Redundant Editing?

Redundant Editing

This blog has an overwhelming preoccupation with book editing. For many, that’s the image of an editor that springs to mind when you hear the word. But for others, the vision can be that of the harried newspaper editor, a la Spiderman’s John Jonah Jameson Jr.

However, the endurance of that vision must be called into question. As we move deeper into the digital age, print newspapers are seeing circulation rates plummet, as consumers increasingly look to the screen for their news.

The result is that newspaper companies have been forced to slash jobs. What is interesting is that these have overwhelmingly been from editorial departments.

On 24th November, the Sydney Morning Herald reported that News Corp, Australia’s largest newspaper and media company, was to axe 55 jobs, all from editorial.

Traditionally, editors, particularly copy-editors, provided vital support to the newspaper publication process. Their job was primarily about being a second pair of eyes to review the article before it was printed. Editors oversaw corrections to spelling and grammar, fact checking, and changing sentences that may have left the newspaper liable to defamation or other legal issues.

With the cuts to editorial, these jobs are being consolidated into the ever-expanding role of the journalist. Increasingly, the onus is on these individuals to not only write, but also to find their own stories and edit them. The journalism process has changed to facilitate even more rapid news reports, by having articles immediately uploaded to the web, then subsequently incorporated into print.

This has significant implications for newspaper quality. As we all know, the benefits of having someone else review your writing are substantial. Most of us quickly grow familiar with our own work, making it more difficult to spot mistakes, or places where improvement is needed.

Inevitably, things slip through the cracks. Editors Victoria demonstrated how a lack of editorial review contributes to even the simplest mistakes, when they posted a photo of the Herald Sun’s December 2 front page. In a blatant typo, the newspaper proclaimed the year to be 2105, transporting its readers 90 years into the future simply through a disordering of the number keys.

Herald Sun

It was a very simple mistake. How many times have any of us hit the wrong keys as we whiz through a document? But this easy fix made it all the way through editorial and print, to appear on shelves across the country. I have to ask, if the Herald Sun had been given adequate editorial support, would this error have still slipped through the cracks? I consider that unlikely.

Many people, those in control of staffing decisions across News Corp and Fairfax in particular it seems, consider the role of an editor to be superfluous – desirable, not necessary. After all, anyone can proofread, right? While I won’t comment on the average person’s ability to fix their own grammatical issues (Youtube comments section anyone?) editors provide a level of quality control that our newspapers are currently floundering without.

Those in charge may think that axing editorial staff is the most efficient way to cut costs and have the waning print newspaper format survive in the digital age. I can assure them that it isn’t. The increased production of poor quality work that we see when the position of editor is devalued will only accelerate the decline of the medium, as consumers search for a medium that can at least get the date right.

A Matter of Unparalleled Import

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Last week, the Government announced it would support a recommendation to remove the Parallel Importation Restrictions (PIRs) that are applied to books by the Copyright Act, last proposed by the Productivity Commission in 2009. This is a serious issue for anyone interested in the book industry, as PIRs are a vital financial foundation of Australian publishing. As the Productivity Commission stated in their 2009 report,

“Parallel Import Restrictions (PIRs) provide territorial protection for the publication of many books in Australia, preventing booksellers from sourcing cheaper or better value-for-money editions of those titles from world markets.”

The report goes on to suggest that PIRs place upward pressure on book prices to the benefit of publishers and authors and detriment of consumers. What it does not state are the benefits to the consumer from the PIR regime, namely access to a higher quality product and greater opportunity to read and discover local authors.

Certain commentators have been dismissive of these benefits and the affect of PIR on them. They have argued that the removal of PIRs will have virtually no effect, as the industry is much stronger and competitive than it claims, or should become so as an effect of the changes. They haven’t offered any real evidence to these claims.

One complainant has even objected to the use of colourful language, to which I say: This is the business of words, why would they not be used for effect? And distinctions of the colour of the language aside, the result of this recommendation would be disastrous, so let’s not waste time critiquing the semantics.

