Melissa Wastney, Read NZ Te Pou Muramura, introduces school libraries to Hooked on NZ Books He Ao Ano, an online platform and literary community for readers aged 12-19.
The looks hook people in, but the blurb brings it home (literally, I always leave bookshops with a lot of books.)
This book deserves all of the praise it receives; it is a beautifully told, undeniably raw, and extremely emotional read…
Once I had read this I was able to understand that although New Zealand claims to be diverse and accepting, racism affects our day to day lives, whether you are able to see it or not…
– Quotes from some recent Hooked on Books reviews.
At Read NZ Te Pou Muramura we want to encourage all of us to read more, and at the same time acknowledge the social aspects of literature; how books bring us closer to each other.
In the words of American writer Patricia Hampl, ‘’If nobody talks about books, if they are not discussed or somehow contended with, literature ceases to be a conversation, ceases to be dynamic. Most of all, it ceases to be intimate. Reviewing makes of reading a participant sport, not a spectator sport.’’
Building a community of readers who discuss books, and growing the next generation of critics is what Hooked on NZ Books He Ao Ano is all about.
Established four years ago by Peppercorn Press to complement their print journal NZ Review of Books, Hooked on Books is an online platform and literary community for readers aged 12-19.
Read NZ adopted the programme in 2020 and would love your help to find enthusiastic young readers to review the latest New Zealand books for us.
How does it work?
First, we match readers with new books: mostly novels, but also non-fiction, poetry and essays. Our reviewers live everywhere from Invercargill to Kaitaia.
We ask for the reviews to be emailed back within a month, and the reader gets to keep the book.
Our editor works with the reviewer to edit the piece so it’s the best it can be. This can sometimes involve a week of revisions and emails but is always an encouraging and supportive process.
We publish the final version of the review on the Hooked on NZ Books website, and share it with our wider community. The best review from each month is published on the official Read NZ website.
Read NZ CEO Juliet Blyth says the purpose of Hooked on NZ Books is to grow the audience for home-grown literature, to provide another space for young writers to be published and to nurture the next generation of critical readers in Aotearoa.
“Our reviewers have the opportunity to respond personally and critically to the latest reads while together building an online resource about NZ books and a genuine platform for their voice.
“Anyone can say that they loved or loathed a book, but it’s much harder to say why. Reviewing is important because well-argued reviews can influence what gets published and what gets read,” she says.
We at Read NZ would love your help to identify young readers and writers aged around 13 – 19 to participate.
We welcome enquiries from school librarians and teachers, but we’re also happy to work directly with young readers.
The publishing and writing industry has changed a lot since I entered it in 1975.
In the early ’80s, I published Australia’s first high adventure fantasy novels from a small office attached to a secondhand bookshop. I even typeset books on a hulking IBM machine that had dials to tell you when to go to the next line. One dial was colour-coded, the other had numerals. If a line ended on, say, yellow and the number 8, I would type y8 at the end of the line. When I’d finished a page of such rows, I’d hit a button, and the page would print out ‘justified’. The tricky part was that the dial might land between yellow and blue. Type a b when it should’ve been a y, and that line would be out of whack.
To save typing out the entire page again – there might be five lines incorrectly spaced – we would type out the lines, cut them out and paste them over the printed page (I tell students that’s where cut and paste comes from). If there were typos – they could be many – we’d type out the word and paste that over the typo. Tricky to get straight, so sometimes we’d type a few words out so the line would be easier to superimpose over the error/s.
I mention the above because today designers with InDesign can do all that for you and it comes out (mostly!) perfect. Back in the ’70s and ’80s, we had to re-type the entire manuscript on a machine like the above. And that was costly. An 80,000-word novel would cost around $1,000 to get typed – a stack of money back then.
So current technology saves both time and money. But it also makes us work faster and harder. In the decades I mentioned (and into the ’90s) I might have received ten letters a week. People used to be careful and say everything they needed to in those letters because it would be two weeks before expecting to receive a reply. It’s just too easy to dash off an email without thinking. My ten letters (that’s a maximum guess) are now 40 emails in a day. If I count all the spam etc., I get two dozen emails before midday. So time is no longer on our side. My modest effort in the decades mentioned was so simple. I’d give the printer the laid-out sheets of text and, voilà!, it would come back as a printed book. I would have the stock delivered to the distributor. I’d send out review copies, and that was it. Nowadays, social media can easily be a job in itself, and all the digital and print-on-demand (POD) platforms would fill another job. Admin and reading email could well give another person a job.
One of the upsides is that the internet is a great leveller. I’ve always been a micro-press. That is a one-person show. Needless to say, I’ve had small distributors that don’t have the market penetration of the bigger distributors. The internet puts Ford Street’s website up against even the biggest publishers’ sites. With their great SEO, major publishers may come first in search engine results, but we’re still there beside them. Brick-and-mortar shops only have limited space on their shelves. Understandably, they’ll take the big-name authors over lesser-known authors. So this means you’ll be lucky to see Ford Street titles in many bookshops – but on the net, you’ll see all of Ford Street’s books and every other micro press’s books. So too, with digital publishing. I see no reason why smaller presses shouldn’t be rubbing shoulders with the major publishers’ digital books when it comes to distribution and display.
