Harry Ashton-Wolfe, true-crime writer of ‘the Golden Age’

ashton-wolfe-3For a bit of fun today I’m republishing a piece of mine that was first published some years ago, about Harry Ashton-Wolfe, an absolutely wonderful–and unintentionally hilarious!–true-crime writer of the so-called ‘Golden Age’ of the detective craze, in the 1920’s and 30’s. He inspired one of my own characters in The Case of the Diamond Shadow-and to all crime writers out there, he’s really worth rediscovering!

So here’s the article, below. Enjoy!

Harry Ashton-Wolfe

Some of my favourite book finds have come into my hands not by word of mouth or reviews or prior knowledge but by sheer chance: the eccentric jewel suddenly spotted amongst the lucky-dip gimcrack of  junk shop and school fete, car boot sale and charity shop shelf. And these days, very often in that virtual combination of all those venues, the Internet.

It was thus I made the serendiptous discovery of the priceless but sadly forgotten works of celebrity criminologist and true-crime writer of the 1920’s and early ’30’s, Harry Ashton-Wolfe. Browsing on the Net one day, looking up Conan Doyle sites with the vague notion of Sherlock Holmes appearing in a detective novel for young readers I was planning, I stumbled across a casual reference to a H.Ashton-Wolfe, writer of true-crime adventure bestsellers, who claimed to know not only Holmes’ creator, as well as the leading lights of the French Surete and Scotland Yard, but also just about every famous criminal and outlaw of the day!

Several hurried orders from second-hand bookshops later, I had built up a mini-library of Ashton-Wolfe’s books, with their gorgeously pulpy titles, such as Crimes of Love and Hate, The Thrill of Evil, Outlaws of Modern Days, and The Forgotten Clue. And I plunged into the addictive joys not only of the melodramatic and exotic cases recounted in racy prose, but the vain and boastful character of Ashton-Wolfe himself, which infused the stories with unintentional hilarity. So immediately engaging was this combination that I immediately dropped Sherlock in favour of a certain Philip Woodley-Foxe, whose adventures are legendary, not least to himself. No prizes for guessing who he was based on!

A marvellous combination of Action Man, cheerleader for ‘modern’ scientific detection, adventurous ashton-wolfemaster of disguise and shameless name-dropper, Harry Ashton-Wolfe doesn’t just recount the cases, he inhabits them. He’s an important part of investigating teams in Paris tracking down fiendishly cunning criminals, such as the Eurasian Hanoi Shan; he gets locked up and threatened with death by vicious gangsters; he is at the elbow of the greatest forensic scientists of the day, such as Edmond Locard of the Surete, and earlier, the legendary Alphonse Bertillon; he is allowed to peruse the ”secret archives” of the Paris Prefecture; by chance, he recognises a famous anarchist bandit, Jules Bonnot, as having once been his chauffeur; he dons disguises such as that of a Parisian apache or a Corsican bandit to infiltrate criminal rings(delightfully, his books sometimes include photographs of him in disguise, complete with picturesque hats and moustaches!)

Airily, he recognises that ‘It is rather strange, when I look back, to think how often I have found myself involved in events that later passed into history,’ (The Underworld—a Series of Reminiscences and Adventures in Many Lands), but he doesn’t let that slight improbability deter him in the least. Time after time, he’s in at the kill—helping to nail a vicious poisoner or uncovering a sensational tranvestite murder or catching a crook who’s passing off fake diamonds. He describes the most sensational murder methods—such as kittens whose claws have been tipped with deadly tetanus baccili; centipedes used as murder weapons; and in an echo of Edgar Allan Poe, an ape trained to kill! Rather scathing about most detective fiction—aside from Conan Doyle’s, to whom he dedicated Outlaws of Modern Days—he nevertheless uses every trick of sensational fiction, including catchy titles, breathless first-person narration, cheesy dialogue and moralising asides. He offers titillating portraits of famous murderers, gangsters and outlaws, and lovingly sketched examples of criminal wickedness. But there’s always a moral: not only are these bad people bad, but they will inevitably be brought to book by the superior methods of modern scientific crime-fighting. His touching faith in these methods—which he describes in detail in The Forgotten Clue– is such that he is convinced they will shortly put ashton-wolfe-2an end to all crime.

Mostly, he writes about modern cases(at least, from the 1890’s onwards) but in Tales of Terror—True Stories of Immortal Crimes, he looks at older real-life mysteries fictionalised by writers such as Alexandre Dumas: the Man in the Iron Mask, the Count of Monte-Cristo, the Affair of the Diamond Necklace…You get the distinct impression that he thinks modern scientific methods would surely have made short work of elucidating them!

So who was H.Ashton-Wolfe, this tireless go-getter chronicler of crime? In The Underworld he offers something of an  autobiography, and colourful it is too (sample chapter titles: The Episode of the Clairvoyant Countess’, ‘La Glu—Apache and Gentleman’; ‘The Motor Bandits’; The Blue Anchor Mystery’). He was born in 1881, of a Scottish father who had emigrated to New Mexico and who as a US soldier had participated in the historic final stand of the Sioux under Sitting Bull. His mother was an American, of half-Scottish, half-Spanish blood(Ashton-Wolfe makes much of this ”gipsy strain” which made him a ”wanderer, restless and ever seeking after excitement and novelty.”) Young Harry was born in London whilst his parents were on a visit there but he spent his childhood on the ‘prairies of Arizona and Colorado’—in The Forgotten Clue he also writes about how he was taught to ride and shoot there by “the red-skinned Sioux warriors, who, strangely enough, enjoyed showing a white boy their tricks”–then sent to school in Denver till the age of 14. He was then packed off to a boarding-school in Cannes, and thence to university in Heidelberg—giving him, as he points out, an unrivalled facility in three languages, and the love of travel, not to speak of European glamour to add to American derring-do.

But it’s a youthful holiday in Monte-Carlo that introduces him to his future career when, on nightly visits to the Casino, he befriends a ”dapper little Frenchman” , Monsieur Blanchard, who enlists his help in watching another gambler—an American named Big Jim Cowley. Of course, M. Blanchard turns out to be from the Surete, Big Jim is soon unmasked as a crook of the first order, and the adventure not only whets Ashton-Wolfe’s appetite for more excitement, but sees him eventually accepted as assistant to Dr Alphonse Bertillon, in Paris, working with him on many extraordinary cases. In this capacity, he also collaborates on occasion with detectives from Scotland Yard and the US. Later, due to his familiarity with foreign languages, he acts as ”interpreter to the civil and criminal courts” in Britain–in which capacity he appears to have written many of his books.

