Pitch Independent a fantastic success!

As one of the three co-ordinators for the New England Writers’ Centre’s big Pitch Independent program, I am happy to report that it was a brilliant success! The prep day two weeks ago went really well, with lots of people getting advice and practising their pitches in front of local publishing professionals. And last weekend, we hosted a fantastic lineup of some of Australia’s best small and independent book publishers and literary magazine editors, who participated in a lively and engaging symposium, heard lots of one-on-one pitches from writers in all genres as well as illustrators, and generally gave generously, and warmly, of their time, knowledge and expertise.

It was an inspiring, creative and fun weekend, and we are so grateful to all who participated–publishers, editors, pitchers, presenters, attendees, and University of New England staff and students. All of our participating publishers and editors came from a long way away, in some cases a very long way, from Western Australia, South Australia, and Victoria as well as various locations in NSW, and we are so very appreciative that they were willing to travel to our region. Thanks very much to all the people who supported Pitch Independent by attending the symposium, and/or pitching their work–we know it takes courage and we salute you for it, hope you felt encouraged, and wish you the very best for your work, whatever the outcome of your pitch. Big thanks goes to UNE for their generous and major support of the event, financially, promotionally and with venues; to the Small Press Network for its kind support and encouragement–and to SPN Chair Michael Webster for making the long trek from Melbourne to speak at the Symposium–and to the Armidale Bowling Club for sponsoring the great  venue for Saturday’s big pitch day. And of course huge thanks to the New England Writers’ Centre and all my fellow Board members who supported the creation of this event in so many ways. And to my fellow co-ordinators, John C.Ryan and Catherine Wright–hurrah! We made it! And it worked so well, worth all the hard work and all that midnight oil we burned 🙂

Pitch Independent was a unique event–nothing like it, with its focus on bringing creators and small and independent press and literary magazines together–has ever, to or knowledge, been held in Australia before. And the response has been amazing, from all, publishers, editors, pitchers, and attendees alike. It was a massive amount of work, but I am so proud to have been involved in initiating an event that we think people will be speaking about for a long time, and which will have a significant impact. We intend to continue building on the fantastic momentum created by Pitch Independent–watch this space!

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Cover reveal for Black Wings, my adult historical novel

I am thrilled to reveal the beautiful cover of Black Wings, my adult historical novel which will be published in October by The Greystones Press in the UK. Can’t wait! Here’s the basic blurb(there will also be a fabulous cover quote by the lovely Kate Forsyth, which will be revealed later!)

It’s 1788 in the Vendée in western France, and change is in the air. Reform 
is being talked of in the great world beyond, in Paris, and even the peaceful village inhabited by Jacques Verdun and his friends – aristocratic painter Edmond de Bellegarde, his beautiful cousin Flora, and young farmer Pierre Bardon – seems touched by new possibilities. But as events both in Paris and in the local community start to gather pace, as revolution breaks out and the traditions of centuries start to break down, friendships will be severely tested in the most unexpected of ways. And when pitiless civil war comes, who will be left to testify to old feelings, and old loyalties? 

 

UQP’s 70th birthday and my gratitude to them!

Just heard today that it’s UQP’s (University of Queensland Press)70th birthday this month–and wanted to celebrate this great achievement of a great publisher by thanking them for launching me on my career as a published author–in more ways than one!

My very first published book, The House in the Rainforest, an adult novel set on the North Coast of NSW in the 1970’s and ’80’s, was published by UQP in April 1990. I will never forget the day I got the letter of acceptance from the late and greatly missed UQP editor Roseanne Fitzgibbon! (It was an amazing year, because just a few weeks after hearing from UQP, I got a letter from the then publisher at Angus and Robertson, Brian Cook, accepting my first children’s novel, Fire in the Sky, a time slip novel which was published in June 1990)

UQP also published my very first young adult novel, Sooner or Later (1991), an event which came about after the then editor of UQP’s YA list, the wonderful Barbara Ker Wilson, had written to me whilst The House in the Rainforest was being edited, to ask if I had any ms suitable for that age group: she had really liked the voice of my main character Kate, who, when the book starts, is sixteen years old. Barbara felt it was a very authentic voice and she wondered if I had anything that might work. Well, I as it happens, I did have a ms which had grown out both of living at the time in a small Australian country town and also losing my beloved grandmother back in France. I was pretty excited at being actually encouraged to send it in! So I sent it, Barbara and the UQP team loved it, and it was published in 1991.

