PASS IT ON ISSUE 80
PASS IT ON
Knowledge Is Power
www.jackiehosking.com
Issue 80.
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PASS IT ON.
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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
Last year, Lothian Books was sucked up into the large international
publisherTimes Warner UK. Now, Lothian Books is going through another
change when Times Warner UK was bought out by the very large, French
publisher Hatchette Livre. Talk about the feeding chain in the oceans!
I'd like to warn others that a manuscript I sent to Janet Drakeford
Publishing. Benchmark Publications PO Box 71 Montrose Victoria, came back
Return to Sender, the reason given being, 'Left the Address ' MW
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SEEKING
I am looking for writing competitions for kids aged between about 8 and 12
years. I would appreciate any information anyone might have on writing
competitions for this age group even if the competitions are closed for this
year. I am particularly interested in competitions that are run on a regular
basis eg. annually, bi-annually, etc. I am running writing sessions for
this age group, starting next school term and would like to have a selection
of competitions that the kids can choose to enter. Thanks in advance. Pam.
I'm working on a writing project to help parents who have children with
'learning differences'. Not everyone learns by 'conventional' methods and
often, children who learn differently are considered 'not able to cope
because they don't conform to the norm.' There is help available, but it's
not easy to come by. If you have a child who's struggling to learn how to
read and write, I'd love to hear your experiences. For the child who has
trouble learning by conventional methods, it doesn't mean they're dumb,
they're just different. Falling behind in school work can cause massive self
esteem issues and behavioural problems, yet where can you get help?
I'd love to hear from parents who've had to deal with these difficult
issues. Does your child have trouble learning within the current education
system. If so, I'd love to hear from you.
I'm going to consult educational psychologists, the Learning Difficulties
Association and others to get some answers to help you help your children.
If you'd like to tell your story or talk about what you've been through to
try and help your child, please email me on DeeScriber@bigpond.com or call
Dee on 03 54 285 365. All information will be treated in the strictest
confidence, and the primary aim will be to help your child. Please don't
hesitate to call.
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REPLIES TO SEEKING
In PIO Issue 79 a contributor was concerned about our Australian Children's
publishers not publishing any humorous, chapter books for younger readers.
Luckily this is not the case! Last year Limelight Press introduced their
'Little Stirrers' series for 8-10 yr olds and published Great White Lies and
my book Hector the Protector. My understanding is that there will be more
titles for this series. Janette Brazel
Reply to Editor of Down's Voice
IN 2002 Thomson Nelson published the 'Chill Out' series of 20 books
specifically for high interest/low reading level readers. As far as I know
these are still available.
In answer to the request for social realism titles for young readers in PIO
issue 79, Lothian Books have published several junior fiction titles of this
ilk in the last few years written by award-winning author Krista Bell for
readers aged 9-14 and they all contain humour as well:
Read My Mind! (Tahnee's mum needs to get her life into perspective and spend
more time with Tahnee)
Get a Life! (Conor thinks there's nothing worse than his embarrassing father
who shouts advice to the boys in his school rowing crew)
No Regrets (Julia is an accelerated gifted and talented girl who doesn't fit
in)
No Strings (Felix is part of a blended family and regrets his lack of family
history)
No Tears (Xanthe's dreams of diving at the Nationals in
to be published in August 2006
Who Cares? (keeping major secrets is tough for Rhys and Toby until they find
a friend in each other and share their secrets)
Who Dares? (a seaside surfing and skateboarding adventure in which Rhys and
Toby learn not to make assumptions about people or events)
Hope that helps.
In reply to wanting good humorous, chapter books for young readers and
social realism fiction for kids, the seeker might like to look at Macmillan
Education's Breaker and Trekker series. These short novels provide excellent
reading for kids age 6 to 13. GA
In reply to Seeking -Down's Voice
The Zapper series of Reed (now Harcourt) is a collection of
well-illustrated chapter books.They were formulated as high interest - low
reading skill texts, and might be what you want. Wendy Macdonald
Sharon Greenaway mentioned
regularly to a student in
The fee for sending money is $22 each time. Helen Evans
In response to the question, 'How do I register my books for CAL, PLR and
ELR, Edel Wignell writes:
Write by e-mail or post, 'Dear CAL (PLR, ELR) Officer'. and list your books
with all their bibliographic details. Here are the addresses:
Copyright Agency Ltd
Level 19
157 Liverpool Street
Sydney NSW 2000
Tel. (02) 9394 7600; Fax 9394 7601
www.copyright.com.au
members@copyright.com.au
The Public Lending Rights Scheme
Department of Communications and the Arts
GPO Box 3241
Canberra ACT 2601
Tel: (02) 6271 1650; Fax: (02) 6271 1651
www.dcita.gov.au/lendingrights
plr.mail@dcita.gov.au
elr.mail@dcita.gov.au
You don't have to register separately for PLR and ELR. You will be given a
claimant number to use in all your communications. Each year, update your
list with recently released titles. It's a good idea to do it as soon as a
new title is released so it doesn't go into the forgettery zone.
WRITING FOR THE EDUCATIONAL MARKET
I don't think anyone replied this week to the author who asked about the
difference in writing for the trade and educational markets. (Perhaps there
are others like me, who hardly have time to read everything, let alone
respond!) I have been published in both areas, so to start the ball rolling
these are a few of the differences I find. I'll stick to
fiction for a primary school readership, which is my field.
A story or novel will always be part of a series. You need to make contact
with educational publishers to know what they are planning or currently
working on. Tell them what you write and express interest in being invited
to submit work. If you're lucky you'll get on a mailing list this way. I've
done books for Pearson, who commission stories; but some publishers, like
Macmillan with its Trekker series, just ask for stories of specific lengths
and choose the ones that appeal. That's how my first two books got
published, and it's a great way to start getting a track record. Don't hold
any hopes that the novel you've already written will happen to be just what
they are looking for. Even if it's wonderful, they may have done something
on that topic or theme already. And in particular it's essential to follow
the specified genre, word length, subject matter, age level and even more
detailed requirements. For instance, I wrote a trilogy of linked short
novels for 10-13 year olds, of 4,500 words each (almost exactly), for a
series that aimed to appeal to boys - but they had to have a girl
protagonist! Then there needed to be a minor character of a different ethnic
background, and later an instruction came to change the hair of one girl
from blonde to brown... All of which is done for the approval of overseas
markets. (Surely, if no-one can have fair hair, this is also
discrimination?) I find it helps to conform as far as possible upfront, and
also send details for an illustrator, in case I should find that my main
character is in a wheelchair, Mother is black African, or the NSW high
country is made to look like the Swiss Alps! (I'm not kidding; it has
happened to others.)
