Tag Archives: small press

On indie press: Dave Luckett

I’ve invited a number of people who have published in indie press and gone on to become professionals in the field to write about their experiences. Today’s post comes to us from Dave Luckett, who has a different journey to share. 

Photo courtesy of Sandra L Chung

I had only one short story published in the old Eidolon before I got published by Scholastic, who have been publishing me ever since. They had never heard of Eidolon. That Scholastic publication only happened because Lucy Sussex was editing a collection for them – it was because she knew me. So I first got commercially published via the same route, alas, that most authors do. It was because I knew somebody in commercial publication. I am as dissatisfied with that as anyone. I don’t think it should work that way, but it does.

It was Scholastic’s imprint Omnibus who published the Tenabran Trilogy, which took two Aurealises, and that made what name I’ve got. After that it wasn’t hard to get short stories for adults into (some) indie collections like those from your good self and ‘zines like ASIM and Oceans of the Mind.

But Omnibus publishes children’s and YA only. I can’t get long works for adults published at all. The only work for adults that I can get published is short fiction in small press. The commercial outfits publish hardly any short fiction, as you know. They’re utterly risk-averse, category-driven, only listen to each others’ sales figures and industry gossip, and are only interested in this week’s bottom line and the next Big Thing. On the other hand, the indie publishers don’t publish novels, generally, and they rely – perfectly legitimately, in their case – on the personal tastes of the editor and publisher.

But my output of short stories remains small and peripheral, and it doesn’t get a foot in the door with any other publishers. In my experience, indie-published short stories are invisible to mainstream publishers, commissioning editors, and agents. In fact, almost all short fiction is invisible to them, except the very small amount they publish themselves, and then only because the very act forges personal contacts between editor and author.  The industry functions on these personal contacts.

I’m really glad that you seem to enjoy my work, and so apparently does Stephen Dedman. Others putting out indie collections, such as Bill Congreve or Russell Farr, don’t care for it. All I can do is write the best I can. I certainly don’t regard small press as any sort of career in the “earns money” sense, and regret that it doesn’t seem to be any sort of recommendation to a publisher who might be able to pay a living wage for regular output. That’s sad, and it’s wrong, but there it is.

Dave Luckett has written three junior novels for the Omnibus Ripper range: The Adventures of Addam; The Best Batsman in the World and The Last Eleven and two Shorts: Night Hunters and The Wizard and Me.

The first book in his Tenebran TrilogyA Dark Winter was released to much acclaim in April 1998, and was shortlisted for the 1999 West Australian Premier’s Award. The second book in the Tenebran TrilogyA Dark Journey was released in February 1999. A Dark Victory, book three in the trilogy, was released later that year.

Rhianna and the Wild Magic and Rhianna and the Dogs of Iron are among Dave’s recent Scholastic releases for children, and his 2010 book, Paladin, is a great time/world slip novel for younger teens. 

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On indie press: Paul Collins

I’ve invited a number of people who have published in indie press and gone on to become professionals in the field to write about their experiences. Today’s post comes to us from Paul Collins, who not only knows small press publishing as an author, but as a publisher too. Paul now operates the successful Ford Street publishing house, giving us all something to aspire to!

Paul Collins, with Isobelle Carmody and two students during a writing workshop at Kirwan State High (Townsville)

A publisher’s rite-of-passage

As most fantasy readers know, there’s a 12-point structure to writing fantasy, and that this genre simply emulates our rite-of-passage throughout life. That is, childhood, through to adolescence through to adulthood.

I started out as a very naïve publisher, and over the years would like to think I’ve matured and learnt a thing or two, much like the intrepid heroes in fantasy books.

Having left school at 15 and not read a book till I was about seventeen (none of my family read books), I aware that if I wanted to get into publishing, the best way would be to become a publisher. After all, who was going to employ someone with my background? Nothing much has changed since those days, really. It’s easy to be a publisher. You just need money. I didn’t have much, but had, and still have, a healthy work ethic. I was working three jobs for some years, and most of my life, two. Right now I’m running a speakers’ agency called Creative Net; a publishing company, Ford Street, and I’m still writing full time (www.fordstreetpublishing.com.au).

 I was only too well aware that I knew nothing about science fiction when I first started publishing Void Magazine. I vaguely knew Isaac Asimov’s name. So in 1974 I advertised for people to help create Australia’s only (at that time) SF magazine. A fellow waiter at the Breakfast Creek (Brisbane) suggested an SF magazine because there wasn’t one published locally. If he had suggested a mystery or crime mag, I might have gone down that road, too. Regardless, luminaries at the time such as Frank Bryning, A Bertram Chandler, Wynne Whiteford, Jack Wodhams and David Lake, rallied around me to create my magazine.