I had another two YA novels books published by UQP after that–A Blaze of Summer(1992), which unlike the other two was set in France, and had supernatural/fantastical elements; and The Sun is Rising(1996), a companion novel–though not, strictly speaking, a sequel–to Sooner or Later.

I went on to have books with quite a few other publishers after that–but I will never forget the debt I owe UQP. From a very grateful author: happy 70th birthday to a wonderful publishing house–and may there be at least another 70!

Fairy tales, history and collaboration: an interview with Kate Forsyth

Today I am delighted to bring readers an interview with Kate Forsyth, centred on two great new books which are wonderfully rich collaborations between herself and other creators: Vasilisa the Wise and other Tales of Brave Young Women, illustrated by Lorena Carrington(Serenity Press) and The Silver Well, a collection of interlinked short stories written by Kate and her friend and fellow author Kim Wilkins, illustrated by Kathleen Jennings(Ticonderoga Publications). Both are truly special books, beautiful in concept, words, pictures and production values, and after enjoying them both very much, I wanted to know more about how the books came about.

Kate, you’ve always been a lover of fairy-tales and used them a lot in your work–and of course now you also have a doctorate in them! How did you and Lorena come to work together on Vasilisa the Wise & Other Tales of Brave Young Women? How did you choose what stories to retell?

I’ve loved fairy-tales and fairy-tale retellings since I was a child, and first studied them in my undergraduate degree. Eventually I undertook a Doctorate of Creative Arts, focusing on the history and meaning of ‘Rapunzel’ for my theoretical work and writing a retelling of the tale as my creative component (my novel Bitter Greens).

When I had finished my doctorate, I wanted to buy myself a piece of fairy-tale inspired art as a present to myself. So I began to look around but most of the art I saw was quite childish. Then a writer friend of mine, Allison Tait, asked me on twitter if I’d seen Lorena’s work (Allison did not know I was actively looking for fairy-tale inspired artwork, she just thought I’d be interested.)

I went and looked at Lorena’s website and just fell in love with her dark, eerie & sophisticated creations. I bought one of her pieces and we began to email each other, talking about our shared interest in fairy-tales and gardens and books and art. We essentially became pen-pals.

Lorena told me that she was working on a series of artworks inspired by little-known stories which featured brave clever heroines. How wonderful, I said. I’ve always wanted to write a collection of tales like that. So we came up with the crazy idea of working together. We had no idea if anyone would be interested in publishing it, we just did it for the pleasure of making something beautiful with a kindred spirit.

Lorena had already created images for three tales – ‘Vasilisa the Wise’, ‘A Bride For Me Before A Bride for You’ and ‘The Stolen Child’ (I had bought one of the images from the latter as my present to myself). We decided we would work on seven tales, as it is such a fairy-tale number, and then I made a few suggestions for tales that I thought would work well. ‘The Singing, Springing Lark’ is one of my favourite stories to perform as an oral storyteller and so that was my first choice. ‘Katie Crackernuts’ was a tale I had already retold for the online story platform The Pigeonhole and so we decided to include that one too. I also suggested ‘The Toy Princess’, a literary tale written by the Pre-Raphaelite writer Mary de Morgan. The last tale took us a little longer to find. We both suggested a few different possibilities, but they were too similar in theme, motif or plot to stories we already had. In the end, we settled on ‘The Rainbow Prince, a story I had loved as a child.

At the end of each story, there are notes by Lorena and yourself, giving an insight into the background of the story but also why it speaks to you. Why did you choose to include this background information?

 I wanted readers to know where the tales came from, and who first told or recorded them. I find the history and meaning of fairy-tales so fascinating. And both Lorena and I felt giving a little insight into our creative purposes and processes would enrich the reading experience too.

What was it like working so closely with each other on this project?

 It was just wonderful. We never had a disagreement or problem. I love Lorena’s art and she loves my writing, and so we worked with a great deal of trust in each other’s ability to create something beautiful.

Would you think of doing another collection like this?
Oh yes, we are working on another collection right now. It will be called Molly Whuppie & Other Tales of Clever Young Women, and will be published in 2019.

Turning now to The Silver Well, can you tell us a bit about how it came about?