If we must discuss the language, then let’s talk about the buzzword that all economic reform in this country now hinges upon: innovation. Let’s be clear, destroying territorial copyright is not innovative, it’s destructive. For this economy to succeed through innovation, it’s about making Australian product and industry innovative, not “innovating” policy to allow world markets to crowd Australian book producers out. That’s not the creation of competition. It’s the end of competition.

The Australian publishing industry is a diverse and competitive place. The proof of this is in the success of Independent Publishing, which is thriving in this country, in large part due to innovation. To hollow out the value of the market by flooding it with cheap international titles will destroy the conditions by which this innovation and competition is possible.

Why invest in local books when the risk of a return is made even more untenable? We already function as an extremely high-risk industry, and all this policy does is diminish the reward.

As a result of of removing PIRs, investment in Australian publishing and writing will be down, which means jobs will be cut and the voices of many local authors will not be heard here or overseas.

So how do we address this and stop it from occurring?

I had considered an open letter to the Prime Minister and Treasurer, but respected authors Richard Flanagan, Peter Carey and Tom Keneally beat me to it. Their letter was fantastic and covered many of the same areas I wanted to cover. But I absolutely wanted to reiterate some of those concerns and add my voice to this debate, because without vocal opposition, this policy could very well come to pass.

The Australian publishing industry employs some 20,000 people, and is worth around $2 billion. Territorial copyright is a pivotal financial plank of the industry. One of the counter arguments to this is that most of this money is made by Australian branches of multinational companies. But this naively ignores the various economic and cultural benefits that those companies bring to the Australian publishing industry. To see the vacuum that could be created by diminishing this input, one only needs to look to New Zealand.

One thing that these recommendations don’t seem to understand is this: Booksellers cannot compete with Amazon on price. The removal of PIRs may bring a temporary breath of cool air to booksellers, allowing them to drop prices, but they know as we all do, that Amazon cannot be beaten in a price war and nor should we want that. Not only would it signal the further deterioration of the perceived value of the book, it would diminish us as a book industry.

It’s a flight of fantasy that books cost too much. In Australia, the standard price of a paperback has dropped by around 20% since 2009. This fact alone shows that the Harper recommendation doesn’t understand or comprehend the mechanics of this industry. Yes, PIRs may place upward pressure on book prices, but local competition, as well as competition with overseas online retailers, places downward pressure on book prices. Competition from online retailers is not going to decrease in the future, so if anything the PIRs are vital to sustaining some upward pressure to keep publishing both profitable and able to employ the 20,000 or so people that it does.

I’d like to ask the Government this: if they are intent on removing PIRs on books, then they should first commission a review of the Book Industry by a panel that understands that this stunning practice of culture and commerce is an altogether different beast. As it stands, the removal of PIRs for the reasons stated in the recommendation is shortsighted and based on a poor understanding of the economics of the book trade. In short, it’s moronic.

I’d love to fight with people in the comments. I love doing that. So please, have a crack.

As a wrap I would suggest the following for further reading on the subject (not all of which I agree with):

Black Inc. and Hachette: how the removal of PIR will affect our business, from Books + Publishing

The Productivity Commission Report on Copyright Restrictions on the Parallel Importation of Books

Jason Ensor, Read it and weep: the book trade needs more than parallel import restrictions at The Conversation

A resurrected debate with the same old dead language, Peter Donoughue Pub Date Critical

 

The Reading Season

Reading Season

Like everything else associated with the holidays, I’m sure you’ll consider this article one that comes too soon. But, for the publishing industry, the looming spectre of the Christmas season has well and truly begun.

 

This post was spurred partly by my receipt of an actual gasp physical book catalogue last week, geared at – you guessed it – Christmas shoppers. With a smidge less than a month until the big day, every business even remotely associated with retail is pulling out all the stops.