When I lost national distribution, I started publishing anthologies (the World series) because I could get them distributed. My publishing ambitions finally crashed when two distributors went bankrupt, the second taking all my stock, plus every copy of Chandler’s last book, The Wild Ones. At that point I figured it was all too hard. I instead concentrated on my bookshops (Barkly St, St Kilda and in Brisbane). Meanwhile, my writing picked up and in 1995 HarperCollins published my first fantasy novel, The Wizard’s Torment. Since then I’ve had about 140 books and a similar number of short stories published.

In 2007 I approached Macmillan who were distributing The Quentaris Chronicles, a series Michael Pryor and I co-edited, to distribute books that I intended to publish under Ford Street Publishing. Amazingly, they accepted.

Distribution really is the key to publishing. Anyone can publish books, but getting them out in the shops is an entirely different ball game. I know with e-books people are saying everything is distributed on a level playing field, but they’re not, really. You still need your books visible to the buyer. And how will that happen when your book is just listed as a title on a list of thousands?

There are various ways to promote your book/s, of course. One is by trailer. My latest book, Mole Hunt, has two trailers, one fun and the other serious

http://www.youtube.com/watch?v=n4tTn_WXCiw

http://www.youtube.com/watch?v=3S-eKDYqpEs

I’ve also written about fifteen blogs and been interviewed on numerous online sites. Reviews promote books, as does merchandise such as stickers, bookmarks and posters. Well-established databases also help, especially with bulk mailouts; facebook, twitter and social media outlets such as websites, etc, also help. But I’m beginning to think that word-of-mouth will beat all of these strategies. But again, the book has to be visible, and I’m finding it hard to imagine how e-books will circumnavigate this particular problem. At least with brick and mortar shops, the books are there for people to see. A select “few” when considering how many books are published, but that notwithstanding, potential purchasers can see and feel the books.

Indie press has both advantages and disadvantages when compared with the major presses. Advantages include quick turn-around, individual attention (everyone at Ford Street is A-list – there’s no B-list, for example), a willingness to experiment with titles that major publishers won’t touch. Disadvantages include scant distribution, lack of “brand name”, therefore less chance to make it into the stores, smaller budgets so less chance of major writers sending them manuscripts, and lack of staff for marketing, publicity, editors, etc. My latest relationship with an indie press was with Celapene Press. I’d submitted The Slightly Skewed Life of Toby Chrysler to a dozen major publishers and it had been rejected. I sent it to Celapene Press and it was accepted within four days. It was published several months later and sold to a book club and was also short-listed for the Psychologists’ Award. Obviously I didn’t make as much money as I would have with a major publisher, but the relationship with this indie press was satisfying in that I received personal attention as noted above. And perhaps needless to say, had it not been for Celapene, the book might never have been published.

There are of course many problems facing the publishing industry right now, not least among them the decline of independent bookshops (Australia is considered healthy with 21% independent bookshops – England has about 7% while the US stands at about 3%); the e-book revolution; readers purchasing books online from overseas; publishers condensing their lists; exorbitant postal costs, etc.

I believe that to survive, independent booksellers need to personalise their businesses, that is, be involved with their customers, know their books, establish book clubs, take risks and purchase books from small presses to differentiate themselves from the chain stores that stock the best-sellers (smaller shops can’t compete here, simply because the chain stores such as Target and K-mart can sell the books cheaper than the independent booksellers can buy them at!); all of which will make them stand out against their competition.

In a nutshell, indie publishers are around because we’re passionate about what we do; we’re definitely not in it for the money.

Paul Collins was born in England, raised in New Zealand and immigrated to Australia in 1972. He lives in a historic bluestone home built in 1851 with his partner, fellow author, Meredith Costain, and a menagerie of pets including a kelpie called Jack and Molly, a red heeler.

His many books for young people include The Slightly Skewed Life of Toby Chrysler and series such as The Jelindel Chronicles, The Earthborn Wars, The Quentaris Chronicles (co-edited with Michael Pryor) and The World of Grrym (in collaboration with Danny Willis). His latest book is Mole Hunt, book one in The Maximus Black Files. The trailers are available here: http://www.youtube.com/watch?v=3S-eKDYqpEs and http://www.youtube.com/watch?v=n4tTn_WXCiw 

Paul is also the author of over 140 short stories, has been the recipient of the A Bertram Chandler, Aurealis, William Atheling and Peter McNamara awards and has been shortlisted for many others including the Speech Pathology, Mary Grant Bruce, Ditmar and Chronos awards.

He is currently the publisher at Ford Street Publishing (www.fordstreetpublishing.com). Visit him at www.paulcollins.com.au)

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On indie press: Trent Jamieson

I’ve invited a number of people who have published in indie press and gone on to become professionals in the field to write about their experiences. First cab off the rank is the wonderful Trent Jamieson, whose first novel only came out last year but has already been joined by three others out in the world!