If all this sounds depressing, I'd still urge emerging writers to have a go.
I don't lower my standard of writing, but find it a satisfying challenge to
write stories that have well defined characters and an engaging storyline
despite the constrictions. Not only that, it's good
'bread and butter' money, especially if you are researching and writing
something else that may take years. Finally, I have found, once I have a
brief to produce a story within certain perameters, that often one of my
ideas that has been on the backburner for years will adapt perfectly.
Elizabeth Hutchins
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NEW PUBLICATIONS
LAUNCH 18th February at SCBWI International Conference, Sydney
DOODLEDUM DANCING by Meredith Costain illustrated by Pamela Allen.
What an outstanding team. The multitalented author Meredith Costain
(
Zealand
a book of 'giggly, wiggly, squiggly poems.'
These joyous poems and illustrations dance across the pages of 'Doodledum
Dancing'. They stomp, scratch, chomp, munch, crunch, jiggle, wriggle, pop,
snap and slap, exploding with energy and a celebration of childhood. A
childhood of imagination, with dinosaurs and pirates and shower monsters. A
childhood of bicycle rides and wet weather puddles to splash in and days
when you're sick in bed and even lose a tooth. Children and parents and
grandparents, aunts and uncles will all love the poems. Everyone will, as
Pamela Allen's illustrations join with Meredith Costain's humour to create a
book that's begging to be read aloud.
And there's more. When the poems aren't being read aloud, they offer a feast
of illustrations and word pictures to read and re-read. Who wouldn't want to
hug that puppy in 'Our New Puppy', even though he has a guilty look?
Children will laugh as they notice the yellow puddle behind the puppy. The
puppy isn't so guilty as he pulls the table cloth crashing the cup and
saucer onto the floor. He should be. Who wouldn't want to sing with the
little boy as he wishy washy's around the house mopping and cleaning
because, 'I'm the boss at my house.'
'Doodledum Dancing' will become one of those much loved books that will be
passed onto the next generation of children.' I'd like to read to you one of
my favourite poems in this book, not only because of the warmth and love in
it, but because of my children's Grandma who has passed away so recently.
SNUGGLE BUG
Cuddly cuddly
Warm and snuggly
Rolled up like a great big buggly
In my grandma's woolly rug.
Jiggly, squiggly
Wild and wiggly
Squealing like a big pink piggly
Wrapped in Grandma's loving hug.
I have great pleasure in launching 'Doodledum Dancing.'
Susanne Gervay
Angels of Kokoda David Mulligan
Lothian
$17.95 0734408498 Paperback
With a Foreword by the Governor General Michael Jeffery. Angels of Kokoda is
a riveting novel based on Australian battles along the Kokoda Track in
New Guinea
of Derek, the son of Australian
missionaries at the Gona Mission, and his 'blood-brother' Morso, a native
Papuan boy of the same age.
When all women and children are ordered back to
disappear into the jungle. At the same time that the Japanese land at Gona,
the two boys and Derek's father become part of the small band of Diggers who
save
invasion.
In Angels of Kokoda, racism, death and terrifying savagery go hand in hand
with heroism, compassion, humour beyond belief and a mateship which has no
equal. And no story about this hugely significant time and place in our
history could be complete without the full story of the grace and dedicated
loyalty of the famous 'Fuzzy Wuzzy Angels'.
Exquisitely written and meticulously researched, this is a breathtaking book
for readers of all ages.
Release date:
About the author:
David Mulligan has written a regular column, 'Sunday Ramblings', for the
Macquarie Group of newspapers, as well as feature articles for local,
international and university magazines. His poetry is published in
magazines and anthologies have won numerous awards. His children's picture
book The Moon's Gift, has been highly acclaimed.
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SPECIAL EVENTS
Book launch - for those coming to
Christine Harris will launch Mustara, Rosanne Hawke's new picture book
illustrated by Robert Ingpen
on Friday 10 March at Dymocks, Rundle Mall Adelaide at
Balls).
Mustara is about an Afghan boy and his camel, set in SA in 1875.
Come if you are over - it would be lovely to meet interstate writers if we
don't meet in the tents.
There will be a Book Talk for schools in the morning at
venue.
Further details or RSVP from Anna Dalziel at Lothian
anna_dalziel@lothian.com.au
Ph: 03 9694 4930
Mob: 0425 732 359
Are You A Ranger's Apprentice?
Come and meet the master!
The Children's Book Council, Southern Sydney Sub-Branch has called a secret
meeting with the creator of the Ranger's Apprentice Series: John Flanagan.
John Flanagan, a former television comedy writer for the hugely successful
sitcom, Hey, Dad!, is now a full time children's author, with four books in
the Ranger's Apprentice Series already published and more waiting in the
wings. John began The Ranger's Apprentice as a number of short chapters
written for his 12-year-old son Michael, to encourage him to enjoy reading.
The series is now HUGE and has been sold to the
When: Tuesday 14th March, 7.00 for a 7.30 start
Where: Sutherland Trade Union Club, The Kingsway, Gymea.
Cost: Cost: $6 for adults and $3 for children.
Suitable for children 8+ and adults.
Bookshop courtesy of Bloomin' Books. Lucky Door Prize.
For more details contact 9540 3788 during business hours or email Sue
Whiting at whitings@bigpond.net.au
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MARKET OPPORTUNITIES
FIVE ISLANDS PRESS/POETRY AUSTRALIA FOUNDATION INC NEW POETS' PUBLISHING
PROGRAM 2002-2003
Series 12IES 8
plus WOLLONGONG POETRY WORKSHOP (11-18 January 2007)
Following the success of this program in previous years, Five Islands Press,
in association with the Poetry Australia Foundation Inc, is again offering
the possibility of first publication to new poets.
Applicants will normally be poets who have not yet published a collection of
their work in book form. No age limit applies and the program is open to
poets from throughout
least 8 of their poems published in newspapers or magazines, or broadcast on
public radio.
Six titles per year are published under this program. The books will be 32
pages in length, A5 size. They will be high quality productions, printed
initially in runs of 400. Authors will receive royalties at normal rates
(10%) on books sold and will be able to purchase books for resale at 40% of
the recommended retail price. A combined volume, featuring all six
poets, will also be printed.
All books will be published simultaneously at a series of launches in
relevant centres throughout
organised. Participating authors will be expected to attend the launches and
to participate in such readings as are arranged.
In previous years, support for this program has come from the Literature
Board of the Australia Council, and from the NSW Ministry of the Arts.
SUBMISSION OF MANUSCRIPTS
It is suggested that candidates submit approximately 40 x A4 pages of
poetry, typed on one side of the paper only. One of the functions of the
workshop, for those poets included in the program, is to select the
strongest and most coherent 32 page collection from the body of poems
submitted. The author's name and address should be on the back of each page.