Perhaps he might have been able to retire though, for his books were best-sellers in the genre, going through many editions worldwide, and garnering glowing reviews: ‘Out-thrilling the thrillers’–‘Exciting studies in international crime’–‘Unsurpassed as a narrator of authentic crime stories’. The public’s appetite for true as well as fictional crime in the Golden Age of the detective novel was huge, and as well as his books, Ashton-Wolfe wrote articles for magazines such as The Strand as well as the true-crime magazines which flourished in the Golden Age of the detective novel. And his stories influenced other contemporary writers. For instance, ‘Sapper’, the creator of the Bulldog Drummond adventure series, was inspired by two of Ashton-Wolfe’s cases: the diabolical Hanoi Shan, and the anarchist bandits Jules Bonnot and Octave Garnier, for his 1929 novel,  The Temple Tower(as well as basing a character, Victor Matthews, on Ashton-Wolfe himself). And in a nice touch, Conan Doyle himself used a story recounted in Crimes of Love and Hate, about an Italian swindler who claimed to have created a death ray, as the basis for one of his Professor Challenger stories, The Disintegration Machine.

Ashton-Wolfe’s work was also the basis for a popular pot-boiler film, Secrets of the French Police(1932), where he is credited as writer. Other films may have been planned; but questions as to the authenticity of his recitals began to surface, and no others were produced. As well, with his style beginning to seem old-fashioned, his books started to fall out of favour, and eventually were forgotten so completely that not a single one remains in print.

Just how much—or how little–of his biography, let alone his claimed exploits, is authentic, I have no idea. Much of it, I suspect, needs to be taken with a fairly large grain of salt. Trying to find information that isn’t part of the persona Ashton-Wolfe built for himself is like trying to write on water. But it doesn’t really matter. For the books are truly wonderful period pieces, some of which  deserve to be reprinted in their full glory, cheesy photographs and all.

Advertisements

Interview with Joel Naoum of Critical Mass

 Version 2Today, I’m very pleased to be bringing readers an interview with Joel Naoum. Joel is a Sydney-based book publisher, editor and consultant. He currently runs Critical Mass, a consultancy for authors and publishers, and previously ran Pan Macmillan Australia’s digital-first imprint Momentum. In 2011 he completed the Unwin Fellowship researching digital publishing experimentation in the United Kingdom.
I met Joel when he was at Momentum and published two adult novels of mine, the Trinity duology. It was a really fantastic experience to work with Joel and the rest of the Momentum team, and it was with great regret that I heard last year about the closure of Momentum as a stand-alone imprint, and the subsequent departure of Joel and his team. So it’s been excellent to catch up with him and chat about his very interesting new business, Critical Mass.
First of all, Joel, congratulations on launching Critical Mass! Can you tell readers about how you came up with the idea for the business, and what you see as its main objective?
Well, the name is a bit of a joke from my previous job at Momentum. We used to bend over backwards to avoid using the word “momentum” in conversation (which used to come up quite a bit in a fast-moving digital publishing imprint). One of the phrases we used to use was “building critical mass”. 
 
In a lot of ways Critical Mass is a logical follow-up to Momentum. When we conceived of Momentum six years ago we were trying to compete as a traditional publisher with the growing self-publishing trend. When digital sales began to plateau for traditional publishers, however, and I knew I was going to be leaving Momentum, I thought “If you can’t beat ’em, join ’em.” Self-publishing is still growing at a healthy rate, and authors have access to a massive range of services to help them. One thing I felt was missing, though, was the personal touch of a publisher or agent. Someone who can advise an author strategically, for their own benefit, about what steps to take next – whether you’re just starting out or you’re an established author. So I thought I could use the skills I’ve built up over the years to become a publisher-for-hire.
What have been the challenges and discoveries in setting up such a unique enterprise? 
It’s been difficult to find a way of framing the services I offer and pointing out the value in them. If an author has never been published before (or represented by a good agent) then they likely don’t know the advantages. For a lot of indie authors, publishers are the enemy – someone who has stopped them from publishing; not someone who helps them make better decisions or finds them better services to improve the quality of their publishing. It’s also been challenging to wear two hats – Critical Mass is a consultancy both for authors and for publishers, so finding a way to do both without compromising either service is a juggling act.
 How do you think your experience as founding director of Pan Macmillan’s digital imprint, Momentum, as well as the rest of your experience in the publishing has influenced and informed the direction and focus of Critical Mass?
I think Momentum in particular helped me make a transition from the slow-moving but high-quality world of traditional publishing to the lightning fast world of indie publishing. I understand what compromises need to take place to self-publish, but I also understand where not to cut corners in order to not compromise the book.
Critical Mass is aimed at three groups: authors, publishers, and content producers. With authors, you are offering a range of services to improve and streamline a self-publishing experience, which can be quite an undertaking for people attempting it alone. Can you explain the kinds of things you can do for authors going down the indie publishing route? In your opinion, when is self-publication a viable option for authors?
My first port of call is always to have a chat to authors who aren’t sure what they want to do to see if the type of project they’re working on suits self-publishing, or if they should attempt to pitch to a traditional publisher. If they’re better off attempting traditional publishing, I can help them polish their work and their pitch. If the project they’re working on suits self-publishing then I can help them decide on a publishing strategy, and then connect them to the various freelance editors, proofreaders, designers, marketers and other services to help them publish their book.
The biggest indicators for me that an author should self-publish is that they’re writing something that suits the market (books in series, genre fiction), they’re prolific (writing a book or two a year at least), they’re self-motivated and that they’re willing to experiment.
You are offering publishers a focus on technology solutions and possibilities for their business. Can you describe what’s involved? 
There are a lot of advantages to introducing digital technologies to all aspects of a publishing workflow that a lot of publishers, particularly the smaller ones, haven’t yet considered. End-to-end digital workflows save money and time, and automate work as much as possible so that the human beings inside an organisation can make intelligent decisions where needed instead of wasting their time on repetitive tasks that don’t sell more books or make them any better.
Moving to content producers, such as bloggers, you are looking at an earlier stage of writing than is implied in the services you offer to authors, with advice, for instance, on whether their content might be suitable to produce as a book. What kinds of things would you be looking at, in such content?
“Content producer” was a difficult category to come up with, and I’m still not 100% happy with the phrase. Basically I’m talking about businesses or individuals who have content, but they’re not sure if it’s a book and if so what they could do with it. This includes anyone from advertising agencies looking into book publishing for their brands, or an individual blogger who has built a platform but isn’t sure whether their content would suit book publishing. Given the breadth of what “content” is, it’s hard to make general observations, but the idea is that I’ve spent most of my career making commercial decisions about whether digital content is a book or not, and I figure other businesses and individuals might find that experience useful.
What are your views on the publishing industry, both nationally and globally? What do you see as the trends? 
 Publishing of all stripes is in a pretty good place right now. Traditional publishers are making money from both print books and digital, all the while authors have more access than ever before to top notch services and platforms to get their books out there – whether they go with a traditional publisher or do their own thing. 
 
