12 Guidelines You Need to Compile a #Fiction #Charity #Anthology


You're not Alone : Macmillan Cancer Support

You’re Not Alone: Charity Anthology

Continuing the guest post series on Daily (w)rite, today it is my pleasure  to introduce to you Ian D Moore, author of Salby Damned, who is here to give us a few tips on how to set up an anthology to support a charitable cause. He speaks from experience, having recently produced the anthology You’re Not Alone: An Indie Author Anthology, due out soon.

Take it away, Ian!

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In the last few months I’ve helped compile a charity anthology inspired by my mother-in-law who battled cancer for 8 years and finally began to succumb to it. A distressing time for everyone around her, that made me feel pretty useless, not being able to make her better or to help in any way. I began to think about what I could do in order to help. I chose my writing as the means to make a difference, perhaps not to the inevitable passing of a woman I had become so fond of, but certainly to anyone in the future unfortunate enough to have to go through what our family had at that time.

Should you be trying to compile a fiction anthology for a charity of your choice, here are a few pointers to keep in mind:

  1. Pick the charity you want to support before you go looking for people to help you. My mother-in-law’s cancer prompted me to consider what I could do to make a positive difference. Motivation is a key factor in compiling any anthology.
  2. There has to be a leader in any group, the creator. They have final say. Form a team to assist you. You’ll need editors, proof-readers, cover designer, formatting wizard and an overall editor-in-chief. Put the essentials in place before you begin.
  3. Discuss the maximum word count of your stories, based upon maximum word count for the completed work. Remember the cost rises to produce larger works, affecting sale price and profits to the charity.
  4. Formatting rules: Set basic rules for contributors. Font style, size, no page numbering/borders. Keep the text justified. Initially, format for kindle.
  5. Stay legal with regard to copyright: It’s important for you, the Project Leader, to do your homework with regards to copyright law and the wishes of the charity. Each submitting author retains copyright for his or her own story. It cannot have been published anywhere else – no exceptions. The Project Leader holds full copyright for the completed, assembled work.
  6. Liaise with the charity for any rules that they have, such as logo use or content. It took weeks for me to get permission to use both charity logo and the name of the charity to promote You’re Not Alone. Permission MUST be protected.
  7. Story content: No excessive profanities, scenes of a serious sexual nature, religioun or faction related material or enhanced political agendas within any given entry. Be aware of possible misinterpretation by the reading public.
  8. Story order: Try to arrange them in an order of readability that will make subtle changes to the mood of the reader – the ultimate critic.
  9. Once you have your stories, format the whole document. Insert styles menu headings, titles, fonts etc. E-mail your file to your kindle device, using the kindle address – to see how it will look to the reader.
  10. Cover design: If you’re lucky, you’ll be able to design your own cover. For You’re Not Alone, we had the amazing artist Christine Southworth to draw our cover, and the inestimable expertise of Nico Laeser to digitise the images. Make your cover relevant and striking. Your book cover is the first impression that any reader will see.
  11. Set up a pre-order on Kindle: You can make changes to the cover and files as you go along. Meanwhile, drum up interest via social media and advertising in order to get sales generated before the launch.
  12. Approach the bloggers of this world – they can drive sales traffic. If you ask, in most cases they will be happy to help promote any good cause. Worthwhile having a few copies of the finished product to use as giveaways – bought and paid for, of course.

What can you do to help?

Macmillan Cancer support: Charity Anthology

You’re Not Alone: Book Cover

Spare a thought for Macmillan Cancer Support: They provide nursing staff to the 1 in 4 of us likely to suffer from some form of cancer in our lives. Help us to raise money and awareness.

You’re Not Alone is available to pre-order on Amazon Kindle here. Available in print via Createspace from 11th July 2015. Every penny of profit made on either purchase will be donated to the charity.  Follow us on Facebook, and please help us spread the word on social media by taking a second to join our Thunderclap Campaign.

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Ian D Moore, editor You're not Alone

Ian D Moore

Ian lives and works in Selby, North Yorkshire. A father/stepfather to four children and full-time truck driver for a national televised haulage firm, his life tends to be pretty busy. To date, he has published Salby Damned. He has taken took time out from writing the sequel to get involved in the creation of You’re Not Alone: An Indie Author Anthology in the hope of raising a lot of money for Macmillan Cancer Support.

