Macquarie University Graduate Diploma in Editing and Publishing

I will be presenting a seminar to students in the Macquarie University Diploma of Editing and Publishing course on October 4. The seminar will cover issues relevant to authors and professional issues related to authorship.

Berlin Literature Festival

The Berlin Literature festival was held from the 4-16 September and I was pleased to be in the city for some of it. Despite the posters on street corners, it isn't that public an event. It doesn't seem to grab public attentiuon the same way that the Sydney Writers Festival does.
In Berlin I also took the time to catch up with Katharina Hacker, the 2006 winner of the german Prize. Her book, The Lifeguard, is a terrific read.

Public Lending Right: World wide view

The conference in Paris. The first sesssion featured reports from all participants.

It was very worthwhile to take part in the recent 7th International Conference on Public Lending Right (PLR) in Paris from 6 to 8 September.
In Australia, we tend to take this right for granted, but in fact it is in place in only about 27 countries. The USA is not one of them.
European countries lead the way, and new countries admitted to membership of the EU have an obligation to introduce PLR as part of their membership of the EU.
Some of the Scandinavian countries have an issue with the EU since their PLR systems, like Australia's, aims to encourage their national literatures. The EU expects all of its members to pay PLR for all authors whose works are held in librraries. This has meant that some countries are now paying PLR to US authors, despite the fact the PLR does not exist in the USA.
At the same time, Australian authors are eligible for payment as well. The ASA is looking at acting as a central source for the collection of European PLR payments for Australian authors whose works are held in European libraries. I followed up this matter with the Authors Licensed Collecting Society (ALCS) in London after the PLR conference.
At present, there are no plans for Australia to pay PLR for any authors except those who are citizens of or resident in Australia.

ABC Radio 774 Melbourne Evening Program: How to get published

It was a pleasure to join Wendy Tuohy and host Derek Guille on the Evening program on ABC Radio 774 Melbourne on 29 August at 8.15 pm.

In a general discussion on books coinciding with the Melbourne Writers Festival (see my other blog entries below), Wendy and Derek asked me to provide some advice to listeners on how to get their novels published. It was interesting while I waiting to go live to hear the many listeners calling in to talk abouit their reading groups and the books they were fond of reading. Unfortunately, none of these readers mentioned any books by Australian authors, and that is significant. Ian McEwan and Dave Eggers appear to have a higher public profile than any new Australian author. That means their books are more likely to be read. It doesn't mean their books are any better than those of Tara June Winch, say, or James Bradley or Shane Maloney.

Derek suggested that everyone had a novel in them, but I don't think this is true. Writing is a specialised craft. Unfortunately, it is not one that everyone can master. But as I pointed out, knowing your market -- the potential of that market -- is very important for any writer. If you are writing for a niche market, your potential for return is going to be limited by the economic size of that niche. You may be very successful in that niche, however.

As I said, only 10% of the Australian book market is made up of Australian fiction. This is a distressing statistic for anyone who seeks to be come a professional writer of fiction in Australia, living off their writing. We just don't seem to see Australian literature as a vital part of our culture. I don't mean any insult to Derek, but the Freudian slips he made (calling the Miles Franklin Award the Booker, and confusing Alexis Wright's Carpentaria with Xavier Herbert's Capricornia -- easy enough to do when you're speaking off the cuff) suggest that foreign authors are more familiar to us than our own. Doesn't anyone share my outrage that this seems to be so?

Anyway, for any members of reading groups out there, why not read the two great books Capricornia and Carpentaria together and comprehend their revealing and contrasting views of Australia.

Kick-start to Creation: Some notes from the Melbourne Writers festival

Thank you to all those people who attended this session at the Melbourne Writers festival. I hope you gained some insight into the many issues that need to be considered if you are seriously going to contemplate the difficult life of a professional author.

I was pleased to be able to work with Louise Connor (Victorian Branch Secretary from Media, Entertainment & Arts Alliance) and Joel Becker (Director of the Victorian Writers’ Centre) to try to alleviate your fears about life as a professional author. I think we managed to give considerable practical advice about support services, networking and negotiating your net worth as an author (book contracts) and a freelance writer (individual contracts) in the time allowed.

But if you need to know more, I highly recommend the Australian Society of Authors website where you will find an enormous amount of information to assist in setting you up as a professional author and help you towards getting published.

One thing that the MWF session made clear was the need for authors to feel they are not alone. Memberships of writers centres and professional organisations like the Australian Society of Authors are excellent ways of overcoming the lonelineness of the professional author and in creating the networks necessary to enhance your career prospects. If you want to be a professional author, you should become a member of the peak organisation represeting your rights and interests.

Copyright: Some notes after the Melbourne Writers Festival

Under the Australian Copyright Act of 1968 artistic ideas are reputedly protected from plagiarists and plunderers, but that is possibly only enforced when creators are backed by sufficient cash resources to defend their rights. Most cases heard in Australian courts relating to copyright have been brought by larger companies protecting their economic interests. It is rare that an individual creator has the resources to bring action against a copyright infringer.