 

However, I was curious as to what Christmas meant for the publishing industry. As one that produces physical objects that may easily be used as gifts, it would be clear to anyone that this particular national holiday is important to book sales.

 

And yet, for many, the book is not at the top of any Christmas lists. True, the rectangular package under the tree does have it’s own brand of predictability. The avid readers out there will also be familiar with the mingling of excitement and dread as you unwrap a carefully chosen book to be confronted with your fourth copy of Pride and Prejudice. Book buying can become a minefield at Christmas time, so how does the publishing industry address this?

 

Well, first and foremost, by increasing the number of new and exciting titles for readers to salivate over and parents to be confused by. The significant increase in books being released for publication around the first week in October has become so apparent that it now has its own name – Super Thursday. This is the day on which many of the big potential bestsellers are released, with plenty of time to entice shoppers away from shiny plastic and chocolate-coated nuts.

 

The reason for this is that new books are generally given between 2-3 months to prove themselves, sales-wise. Usually it becomes clear after the first two months whether the publisher has a bestseller on their hands or not. By releasing books on Super Thursday, these books have just the right amount of time to get on the Christmas bandwagon and help the word of mouth spread in the seasonal sales rush.

 

But this is done in order to target a certain type of recipient – the ones who (apparently) most commonly receive books for Christmas. An article published in UK newspaper The Telegraph a day before the publication of this year’s Super Thursday books noted a large skew in one area – children’s books, and a complete absence of one particular genre – chick-lit.

 

This says a lot about the expectations publishers have drawn out about who will be buying books this Christmas. Overwhelmingly, the season is targeted at children. So an increase in the release of books aimed at this age bracket makes sense. Christmas-themed books also represent a growing and popular trend. The Elf on the Shelf book, for one, has combined Christmas, books and toys in such an appealing way that many will choose to sit a small plush elf in their children’s room this Christmas, in an effort to both awaken their holiday spirit, and get some well behaved children in the bargain.

 

The other trend is more interesting. The absence of chick-lit novels, and the presence of those focused on crime and war suggests that – if you’ll forgive me for invoking a stereotype to demonstrate how I think the industry is using it – that book publishers consider men (particularly older men) to be the recipients of books more often than women will be this Christmas. This is certainly not to say that the industry is ignoring women over this time, but it does not appear to be their focus.

 

Interestingly, this surge in publication around Christmastime is also a positive step for the future of the print book. Let’s face it; an eBook has to be one of the more underwhelming presents available. Oh cool! A digital file! – said no one ever. And the rush is predominately towards print.

 

This Christmas, you may choose to buy a book for a loved one, or even yourself. Certainly the outpouring of usually non-existent catalogues and a higher percentage of new, physical books would suggest that this might be a good time to stock up. For the publishing industry, just like others involved with consumption, Christmas is an important time, with products produced especially for those swept up in the spirit of the season.

The Forgotten Readers

Forgotten Readers

We’ve all been inside one. For many, including myself, our love of reading was grown and cultivated in a building absolutely bursting with books. You could stroll through the seemingly endless rows of towering shelves, trying to find that perfect book. Especially as children, libraries seem to house never-ending possibilities for reading. Across the country, indeed, across the world, libraries are institutions that open their doors to thousands of avid readers every day.

Whilst the library is the main source of reading material for numerous individuals, it is a commonly overlooked vehicle for increasing promotion and awareness of your book. This is largely because many don’t consider an institution that buys one copy of a book and then lends it to as many people as possible an opportunity for substantial profit.

However, if you look a little closer, you’ll see that there are far more opportunities for promotion than first meets the eye.

It has been suggested that libraries purchase as much as 12% of all books sold in Australia. Although many towns no longer have bookstores, especially rural ones, many of them still have a library, or have access to a travelling library – yes, those still exist! All these libraries need to be stocked, and librarians are always looking for new and interesting titles to attract readers to their shelves.

