonderful to see two Aussies named in the
book awards) - Margo Lanagan and Marcus Zusak (see below). The full list can
be found at the
Marcus.
http://news.ala.org/releases/rollup.html
Michael L. Printz Award for excellence in literature written for young
adults
Looking for
The book is published by Dutton Books, a member of Penguin Group (USA), Inc.
Four Printz Honor Books also were named:
Black Juice by Margo Lanagan, published by EOS, an imprint of HarperCollins;
I Am the Messenger by Markus Zusak, published by Alfred A. Knopf, an imprint
of Random House Children's Books;
John Lennon: All I Want Is the Truth, a Photographic Biography by Elizabeth
Partridge, published by Viking, a member of Penguin Group (USA), Inc.; and
A Wreath for Emmett Till, written by Marilyn Nelson, illustrated by Philippe
Lardy and published by Houghton Mifflin Company.
The Department of Communications, Information Technology and the Arts
administer lending rights, and they've recently released their annual report
(www.dcita.gov.au). For those who may not be aware, Educational Lending
Rights (ELR) and Public Lending Rights (PLR) compensate writers for lost
income when their books are borrowed from libraries. It's important to note
that if you sign away your copyright to the publisher, that all financial
compensation will go to the publisher and not to you.
The top scoring books for the Educational Lending Right were:
Possum Magic - Mem Fox
Wombat Stew - Marcia K Vaughan
Rowan of Rin - Emily Rodda
Round the Twist - Paul Jennings
Where the Forest Meets the Sea - Jeannie Baker
Playing Beatie Bow - Ruth Park
Misery Guts - Morris Gleitzman
Blabber Mouth - Morris Gleitzman
The Cabbage Patch Fib - Paul Jennings
Two Weeks with the Queen - Morris Gleitzman
The top scoring books for the Public Lending Right (PLR) were:
Possum Magic - Mem Fox
The Other Side of Dawn - John Marsden
Dirt Music - Tim Winton
Solomon's Song - Bryce Courtenay
The Night is for Hunting - John Marsden
Matthew Flinder's Cat - Bryce Courtenay
Burning for Revenge - John Marsden
Flags and Emblems of Australia - Jill B Bruce
The Potato Factory: A Novel - Bryce Courtenay
Barra Creek - Di Morrisey
Jeannie Baker's Belonging and Kim Michelle Toft's The World That We Want
have shared the picture Book Prize in the 2005 Environment Award for
Children's Literature, awarded by the Wilderness Society.
DO YOU WANT TO KNOW WHAT'S GOING ON IN
ARTS @ WORK - BULLETIN
Friday 27 January 2006
CONTENTS
Feature Story
Featured Opportunity
Art, Health and Wellbeing
Public Art Commissions
Current Commissions - Other
Employment Opportunities
Exhibition Opportunities
Grants
Competitions
Scholarships & Residencies
Arts Train - Training Opportunities
Promotional & Marketing Opportunities
Arts Health and Wellbeing
More information on the opportunities in this bulletin is available now at:
http://www.artsatwork.com.au
>From Janeen Brian in New Zealand
'Dunedin illustrator and tertiary lecturer Robyn Belton is this year's
winner of New Zealand's most prestigious award for children's literature,
the Margaret Mahy Medal.
The award, given annually by Storylines Children's Literature Foundation of
New Zealand for a distinguished contribution to children's literature and
literacy, was announced yesterday.
Storylines also announced that author-illustrator Lynley Dodd, creator of
Hairy Maclary, had won the 2006 Gaelyn Gordon Award for a Much-loved Book
for her first book, The Nickle-Nackle Tree.
Published in
successful My Cat Likes to Hide in Boxes with writer Eve Sutton, and has
remained in print since.
Storylines gives the award annually in memory of Gaelyn Gordon, to recognise
a book which has remained in print and proven itself a favourite.'
(waikato Times,
Lynley Dodd will also be presenting at the CBC Conference in
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SEEKING
I am thinking about changing my surname and adopting my late father's name
and using it as part of my author name. For practical and emotional reasons.
