Motivating Yourself to Write

‘Superglue’, that’s the answer I give when people ask how I motivate myself to write day after day. ‘Apply it to the seat of your pants and face the screen.’ It’s a glib answer, but basically this is the surest way to achievement.

There's nothing like the feeling of starting to write a brand new story. You’ve probably been thinking about it for days or weeks before you actually sit down at your computer and start tapping away. The characters are real in your head; the plot sounds promising, and you are motivated. This is going to be The One, the great international best-selling novel.

Your initial feeling of excitement can last for weeks. It's rewarding to see the word count increase as days pass. It's a joy to open your laptop and spend hours in your fictional world, forgetting all your everyday chores.

Comes the day, though, when you turn on your computer and instead of having fun writing the next scene, you stare at the screen and find yourself thinking about anything other than your story. Visitors are coming for tea, your carpets need vacuuming and your garden is neglected.  You type a few sentences, but when you read them through they sound about as interesting as last week's shopping list. Is it worth pursuing, you ask yourself. Perhaps it’s just one of those days. You write in your diary, make a cuppa and bring in the washing. All the time you’re thinking about how difficult it is to write, how nobody said you ‘have to’ write, that getting published is almost impossible given bookshops are closing. Doubts and negative thoughts crowd your head.

Before too long, this becomes the pattern of your days. Sometimes you manage to write a description - even finish a chapter - but more and more, you find reasons not to write. You moan to your family and colleagues about how you’re procrastinating and you ask yourself ‘how can I get over this writer’s block?’

Here is the cold, hard truth: motivating yourself to do anything that’s hard work, like losing weight, doing your taxes, exercising daily – and yes, writing -- is not possible.

You cannot motivate yourself to write. What you can do, is put a plan into action. Work out a system to get what you want.

First, know that the rewards have to be greater than the pain, or you won't do it. We spend our lives trying to avoid pain and to seek out that which is pleasurable. Yes, it’s true! The good news is that once you realise this, you've just taken a giant step towards your ultimate goal - getting your book finished and then getting it published.

Here are a few tips on how to reach your writing and publishing goals. First of all, you need to get serious. This doesn’t mean enrolling in countless courses, networking, going to writers’ festivals or reading writing magazines: none of it will do any good if you don't get serious about the actual WRITING. To have finished pages mounting up, you have to write. To get a manuscript complete enough to submit to a publisher, you have to write. You have to write regardless of whether you’re in the mood; whether or not there are family dramas or you’ve got a head cold. Superglue time is the published writer’s bottom line!

What are some ways of getting out that tube of glue? As indicated above, you need to put writing first. Make it your daily priority. Give it at least an hour a day. One hour out of twenty-four is doable. If you can't spare just one hour a day for your writing, then you are simply not serious.

If the reason you can't spare an hour a day is due to a genuine emergency (a serious illness, for instance), then that's different. Give whatever the crisis is your full attention, then get back to being serious about your writing as soon as it’s passed. Set up a routine for your writing until it becomes a habit. Don't let anything get in the way. If something totally unexpected comes along to derail you and sabotage your writing time, then make that time up before the week is out.

Map out your road to publication. You need to go through a process to do this, so be businesslike and create a checklist. This might include necessary research, writing crucial scenes, finishing a chapter at a time, finishing the first draft, editing the draft, getting feedback (perhaps paying for a manuscript assessment), re-polishing the draft. Make checklists not only for characters, but also for setting, plot, completion dates for scenes (or chapters), editing and polishing your work. Also rough out deadlines for each list. Goal-setting – setting up systems -- needs to be a priority.

One of the best ways of motivating continuity on your writing project is to find support, either with a writing buddy or through a workshop group that meets regularly. It really helps to be accountable to someone, to have support in setting up good writing habits and maintaining discipline with the goals and deadlines you’ve set up, and to critique each other’s work. Your writing support can be a single person whose opinions you trust (perhaps someone else on the path to publication), or it can take the form of a writing course with set tasks, an online assessment/editing forum, or a reputable critique service. Beware, however, of ‘supporters’ who don’t take the writing as seriously as you do: some forums can generate into chatty emails that aren’t focused on achievement.

If you want to be part of a writing workshop that meets regularly to critique works-in-progress, and you don’t know of one, then find one. This might involve putting a notice in your regional newspaper or library, contacting the nearest writers’ centre or asking your council’s community arts officer for local writers’ groups. A good size

group is four to five. Meetings might be once a week, month or fortnight.

Ready to get serious? Then stop reading this article, and clear the decks - mentally, socially and physically. Arrange a quiet writing area that is yours alone. Commit your writing plan and time to paper. Find a writing buddy or writing critique group, then START!

Discipline and good habits will get your book written, and motivation will come from seeing the results.

© Dianne Bates 

A former magazine and newspaper editor, Dianne (Di) Bates is author of over 130 books, mostly for young readers. She has also published How to Self-Edit (To Improve Writing) and Wordgames: Creative Thinking and Writing (Five Senses Education)  Di is the founding editor of Buzz Words, an online twice monthly magazine for those in the children’s book industry. http://www.buzzwordsmagazine.com. Her website is www.enterprisingwords.com.au.  

All of Us Together

Today's guest is CBCA multi-award winning author Bill Condon whose latest book, All of Us Together, was recently published by About Kids Books (http://www.aboutkidsbooks.com) Bill kindly offered to answer some questions about this family story which goes straight to the heart.

Why did you set your book All of Us Together in Australia during the 1930s Great Depression?

I suppose the main thing was that it seemed a very interesting time in Australia’s history, and one that was brimming with possibilities for a writer. Also, today’s children probably don’t know much, if anything, about the hard times their ancestors lived through. I thought that writing a family story set in that time was a good way to give them an understanding of the Depression. But I should point out that I wasn’t interested in giving any kind of history lesson. For me, the historical aspect is very much in the background. First and foremost, I tried to write a story that would keep kids turning the pages.