The fact that libraries only buy one copy of a book, and are therefore not worth spending time marketing to, is a common argument. However, not only is this not always true, even when it is, that’s no reason to discount the library. School libraries in particular are known for ordering class sets (usually around 30 copies) of books they are interested in acquiring. If a book proves popular, libraries may buy multiple copies in order to cater to demand.

But even if they only buy one copy, that copy is one more sale you didn’t have yesterday. In a 2011-2012 report, Australian Public Library Statistics recorded 1,505 public libraries across the country. If every library in Australia bought only one copy, that’s still a significant sales count.

Additionally, the report noted that there were approximately 9 million visits to libraries every month. Consider the exposure that one book could get if it was seen 9 million times a month. Nowhere but a library will you have that kind of potential for people to see a book, and quite often pick it up and read it. If they love it, not only do you have a loyal reader, but they’re very likely to spread the word to all their friends, who can easily access your book from their library.

For the small press author, libraries, especially your local library, can be a great support in getting your book talked about. Many regularly host events with authors, including talks and signings. Others may also support the idea of launching your book right there in the library. Events like these not only open up more opportunities for sales, but also make sure your book is exposed in a place that has regular and dedicated traffic – and they ALL read books!

As many libraries purchase largely through library vendors, this can limit the opportunity for small press and self-published authors to get their books on the shelves. But that doesn’t mean there isn’t a chance. Local libraries in particular love supporting authors who reside nearby. And once the word spreads about books that are popular, other libraries may begin to show interest.

Nowhere else in the world can you regularly attract such a concentrated group of readers as you can in a library. Those who are focused on the bottom line in the short term can dismiss those non-paying individuals who grip tightly to their library card. However, increasing the number of people who see and read your book is never a bad thing, in the long term it will contribute to an increase in sales. Especially if those library patrons are all as impatient as I am and, when faced with their desired book being on loan, goes out and buys their own copy because they cannot bear to wait. The book industry forgets about library patrons at their peril.

The Bones of the World

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It’s both fitting and amusing that Jen’s most recent post was about deadlines, as I am absolutely beyond the deadline in getting this done. Sometimes we’re all terrible at time management, even us chiding editor-types. But I’m here now, and I’m finally blogging about immersive worlds.

There’s nothing better than diving into a new book and finding yourself in a beautifully crafted world. The best stories are so immersive that your hands clench the pages, your head bows and you’re lucky if you remember to draw breath. You can sit like this for hours, consuming (not literally, or maybe literally – it’s your imagination) the flora and fauna of a new planet or wading deep through the storied life of the protagonist’s forebears. Losing one’s self in the hierarchies of different societies and the intricacies of new cultures that span centuries is a great way to use an afternoon, or the hours before your alarm at dawn.

At Book Expo Australia earlier this month, I had the pleasure of attending the Fantasy Worlds panel to listen to Tracy Joyce, Patricia Leslie and R.B. Clague. While the conversation was wide-ranging, all three authors agreed that making things relateable was a fundamental part of good world-building in order for the work to be engaging. This is crucial, regardless of how many different technologies or magical elements a sci-fi or fantasy world may have, the reader still needs to be given a bridge from their everyday to the book. This relativity is then a foundation from which to draw the reader further in to the book.

Another aspect that the authors discussed was that the details in the world need to make sense, or else readers will turn right off. Now, a fantasy world may not necessarily align with our own rules of reason and logic, but where it does diverge, it needs to so in a way can be explained or at the very least excused under artistic license. For Tracy, in the creation of the world of Altaica, research was crucial. She would research cultures and technologies that might share some values or aspects of the cultures that exist in the fantasy world she was building. Most of this research doesn’t go directly into the book, but it allows the author to approach the good stuff that actually makes it into the final cut in an informed way. This gives fantasy fiction an element of truth, so that the reader can say “Yeah, that makes sense” and then want to know more.

