Australian publishers talk about the slush pile

Radio National recently lifted the lid on the Australian book publishing slush pile, that ‘unlovely place’ (according to Picador publisher Geordie Williamson) where unsolicited manuscripts go for assessment by an anonymous reader inside a publishing house.

If you listen closely to the 10-minute piece (online for another week or so), you’ll hear the lottery-level chances an author has of his or her manuscript being plucked from slush-pile obscurity. Two examples from the report:

  • Scribe Publications opens to unsolicited manuscripts twice per year for limited periods; asks to see complete manuscripts for about 25% of submissions (which surprised me at being so high) … but has published only 3-4 books from the slush pile in the past five years.
  • Text Publishing receives 100 hard-copy manuscripts every week, and reviews them each Friday in a team meeting at which each manuscript* gets read twice. It finds ‘a couple of things per year’ to publish. (*It is neither possible nor necessary for this number of manuscripts to be read in full – a manuscript that isn’t at a publishable standard will reveal itself in the opening pages.)

Allen & Unwin’s Friday Pitch, which accepts a synopsis and first chapter every week, is a relatively good bet for any Australian author attempting to submit an unsolicited manuscript. A&U publisher Louise Thurtell, who established the system ten years ago, reported that up to 75% of her list has come from Friday Pitch manuscripts, including well-known novelist Fleur McDonald.

So, should you submit your manuscript to an electronic slush pile?
My views on this topic have changed little since I wrote this post several years ago, which remains one of my most popular. The main problem with submitting your work this way is that

  • Rejection is a deafening silence – you receive no feedback from the publisher. (Unfortunately, this is also the case when submitting to many literary agents.)
  • Once rejected, you can’t submit your manuscript to that publisher again.
  • Your work may well be good enough, but is easily lost in the size of a particular publisher’s slush pile. As Geordie Williamson of Picador says, ‘You have to be lucky to get a good reader of the slush pile.’ Which means that it’s kind of luck of the draw, to an extent, as to who’s reading on the day it’s your turn.

Fed up with the silent treatment from agents too?
If you’ve been submitting to agents or publishers and not hearing back, may I make a few suggestions:

  • Try submitting to competitions – just make sure you check the fine print and don’t sign all your rights away
  • Take classes or workshops with industry professionals – you’ll get to meet folks working in publishing, and ask them all the questions you want
  • Join your state writers’ centre – they are a great resource for classes, competitions, literary industry events and other opportunities
  • Twitter is a fabulous resource for writers – if you can resist disappearing down the internet black hole
  • Get a professional manuscript assessment or consultation with an experienced publishing professional to see how you can improve your access to decision-makers, and your manuscript or project.

What has your been your experience of the slush pile?  Have you had success with any of the suggested tactics above? I’d love to hear from you.

(And thanks to Jenny Ackland and her Seraglio blog for alerting me to the RN report.)

How I work with my published authors: Q&A with Brad Hutchins

How do I work with the writers I choose to represent?
I’ve heard from a few Australian writers recently who wanted to know a bit more about how I work with the authors I represent. In response I thought it might be useful to hear from one of my freshly published authors, Brad Hutchins, whose GAME SET CASH has just been released in Australia and online.

The author took a gamble
When Brad queried me, the manuscript was a long way from ready to show a publisher, though he had approached publishers through the slush pile of unsolicited submissions, and had been rejected. As you’ll see in the Q&A below, by the time he approached me, Brad knew he needed editorial development but wanted to see if a publishing professional thought his book might interest a publisher. So it was a bit back-to-front and not what I recommend, but the publishing path is never straight.

This was a gamble, because:

  • if a writer has already approached and been rejected by publishers, it can be impossible to go back to them; and
  • most agents will only consider completed manuscripts at a high degree of polish.

But then, gambling is largely what GAME SET CASH is all about.

The agent took a gamble
Agreeing to represent an author is also a gamble. Well, let’s call it a calculated risk. The agent’s work is speculative – all the editorial/pitching work up front to pay off (relatively speaking) with commission from the author’s advance and (hopefully) subsequent royalty and foreign rights income.

So why did I choose to work with Brad?

  • lads’ stories from young Australian men are in high demand but short supply
  • it was a memoir incorporating an unusual angle – tennis trading/betting – as well as the combination of sport and travel
  • crucially, Brad knew he needed to do more work, and was prepared to do it.

