yvonnes-blog

Hookline - bringing together new writers and good readers

Tue, 29 Jan 2013 07:50:36 +0100

Many years ago, a new writer sent their manuscript to a publisher, and they would hear a 'yes', 'no' or 'maybe'.
Today, new writers send their manuscripts to publishers, and they are likely receive a postcard telling them to get an agent. Many agents now act like editors, helping their writers through rewrites. In turn, publishers turn to agents they trust - and agents stick to writers who have earned their royalties, or are writing in a fashion that is likely to earn good royalties (hence the popularity of new writers who turn out mummy porn).
The new writer with something different to present can find it very difficult to find a place in this relationship.
Hence, the Hookline Novel Competition!
We bypass agents and editors and take the work of new writers directly to the readers. We trust book groups, those dedicated consumers of novels who meet regularly to discuss their latest read. However, we knew when we set up Hookline, that we couldn't cope with the vast numbers of writers who were likely to submit their work. We needed a benchmark and, after much discussion, we set that at post-graduate writing level. We did so because these courses are not unique - most universities now offer an MA in writing. We also recognise that the students of these courses make sacrifices, both in money and time, to learn this craft. Anyone can tap out an 80,000 word novel, but it takes dedication and study to consider the pace, character development, plot and writing style that should come together to result in a good read.
At Hookline, we try to bring dedicated new writers together with consuming readers in the hope that we will find some very good reads. This is our fifth year, and a quick look at the titles we have published so far shows a range of quality fiction.
It has been a slow process. Book shops were reluctant to take our titles, despite our offer of sale and return. Many traditional book shops, while asking for customer support, are reluctant to change because they like their comfortable billing process. No matter, our sales have increased 1000 percent over the last year thanks to e-readers.
Actually, it's not thanks to digital e-readers. It is thanks to our readers who are learning to look at Hookline titles for a novel that has received a thumbs up from readers who are just like them.

How to find or start a book group

Tue, 08 Jan 2013 10:21:55 +0100

There may already be a book group in your area. Ask at your local library or check with The Reading Agency, a charity that aims to promote reading: http://www.readinggroups.org/find/location/

Or try: http://wwwbookgroupinfo.co.uk

If a group doesn't exist in your area, or the existing group is full, you may have to start a reading group from scratch.

First, ask among your friends, co-workers and neighbours. You are likely to be surprised at how many people like to discuss books.

If you are comfortable, put a small notice of the group in your neighbourhood newsletter or newspaper. Don't include your telephone number or address. Display only an email address as contact.

If strangers are included in the group, it is probably best to meet in a public place such as a cafe, pub or your local library. Many libraries have meeting rooms.

Decide on some ground rules such as:

- no hardback books as they are expensive

- decide how you will select books. Many book groups let members take it in turns to suggest a novel. The member who selected the novel opens the session by saying why they chose it.

- the group may be free with each member speaking spontaneously about any aspect as it occurs to them, or you may wish to be methodical and take time to discuss each aspect such as plot, character, writing style, suitability of title and book cover and general satisfaction with the novel.

Good luck!

Book groups are as varied as readers. Some of us meet in homes, others in libraries, some in pubs and others even get together online.

Publishing - who is it all for?

Thu, 03 Jan 2013 13:16:43 +0100

Much is written about how it's the turn of the author, and publishers must take a back seat.
An article in Forbes magazine states: Publishers need to evolve their business models to reflect a new reality and one that is closely aligned to the authors.
Self-publishing, author cooperatives, and pay-for-publication imprints are all receiving a massive amount of coverage right now.
For a small publishing company such as ours, this discussion can make us wonder why we get out of bed. Yes, anyone can publish anything they wish, have it edited, typeset, covered and printed for the world to see.
But how do they find the readers.
Without readers the author is a very lonely writer.
Readers are who we should seek to please. We need their endorsement, their pleasure, their patronage.
But how to reach readers when the author is not a well known name?
At Hookline Books, we don't have a budget for publicists and billboards. Instead, we strive for word-of-mouth recommendation - reader to reader to reader. Every little sale is precious.
This time last year, we had the ambitious idea of doubling sales in a year. It seemed like a long shot, but you have to aim high.
Well, dear reader, we thank you all. Sales of our titles increased ten fold in 2012.
Author-centered writing sounds wonderfully ideal, but they miss a vital part of the publishing equation - Readers! We are nobody without you.

Print on demand ideal for many African countries

Wed, 28 Nov 2012 11:51:11 +0100

Ebooks for Africa! Tablets for Africa!
We hear a lot about digital technology being transported to Africa, and it's a wonderful ideal. The problem is that much of the telephone fibre in Africa is just that - made for telephone usage and unable to support the passage of bulky data (think of the old days of internet dial up).
So while ebook technology may not yet be appropriate, there is another digital mechanism that is ideal - the Espresso Book Machine! This physical printer operates like a vending machine. It stores PDF files of thousands of titles, and can print, bind, cover a text and spit it out within minutes, as it is ordered by each customer.
Anyone with any experience of Africa knows that books - whether they are textbooks, novels, how-to books - are scarce in many African cities. Books are heavy, therefore expensive to ship. As a result, most shops have a paltry selection to choose from.
Espresso Book Machines sit in many western cities, but they are considered a curiosity. I would love to see them shipped to African university campuses where they texts could be available to all who wanted to read.
This is not a plea for poor Africa - this is a continent of education and a growing middle class. This is a request for a common sense approach to digital book distribution until Africa gets its high speed fibre optic cables and can join the rest of the wi-fi world.