In much the same way that authors should have that research as a basis, they also need to give the reader a structure. I’ve always found that my favourite fantasy authors have done this incredibly well, such as David and Leigh Eddings and Sara Douglass. I love the way in which they place their stories into these beautifully designed worlds. I’m a bit mad about this stuff and so I particularly enjoyed The Rivan Codex, which details this process for The Belgariad and The Mallorean series. I’d recommend it to anyone else who loves thinking or reading about how fantasy worlds are made.

One thing I particularly appreciate when I’m reading a new fantasy or sci-fi book is when the author lays out the bones of the world. Not in a boring way of course, where it’s just a list of where things are and why, but as part of the opening of the narrative. It gives me a place to perch and observe the structures that are driving or supporting the story.

Once these structures are eked out, I find that my imagination can be funnelled through them and directed to the important places and colours and people. This is a crucial part of making the world accessible to a reader, and it needs to be accessible or else they won’t ever really visualise it. Once I can imagine it, then I can start in on questioning it. Is it topsy turvy or earth-like and why? Has everything gone pear-shaped for some inexplicable and possibly metaphorical reason? These are things I want to know.

On a related but tangential finishing note, the other thing that I’ve always found to be particularly immersive is character development. Now this is a no-brainer, characters need to be interesting, in order to draw the reader in. Rounded characters that are full of depth, but not fully on display are the goal here. These characters must interest the reader, but the reader doesn’t necessarily have to like these characters. This is standard stuff, but please don’t forget, it as good characters will do more to make a book immersive than anything else. Again, harkening back to Eddings, the character of Silk (also know as Prince Kheldar of Drasnia, Radek of Boktor, Ambar of Kotu etc.) is a wonderful character that is interesting and fun, and importantly is very nearly real. He’s not even the protagonist and yet the reader is able to understand and relate to him, cunning and rat-like and loveable as he is. Frankly, Silk is the best (put that on the record!).

Oh and Happy All Hallow’s Eve!

The Inescapable Villain of Time

Time

We’ve all felt the anxious pressure of a deadline looming. That sweaty palm, sleepless night dread that you will never get anything finished. It’s terrifying, and it makes you wish you’d never signed up to do this crazy thing you said you would.

Deadlines are something authors, like the rest of the world, routinely face. Manuscript in by this date, have your draft done soon, we need it! We absolutely must publish on that date! The more famous your work is, the bigger the expectation, both from your publisher, and your rabid fans. Your first book might be relatively free from stress, but for sequels or follow up works, there’s often a weight of expectation that you publish again in a certain amount of time, lest the world forget about you.

With some of my own personal anticipated sequels due to come out soon, as well as a number of our Odyssey authors working on sequels, I’ve begun to question the influence of a looming deadline on the work that is produced.

One maxim that is so oft repeated many don’t remember where it came from, is the idea that ‘You can’t rush Art.’ It is undeniably true. You can spot a shabby, hurried novel from a mile away. There are continuity issues, the plot doesn’t make sense, or a key detail has been left out. Additionally, the creative process can be notoriously fickle. Some days you may be blocked, and blocked hard. There’s nothing you can do to force the process, you just have to wait.

So writing requires time and patience. That’s accepted. But is there a limit to how much time and patience a publisher needs to have? This is a particular problem with sequels. Many readers don’t like to buy the beginnings of a series until they will be assured that it will end. The consequence of this is that publishers will often need assurances of further books, so they can be confident in your ability to remain in the market. Without this, your first novel could be stellar, but it may be too much of a risk to publish.

As you continue on in the journey of writing a series, or even just a set of stand alone books in succession, the need to remain relevant and continually have something fresh to put out there only grows. If you develop a following, your readers will be waiting for new reading material. Make them wait too long, and they could easily forget about you, and move on to pastures with more books in them.

In light of this, it’s easy to see why publishers need to impose deadlines on their authors. Publishing is a business, and to an extent, writing is too. In order to make money in this business, the name of the game is producing books. Deadlines help a publisher launch your book at the best possible time, and give the writer something to work towards. We all know how easy it is to languish in an endless cycle of words if we don’t have a particular goal in mind.