The seeds of this book were probably first sown when I was in my teens, perhaps even younger. Back then my parents used to tell me about their experiences in the 30s. Like most young people, I probably didn’t listen very closely, but I must have been tuned in subconsciously. And so, when I was hunting around for a new project, the Depression gradually bubbled up to the top of the list.

Was your own family anything like Daniel's?

In lots of ways, yes. Like Daniel, the main character in All Of Us Together, I have two sisters. In my story, Daniel is the oldest, whereas in real life, I was the youngest – and I still am! My mum and dad were working class people, the same as Daniel’s parents. And the really big similarity between his family and my own is that, like Daniel and his sisters, we had the great good fortune to have loving and kind parents.

What would you say are the themes of All of Us Together?

I didn’t set out to write a themed book, or to be moralistic or preachy. I think that would be death to any story. However, themes do emerge. Daniel’s parents teach their children to be honest and to respect others. Of course, honesty is not always easy, so when Daniel makes mistakes, he knows he has to take the consequences. The love and support one gets from family is also evident, as are issues related to mateship, bullying, and coming to terms with grief.

How long does it take you to write a book?

It’s very hard to give an accurate answer. I started All Of Us Together last year, and worked on it for several months before consigning it to the Too Hard Basket. In January of this year I changed it from third person to first and dived back into, starting all over again. This time I didn’t quit and it took about seven or eight months to finish. So with this one it’s been well over a year. Some of them take a lot longer.

You have won quite a few book awards: how important are they to you?

I’d be lying if I said they didn’t matter. Just about every writer surely dreams of winning the glittering prize. However, I think there is a lot of luck involved in it. The year I won the Prime Minister’s Award (2010) all the other shortlisted writers had reason to be confident. Each of them had won other awards or been shortlisted. Mine was the only book that hadn’t had any previous success. I’m sure if there had been betting on the result I would have been a rank outsider. There are so many good books that I feel should have won awards, but which missed out. What I try to remember is that the glitter vanishes quickly, and few remember who won last year’s big prize. And too, just being published is a pretty big deal.

Have you started on your next writing project?

Not yet. It isn’t that long ago that I finished All Of Us Together and so I think I’m a little more brain-dead than usual. Hopefully that won’t last much longer.

FINDING A PUBLISHER

I have published over 130 books, mostly for young readers. I'm constantly searching for publishers appropriate for the book I'm writing or planning to write. Hopefully these clues will help you, too, track down a publisher. Good luck!

1) Write your book.
When you're starting out, publishers want to see a finished product, or at least part of a finished product. They want to know that you're capable of writing the whole novel. So before you approach a publisher or, even research the market, write your novel.

2) Research the market.
First you need to know what sort of book you've written. Who is your reader? Males? Females? Both? What is the age of your audience? Is your book genre fiction? What genre? What about the length?

Visit local book stores and look for books similar to your own in length and genre. You'll find the publisher's information easily, both on the cover and inside the book. Write down a list of the publishers you find that might be interested in work similar to your own.

3) Research the publishers.
I own a copy of The Australian Writer's Marketplace. You can buy Writer's Marketplace reference books for other countries as well, including the US and UK. You'll find details of many publishers in this reference resource. These details include their address, phone number, email address, website and submission requirements.
Create – and keep up to date - your own list of publishers who publish in your chosen genre. As a writer of books for young people, I have a comprehensive contact list which I regularly update by keeping my eye on publishers’ details in trade magazines, by swapping information with other writers with whom I network and by phoning publishers at least once annually.

The Internet has made finding publishers a much easier task. If a publisher has a website, and most of them do, then visit the website. Research what they are publishing. And look for submission information. Firstly, do they accept unsolicited manuscripts? Your manuscript is unsolicited if a publisher or editor hasn't requested to read it. In other words, your manuscript is unsolicited if you're sending it to a publisher without their prior knowledge.

A lot of publishers include submission guidelines on their websites, which you can easily downloaded. Always read a publisher's guidelines and always follow their instructions. Give your manuscript the best chance. If guidelines aren't readily available on a publisher's website, then send them a polite and professional email asking for a copy of their guidelines.

The reason you conduct research on publishers before you submit a manuscript is to save you time and money. There's no point sending your horror novel to a publisher that only publishes romance novels. There's no point sending your children's picture book to a publisher that doesn't publish children's books or picture books. There's no point sending your unsolicited manuscript to a publisher that doesn't accept unsolicited manuscripts.

4) Be professional
When you deal with publishers or anyone associated with the publishing industry it pays to always be polite, friendly and professional. Publishers are looking for writers who can produce great novels and conduct themselves professionally. This includes submitting your work in a professional manner. A neatly formatted manuscript, accompanied by a well-written query letter will be more readily accepted than a hand-written, unedited story!

You can find plenty of articles about query letters, manuscript submission and formatting here: http://www.fictionfactor.com/submission.html

5) Be Realistic
Biggest does not equal best! Almost every writer wants to see his or her own book up there on the best seller lists. But aiming your book at the biggest name publishing house you can locate is not always realistic - nor is it always the best possible publishing home for your precious work. In many cases, a smaller, more specialised publisher might have a better chance of placing your book in front of the right readers for your particular genre.

6) Research again!
Just because you may have found the name of a publisher willing to publish a book similar to your own does not necessarily mean they are still accepting submissions! Keep a close eye on websites that list publishers actively seeking manuscripts. Some of these even list publishers who are no longer accepting submissions, so you'll at least have some idea of where NOT to send your work.

Here are some links to help you find a publisher's website:
http://home.vicnet.net.au/~ozlit/austpub.html
http://www.publishers.asn.au/links.cfm?doc_id=35
http://www.publishers.ca/CNM_Index.wws
http://www.lights.com/publisher/alphabetic.html
http://www.publishers.org/member/members.cfm
http://www.ukwebstart.com/listbookpubs.html
http://www.booktrust.org.uk/publishers/pubindex.htm

Naturally there are many more websites on publishers that you can find for yourself by searching the Internet.
You can also access the names of Australian publishers by purchasing the Australian Publishers’ Association annual list of members.