Are there are any legalities I need to be aware of? Does anyone know if
authors may use one name only? My first name is rare enough to stand on its
own. Or should I save this question for a future publisher? I would love to
hear any comments.
EM
Last month I was lucky enough to be in Stratford Upon Avon and visit
Shakespeare's birthplace. I wandered over to the bookshop opposite and was
thrilled to see Gregory Roger's book in pride of place in the window. Has
anyone else had Aussie book sightings far from home?
Laurine Croasdale
Thank you to the person who included the Top Tactics for Author Interviewing
in PIO a couple of weeks ago - what a feast of delicious bite-sized
nuggets! Does anyone have any tips to control nerves when being interviewed
or giving speeches/talks? At the risk of insulting gelatin-based products,
my knees and throat turn to jelly, and it's really awful! Thank you in
advance...
Jitterbug
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REPLIES TO SEEKING
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NEW PUBLICATIONS
A little late but better late than never... for new releases at the end of
last year the second book in The Snotgoblin series was released.
"The Snotgoblin and Fluff"
There are Snotgoblins everywhere! Snot's family have moved in bringing
burps, silly scratchy fights and nose picking to every corner of the room.
But something is wrong. One goblin has to leave.
For ages 3-7 (and discerning adults)
If you want to learn more about Snotgoblins - the latest cult hit go to
www.snotgoblin.com
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SPECIAL EVENTS
BOOK LAUNCHES
at SCBWI International Conference 17-20th February 2006
Rue for Repentance written by Felicity Pulman
To be launched by Hazel Edwards
Sponsored by Random House
at The Hughenden Boutique Hotel.
5 p.m.Friday 17th February.
Doodledum Dancing
Written by Meredith Costain and illustrated by Pamela Allen.
To be launched by Susanne Gervay.
Sponsored by Penguin Books
at The Hughenden
Written by Krista Bell and illustrated by Sarah Dunk. To be launched by
Christopher Cheng.
The Hugenden
11 am Sunday 19th February
For anyone wishing to attend the launch of these books, please email which
book launch you wish to attend to SCBWI at:
admin@hugendenhotel.com.au
Conflux 3: A Convention of Fantastic Worlds
9-12 June 2006, Canberra
email: info@conflux.org.au
phone: 0421 005 511
www.conflux.org.au
Conflux 3 Speculative Fiction Convention:
Sign up before the 1 February price rise and go into a draw to win over 20
books!
In 2006 Conflux will be a major event for writers of science fiction,
fantasy and horror, gaming, comics, manga and anime. Conflux will be held at
the National Museum of Australia, Canberra, over the Queen's Birthday long
weekend (9-12 June). The program will feature: over 100 sessions including
panels and presentations on writing speculative fiction for novels and short
stories, film, television, comics, graphic novels and games; a major art
show with $6000 in prizes, a major film festival; cocktail party; medieval
feast; masquerade disco; book launches; mass booksigning; the 24 Hour Comic
Challenge; games tournaments; author readings event Program highlights will
include a link-up with Sir Arthur C. Clarke, the world's best known writer
of science fiction, who has published over 100 books, and co-wrote 2OO1: A
SPACE ODYSSEY with Stanley Kubrick, Ray Bradbury, the distinguished author
of such classics as Fahrenheit 451 and Something Wicked This Way Comes, and
Lloyd Alexander, author of the classic fantasy epic The Chronicles of
Prydain. Attending guests will include Ellen Datlow, prominent New York
genre editor and co-editor of the Year's Best Fantasy and Horror, Kate
Forsyth, author of 12 books including the best-selling Witches of Eileanan
and Rhiannon's Ride fantasy series, Steve Jackson, founder and editor of
United States games company Steve Jackson Games, Joan D. Vinge, New York
Times bestseller, Hugo and Locus award winner, and author of movie ties
including Return of the Jedi, Lost in Space, and Willow, James Frenkel,
United States based Senior TOR Editor and literary agent to prominent genre
authors including Sara Douglass, international best-selling author of 16
books, three of which have won the Aurealis Award for Best Fantasy Novel,
Jackie French, multi-award winning author of around 120 books in numerous
genres for children and adults, with translations into 19 languages, Jason
Paulos, comics creator of Hairbutt the Hippo, and for MAD magazine and DC
Comics, Queenie Chan, manga creator of The Dreaming for TOKYOPOP, Nick
Stathopolous, Greg Bridges and Les Petersen, leading science fiction cover
illustrators.