I think things seem fairly stable right now, but the next five to ten years will likely see some more big shifts in the way audiences consume books, especially as the core audience for print books begins to age, and the people who grew up with iPads start to have kids of their own. I suspect the biggest areas for disruption are the health and wellness / lifestyle books and children’s books. I think this likely something to look for in the medium to long term, though, not in the next couple of years.
 
As always it’s also worth considering Amazon. They’re looking into launching more bricks and mortar bookstores in the US, and their in-house publishing imprints are becoming ever more powerful. If this end-to-end strategy pays big dividends you could see an even bigger juggernaut in the industry, which will likely cause more of the big traditional publishers to merge together in order to stay competitive.
Visit Critical Mass here.

Interview with Anthony Horowitz

anthonyhorowitz06 (1)Today, I am absolutely delighted to present a great interview I did very recently with the multi-talented British author, Anthony Horowitz, starting with the creation of his current TV series, New Blood, and moving on to talk about his books and other projects. Known worldwide both for his book and screen writing, Anthony’s extensive creative credits include the Alex Rider best-selling spy series for young adults, the very successful long-running TV crime series, Foyle’s War, set in World War Two, penning the latest Bond novel as well as two Sherlock Holmes novels, many excellent books for young adults and younger readers including the Diamond Brothers series, the creation of gripping TV mini-series such as Collision and Injustice, plays such as the recent Dinner with Saddam, and the writing of many episodes of such classic TV series as Poirot and Midsomer Murders. In his ‘spare time’ Anthony also writes the occasional travel piece and newspaper article.

I’ve known Anthony for many years, since the publication of the first Alex Rider book in 2000, when I interviewed him for a magazine article, and we subsequently became friends. Over the years, we’ve frequently corresponded and caught up in person when possible, in London when I happen to be there or Sydney, when he happens to be there.

And over the years, we’ve exchanged not only personal news, but frank and wide-ranging views about books, the writing life, and the publishing industry. Anthony always has interesting things to say: lively and thoughtful, he also has wide cultural references and a generous clarity.  And his discussion of his own work, as you’ll see in this interview, is equally interesting, giving an insight into the imaginative passion and deft skill that are behind his extraordinary success as a writer.

Swapping books, Sydney 2015

Swapping books, Sydney 2015

Anthony, your current TV series, New Blood, has been airing on ABC TV here in Australia, after having been broadcast in Britain by the BBC. It’s had excellent reviews both from media outlets and individual viewers. Are you pleased with how it’s gone so far?

Broadly speaking, the response to New Blood has been fantastic. I set out to write a show that would break away from the dark, violent world of Scandi-noir and just give people an hour of TV that was enjoyable and entertaining – and I think we largely succeeded. That said, we haven’t yet heard if there will be a second series so I’m forced to reserve judgement…at least for a while.

How did you come up with the idea for the series?

For a long time, I’ve wanted to write about the so-called Y generation, the young people who, for the first time in history, may be worse off, with fewer opportunities than their parents. In London, in particular, there are real challenges. Getting a house. Getting a full-time job. Paying off tuition fees. This was my starting point. At the same time, I was thinking about ways to shake up the crime/police procedural genre. I was tired of middle-aged men with drink/marriage problems. I had this idea for an opening shot. A body is found in the street. A car pulls up. A grizzled detective gets out…but the camera slides past him and finds the young cop who’s standing in the rain, trying to keep the crowd under control. My show would be about that cop. It also occurred to me that all crime shows take place in one department. It might be vice, drugs, MI6…whatever. But what would happen if you had two departments – the police and the Serious Fraud Office? From that point, I began to think of a bromance – two young investigators who don’t know each other but who form a team, working outside the rules. This may all sound a little vague but I’m describing my thought process as best I can!

New Blood breaks refreshingly new ground in its portrayal of the two main characters, Rash and Stefan, young Londoners respectively of Iranian and Polish backgrounds. What I loved particularly, as someone who also grew up with a similar kind of double cultural world, is the fact both Rash and Stefan are comfortable with who they are, yet are also aware of other people’s misperceptions. They navigate their different worlds with a familiar yet never complacent ease, with certain things about their family/cultural backgrounds subtly brought new bloodout, yet never stereotyped. How did you go about creating these characters to make them feel so immediately authentic? And what part did finding the right actors for the roles–the excellent pair of Ben Tavossoli and Mark Strepan–have in that creation?

Thank you for this observation. Yes, I love the fact that London, more than almost any city in the world, is completely relaxed about its multi-cultural, multi-ethnic make-up. I knew from the start that my two main characters would be Eastern European and Iranian. It just struck me as fresh and modern. Rash was based on my son’s flat-mate who is himself Iranian and long before I started writing, I talked to him about his background and his experience of life in the UK. He actually appears as an extra in the fourth episode! We did our best to avoid the obvious stereotypes with both characters. Most young Londoners are just that. They’re young and they’re Londoners before you start layering in religion, politics, sexuality or whatever. As to casting, I always knew that the show would stand or fall by our choice of the two actors and I was very insistent that we shouldn’t cheat, that we should find the real thing….which we did! It was essential that the two actors should have a real chemistry. We cast Mark first…he has Polish blood and matched the character exactly. Then, when Ben came along (most of the parts he’d been offered until we came along were “young terrorist”!) we saw that the two fitted together perfectly. They became great friends almost at once and that friendship has continued throughout the filming and beyond. I cannot tell you how pleased I am with their performances and if I have one hope it’s that they’ll become the stars they deserve to be.

You have a stellar career as a writer both for screen and books. Do you have a preference for either form? Or does it depend on the story?

I love all my writing equally. I think that it’s impossible to write well without passion. That said, of all the writing I have done, I probably value my YA books – Alex Rider in particular – the most. Why? Because reading, a love of books can change your life. I meet so many adults now who grew up with Alex that I feel very proud to have been a small part of their lives.