Kim Wilkins is one of my oldest and dearest friends. We first met 20 years ago when both of our first novels were shortlisted for the Aurealis Award (Kim won!) We then read each other’s books and just loved them. We live in different cities but always catch-up when in each other’s towns, or when we are overseas at the same time.

A year or so ago we did a ‘In Conversation’ event together at the Brisbane Writers Festival. As we walked towards the auditorium, our student minder asked us how we knew each other. We told her about having our first books published at the same time, and then I said, ‘next year is actually our 20th anniversary.  Twenty years since we were first published! And I’ll have had 39 books published. Such a shame I can’t write one extra to make it 40 books in 20 years.’

Kim Wilkins

Then Kim said, ‘How funny. I’ll have had 29 books published in the same time period. If I wrote an extra one, it’d be 30 books in 20 years.’

‘We should write a book together,’ I said.

‘Great idea!’ she said.

And that’s how it all came about.

It’s a great concept–a series of stories about the same place throughout history, where the silver well is a recurring motif. I really like the ways in which you and Kim have linked the stories without it at all feeling obtrusive–the links are subtle and satisfying. Did you and Kim sit down and sketch out the general shape first? How did you choose which periods in history to set stories in?

After our session at the Brisbane Writers Festival, we went back to my hotel room and had dinner and drank a bottle of Veuve champagne (our favourite), and began to throw ideas around. The concept of seven stories set in the same place at different times was our very first idea.

Within seconds we decided to set it in Cerne Abbas, because Kim and I had spent the loveliest week there the previous year (along with our friend Lisa Hartnett). Because we are both so interested in history and folklore, we had actually bought a few books about the village from one of the local stores and so already knew quite a bit about its past.

We decided to write three stories each, plus a frame story set in contemporary times. Then we simply had to decide which historical periods each story should be set in. Again, we decided straightaway. Kim said, ‘Bags early medieval time,’ and I said, ‘Bags the Second World War’, because these were both periods we loved and knew a lot about. We both love the Victorian era, but Kim bagged it first and so I chose to set a story during the English Civil War, which I had studied intensively for my series of historical children’s novels which begins with The Gypsy Crown. I also wanted to set one of the stories around the dissolution of the abbey in Tudor times, another favourite period of mine. Then we thought we should have a story set during the period when the abbey was absolutely pivotal to the village’s life. So Kim took that era.

By the time we had finished our bottle of champagne, we had the whole book plotted out.

Though it’s the work of two writers, the book feels like an organic whole, stories seamlessly flowing into each other. How did you and Kim pull it off so well? Tell us about the actual process. How did you organise your writing–did you write at the same time or in sequence? Did you decide on characters together, or individually? 

We each worked on our own stories independently, and only showed it to the other when we had a polished first draft. The idea of having connected characters grew organically, and needed just a slight tweak here and there to make it work. I wrote the frame story, set in contemporary times, and Kim wove in some extra details. Otherwise, we did not touch each other’s stories.

What were the challenges?

For both of us, the difficulty was making time in our hectic schedules to write the stories. We both had punishing deadlines for novels, plus the usual teaching and touring commitments. We made a promise to each other that we would drop the project if either of us found it too hard, or if our friendship came under strain, but somehow we managed to find enough time in the cracks of our days to get the work done.

Kathleen Jennings’ lovely line drawings are also very much part of the appeal of this lovely book. When did she become involved in the process?

On the day that Kim and I first decided we were going to write a book together! We sat in my hotel room scribbling down ideas, and thought how lovely it would be to produce a book with exquisite line drawings in it. We both thought of Kathleen at once, and we texted her and asked her if she’d be willing. She said yes at once. We also texted Russell Farr at Ticonderoga Publications to see if he’d be interested in publishing it (Russ has known us both for 20 years too) and he also said yes without hesitation. So that very first evening was very productive indeed!

What have you learned from the process of collaboration? 

The most important thing is, I think, trusting your partner, and allowing them complete creative freedom. We might not have worked so easily and joyously together if we had been constantly criticising each other’s work. Both Kim and I love each other’s writing style and so we just focused on making our own stories the best they could be, and then read each other’s stories with a great deal of anticipation and pleasure.