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Macmillan Cancer Support

Macmillan Cancer Support

Having lost family members to cancer, I know the suffering that not only the patients, but also their family members go through.

Is anyone you know affected by this disease? Would you like to lend a hand to Macmillan Cancer Support? Would you take part in the Thunderclap Campaign?

Ian would like to give away a paperback copy of this book to one of the commenters on this post, so please make sure your profile link leads to your contact details.

Not a blogger, but have a comment on cancer, supporting those affected by it, or about editing a Charity Anthology? Head over to the post on Damyanti at Daily Write’s Facebook Page, and join the discussion there.

#Writers , have questions for a Literary Agent? #askagent


Continuing the  guest post series in this blog, it is with great pleasure that I present Helen Mangham, a partner-agent at one of the best-known literary agencies in Asia: the Jacaranda Literary Agency. She answers questions on various topics of writerly interest: feel free to leave your questions for her in the comments section.

1. How and why did you become a Literary Agent?
Graduating with a degree in history it seemed the only jobs I was specifically qualified for were history teacher or working in a Museum – but neither appealed to me. Publishing attracted me, back then I wasn’t quite sure what a Literary Agent did, but it sounded interesting. I saw a job advertised at Curtis Brown, London and applied. I didn’t know then that it was one of the oldest and most famous literary agencies in London. Luckily I got the job!

2. What book, published in recent times, do you think should be more recognized, and one that you think is overrated?
For over-rated, I’d have to say ‘Freedom’ by Jonathan Franzen.  Franzen is undoubtedly a brilliant author and this book is a tour de force and technically impressive, but personally it left me cold as I couldn’t empathise with any of the characters.  I also think it is too long!   A book that I stumbled across a few years ago and loved was ‘The Glass Room’ by Simon Mawer, a complex historical novel set in Czechoslovakia in the late 1930s and spanning six decades, it is a tragic, multi-layered and at times profound novel. Whilst not exactly under-rated – it was short listed for the 2009 Booker Prize – I think it deserves to be more widely read.

3. When it comes to non-fiction, a lot of agents are looking for ‘experts’ in their fields. What defines a person capable of writing on a certain subject?
I don’t think you necessarily have to be an expert to write on a subject. But you do have to be passionate about that subject and write about it from an original perspective. For example, you could be the world’s leading expert on a given subject, but still make it sound dull, or alternatively you could be enthusiastic enough to make it come alive. Look for something new to say.

4. Tell us about some notable books you’ve sold recently (publisher, title, author).

  • ‘Beijing Comrades’ by Bei Tong translated by Scott E Myers to Feminist Press, New York.
  • A debut memoir by Kenyan author Jess de Boer ‘The Elephant and the Bees’ to Jacaranda Books, UK (no relation to us!)
  • Krishna Udayasankar’s fourth book ‘The Immortal’, to Hachette India.  Also, another new book by Krishna Udayasankar:  ‘3:  The Legend of Singapore’ to Ethos Books, Singapore (for Singapore and Malaysia)  and also to Hachette, India (for India).
  • ‘Holistic Health Guide for Women’ by Dr I. Mathai to Via Nova, Germany
  • ‘Start-Up Capitals, Discovering Global Hotspots of Innovation’ by Zafar Anjum to Random House India
  • ‘Miss Draupadi Kuru’ by Trisha Das to Harper Collins, India.
  • Also, an as yet untitled book on Asian Parenting by Maya Thiagarajan to Tuttle.

5. What’s your advice to an aspiring author submitting to Jacaranda? What do you pray for when tackling the slush pile?
Tantalise me, but don’t overwhelm me with information. Send me a short synopsis of your book, and a couple of sample chapters. Was your story inspired by real life or just a genre you love? If non-fiction tell me why you think it is different to other books out there and who it will appeal to? Please don’t expect me to be able to get back to you within ten days – I have to prioritise work for existing clients over potential ones!
I pray to open a manuscript and find myself reading for pleasure and not critically. If I’m engrossed and my literary agent hat falls off that’s a good start!

6. What’s one thing you are sick of seeing in queries?
Getting published, especially in these risk averse times, is incredibly difficult. With this in mind, a prospective author should ideally revisit, rework and edit their manuscript several times, as well as show their work to other people and get opinions on it before sending it to an agent.