Please include a reply paid envelope if return of manuscript is required.
Faxed or emailed submissions will not be considered.
TIMETABLE
JUNE 13, 2006
Entries open. Please do not forward manuscripts before this date.
Entries close.
No manuscripts post-dated after this date will be considered.
By this date, all entrants will have been informed of results.
Workshop at Campus East,
(See separate brochure for details of WORKSHOP).
Poets who are selected for publication under this program must come to the
Wollongong Poetry Workshop (11-18 Jan, 2007) but all their expenses will be
paid. At the Workshop, the manuscripts will be further considered and
revised, as will such matters as the order of the poems, the title of the
collection and the launch venues and dates. Regretfully, the offer of
publication will be withdrawn if poets are unable to attend. (Fortunately,
however, this has never happened).
A measure of the success of the program is the fact that previously, poets
published under it have won the Anne Elder Award (Jane Williams, Marcella
Polain,) or been runner-up (Judy Johnson, Lis Hoffmann, Peter Kirkpatrick)
and many have been commended in it, including Martha Richardson and Ted
Nielsen from Series 6; others have won the Banjo Award (Peter Boyle, shared
with Dorothy Porter) or been shortlisted in it (James Bradley); won the NSW
Premier's Award (Peter Boyle) or been shortlisted in it (Peter Minter); won
the Harri Jones Memorial Prize (Andy Kissane), the Martin Bequest Travelling
Scholarship (Lisa Jacobson) or the NSW Writer's Fellowship (Jennifer
Compton). As well, the books have received very
favourable reviews in The Australian Book Review, Imago,
Social Alternatives and Southerly, among others. Among the Series 8 poets,
Cate Kennedy won the Vincent Buckley Award, Terry Jaensch was runner-up
in the Anne Elder Award, and Shen was awarded an AsiaLink Grant to
Many of these books are still available. If you would like to purchase
copies of any of them, please contact us at the address below.
If you would like to participate in this scheme, send your manuscript (after
June 13), plus a brief biography and list of previous publications to
FIVE ISLANDS PRESS
New Poets' Publishing Program,
C/- School of Creative Arts,
University of Melbourne 3010 Vic
PLEASE NOTE: Poets who submit a manuscript for consideration for Series 12
of this program may apply to come to the Wollongong Workshop, but this is
not a condition of entry into the publishing program. Manuscripts will be
assessed entirely on their merit, irrespective of whether or not the poet
has applied to come to the workshop. (As noted above, the workshop is
compulsory for the six poets chosen for publication, but all their
expenses are paid, and if they have sent a deposit for the workshop, it will
be refunded.)
* Include a cheque for $100 deposit if you wish to attend the Workshop.
For further information, contact
Ron Pretty
Email rpretty@unimelb.edu.au
Include a stamped, self-addressed envelope if you would like your
manuscript returned. Please ensure that your name and address appears on
each page of the manuscript itself.
Cheers,
Ron Pretty
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COMPETITIONS/AWARDS
31 March, Midlands Vacation Literary Competition. A . Short story to 3000
words, open theme; 1st prize $200, 2nd prize $50. B. Poetry to 60 lines;
1st prize $150, 2nd prize $50. C. Children's story (for ages 7-12) to 3000
words; 1st prize $200, 2nd prize $50. D. Prose to 1500 words; theme of 'a
strange experience'; 1st prize $150, 2nd prize $50. Entry fee $5 per entry,
or four entries for $15. For entry form and guidelines send a SSAE to
Box
Ballarat Writers Present
Our first very short story for 2006.
If I could swim like Thorpey .
or play cricket like Ricky Ponting.
or vault like Tatiana.
Choose your own sportsperson and tell us in no more than 500 words what you
would do.
Win a great prize plus the chance to be read on 107.9FM ABC Ballarat
Entry fee: Members - free
Non- Members - $5.00 - Cheque or money order please
Or you can download our credit card payment form at www.ballaratwriters.com
Please post entries by 8 March to
Ballarat Writers,
The May Gibbs Children's Literature Trust is pleased to be able to offer a
limited number of supported Creative Time Residencies in 2006. The MGCLT
Creative Time Residencies enable interstate and regional children's authors
and illustrators to spend uninterrupted time pursuing creative projects.
Space is available in the Trust's
and in addition to providing free accommodation for up to four weeks, the
Trust will provide additional support in the form of an air ticket and a
living allowance of $250 per week.
The usual terms and conditions of the MGCLT Creative Time Residencies will
apply. Recipients agree to:
-acknowledge the support of the May Gibbs Children's Literature Trust in any
publication arising from the work undertaken during the residency.
-use the residency time for creative work only - not to take on speaking and
teaching work
More information about the Trust and its programs can be found at
www.maygibbs.org.au and MGCLT Creative Time Residency Application Forms are
available at: http://www.maygibbs.org.au/application.html
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WRITING COURSES/WORKSHOPS
Highlighting Writing
Congratulations Jen McVeity for developing assessable, economical, relevant
online creative tutorials for new writers. Tutorials written by wonderful
writers such as Gary Disher, Libby Gleeson, Sophie Masson are such a
strength. It's terrific that they can be obtained through the NSW Writers
Centre as well as other Writers Centres and the FAW.
Susanne Gervay
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NEW WORK STYLE SKILLS
New Workstyles: Radio and Children's Books
Radio RPH Children's Hour & 'Antarctic Dad' Ice Model Contest
Librarian Heather Heraud is the weekly radio presenter of Children's Hour on
Radio for the Print Handicapped 1179 in Victoria and relayed to other states
and regions.
She reviews children's books, provides a serial and discusses literary
contests, events and items of interest in the world of children's books. Not
all her listeners are sight impaired and her audience includes mainstream
schools, teachers and librarians and families driving home at
when the program goes to air.
Heather Heraud Producer/Presenter 'The Children's Hour'
Radio 1179 3RPH
C/- Alphington Grammar School
ALPHINGTON 3078
tel: 9497 4777
fax: 9497 3479
email: heather.heraud@alphington.vic.edu.au
Competition..ends March 23rd
Currently a competition devised by illustrator Kevin Burgemeestre is being
run in connection with picture book 'Antarctic Dad' (Lothian) where child
listeners are invited to make an Antarctic model or create a script between
a child and a working away parent . This is a way of indirectly involving
parents and children as they need to read the picture book first. Details
are below and feel free to copy and publicise to relevant online groups as
this also demonstrates a way in which children's books can be publicised.
P.S. Kevin has provided free instructions for his model of the polar ship
ICE under teachers' notes on Lothian's website ( and will soon be also at
www.hazeledwards.com ) Currently at Books Illustrated Gallery for all
February, his ICE model polarship is being silent auctioned for charity for
the Tasmanian Guide Dogs Association.