Your most recent book for adults was Trigger Mortis, a new James Bond adventure, and before that, you penned two new Sherlock Holmes adventures, The House of Silk and Moriarty. What’s it like, writing new adventures for such classic characters? How do you keep true to the Sherlockian or Bond corpus whilst staying true to your own identity as a writer? And which of those characters did you most enjoy recreating?

Trigger Mortis by Anthony Horowitz.jpgI only wrote the two Holmes novels and the Bond novel because I so love the originals. These are what influenced me when I was in my teens. I loved writing all three books (see question 4). You ask how I keep my own identity but actually I don’t. I see it as an act of literary ventriloquism. Essentially I have to be invisible, I have to hide inside the world of the original creators, obeying the rules, doing nothing that will annoy/upset their worldwide fans. At the same time, I have to raise my game. How can I possibly write as well as Fleming or Doyle? I probably found Sherlock Holmes the easier of the two characters because he’s more distant: the world of the late 19th century is much more easily defined than the cold war. Bond comes with certain challenges…marrying some of the attitudes and values of his world with modern sensibilities. But I began all three books with nothing but admiration of the original authors and a determination to serve them as well as I could. It was a wonderful experience, spending six or seven months living with their brilliant creations.

You’ve recently finished writing a new crime novel, Magpie Murders. Can you tell me something about it? When is it out?

magpie murdersMagpie Murders is my next adult novel, being published by Orion in October. It’s both a whodunnit and an exploration into whodunnits – in particular, the relationship between the detective, the author and the reader. It’s partly inspired by Conan Doyle’s very mixed feelings about Sherlock Holmes! The book is in two parts. The first is set in the very Agatha Christie landscape of an English village in the 1950s where a detective called Atticus Pünd, a survivor of the concentration camps, investigates the murder of a local landowner. ..Sir Magnus Pye. The second part takes place in London in the present day and concerns an editor, Susan Ryeland, who is forced to investigate the death of one of her authors when the final pages of his latest manuscript go missing.  The fun of the book comes when those two worlds collide…and there are not just one but two very twisty mysteries to be solved. I’m very pleased that nobody has managed to guess the ending yet! I think it’s the most cunning book I’ve yet written.

Your Alex Rider series of spy novels for young readers have been big bestsellers, but the series was deemed to have ended with Scorpia Rising (with Russian Roulette being a spin-off). So I was excited and intrigued to hear that you are in the middle of writing a new Alex Rider adventure. What decided you to take up Alex’s story again? And how does it feel, being back in his world?

Last year my publisher asked me to pull together all the Alex Rider short stories for a collection. scorpia risingThey’d been published in newspapers and magazines and elsewhere. So I started work – but then two things happened. I realised that some of the early stories weren’t good enough. And there also weren’t enough of them. So – just for fun, really – I wrote a new story, Alex in Afghanistan…and suddenly I discovered that I loved writing about Alex and that I had missed him. I really was quite surprised. For what it’s worth, I think Alex in Afghanistan is the best story I’ve written. It’s only 15,000 words but it’s full of action and surprises. I wrote two more new stories and in doing do, I unlocked something and realised that, contrary to what I’d always said, there was an eleventh novel inside me. Well, I’m 40,000 words in and I think it’s going very well. It starts in San Francisco (where Scorpia Rising ended) and then moves to Egypt, the South of France and the UK. My publishers won’t allow me to say any more!

As well as being a wonderful fiction writer in all those genres, you are a great traveller and sometimes write about those travels in newspaper pieces. What kinds of things do you concentrate on when trying to distill the essence of a travel experience in the few words of a newspaper column?

Again, thank you for these kind words. I write travel pieces for an English newspaper largely for fun (the money goes to charity) and also to keep myself on my toes. I’m no expert and I try to avoid being negative. It’s really just a record of my feelings, hopefully written in an entertaining way. When I read a great book, my first instinct is to shout about it, to get people to share it. I suppose the same goes for the places that I’m fortunate enough to visit.

Anthony’s website.

Facebook author page.

Twitter page.

 

 

Taking the independent road: an interview with Jon Appleton

Jon_AppletonI’ve known Jon Appleton a long time: since I was a pretty newly-published writer, and he was an articulate teenager passionate about books and writing to the extent that while still at school he founded, wrote, and edited a fabulous magazine called Rippa Reading. Since those days, Jon has gone on to have a stellar career as a publisher, in Sydney and in London, working with great authors and illustrators. And now he’s embarking on a new challenge–taking the independent road, as a new author and self-publisher.

First of all, Jon, congratulations on the release of your first novel, Ready to Love! Can you tell us a bit about it, and its road to publication? 

Thanks, Sophie! Ready to Love is about the way we see ourselves and how we think other people see us, and the different kinds of attachments we form to those around us: family, friends, lovers, colleagues. Ultimately, it’s a rom-com.

Its London setting is quite important to me, and I began the book when I was living in Australia for a year in 2011, feeling quite homesick. I put it aside for twelve months when I came back to England, and then returned to it, working on it continuously for the next two-and-a-half-years.

Comedy is difficult to pitch to agents and publishers, I’m told, because it’s not viewed as a commercial genre. (Of course, we can all think of exceptions!) But I submitted it to agents nonetheless. Quite a few never replied (which I took to mean a ‘no’) but of those who did, several responded encouragingly from a reader’s perspective. I thought, ‘If only I could get past the gatekeepers, to readers, they would enjoy it too.’

Working in publishing, so much of my time was spent rejecting really good books (for reasons not dissimilar from those by which my own work had been rejected), and it was quite dispiriting dishing out ‘no’s all day only to come home to more ‘no’s from the other side of the desk. So I looked into the self-publishing option.

I knew the stigma of self-publishing has lessened dramatically in recent years. At the London Book Fair, there is a whole corner devoted to independent publishing that is reported on and taken very seriously. The timing was right.

I found the right outlet – Clays, the printer, recently established an independent publishing strand of their business – and began the process.

Putting together a book, from manuscript to finished product, is something you have a lot of experience of, in terms of other people’s work. But what was it like being in charge of your own?

I love the completeness of publishing a book – from discussing the concept with the author through to sending them advance copies. So the process of getting Ready to Love was extremely satisfying because I took a very hands-on route. Clays put me in touch with editors, designers, typesetters, Nielsen (who handled the bibliographic data), etc, but I did the legwork. It really helped maintain a sense of ownership of the process.