7. What do you hope to see when you google a prospective client?
The right answer is an impressive ‘online presence’. An author web-page, a blog with lots of followers, an active twitter account and a facebook page for their book. I’m thrilled if I do find that, but I’m not depressed if I don’t. We can help authors to create their own websites and build online presence.

8. What sets Jacaranda apart from other literary agencies?
Obviously being based in South East Asia sets us apart – there are still not so many agents in this part of the world. Having an agent in the Philippines definitely sets us apart! We’re small and work across continents, with authors from as far afield as Australia, America and the US as well as our bedrock of S.E Asian writers.

9.  Tell us about your experience at the last Frankfurt Fair.

We had a packed schedule with only two or three free slots over the entire three days – hardly time to grab lunch, which we ate on the go! But that’s a good thing – we made lots of valuable new contacts, among both publishers and foreign agents. The most memorable moment for me was being on the Hachette India stand when it was announced that Malala Yousafzai had been awarded the Nobel Peace Prize – the youngest recipient ever! There was whooping and cheering and lots of high fives!

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helen Mangham Literary Agent

Helen Mangham, Jacaranda Literary Agency

Helen has been a Partner Agent at Singapore-based Literary Agency Jacaranda since 2012. Here she is helping to build a dedicated list of Singapore Writers alongside an eclectic international list. As part of her role with Jacaranda, Helen attends the Frankfurt and London Book Fairs and meets with international publishers from across Southeast Asia, Australia, the UK and US. Helen came to Jacaranda with over eight years of publishing experience. She started her career in London, at Curtis Brown Literary Agency. She has worked with the publicity departments of a number of the UK’s leading publishing companies, helping with publicity campaigns for a number of high profile books including Michael Chabon’s ‘The Mysteries of Pittsburgh’, Andrew Morton’s controversial biography of Princess Diana, Whitley Streiber’s ‘Communion’ and the autobiography of Elton John’s lyricist Bernie Taupin. Other authors she has worked with include Deborah Moggach, John Julius Norwich and Chinua Achebe.

Are you writing a book? Looking for an agent? Have questions for Helen? Fire away in the comments! And if you don’t have a question, comments are great, too.

Have you heard of the New York #Writers #Workshop ?


Here at Daily (w)rite, I run a series of interviews of publishing industry experts: I’ve had poets, authors, and creative writing professors. Today, I’m chatting with Tim Tomlinson, who teaches at the New York University’s Global Liberal Studies program, and is an author and poet in his own right.

My first encounter with him was through his book, The Portable MFA in Creative Writing, one of the first books that gave me the confidence to go on writing without an MFA, and not lose heart. I took a writing workshop with him some time back, and speaking from experience, if you have the opportunity to go for one of those, do not hesitate.

1. You’re one of the founders of the New York Writing Workshop. What was the impetus behind it?

Solidarity and frustration. The founders were all teaching for another organization whose demands began to clash with our values. We met, somewhat conspiratorially, and we decided that we could do it better on our own. The rest is a combination of history and farce.

2. What do you enjoy most about teaching creative writing?

Meeting new writers, hearing their material, and giving them ideas for presenting the material most effectively. I recently finished two long sessions in Baguio, Philippines. Lots of talent, many wonderful people, but with a need for craft, useful practice, and self-belief. In two days, we made great progress in all those areas, and that’s gratifying.

Portable MFA in Creative Writing

Portable MFA in Creative Writing

3. Tell us about your book, The Portable MFA in Creative Writing. How would you like a reader to approach it?

The Portable MFA in Creative Writing was meant as something of a substitute to MFA programs, or more accurately, a substitute for the expense of MFA programs.

At New York Writers Workshop we encountered hordes of recovering MFAs—aspiring writers damaged to varying degrees by destructive MFA programs. Writers who’d become convinced their work was garbage unless it matched whatever criteria were being pushed in whatever program (if, indeed, any criteria were being pushed). The Gordon Lish survivors were the most crippled: they couldn’t get beyond sentence one (which, according to Captain Fiction, must be perfect before one can proceed to sentence two). So we wanted to offer an alternative to spending $50,000 on nothing, or worse than nothing. For $16.95, the conceit had it, one could avail oneself of some, many, or close to all of the lessons of the MFA program.

But, and this is a big but, the book can’t provide community, or readers, or encouragement. MFA programs can (although none of these is guaranteed). The book also encompasses a range of disciplines: fiction, non-fiction, playwriting, poetry. Some programs prohibit movement between disciplines; our book encourages movement.