 Both The Silver Well and Vasilisa the Wise were published by small presses–in The Silver Well‘s case, Ticonderoga Publications, in Vasilisa’s, Serenity Press. And your earlier non-fiction work, The Rebirth of Rapunzel, was also published by a small press, Fablecroft Publishing. All of course are gorgeous books, flawlessly and elegantly produced, and showcasing just what wonderful work small press publishers do in this country. For you, as an author, what are the pleasures–and challenges!–of working with small press?

It was utter joy to work with all three of these small press publishers! They were all so passionate about the projects, and so willing to work with us to get exactly the look we wanted. I didn’t have any problems or challenges, really. We are all professionals, and we understand how the market works. And the books are finding readers, despite the smaller publicity and marketing budgets. The first print run of Vasilisa the Wise sold out in pre-orders!

A unique book contract signing

L to R: Michelle, me, Peter

L to R: Michelle, me, Kathy

 

 

 

 

 

 

Yesterday I had the great pleasure of signing a new picture book contract in a lovely, unique and totally relevant venue: our fabulous local independent bookshop, Reader’s Companion. Kathy and Peter Creamer of locally-based children’s publisher Little Pink Dog Books suggested the venue for signing the contract for A House of Mud, a text inspired by our family experience of building our mudbrick house years ago, and which I have long dreamed might become a picture book one day: a dream which will become a reality next year! The book will be illustrated by Kathy herself, who is also illustrating another of my texts, See Monkey. It was a great occasion, with Michelle Wheatley of Reader’s Companion there as delighted witness to what is the first step in a process which will eventually see the book arrive on her shelves!

A House of Mud is told from a child’s perspective, based very much on the fact that our three children, Pippa, Xavier and Bevis, enthusiastically took part in the experience of building, paddling in the mud and making small bricks themselves!

 

 

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/

 

Double Act 7: Anna Solding of Midnight Sun

anna soldingToday,  I’m revisiting my ‘Double Act’ series of interviews with authors who are also publishers, and who started their own publishing houses.  And I’m interviewing Anna Solding of Midnight Sun Publishing, a small press that has gone from strength to strength since it started a few short years ago.

Anna, when and how did Midnight Sun start? What motivated you to start your own publishing company?

It started one day when I had lunch with a close friend who is an entrepreneur. Even though my novel manuscript The Hum of Concrete had been nominated for three awards for unpublished manuscripts, no publisher had picked it up. My friend thought this was a shame so he suggested: ‘Why don’t we start a publishing company?’ You know, as you do, over lunch, just like that. My, quite logical and heartfelt, reply was: ‘Because we are not crazy…’ Five years later, we are crazier than ever and MidnightSun is beginning to take off in a big way. My friend’s initial expertise and help was invaluable and I would never have contemplated starting a publishing company if he hadn’t come up with the idea. My novel The Hum of Concrete went on to be nominated for another three awards once it was published, including the Commonwealth Book Awards, which meant we were off to a promising start and we felt that perhaps we could keep doing this.

How did you initially persuade booksellers to stock your books?

I was lucky enough to convince Wakefield Press, another independent Adelaide publisher, to distribute our books nationwide. It’s not really what they normally do so they only did it to be kind and give me a break, which was very nice of them. For the last couple of years our books have been distributed by NewSouth Books, who do a terrific job, getting our books into bookshops (and occasionally even into discount departments stores) around Australia and New Zealand.

Have your aims and strategies as a publisher changed from the beginning? How?

Yes and no. The aim has always been to publish amazing books, both in terms of content and design; books that you can lose An-Ordinary-Epidemic-Amanda-Hickie-The-Clothesline-192x300yourself in, books that look stylish and feel good in your hand. That is still our main aim. On our website we say: ‘MidnightSun Publishing has grown out of a disenchantment with the established publishing houses in Australia. We know there are plenty of fabulous manuscripts about unusual topics floating around, but publishing new and unknown writers poses a big risk. MidnightSun is prepared to take that risk. We want our readers to be entertained. We want to challenge, excite, enrage and overwhelm.’

When we started, we were mainly focused on adult literary fiction but now we also publish a wide range of books for children, from picture books to YA. I have always said that I will only publish books that I love and I think that is a good strategy for a small publisher. Because we spend so much time with each book, we really need to be comfortable talking about all aspects of it to anyone who will listen. Originally, I thought we’d just publish one or two books to see how they went but as all our books have made a profit it has always been easy to keep moving on to the next project. The more well-known MidnightSun becomes, the more high quality manuscripts are sent our way and the more projects we take on. When we started publishing in 2012, we did two books per year, in 2017 we are planning to do five. To publish five or six books per year would secure a more regular cash flow situation, which is something MidnightSun is still struggling with. The more I learn about the business, the more confident I get about all the small steps that need to happen for each book, including the metadata, the AI sheet, different ways to promote the book and which festivals and media contacts to approach.