3RPH COMPETITION/MODEL
Win signed copies of Antarctic Dad; a cool new book by Hazel Edwards and
Kevin Burgemeestre about how to stay in touch with loved ones even from the
far Antarctic.
The characters in this story are connected in the pictures by two toys. One
is a toy kangaroo called "Roo" which Dad takes with him, and the other is a
cardboard model of the ship "Ice" which takes Dad on his exciting journey.
Models help us think of actual things that can be far away, just like in the
story.
For this competition I ask children to make a model of a vehicle seen in
that most Antarctic vehicles are very tough to be able to handle the
difficult conditions. Also, they are painted very bright colours so that
they are easily seen against the ice and snow.
The vehicles in 'Antarctic Dad' are based on photos from people who were
there. Some have cool names like Haglund, Zodiac, Squirrel, or CAT.
I use recycled materials because I believe we throw too much away in our
modern society. Antarctic bases are not allowed to throw anything away, they
take all rubbish back with them so they don't pollute the clean environment.
You could also use polystyrene foam as a base to represent snow.
Email or post a photo of your model, if you don't have a digital camera, you
might ask if your school has one, and give your classmates a go as well. We
have two signed books as prizes. One will be awarded best entry under 7, and
the other will go to the best entry by a child over seven. Entries to be
judged by author Hazel Edwards, illustrator Kevin Burgemeestre, and
broadcaster of the Children's Hour, Heather Heraud. Runners up will receive
signed bookmarks, with drawings by Kevin.
Competition ends Monday 27th March, 2006 Send to RADIO 3RPH
Street Address 454 Glenferrie Road
City Kooyong
Country Australia
Postal/Zip Code VIC 3144
Telephone +61 (0)3 9864 9207
Telefax +61 (0)3 9864 9213
Email admin@rph.org.au
rphaust@ozemail.com.au
Home Page http://www.rph.org.au
3RPH COMPETITION/SCRIPT
Win signed copies of Antarctic Dad; a cool new book by Hazel Edwards and
Kevin Burgemeestre about how to stay in touch with loved ones even from the
far Antarctic.
Even though Dad is far away the main characters in this story stay in touch
using email.
Because this is radio, to enter this competition you must write a script of
an email conversation between the father and the son who appear in this
book. The best entries will be read on air.
Some research would be really helpful to find out what could happen in
writers not to write about bad injury or death, but try and use some unique
feature of
some of the amazing characters you might meet.
Perhaps the boy has something unusual happen at school.
All entries must be no longer than an A4 page, and take no longer than 90
seconds to read.
We have two signed books as prizes. One of these will be awarded to the best
entry written by a child under 7, and the other will go to the best entry by
a child over seven. Entries to be judged jointly by author Hazel Edwards,
illustrator Kevin Burgemeestre, and broadcaster of the children's hour,
Heather Heraud. Runners up will receive signed bookmarks, which will also
feature a small original drawing by Kevin.
Competition ends Monday 27th March, 2006 Radio 3 RPH
Street Address 454 Glenferrie Road
City Kooyong
Country Australia
Postal/Zip Code VIC 3144
Telephone +61 (0)3 9864 9207
Telefax +61 (0)3 9864 9213
Email admin@rph.org.au
rphaust@ozemail.com.au
Home Page http://www.rph.org.au
'Antarctic Dad' is being exhibited at Books Illustrated Gallery, ALL
February
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HAVE YOUR SAY
FROM AUTHOR Janette Brazel
In reply to an author who asked about tutors from the Australian College of
Journalism (ACJ) - I completed the Children's Writing course through ACJ in
2000 and my whole experience was positive. My tutor was excellent. She
encouraged me and taught me many, many things. I didn't check her responses
for mistakes, I looked only for inspiration and guidance and that I got in
bucket loads. And she must've taught me something because I've gone on to
have six books published since completing the course. Since the course I
have also critiqued other writers' work and while I strive to always provide
constructive criticism and have correct spelling and grammar, I'm sure I
don't always succeed. I guess we get out of each piece of advice what
want/need at the time. My whole experience with ACJ was fantastic and my
tutor (Marg McAlister) was super dooper!
FROM Karen Cunningham (nee Golding)
In response to the PIO contributor from Issue 79, I have completed two
courses through the
Children's Writing" and "Professional Crime, Mystery and Suspense Writing".
I found both of these courses to be excellent, in respect to both the
writing and construction of the modules, and feedback from my tutors.
However, it did occur to me on many occasions that a participant's
experience of the course would be mostly reliant on the tutor they were
assigned. I was very lucky to be allocated Jill McDougall and Marg McAlister
respectively, who both provided clear feedback and instruction for each
assignment. Unfortunately there is no way to select one's own tutor, so I
feel greatly for the PIO contributor's friend. Have you taken it up with the
College? I would expect they would be very keen to hear about the
grammatical and spelling errors as the performance of their tutors should be
of utmost importance to them. I would be interested to hear how you get on,
as ACJ seems to hold the most comprehensive courses on offer in the
correspondence arena.
FROM AUTHOR Jenny Mounfield
Re: From and author PIO issue 79
"Recently a new writer showed me a letter she'd received from her tutor in
the writing for children course from the Australian School of Journalism. I
was amazed that the letter contained a grammar and spelling mistakes; I also
thought that the tutor's comments on her submitted assignment weren't at all
constructive. I would be interested to hear what writers who have undertaken
the course have to say about their experience."
Was this author referring to, The Australian College of Journalism? I'm not
aware of any
I completed a children's writing course with the ACJ in 2000 and the
experience literally changed my life. Until I embarked on this course I
hadn't even attempted to write a story, let alone dreamt of being published.
Thanks to my wonderful tutor, Marg McAlister, I not only learned how to
string a sentence together, but have gone on to have numerous articles and
short stories published, as well as a novel (with another due out this
year).
To the author whose new writer friend has enrolled in this course, I can't
help but ask: Is your friend happy so far with the feedback she has received
from her tutor? And if not, why hasn't she approached her tutor?
Don't forget that while you, a more experienced writer, might find this
tutor's feedback less than constructive, it may be just what a beginning
writer needs. New writers can't be overloaded with information; it's
important for tutors to focus on only a few points, which may seem
insignificant to a more experienced writer, but which are important and
necessary to a beginner.
When I look back at the feedback I received from my tutor, it seems very
basic compared with what I would require today. It was, however, exactly
what I needed at that time.
FROM AUTHOR Delwyne Stephens
Re: Reply to Lynda Calder.