Is it normal for writers to pay toward print costs? ABSOLUTELY NOT!

Mon, 26 Nov 2012 13:34:48 +0100

Do all publishers charge writers to publish their work?
According to some, it is a legitimate part of doing business in today's world, and I've just had a rather heated debate with a publisher who feels that not charging is impossible.
Hmmm! I have been known for my Polly Anna tendencies, but a work should be accepted because a publisher feels that their investment in editing, typesetting, design, printing and royalty costs will be returned by enough readers purchasing the title. We all make mistakes, and invest sometimes in a book that barely covers the first stage of these costs. As a result, we rely on bigger sales from other titles to offset these costs.
However, asking a writer to contribute to the printing costs veers too close to vanity publishing.
As a small publisher following a slightly different model from most - taking manuscripts only from new writers and asking book groups to decide what we should put to print - we are occasionally asked if we charge writers for print costs.
No question makes me stand on my toes and yell more vehemently, "ABSOLUTELY NOT!"
Credibility in this business matters.

How do we find the quiet books?

Mon, 19 Nov 2012 19:14:51 +0100

'To own a certain book, and to choose it without help, is to define yourself.'
Julian Barnes

When browsing through a bookshop or library, we are often reluctant to stake our time and money on an unknown author. It feels safer to opt for the novel that has had attention in the media - either through reviews, author interviews or a billboard picture or two. But, as we all know, not all highly hyped novels turn out to be wonderful reads, and not all unhyped novels are worthless.
So how do we discover the quiet novel, the well-told story that no one is recommending through radio, tv or print? Mostly we find those quiet books through word-of-mouth recommendation. The friend whose judgement we trust can hold great influence, especially when they enthuse over a particular plot.
One of my favourite quiet novels is The Ginger Tree by Oswald Wynd. It was recommended by my sister, someone whose taste I truly trust, and tells of a Scottish woman joining a husband she barely knows in a country she barely understands.
But what quiet novel have you discovered?
Tell me, I'll pass the word.

Hookline Winner 2013

Mon, 05 Nov 2012 10:54:12 +0100

Congratulations go to Victoria Owens, of Bath Spa University, with her novel Caelica's Bridge. Set in 18th century Wales, the novel follows a young woman who finds the courage to stand up to her father and her fractured community.
Hookline book groups said:
"The characters were strongly developed as the novel progressed."
"It had a good sense of period."
"This was definitely our favourite."
I look forward to working with Victoria, and we aim to have her novel published by April.
Congratulations to Victoria!

Hookline 2012 - no clear winner, so far

Thu, 25 Oct 2012 09:36:27 +0100

Book groups are sending in their results as we move toward the conclusion of the Hookline Novel Competition.
Usually, we see a particular novel rise above the others, and I can easily bet on who might win. Interestingly, so far, there seems to be no clear favourite. So all bets are off.
For those unfamiliar with the Hookline Novel Competition: We take submissions only from students and graduates of MA writing courses and ask book groups to judge their work - in short, we bring together serious new writers and seriously consuming readers.
Some people argue that taking an MA course does not guarantee a good writer, and they are correct. However, for our purposes, we need a benchmark as we could not cope with the number of submissions if we opened the competition to everyone.
We have around thirty book groups between England, Scotland and Wales (Northern Ireland book groups, we need you). Book groups initially receive a collection of early chapters. They select a short list of works that offer the most promise and then have the opportunity to read and rate the full manuscripts of these selected works.
Our short-listed works this year come from:
Victoria Owens of Bath Spa University
AJ Morgan of University of Wales
Paul Beatty of Manchester Metropolitan University
Andrew Chesney of Anglia Ruskin University
Andrea Case-Rogers of Manchester Metropolitan University
We wish all the writers the best of luck.
The winner will be revealed in early November.

Do ebook consumers dip into books the way music fans select tracks from albums?

Tue, 16 Oct 2012 11:32:19 +0100

I remember a time before itunes and CDs when music came on vinyl albums. Oftentimes you weren't keen on all the musical tracks, but you listened anyway and oftentimes those unpopular tunes grew on you. I'm not the only person who sat in a bedroom listening to every single track on an album while reading the cover from top to bottom - including the copyright details - while the eighth, ninth or tenth song grew more appealing.
Today when we download digital music files, we pick only the album tracks we like and disregard the rest. We never allow the more subtle tunes to grace our sensibilities, we never have the opportunity to let a song grow on us.
At a recent seminar on the digital marketplace, music industry professionals gave advice to publishers. There was much talk about licensing, piracy and pricing, but no one talked about the consumer and how our listening habits have changed.
Do ebook consumers dip into chapters the way music fans listen to partial tracks of partial albums?
I think the answer is probably yes.
So should this change how we produce, market and price books?
I think the answer is probably yes.
How should we do this?
Ideas and comments, even partial ones, would be appreciated.

So cloudy with words, I can't see!

Thu, 04 Oct 2012 16:23:09 +0100

Does anyone feel followed by a cloud of words?
I don't mean in the books we read, I'm more concerned with social media.
I love Facebook for the contact with old friends and new, and I have found some amazing pointers to events and ideas on Twitter. But sometimes, it feels these forums have simply too many words.
I understand the democratic nature of social networking and even champion the lack of gatekeeper, but sometimes...
Ask yourself, who wants to know about your mood today? Do the public need to know you 'have left the building'?
Links to blogs, interesting articles, events are exactly why many of us value Twitter - but tweeting to simply tweet are simply more words.