Has working as a publisher impacted on your own career as an author–whether that be positive or negative?

Yes, I don’t think of myself as a writer first and foremost any more. Publishing has taken over my life, but I have let it happen and I love my job passionately so I’m certainly not complaining. I work with interesting people who all love books, so that has to count for something. Last year, I was fortunate enough to be awarded two writers’ retreat residencies, one month in Finland and one month in Perth, which were both fantastic months when I felt like a writer again. For years, I’ve been working on a ‘companion novel’ to The Hum of Concrete, also set in Sweden where I grew up, and it’s almost finished but I think I need one more retreat to get there. I would like to incorporate more writing into my everyday life, but when I can’t even get a Q&A like this one written until weeks after I should have delivered it, I’m not quite sure how to manage it.

What are the challenges and pleasures of small-press publishing, in your experience? Any memorable anecdotes?

IPLKS_cover love finding new talent and nurturing the writers from the beginning. Kim Lock, whose novel Peace, Love and Khaki Socks, was published by MidnightSun in 2013 has since evolved into being our regular designer. Her new novel has recently been published by big publisher Macmillan, which we think is fantastic. Last year, we published Amanda Hickie’s An Ordinary Epidemic and that book will come out with a new cover and new title (Before This Is Over) in the US next year. There are so many pleasures.

The challenges are plentiful, as they should be. It took almost a year to design the cover for Cameron Raynes’ First Person Shooter and we finally decided on one we all liked after rejecting about 30 others. Fortunately, we have a very patient designer. However, one of the biggest challenges for small publishers is to get noticed in the mainstream press. MidnightSun has a loyal following in Adelaide but it’s always a struggle to even get a tiny review in the larger newspapers, let alone a feature article. The other main challenge, at least for us, is to manage our cash flow. Because MidnightSun is doing really well, our first picture book One Step at a Time by Jane Jolly and Sally Heinrich has been nominated for several awards including the important CBCA award, we are in a position where we need to reprint the book but we have had to take out a loan to be able to do so.

As much as there are plenty of challenges for small publishers, the pleasures of seeing a project through from manuscript form to the final product, a beautiful and thought-provoking book, clearly outweigh the challenges. The buzz of opening a box from the printer to see a new book for the first time is very special and I don’t think I’ll ever get tired of that feeling.

Any advice for aspiring author-publishers?

Go for it! If you are passionate about books and have some sense of business, publishing might be the perfect place for you. I’m not going to pretend that it is easy, because it certainly isn’t, but if you surround yourself people who can help you with aspect that you might be less familiar with, it could be worth giving publishing a go. I have had a bookkeeper and a designer from the start as those were two aspect of the business that I didn’t know that much about. Other than that, you have to learn to wear many different hats; as editor, publicist, sales director, head of marketing and the one who is ultimately responsible – whether things go fabulously or the complete opposite.

Distribution is extremely important and it’s very hard to find a distributor so it’s worth doing some research on this before you take the plunge. Dennis Jones distributes many small publishers. Talk to other small publishers, research printers, become a member of Small Press Network, learn the terminology (what is metadata? AI sheets? ISBN?), subscribe to the daily newsletter from Books+Publishing and, most importantly, find amazing manuscripts to publish. Without intriguing content One-Stepand stunning production your books won’t be noticed. MidnightSun started in 2011 and we published our first book a year later, which felt right as that is how long it took to learn a bit about how the business works. The longer you have to prepare for a book, with marketing material, review copies, interviews, the better. Now that we are more established, we often work on a book for two years before publication. But don’t be scared, if publishing is your passion, just go for it!

Anna Solding

P.S. Metadata is the information that is put into search engines so that it will be easy to find. AI sheets are advance information sheets about the book, which often contain the cover image, a blurb, an author bio and photo, size, price, publication date and the all-important ISBN. The ISBN is the 13 digit number that is under the barcode, which is used by booksellers to identify the book.