4. Can creative writing be taught? Why/ why not?

It most certainly can, and as we say in the book, one should run away from any program or instructor who says that it can’t. Talent can’t be taught, luck can’t be taught, discipline can’t be taught. But talent can be recognized and nurtured. And when it is, discipline follows – it’s more fun to sit down to the grind and discover that good work, or better work, is forthcoming. And when disciplined practice becomes part of the routine, luck often follows—one creates one’s luck. You teach the craft, you suggest the discipline, good things follow.

5. What advice would you give someone who is applying for MFA Writing programs?

Ask tough questions, of the program, and of yourself. Who will be teaching? What is her approach? (Does she believe creative writing can be taught?) What’s the rate of acceptance? How many nonsense requirements will intrude upon my writing time? Can I afford this? How deep will I fall into a financial hole? Can I achieve the same goals through less costly means?

6. If you had three pointers to give an aspiring writer, what would they be?

Read a lot, write more, and spend time far away from books (or universities). The work of too many young writers is informed by university experience solely, or predominantly. That creates the kind of provincialism you see in American fiction and poetry today.

7. You have taught creative writing in the West, as well as in Asia. What would you say are the key similarities and differences in the two experiences?

Very broadly speaking, Asian writers have more humility, which is a good thing for the development of craft, but maybe not the best thing for career advancement. Aspiring writers in Asia, too (again, broadly speaking) have far greater awareness of global realities than most aspiring writers in the U.S. American writers are freer in their diction, less formal.

8. Which is the last novel you read that you would recommend and why? Which authors would you name as influences on your own writing?

I liked Xiaolu Guo’s Twenty Fragments of a Ravenous Youth: A Novel. Her fragments are fairly large (in comparison to the fragmented fictions of Maggie Nelson, for instance, or Evan Lavender-Smith), but they’re still discrete units of narrative that enable Guo to focus on smaller moments, which build like blocks to a full coming-of-age story.

As for influences, in fiction no one has been more important than Henry Miller, particularly his Tropic of Cancer, for language and spirit. John Cheever for structure, Denis Johnson for lyricism, Robert Stone for rhythm, James Salter for vision, Lydia Davis for options, Junot Diaz for freedom, Mary Gaitskill for awareness, Edmund White for honesty, Chekhov for neutrality. The diction of cowboy movies. Sam Shepard. And the diction of gangster movies. Martin Scorsese, and David Mamet. So many. In poetry, I don’t know if I’ve been influenced. Rather, there are sounds and visions to which I aspire. Charles Wright, Li Po, Merlie Alunan, Mary Oliver. And subject matters that enable my own. Kim Addonizio, Jason Shinder, Philip Levine.

9. You help run a literary journal Ducts.org. Tell us more about it.

I’ve edited the fiction section for the past six or seven years (we also run essay, memoir, poetry, art, and humor). I’ve tried to make the representation global, and non-New-York-centric. I’ve run stories from Vietnam, the Philippines, Australia, England, India, as well as from many places in the U.S. Our readership has grown, the quality of submissions has elevated, and publication has become more and more competitive. We have two best-of anthologies: How Not to Greet Famous People, and The Man Who Ate His Book.

Tim Tomlinson New York Writers Workshop

Tim Tomlinson

Tim Tomlinson is co-founder of New York Writers Workshop, and co-author of its popular text, The Portable MFA in Creative Writing. Stories and poems appear or are forthcoming in The Blue Lyra Review, Caribbean Vistas, Coachella Review, Writing Tomorrow, and the anthologies Long Island Noir (Akashic Books), and Fast Food Fiction (Anvil Publishing). He is the fiction editor for Ducts. He teaches at New York University’s Global Liberal Studies program.

Do you have questions for Tim Tomlinson? Have you taken an MFA or considering applying for one? Would you like to talk about your experience?

 

Have You Read Speculative Poetry?


I met Shelly Bryant at the Asia Pacific Writers & Translators Conference, and one of the first things she told me was that she wrote speculative poetry and translated Chinese to English. I’d never really read speculative poetry unless you count Kubla Khan, and I have a huge amount of respect for any foreigner who can speak Chinese (it’s not the easiest thing to do, I can tell you that),  let alone write or translate it. When I looked at her work, I found that a lot of it is influenced by her interactions with the orient.

