[CLASS] #30: Friday September 11th Class

So this marks the end of the 7th week, and 30 posts in total. I didn't think I'd be documenting this hard but I wanted to be ready for any outcome. Congratulations to all of us for making it this far in the course, and with our brains still intact.

 

I remember towards the end of the first semester, the rumours that we would be able to return to campus following the September mid-semester break. Well, that didn't come true. I suspect it would've come true, if Victoria followed the rules and such. But it's clear to me that many people had the same idea G and I had and got real close.

 

Anyway! Time for a report.

 

Section 1: Crash-course in Copy-editing

The first thing we did was check out some slides related to the copy-editing process. Nothing really new or interesting to note regarding Zoe's notes to the editors.

During the presentation, we checked out the Comma Queen on Youtube, an editor who works for The New Yorker publication. It scared me how much I still have yet to learn about the specifics of the English language. I mean, I'm not going to get persecuted for knowing the intimate details, but I don't want to give my editor too much work! David showed us a book she helped write, called The Elements of Style, which was written in a way where it was like law writers have to follow.

A rule that struck me was "13. Omit needless words", and presented several sentences that basically got the unnecessary flavour taken out of them. "His story is a strange one" becomes "His story is strange". I can see where it's necessary in some instances but I don't want my writing to lose its voice just because all the words have been tightened too much. Though, it's making me curious about how much my piece will be "shortened", in a sense. I reached about 2100 words... will my piece get Thanos-snapped below the word limit of 2000? Hahaha.

Note to self: Get 'How to Grammar Good: From the Editors' Desk at the Bowen Street Press'.

Section 2: Tracy O'Shaughnessy & The Masters Program

I learnt much from this live interview. It was especially valuable to me because it helped give me some plans for the future. Checking out some publishing entry level jobs/internships would be a fantastic idea towards the end of/after university.

It's kinda strange. Every since Year 7, I was basically a "spell-checker" for other people's assignments. Powerpoint slides, usually. I also used to get really... distracted, every time I saw a spelling mistake or an error in people's slides... I used to feel really guilty with this sudden negativity I would get. It was only later in life that I understood why I felt that way. It's an editors' job to make things like spelling, grammar and punctuation invisible to the reader. Once an error is noticed, then it can seriously devalue a work.

I know this. I was finding resources for my Tarot card presentation, and found a great article that messed up the number of the Minor and Major Arcana cards. I got so frustrated by this and suddenly became concerned that the rest of the piece contained further errors. So I didn't use it any more.

It is interesting and weird that someone with a serious attention to detail like proofreading could make a career out of it. It feels like such a strictly academic thing that it's so strange that it could translate into being something I'm paid to do? But this is natural, for as long as we produce literature like books, magazines and scripts, we'll need editors to hone in on our points and make them better.

The preferred personality traits...

• for an editor is that they're very patient, have great attention to detail, and ideally, literate. Reasonably good grammar skills.
• for marketing, there needs to be a lot of gumption to call people and get books on their radar. Good under pressure. Know about social media. And organised.
• for production, they need to be good at spreadsheets and software like Adobe Illustrate. They communicate with freelancers too.
• for Sales, Marketing skills are applied but even more outgoing. Working solo, going out to bookshops, and good at associating.
  

Places to turn to: 

• Australia Books & Publishing - Pays student rates! You can find their placements on any of the usual platforms. Sign up for their newsletter!
• Small Publishers' Networks - usually family owned or VERY small. They usually look for freelance editors. Small publishers include Transit Lounge, Affirm Press and Wild Dingo Press.
• Medium-sized publishers: Scribe, Text, Black Inc
• Big-sized publishers: Hachette, Penguin Random House
• Wheeler Centre. Hot Desk initiative.
• Voiceworks, good for authors under 25. Good place to engage and has good online publishing.
• Kill Your Darlings
• Go for student productions too. Need to write FOR publication. Get used to the idea of submission, be accepted, be rejected.
  