I sometimes think that writers feel they hand over their work without fully understanding the process – and why should they? But they can always ask! – and feel they’re being excluded. It’s never worse than when a book ends up with a cover a writer doesn’t like and the book fails to make it onto shortlists or in-store promotions. The author feels a sense of surrender when, in fact, the publisher really is on their side – or means to be.

I made all the decisions so I felt very much in control. Let’s hope I made the right decisions …9780993547317

You have just moved from the corporate publishing world to becoming a freelance, independent author/publisher. What has that move been like–the challenges and the pleasures? 

I’ve known so many authors – and freelancers – that I’ve always felt I sort of knew what it was like to be them. I appreciated how isolated authors could feel. I’d sit at my desk, and suddenly think, ‘Haven’t heard from Author X for a while. Wonder what they’re up to …’ and get in touch – particularly in the long periods when there wasn’t anything formal to do on their current book.

That’s changed, in recent years: there’s always something to do on a book, especially after it’s been published. You can revise your Amazon profile or write a blog, or reach out to potential new readers on Twitter. I’ve spent a lot of time in the past couple of years encouraging writers to be active on social media – and we’ve spent more time than ever on revising synopses and pitches (because, for many authors, it is harder to get published than ever before).

Now I’m learning, first-hand, exactly what all that entails. The main thing I’ve learned is to be focused and to think always: ‘What am I trying to do? Who am I trying to reach? What kind of writer/publisher do I want to be?’ I’ve got a blog that explores these questions – www.jonappletonsbooks.com – and it’s very much an exploration and I’d love people to join in. There are no finite, permanent answers!

You worked for a long time as a children’s publisher: but as an author, you are writing adult novels. Do you think your publishing experience has influenced your writing in any way? 

I think I realised early in my career that I love children’s books because I love the idea of children being confident and able through literacy, and cherishing the books they read when young their whole life through. I really like helping an author shape the sound of the voice of, say, an eleven-year-old boy. But I have no interest in trying to locate that youthful voice myself. I’m not one of those children’s editors who read only children’s books. My adult, reading self is nourished by other books which are more akin to the novels I want to write, and write about.

As a teenager you founded a respected literary magazine, Rippa Reading, which focused on books and authors. Can you tell readers about that, and some of your favourite stories from that time?

Rippa Reading was a fan magazine for authors which I began in late 1986 and edited until the end of 1995, just before I moved from Sydney to London. It was published and supported by my old school, SCECGS Redlands and, joyfully, the entire children’s publishing industry. It was an amazing time for which I am hugely grateful.

The magazine was born out of my desire to be a writer and to find out what writers were like, and it led to my career in publishing. Undoubtedly, it was inspired by The School Magazine which not only presented the best in new writing but made its creators available to readers through the magazine’s pages and especially to me with personal friendships with the staff.

There are so many highlights and stories from that time – genuine friendships with brilliant, creative people, many of whom now are no longer with us, but other connections endure 30 years later, like our own! It was fun being part of the CBC committee and appearing on TV and radio to talk about new books. It was an honour to receive awards, and even more so to be an early fan of brilliant new voices, like Jackie French to whom I was introduced by the wonderful Cathie Tasker (through whom you and I met, Sophie!), who was then at HarperCollins and Ursula Dubosarsky, who once taught at Redlands.

But the story I want to share now makes me happy because it brings my connection to Australian children’s books more or less up to date. When I joined Hachette Australia as Children’s Publisher at the end of 2010, I finally got the chance to publish books by Australian authors and illustrators – some of them award-winners but others, excitingly who were new to the industry. The concept for a children’s edition of the bestselling book about Tom Kruse the outback mailman had lingered for some time, but the concept hadn’t been fully realised, nor, crucially, the right illustrator found. I remembered Tim Ide from when I’d done work experience at Omnibus Books back in 1990. (Jane Covernton, who established Omnibus with Sue Williams, was always hugely supportive of Rippa Reading.) One afternoon at Omnibus, I’d been lucky enough to be taken to tea by Tim and Max Fatchen to celebrate their new book, A Country Christmas, which perfectly evoked the South Australian countryside in years gone by. So, many years later, I got in touch with Tim he agreed to work on the book. At that point, everyone in-house (and the author!) felt energised by the project, and it went on to win the Eve Pownall Award in 2012.

What’s your view on the situation for authors, and publishing today–the issues and the opportunities?

For the majority of writers, it’s tough to make a living. The obstacles are numerous: small advances, a paucity of review space, overstretched marketing budgets. More than ever, authors are expected to sell their own books – whether they publish independently, or through a mainstream publisher. That doesn’t suit everyone, I realise, but I do think that, usually, the author is his or her book’s best advocate, so it makes sense. And there are so many ways for authors to engage with readers – it’s not all about author visits and festivals. Authors need to be authorpreneurial, a term I hear a lot now. It takes time away from creative work, of course, but it’s necessary. It’s part of being a writer.

What are you working on next?

I’m planning a new novel, but I’m really aware of the need to make the most of the opportunity created by publishing Ready to Love. So I’m very happy to write about it or talk about it and to engage with people – anywhere! – in the hope that they might choose to read it, and to be receptive to further novels by me. At a practical level, I’d like to recoup some of the cost of publishing it by selling subsidiary rights – audio, translation, US and Canada and, of course, Australia!

I’m also in dialogue with writers’ groups and students who need help not just with writing, but preparing themselves for a writing life. People are aware of the challenges I outlined above (and many others), and part of my new work portfolio is helping them find ways to pitch themselves successfully and achieve an audience in the face of these challenges.

An interlude to introduce the Juvenilia Press

I’m delighted to learn today that the Small Beginnings series on this blog is being featured on the Facebook page and linked to the website of a wonderful specialist press publishing out of the University of NSW, the Juvenilia Press, which focusses on the very early writings of authors, including classic authors like Jane Austen! Here’s something about them:

The Juvenilia Press promotes the study of literary juvenilia, a category of literature that has been largely neglected. Its editions are slim volumes of early writings by children and adolescents (up to the approximate age of twenty), including published and unpublished works of young authors – both those who achieved greatness as adults and those who did not become adult writers but whose writing is full of percipience and zest.

Founded in 1994 by Juliet McMaster at the University of Alberta in Edmonton, the Press has since 2001 been based in the Faculty of Arts and Social Sciences at the University of New South Wales in Sydney, and has an international team of contributing editors from Britain, Canada, Japan, Spain, Switzerland, New Zealand, the United States, and Australia.

