Friday, 20 December 2024

The Sea and the Moon by Pam Pottinger and India Rose Bird



How we came to publish this one

We’ve known Pam for a while and so when she sent her picture book text to us we were delighted to offer her a contract. The story works well and we are fortunate that she has a personal relationship with India Rose Bird whose illustrations are fabulous.  

The title

Plain and simple: the book is about the sea and the moon.

Some notes about the process

Much of the work in producing a picture book is about making sure the pictures and the text work well together. We had to think about page turns, how the eye would be drawn and whether the pictures add to the story as well as illustrating it.   

The cover

Beautifully evocative and, with the title, inviting you to think about the sea and the moon.

Some notes about style

Clearly this book is meant for young children but if it’s at all possible for this age group, I would say this is a literary text. It almost becomes poetry as you read it.

Who we think the reader is

This is a book to be read by an adult to a young child. Hopefully they will also take the time to discuss the pictures and what the story tells us about the sea and the moon.

What else

Picture books can be expensive to produce, especially if we have to commission an artist. In this case it was lovely to have two people who were willing to work together.

Review copies

It’s always great if you can buy the book and give us a review. Just click on the link to be taken to our bookshop. If you would like to review and you are strapped for cash, just get in touch for a free PDF.

 

Grab your copy here.        

 

Monday, 18 November 2024

Kathleen by Amanda Jones



How we came to publish this one

Amanda is one of our editors and she is also a regular contributor to CafeLit. She is editing The Best of CaféLit 14 for us. In fact, this was first published as a CaféLit serial. Here, though, we’re publishing it as a Feisty Women book.     

The title

Plain and simple: the book is about Amanda’s mother and her mother’s name is  Kathleen  

Some notes about the process

All stories on CaféLit are given a brief copy edit before they are posted. So, we collected the posts from the site. We only made further copy edits and proof reads to the text we had. However the book was a little short. For that reason we decided to add in some of Kathleen’s own work and we also decided to print in the format we orally use for collections of flash fiction.       

The cover

Just a fabulous photo of Amanda and her mum. What could be better?

Some notes about style

These little stories are not really memoir nor are they biography. This is more a collection of vignettes and some of the pieces are actually written by Kathleen herself.   

Who we think the reader is

There is much about disability in this book so it may appeal to those people who are living with disability or have friends or relations in that position. Also though, these short pieces are very well crafted and verge on being prose poetry or poetic prose. They will please reader who enjoys that type of material.

What else

Amanda has conducted several talks and works shops based on this book.

Review copies

It’s always great if you can buy the book and give us a review. Just click on the link to be taken to our bookshop. If you would like to review and you are strapped for cash, just get in touch for a free PDF.

 

Grab your copy here.        

Tuesday, 15 October 2024

The House of Clementine



 

How we came to publish this one

This is the fourth novel in my Peace Child series. Book 1, The Prophecy was the novel that formed part of my PhD thesis: Peace Child, Towards a Global Definition of the Young Adult Novel. It was the first time I’d written for YA and the first time I’d written SF. The SF was a way of exploring society and the novel interacted with the theory of what a YA novel was. I researched this by reading a lot of YA novels in many languages and in other Englishes and examining their publishing and labelling  process.

I’m actually almost at the end of the edits of my sixth Peace Child novel. There is one more to come and there is one waiting in the wings to be published                

The title

All of the Peace Child novels have a very strong sideways sub plot. This one here is of that of the House of Clementine which started off innocently enough: a family became good at growing clementine and soon become a dynasty. Corruption set in The House of Clementine can never be fully inclusive. It has an outside. This is also important in the novel I am currently finishing.                                                                 

Some notes about the process

Although I own the publishing company this still went through all the normal processes.

The cover

The book is illustrated throughout by Ashleigh James, my older daughter. She has                       provided the cover of all of the Peace Child novels.  

Some notes about style

I’m told I have a very simple style and I believe in plain English. I believe there is good use of the senses in this book and that helps to portray the setting. I have tried to maintain a good narrative balance.

Who we think the reader is

As we have published through The Red Telephone we’re primarily seeing this as a Young Adult novel. It is at the older end of that. There is romance and implicit sex. Certainly those adults who enjoy reading young adult books ought to like this.                                                                                                                                                                                                                                                                                                                  

What else

All of the Peace Child books grapple with current issues. In this one a president wants to build a barrier around his planet. However he is not orange and he is quite young and slim. He does indeed though have a special relationship with the House of Clementine. As with all of the Peace Child books a sub-plot includes or seems to include the supernatural.  

Review copies

It’s always great if you can buy the book and give us a review. Just click on the link to be taken to our bookshop. If you would like to review and you are strapped for cash, just get in touch for a free PDF. 

Find your copy here 

 


Saturday, 21 September 2024

Don’t Resubmit Too Soon

 It’s always rather fascinating for me: writers complain about publishers and publishers about writers. As I am both a writer and a publisher I can see both sides. That actually helps me, as a writer, better to understand and tolerate rejection.

 

Rejections that publishers are reluctant to make

Recently Mslexia surveyed writers and publishers and identified a couple of forms of rejection that publishers are now less willing to make. The “we would welcome seeing future work” one and also the sort that goes into some detail about why exactly a piece isn’t quite right.

 

What not to do

There is often a knee-jerk reaction to these from the writers. In the first instance they immediately send another piece of work. In the second they do a quick edit and send the work back a couple of weeks later.

 

This isn’t the best way to proceed. Very little has changed. The publisher has to reject again and perhaps contrary to normal expectation we actually don’t like doing that. This may even have the effect of us deciding not to look at any more work from that writer: they’re not understanding how this process is working.