Lynda, take heart! If you are having limited success with your manuscript,
perhaps you should try educational publishers - they can be easier to get
your foot in the door. You need to look for one that is interested in the
type of ms that you are offering. Finding a publisher who is looking for
your type of ms is the first important step. No matter how good your ms is,
if it doesn't fit within the publisher's current guidelines you won't get a
look in. Have you got other writing credits you can put on your CV? If not,
get some. Write some articles, get some pieces in magazines. You might need
to build up some writing credits before a publisher will take a more in
depth look at your ms. AND not accepting unsolicited manuscripts does not
always mean NOT accepting unsolicited mss. Use your email - write an
enticing letter to several editors with a brilliant description of your ms,
including the work you have done on it and ask if they mind if you sent them
the first three chapters. If you get one 'yes' you have a foot at the door,
if not in. The other thing to do is look carefully at your ms and decide
whether it really truly has the legs to get published. Every week in the Age
a well known Australian author is profiled about their first novel, and how
they got started. Almost without exception these authors say they had two
full novels written that were discarded before their final, publishable
novel came to be. Yes it is tough out there - and no it is not fair. But it
can be done. Your writing has to be good enough and even more than that you
have to be persistent enough. All the best! ds
FROM AUTHOR Edel Wignell
...responds to a reader's comment.
A PIO reader who enjoyed Di Bates' description of the way she works in
schools said that one needs to be an actor as well as a writer. Yes and no!
We all envy Di and her entrepreneurial skills as writer, actor and
entertainer, but we don't have to try to present in schools in her way. We
can evaluate our talents and our comfort zone, and suit ourselves.
When I'm invited to talk to kids, I enjoy the intimacy of working with one
class so that I can interact with nearly everyone. A group of two classes is
large enough for me. I have worked several times with larger groups, on
request, but I won't do it again. It's not my style with kids, though I'm
happy to speak to large groups of teachers and librarians.
I always request that the class teacher(s) attend because, later on, they
can follow up many of the activities that I introduce. While my session may
be entertaining, if the teacher uses the time as an out-of-the-room
preparation catch-up, some of its value is lost.
Note that Di Bates (and other writers and illustrators who perform in a
similar way) have a fee structure based on numbers attending. This is fine
for that particular way of working. I base my fees on ASA rates for a
maximum of four sessions a day.
There's no need to feel inadequate in regard to school visits. Work out what
suits your personality and skills, and check the ASA website (Rates and
Conditions) for the appropriate fee.
www.asauthors.org.au
FROM AN AUTHOR
It is disappointing that the letter from Sandra Iverson to Macmillan
Australian authors about the way in which teachers' expectations have meant
that the company is now only offering flat fees and not royalties was not
allowed to be published in PIO as I'm sure it would have generated much
lively debate. The ASA, to which many authors sent a copy of Iverson's
letter, did not include the full text in its latest newsletter. The other
news in this month's ASA newsletter is that Penguin Books is changing its
contracts so that most authors will receive lesser royalties in future than
the usual ten percent of recommended royalty price. I would urge Jackie to
allow authors to comment in PIO on these matters as it is vital to the
future of creators' incomes.
**Please feel free to comment on these issues but I might suggest that you
get hold of the ASA newsletter (No. 2 February 2006) and read the articles
in full before you make your comments in PIO** Jackie :)
FROM AUTHOR Leonie Norrington
On Jackie French's mooing for nerves - do try it, it works! I get so nervous
when doing anything in front of strangers or a camera that I spew before
walking on and my legs shake so much I nearly fall over going up there
stairs. Mooing, or loud humming works, because it bring the breath right
down into you belly, (you have to push your belly out with the breath) and
then let the moo or loud hum out slowly. Another good trick is to press your
feet into the ground really hard. Make your legs ache with the force you use
pushing them down then release them slowly. This is good cause you can do it
if you can't run to the toilet to moo, you know when you have been sitting
in the crowd and then have to walk on stage without falling over?
THANK YOU Jeni Mawter
Thank you Jeni Mawter for your reply to my question regarding the difference
between the Education and Trade markets. I found your article at
www.jenimawter.com most enlightening. I had evolved a different set of
criteria to explain the difference and am grateful for the new
understandings. MW
FROM AUTHOR Moya Simons
Re: SCBWI conference - Sydney
I had the pleasure of attending the recent SCWBI conference at the beautiful
Hughenden hotel. It was a great experience and the many people I spoke to
said it had been the most wonderful weekend. The speakers gave them insights
into the publishing industry that they had never had before. Many thanks to
all who organized it, but a very special thanks to Susanne Gervay. Her
warmth and hospitality and her endearing, funny speeches gave that extra
touch to the day. Good on ya, Susanne. Oh yes, and the food
.................... I diet tomorrow.
FROM Marjory Gardner
Re: SCBWI conference - Sydney
I too attended the recent SCWBI Conference in Sydney, and echo Felicity's
glowing report. Many thanks to the organisers and speakers and to Susanne
for making her lovely Hughenden Hotel the venue. The enthusiasm and
encouragement from and for all participants, and the generous sharing of
contacts, tips and methods of work were inspiring. It's so important to
attend such conferences, even if they seem far away, expensive (not at all
when you work out what you get in return) or too difficult to organize time
away from home. A suggestion - book an earlier flight, and arrange face-to
face interviews with publishers you haven't been to before. Why not? I can't
attend the upcoming CBC Conference but encourage you to!
FROM AUTHOR Wendy Blaxland
Re: SCBWI Conference - Sydney
Let me make you envious. If you didn't come to the Society of Children's
Book Writers' and Illustrators' Conference last weekend at Sydney's boutique
Hughenden Hotel you missed both a real treat and the chance to energise and
enrich yourself with all sorts of invaluable information about our industry.
First, the hotel. It's right at the top of Queen Street, Woollahra, across
the lights from Centennial Park, a hop to Paddington Markets, exclusive
boutiques, yummy cafes and Sydney inner-city life. But it's unique, because
it feels more like a home than a hotel, and is the restored home of Sydney's
first astronomer. Rooms come equipped with teddies, books and original art,
the comfy Victorian living rooms (complete with baby grand) beg snuggling
and cosy chats, there's an excellent restaurant with space to yarn under
plane trees in the courtyard, and the staff is prompt, courteous, efficient
and boast beaming smiles. And the bonus is that the Hughenden Hotel is owned
by two generous and nurturing artist sisters. Elizabeth is an artist and
Susanne Gervay is a children's writer, and both simply take it as given that
they will support fellow artists, writers, illustrators in any way possible.
The conference just wouldn't have happened without the Hughenden to host it.