You are in the driver's seat of your writing career. Take control and target your submissions to the best of your ability. And that means researching the market and researching publishers.
© Dianne (Di) Bates                                                             

3 smart ways to crank up your creativity

Expand Your Know-How

If you want to excel at something, learn as much about it as possible. "It doesn't do much good to simply say 'I'm going to be a painter,' " says neuropsychologist Dr Rex Jung."You have to know about colour blending and brush strokes." Biology backs this: When we're being creative, our frontal cortex (the part of the brain where memory is stored and retrieved) is activated. That makes sense, because in order to come up with ideas, you need to have info from which to draw. "The more you try, the more knowledge you'll have at your disposal when dreaming things up," he says.

Make Problems for Yourself

Challenge your brain by coming up with what-ifs. You might ask yourself, What if I had to throw an impromptu dinner and all the guests were vegans? Or, What if I needed to look great for an event but didn't have time for a blow-dry?

"By inventing problems and then figuring out solutions to them, you build brainpower," says Dr Mark Runco, a creativity researcher at the University of Georgia, US.

Pick a Letter, Any Letter

"This puzzle exercises both sides of your brain," says psychologist Dr Shelley Carson. Set a timer for three minutes, then jot down all the nouns you can think of that start with a certain letter.

Set the timer for another three minutes and think of two categories the nouns would fit into-it might be places (Florida, France, forest) or parts of the body (finger, foot, face). When you're done, set the timer for three minutes again; re-ategorise the words into two more groups.

CHECK YOUR CONTRACTS

Contract checklist (per Australian Society of Authors)Before you sign, make sure you understand the implications of these clauses
Where your publisher offers their standard contract, check that it:

• Has a firm date for publication

• Has rising royalties, paid on recommended retail price, not net receipts

• Gives approximate price and minimum print run

• Has a revision clause

• Binds the publisher to show you proofs

• Defines responsibility for the cost of illustrations, indexing, photographs and so on

• Has at least two accounting periods per year

• Makes the publisher responsible for the loss of manuscript or book stocks

• Has an effective termination clause.

Check also that it does not:

• Assign copyright to the publisher

• Assign digital/electronic rights to the publisher

• Allow alterations without your consent

• Allow royalties calculated on the price of sheets sold

• Allow overstock or remainder sales within two years

• Set a price for future Book Club sales

• Take a share (other than agent’s commission) of non-print rights

• Hold reserves beyond the second accounting date

• Ask extended rights such as overseas rights without proof of ability to exploit them

• Purport to assign or waive your moral rights

• Include a consent to an act which otherwise would be a breach of your moral rights.

From Barbara Jefferis, Rob Pullen and Lynne Spender Australian Book Contracts 3rd edition (Keesing Press).
 

Titles That Sell

"I can't think of a title. Do you have any ideas?" 

I've lost count of the times someone has said this to me! I usually roll my eyes and groan. Do I have any ideas? Not likely. Coming up with a title is hard work. Oh, sure, sometimes the perfect title seems to appear from nowhere... but more often, it involves a lot of brainstorming and some pretty dodgy choices in the beginning.

A pet hate of mine is what I call the 'Nothing' title. You know the kind of thing: "Treacherous Heart"; "Deception"; "The Wedding". When looking at the books I own before sitting down to write this, I actually spotted two novels on my shelves both entitled "The Wedding." Please, a bit more imagination! (Of course, if you're a best-selling author already it doesn't matter much. Your name is going to be twice the size of the title anyway. All your readers want to know is: "Have I read this one before...? No? Great, I'll buy it.")

Your book title is very important, so it's worth spending a bit of time on it - no, a LOT of time on it! Your title needs to sum up the theme of your book in a few words... yet be 'different' enough to stand out. There's no doubt that a good title can help to sell a book, although a bad title won't necessarily affect your chances of acceptance.

FOR NOW: if you're having trouble, at least call the book *something*. That helps you to see it as an entity. It's much easier to imagine it as a finished product when it has a title. You can always change the title later, but meanwhile you can be thinking of your novel by name instead of just 'my book'.

FOR LATER: keep in mind that your name is going to be associated with the title of your book forever more. You will be sending out press releases about your book; you may be doing radio or TV interviews; you are likely to be introduced at author talks and on panels as "Jane Writer, Author of "How to Make a Million Before Breakfast". Your title will be OUT THERE.

Now that you're thoroughly intimidated, let's think about how you can make your title (a) grab attention and (b) have something meaningful to say about your book. ("The Wedding" might say something about the book, but it's too generic - hardly a 'grabber'. Sure, romance readers like to read about weddings... but which novel would you pluck from the shelf: "The Wedding" or "Too Wild to Wed" (a book by Jayne Ann Krentz)? Your title should make people want to pick up your book and read more.) Here are some titles I found on my shelves that are intriguing, or full of promise, or maybe just quirky:

=== Non-Fiction ===

The One-Minute Millionaire by Mark Victor Hansen and Robert G. Allen. (No comment necessary about why this is effective.)

You'll See It When You Believe It by Wayne Dyer (A clever twist on the standard saying)

Men Are From Mars, Women Are from Venus (An inspired choice that has paid off big time)

=== Romance ===

Vows Made in Wine by Susan Wiggs. (This one came from a quote from Shakespeare: "I am falser than vows made in wine". Intriguing both on its own *and* if the source of the quote is recognised.)

The Mist and the Magic by Susan Wiggs. (This is the blurb on the back cover: THE MIST: Caitlin MacBride, mistress of the beleaguered Irish stronghold Clonmuir, made a wish one evening at sunset. "Send me my true love," she whispered. THE MAGIC: As she watched, a man walked out of the mist that rolled in off the water. In John Wesley Hawkins, Caitlin saw a magic she thought had been lost to Ireland forever...)