The current rate for Conflux membership is $145 ($100 student/concession)
until 31 January 2006. Memberships received by 31 January 2006 will go into
a draw to win over 20 books donated by Tor, including works by Gregory
Benford, Marion Zimmer Bradley, Charles de Lint, Stephen R. Donaldson, Sara
Douglass, Robert A. Heinlein, Mercedes Lackey, Juliet Marillier, Andre
Norton, and Gene Wolfe. From 1 February, the membership rate will increase
to $190 ($130 student/concession). For more information see
www.conflux.org.au or email info@conflux.org.au. A membership form can be
downloaded at http://www.conflux.org.au/2006/files/conflux3_member_form.doc
'Antarctic Dad' Picture book (Lothian) Exhibition ALL February at Books
Illustrated Gallery
For those interested in Antarctica, family relationships or the creativity
of illustrator and author working together.
· Meet & Greet Hazel Edwards & Illustrator Kevin Burgemeestre
2-4 pm Sunday Feb 5th
· Cool Teachers' Session, Thursday 23rd Feb 4.30-7pm
· Currently a cyber -link with an Antarctic station is being arranged but
times are not yet finalised.
Further details from Anna Dalziel [anna_dalziel@lothian.com.au]
Ph: 03 9694 4930
Mobile: 0425 732 359
or
Ann James & Ann Haddon Directors
Books Illustrated Gallery
The Gasworks Arts Park
15 Graham St
Albert Park 3206
ph: (61-3) 9696 0947
Hrs: Tuesday to Sunday 10am to 5pm or by appointment
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MARKET OPPORTUNITIES
Needed: Children's Writers and Illustrators
A startup children's magazine is looking for writers and illustrators. A
Michigan based publishing company, in business for over 20 years, is
launching a magazine for children.
We are looking for regular contributors to develop mysteries with recurring
characters - think Scooby Doo, Boxcar Children or Nancy Drew and the Hardy
Boys, but for a magazine. Please send a pitch with your characters and
three sample outlines or mysteries you may solve. Articles will be varying
lengths to meet the needs of 8-13 year olds, but generally between 400-1000
words. Payment will be $20 upon publication.
We also need stand alone mystery stories for various issues. These
mysteries may be simple, such as how a caterpillar turns into a butterfly,
why a waterfall seems to move upwards and so forth. Please submit full
manuscript for consideration. Length is 300-800 words. Payment will be $15
upon publication.
Lastly, we need illustrators for the above works. We need media forms that
can be reproduced or are made in black and white and that will fit the text
submitted by writers. Payment would be $20 per illustration upon
publication or a flat rate given if one illustrator can provide all of the
illustrations.
Please submit pitches, samples and/or portfolios by February 10th to:
tmmsmail@yahoo.com with MYSTERY in the subject line
or
Editor
PO Box 20
Lupton, MI 48635
We hope to have the premiere issue out for May 1st. (And we really hope to
pay more in future issues!) Please email to the above address if you have
further questions. Thank you.
The following information is from the Australian Society of Authors
Newsletter:
Stylefile submissions
Submissions are now open for Round 4 of the Stylefile, the ASA's online
showcase of some of Australia's most talented book illustrators.
The Stylefile promotes the work of Australian illustrators to publishers in
Australia and overseas. There are now almost 100 illustrators on the site
working in a range of genres, in different media and across all subjects.