The indie-press has been a part of my entire writing life from the fanzines that I first started writing poetry for like Ron Clarke’s The Mentor – cranked out by hand, the magazine, and the poetry – through to the newer presses like Twelfth Planet Press, Ticonderoga, Fablecroft and Coeur de Lion.

Oh, and Aurealis Magazine and Eidolon were my first loves as a writer and a reader. They were the magazines that I aimed for, the authors within them giants to me. You see, I never felt there was a place for me in mainstream publishing, I always felt that it was the indies, and the SF indies at that, which would take my weird little tales. Most of the time when no other literary magazine was biting they did.

Without the encouragement of editors in the those presses I think I would have given up – it took me roughly twenty years of trying before I sold my first novel, and it’s hard to keep that going without the occasional publication credit. It was the indies that gave me a place to get my stories on the page.

Sure there are many types of writing career and publication paths. But that was my way. And I want to stress that I don’t think the indie press is somehow lesser than mainstream publishing houses, or just stepping-stones on the way to a career. How could I? It’s where I feel at home, every sale has been a delight, every story in print is still exciting to me.

I’ve also worked as an indie press editor for Redsine. I published some of the earliest works of fabulous writers like Kim Westwood and Cat Sparks. I know the slog that goes behind every indie press, and just how much love goes into each and every story and issue. The indies rise and fall with that labour. And no indies means you’d see far less short stories and novellas being published in this country (two of the most vital and important forms of fiction) and you probably wouldn’t see writers having the confidence to submit to markets overseas, and you certainly wouldn’t have writers that other younger (and older) writers can look at and say, hey if they can do it so can I.

It’s like indie bookstores really. Before a book (without a “celebrity” author) ever really gets to the bestseller list, it’s had the support of a damn lot of indie booksellers, pushing it, talking about it, sharing their enjoyment of it. Big fish start small, and that goes for writers, and publishers too. And as a reader, I know my reading life would be all the poorer without our wonderful indie publishers – how else would I have developed my fan boy crushes on Sean Williams or Paul Haines or Ben Peek or Marianne de Pierres or Lucy Sussex or Tansy Rayner Roberts? And that’s just a few of the many wonderful voices I’ve encountered reading indie presses.

As a writer, there’s so many indie press publishers and people that have been important to me that I’m bound to forget some of them (so if I miss you please send me a stern email) but I don’t know where I would have been without Ben Payne, Alisa Krasnostein or Keith Stevenson. They’ve been some of my biggest supporters, and publishers. And if I sound like I’m name-dropping, I’m not really; just thanking them and every other indie publisher for putting their time and energy into something that enriches writer and reader alike. They’ve all made me very happy.

SF writer and Silent Motion Picture Actor, Trent Jamieson should be 108 years old, but is only 38 on account of TEMPORAL RADIATION. He lives in Brisbane with his wife, Diana. His first books were a series of novels called Death Works. The first, Death Most Definite, was released in August 2010, the second, Managing Death, in December 2010. The third, The Business of Death, is due for release in September 2011. They’re about Death – you know, the Grim Reaper.

He is currently working on a duology for Angry Robot Books the first of which is called Roil (due to be released in September 2011), the second of which is called Night’s Engines (due for release in 2012). If you like the steam, and the punk, you might like `em.

When not writing, he works at The Avid Reader Bookshop in West End- the best indie bookshop in the world (he’s not biased or anything). Find out more about Trent and his work at http://www.trentjamieson.com/

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Canterbury 2100: edited by Dirk Flinthart

Canterbury 2100: Pilgrimages in a new world, edited by Dirk Flinthart

I should be doing a proper review of this for ASIF or someone, but I’m too tired and have so much else to do that I just can’t sit down and put down on screen everything I think about all the stories contained in Canterbury 2100. Also, I’m not sure I can be unbiased about it (for reasons that should become clear below), and I really don’t want to review it as a neutral observer, so I’m not gonna.

Seriously though, if you read one short fiction collection this year (outside of ASIM and TPP stuff that I blog about all the time), THIS SHOULD BE IT!

Canterbury 2100 is a concept that Dirk Flinthart has been percolating for quite some time. I know, because he first came up with the germs of the idea when he put his hand up to edit an issue of Andromeda Spaceways (which became the very awesome ASIM #29). Naturally, for Dirk, the concept was far beyond something that could be achieved in the timeframe and constraints of ASIM, and so instead he went ahead and produced an outstanding issue of the magazine with one of the most talked about editorials of all time, within the normal ASIM framework. The idea didn’t go away though, and fortunately, Cat Sparks saw the beauty in the idea, and recognised the editorial genius of the Flinthart machine, and said, “Heck yeah, AGOG will publish that!” (I may be paraphrasing Ms Sparks…).