Next, the tireless SCBWI committee. Suzanne Gervay, Jen McVeity, Chris Cheng
and Frané Lessac organised three days which gave space to talks by authors,
illustrators, art directors and publishers, workshops on manuscripts and
individual assessments with art directors and publishers, book launches to
help celebrate our successes, and lots of time to talk with each other, make
friends and learn tips that can make all the difference. It was a thoughtful
plan which ran smoothly thanks to these excellent organisers: our profound
thanks.
Writing is such a solitary profession we have to make time to meet, to take
our work seriously enough to invest time and yes, money in our own
professional development by coming to conferences like these. Every
conference or gathering of children's writers I've attended have given me
far more than I've spent, both in monetary terms and in morale-boosting
fellowship.
So what did I learn this time?
· That different publishing houses have different needs. An invaluable
publisher's panel with Penguin's Laura Harris, Lisa Berryman from
HarperCollins and Linsay Knight from Random House gave us clear guides on
which houses accept unsolicited manuscripts and how they deal with them, and
whether they want synopses or the whole manuscript. No one accepts email
submissions; everyone ranks manuscripts into piles according to priority,
but each publisher has different preferences for submissions and styles.
Moral: do your homework. Research the websites and find out what each one
publishes and only send work that is appropriate to their lists.
· That publishers are very human, and we're all working together in this
industry. Each publisher assured us that they hate rejecting manuscripts,
and of course they do. It's too easy to think that the big publishing houses
are faceless. It's other people who read our manuscripts, who also love
children's literature passionately, who know how authors feel, who know what
it's like to be rejected, who hate disappointing us, and who respect our
creativity with great sincerity. The deluge of manuscripts can be enormous,
and yes, they are human and sometimes manuscripts vanish into the boot of
the car or under a cushion, but that's because they are really trying to
give each one as much respectful attention as they deserve. After seeing and
hearing these three fine publishers speak so passionately about their work,
it is impossible to think of the publishing houses as unfeeling. It's just
there are only a few of them and lots of us all flourishing our precious
manuscripts at them!
· Pitching your work properly is vital. You only have a short time to grab a
publisher's attention, so work carefully on your five or so sentences to
make your story the one they have to read first. For illustrators, the
experienced and supportive Susan Sherman, Art Director of children's trade
books at Charlesbridge Publishing told us she wants a portfolio submitted
and updated no more than twice a year (they publish two lists, one in spring
and the other in fall) with a couple of colour illustrations and the rest in
black and white to show what you're capable of. Susan likes having
low-resolution email submissions for artwork - oh, and never send original
artwork to publishers. She recommends picking maybe eight houses to send to,
and then keeping in touch twice a year to show them new work. See
www.charlesbridge.com
· Remember you can submit overseas as well as in Australia, and that
American publishers will usually pay a lot more. But target the market
carefully, and either include US stamps for return of ms (available through
the US Post Office online, but how much will you send??) or ask politely for
an email response and for them to recycle your ms.
· The market is divided into trade publishers who sell through bookshops and
educational publishers who sell to schools and libraries. We had a great and
very informative session from Stephen Wilson, Marjory Gardner and Meredith
Costain. Educational publishing is easier to break into, and usually pays
better and often for longer if your contract gives royalties (please always
ask for them) but is always tailored very specifically to its market. Join
SCBWI and buy a copy of their list of publishers, ask the ASA for their
Market Guide or research online for companies.
· Book launches may be supported by publishers but it's often up to the
author or illustrator to give it pizzazz. Make it different with themed
food, readings or dramatised excerpts, children participating and any
appropriate invitees (liked the idea of a book on bushranging which was
'stolen' by an invading gang). Though we may feel we are just writers or
illustrators, marketing and publicity usually demands that we learn to speak
well and present our work to groups. Many children's writers and
illustrators earn a significant proportion of their income from school and
conference visits. If the thought is overwhelming, try Toastmasters or other
training avenues. But to sell our books we also have to sell ourselves.
· Children's picture books start with the words. These will be edited before
illustration begins, so don't submit books with finished art. The
illustrator can't start till the text is finished. Usually illustrations
begin with ideas, then rough sketches, and change in consultation with the
editor and art director before final art is submitted. And illustrators need
to do their homework to make sure what they submit is accurate.
· Well-established and experienced writers gave freely to those who are just
starting, in particular Hazel Edwards, Felicity Pulman, Wendy Orr, Krista
Bell, Jeni Mawter and Moya Simons. Simply chatting to your peers is
invaluable. And everyone stressed the importance of building a good
relationship with your publisher.
· If you ever have a chance to have a professional assessment of your work
from a practising publisher or art director, take it. This was available at
the conference from Susan Sherman and Mark Macleod, and sent everyone who
took advantage of the offer away feeling they had made a giant step forward
in knowing how to progress with their work.
· PERSIST! Don't think it's just your work which has earnt all those
rejections. Serendipity plays a big part, so keep submitting till your
manuscript reaches the right person at the right time. Have faith in your
work!
· Lastly, if you get the chance to go to a conference like this, take a deep
breath and GO! Take yourself seriously, and invest in your future. Look for
the writers' and illustrators/ retreats run at John Marden's properties,
children's literature courses and days by your state writers' centre, and
the upcoming CBC Conference in May.
I'll see you there!
FROM AUTHOR Susanne Gervay
Re: SCBWI International Conference at The Hughenden 17-20th February 2006
The conference was a wonderful experience of sharing between authors,
illustrators & publishers. Laura Harris publisher for Penguin, Linsay Knight
publisher Random House and Lisa Berryman publisher for HarperCollins gave up
a Saturday to speak on the publishing panel. Their insights into publishing
were revealed in a funny and lively discussion. They answered tricky
questions with style and good humour including the valuable advice to
discover what a publisher is currently publishing rather than a shot gun
approach.
Shona Martyn's (publishing director of HarperCollins) talk was inspirational
giving a great deal of hope for kids' books with its 8% increase in sales in
the last year. We're all waiting for Wendy Orr's film (she wrote the book
and co-wrote the script) coming out in 2 years. 'Nims' Island' is being
produced by the same team who made the current huge hit NARNIA. Hazel
Edwards is always there with the right advice. Her Antartica experience on a
literary berth was adventurous, but what was very interesting is how she
used that experience as an author, translating a story into AUSLAN (film for
the hearing impaired) to books, animation and the newly released 'Antartic
Dad' (Lothian). (Books Illustrated will be exhibiting the illustrations all
February).
The three book launches were highlights each day. Felicity Pulman's 'Rue for
Repentance' (Random House), Meredith Costain's 'Doodledum Dancing' (Penguin)
and Krista Bell's 'That's Trick' (Lothian) were moving celebrations of these
authors' work. Lesley MacKay's Bookshop sold a huge amount of books.