There is no fee to submit work for consideration, but illustrators selected
for the site will be asked to pay a fee of $214.50 for the first year
(non-ASA members $334.50), plus a small annual fee.
For more information, please go to www.thestylefile.com. and click on
"submission guidelines" or call Jill Dimond on 02 9318 0877.
The Cricket group of magazines has new guidelines up:
http://www.cricketmag.com/pages_content.asp?page_id=6
The current submissions editor is Mary Beth Miklavcic.
NB: New address
140 S. Dearborn, Suite 1450
Chicago, IL 60603
(Not the Peru mailing address in the guidelines)
Source: Institute of Children's Literature
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COMPETITIONS/AWARDS
LITTLE TIGER PRESS COMPETITION
Little Tiger Press is a well-established UK publisher of picture books and
board books. In 2005 they ran a competition called 2005 Search for a Story
New Author Prize. The winner, Debbie Thomas won £2000 for Noah's Ocean
Commotion - a story about a bored lion stuck on Noah's Ark. Why not look at
their website www.littletigerpress.com to see what's going on this year.
Regards Bev Mc
GINNINDERRA PRESS SHORT STORY COMPETITION
Entries, which must be received no later than Friday 30th June 2006, should
be original stories between 2,000 and 3,000 words in length. They must be
suitable for children aged 8 to 12.
They should be inspired by the theme of Secrets and must not have been
published previously or be currently entered in any other competition.
A shortlist of ten stories will be selected for publication by Ginninderra
Press in a book to be entitled Secrets.
The writer of the winning story, whose name will be announced at the launch
of the book in September 2006, will receive a cheque for $250.
Details and entry forms can be requested by mail (please enclose stamped,
addressed envelope) or by e-mail (in PDF format).
http://www.ginninderrapress.com.au/compnew.html
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WRITING COURSES/WORKSHOPS
Writing for Children distance course here at OTEN (Open Training and
Education Network).
WRITING FOR PUBLICATION - WRITING FOR CHILDREN
TAFE PLUS STATEMENT
Program number: 23952
Program overview
Areas covered in this program include skills and techniques of writing for
children.
This program will be of benefit to people who are interested in learning to
write fiction for children.
Program award
Students who successfully complete this program will receive:
· A TAFE PLUS Statement
Program duration
This program is equal to 54 nominal hours.
Students should aim to complete the program within one year of receiving the
learning package.
OTEN allows you one year to complete this program from the date of your
enrolment.
To ensure each student gets their allocated study time from the date of
their initial enrolment, all new enrolments are automatically rolled over in
the first year to expire on the 15 November in the next calendar year.
Program entry requirements
This program is open to all.
However, you must meet the requirements of a good level of English both in
writing and comprehension.
Program structure
There is one module/unit in this program.
The program is completed by:
· studying at home at your own pace
· assignment work which you send in to us for comment and assessment.
Program modules/units of competency
All of the modules/units needed to complete this program are available
through OTEN.
There is one module/unit in this program.
Module NoNameHours
23952AWriting for Children54
Learning materials
OTEN will provide learning materials in this program in the form of printed
lesson notes.
You will need to buy additional textbooks (approximate cost $47).
Additional reference materials as listed in your learning materials.
To assist students in their studies, an online support site (OLS) is
available. When you enrol with OTEN details are supplied enabling you to
access this site.
Please note: OTEN does not sell textbooks.
Assessment
Assessment for this program is by assignment work which you should send in
to us on a regular basis.
There are no marks or exams in this program. Your teachers will assess your
skills and progress as you work towards your goals.
There are six compulsory assignments for Writing for Children. You will
receive more information about each assignment in the Assessment Guide.
Recognition
TAFE NSW recognises the skills and knowledge that you have gained through
previous studies, work and life experiences. If you would like to know more,
call our Recognition HelpDesk on (02) 9715 8486 or 1300 362 165 or log onto
the OTEN website.
Fees
The cost of the program is $ 450.
