Analysis of wings

I borrowed a copy of Karen Foxlee’s Anatomy of Wings from the library a while ago and enjoyed this coming of age story a lot. I scanned the cover of the trade paperback as part of a number of books whose covers featured parts of women and girls’ bodies (see under ‘covers’ category).

As A of W was published in 2007, I thought I’d check whether, the author had published a follow up book to her debut. As far as I can tell she hasn’t published anything new, but I did notice some new covers for her book.

It’s always heartening when an Australian novel, especially a debut one, has a shelf life and I was pleased to note University of Queensland Press has reissued A of W. It is also interesting to note that they have put out teachers’ notes for it for senior students so the novel must be on a curriculum somewhere.

My research (such as it is) has also revealed that the novel is also published in the UK and the US.

What a great thing for Karen Foxlee, especially as A of W is set in small town Australia (Mt Isa) and, despite being beautifully written and a bit mysterious in a Lovely Bones kind of way, is also pretty hard-hitting re sex and violence.

Foxlee’s talent has certainly been recognised. She won the Queensland Premier’s Literary Award for Best Emerging Author and used this award to work on her manuscript for A of W. She also won the 2008 Commonwealth Writers’ Prize (Best First Book South East Asia and Pacific Region) and the Dobbie Award.

It’s quite interesting to work out what the designers are doing with the covers. Obviously the new UQP cover (top) is aimed at that high school/YA market but I think it misrepresents the book somewhat. For some reason, it looks to me like the cover to something by Isabel Allende. On the other hand, the ‘this is serious’ literature vibe, suits a school text.

The old UQP cover (second from top) appealed to an older female readership. It’s quite evocative – I like the feel of dry grass in a summer backyard and going around in bare feet but it suggests the narrator, who’s ten, is much younger.

On the whole I think UK book designers (third) are much closer to the Australian sensibility than the US ones. Here the UK design goes for a prairie-like look (don’t think Mt Isa has wheat fields but I could be wrong). However, they’ve got the age right of the girl and the idea that she’s on the cusp between childhood and adolescence. Plus they’ve got two suggestions of ‘wings’. The kite and the strange feathery sky suggestive of angel’s wings.

The US cover (bottom) is in the ‘body parts’ style and the ‘realism’ of the photography would be more in keeping with a non-fiction book here. They also have the female figure as much older – she probably represents the narrator’s older, troubled, sister, Beth. The clouds below her feet remind me of the film version of Lovely Bones. I’m sure that’s not accidental given the immense success of that book in the US.

Hint of freshness about Miles Franklin this year

I think the Miles Franklin Award long-list looks interesting this year. Absent are the mega names that turn up year after year. No Peter Carey, no David Malouf, no Alex Miller, no Helen Garner, Louis Nowra, Kate Grenville, Tim Winton etc. With the dinosaurs away, the small, furry mammals can peep out of their burrows. Okay, Kim Scott won the Miles Franklin back in 2000 with Benang but he’s hardly a household name and Roger McDonald won if for The Ballad of Desmond Kale a few years ago but, on the whole, the list is of newish or low-key writers.

John Bauer and Kirsten Tranter are debut authors and the nominations for Chris Womersley, Honey Brown and Patrick Holland are for their second books. It’s surprising to see Melina Marchetta there – not because she’s not a good writer, she’s a great writer – but because she’s known as a YA author (The Piper’s Son is short-listed for the NSW Premier’s Award under YA).

The long-list

  • Rocks in the Belly, Jon Bauer, Scribe Publications
  • The Good Daughter, Honey Brown, Viking (Penguin)
  • The Mary Smokes Boys, Patrick Holland, Transit Lounge Publishing
  • The Piper’s Son, Melina Marchetta, Viking (Penguin)
  • When Colts Ran, Roger McDonald, Vintage (Random House)
  • Time’s Long Ruin, Stephen Orr, Wakefield Press
  • That Deadman Dance, Dance, Kim Scott, Picador
  • The Legacy, Kirsten Tranter, 4th Estate
  • Bereft, Chris Womersley, Scribe Publications

Google Books get your hands off our tax payer-funded tomes

Hands off!

The behemoth Google Books is impacting on your local NSW government agency. Who might be interested in erosion in the Upper Lachlan catchment, or vector maps from the Plague Locust Board? Never mind, they’re not going to be able to rip off the NSW taxpayers and get away with it.

In Circular C2011-10 Google Books Settlement – Whole of Government Policy, the Department of Premier and Cabinet, advises its agencies to “carefully consider whether their commercially published books should be “removed” from the Google Books databases or ‘excluded’ from one or more of the uses proposed in the Amended Settlement”.

As, under the settlement, Google can upload a “wide range of material including all material published in hard copy in NSW prior to 5 January 2009”, the government had to decide whether to “make a comprehensive claim” for all Crown copyright publications.

In the end, they left it up to individual agencies to decide whether to get their books removed by 5 April, and, if they did so, to make a compensation claim.

“NSW Government agencies should not enter a ‘revenue sharing’ agreement with Google under the terms of the Amended Settlement,” the circular said.

