Authors on Show

Lorraine Holloway-White first came to my attention on Harper Collins' site Authonomy for the very silly but very obvious reason that we share a surname (you can read more cool stuff about Lorraine and her really rather good writing at the end of the interview). I soon realised how much more there is to a person than a name, and it was no surprise when, earlier this year, she announced she was setting up the website Authors on Show, a showcase for talented writers seeking representation (there's also a super Facebook Group and a great blog that's constantly full of informative, fresh material). Utterly unpaid, and by sheer force of will, hard work, generosity, and passion for her writers, Lorraine has attracted a super team around her on the website who work tirelessly to expose their writers to the people that matter, and shine teh spotlight each month on a few of their finest.

As I've just started my own press, the site is now even more of interest to me, and I was delighted to speak to her about the site and how it can benefit writers, agents, and publishers. Before you take a closer look at what Lorraine has to say, why not go and look at this month's featured writers on the site:
Margaret Callow
SueAnn Jackson Land
Craig Saunders

1. How and why did Authors on Show come about?
My agents said I needed to be seen and get my name and books known. It made me think about how other authors had to do the same and I thought we could help each other with that by me promoting their book, them promoting mine. The snowball effect if you like.
That isn’t what happened though is it? I don’t think this is what my agents had in mind. My book is rather lost on the way somewhere in all this, but I love what we’re doing for others.

2. What do you offer authors that other sites don't?
Well for one, our authors can’t dump their books and walk away. We expect more off them than that. We offer a quiet, friendly, calm place to visit where everyone supports, promotes and encourages each other.
There is often voting, which readers can take part in
We hope to get agent interest for our authors and have already been working on that for one author in particular.
We are mailing all agents and publishers informing them about the site and hope the fact we have so few books to look at each month means they can spare the time to look at them. The big sites have so many there, that it takes forever going through it all.
By keeping it select, there is more chance someone will be ‘spotted’
We promise to promote those we showcase as much as we can and wherever we can in order that they may be seen further afield. We hope those showcased at any one time will do the same for each other as well. That way, word spreads and more people see them.
We offer editorial advice, competitions, interviews from authors, publishers and agents, help and advice where able and there is more planned for the future.

3. As a writer, you must have an elevator pitch for your book. So what's the elevator pitch for the site?
Authors on Show is THE site for all agents and publishers to find their next big best sellers. Small enough to look through quickly, but big enough to make a huge impact in the literary world. Come to Authors on Show if you want quality not quantity

4. You describe the site as a showcase. To whom are you showcasing, and how do you go about reaching them?
We are showcasing to people around the world, fellow authors, readers and more important agents and publishers. As I already said, we are contacting agents and publishers to ask them to visit and take a look from time to time. We know this has already been done by some, but we want to make it THE place for them to come first when looking for new talent.

5. Could you say a little about the website networking principle you operate? How do you get around the usual problem sites have of being by writers and read mainly by writers?
Mainly because, we aren’t a site where anyone can upload their books and then walk away hoping someone will read it. It is by submission and selection process only and judging is very strict and rigorous.
Also one of the conditions of being showcased, is that our authors use their social networking sites to help promote us as well. Instead of just other authors looking, we reach their friends, family and work colleagues. In other words, people who buy and read books. Even authors do that you know. They in turn tell others and so it goes on. Again, the snowball effect. On our FaceBook page I know there are quite a few following Authors on Show who aren’t authors themselves but are readers. Also we have agents and publishers following us, which is rather good

6. What is the unifying factor for the work on your site? Are there any kinds of book or material that you wouldn't have? And is there a kind of book you're looking for?
We accept all genres and hope to have a good mix each month. We wouldn’t show outright pornographic material or needless violence, but are willing to look at all submissions with an open mind.
Like any agent and publisher, we are looking for books where the quality of writing stands out from all others, but we especially support authors who promote and help themselves. Books we are likely to turn down would be from authors who expect to dump their book, walk away and expect others to do their work for them. That is something Authors on Show won’t accept or tolerate.
Show us you’re serious about yourself and us and we’ll be serious about promoting you.

7. How do you ensure that all your authors get coverage whilst maintaining quality levels to keep people looking?
By keeping the numbers down of those we showcase it is easier to be more selective. Each month we aim to showcase six authors and they are chosen by the three main team members of AOS. We each like different genres, which helps tremendously when it comes to reading. One thing we all agree on though is to only show the books that are well written, edited properly and have an author willing to work hard to achieve success.

8. You would be most happy in one year if...
On the personal side good health is the most important thing to me as mine has been pretty bad for the last 2 years and I’m just coming out of it all. On the writing side, to see my book accepted for publication.
Professionally, I (and the team) would be thrilled beyond belief to have one or two of our authors from Authors on Show get representation or a publishing deal from having been on our site. That would be incredible. Finding a way of getting paid for all our hard work on the site would be nice too.