These programs are generally open for enrolment at any time of the year,
subject to the availability of places.
There are no fee exemptions.
There are no refunds.
The fee for the program does not include textbooks.
Centrelink payments
This program does not entitle you to apply for Centrelink student payment
to study.
Related Programs
OTEN also offers another program called 4845 Writing for Publication - Short
Stories.
To apply to enrol in this program
Read this Program Information Leaflet carefully.
It is important to read the OTEN Program Guide.
Complete the OTEN enrolment form.
Attach your cheque or money order payment or include your credit card
details to pay the program fee and any other program charges and send to
OTEN at the address printed on the enrolment form.
Please note, if you are paying by credit card and have no other
documentation to send OTEN, you may enrol on the internet at
http://www.oten.edu.au/oten/
Enquiries
OTEN
51 Wentworth Rd
Strathfield 2135
Ph. (02) 9715 8000
Fax: (02) 9715 8445
e-mail: oten.programinfo@tafensw.edu.au
For further information on this program, call (02) 9715 8617 or toll free on
1300 369 598 and ask for the English teaching section or visit the OTEN
website http://www.oten.edu.au/oten/
I am writing to let you know about a one-day workshop I'm running at the NSW
Writers' Centre on Saturday, March 4. It's called "Writing Something that's
BIGGER than You Are" and it's relevant to any writers interested in writing
manuscripts that are both surprising and attention-grabbing. When I was
working as a publisher of children's books, one of the main problems with
the manuscripts I saw was plots that were predictable and messages that were
didactic. It's very easy to get caught in the control-trap. Often the best
writing comes when the author has the courage to "let go". This is what
this workshop is all about. It will be stimulating, possibly frightening
("what, no seat-belt?") and fun. During the workshop we'll have practical
experience of:
how a plot plan can become a straight-jacket
how to let the writing be the thinking
how to tolerate ambiguity
how to get underneath the obvious
how to let go of controlling - and limiting - your story
how to use serendipity to nurture BIG ideas
how to go beyond experience and imagination into the realm of BIG
I've written over 50 books for children and adults and what I'll teach is
what I've learnt over 18 years as a writer, publisher and manuscript
assessor. The one-day workshop costs $66 (members), $55 (members
concession) and $99 (non-members). Make your booking through the NSW
Writers' Centre on: (02) 9555 9757, via their website:
www.nswwriterscentre.org.au - following the links to workshops, then general
workshops, then how to enrol, or email: workshops@nswwriterscentre.org.au.
If you have any questions about the course please email me directly at:
virginia.king@zeta.org.au.
Virginia King
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NEW WORK STYLE SKILLS
For those wanting to try their hand at creating PDF files, there's a free
trial converter at www.adobe.com. Just follow the prompts. You get five
conversions.
C.V. of a Creator
Unlike conventional CVs or bios, an author or illustrator needs to indicate
projects completed and the range of skills acquired by a creator who is
self -employed in the business of ideas.
Here are some suggested headings to discuss and maybe others can add to the
list? What skills would you specify?
Publications
Performances
Conferences & Workshops
Exhibitions
Collaborative Projects
Qualifications/training
Skills
W.I.P. (Work in Progress)
Clients
Research Skills
Residencies
Mentorships
Awards
Membership
Translations/adaptations
Reviews
Lecturing/teaching
Preferred work
Media coverage
Referees
Website and contact details.
HAZEL EDWARDS
www.hazeledwards.com
Latest titles:
Antarctic Dad on exhibition at Books Illustrated Gallery, for all February.
My Hippopotamus is on Our Caravan Roof Getting Sunburnt
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HAVE YOUR SAY
FROM Maureen
Last October I was lucky enough to have a 'litlink' interview with Peter
Bishop from Varuna at the South Coast Writer's Centre.
As the programme is open to writers of all genres, I was a bit nervous that
my YA ms, a 'work' so much 'in-progress', it didn't have any other chapters,
never mind an ending, would be a little trivial and that I would be wasting
his time.