My willingness to mentor Brad through further editorial development makes me either a romantic or a fool, depending on who you ask. Admittedly it’s sometimes a poor decision from a profitability point of view, which is why I have to be so selective. (And which is why I do writing and editing work for companies and other authors who are not my agency clients.) But the satisfaction of helping a unique Australian story take its final shape, and then finding that manuscript a home with a publisher, is enormous.

Agent’s Q&A with Brad Hutchins

Why did you want to write GAME, SET, CASH! ?

I’ve always loved reading and writing. I’d been writing fiction as a hobby for a few years before I realised non-fiction had a much better chance of being published. When I finished court-siding on the tennis tour, life suddenly became a whole lot quieter and I needed a passion project to sink my teeth into. It hit me that I had lived a story many people found intriguing and seemed very interested in. So I started looking for an agent.

Besides that, there is a lot of confusion and misconception from the general public in regards to court-siding. So it is nice to be able to set the record straight and share the fun of the road with people while dispelling any sinister myths surrounding the practice.

How long did it take you to write it?

Because it was all there in my head I managed to punch the first draft out in less than three months. Editing then took another six months, working with both you and the publishers.

When you approached me, did you think your manuscript was finished? 

Negative. I’d barely started because I knew I’d need guidance toward a winning formula and I didn’t want to invest too much time in what could likely be the wrong direction.

[Editor’s note: this is not entirely true. I read a complete manuscript, but it was a rather rough draft. Which would be why Australian publishers did not take any interest in it as an unsolicited submission. See quote in bold below, and my post on unsolicited submissions.]

How did I help you to strengthen your manuscript?

You gave me an idea of how to shape the whole book and helped me solidify ideas to focus on for each chapter. Once I’d written my draft you then gave it a thorough cut and polish. Cutting out all those lame clichés, adverbs and unnecessary bits made the manuscript much more concise and engaging.

You were very frank and non-judgmental with your feedback and helped me realise the general public might not be as interested in certain sections I’d written. I agree with your approach of editing before heading to publishers because it makes their job easier and gives us a better chance of getting the tick of approval.

What surprised you about the process of finding an agent, a publisher, and the process of getting a book published?

I had no expectations as the whole process was new. I think most people are unacquainted with the publishing industry and are a little daunted by the task. I knew it wouldn’t be a quick or easy goal to achieve but I figured I’d only find out if I had a real crack at it.

Do you have any advice for unpublished writers?

Don’t be afraid to put yourself out there. I was knocked back a number of times by other agents and publishers. From the outset I wanted to be realistic so I expected that to happen. However, I stayed optimistic regardless and in the end it all paid off.

How does it feel to see your book in bookstores and online?

It’s a trip! It’s very fulfilling and exciting. You may want to edit this cliché, but it is a bit of a life-long dream come true! I’m incredibly stoked and want to thank everyone who helped make it a reality.

What else would you like to know?
Okay, keep your questions coming because they help me understand what you’d like to know more about. I plan to do more of these Q&A-style posts if readers like them. So I need to know if this one’s helpful!

Brad Hutchins with his new book.

 

The brave new world of book publishing in Australia

This past weekend the Australian Financial Review Magazine ran Andrew Cornell’s ‘Brave new world of book publishing’. It’s essential reading for any serious writer aspiring to publication in Australia.

I would have loved to reproduce the text here in full, but the AFR’s online permissions-calculator told me I’d be up for more than $700.

Cornell breaks down the component parts of the Australian book industry, which, for those who’ve been hibernating for a few years, is undergoing multiple transformations. It’s one of the most lucid summaries I’ve read of the ways in which technology and corporatisation have affected the mechanics of how books are acquired and distributed in this country.

Through interviews with Hannah Kent (Burial Rites) and Christos Tsiolkas (Barracuda, The Slap) the article also describes the increased promotional demands on authors, the cult of writerly ‘celebrity’, and the mixed blessings of the new publishing landscape for Australian authors in particular.

Sharp as ever, Tsolkias makes what for me is the main point:

There is a danger for Australian writing in that some of our best writers are never going to have that big blockbuster the international market needs. Today you have to prove yourself in the market but the market is not the only determinant of value.