Susan Sherman, Art Director of Charlesbridge Boston, USA, was fantastic as
she explained the process of taking an idea right through to a published
picture book. She invited several illustrators and authors to submit work to
Charlesbridge which is currently looking at expanding their list. She was
very impressed with the diversity and enegry of the illustrators at the
conference. That was very exciting.
However the most exciting part of the conference was the new friendships
made between new, emerging and established authors and illustrators. The
sharing of ideas. The encouragement to continue to pursue writing and
illustration. The connections made between authors/illustrators from all
over Australia - WA, Queensland, NSW, SA, ACT, Victoria, the capital cities
and the countryside.
Thankyou to all those who participated in the Conference.
FROM Wendy Fitzgerald
Re: SCBWI conference - Sydney
I attended the SCBWI conference last weekend at the Hughendon Hotel. As a
relatively new writer I was in awe at the enthusiasm, generosity and talent.
I'd like to say thankyou especially to the main organisers: Susanne Gervay,
Jen McVeity, Frane Lessac and Christopher Cheng and to the authors and
publishers who shared their wisdom with us. I watched, I listened, I
absorbed. I came away with a feeling of what's happening in the current
market. I had a taste of what it would be like to be a real children's
author. I'm inspired by the terrific range of new and exciting material
being offered in the children's market. I know it's a hard market to break
into, but it is possible. I came home with a pile of signed books for my
present cupboard as suggested by Jen McVeity. My children are impressed that
I know famous people. It certainly was a fun weekend. Thanks everyone.
Jackie it was terrific to meet you too. Now I can put a face to the
newsletter. Keep up the good work.
Thanks Wendy - it was great to meet you too!
FROM Dr. Virginia Lowe
Re: SCBWI conference - Sydney
I confess that I thought the main value would be networking, and then quiet
time to work on my own book in my room. However it was not to be. I spent no
time at all on my own writing and I learned such a lot! As an assessor ( the
writing-for-children is only "would be" like so many of my clients), I think
the publisher's sessions were the most useful, especially Susan Sherman's
most generous sharing of the process of assessing folios. So many angles on
the art work it wouldn't have occurred to me to comment on! And I was
overjoyed by her announcing that "I employ illustrators for their brains".
In all it was a delightful conference. Pizza in the Park was a hit, and I
just loved my room with a balcony which made Sydney's heat bearable. And I
did network - I was able to put faces to lots of people known only by email.
FROM Ilana M Kresner (author and illustrator)
Re: SCBWI conference - Sydney
With thanks to the Australian SCBWI executive and their generous sponsors...
together you cultivated a great meeting of the minds. This can only result
in even better writers and illustrators and even better books for the kids
whose hearts that they will eventually touch.
FROM Anne Bell
Re: SCBWI conference - Sydney
Scbwi Conference floated on a wave of friendliness.I work very much in
isolation and the nitty-gritty advice was great in all aspects but the
stimulation and the feeling that "no man is an island" was invaluable.
THANK YOU
Thankyou to Robert for giving me information about the Jabiru Town Council
and its website. Meryl Tobin
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ARTICLES
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PUBLISHER GUIDELINES
Fabulous Fiction from Usborne U.K.
Authors' guidelines
In July 2004 Usborne launched its Fabulous New Fiction list with a host of
exciting authors
from established, prize-winning writers to talented newcomers. We are
continuing to
develop and expand our fiction programme, and are looking for ideas and
stories that fit
the criteria laid out below. You can find details of our current programme
on our website:
www.fiction.usborne.com. Across the range we are looking for innovative,
exciting, original
and above all child-centred stories that will capture children's imagination
and engender a
love of reading. We are looking for stories that are easily accessible to
children, that speak
directly to the child reader and are highly readable. Exciting and
page-turning plots,
memorable characters and interesting, fresh voices are all important
criteria. We are
interested in strong series ideas, lots of humour and adventure, and books
that will appeal
to both boys and girls.
Junior Fiction
Black and white illustrated chapter books for emerging or more confident
readers.
Generous amounts of illustration, short chapters and easy-to-read type.
Concept-based or
character-led series. Lively, appealing stories with real page-turning
quality; strong central
characters; lots of dialogue and plenty of humour where appropriate.
Age group: 6 - 8
Extent: 64 - 80pp
Text length: 3,500- 5,000 words approx.
Age group: 7 - 9
Extent: 96 - 112pp
Text length: 6,000 - 8,000 words approx.
Content: any subject of interest to the age group, including, but not
limited to, humour,
fairies, school, spooky, time-travel, history, detective mysteries, family,
science, invention,
exploration, adventure, friendship.
Older Fiction
Full length novels for confident readers. Strong concept-based or
character-led series, as
well as strikingly original individual books. Fast-paced, exciting plots
with real page-turning
quality; strong characters; dynamic storytelling.
Age group: 8 - 12
Extent: 112pp +
Text length: 15,000 - 50,000 words approx.
Content: extremely wide-ranging and varied, this age group will cover almost
any subject
matter, although we are particularly interested in the following: history,
other cultures,
mystery, time-travel, spooky, friendship, adventure, humour.
Manuscripts should be sent to:
Fiction Submissions, Usborne Publishing Ltd, 83-85 Saffron Hill,
London EC1N 8RT
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AUTHOR/ILLUSTRATOR PROFILE
ALAN HORSFIELD
1. Published Name: Alan Horsfield (as well as David Alan on some text books)
2. Based in (state/country): Right now, mid North Coast, NSW - Smiths Lake,
though I seem to move about every five years. Arrived at Smiths Lake via
Bondi Beach from Fiji.
3. Number of years writing: Really started bout twelve years ago but before
that did many educational articles for mags, papers and professional
educational journals.
4. Number of books published: Probably about 75 (maybe more). Mostly text
books with Pascal Press. Over 20 fiction and some non-fiction.
5. Titles that have been important to you: My Sad Skeleton when it was
reprinted in Danish, The Rats of Wolfe Island - my first YA novel with
Lothian and then being included in the NSW Premier's Reading List. Getting
three mss into the recent Trekkers series - Lost and Found, The Case of the
Missing Holes and The Night of the Scarecrow.
6. Biggest challenge as a writer: Finding time to write fiction rather than
textbooks or test papers.
7. Favourite writing tip for emerging writers: Treat the child reader as an
intelligent being that has had experience and has an imagination that they
can bring to your writing.
8. Scariest part of being published: Finding a spelling mistake (or a wrong
answer in the text books). Not getting anything else published!
9. Funniest thing that's ever happened during book research, writing or
promotion: During a high school workshop a young student was passionately
reading her 'angsty' effort about her mother slowly dying of prostate
cancer.