For a detailed breakdown of the project, check out the original call for stories HERE. Daunting no? And yet we have such wonderful authorial talent here in Australia that a whole bunch of people heard the call and said,  “Heck yeah, I can write that!” (Again, the paraphrase…). And by heck, they did!

I know almost exactly how much time Dirk Flinthart spent editing Canterbury, because he disappeared from the internet for many months, immersed in the reading, editing, cutting, changing and polishing of the stories he chose to fill the pages of this intense read. I can’t even begin to conceive of how challenging it was to take stories by very diverse writers, on very different topics and characters, and draw them into the finely woven tapestry that is Canterbury 2100. (Although I fear I’ll soon understand it better with the forthcoming New Ceres collection…) But I’ll wager it was very. Challenging. Time consuming. Frightening. And well worth the effort.

Somehow, Dirk has managed to twine together a narrative that underlies the 18 stories that comprise this collection, in what becomes a story all on it’s own, written in Flinthart’s own skilful style. He has (no doubt) gently (and possibly occasionally with a rather large whip)  coerced his writers into twisting their tales into a form that finds a home in the correct place and space of that narrative, without ever compromising the integrity of the story itself, or misshaping the collection as a whole.

That’s not to say I enjoyed every story: I didn’t. But then, I never enjoy every story in any collection. There were one or two pieces in the anthology that lost me completely, but interestingly, while I didn’t understand them, I still READ them, instead of skipping over those bits I wasn’t getting (as I would normally). So even they were still readable.

The stories tend toward the dark, set in a post apocalyptic world as they are. Some are deeply disturbing, with no hopeful ending to redeem them, while others look toward the future. Some are the hard side of science fiction, others stray into a fantasy style. All have their place and work to create the overall mood of the collection in ways that are frightening and beautiful and rare. I don’t know that I can pick a favourite. Many of them captured me and refused to let me go until I finished reading them, only to be drawn along into the next piece by the clever and evolving sub-narrative. So I’ll just list them all, and it will be for you to decide which ones you liked the most.

CONTENTS:
Introduction (Dirk Flinthart)
The Tingler’s Tale (Geoffrey Maloney)
The Nun’s Tale (Angela Slatter)
The Dead Priest’s Tale (Martin Livings)
The Veteran’s Tale (Stephen Dedman)
The Miner’s Tale (Laura E Goodin)
The Sky-Chief’s Tale (Sue Isle)
The Census-Taker’s Tale (Kaaron Warren)
The Mathematician’s Tale (Durand Welsh)
The Doctor’s Tale (Ben Bastian)
The Hunter’s Tale (Grant Watson)
The Peat-Digger’s Tale (Thoraiya Dyer)
The Metawhore’s Tale (Lee Battersby)
The Janus’s Tale (Penelope Love)
The Lighterman’s Tale (Trent Jamieson)
The Carbon-Knitter’s Tale (Rita de Heer)
The Evangelist’s Tale (L L Hannett)
The Gnomologist’s Tale (Matthew Chrulew)
The Conductor’s Tale (Lyn Battersby)
Afterword (Dirk Flinthart)

The collection has cover art by the esteemable Nick Stathopoulos, and is very pretty to look at too. Oh, and don’t worry if you’ve never read (or even heard of!) the original Canterbury Tales (although, since A Knight’s Tale, who hasn’t?!) – you don’t need any prior learning. It’s not an English Lit exam. But it IS a damn fine collection, worthy of your time.

Best place to buy is through girliejones  – she’s got it listed here (make sure you choose the option with postage if you don’t live near us in Perth!): http://girliejones.livejournal.com/1097609.html

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New blog – Australian Small Press

 
I’ve started a new site called Australian Small Press – http://australiansmallpress.blogspot.com/
 
It’s only very new and little, but I have some plans for it that I hope will mean it grows and expands over time into something that assists all small press publishers in Australia, and maybe gives a leg up to authors as well.
 
The idea is to share information and support editors and publishers in Australian small press so that we ALL get better opportunities and returns on our investments. Many of us already do that by publicising and supporting each others’ productions and projects, but I think we can go further.
 
The site will also list open markets and reading periods for Australian productions, and so hopefully supports our authors as well.
 
I’d love it if you’d head over and check out the start I’ve made and let me know at australiansmallpress (at) gmail (dot) com if you’ve any suggestions for topics to post about, additions that would be helpful, or to provide links to markets, publishers, supportive retailers, and other news. Please feel free to access the RSS feed (and make sure it works!).
 
Fingers crossed we can take this idea somewhere – remember it’s only new, and there’s a lot not yet on there – no omissions are intended!
 
 

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