9. How do you think the publishing world is changing, and how do you see what AOS offers fitting into the new landscape?
Things are changing a lot in the publishing world, but I firmly believe books with pages will never stop being very popular. That said, I think some of the ways forward now are excellent and we, at AOS, will be offering advice and having people from all aspects do articles and give interviews where they can advise our authors on all aspects of publishing..
We are even looking at maybe acting as literary agents ourselves at some point and maybe arranging publication in conjunction with others, such as yourself, for those who want it.

10. Can, and if so how, do people approach you to join?
There is no membership or signing up necessary to be a member of AOS. All you need to do is follow us on Facebook, Twitter, our blog or Authors On Show.com and promote us wherever possible. If anyone wants to be showcased, there are Q&A’s on the main site, which talk about submissions, how to contact any of us and what is required.

11. As a new publisher, how would you suggest I go about using your site to find great writing?
We would be happy to see you there and hope you will be from time to time. If there were specific genres you were looking for, we would be willing to mail you when those were due to be showcased. Likewise, if a publisher/agent contacted us asking if there was anything in particular we thought truly stood out in a field they were looking for, we would be happy to keep an eye out for them and notify them when we found something we thought fitted the bill (as we have already done).

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Lorraine Holloway-White is an author of two books and is presently working on her third. Becoming well known throughout the world for her mediumistic photographic readings and absent healing, she is also the Founder and main Team Leader of Authors on Show, a writing site showcasing authors from around the world. In only two months, the site is already very popular and is being viewed in over 60 countries. That number is growing steadily each day.

Within a couple of months of placing her first book, A Guide’s Guide to Mediumship and Healing on a well known writing site, she secured a Literary Agent. Her book is presently with a well known publishing house under consideration.

Her third book, and editing of her second, is presently on hold as she works full time now promoting others on Authors On Show. She is joined by permanent team members and fellow authors, Nicole Scheller (editor) and L Anne Carrington (blog and entertainment news). As well as these permanent members, there are also AOS helpers and friends, Robert Dean (Bobby’s Blog), Louise Wise (Interviews) and Sessha Batto (Ongoing Flash Fiction Competition).

It says something about Authors on Show, that these people give their time free of charge and willingly work so hard in order to help promote their peers. It is the combination of this team, which makes Authors on Show such a success. Lorraine hopes that they too in time will achieve success with their own books and hopes by working on the site, it helps their own exposure.

Work by the Team Members can be seen on the AOS Blog

More can be seen about Lorraine and her books on her private blog

Dear Publisher

Thank you for sending me your contract for consideration. I am sure you will appreciate that talented authors receive many unsolicited contracts. Nonetheless, I am aware that a publisher like yourself relies upon discovering new talent in order to keep its lists fresh and win new readers, so I hope that you will not be too disappointed that in this case I am declining your kind offer. I wish you all the best in seeking exciting new talent elsewhere.

I understand that it is frustrating to receive a form rejection from an author, without any elaboration on specific areas to work on in your contract. I hope that the following general points may help you in your future submissions.

1. An author relies for their living upon a day job. They write, edit, and network in the evenings, at weekends, and in lunch hours and teabreaks. A publisher's advance, the largest incentive for an author to sign a contract, is not sufficient for them to give up their day job with any security.

2. Many talented, exciting authors write work that will not appeal to large readerships. Publishers need to sell large amounts of books. The result of this tension is that many of these authors will fail to recoup publishers' outlay within their first two books, and it will not be viable for publishers to keep them on board.

3. Without a publisher, a writer is under no such pressure, and will not be junked if their initial books "fail".

4. Should a writer achieve initial success wit ha publisher, they will be expected to produce similar works, and not explore or develop their talent.

5. Without a publisher there is no pressure to change for a writer the way they write in order to fit market needs.

6. Without a publisher there is the freedom to experiment, change genre at will, try, fail, try again, fail again, and devlop one's talent, voice, and potential to the full.

7. With a publisher a writer must concede control over cover design, the way their work is presented to the world.

8. The long cycle of the publishing industry means that the time from pen to audience inevitably freezes some of the initial energy and excitement of the creative process, leading to a less real and invigorating feedback process between writer and audience, and a less meaningful feedback loop.

9. With a publisher, a new writer loses editorial control. Not just total control of final cut, but control of which editor to use in the first place. An editor must have two qualities - the ability to be utterly ruthless; and absolute sympathy with an author's aims. An author needs to be free to select their own, trusted, editor.

10. Pricing - whilst unsigned, the author is free to set the price for all their books - and other merchandise. This includes setting the price at free should the author wish to do that with, for example, their ebooks. It also means the freedom to create and price specila and limited editions of their work.

In conclusion, I am afraid that an author must consider not just their short-term but their long-term future. And whilst I am sure that your kind offer, were I to accept it, would put me in a financially more advantageous position one year from now, and possibly three years from now, compared to that if I reject it; I am afraid that the models I have run show that in five, ten, and twenty years - that is, over the course of my career - there is no financial advantage, and in many models financial disadvantage, in my accepting.

I wish you every success in your future publishing career.