It’s funny how people have the perception that if a micro-press publishes a book, it can’t be any good. ‘Hey, if it were good a bigger publisher would’ve published it.’ Right? Wrong. In recent years this micro-press won the Gold INKY award, the Family Therapist’s Award and the big one, the Children’s Book Council of Australia’s Picture Book of the Year award.
What do I like about being a micro-press?
It means I choose what I publish, and if I find a promising but unpolished manuscript I can choose to work with the author and hopefully turn it into a gem. This kind of editorial nurturing was more common to publishing in the past, but it seems to me that this rarely happens within most large publishing houses now, driven as they are by marketing teams and strong competition to sell ‘units’. A-list authors have to come from somewhere, though. A-list authors rise from B-lists. Knock out the B-list and exactly where the A-listers are supposed to come from?
For me, every author/illustrator is on my A-list.
I do not have to appease a marketing team.
Distribution. Publishers who distribute other publishers’ books present their books first. So if a bookseller runs out of time or their budget is gone, lesser-known publishers may not be represented in bookshops.
Competition from high-discount book stores. Major publishers mostly dominate sales to high discount stores. Books sold in places like K-Mart are often sold as loss leaders to draw in customers. Regardless, the more books you print, the cheaper the cost per book. No matter that they’re sold at a 70% discount, big sales are still profitable.
Cashflow. Creatives, printers, designers, editors, scanners are all paid upfront. But from the moment a book goes to all the above, to the moment it brings in money, can be eight months to a year. So if you’re a micro-press publishing 15 books, that’s a lot of money tied up before you can expect recompense.
Lack of staff. A micro-press owner needs to be a jack-of-all trades.
Export (distribution problems).
Inability (time/money) to visit major book fairs: Bologna, London and Frankfurt.
Speaking as an author … what are the challenges?
Low pay. Most authors, like me, have manuscripts lying about that took up to a year to write but have never been published. So that’s no pay for a year’s work. But that’s all part of the gig.
You have no benefits such as sick pay, holiday pay, an employer’s super scheme.
Isolation. COVID-19 has shown that solitary life doesn’t suit everyone.
Contracts. Agents don’t usually send out manuscripts. Some charge 15% commission of their authors’ ELR/PLR/CAL income.
And the benefits?
Self-employed, no travelling to work.
ELR/PLR/CAL/workshops for helpful advice.
Most people don’t realise that authors/illustrators generally make more money from school/library/festival visits than they do from their actual writing. An 80,000-word novel can take up to a year to write. The average advance might be $4,000. Spread that out on an hourly basis, and you’ll see creatives are working on a low wage. But then take into account royalties, PLR/ELR/CAL and presentations in various venues, and it works out pretty well.
Like many authors, my way around financial shortcomings is to have several jobs. It certainly makes my life varied!
– Paul Collins
Book cover supplied by Ford Street Publishing.
Stay tuned! We have more great articles aimed at promoting the importance of the published word scheduled for 2021.
Louise Sherwin-Stark, CEO of Hachette Australia and the Chair of the Australian Reads Committee, invites Australians of all ages and from all walks of life to share and celebrate the joys of reading. And together we say a big thank you to Australia Reads authors Danielle Binks, Jacqueline Harvey, and Virginia Trioli for their amazing support of the school library community!
There’s no denying that this year has been a challenging one. But, despite the hardships, it is encouraging to discover that reading has been a source of escapism, entertainment and comfort for many Australians during this time.
A July 2020 report into the impacts of COVID 19 showed that:
20% of Australians say they are reading more books due to lockdowns.
Gen Z are reading more books than pre-COVID and their reading has increased more than older generations.
This increased engagement with reading has been fairly steady since March.
In terms of reading more on a permanent basis post COVID, 12% of Australian say they will. Interesting, as the waves of isolation continue, the habit forming is increasing.
Rediscovering books and reading is what Australia Reads is all about. Its an important campaign supported by the whole book industry, running from the 1st to the 12th November. Our aim is to encourage all Australians to pick up a book and enjoy the benefits of reading.
This year we are excited to be hosting three virtual events that will highlight the need to stop and read on Thursday 12th November for Australian Reading Hour.
Ambassadors Peter Helliar, Dervla McTiernan and Will Kostakis will join a stellar line up of amazing Australian authors who are contributing to an incredible three programs for kids, teens and adults each of which you will all be able to screen directly into your classroom or library.
Featuring: Will Kostakis, Rawah Arja, Cath Moore, Amie Kaufman, Danielle Binks, Garth Nix, Alex Dyson, Lisa Fuller and more.
Each author will give students an insight into their writing process, character development and how reading encourages emphathy and increases connection.