Thankfully, on meeting Peter, these thoughts were dispelled immediately and
the hour was over so quickly, I could scarcely believe it.
The experience was enlightening and productive and one that I would
thoroughly recommend.
FROM Sharon
Thought this might be of interest given Virginia's comment:
A friend who is an expert on copyright has said that you can only copyright
the newsletter as a whole (ie a collection) but cannot copyright
individual's contributions so, you would need to put somewhere in the
publication a statement to the effect that all rights (including copyright
and moral rights) for individual contributions remain with the author and
may not be reproduced in any format without the express written permission
of the author.
**Thanks for this Sharon. I have now included such a statement at the
beginning of the newsletter. It's bold and blue!**
FROM Kesta
Re Picture Books for Stamps: I was interested to note that, on a letter I
received from England this week, was an Eric Carle 'The Very Hungry
Caterpillar' stamp, complete with munch holes in it. Clearly the UK has
taken the idea on too.
FROM Helen Evans
I do appreciate the time Edel Wignell gives to alert all PIO readers to the
rights of writers and the responsibilities a writer has. I can see what she
means about assigning copyright to the publisher. It is most unfortunate if
more and more publishers take this approach. However, I'm sure authors think
carefully before agreeing to this and it is also unfortunate if these
authors are made to feel guilty about it. I'm sure that school teacher
writers are responsible people and do care about others. I cannot agree
that their only aim is just to get their name on a book.
FROM DS
Regarding ABC books
I am with DC on his / her comments about ABC books and in fact found
Kristine Schultz's comments puzzling. Is there anything wrong with a
publisher being 'inundated' with manuscripts? Besides, if author guidelines
were listed on the website they wouldn't have been inundated. And if they
made it a policy to respond at least to email queries then they would save
authors and themselves time and money. A simple 'yae' or 'nae' would
suffice.
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ARTICLES
Feature Article: Smooth Beginnings That Hook the Reader
by Marg McAlister
Beginnings are difficult.
Beginnings, in fact, are probably the most re-written part of a manuscript.
A lot of writers plunge into a novel knowing perfectly well that they'll
come back and rewrite their first chapter when they've finished their novel.
Why do they do this? Several reasons:
by then they feel much more at home with their characters and the story.
They are far more able to resist the temptation to tell the reader
everything in the first two pages.
by the ending they can 'see' the overall shape of the novel so much more
clearly. It's easier to go in and fix pacing and the gradual release of
information.
One of the very best ways for any writer to learn the craft is to analyse
the work of published writers. In the excerpt that follows from Henry
Porter's A SPY'S LIFE, you will see very clearly how he hooks his readers by
arousing their curiosity. Rather than 'telling' readers what is going on, he
lets them find out through the main character's thoughts and actions.
When you read on, note the following things:
How the author gets deep inside his character's mind so the reader closely
identifies with his plight.
How the reader finds out what has happened by following THE CHARACTER'S
thought processes as he puts it all together.
===================================
Beginning of Excerpt.
Chapter 1: The East River
A lip of ice protruded from the bank just in front of his face. It was no
more than three feet away and he could see it with absolute clarity in the
light that was coming from behind him. He contemplated the ice through the
mist of his breath, noticing the lines that ran around its edge like tree
rings. He understood they were formed when the tide lapped its underside,
adding a little to the surface, then receded, leaving it hanging over the
mud. He was groggy, but his powers of reason were working. That was good.
Harland moved his head a little and listened. There was a ringing inside his
ears but he could hear the slap of the water and the agitated clicking of
dead reeds somewhere off to his left. Beyond these there was a commotion -
sirens and the noise of a helicopter.
The light didn't allow him to see how he was trapped, but he felt something
heavy pinning him down from behind and he knew that his legs were bent
backwards because the muscles in his groin and on the tops of his thighs
were burning with pain. The rest of him was numb. He reckoned he must have
been there for some time.