The key, as always, is balance. Writers need to be given the freedom to write, and the flexibility to adapt, for when things don’t turn out as expected. Publishers need assurances that their time and investment in you will eventually come to fruition. Oppressive deadlines that allow no room for movement will always impact on the quality of the work produced. Books are not like business reports; their structure is flexible and ever changing. So too should be the deadlines they are bound by.

Live From Book Expo: Opportunity!

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Live from Book Expo Australia!

Hello there! Today, one half of the team is enjoying a trip to Sydney to tackle Book Expo Australia. That’s me! Brendan. I know I promised that I would deliver an immersive worlds blog this week but something has come up. Odyssey author Tracy Joyce is delivering a talk today and tomorrow at Book Expo called Fantasy Worlds. Now, Tracy’s been writing some fairly scary torture scenes lately, so I don’t want her to think I may have some information that she needs.

Instead, let’s talk about networking opportunities for getting work in the publishing industry. Jen has covered this in relation to pitching to publishers from the author’s perspective, but I want to touch on the non-authors.

Getting a start in the industry is not an easy thing. Unfortunately, you cannot open a book and be given a job (as wonderful and ridiculous as that sounds). The key is events and internships. At events, you meet publishers, editors etc. In your internships, you work hard and do cool stuff. These are the simple building blocks to begin creating a network in the industry. It gets more complicated, especially when figuring out which events to go to.

For example, Writer’s Festivals are not a great time to meet a publisher if you’re looking for publishing work, as, obviously, they are focused on the writers.

The best events at which to meet publishers for those wanting to work in the industry have to be Book Expos, Cons and Industry Conferences (Independent Publishing Conference is coming up in November!) These are the events where a lot of networking is done. On this note, I’ll say, if you love books and want to work in publishing, (and happen to be in Sydney), why not swing by Book Expo and meet some people. We at Odyssey Books are a friendly bunch and will definitely have a chat. We may try to sell you a book, but that’s all part of the parcel.

Other ways in which to network involve taking advantage of social media, especially platforms like Twitter and LinkedIn. There is no shame in this kind of self-promotion. Everybody does it. You have to do it. And sometimes, good things come from it.

So:

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I understand that many of us bookish people can be quite shy and introverted, and that’s unfortunate for those wanting to put this advice into practice. But the truth is that sometimes you have to be uncomfortable just so that people think you’re a normal human person who wants a job, like other more extroverted normal human persons. (Yes, it totally sucks that “extrovert” is the norm. Give me a quiet room and a book any day.)

If you want to be an editor, and have some idea of what you’re doing, being active online will be important. It’s worth joining writing communities, and the existence and diversity of these communities is one of the great things about the internet. You might just get some freelance contracts, and at the least you’re broadening both your knowledge of writing as a craft and also your understanding of the kind of work that’s out there, both the published and unpublished.

This is all pretty standard advice. The point of me telling you this is simple: there is no magic potion in which these things happen for you. You just have to do whatever you can and hope it works out. Keep your heads up and come say hello!

The Un-Conventional Pitch

The UnConventional Pitch

Authors and editors alike are always interested in how the manuscript gets into the publisher’s hands – authors because they want theirs to be read, editors because it means things to edit – yay!

Traditionally, publishers receive manuscripts in two ways, depending on their preference and, usually, the size of the organisation. Most of the big publishing houses use literary agents, who write letters of recommendation, extolling the virtues of this particular client’s work. The person in charge of the slush pile (often your lowly intern!) reads the letter, and if interested, may actually set eyes on the manuscript.

The other way to do it, usually a more common method for smaller publishing houses, is through unsolicited manuscripts. This involves the author emailing or submitting the manuscript online whenever they choose. It is not based on the request of a publisher or the advice of a literary agent.