I was fascinated. I requested her to appear in my ongoing series of creative writing professionals, and she was kind enough to agree. In her guest post today, she speaks about speculative poetry, what it is, and why she writes it. Take it away, Shelly!

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When asked why I focus on speculative poetry, I often reply that my goal is to make sure to limit my readership as much as possible.

Of course, that’s not true. Not only do I prefer to have as wide an audience as possible for my work, but I’ve actually found a fairly good sized readership within one of poetry’s fastest growing fields, speculative poetry. There are numerous journals and websites dedicated mostly or exclusively to the genre, and the poets working in the field form an active, supportive community – a community which includes, but is not limited to, the Science Fiction Poetry Association. I have enjoyed being a part of this community since 2007, when my first piece of speculative poetry was published. Since then, I’ve had over 600 pieces of creative work accepted for publication, the large majority of which are speculative poems.

While some poets prefer to the term “sci-fi poetry” to describe the field, I usually go with the more inclusive “speculative,” because much of what circulates in genre publications is neither science nor fiction. For me, what sets speculative poetry apart from mainstream verse is its focus on and approach to a “what if.” The poem that grows out of the poet’s engagement with a “what if” question may end up being sci-fi, fantasy, horror, surreal, dystopian, mythic, slipstream, or perhaps a combination of several of these. Which term best describes a particular poem depends on both the question asked and the approach taken to exploring it.

Most readers of English literature have encountered speculative poetry at some point, even if they have not called it that. Some examples: Beowulf, Sir Gawaine and the Green Knight, Edgar Allan Poe’s poetry, samples from Edwin Morgan’s poetry, Christina Rossetti’s Goblin Market, 1974 Nobel Prize in Literature winner Harry Martinson (author of Aniara)

Some other notable authors who are more known for their fiction have also published speculative poetry, including: Ursula Le Guin, Ray Bradbury, Neil Gaiman, Orson Scott Card, Janet Yolen

Other poets might be less recognizable to the wider reading public, but are very active within the field. Some important names are: Bruce Boston, Susan Slaviero, G. O. Clark, Kendall Evans, Marge Simon, Frederick Turner, David Kopaska-Merkel, Joshua Gage, Albert Goldbarth, Deborah Kolodji

(Of course, any list is bound to overlook many worthy names. I’ve only provided a sampler here.)

The inspiration for a speculative poem can be found anywhere. Several years ago, when I was browsing the materials in the Reading Room at the Chinese Academy of Science in Shanghai, I came across an article describing the recent findings of the Hubble Telescope, including several exoplanets. In its description of HD69830c, the article raised the question of what seasons would be like on a planet with the features observed on HD69830c. And with that “what if,” I knew I had the starting point for a new poem. The result was this sijo (first published in Dreams and Nightmares, September 2012):

alone with you
on HD69830c

watching the meteor shower
that nightly lights the skies

we await the change of seasons
for which we still have no names

All of that is well and good, but it still does not answer the question of why I personally choose to write speculative poetry. For me, it is no different from the question of why I read so much speculative poetry and fiction. In the speculative genres, I find space to explore topics that are often either too messy or too big to treat in situations that are recognizably my own. When the issues are distanced in a defamiliarized world, I might not come to answers, but there is more freedom to explore the problems.

The most prominent recurring theme in my body of work is the question of Otherness. In speculative fiction, I can consider not only questions of racism, gender politics, or all the other “real” world areas where Otherness creates such difficulties, but can really push the boundaries and ask myself how far I can go in trying to empathize with something that seems so completely alien to me. What happens in most speculative fiction and poetry is that the reading (or writing) experience draws me close to the Other, opening the way for sympathy and understanding, perhaps even allowing me to abandon the sort of thinking that creates Others in my mind in the first place, and moving me to recognize all creatures as not Other, but as one like me.

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Poems by Shelly Bryant

Shelly Bryant

Shelly Bryant divides her year between Shanghai and Singapore, working as a teacher, writer, researcher, and translator. She is the author of six volumes of poetry and a pair of travel guides for the cities of Suzhou and Shanghai. She has translated work from the Chinese for Penguin Books, Epigram Publishing, the National Library Board in Singapore, Giramondo Books, and Rinchen Books.

Shelly’s poetry has appeared in journals, magazines, and websites around the world, as well as in several art exhibitions, including dark ’til dawn, Things Disappear, and Studio White, Exhibition 2011.