He pulled at his arms which had been plunged vertically into the mud. The
movement caused his face to fall forward nearer the mud and his nostrils to
fill with the smell of the sea. The tide! He could see that the water had
risen a little in the time since he had become conscious. The tide would
come in and cover his face. He had to get free - shift the weight that was
holding him down. But he felt weak and dazed and there was nothing for him
to push against to hold his face away from the mud. He groped behind him and
felt the seat. Jesus, he was still strapped into his seat! He ran his right
hand up and down searching for the seat belt and found it stretched tight
across his chest. That explained the pain in the area of his heart.
Eventually he located the buckle, flipped its tongue with his thumb and
sagged forward into the mud.
It was going to be okay. He'd be able to shift the seat, or wriggle from
underneath it. A little more purchase was all that was needed. But that
wasn't going to be easy. Exerting the slightest pressure made him sink
closer to the water. He knew that the mud had absorbed the force of his
impact and had saved his life, but now he cursed it.
He began to prod and grope beneath the mud. After several minutes he touched
something solid, an old plank of wood. It was slippery, but it did not move
when he gripped it with both hands and then pushed upwards with all his
strength, bringing his legs awkwardly into play. Nothing happened. He
slumped down again and inhaled the odour of decay. He had to concentrate on
controlling his breath which was coming in shallow puffs.
As he waited, the breeze peppered his face with grains of ice and he
realised for the first time how cold it was. He breathed deeply, right into
his stomach, and tightened his grip beneath the mud. He was going to do it.
He was going to lift the damned seat because he hadn't survived the crash to
be drowned in six inches of the East River.
End of excerpt.
=============================================
An Analysis of The Reader's Reaction to This Story Beginning
1. The story opens with Harland regaining consciousness and letting the
reader know what he sees - and his reaction to this. Notice that AT NO TIME
does the author 'tell' you what is going on. He doesn't say "Harland
gradually came to and started noticing his surroundings" or something
similar. (If he had, you would be able to see the author at work.) In this
beginning, you are as close as you can get to looking out through Harland's
eyes and seeing what he sees... then following his thought processes as he
works out what's going on.
2. The author doesn't wait too long - the second paragraph - before telling
you the name of the main character. It's okay to use 'he' or 'she' initially
as long as we find out very quickly who it is we're 'becoming'. The reader
usually identifies strongly with the main character, and finds it annoying
not to know his or her name.
3. In the second paragraph, we realise that Harland has been in an accident,
or injured in some way. We don't know whether he's a fugitive, running from
the sirens and helicopters, or whether these are associated with an
accident. Our curiosity is aroused.
4. In the third paragraph, we find out that he is trapped ("Will he
escape...?")
5. In the fourth paragraph, Harland realises that the tide is rising and he
could drown if he doesn't free himself. We don't yet know what it is that is
pinning him down - and we don't find out until Harland does, by reaching
behind him to discover that he is still strapped into his seat.
6. Bit by bit, Harland works out how to free himself... and the reader is
with him all the way. By the end of the excerpt we still don't know what
kind of accident it is, but by the second page we realise that it is not a
car seat that Harland is in, but one from a plane. He is the sole survivor
from a plane that crashed on its approach to La Guardia airport.
What You Can Learn From The Above Excerpt
1. The importance of deep point of view. Mastery of this is one of the
cornerstones of good writing. If you can handle viewpoint well, you will
find that you rarely fall into the trap of 'telling' rather than 'showing'.
When you are deep into a character's point of view, you automatically
generate more emotional punch and thus involve the reader in the action.
2. You should introduce details AS THEY BECOME IMPORTANT TO THE CHARACTER.
There's no need to throw in everything about the character's background in
the first few pages. As this story goes on, we find out more about the
plane, the circumstances of the crash, and Harland's background. All of it
is revealed only when it is relevant to the current action.
3. Arouse the reader's curiosity so he or she has to keep turning pages to
find out either what has happened or what will happen next. The golden rule:
don't reveal too much too soon. Always leave the reader with a reason to
keep reading (a burning desire to find out who, why, or how!)