A further note on Susan Wiggs' titles: Susan has chosen to stay with the same rhythmic pattern for some of her titles, using the formula "The XXX and the XXX". As well as "The Mist And The Magic", she has written "The Raven and the Rose" and "The Lily and The Leopard". (She also has what I call a 'nothing' title: "Embrace the Day" so it just goes to show you can't win all the time.)

Moving right along: Several authors choose to use well known song titles or excerpts as titles. This works well if it's tied to the book's theme. Included in those are:

Nobody's Baby But Mine (Susan Elizabeth Phillips)

It Had To Be You (Susan Elizabeth Phillips)

Walking After Midnight (Karen Robards)

=== Crime ===

A - Z titles

Some of the best known mystery titles are Sue Grafton's books featuring PI Kinsey Milhone. Grafton started with "A is for Alibi" and is working her way through the alphabet. The formula is simple: "[alphabet letter] is for XXXX". So far we have: Burglar, Corpse, Deadbeat, Evidence, Fugitive, Gumshoe, Homicide, Innocent, Judgment, Killer, Lawless, Malice, Noose, Outlaw, Peril, Quarry and Ricochet. (There may be more out that I haven't seen yet.) Naturally you can apply this formula to any genre: fiction or non-fiction.

=== Short Titles (2 or 3 Words) ===

Greg Iles, a popular writer of thrillers, likes short, punchy titles. People now associate this type of title with his books. It's much more of a challenge to relate the title to your book if you choose an ultra-short title, but it can be done. Greg Iles has written "Sleep No More", "Dead Sleep", "24 Hours"; "The Quiet Game", "Mortal Fear", "Dark Matter" and "Blood Memory". The danger of very short titles is that they can become 'nothing titles' very easily, but in Greg Iles' case, each title does relate to the theme of the book.

=== Humour ===

Everyone likes a quirky, humorous title. One I liked was "The Girl's Guide to Hunting and Fishing" by Melissa Bank - which is a humorous novel related to the mating game, not activities in the wild! Other humorous titles that worked for me are: Getting Rid of Bradley (Jennifer Crusie) and "When She Was Bad" (Jennifer Crusie). There are many more... try going to the library for an hour or so and doing nothing but write down titles that 'grab' you. Then classify them: humorous, song titles, eerie, adventurous and so on. You'll learn a lot.

"How To" books are ever-popular, and these two words in a title often impel readers to make a purchase. Often the "how to" is in the subtitle - for example: "The Perfect Pergola: How To Build Your Own Pergola in 10 Easy Steps".

Pick your own "how to" topic! You might find it effective to link the word "Secrets" with a "How To" title - people love to feel that they're learning something that most other people don't know. (Example: "The Secrets of Property Investment for Retirees: How To Triple Your Nest Egg in 12 Short Months".) A subtitle is an excellent idea for non-fiction - it allows you to choose a shorter, punchier title for the main impact, then add clarification for the reader.

=== How To Find a Good Title ===

1. Spend an hour at the library browsing the shelves and writing down titles that appeal - and why. (You're expected to browse in a library. In a book store you might get a few funny looks.) See if you can figure out, by reading the back cover blurb or reviews etc, how the title is relevant to the subject matter.

2. Use the Internet. Google your way to www.Amazon.com and do the same thing... just research titles. You'll be able to look at magazine titles as well as book titles.

3. Browse at the newsagent. You can often get ideas for titles from the titles of articles in magazines. Check out the phrases used as 'grabbers' on the magazine cover, too.

4. Write down every title you can think of, and all variations of that title. Add different nouns and verbs. Think of how you might be able to use words that relate to colours, numbers, emotions, people and animals.

And After All That...

... be prepared for your wonderful, quirky, clever title to be changed. Aaarrgghh! Sad but true.

Often it will simply not appeal to an editor. Sometimes there will be another book about to be released with a similar title. Sometimes you'll be asked to change it because the title gives away too much! (This happened to me. I gave one of my books for kids the title "The Haunted Concert". I thought it was a great title: kids love ghost stories, and most have experienced being in a school concert. The editor pointed out that most of the way through the book the main character was convinced that his substitute teacher (who was very 'different') was an alien. Instead, she turned out to be the ghost of one of the first teachers at the school. By calling the book "The Haunted Concert" I had given the game away. Duh!!! After beating myself around the head a few times, I changed it.)

Can you fight for your title? Hmmm... not likely. Unless you hate it, it's best to accept the change and move on.

Finally, here's a few words about book titles from well-known fantasy novelist Cory Daniells (Author of The Shadow Kingdom).

You want something that will leap off the shelves and stick in people's minds. You spend hours puzzling over just the right title for your book, you consult friends and family. And then, when you get accepted, the marketing people change the title. This happened to two out of three books in my trilogy.

But it is still worth taking the time to come up with the best possible title for your book. Why not surf the net and compare book titles by your favourite authors: authors whose books will be on the shelves with yours. Which titles would make you pick up the book?

If you are writing a series, you'll need to think of a series title and individual titles.

·        Can you draw on the theme of the series for inspiration?
 

·        Can you link the titles so that the readers will have no trouble remembering them? Think of Janet Evanovich's Stephanie Plum books. 'One for the Money' etc.
 

·        Can you set up a conflict in the title by using two words that contradict each other? I sold a story recently called 'The Nameless King and the Faithless Priest'.

But remember, don't get too attached. The marketing team will have their own ideas... but whatever it is called, it is still your book!

© Marg McAlister

Authors in Schools

Let’s say you want to get into the schools and have a captive audience for your brilliant work of literature. How do you do it? 

1.) If you aren’t vivacious, quick on your feet, and a strong public speaker, it’s probably not a good idea to get into classrooms. Kids expect to be entertained as much as informed (usually entertained more). You need to bring your best attitude to work with kids—they deserve no less. Connect kids with what you know, what you’ve written, what they’re learning, and what they care about and be enthusiastic about all of it and you should be well received.