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I’ve highlighted the last para of Shelly’s post above because I found it simply beautiful, and so relevant to our times, and didn’t want anyone to miss it.

I’ve really enjoyed reading Shelly’s poetry and have written about it. Have you ever read speculative poetry? Would you like to give it a try? (I’ll be giving out copies of Shelly’s The Lined Palm to two randomly chosen commenters.) Do you have questions for Shelly Bryant?

Do you have questions for a Literary Agent? #agentchat #amwriting


I’ve been away for a while– traveling and recuperating,  but today I’m back with my  writer’s guest post series in this blog.

It is with great pleasure that I now present Andrea Pasion-Flores from the Jacaranda Literary Agency. She’s a joy to talk to, extremely kind and helpful, yet a thorough professional– a spirit that is reflected in her answers below:

1. You’re both an author and a literary agent. How did this happen, how do you balance the two roles, and how do they affect each other?

For Love and Kisses: Andrea Pasion-Flores

For Love and Kisses: Andrea Pasion-Flores

It’s difficult, but I try to make the time. I’m also a mom and a college teacher. But I find that my many roles feed on each other. My teaching (it helps that I teach literature) and my being a writer certainly help me spot a good story and allow me to help the writers in our list improve their writing.

2. As an agent, what are the sort of books are you looking for?

I’m looking for the distinct voice, fabulous narrative, mastery of language. It’s hard to describe. I guess I want to be blown away.

3. As a reader, who are your favorite authors, and why?

There are so many! At the moment Aravind Adiga, Junot Diaz, Mohsin Hamid, Chimamanda Adichie, Jhumpa Lahiri, Gilda Cordero-Fernando, Kerima Polotan, Gabriel Garcia Marquez, Salman Rushdie, Jose Y. Dalisay, Sally Gardner, Zadie Smith come to mind… so many!

4. What was the last book you read as a reader, and not an agent?

Maggot Moon by Sally Gardner–fantastic, young adult dystopia. I want to buy all her books!

5. What book, published in recent times, do you think should be more recognized, and one that you think is overrated?

Haha. This is a trick question! I think Asian lit in general should be recognized. It’s sorely underrated and not as widely available. I think most of the independent presses, carried by the indie bookstores, are doing a lot of good stuff. Unfortunately, we’re all used to going to the mainstream bookstores to buy what’s pushed by mainstream media–especially the kind with the movie tie-ins. The answer to the second part of your question is hinted. But, having said that, the “overrated” have their markets–and they do serve an important purpose: they get people into the habit of reading! Besides, who doesn’t enjoy a quick read or two now and then? I certainly do. So I say the overrated books are great. I’d love to pick some out and push them myself.

6. As an author, what is the aspect of writing that interests you the most?

I like discovering where a story will take me, each story being different from the past stories I’ve written although in some sense the same. When I wrote the stories in my book, I didn’t quite realize how easily they fit into each other when I put them together years after they were written.

7. As an agent, what is the one concrete piece of advice you would give to an aspiring fiction writer?

The real writing happens in the revision. One of my creative writing teachers said this to me. The more painful the process, the easier it reads. The first draft shouldn’t be given to anyone, so don’t give them to me. If you let an agent read a first draft, and it’s not great, you’re not likely to be taken on.

8. Tell us something about your latest publication. Where can readers find the book?

Ken Spillman’s blurb reads thus:
“Andrea Pasion-Flores unpacks the black boxes of everyday disasters. Among the casualties are women burned by men and children bruised by the turbulence of relationships around them. Among futile love affairs, irretrievable marriages and unspoken loss, we are brought face to face with hungry ghosts and consuming frailties.”

It’s a collection of stories written over a 10-year period. That span of time yielded many other things for me aside from stories, such as a government job, three kids (two of them twins), etc. So it does feel like a slim volume, given the amount of time it took. However, there was also that feeling that I have to bring out the best of what I’ve written thus far so I do feel those are seven good ones (with varying length and styles to show a range). In Singapore, there are a few copies at the moment with Closet Full of Books.