But a creator at least has the ability to decide what to do with their creation. In the case of an author, in order to make a living, the creative work is usually licensed to a publisher who pays the author a fee or royalty for the use of the material in different forms, but primarily for publication in book form. It is always an option for an author to choose to give their work away if they do not wish to earn any income from it.

In the session on copyright at the Melbourne Writers Festival on 26 August I joined a panel that discussed many questions about how we can preserve and protect the intellectual property of authors who publish in an online environment and how we can predict the future of the printed word and the publishing industry. Other members of the panel included Hugo Award-winning author Cory Doctorow who has published three science fiction novels. Cory allows his books to be downloaded from the internet for free under a Creative Commons License (craphound.com). Cory argues that e-books should be seen as a way of winning new audiences rather than losing sales. Sandy Grant, Publisher of Hardie Grant Books and Director of Copyright Agency Limited, wondered whether there was any real advantage in this. He welcomed the free marketing, and was very complimentary about Cory's website, but suggested that there was far too much unedited material available on the net and publishers added valuable quality control to printed products.

Jessica Coates, project manager of Creative Commons, asserted that the e-age will empower online authors, but she cautioned that authors need to be clear what they want to do and the licensing terms they are entering into.

As Executive Director of the Australian Society of Authors and a member of the Board of the Australian Copyright Council, I agree entirely with this approach. An author should be very clear as to the terms of any publishing agreement, whether that agreement be for traditional print use or online use, and whether for payment or otherwise. Authors should also know what they have licensed. For example, if you use a creative Commons licence to allow your work to be disseminated and copied freely, you may find that you are not entitled to payments for copying of your work under the statutory licences embedded in the Australian Copyright Act (such licences do not operate in the Unted States). Also if a library downloads and prints a copy of your work, then stores it for access, you may find you are not entitled to lending rights payments for that copy.

The Australian Society of Authors can provide help and assistance to members seeking clarification on these issues. The Australian Copyright Council and Creative Commons also provide advice.

The Australian Book Market: A brief economic outline

What research there is on the Australian book industry has been conducted comparatively recently. From 2000-2004, the Australian Bureau of Statistics (ABS) assessed the industry as part of the Book Industry Assistance Package given by the current Federal Government as compensation for the imposition of the GST on books. Data in this blog entry comes from the ABS.

The net sales value of the book market in Australia was $1,560.6 million in 2003-04, a slight decline from $1,578.6 million in 2002-03. In 2003-04, there were 234 businesses identified as book publishers and a further 10 identified as major contributors. In 2002-03, the overall operating profit (income, less expenses of $1,487.7 million and a reduction in inventories of $2.5 million) for the industry was $88.4 million (5.6%), but, even with a decrease in net sales value, 2003-04 proved a better year than the previous one with the overall operating profit rising to $152.1 million (9.7%) as expenses were lower at $1,404.4 million and reduction in inventories was $4.2 million. In 2003-04, 133 of 244 publishers were involved mainly in publishing books of general content while 111 were involved mainly with publishing educational books (including professional and reference books).

Just on 60% of the books sold in Australia originate in Australia accounting for sales in 2003-04 of $811.9 million. This is a vast change from 1960, when 75% of the books sold in Australia were imported, and 1980, when 63% of the books sold in Australia were imported.

However, the change in ownership of publishers has been insidiously the other way. Very few Australian companies feature on the list of the Top 20 publishers. However, it is interesting to note that the structure of the industry hasn’t changed much in over 20 years. In 1982, there were 200 active publishers in Australia, compared with 234 in 2003-04. In 1982, no publishers had a turnover of more than $40 million, and only 20% had a turnover of more than $2 million. The majority had a turnover of less than $1 million. This pattern was pretty much unaltered in 2003-04. While there are no publicly available figures on the turnover of most Australian publishing companies because they don't have to report to Australian authorities or are privately owned, it is possible to gauge their size through their reported activities and the annual reports of their overseas owners. As well the ABS has reported (the only year it has done so) that in 2000-01, the 20 largest book publishers in terms of income earned an average of $52 million each, while the remaining book publishers earned an average of $2 million. Overall the 228 businesses involved in book publishing in that year earned an average of $6 million each.

These facts need to be placed in a global context. For example, the international operations of Harcourt Education (purchased by Pearson in 2007), which include Australia, had an operating profit of A$69.6 million for the six months ended June 2004, the 2004 world-wide revenue for McGraw-Hill in 2004 was A$3,050 million with an operating profit of A$432 million, and the 2003 world-wide revenue for Random House (part of privately owned, German Bertelsmann) was A$2,940 million. In other words, the Australian market is a very small part of global publishing, and the global activities of some of the larger publishers operating in Australia are larger than the entire Australian market.

Closer examination of the Australian market reveals that 77% ($1,198.3 million) of the 2003-04 total income for publishers and other major contributors was generated by the 20 largest (in terms of income) book publishers. These 20 publishers were equally as significant in sales, selling 78% ($1,057.8 million) of the value of total book sales and 76% (97.7 million) of all books sold, but their profit margin was lower than that for the overall industry at 9.5% in 2003-04 while it was 12.7% for the other publishers. Mind you, that's not a bad return!