2.) Know who you’re contacting. Don’t do the ‘To Whom It May Concern’ thing because you can bet it won’t be of any concern to anyone then. Do some basic research. If you’re aiming to speak to the classes of a certain subject or grade level, know who to send your pitch to. Usually the best person to contact (in primary school) is the teacher-librarian; in high school, try the head of English department.

3.) Offer to tailor your presentation to the class’s needs, but also provide the teacher or staff member you’re pitching to with some examples of presentations you can do. Keep it simple for them.

4.) Make sure your materials (emails, pamphlets, flyers, whatever) are professional looking and free of typos. They are frequently your first impression, so make it a good one.

5.) As above, if you plan to give a power point presentation, make it as visually attractive as possible.

6.) What you charge is up to you. At the moment most school’s presenters charge either Australian Society of Authors’ rates, or on average $3.50 per student per hour for performance/talk, with a minimum number of students. I charge $3 per student with a minimum of 90 students. For writing workshops I charge $5 per student for an hour with a maximum of 30 students.

7.) Be clear about what you will and won’t do. For example, I only give writing workshops for students from Year 3 and up.

8.) Arrive at least 30 minutes at the school before your first presentation. This gives you time to meet your school organiser, sign in at the front office and to set up. If there are technical hitches, say with your computer/power point presentation you won’t have children arriving in the middle of the crisis.

9.) Some schools are kind enough to allow you to sell your books. What I do if given permission to sell is send copies of the books to the teacher-librarian. If it’s okay with the TL, I also send flyers with book covers, blurbs and prices to her, asking her to please give to the students. Some TLs are kind enough to save you the time and expense; they will put a notice on your behalf in the school newsletter. The best time to sell books is immediately after school when parents come to pick up their children.

Did you get the gig? Awesome! Touch base with the school and the teacher who is hosting you about a week before you go. If there are things they need to provide (ideally, all they need to provide is the space you’re presenting in), gently remind them of that. Ask if there’s anything specific they want you to reinforce. Check over the schedule and general expectations. Know where you need to check-in (closest cross-street and parking availability).

9.) Support what the teachers are teaching with your presentation. Make their lives easier and they’ll be more likely to bring you back and/or recommend you to other schools.

© Dianne Bates

Do you have a specific query about presenting in schools? If so, send it to dibates@outlook.com and there will be a reply in the next issue of Buzz Words (http://www/buzzwordsmagazine.com) Buzz Words is an online magazine for those in the children’s book industry which Di founded in 2006.

APPROVAL OF ILLUSTRATIONS

Most people would define a picture-story as a unity of text and illustration. If that's

so, writers and illustrators of children's books should collaborate, but it doesn't always happen. In Australia, collaboration is common in trade publishing, but less likely in education where authors regard themselves as fortunate if publishers send dummy roughs for approval.

Trade publishers, who usually work on one book at a time, are courteous, and see the author's input as vital. The problem is that education publishers usually work on large projects - ten, twenty or thirty titles in a series. If they are running late with their production schedules, it's easier to publish without consulting authors.

Dummy rough stage
At the dummy rough stage, the illustrator has made rough sketches of the story, omitting detail. If writers are given the opportunity to see these, they are able to correct mistakes and make suggestions.

Several of my education titles have inaccuracies which I would have detected if I had been shown the work at this stage. (See examples in the Side Bar list below.) Later, when I pointed them out, the publishers said, 'Sorry - we checked, but we didn't notice.'
Authors should check, for they pick up inaccuracies immediately. The author, the illustrator and the publisher should feel proud of a title. It is disconcerting when children in schools point out mistakes in a new book when you are on an author visit. I hate having to apologise. It's worse when you are too embarrassed to introduce a book to children.

Contract clause
I try to obviate the problem by requesting the insertion of a clause in my education contracts - for both picture-stories and titles with line illustrations. The publisher undertakes to commission illustrations for the Work, and the Author shall be given the opportunity to approve the illustrator's first dummy roughs and final presentation (including text).

At page proof stage, it is important to see the final text and illustrations together - hence 'including text'. In an illustrated non-fiction title, for example, a caption may be misplaced or inaccurate or contain print errors. When final text and illustrations are approved separately, mistakes may not be discovered until the book is released.

In practice
While the above clause is always acceptable to publishers, unfortunately it does not always solve the problem. In large publishing houses contracts are negotiated by a Contracts and Rights Officer. The publisher and editors may not see my requested extra clause. Therefore I try to keep informed on my projects by phoning the publishing house so that I know when my text has been sent to an illustrator. I talk to one of the editors rather than to the publisher, and ask the date of the dummy rough deadline. I request a copy for approval and, if there is some hesitation, I mention the extra clause in the contract.

Now the advance copy of a book is rarely a complete surprise for I have seen both dummy roughs and final page proofs. But occasionally one escapes. I was lucky recently. One zoomed through the system, circumventing my extra clause, but the illustrations are a delight!

Checking dummy roughs and page proofs 
Authors need to approve illustrations twice during production: at dummy rough and page proof stages. Here are a few examples from my experience of the kinds of mistakes which may slip by when the author is not consulted.
* The text of a picture-story was in correct sequence, but the illustration for the second double page spread (pages 4-5) were placed first in the book, followed by those for pages 2-3.

* The text of a picture-story about King Beast, a boasting lion (called King Boast behind his back by the other animals), had a twist at the end. Courageously, the animals sang 'Happy Birthday King Boast'. A twist was lost when the illustrator put the words into a speech balloon, with 'Beast' instead of 'Boast'.
* In a picture-story about three children, aged 4, 6 and 8 years, the eight-year-old was variously represented in appearance as 8, 10 or 12 years of age.
* On one occasion, page proofs for a non-fiction book with line drawings and photographs were sent, but did not include captions to the illustrations. Errors discovered on publication included: misplacement of two captions, three grammatical errors in captions, and several spelling mistakes, one being: 'A penguin's leg is branded...'
* And now for a lucky picture-story in which a beetle and a spider were two of the characters in a cumulative tale. The illustrator had depicted the beetle with four legs and two body parts, and the spider with six legs and three body parts. Luckily the sketches were sent to me at dummy rough stage. Saved!
© Edel Wignell
Note: This article was first published in the SCBWI Bulletin in 1996, and then in New Writer Magazine (Australia) in 2002.