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Andrea Pasion-Flores

Andrea Pasion-Flores

Andrea Pasion-Flores  is the former Executive Director of the National Book Development Board of the Philippines, where she was known for her pioneering work introducing high-impact literary events to the country. Andrea is also a copyright lawyer and teaches English at the University of the Philippines as a member of the faculty of the Department of English and Comparative Literature. She brings her experience in these fields into her role as an agent with the Jacaranda Literary Agency. She is also a Philippine contemporary author in English, and the author of bestselling book Have Baby Will Date, as well as her recently published short story collection: For Love and Kisses.

Dear reader, Have you read any of the authors Andrea mentions? Are you looking for a literary agent? Do you have any questions for Andrea Pasion-Flores? I’ll be randomly choosing one reader from the comments below, to receive a gift copy of Andrea’s book– so fire away!

 

Want to chat with a Literary Agent? #MSWL #amwriting


As part of my ongoing writer’s guest post series in this blog, Melanie Lee spoke to us a week back. Today, it is with great pleasure that I present Jayapriya Vasudevan, one of the best known literary agents in Asia, who founded the Jacaranda Literary Agency. She answers questions on various topics of writerly interest: feel free to leave your questions for her in the comments section, and I’ll do my best to get answers for them.

Hi Jayapriya, and welcome to Daily (w)rite. What was the impetus behind your becoming a literary agent?

I used to run a bookstore/café years ago, and got to know both writers and publishers really well. The agency started when a writer I adored asked me to introduce him to the head of Penguin, India. It seemed to be the perfect way to use all my experience in the publishing world ( I worked in various aspects of publishing before I set up the store with a partner). I was the first agent in India, and I figured out the business as I went along. An editor friend and I put the word out that we were looking for manuscripts. We received more than 40 in a week. Amongst the authors we took on were Anita Nair (her first novel) and Rohini Nilekani. The writer who started me on this journey, the very first author in the Jacaranda list, Shashi Warrier. I still represent his work. The publisher, David Davidar. Now head of Aleph.

What is your typical day as an agent at Jacaranda Literary Agency?

Insanely busy. We are four agents who work out of four countries, with around 80 writers on our list. With varying time zones it’s mad. The first half of the day is about calls and emails. I speak on Skype with either Helen in Singapore or Andrea in Manila at 6.30 am my time. I spend around two hours reading every day: a fiction manuscript and one non fiction manuscript at a time. Takes me around 10 days to finish two manuscripts. And meetings happen as they will, as well as literary events in Nairobi, put together by various organizations like Kwani, (works with emerging African voices) and Storymoja, (does a chapter of the Hay Festival), and then there are the major book fairs and literary festivals we attend through the year.

What do you look for in an author you choose to represent? What sort of submissions are you seeing too much of, and what are the kind of submissions you’d like to see more of?

Good writing is at the core of everything. At least two of us at Jacaranda need to love it. The agency business is also very relationship based. The author-agent relationship is one of trust, and partnership. The ability to talk freely with the author, discuss edits and ideas is as integral to the agency business as the work itself. We get too much debut writing, of a quality that we’re unable to represent ( also saying here that we read at least 50 pages before abandoning a book). Writing to a trend or a market does not necessarily make for good writing, and that’s what seems to be happening now. We’d like to see more narrative non fiction. More beautiful and personal stories. More memoirs. Writing that stems from real experience or very good research as the case may be. We’re looking to grow our brand new Children’s list, and writing from Singapore, India, The Philippines and East Africa.

If you had to choose three of your favorite authors and their best works, which would they be? Why did you choose these in particular?
Anita Nair. Shashi Warrier. Suchen Christine Lim.( FH Batacan.Krishna Udayasankar. Kiran Khalap. Jess De Boer, Tracey Morton.. I could go on really…) These in particular for their incredibly beautiful writing. Vivid. Nuanced. With real stories to tell.

Will you be at any upcoming writer’s events, festivals, conferences where writers can meet and pitch you?
I will be at Storymoja in Nairobi. Helen and Andrea will be at AFCC.

Any words of advice to authors worldwide looking forward to representation from your agency?

Take the trouble to do more than one draft. Be critical of your own work. Edit. Edit. Edit. Stay with a style that you are comfortable with and not try and copy a writer you admire. Proof your work. Send it out in a format that makes for easy reading.

Jaypriya Vasudevan: Jacaranda Literary Agency

Jaypriya Vasudevan: Jacaranda Literary Agency

Tell us about a project you’ve represented that is coming out now/ soon.