How to Approach as a Small Writer:

• 2 different areas - fiction and nonfiction. Fiction can be harder to navigate because it requires a lot of investment from the author.
• Authors usually have agents, "gatekeepers" who manages these sorts of things.
• Big publishers usually have monthly pitches for authors without agents. Check if they'll accept unsolicited manuscripts or submissions first. Also, do your research - check how your title would fit amongst that publishers' catalogue. But also see how they treat their topics - seriously, or humourous? Do they align with your interests?
• Remember, publishers are still businesses. It's vital to discover what makes a good manuscript and what doesn't. Check the format of their books.
  

What Makes a good pitch?

• Well-articulated, clear, proofread, and has a clear audience. MUST follow all submission guidelines. It's CRUCIAL.
• It's ultimately all about the idea. Is it more than just a magazine article? Ensure there is sufficient content that would make it into a book-length project.
  

How my nonfiction work compares against others...
Need to be well-versed, look at other work with the same/similar topic and determine what makes your stand out.

Chapter breakdown...
There's no standard format for a chapter breakdown. Have at least a paragraph for each one, max two. Usually also have a one-page outline. Also have an elevator pitch (logline) ready.

How to get an agent:

• Similar process to applying to a publisher.
• BUILD a track record. Remember, they're putting in time and expertise in a writer to help them, so you gotta present yourself well. Build a case why an agent should take you seriously.
• Constantly submit work for publications. Short stories, magazines, essays.
• Build a profile about what kind of writing you do.
• Build a social media presence/following.
  

Voiceworks
Targeted to people without that extensive record. Reason why it's so extraordinary - every piece goes through the editorial process. I should DEFINITELY apply for it. They have three publications a year, and a callout for submissions! Should keep an eye out for them.

As an aside, it's highly advantageous to see the "other side" of the process, especially as a writer working in publishing. The downfall however is that you have a lot of tricky work, working with words, and a lot of overtime, that it can be difficult to manage that time and focus on your own work.

Self Published
Self-publishing work that does really well CAN be published formally. But the hardest thing to do is find the readers. There's so much noise from other self-publishers. How do I get my book to stand out? Because self-publishing is like a tree falling in a forest. It's an age-old issue, trying to get your book marketed. At the very least, ensure the covers you use look professional and make sure it is proofread.

AN IMPORTANT ASIDE... you sign contracts that give publishers ultimate control of your work. It's a financial risk for them. In regards to covers, writers are the WORST people to choose covers because they're not designers.

Resume
Generally put down things related to the writing industry. How familiar am I with programs? Even a Graduate Diploma in Writing & Publishing can show that I'm interested in the industry as a whole.

Post-graduation studies are pay as you go, so full free upfront... I'm probably not going to be able to do it immediately.

Ultimately, do NOT do post-graduate "just because" as it is NOT a good idea. You need to do it with focus on what you want to get out of it. It's also difficult to do it for Creative Writing in terms of research.

 

Authors to check out:

• Jack Callil (ABR)
• Lauren Carta (Black Inc)
• Iryna Byelyayeva (Black Inc)
• Christopher Black (Scribe and Rabbit Poetry Journal)
• Patrick Boyle (Smith Street Books, which are now in Sydney)
• Jay Carmichael (Orygen Mental Health + a novel with Scribe)
• J'aime Cardillo (HGB and Creative Writing)
• Eliza Campbell (HGB)
• Alexandra Milne (Australia Post exec)
• Rinalda Aay (Bolinda, freelance)
• (Chatthip) Natalie Sakarintr (Black Dog Books)
• Raphael Solarsh (A Cloud Guru)
• Lin Li Ng (NEAP Education)
• Cassandra Bullman (Information Access Group)
• Sarah Pradolin + Kelcey Brian (Bolinda)

Section 3: Unplagued Round 2

My butt hurts from sitting for so long. Let's round off this post quickly.

The last thing we did in class was check out the Unplagued doc. I was part of Group 1, rearranging the sections and retitling them. Good thing I was part of that group, otherwise I'd be suffering earthquakes every time I try to do line-by-line edits, hehe. I was sad to know this collaborative essay probably wouldn't be part of the anthology, given all the work the editors would have to do, but I'm glad we as a class got to create something beyond that.

Anyway... that's about it! Take a read of the whole doc if you got time.

Oh, final note. Shout out to Ewen's latest album!

-Katie, the Plague Wanderer