7 SIGNS THAT YOU'RE DESTINED TO BE A WRITER

1. You Were Born With a Pen in Your Hand

Well, not literally of course... but close! If you remember eagerly uncapping your pen at school to write about 'What I Did in the Holidays' or 'My Big Adventure', then you probably had no chance from the start - a writer you were destined to be! (No doubt your idea of a fun school vacation was to sit in a room and write stories all day, too...)

2. You Were Always Lost in a Fictional World
Did people have to come right up to you and shake you to get your attention when you were reading?

Did you ever pull a book out of your bag and wander to school with your eyes fixed on the pages (dodging death from skateboarders and cyclists because you simply didn't see or hear them?)

Did you often stay up so late reading that you went to school with a headache or bleary eyes?

If you say 'yes' to all three, no writer will be a bit surprised. It's more than likely that even today you always have a book or three by the bed, and panic at the thought of running out of reading matter...

3. You Find That All the World's a Stage
Sometimes it seems like the world is filled with characters just for you to draw on for your novels. You can't sit in a coffee lounge without wondering about those around you, and a snippet of overheard conversation is enough to have you busily giving them all stories and backgrounds that would probably amaze them if they only knew. And as for relatives - well, they know by now that their lives provide you with a fertile source for your novels.

4. You Keep Notebooks Everywhere to Grab Those Fleeting Ideas
Never let it be said that you let a good idea go to waste. You scribble down interesting news stories, scraps of conversation, plots prompted by the latest celebrity scandal - and yes, you even have pages of illegible scrawl from fragments of dreams that you record in the dark at 3 am. And where DID you put that TV magazine with that amazing idea scribbled in the margin...?


5. You're a Writing Resource Junkie
You can't help it. Your shelves are groaning with Writing "How To" books; you've signed up for dozens of workshops and short courses, and you can't resist nifty software that helps you to brainstorm ideas and to organise your plots. You have a house full of books, hardware, software and manuals - even video tuition - but you can't get enough. Every birthday is a great reason to spend up on more to feed your habit: a new laptop computer or a ticket to a writer's retreat. All perfectly understandable...

6. You've Given Up Writing at Least a Dozen Times
... but you keep coming back for more: writing is like a drug to you. You just can't NOT write! It's frustrating, heartbreaking, exhausting, and you think you must be crazy to keep going back to the computer - but you do anyway. It's in your blood and there's absolutely no cure. None.

7. You Are Secretly Convinced That You Can Write As Well as...?
J.K. Rowling, Patricia Cornwell, Maeve Binchy, Jennifer Crusie, Janet Evanovich, Jack Higgins, Kathryn Fox, Jeffrey Archer... YOU fill in the blanks! You 'know' that they have just been lucky; they came along at the perfect moment. If you can only catch a break, it will be your name in the best-seller lists, right next to theirs.

And that might well be true. Not that they've 'just been lucky' (how often have you heard the saying: "The harder I work, the luckier I get"?) but it's quite possible that you can write just as well. All editors know that there are many, many talented writers out there who simply gave up too soon.

So right here and now, resolve that you won't be one of them. If you recognise most of these '7 signs' (and yeah, okay, they ARE a bit tongue-in-cheek!) then... there's nothing for it but to take a deep breath and get to work.

No use fighting it. You're destined to be a writer. The computer's waiting for you... so off you go. 

© Marg McAlister McAlister and Writing For Success

Marg McAlister's writing sites and ezines are full of up-to-date, practical advice for writers. Get timely tips to ensure writing success both online and in print: http://www.Writing4SuccessClub.com http://www.writing4success.com http://www.EsssentialGuidetoGhostwriting.com

10 Ways Get Rejections (and how to prevent it)

Everyone has heard the saying, "I could paper my walls in rejection slips." If that’s your decorating plan, it’s easy to do. Or, you could do the opposite and paper it with acceptance letters.

1. Dash off a quick query letter. Make sure that in your letter you beg the editor to read your article, bribe them with bikkies squeezed into the envelope, and let them know that your mum loves the story idea. (Alternative: Create an enticing, exciting, well-thought out query that makes the editor want to see your article or book. Let your writing, idea, and credentials speak for themselves).

2. Start with the A’s. Don’t research for the best publisher, just keep sending your manuscript or query out to everyone under A, then move on to B name publishers. (Alternative: Spend time researching the market for your type of idea, article, story, or book. Study similar pieces and learn the name of the editor).

3. Your story or article is great the way it is and you don’t want anyone telling you to change anything. Never let anyone read your work before you mail it out. (Alternative: Join a critique group. Be open to suggestions from other writer’s and listen, consider, and rewrite).

4. Assume that you know best what the magazine wants. You’ve been a reader for a long time, so make sure and send in your completed article whether it’s what they usually buy or not. Let the editor know you think they need a change and your piece is just what they need. (Alternative: Be flexible and send a query first. Maybe the editor will like your idea, but not your slant. Maybe she will want different experts or require them if you haven’t suggested using them in your piece. A flexible writer is one an editor comes back to again and again.)

5. Send an epic when they want a skit. The magazine may say they want stories from 1000-1500 words, but they just don’t know how wonderful your 6,000 word story is unless they read it. After all, their guidelines aren’t written in stone, are they? (Alternative: Believe that editors mean what they say. Don’t send a manuscript if they want a query. Keep to word counts. Always send a Self-Addressed Stamped Envelope. Make an editor’s life easy and they’ll remember you.)