10. Do you still receive rejections and if so, how do you deal with them? I
wall papered one of my houses with the slips. Rejections are no problem. Get
a bit worried when I get no reply at all.
11. Do you ever become discouraged and ask yourself whether there is
something easier you could be doing than writing? Never. I've never been
more content than in the last decade or so. Writing and getting published is
one big adventure.
12. Do you ever experience 'writer's block' and if so, what tools do you use
to overcome it and get back on track? Rarely, though I do look at some of my
efforts and wonder why I wasted so much time trying to make an idea work. I
have a philosophy - don't procrastinate, just start writing - anything that's
trash can be rewritten or trashed.
13. How much actual time per day/week do you spend writing? Try to spend at
least 5 hours per day writing but often I'm constructing basic skills test
(literacy and numeracy) or simply devising sets of questions.
14. Give a brief overview of your average writing day: Do a few chores
around the house then check my emails just in case something has come in
from o/s. I usually have several 'writing' projects going at once as well as
some speculative story writing. Mail comes in about 11 am - coffee time.
Always expect an acceptance. Do a bit in the afternoon - maybe chase up some
workshop opportunities, look at any guidelines I may have found, suss out a
few writing competitions. Check email about 5:30 just in case someone wants
something special from me. Ever hopeful!
15. Describe your writing place: A typical largish office with plenty of
desktop area so I can do cross reference researching when writing test
papers. A big window overlooks some native plants in the garden when
honeyeaters feast.
16. Recent news, links to reviews/articles, books signings, author
appearances etc. Just did a workshop in Tassie with a U3A group, have a book
coming out with Pascal Press shortly and a couple in the pipeline (ever
hopeful). Going to Broome soon (to do some research on an idea I have).
17. Website/contact details: www.alanhorsfield.com
anehorsfield@dodo.com.au or 02 6550 9377
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YOUR WRITING TIPS
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USEFUL BOOKS/WEBSITES
"Writing for Children & Teenagers"
by Lee Wyndham and Arnold Madison (3rd ed)
This was one of the first books on writing for children that I bought, and
it's still a mainstay in my library. It was first published in 1968 (written
by Lee Wyndham) and revised for the 3rd edition in 1988 by Arnold Madison,
so some aspects are a little dated. However, not many, because this is a
book that focuses clearly on the basics.
Its tone is authoritative, as if it expects you to listen and take note, but
also considerate, as if assuming you are serious about writing for children
and teens and ready to get on with it.
There are 22 chapters, and most focus on various aspects of writing
character, hero/villain, dialogue, motivation and plot. But there are also
chapters on how to make the reader feel emotion, conflict, opposition and
suspense, sensory details, beginnings, middles and ends. The two pages of
the Twelve Point Recipe for Plotting contain a simple series of questions
that I've come back to many times (and always give to my classes).
There are also chapters on getting started and getting ideas (the ideas
section is great if you feel stuck), sending out manuscripts and what
happens if you sell a book. The chapters on markets covers non-fiction,
plays, readers and Hi/Los, which not many books do.
No doubt there are bigger and flashier books around now, promising more, but
I'd recommend this as a great starter text. I like its tone, and how it
covers an enormous amount clearly and concisely.
Price: $29.95 plus postage from Writers' Bookcase (online Aust site)
Probably similar price in local bookshops. If they quote you more
than 3 weeks to order it in, go online.
For next to nothing secondhand on Amazon if you can find a dealer
who will post to Australia (postage is usually around US$10).
Note: Every writing book will speak to you differently. My best advice is,
if possible, to go to a good bookshop that stocks writing books, sit there
for a while and read - choose what appeals to you in approach and tone.
There are lots out there. If you can afford it, add to your library
gradually. Some people think how-to writing books are a waste of money but I
find I can always find something useful in my library when I need it.
8-) Sherryl's website is at www.sherrylclark.com
Her verse novel Farm Kid won the 2005 NSW Premier's Award for Younger
Readers (Patricia Wrightson Prize)
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BOOK REVIEWS
How To SELF-EDIT to improve writing skills
by Dianne Bates
Reviewed by by Dita Petersen
I know this book has been reviewed previously, but it's so helpful I
couldn't resist. This gem earned its place on my reference shelf with
extensive advice on editing, accompanied by snippets of writing I wish were
mine.
How To Self Edit is a two-part textbook to satisfy any writer. The first
half gives editing tips, examples and practice exercises. The second half
contains the author's responses to the exercises. Dianne suggests you turn
to this section to compare your own efforts with hers.
Every page is packed with practical ways to tidy, clarify and improve your
work, and the explanations are clear and easy to understand.
This is a book to dip into for enjoyment and inspiration as well. Try this
for a clear, uncluttered character description - "She attracts the loners
and losers of society. They gather around her because they know her life is
a tree that always bears fruit for the picking. From a meal to a kindly
smile, they can always rely on her to give."
Beginners will thrive on the exercises (great for writing groups), and more
advanced writers will benefit from reminders of editing specifics in the
process of writing, rewriting, trimming and polishing.
Thanks, Dianne!
~~~~~~~~~~~~~~~~~~~~~
Picture Book Title: Where's My Cow?
Written by Terry Pratchett
Illustrated by Melvyn Grant
Published by Doubleday, a division of Transworld Publishers, 2005
ISBN 0385 60937X
Reviewed by LEW Mi Fon
"Where's My Cow?" is young Sam's favourite animal bedtime book. Every night,
his father, Sam Vines, faithfully reads it aloud with the necessary moos,
baas and neighs.
Fed up with looking night after night for a cow amongst unlikely animals,
Sam Senior tries a different version-"Where's my daddy?" As commander of the
city watch, he conjures up gritty colourful characters he encounters daily,
and their cries, like Coffin' Henry's "Haaaaak! Gack! Ptui!"
Prachett turns a typical children's book format on its head, then makes it
do handstands. A little confusing at the start, Prachett taps into children's
love for sound effects, especially those relating to bodily functions.
Grant's exuberant illustrations poke fun at the genre, as two dimensional
farmyard animals spill out from the boy's favourite book into real life.
Wonderfully zany portrayals of father and son's facial expressions will bear
looking at over and over again.
Simple text and arresting dialogue make "Where's My Cow?" a refreshing
humorous bedtime (or anytime) story for preschoolers, primary school
children and their parents. It certainly deserves to win the "Ankh-Morpork
Librarians' award" (wherever Ankh-Morpork really is). To quote a literary
critic from the above-said place, ".Are we not all, in some way, looking for
our cow?"
Well, the next time you're looking for yours, remember to peer into
Pratchett's and Grant's heads first!
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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
~There is no happiness except in the realization that we have accomplished
something.~
Henry Ford
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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 4:32 AM
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