The volumes are normally devoted to one author and are edited by an expert in the field, with the assistance of one or more students, usually postgraduates. Student involvement in the research and editorial process is an essential part of the pedagogic aim of the Juvenilia Press; and the illustrations, often executed by young aspiring artists or by the original young authors themselves, aim to capture the tone of the original productions. By contributing to the recovery, publication, and critical exploration of childhood writings, the Juvenilia Press actively promotes literary research and the professional development of students. At the same time, they endeavour to provide, for a wide audience, an insight into the creative energy of this rich and varied body of writing.

Do check them out on Facebook, and visit their website for more information: https://www.arts.unsw.edu.au/juvenilia/

 

The translator’s art: an interview with Stephanie Smee

Stephanie Smee portraitTranslation is an art both precise and subtle, and the work of distinguished Australian translator Stephanie Smee has those qualities in abundance. Stephanie has translated several works of French literature into English, and I first met her some years ago, after the publication of her translations of classic French children’s titles by the Countess de Ségur. We got talking about other French classics, and I happened to talk to her about one of my favourite books growing up as a French-speaking child: Michel Strogoff, a great adventure novel by the legendary author Jules Verne.

Well, that conversation has led to today, and the publication by Eagle Books of Jules Verne’s Mikhail Strogoff. This is the first English translation of this wonderful book in over a hundred years, and as one of the publishing team at Eagle Books, I worked closely with Stephanie on the project, impressed as ever by her great attention to detail and her thoughtful and perceptive understanding of the literary work she was translating. And so today, to celebrate the release of Jules Verne’s Mikhail Strogoff, I talk to Stephanie about translating the book–and the art of translation in general.

Stephanie, translating Jules Verne’s Mikhail Strogoff was a massive and painstaking undertaking. How did you prepare for it initially?
Like many Anglophone readers, I was really only familiar with those books of Jules Verne that have always been popular with English readers… Around the World in Eighty Days, Twenty Thousand Leagues Under the Sea, and I confess it had been many years since I had read those tales.
So, when discussing with you possible ideas to pitch to English language publishers, your enthusiasm for this historical adventure tale took me a little unawares. However, after getting my hands on an original French edition, and spending some considerable time researching, I realised how enduringly popular Michel Strogoff has been with its French readers. And I became increasingly nonplussed as to how it had slipped from the catalogue of Verne’s other, perennially popular tales which had been translated into English.
How does one prepare for a translation task such as this? A number of readings of the text, of course, which serves to allow your mind to “relax” into the rhythm of the text, but then the close readings are required, and the true breadth of Verne’s rich vocabulary and sentence structure sinks in. At that point, there’s nothing for it but to “dive in”!
 What challenges came up for you as you worked on the book?
 
mikhail strogoff finished 1 front coverVerne’s vocabulary is encyclopaedic, and one can almost sense the glee with which he displays his research into the historical, geographical and cultural specificities of his setting. I was very fortunate to have been given some magnificent 19th century French/French and French/English dictionaries by my father-in-law, Jim Schoff, and there is no doubt these proved very useful in grappling with some of the more obscure terms that came up from time to time. I also found some of the 19th century maps of Russia, Siberia and “Independent Tartary” (again, supplied by my father-in-law) absolutely invaluable. One editorial challenge, with which you were very helpful, was determining the appropriate transliteration of place names. Of course, Verne had transliterated place names from the Russian cyrillic into 19th century French. We then had to settle upon the appropriate way of spelling all of these names for our 21st century Anglophone readership while remaining authentic to the historical setting of the novel. As readers will be aware, customs surrounding the spelling of Russian names can be a moveable feast and often differ from one current newspaper or novel to another, depending on the editorial decisions made. The historical maps I had at my disposal were certainly useful, but again, it was customary in the 19th century for many mapmakers to use French spelling of Russian place names, as it was assumed that educated readers and scholars would have French at their fingertips and unfortunately, we can’t make such assumptions for our readership anymore!  
 
I did often wonder how translators used to manage before the internet allowed us access to so many superb resources, including to such things as 19th century accounts of travellers making their way through the same or similar parts of the world as our hero, Mikhail Strogoff! Images of Tartar battle dress or Siberian towns which I was able to access through Google books often allowed me to create a mental picture of the word-image I was trying to paint with my translation of Verne’s detailed text.
Verne’s narrative is quite straightforward but his style is richly laced with idiomatic and other flourishes. How did you capture that very particular spirit?
 

The longevity of Verne’s popularity, in my opinion, derives from his masterful skills as a storyteller. His tales are built on a driving narrative force that reveals itself to the reader – and thus, to the translator – as we turn the pages. Verne is a great “scene-setter”. And so, he interlaces his chapters with scene-setting descriptions, often packed with information, followed by “lighter” chapters of spirited dialogue. There is nothing staid about his evocative descriptions. Rather, he successfully evokes a landscape which will then be the setting for the following dialogue between his characters, all of whom are very brightly drawn, from the main protagonists, Mikhail Strogoff and Nadia, to the testy muzhik responsible for leading them across the Urals, and to the jocular journalists who act as the entertaining Greek chorus to events as they unfold. All of this to say that the

Strogoff 6

Illustration by David Allan

translator’s task really has to be to imagine herself into the landscape, listen to the rhythm of the descriptions and the dialogue and try to render that same rhythm into English. Where there is a particular urgency to the events unfolding on the page, I’d like to think that a good translator will be able to reflect that same urgency – whether it’s as simple as adhering to similar sentence length, or perhaps through a choice of words that will help make the narrative pop and crackle with that same sense of urgency. Of course, 19th century literature often uses tenses  and moods that are rarely employed in modern literature and ideally, those grammatical nuances will be reflected in the English too, although there is a fine line to be drawn sometimes when translating tenses which would perhaps seem “clunky” or awkward to a modern reader’s ear. As for the dialogue, there is no doubt Verne’s own skill in drawing his characters rendered it a joy to translate their dialogue as it meant I had little difficulty imagining myself into their conversations and under their skins.

At this point, I should also underline my gratitude, not only to my editor and publisher–yourself!–but also to my father, Michael Smee, whose assistance in proof-reading – offering second and third pairs of eyes and ears to “hear” the rhythm of the text – were quite invaluable.
How different was it working on this translation as opposed to those you have worked on before, such as the Countess de Ségur’s classic children’s books?
 