This is the method that Odyssey uses. Authors upload their manuscript through our submission portal in order for us to see it. We require them to include a synopsis, a biography, an ‘elevator pitch’ (how they’d pitch the book in the time it takes to ride an elevator) and the first four chapters of the manuscript.

Each of these methods work fine, indeed, at least for Odyssey, it’s how we discover most of our authors. But it does have its downsides. Both styles of submission are very impersonal; they consist of a letter, an email, or a summary. They give no scope for your impassioned defence of your work. All you can do is try and type as much as you can into that little box, and hope it’s enough to sell your work.

However, particularly with small publishers, a third option seems to be emerging.

As I noted in my blog post on the Supanova Pop Culture Convention a few weeks ago, going around these conventions with Odyssey, I have seen a number of authors willing to come up and make themselves, and their work, personally known to my boss.

Nowhere was this more evident than at the Conflux Science Fiction Convention Odyssey attended in Canberra over the October long weekend. Conflux provided an option for authors they called PitchFest, which gave them a chance to pitch a particular work to my boss in 10 minutes.

The session worked thus: after brief introductions, they began by covering their title and synopsis. The publisher could then ask for clarifications, and even request the author elaborate on details they found interesting. Then they went over their author platforms, while the publisher made sure they understood the way Odyssey works, and knew what it would be like to work with a small press.

I considered this opportunity an excellent way to bring publisher and author together in a way that allows for a more personal and in depth interaction about the work. It was also a great way for everyone to get their names out there, and for authors to have a go at pitching their work.

Aside from this more formal aspect of it, I also found, as I have with every convention I have attended this year, that interest can also be expressed very casually. Throughout the day, a number of authors stopped by to discuss publishing with us, some interested in how Odyssey worked, others wanting to quiz our authors on what is what like to be published with us. Our boss was always open to informal sessions over coffee, and, as always, we found a few interesting manuscripts over the weekend.

So it seems that any and all opportunities to make yourself and your manuscript stand out should be enthusiastically undertaken by authors. Networking is key, as you get a chance to both formally and informally meet different publishers, and figure out which one is best for you. Some authors we have met at previous conventions are now part of the Odyssey family. If you can, I would always recommend taking a chance on the unconventional pitch

What is a Real Writer?

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This is not the blog I had intended to write and post today. You’ll get one about beautiful immersive worlds next week, I promise, but for this week, it’s another riposte, that can be alternatively titled “Svetlana Alexievich wins the Nobel Prize for Literature and people are jerks.”

While many people took to social media to congratulate Alexievich and commiserate with the runners-up (Roth and Murakami perhaps most notably), there was an unfortunate strain of comments that serve no purpose but to scorn both the winner and runners-up, saying that the Nobel Prize is only for “real writers”, accusing Alexievich of being a mere propagandist and Murakami of being a commercial “non-writer”.

I don’t normally heed comments like these, having gone native on YouTube in my adolescence, but the comments dismissing those who write commercial books got me steamed – P.S. world, “steamed” is back. “Real writers” is such a derogatory phrase and it belittles literature, and writers generally. It doesn’t raise certain people up, it is just divisive, tearing down anyone who wants to write and make a living. Because let’s face it, “real writers” are literary, they don’t commercialise their fiction, but instead chase writing as a pure art form. They don’t pander to a larger audience because sales = food, rent money, etc.

I know that last bit doesn’t apply to those in the running for the Nobel, but when you set up the distinction between a “real writer” and a – what? A fraud? A fake writer? – purely on your subjective literary taste, you’re dumping on the writers that it does apply to.

A study released by Macquarie University this week put the average writing income at $12,900 for Australian authors. The study also made it clear that most authors have another career to support themselves, which undoubtedly eats into their writing time. So why should we belittle those who want more time to write by earning more money from their books? Why is there a hierarchy where some books are considered more valuable than others? The idea that great literary texts make a great contribution to the world is well and good, but for those books to have a considerable effect today, they have to become widely read and hence commercially successful. The scorn for commercial drive in the literary world is contrary to the continued functioning of the literary world.