6. Guess your facts. Who will know? You are pretty sure you heard somewhere that all dogs are color blind, but you can’t remember if it’s a myth or a fact. But since lots of people say so, it’s probably true so just put it in that way. If it’s wrong, an editor will fix it. (Alternative: Talk to experts when you are stating facts or statistics. Keep records and contact information. Your editor will probably check up on these things and will know if it’s been guesswork on your part.)

7. Make sure you work stands out. How about a cool looking font? If you print in 8 point you can get more on a page, or in 16 point your editor can read it really well. What about a colored envelope or cute drawings on the corner of your query letter? Getting noticed is your first line of attack. (Alternative: Keep everything professional. Use 12 point, Courier or Times New Roman, and stay away from the hot pink and eye-popping purple stationary and envelopes. Your ideas and writing should be what stands out.)

8. Bug the editor. Check every week on the status of your work. Gosh, if it’s online, they should be faster, so email them every day in case they forget you. (Serious alternative: Never harass an editor. If your idea has been on their desk for a lengthy period of time, perhaps 2-4 weeks beyond their listed response time, send a polite letter or email, then give them another 2-4 weeks to answer. When you decide to withdraw your manuscript, be tactful and don’t burn your bridges.)

9. Send your first draft. After all, it’s straight from your heart. If they like your idea, then it’s time to dash out the manuscript and send it in immediately. (Alternative: Look over any ideas they might have mentioned for changes in your original query. Think about the best way to set up, research, and write down your article. Keep your promises. If you promise 101 Ways, don’t give 85. Let your writing cool and take a fresh look at it before dropping it in the mail or hitting that send button.)

10. Send out dozens of copies of your story or article to every magazine you can think of at once. You’re not getting any younger and you can’t afford to wait 3 months to hear back. (Alternative: Keep accurate records of when and where you’ve sent your writing. Unless it’s time sensitive, give the editors a chance to get to, read, discuss, and consider your piece. Don’t be afraid to follow-up, and then send your piece elsewhere if you get no response. Instead of shooting one manuscript 20 places, try working on another while the first is being considered. And another, and another, and another.)

Your office doesn’t have to be papered in rejection slips. Think of the alternative instead. And find some soothing wallpaper for the office.

A Publisher’s Perspective

As most readers will know, I have a children’s book imprint, About Kids Books (http://www.aboutkidsbooks.com ). I recently published the first title (All of Us Together by Bill Condon), an exceptional family story for readers aged 8 to 12 years set in Australians set during the 1930’s Great Depression. This novel is so good that it pre-sold almost 3,000 copies to book clubs and I have entered it in a number of literary awards. Bill’s previous junior novel, The Simple Things (A&U), was CBCA short-

listed in 2015. I am a huge fan of his multi-prizewinning novels for both children and young adults.

Recently I received an email from a newish children’s author. Below find her question -- and my answer.

I was wondering if it okay for me to ask you something as a publisher, please? If you don't mind sharing, what is it about the manuscripts you've received thus far, that hasn't appealed to you? What should I avoid?
Most of the stories I receive don't have a vivid, memorable voice. Often the language used is pedestrian, the storytelling not at all compelling. Often there is a lot of telling rather than showing. And opening paragraphs are lack-lustre and don’t grab one’s attention. Too often, as well, the punctuation – particularly paragraphing and dialogue -- is appalling!
Today, a children’s author friend sent me the first three chapters of her new novel today and eight hours later I am still thinking about it. That's the sort of story I want! The setting of her story is unusual (in a graveyard), the narrator is a boy ghost who meets a very eccentric girl (not sure if she's human, yet). My friend’s last manuscript, which I'm sure she'll get published, features, in an Australian country setting, a girl with synaesthesia who has a relationship with her family’s Japanese exchange student: both are keen on the history of the girl’s town.
What most attracts me is a story such as Maya Angelou said: 'The idea is to write it so people hear it and it slides through the brain and goes straight to the heart.'

I want to be moved by a story, whether it is deep and meaningful or full of imagination and fun (like Will Mabbitt's Mabel Jones books). One of the best books I read this year is by Linda Coggin. That Dog, Ray tells of how a girl gets 'inside' a dog; she tells the story from a girl's point of view, but as the story progresses the dog takes over the human in thinking and feeling. An amazing read! Another graveyard book, for older readers, which impressed me, is Magritt by Lee Battersby (Walker Books Australia).
So what I want is some -- or preferably all -- of the following -- a main character who totally engages the imagination and is memorable, prose that is rich and succinct, storytelling that sweeps the reader along, a setting that is unusual. It can be a story about anything! Originality is the key. Oh, and the book must be child-friendly (some authors focus too much attention on parents in stories).
An Australian debut author's book I'd have greedily grabbed with both hands is Figgy in the World by Tamsin Janu (Omnibus Books). Set in Africa about a small girl who goes with her goat looking for America so she can get medicine for her ailing grandmother (but the child has no idea where America is, only that the country has specialist doctor.) I am also a big fan of junior novels by Ursula Dubosarsky and Glenda Millard.

I’m still seeking a seeking a second manuscript to publish (after receiving and rejecting 160 manuscript submissions) and yes, I would take a debut book: I have one at the moment which interests me and I am now getting a second -- and maybe a third -- opinion. It is set in Rome, has a third person narrative, and is from the point of view of a dancing cat which saves the day. It’s written by a debut author but the story is different from any other I've read. The author has absolutely no social media presence: until I asked her to do so, she didn't even have her own email address!
Finally, two other  manuscripts which interested me: one was a legend and far too short: I asked the (well-known) author for another story of the same size but she didn't have one. The other very interesting and well-written story, by someone who has published and is well known as an editor, was set in medieval England, but it needed a glossary:  this turned out to be 135 words, far too long. She says she is 'dumbing it (her story) down' which sounds sad, but I'll take another look if she resubmits. There was a third book by someone whose books I love, but this writer is in grieving and she just couldn't manage to re-write: maybe one day she'll get back to her humorous junior novel.
As a reader, my preference is for social realism books but anything that's terrific is of interest.