 

The six month gap

We’ve started adding something about “six months” to those sort of rejections.

 

If you just dig out another piece of work that you have filed away on your computer, the chances are that it will contain similar faults to the one we’ve just rejected. If you only take two weeks to revise something you’re probably not going into enough depth.

 

For our CaféLit site we can only take one story a day although we often see several more that are publishable. Rights remain with the author anyway and we welcome simultaneous submissions. We keep around thirty-four submissions on file just in case we have some barren days and then we “decline” with a note that if you’ve not found a publisher in six months to try resubmitting. Writers who revisit their work before sending it out again may make that story that little bit stronger so that next time round it is the one that we’re compelled to publish that day.

 

 

What you might do

We often receive submission for children’s books where the writer hasn’t got the length, the subject matter, the language or the tone quite right. There is no quick fix for this. In many such cases, the writer needs to read about a hundred books for the target reader to understand how those books really work.

 

Many other books as well have some weaknesses and it’s possible that the next book will be better but also important that the writer spends a little more time on developing their craft.  

 

So, if you’re rejected but the publisher has been positive about your work, put it away for a while and carry on developing as a writer.                 

 

Tuesday, 27 August 2024

A Word About Spacing


 

One of the most difficult jobs we have when turning a Word document into the text that will eventually be published is making the spacing right. There are several considerations here:

Extra spaces at the beginning of sentences?

No. This goes back to the days of the typewriter. It used to be the norm to put in an extra space before you started a new sentence. This isn’t needed now. The fonts are balanced in such a way that it is very clear from the upper case letter at the beginning of the sentence that we are now on to something new. This is relatively easy to fix and we have a computer programme that does this. However, even that takes a finite time to run and if you get it right in the first place you save us time.

 

Paragraph and section breaks

Paragraphs should normally be indented except where a new section begins. As we do the first stage of book design, we your text in Word on to another Word document where all the parameters and styles are set, paragraph and section breaks may look different. We’re never sure whether you want your work to look the way it looks on your page or the way code embedded in the text makes it look. To be really sure, it’s best to use the Word paragraphing tool. First paragraphs should have no indent and subsequent ones should have 0.5 inches on an A4 sheet.  



 

 

 

Levels of section breaks

There really is only one level though some writers try to force an extra one by having normal paragraph breaks and some divided by a line of stars or points. The latter should only be used if the section break comes at the top or bottom of a page. E- books don’t like them anyway and they kind of become irrelevant as readers pick their own fonts and size of fonts so the pages are different for every reader. If one section break is more relevant than another it may be better to use a subtitle.      

Blocking text

We still block text. This was done in books originally to stop ink accumulating at the side of the page. On the whole texts are now produced digitally so in theory there is no need for this. It is easier in fact to read texts with ragged right; texts are often left like this for early readers, academics and publishers. And on computer screens. You may like to work out why. Blocking spreads the text across the page and if an unnoticed extra space slips in it can make the page look very odd.

 

Avoiding rivers, orphans, widows and runts

Our programme helps us to avoid these.

Rivers this is where you can see a ‘river’ as you look at the gaps between words going down the page. It can distract you form reading

Widows A paragraph-ending line that falls at the beginning of the following page or column, thus separated from the rest of the text. Mnemonically, a widow is "alone at the top" (of the family tree but, in this case, of the page).

Orphans A paragraph-opening line that appears by itself at the bottom of a page or column, thus separated from the rest of the text. Mnemonically, an orphan is "alone at the bottom" (of the family tree but, in this case, of the page).

Runts A word, part of a word, or a very short line that appears by itself at the end of a paragraph. Mnemonically still "alone at the bottom", just this time at the bottom of a paragraph. Orphans of this type give the impression of too much white space between paragraphs.

 

Our software can only do this for the hard copy of the book. Those who read e-books may reintroduce them as they change font and font size.

 

Avoiding hyphenated words

Blocking can lead to some words being hyphenated at the end of lines. Our programme determines that there are between very few and none. However if we eliminate them altogether, some blocked lines can look very “stretched”.       

 

We often find that authors query our spacing yet they read books with this sort of spacing all the time. They’re only noticing it now because they’re looking at the text more closely.     

 



Sunday, 11 August 2024

The Life of Our Books

 


No two of our contracts are exactly alike but all of them contain a clause about when the rights revert to you. This doesn’t necessarily mean that the book has to go out of print at that point and if the book is still viable and you haven’t requested that we take it out of print, we’re happy to keep it going. In fact, that tends to be the default.

I mentioned recently the difference between us using Ingram or Amazon KDP for paperbacks. In fact, we incur no annual expense for Amazon KDP and can keep those books going forever.

It costs us £8.40 a year to keep an Ingram’s book going

Even if you request us to withdraw your book form print, we can still print you author copies if you so wish. We can’t do the same for Amazon KDP. If we take it out of print we can no longer print it. There is always the option in both cases anyway of keeping the e-book going.

One of the advantages of Ingram is that we can continue to provide author copies even if we take the book out of print.

Amazon KDP has two advantages: making export of books easier and not incurring an annual fee.

 Note, even if by mutual agreement we take your book out of print it is likely still to a appear in all sorts of places. The book remains in some of the supply chains still and some retailers are still able to source copies that are out there.

If you ask us to take your book out of print and you go to another publisher, that version of the book will get a new ISBN anyway. So, it is very much a different book. Amazon and other retailer sites will often show multiple editions of a title.