(c) Marg McAlister 2006.
Marg McAlister's writing sites and ezines are full of up-to-date, practical
advice for writers. Get timely tips to ensure writing success both online
and in print: http://www.Writing4SuccessClub.com
http://www.writing4success.com
http://www.HowTheHeckDoI.com
http://www.EsssentialGuidetoGhostwriting.com
http://www.career-booster.com
mailto:marg@writing4success.com
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PUBLISHER GUIDELINES
The Blue Review - New Columnist - Kevin Scott Collier
Hello everyone,
I am delighted to tell everyone that Kevin Scott Collier has joined our team
of regular columnists for "The Blue Review," the BOOST4Writers monthly
e-zine on writing for children. Most subscribers to this list know Kevin, a
prolific contributor to CW. As a children's book writer and illustrator, he
will offer insights into these two aspects of creating books for children --
writing and illustrating. His column is aptly called "Every Picture Tells a
Story." We are very excited to have him with us.
You will see his first column in the February issue of The Blue Review. You
can read more about The Blue Review and subscribe at
http://www.boost4writers.com/newsletter.html
And children's writers, if you would like to contribute an article, you will
find our themes and guidelines listed at
http://www.boost4writers.com/newsletterguidelines.html
Jill Ronsley
Executive Board
www.boost4writers.com
Book Design and Typesetting
Editing and Writing Services
www.suneditwrite.com
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AUTHOR/ILLUSTRATOR PROFILE
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YOUR WRITING TIPS
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USEFUL BOOKS/WEBSITES
Directory of Children's Fiction Publishers (U.K)
http://www.writewords.org.uk/directory/level2_pages.asp?subtypeid=9
http://boost4writers.com/ChildrensWritersGuidelines.htm
http://www.rickwalton.com/freeu/index.htm
Rock Canyon University Free School of Writing for Children
This slightly tongue in check writing 'course' has some really straight
forward advice and links to some great articles for those looking to write
picture books.
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BOOK REVIEWS
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INDEPENDENT CHILDREN'S BOOKSHOPS
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CRITIQUE GROUPS BULLETIN BOARD
>From author Jill McDougall
Critiquing manuscripts:
My online writer's group has recently had a discussion on critique groups. I
thought these links might be useful for anyone seeking such a group via the
Internet.
Note: I do not have personal experience of these groups and can't vouch for
any of them.
*The Internet Writing Workshop www.internetwritingworkshop.org has a number
of critique lists including one for YA and children's writers. (They appear
to be well organised.)
*The critique circle at http://www.critiquecircle.com also appears well
structured and has some interesting article on diplomatic critting.
* http://www.zoetrope.com includes a world-wide writing community in their
Virtual Studios. They don't have an exclusive children's section but focus
on poetry, short and flash fiction, novellas, screenplays, etc.
Readers might also find the following excerpt from the Children's Writer's &
Illustrator's Market (US edition) helpful:
Critter Do's and Don'ts
* Do keep an open mind!
* Do offer something positive about someone's work and keep the tone
encouraging, even if the criticism has to be a little harsh to be honest.
* Do put your name on your crit so the writer can follow up with you later
if something requires explanation.
* Do offer positiive suggestions for improvement where appropriate.
* Do read lots of recently published books in the genre you write and crit.
* Don't ask the group to crit your first draft. Only submit a ms or chapter
that you've taken as far as you can on your own.
* Don't revise in order to please the group. If a suggestion doesn't feel
right, don't take it.
* Don't believe excessive praise absent of constructive criticism.
Everything can be improved.
* Don't defend. Ask questions to clarify a critique, but defending isn't
helpful because you can't defend something that is unclear to an editor or
reader. Accept that whatever you had in mind isn't coming across to the
reader and try again.
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MILESTONES
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INSPIRATIONAL QUOTES
~Try not to become a man of success but a man of value.~
Albert Einstein
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ADVERTISEMENTS
Free legal guide for writers
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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 12:59 AM
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