Aurealis Awards finalists

YOUNG ADULT Novel

  • Merrow, Ananda Braxton-Smith, black dog books
  • Guardian of the Dead, Karen Healey, Allen & Unwin
  • The Midnight Zoo, Sonya Hartnett, Penguin
  • The Life of a Teenage BodySnatcher, Doug MacLeod, Penguin
  • Behemoth (Leviathan Trilogy Book Two), Scott Westerfeld, Penguin 

FANTASY Novel

  • The Silence of Medair, Andrea K Höst, self-published
  • Death Most Definite, Trent Jamieson, Orbit (Hachette)
  • Stormlord Rising, Glenda Larke, HarperVoyager (HarperCollins)
  • Heart’s Blood, Juliet Marillier, Pan Macmillan
  • Power and Majesty, Tansy Rayner Roberts, HarperVoyager (HarperCollins)

 

SCIENCE FICTION Novel

  • Song of Scarabaeous, Sara Creasy, EOS Books
  • Mirror Space, Marianne de Pierres, Orbit (Hachette)
  • Transformation Space, Marianne de Pierres, Orbit (Hachette)

You can see the full list in all categories here. It’s interesting to look through the categories and the publishers. One finalist, Andrea K Höst’s, novel was self-published. It seems that in the world of speculative fiction, the mainstream publishers – Penguin and HarperVoyager, mostly, stick to YA and to fantasy. The horror and science fiction publishing goes mostly to niche publishers.

Indie book award winners

Indie Book of the Year 2011 is The Happiest Refugee by Anh Do (chosen by independent booksellers).

 Other category winners are:

  • Bereft Chris Womersley – Best Fiction,
  • Rocks in the Belly Jon Bauer – Best Debut Fiction
  • Mirror Jeannie Baker – Best Children’s Book.

Mirror is a picture book is made up of two parts designed to be read simultaneously – one on the left, the other on the right. It’s the story of a day in the lives of two boys – one from inner-city Sydney and the other from a village in Morocco.

Who pays for the editing?

I was interested to note some comments in a review of S J Finn’s new novel This Too Shall Pass in the Australian’s Review section by Sue Green. The reviewer thought the novel had great potential but that it was let down by insufficient editing by the publishers.

The reviewer’s comments that “how better for [the author] had she been given mentoring, tough editing and closely supervised rewriting” show a pie-in-the-sky notion of Australian fiction publishing.

I believe the average print run for a work of Australian fiction by a new writer is 2,000 and (I read recently) the average sales for said work is around 1,000.

A writer nets 10% of the cover price of their book – so, that means, a writer would receive around $3,000 for something they have probably worked on for several years.

This shows the tight, tight margins for fiction publishing. It is just plain uneconomic for a publisher to spend very much at all on a new work, whether this be in editing or in marketing.

Don’t get me wrong. I think this situation is bad and short-sighted, but it’s a reality.

When you look at the cost for editing, you see how expensive it is. If an editor charges a modest $60 per hour, on the tiny margins of a first novel, 10 hours or 20 hours would eat into any profits, and that amount of editing on a manuscript of 80,000 words is miniscule (the editor needs the time to read the ms for a start!).

The fact is, these costs fall back on the author. I know authors who pay for an editor go over their work before submitting it to a publisher. After all, this compares favourably with the cost of a manuscript appraisal ($500 and upwards), mentoring ($1,500) or a university creative writing course ($8,000 – $10,000).

Mentoring and the uni course are the only places you are going to get “closely supervised rewriting”.

I can see where Sue Green is coming from – often you read a book – even from a well-known author, and think it could have been a much better, even brilliant, book, if only…

But whatever happened to the notion that an author’s works and career build over time? I know I’m being utopian here – the brutal reality is that an emerging author usually only gets one shot at it, when everything is stacked against them. This can only be terribly detrimental to the maturity and diversity of our literary world.

Bordering on the abyss?

The big news in February was Borders and Angus & Robertson going into voluntary administration. The predictable cries that it was all due to online shopping and ebooks were heard. These bookshops now, more inevitably to follow, the argument went. It’s true book selling is down but so is most retailing. More level heads came in later to say that REDgroup (owned by Pacific Equity Partners) had a bad business model plus the modus operandi of equity companies is to use debt financing to buy up companies cheap, strip them down, then sell them off for a big profit. When outside factors impinged on the book business, this model floundered. Sad for the staff who will lose their jobs – bookshop staff, even in the chains, always seem intelligent, nice and obliging to me.

I’m not of the camp that says Borders was a flawed model in Australia (See Mark Rubbo from Readings article). The Borders I frequented – the one in Parramatta and the one in Pitt Street Mall – always had plenty of customers and a good range of books. Sure they brought in the 3 for 2 discounts but this was quickly copied by other outlets like Dymocks, and they are still trading.  I also notice today in the Sydney Morning Herald it says the administrators are looking for buyers for 103 Borders and Angus & Robertson stores. This obviously means they think the businesses are sound.