Note: When the writer asked which of my own books I thought was worth a read, I told her A Game of Keeps (Celapene Press). It’s a book I think worthy of the About Kids Books imprint! Go to http://www.celapenepress.com.au and scroll down the page. You will see also that Celapene published Nobody’s Boy, a junior verse novel and CBCA Notable.

by  Dianne Bates 

A Note to Publishers Part 2

 LINKING WITH THE AUTHOR

What publishers can do to promote their authors is to first establish a relationship: find out what the author wants or is willing to do, for example:

- school/ teacher talks

- author tours

- book fairs

- promotional tour

- sending press releases to local media

- presenting at festivals and/or conferences

- presenting at Staff development days, at Regional librarian meetings

- talking to local organisations, for example VIEW clubs

The publicist can ask the author to write articles for industry magazines e.g. Scan, Magpies, The Literature Base, Practically Primary, and Buzz Words about aspects of their new book. The author can also write articles that link with special days, (for example, I wrote a number of articles for Mental Health Week, which linked with my book Crossing the Line). Arrange a 'connection' with an excursion destination (once again curriculum link is great). The best example I can think of here is a big one (but it doesn't need to be this scale): to promote her book, author Felicity Pulman organised a tour of the Sydney Quarantine Station, the setting of her children’s book Ghost Boy. Make sure books are available for sale where the author is presenting. Link up with another of your publishing house’s authors in the same education area/topic: this way you can provide a 'dual package' to schools, i.e. two authors on one school visit.

Target special interest groups e.g. English as a Second Language or Gifted and Talented Children. Be aware of any special focus or special projects the Department of Education is undertaking – check their websites all the time and make contact at any opportunity. Be part of initiatives by education-related groups such as PETA - once again, check their websites all the time and make contact at any opportunity.

AUTHOR KITS

Publishers ought to prepare an author kit giving advice on where to go for publicity and how they can represent their book. One of the very best things publishers can do for an author is to arrange for him to speak briefly to their book reps. This gives the reps some anecdotal information and enthusiasm they can pass on to teacher-librarians. The reps can also give the TLs a sheet which provides information on how to contact the author for a school visit and where to look for teaching notes. On the day the author visits the publisher’s office to talk to the reps, it’s advisable to have the publicist and author sit together so that between the two of them they organise strategies for promoting the book. So often publicists work independently of authors: they usually don’t even get to meet those whose books they are paid to promote!

ONLINE NEWSLETTERS

Allen & Unwin and Walker Books Australia send me great online newsletters every month with details of their new titles, as well as news such as author tours, author interviews, competitions and giveaways. I often order books as a result of reading these newsletters. Ford Street also sends out a very good online newsletter promoting its recent titles.

TEACHER-LIBRARIANS

Teacher-librarians love to be signalled out for the work they do. Every region has a teacher-librarian network. In the Illawarra there is the Illawarra School Librarians Association with 120 members. It would be a worthwhile exercise once a term for a publishing house to offer a night highlighting: invite an author, illustrator or designer along to talk about their work. Offer refreshments and discounts. These nights can be held in bookshops and serve a double function, making the bookshop a profit and strengthening the bookseller/publisher bond.

Publishers could have a ‘meet the children’s authors’ event. This is an excellent way for a publishing house to get their writers to meet the general public (including teacher librarians and book reviewers, as well as the publishing house’s staff, e.g. marketing and publicity people).

BOOK LAUNCHES

It is a good idea to support book launches in schools. Richard Harland’s launched the Wolf Kingdom series in a Wollongong school. Richard organised a bookseller for the day who in turn contacted the school and sent order forms. On the day of the launch, 350 copies of the book were sold. At a second launch, at another school, 300 additional copies were sold.

If they are proactive, authors can sell a lot of books; therefore it seems sensible to allow them to do so, so make provision for this in their contracts. Give them the same discount as booksellers. When my author husband Bill Condon and I worked in schools as performers, Bill would speak in the morning to infants’ students, I’d speak to primary. At lunch-time we sold our remainders, usually for $3 or $5 each. It was not unusual to sell over $1,000 worth of books in the one hour lunch-time period.

FESTIVALS AND CONFERENCES

Publishers, encourage your authors to attend functions such as literary lunches, festivals and conferences. Publisher Paul Collins writes to each of his Ford Street authors asking them for a few lines of biography and then sent them collectively to all writers’ festivals around Australia saying these authors are willing to appear at your festival. There are dozens of festivals and conferences and all of them have large audiences.

Publishers, make a list of all of your children’s authors, along with their Send this list out to CBCA regional branches, conference & festival organisers, and regional teacher librarian groups indicating that the authors are available for visits. When authors speak at conferences, provide bookmarks and promotional material. Give the author a list of local media (and contact details) when they are to appear at a festival, conference or literary lunch. The author can organise interviews – or, if you are accompanying author, you can organise them

AUTHORS’ EMAILS & WEBSITES

When authors send emails, encourage them to have a signature on each email which includes not only contact information, but the name of their latest books. A website is an author’s best investment in PR as it is that author’s shop front. Hazel Edwards recommends that authors give added value. ‘Have ready on your web site well-labelled activities which relate to that book title. This can be sent to schools, libraries or bookshops which have newsletters or events to which the author is invited.’ Publishers, give teachers' notes or additional resources to the author to put on his website. Encourage the author to have a generic 'How to'' or “How this book was written”, a 1,000 word article for easy sending to interested parties. As well, have a hi-resolution author photo on your publishers’ web site so it can be down-loaded by festival organisers and save you e-mailing.

WHERE TO PRESENT YOUR AUTHORS:

· School visits or writing camps (talking to children)

· Staff development days

· Regional librarian meetings

· Conferences and festivals

· Articles in teaching industry magazines

· On your website

Will publishers implement many – or any – of these suggestions? Hard to tell. However, every author I’ve discussed these ideas with has been fully supportive, and a happy author ought to be one of the main aims of every publishing house.