If only we had robotic slaves, so we could all devote our lives to this concept of pure art. What an uninteresting utopia. Without the struggle there is a lot less flavour in the literary world. Those writers out there, working to make a dollar, writing works for commercial audiences ought to be praised for the way they practise the craft. It’s a tough slog.

So why should we divide the system into “real writers” and “non-writers”?

We shouldn’t. It’s simplistic, offensive and elitist.

Throwing around elitism when discussing the Nobel Prize for Literature seems kind of idiotic, but I’m okay with that because I’m done with the rankings. I don’t want to read books according to tiers that the writers fit into, and I definitely don’t think that someone should be considered simplistic for not being interested in a “literary” work while preferring “commercial” titles.

Books are books. Just read them.

Also, let’s pay writers more. Please and thank you.

Demanding Publishing

Demanding Publishing

The place of the print book in an increasingly technological society has been debated again and again, with both sides having a multitude of arguments to put forward. One of the strongest arguments against continuing traditional print books, especially in the volume that we currently do, is due to its environmental impact.

Undeniably, the publishing industry is not one with a major focus on the environment. Publishing takes up A LOT of paper. It’s unavoidable. Not only do books themselves need it, but so does the editing process itself. As Brendan noted in his blog post Give Me Paper or Give Me Death, a few weeks ago, many editors, including us young ones, often prefer to edit on hard copies. Computers may have streamlined the process, and allowed us to create lots of coloured notes all over the manuscript, but there’s really nothing like boldly crossing something out with your plain old red pen (or blue pencil if you’re a traditionalist).

Yet another area of publishing in which our treatment of the environment is less than perfect is in the destruction of books that don’t sell. Arrangements between publishers and bookstores are often such that unsold books can be stripped of their covers and returned to publishers. As they have already demonstrated that they won’t sell, usually these books are discarded and pulped. Although the practice of stripping covers has largely diminished due to the insides being used for bootleg copies, pulping is still practiced, particularly for paperbacks.

The numbers of pulped books can get extremely high, and it’s not something the industry likes to admit. In an effort to combat the problem, smaller print runs are offered to authors who don’t sell well, and sometimes these authors are even dropped altogether.

Particularly in small publishing, businesses can’t afford the losses that come with being forced to destroy so many books. That’s why, in the past, their print runs have been very small.

However, with the advent of digital publishing, comes a development that has changed the industry, in particular for the small presses, taking the focus off print runs. It’s called print-on-demand publishing.

It does exactly what its name suggests it will. Instead of having a set number of copies required to produce the book, you only need to print what you need, when you need it. It was a system I first experienced when I visited the Lightning Source/ Ingram Spark factory (The Cave Where Dreams Are Made). Lightning Source offers such a print-on-demand service, and one that Odyssey, among other small publishing houses, takes advantage of.

The benefits of this are enormous. Smaller publishers, for whom every penny counts, are not burdened with ordering a set number of copies that may never sell. Ordering is simple, when an order for a book is received, it is put through the print-on-demand service, printed, and dispatched to the recipient. This has been enthusiastically taken up by self-publishers as well. For those just getting started in the market, it’s a great way to get your book out on as many websites as possible, without having to worry about being burdened with 500 copies in your garage if your venture never takes off.

For larger publishers, print-on-demand can be a less viable option. When you’re producing print runs of thousands of copies, traditional printing is still more cost effective. But there is scope for them to incorporate it into their production processes. Particularly with books that have been in print for a while, using print on demand allows access to books that may not otherwise get a second or third print run.

The system allows both readers and authors to tailor the publishing production process to more accurately fit their demands. Not only does it provide a future for reducing the environmental impact created by the publishing industry, it makes the book market more accessible. Print-on-demand is just one advent of digital publishing that has allowed the industry to make significant leaps forward.