From Pitch to Perpetuationof Privilege: why publishing MUST change its application procedures

The pitch is the publishing Industry’s equivalent of the University Entrance exam, a selection system that perpetuates disenfranchisement, and serves to narrow the pool of available applicants to a point where the literary world becomes nothing more than the chattering classes talking among themselves. As was the case for hundreds of years in our universities, no one has really noticed this until now, because the people the literary industry marginalise had been marginalised from other forms of communication. Worst of all, they have gone unnoticed because they have until now had no expectation or belief that literature is their world.

But as wider and wider portions of society become cultural consumers, so their hunger for stories by and about people like them grows. Television, through initiatives like the BBC’s My Story, is beginning to take notice, but the publishing industry is standing back and does not, it is my firm belief, even realise there is a problem.

This is just another example of an introspection that will in the not too distant future kill the industry off if it doesn’t do something. The fact is the internet is making culture by and for previously unrepresented voices (be they inner city teenagers, battered sex workers, refugees fleeing from, and would-be refugees trapped in, the world’s war zones, or the women of the world’s shanty towns) widely available. And it’s great. Millions of voices are being heard that would never have been heard before – hope that “I am not alone” is being offered to millions more who never heard culture spoken in their own voice before.

It’s a WONDERFUL thing.

And it’s a phenomenon that is going to kill publishing dead. Or rather, pass it by on the road whilst publishing kills itself. Unless the industry does something serious and soon.

There are many thins the publishing industry needs to look at if its isolation from the consumers of the majority world is not to prove fatal, and I’ve got time to talk about them all eventually. But today I want to focus on the flagship ridiculosity: the query.

This is NOT a piece about higher education. I am merely referring, in passing, to an allegation levelled at the entrance exam (because it IS true of publishing, and it’s a good analogy). The problem with the university entrance exam, the argument goes, like the problem with the 11+, is that you do better if you’re coached for it. Which means you do better if your parents have the money AND the inclination to pay for a tutor. Which means two children of equal “ability” will finish with very different marks. Which means, finally, that if selection is based on entrance exam performance alone children whose parents lack either the money or the inclination to pay for coaching will be disadvantaged when it comes to getting a university place. And to add to all this, the privilege this perpetuates means that those from marginalised backgrounds expect not to get places, so they don’t apply, furthering the divide.

That may or may not be true of universities, but I’m sure you get the logic. And if you don’t get where I’m going, then frankly, well, I can’t say in polite company.

At the moment (and especially in the US where you don’t submit ANY script with your query), whether you get an agent depends on the quality of your query, and a huge part of that is the synopsis and, even more, the query letter. There are many wonderful websites and books devoted to polishing your pitch, and I have benefited immensely from them (and still do). But the system reinforces the status quo in a way that is both shocking, and seemingly invisible to the industry.

How are those who do not currently read their voice in books, written by people like them, and who have stories to tell, and a talent for telling them, get published? They must submit a query – for which they have no training – not just because they have no access to the great query sites and books out there (they may well HAVE the internet), but because they are not surrounded by people who know about sites like this. They may not even know what the “application” method is. It is a mystery. So what happens? They don’t send off their stories – “people like them don’t write books”. And the divide is reinforced.

So what? Well one, it’s just wrong that people be denied a voice for their story – and the notion that the vast swathes of people underrepresented in publishing are underrepresented because there is no talent is just nonsense. Systemic barriers are wrong. Full stop.

Two, these are groups of society for whom the internet allows, more and more, instant access to the consumption and production of culture by and about “people like them”. Whole groups are realising that culture is for them. But books aren’t – and THAT is the problem for the publishing industry. A vast swathe of ever more powerful cultural consumer is ignoring books because books are irrelevant to them.

So what does publishing need to do? Well, more than anything else, what it needs to do is what the “Russell Group” of universities (the UK’s “old elite”) sort of tries to pay lip-service to doing. It needs to stop talking to itself. It needs to stop telling would be writers about “show not tell”. It needs to stop focusing on how to write a query letter. Stop focusing, mind, not stop doing – there is, and always will be, a very large, commercially and culturally important group who like books done that way. What publishers need to wake up to is the fact that this is a segment of the population – a segment whose share of wealth, purchasing power, and access to culture, is shrinking.

What the publishing industry needs to do is not try and “help” people on the “outside” to get to the “inside”. People don’t need it. They have other ways of telling their stories. IT needs THEM. And that is something I have NEVER heard someone on the “inside” admit. So what SHOULD the industry do? It needs to find ways to convince the new generation of storytellers that books are a good medium through which to tell those stories. It needs to think like an “outsider”.

Sadly, I really don’t think it can. Which is why more and more of us who would, ten years ago, have been part of the “trying to get inside” crowd, are ignoring it, letting it slowly eat itself to death, whilst we get on and enjoy the exciting future.

Half of me thinks it’s a tragedy. The more so because, like an animal walking to the abattoir, or a patient slipping gently from a coma, I really think most of the industry doesn’t recognise it. But half of me thinks that systems which perpetuate divide and exclusion SHOULD perish, and wonders if we shouldn’t offer a helping hand.