One lucky school will also have the chance to win a prize pack of special edition Australia Reads books!
To register for the program, head to the Sydney Opera House Digital Events pages HERE. This program is available free of charge to all Australian schools.
Australia Reads Main Event – YouTube Live Premiere Event
Wednesday 11th November – 12.30pm AEDT
Featuring: Judy Nunn, Peter Fitzsimons, Peter Helliar, Michael Robotham, Dervla McTiernan, Tanya Plibersek, Andy Griffiths, Nikki Gemmell, Anita Heiss, Kevin Sheedy, Virginia Trioli and more.
To watch the Main Event broadcast simply log on to the Australia Reads YouTube Channel HERE, subscribe and click on the bell to set a reminder for the program.
Of course, school library staff understand that books – in whatever shape, size, or form – are a great way to unwind, to learn new things, discover new stories, and feel all kinds of emotions. Please take the time to watch this incredible video of Australia Reads authors Danielle Binks, Jacqueline Harvey, and Virginia Trioli celebrating the value of school libraries!
It is SCIS policy to assign genre headings to works of fiction, including fictional films, television programs, etc. In some cases more than one genre heading may be assigned, as well as subject headings from a theme. Obviously not all SCIS records will contain a genre heading.
To see which records in your library contain any of the above headings, you can do a subject search within your library system. Similarly, if you want to see which records on the SCIS database have been given genre headings, you can login to SCIS OPAC:
In the ‘Search’ box type in the genre heading, for example ‘school stories.’
Select ‘as a phrase’ from the drop down menu.
Select ‘subject’ from the second drop down menu.
Once you retrieve your results, you can then select ‘Publication (most recent first)’ from the ‘Sort by’ drop down menu.
Taking the guesswork out of genre by Brendan Eichholzer, from the latest issue of Connections, explores the issues of shelving by genre. He argues that ‘Knowing where each book lives is a key component of the job description.’
If you are thinking of genre-fying the library there are some excellent posts from colleagues outlining the processes they have gone through – here are two of them:
The SCIS Catalogue is a valuable starting point for school staff looking to identify books, digital resources and websites to support the curriculum, and subscribers are encouraged to use it as a selection aid for locating resources that are required for a particular purpose in a school. While providing catalogue records is core business, SCIS recognises the value of enhancing the catalogue record where possible with any information that may help school staff discover and review resources of interest.
In July 2011 SCIS added enhanced content services from Syndetics Solutions and LibraryThing for Libraries to the SCIS Catalogue, via a subscription with Thorpe-Bowker. The bibliographic records in SCIS OPAC are enhanced to display additional detail about resources, including plot summaries, author notes, awards and reviews. This content is delivered to SCIS by linked data based on ISBN.
The SCIS Catalogue bibliographic record display provides a link to Google Books. The Google books link/s (if any) will appear at the bottom of the display.
There are three possible links:
Entire book is viewable
A portion of the book is viewable
“About This Book” information is available.
These links will enrich search results with lists of relevant books, journal articles, web page citations and links to related works and full text when available.
Social bookmarks links in SCIS Catalogue
Individual records from SCIS Catalogue can be saved directly to selected social media services as bookmarks. The persistent website address (URL) for these records will be in the format http://opac.scis.curriculum.edu.au/vwebv/holdingsInfo?bibId=1411770 where the bibID is the SCIS number for that record.
Note that you will need a subscription to the social bookmarking service you wish to use, and anyone accessing these SCIS records from your bookmarking service will need to be a SCIS subscriber.
The social bookmarking services currently supported include delicious.com, diigo.com, facebook.com, google.com and StumbleUpon.com.
Images linked to Google Books are not available for download from SCIS. The book cover image from Thorpe Bowker located within the catalogue data (if available) can be downloaded into your library management system from our orders page or via your system’s z39.50 connection. Subscriber schools may also display the images on the school website including blogs, wikis, online newsletters and the school intranet.
Syndetics content in SCIS Catalogue
Through the subscription service Syndetics, SCIS offers additional descriptive and evaluative information where available including:
Look at the SCIS Catalogue screen [subscription required] for a popular title such as ‘Diary of a Wimpy Kid’ and wait for the bottom section of the page to load. There you should see a table of Similar books which will give your students (and teachers) a range of options of further titles to check out. There are 8 suggestions in the table for each title, but by clicking on one of the suggestions you can get another 8 suggestions.
There are also reviews available (77 reviews for Diary of a wimpy kid) – many of them written by students.
Note: This content requires a subscription to LibraryThing for Libraries so the similar books and reviews will not download into your library system with the SCIS catalogue record. Use your school’s SCIS login to give students and teachers access to these ideas via SCIS Catalogue searches.
The aim of LIW is to raise the profile of libraries and information service professionals in Australia, so check out the myriad of ideas on the ALIA website and take time this week to tell your teachers, students, parents and community what school libraries do!
We catalogue stuff!
We look up stuff!
We research stuff!
We know stuff!