The translation of Mikhail Strogoff was indeed quite an undertaking, and in this respect, it really felt quite different to sitting down to translate the Countess de Ségur’s books, which although quite lengthy for their genre, have a considerably younger target audience to that of Strogoff. (That said, I just received a very enthusiastic message from my 11 year old nephew telling me how much he loved this Mikhail Strogoff finished 2 back coverlatest translation, but that while he had been waiting for his copy to arrive in Boston, he had eagerly revisited all of my translations of the Countess’s books, so there is obviously a little bit of audience cross-over!) In attacking a work like Strogoff, there is a different level of stamina required both in respect of the novel‘slength and the complexity of its vocabulary. Julie Rose’s masterful translation of Les Misérables of course takes that degree of difficulty to a different place altogether! Verne and the Countess de Ségur did at least share some similarities of the epoch in which they were written, being works penned in the 19th century.
Russian-French writer Andrei Makine, in one of his novels, Le Testament Francais, has his narrator say ‘the translator of poetry is the poet’s rival; the translator of prose is the novelist’s slave.’ What is your opinion? Do you have a philosophy of translation? 
 
I can quite understand narrator’s standpoint in Makine’s novel. It suggests a degree of “freedom” that perhaps a translator of poetry might enjoy, compared to the prose translator. But I’m not sure I agree entirely.
While the quote from Makine acknowledges the “originality” of the poet/translator’s new work, I disagree with the suggestion that the translator of prose is in any way more the novelist’s slave, to use that same imagery.  The rules relating to the translation of the ‘form work’ and ‘scaffolding’ of prose might be different to that of a work of poetry but at the end of the day, translators of prose and poetry are both working creatively and originally, both limited by a desire to remain as faithful as possible, not only to the original text, but to its emotion and rhythm. In many ways, as illuminated by the comments below of John Edmunds, renowned translator of the verse-dramas of the likes of Racine and Corneille, translators of poetry might feel more “enslaved” by the need to adhere to the particular poetic structure and rhythm of the original work.
As a translator, I stand most in awe of those who translate poetry but are they the original poet’s “rival”? A good translator of poetry is truly not just any ordinary linguist – they must hear the poetic rhythm in the source language and be able to recreate that beauty, that mystery, that imagery in the target language. It requires decisions about meters, rhyming – whether it is best to try to retain those rhythms in the target translation or stray a little from the source language in order to recreate a rhythm that somehow best captures the original imagery and magic of the poetry.
I recently read John Edmunds’ notes on his extraordinary translations of the plays of Corneille, Racine and Molière (Penguin Classics, 2013). They are illuminating, and in fact suggest that the translator of these “verse-dramas” are, in a way, just as much these play-wright/poet’s slave as their rival. He says:
A translation intended for performance not only must be immediately intelligible to the listening ear, but ideally, I have always thought, should be capable of delivery by a putative bilingual cast in precisely the same way in either version. Like musical scores these verse-dramas have their crescendos, staccatos and rallentandos: in the new medium they need to be preserved. This can be achieved only by maintaining the sentence-structure so that the actor’s breathing-pattern is reproduced, because the pulsation of the performer’s vocal energy is the life of the play. And, clearly, the action has to flow at the same pace as the original. This necessitates a line-by-line rendering.
 
A play written in verse is truly recreated in another language only when it has the formality of disciplined verse-structure. Which form to employ?
 
And Edmunds then goes on to discuss his choice of Shakespearian blank verse “which has a driving impetus and the rhythm of colloquial speech” over the English alexandrine which, he suggests, is “too stately for drama; and the rhythmic beat of our heavily stressed language does not need rhyme to create form.” He also comments that rhyming couplets can sound jokey, at least to British theatre goers “reared on pantomime.” Ultimately, he says, the translator can only do his best with the tools available to him in his own language in reverence to the “supremely gifted authors” one has the privilege of translating.
My own “philosophy” of translating? Many scholars and practitioners have penned many thoughts on this topic and I’m not sure I should be so bold as to add my own. I do know, like John Edmunds, that I feel an enormous sense of privilege to be working as a literary translator, particularly translating the work of a literary figure such as Jules Verne. And even though I am not a translator of poetry, I also know that beautiful prose, too, has its own rhythm, its own fluidity, its own internal mysteries which any good translator must try to encompass in their work. So, if a translator can recreate that original sense of wonder and excitement generated by any good piece of literature, whether it be a work for children or the most fiendishly obscure piece of poetry, then perhaps the translator has succeeded in her task.
 
It’s been said that there aren’t enough novels from non-anglophone countries translated into English. Would you agree? And why do you think that is? 
 
Yes, indeed I do agree – as both an avid reader of translated literature and as a literary translator! Although I hasten to add that I have been very, very fortunate to have a number of my translations published beautifully by both Simon & Schuster (Aust) and of course, Eagle Books. That said, Linda Jaivin, in her essay Found in Translation published in the Quarterly Essay (issue #52, 2013), referred to statistics that are enough to make any literary translator cry.
 “[H]alf of all books available in translation around the world have been translated from English, and only 6 percent are translated into English. The rest are translations between non-English languages… In 1950, American publishers produced 11,022 books, of which 563 were translations. In 2010, the number of books published there climbed past 200,000, but only 341 were originally in other languages. … In 2012, according to Bloomberg, American publishers bought translation rights to only 453 foreign titles; figures in the UK are said to be similar.”
And, she goes on to say, there is no reason to believe the situation is any better in Australia – in fact, she says, it’s probably more dire.
Why is this the case? There are many reasons, but most of them come down to the fact that English has become the “default” language of the world. And at the same time as the rest of the world has adopted an educational approach that emphasises the need to learn English, largely for trade reasons, the number of people who still learn foreign languages in English speaking countries is plummeting. This can only lead to serious cultural insularity and, while learning a foreign language is not an easy task, as Jaivin acknowledges, “a sensible corrective is access to a rich body of global literature in translation.” Yet we are failing on that front, too. Monolingual publishers/editors make it difficult for foreign language publishers to sell their works into the English language market, as they are forced to rely on potted descriptions, quickly translated excerpts, and, only if they’re lucky, some healthy sales figures or reviews in the original language market. The same difficulties confront literary translators trying to pitch ideas to Anglophone publishers. Even when books have earned their stripes in sales and reviews in their native market, I have often been met with the response: “translations are very hard to find space for in the market”.
 