Krishna’s next book this fall. David Grossman’s To The End of the World in Tamil. Shashi Warrier and his wife Prita ( adorable to have husband and wife writing), their novels also this fall. A riveting first person account on being bipolar. Zafar Anjum’s book on the poet Iqbal. FH Batacan’s Smaller and Smaller Circles, and Table for Three.

About Jayapriya: I come from a family of writers. My father was one. My brothers are writers. I studied English Literature in College and have been in publishing since then. I adore the Arts, both performing and visual. Love books, naturally. I have lived in many countries and am delighted that this allows me to experience the literature of several countries as a local. Publishing is the only industry I would be a part of. I live in Nairobi, Kenya.

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Dear reader, what are your thoughts on Asian authors? Have you read any of the authors Jayapriya mentions? Are you on the lookout for a literary agent? Do you have any questions for Jayapriya Vasudevan? 

What is #Narrative #Nonfiction? #amwriting


Through the months of December and January, some fab writers have taken over Daily (w)rite and spoken about the art and craft of writing. Check out the posts by Suchen Christine Lim, Sarah Butler, Scott Bryson, Eeleen Lee and Suzy Vitello for some excellent discussions and tips on fiction writing.

Today, I welcome Trish Nicholson. She has a great blog, and her latest offering, Write Your Nonfiction Book: The Complete Guide to Becoming an Author

is on my TBR pile. If you’re intrigued by Narrative Non-fiction, I urge you to check it out. Take it away, Trish!

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Writing Your Nonfiction Book: The Complete Guide to Becoming an Author

Writing Your Nonfiction Book: The Complete Guide to Becoming an Author

What is Narrative Nonfiction?
I’ve noticed lately how often I write the phrase ‘applies equally to fiction and nonfiction’. Having had a book on story craft (Inside Stories for Writers and Readers) published last year, and now, a guide to writing and publishing a nonfiction book, the comparison is highlighted.

The fundamental difference, of course, is that nonfiction is not made up; it is based on verifiable facts, which provide its power to inform and influence as well as to entertain.

Because of this, the process requires careful research and planning – we cannot launch into a flight of fancy – but what of the writing craft, voice, structure, imagery?
We can’t invent, but that doesn’t mean we don’t use our imagination, and it is important that we do, because our brains have evolved to understand life around us as stories – narratives – with causes and effects creating and resolving conflicts, producing outcomes. Research into the psychology of reading confirms that our attitudes and behaviour can be changed by our emotional involvement in a story: it stimulates empathy. We understand and learn best through storytelling.

Significantly, this applies also to nonfiction that is written in a style to enlist a reader’s feelings, especially by the presence of ‘characters’ depicted in the narrative. In the US, the term ‘creative nonfiction’ describes the use of story techniques to factual situations, especially for essays and memoir, but the author is central to the composition: an event is explored through the personal experience of the writer. This may not be appropriate to all nonfiction subjects – e.g. for writing histories, biographies, text books, or documentaries with a wider focus. Here, the author may be the narrator, but his or her inner state is not the principal issue. So instead, I use the term ‘narrative nonfiction’.

Narrative nonfiction employs story craft, such as plotting to build tension, deep characterisation, and imaginative description, to present facts in a form that stimulates readers’ senses and engages them emotionally. Learning facts does not have to be a dry, mind-numbing experience. Today, publishers and readers expect to be enthralled, not bludgeoned, by information.

Although Write Your Nonfiction Book guides writers through the whole process – refining an idea, research, writing, editing, implementing publishing options, and marketing – the emphasis is on narrative style, and how to achieve reader-engagement for a wide range of nonfiction genres. And because technology allows writers from almost anywhere in the world to offer their books in the global market-place, I encourage these voices to be heard more widely by providing information that is, as far as possible, international.

Why not let the world hear your voice?

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Trish Nicholson narrative non fiction

Trish Nicholson

About Trish Nicholson: Dr Trish Nicholson is a writer, photographer, social anthropologist, and author of short stories, and narrative nonfiction on ethnography, travel, popular science and writing craft. Her latest titles are, Inside Stories for Writers and Readers, and Write Your Nonfiction Book: The Complete Guide to Becoming an Author. You can connect with her on Twitter, @TrishaNicholson, and follow her blog at http://www.trishnicholsonswordsinthetreehouse.com

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       As a reader, what are  some of your favorite non fiction narratives and why?

           If you’re a nonfiction author, what tips would you give a beginner??