Why  they are any harder to find space for than untested English language books is quite mysterious to this literary translator. Sales in Anglophone markets of Pippi Longstocking and Asterix would, I’m sure, rival sales in their own market, due to their very skilled translators and to the fact that they are quite wonderful books! Yet I do know why. In a market where publishers are being forced to tighten their belts, there is little cash to spare to pay for English language publishing rights, as well as a skilled translator. And I can only assume also that sales and marketing teams must know there is an inherent reluctance or suspicion on the part of readers when it comes to foreign literature. Fortunately, at the same time as so many of the large publishing houses are publishing fewer and fewer works in translation, there are increasing numbers of independent publishers, like Eagle Books, who recognise the need to take a stand against the cultural hegemony of the Anglophone publishing industry and who are making it their business to publish works in translation.
Our wonderfully cosmopolitan and plural society deserves no less, particularly if we mean to engage in a meaningful, reciprocal and generous way with the billions of people on this planet for whom English is not their mother tongue. We need to be able to hear everybody’s stories!
What are you looking at translating next? 
 
I’ve in fact embarked on a terribly entertaining translation project with my Swedish mother. We are translating some very well-known (in the Swedish market) children’s stories by Gösta Knutsson about a little cat called Pelle whose tail was bitten off by a rat when he was a kitten. They were first published in Sweden in the late 1930’s-1940’s and Knutsson continued to write for many decades. They’ve been enormously popular in Sweden since they were first published.  The first three in the series are to be published next year by Piccolo Nero, the children’s imprint of Black Inc publishers.
I’m also working on some submissions involving the translation of some modern French novellas and short stories which I’m very excited about. They’re written in very different language to the 19th century text of Jules Verne, but I’m loving the challenge. They’re wry and erudite, fanciful and yet thoroughly modern… works that are very much for and of our time.

Do It Yourself Book Publicity: An interview with Emma Noble

diy book pr guideGetting your book written and published is one thing. Getting it noticed in the flood of new titles is quite another! Today, I’m interviewing publicity specialist Emma Noble, who’s just released a book that answers a lot of questions about how to plan and run a great book publicity campaign. It’s a book that will be of much interest both to authors and small publishers.

Emma, your book, The DIY Book PR Guide: The Happier Guide to Do-It-Yourself Book Publicity in Seven Easy Steps, has just been published. Can you tell us something about it, how it came about, and who it’s aimed at?

 It’s aimed at self-published authors mostly, but also at traditionally published writers who want to better understand what their inhouse publicist is doing for them, and perhaps even to support their efforts. I wrote it out of sheer frustration, actually, at the number of authors I wasn’t able to take on because of time constraints. I wanted to try to help them in some other way. Book publicity is most definitely not rocket science but it’s convoluted and time-consuming if you don’t know what you’re doing. The DIY Book PR Guide lays down the basics of planning and executing a campaign that is tailormade for your book.

You run a boutique communications and book publicity agency, Noble Words.  What kind of services do you offer writers and publishers? And what sorts of projects have you been involved with?

I mostly work with big publishers who need a helping hand during busy periods, and I tend to be given campaigns that might be slightly more complex or time-consuming than usual; for example, footballer Chris Judd’s nationwide tour to promote My Story in late 2015. I also work with an increasing number of self-published authors on promoting their books. This month, I’m working with: social enterprise Thankyou on their book-slash-crowdfunding campaign Chapter One; self-published YA urban fantasy writer Karyn Sepulveda on Choosing Xaverique; novelist Lynnette Lounsbury on her modern take on a beatnik road-trip, We Ate the Road Like Vultures, published by indie outfit Inkerman & Blunt; ReadHowYouWant, the Australian company responsible for bringing the dyslexie font (which greatly improves the ability of dyslexics to read) to a huge range of local titles; the Little Darlings Childcare Centres on their self-pubbed cookbook, Yia Yia’s Kitchen Secrets; parenting expert Maggie Dent’s first picture book for kids, My Cool Plastics Cupboard; and, last but not least, I’ve been running courses on DIY book PR for the Australian Society of Authors and the NSW Writers’ Centre.

Phew.

Self-published authors often ask me about other aspects of the publishing process, too – distribution, bookshop ranging, a little marketing, and so on – and I find myself offering informal advice but I try to connect them with other specialists in these areas instead.

Before starting your own business, you worked for publishers in Australia and the UK. Can you tell us about that? What writers did you work with? And what prompted you to start your own publicity agency?

I started out in editorial for illustrated non-fiction with Phaidon and Quadrille Publishing in the UK, before deciding publicity was where all the real action was and moving sideways across departments. I worked with Orion Publishing in London for about five years, before moving to Sydney to head up publicity for Orion’s Australian office within Hachette Australia. I was lucky enough to have worked with some incredible writers, with a particular specialty in crime fiction, and celebrities.

Very few publicity director roles exist in Australian publishing so, when none of these jobs came up during my four years at Hachette Australia, the obvious step seemed to be to use my contacts and experience to best effect and start my own agency.

What in your view are the top publicity challenges for small press and self-published writers? 

Organisation and planning are huge challenges for self-published authors and small presses. When you’re responsible for every aspect of a book’s production, carving out time to sit down and nut out a comprehensive publicity plan can be hard. What’s more, self-published authors often have little PR experience so it’s all new to them. The planning phase is really crucial; spend your time well here and you’ll end up with a handful of great story ideas and a plan for which media to pitch them to, resulting in a campaign timeline that you can simply plug into your email calendar so you never miss a media organisation’s deadline.

Competing with larger publishers with marketing budgets and established relationships with media can also be challenging. But the beauty of book publicity is that it is an option for absolutely every author, and will cost you little more than your time and a few free copies of your book.

What are your top tips for book publicity?

a) Answer these two questions – what is my story and who is my audience – and you’re well on your way to creating a winning campaign. The first gives you your story ideas, the unique ‘angles’ arising from your book or personal history, that you will use to promote yourself. The second tells you who you should be trying to talk to and, by extension, the media you should be targeting. That’s half the battle.

b) Be honest. Firstly, with yourself; it’s a rare book that genuinely appeals to everybody and being frank about your target market will help you avoid wasting time pitching ideas to media who will simply never cover your book. Secondly, with media; it’s hard to keep track, in this increasingly multiplatform-oriented media world, of who publishes what and where so let journalists know when they indicate interest in your story what else you have lined up and let them decide if they want to proceed.

c) Work up a killer elevator pitch. This is a short, succinct and persuasive description of what your book is about and how it is different from others on the market. You’ll use variations of this description as the basis for all your interviews, press releases and pitches to journalists so it’s worth spending time on getting it right.

WIN! One lucky reader of this blog will win a copy of The DIY Book PR Guide, kindly donated by Emma Noble. To enter, simply contact me (through form on Contact page), with a comment on any aspect of book publicity–could be an anecdote, an observation or your own tip!