Q&A with Anna Valdinger from HarperCollins Publishers Australia

Today Anna Valdinger, Fiction Publisher from HarperCollins Publishers Australia answers 7 questions about publishing we readers have always wanted to know.

Does the designer have to read a book first before designing the cover?
No, and many designers don’t have time to read all the books they’re working on, although certainly sometimes they’ll read some of a manuscript to get a sense of the book’s tone – usually for fiction. The publisher will have given the designer a comprehensive brief which includes where the publisher sees the book sitting in the market and the type of book it is, comparative titles, and often visual motifs from the book that could work on the cover. I always ask my authors for their thoughts as well so that their vision for the book is included from the start. Some authors are very visual and will send over mood boards and others prefer to wait to see concepts that we’ll discuss. It’s a fascinating process to get to something that is artistically in line with the author’s (and designer’s) vision and that will also work commercially.

Anna Valdinger, Fiction Publisher HarperCollins Publishers Australia

What’s the most expensive kind of finishing for a book cover?
Probably a cut out. Those can be easily damaged and I don’t often use it. Flaps are expensive as well, though they look lovely. Foil is probably the more expensive option of the ones I tend to use. Emboss and spot UV on a matt finish are my favourites. I wish I could do more colour printing on inside covers but that can get pricey. Soft touch is amusingly divisive – some people find it quite creepy. (I’m definitely in the ‘soft touch is creepy’ crowd; it also shows your fingerprints quite easily).

Why do so many books have the text ‘A Novel’ after the title?
This is a convention that tends to happen mainly in the US. But sometimes if we are concerned that people will mistake a novel for non-fiction, either because of title or subject matter or the author’s profile, we might add it on. I prefer to make it clear through the cover treatment, title and shout line.

What are the blank pages at the end of a book for?
Books are printed in batches of 16 pages called an extent. So if a book has, for example, 8 pages of preliminary matter (title page, copyright page, dedication, list of other books by that author, and so on) and 383 pages of main text, you’ll have 391 pages plus 9 blanks to take it to a total extent of 400 pages. If you only go over an extent by a page you’ll have 15 blanks which is a lot, so usually you would see if you could save a page somewhere. Typesetters can do a lot to help here! We tend to use any blanks we have for things like ads for other books by that author or reading group questions.

Do readers still send fan mail to authors?
Certainly. Less so by snail mail these days although we do get post coming in for authors which we will forward on. Most people tend to connect with authors now via social media or the author’s website. Authors love to hear from their readers – it can be a lonely process to create a book from nothing, and to hear from someone that they enjoyed or were touched by the work is really special.

How does a bidding war between publishers start? Don’t authors have to submit their work to one publisher at a time? How do they engage in a bidding war?
You definitely don’t have to submit to one publisher at a time but it is courtesy to let people know your work is on multiple submission. If you have an agent they’ll usually submit to the major publishers all at once. Authors can do this too but not every publisher accepts unsolicited manuscripts, and agents know which person is the best one to approach for a particular title. If one or more publisher is interested the agent will let the others know – at which point everyone can get competitive!
If more than one publisher makes an offer, then the author and agent will assess them and decide if they want to accept one or take it to an auction. These can take various forms but often include the publishers putting together marketing and publicity pitches to accompany the financial offer and – depending on convenience and geography – going in to meet with various publishers to get a sense of the team and which might be the best fit for them and their work. Publishers then put in their best offer and the author decides which to accept. It’s not always down to the money; sometimes you feel a certain publisher ‘gets’ you better than the others, and the author/publisher relationship is really important, both editorially and because the publisher is your and your book’s champion.

Which book has surprised you the most this year?
The Barefoot Investor by Scott Pape. It’s rare to see a financial advice book take off in such a way but this one has sold 300,000 copies and almost all of that through chains and independent bookstores rather than through the big department stores. It’s a really impressive bit of publishing.
In fiction I am hugely excited about a book I acquired that will be coming out in March 2018. It’s a crime fiction novel, the first in a series by Perth writer Dervla McTiernan. It’s incredibly pacy and compelling and heartbreaking and tense – I couldn’t put it down and am still shocked that it’s a first novel and yet is so good. It’s called The Rúin – look out for it!

 

PIR – What is it and why should you care?

What the? you ask. This doesn’t sound very Christmassy. That’s because it’s not, really. But it is bookish and certainly something you should think about as you ponder over those last mSaving Aussie Books Againinute literary Christmas gifts.

There’s a sinister little acronym doing the rounds again, which deserves your attention, PIR. Parallel Importation Restrictions, is not a simple concept to grasp in 60 seconds but worth trying to understand.

It means the restriction of massive numbers of remaindered or unsold books published overseas, often to an inferior, unfaithful quality to their original Australian counterparts into our marketplace and thereby destroying consumer choice, suffocating the Australian publishing industry and most devastatingly of all, crippling the Australian literary scene by altering and stifling authentic Aussie voice and language. (Told you this wasn’t straightforward!)

Peter Carnavas PIREssentially, if you love stories, love books, and love reading, then the removal of these importation restrictions can and will affect you. Children’s author illustrator, Peter Carnavas describes the impact on the children’s literary scene in a recent blog post issued by Saving Aussie Books AGAIN. His words reverberate similar sentiments held by many in the Kids’ Lit world.

‘As a children’s author/illustrator, I know the huge impact that my books and other Australian books have on children, inspiring them to develop a love of reading.

If PIRs are removed, so many Australians will lose out – authors, illustrators, publishers, independent booksellers, teachers, librarians, parents and, most of all, children. It is a move that will only disadvantage these stakeholders and weaken Australian culture.

I am just one of hundreds of Australian children’s book creators that would be forced to reconsider the viability of making children’s literature.

We already receive minimal earnings, dedicating ourselves to what we do through our passion for promoting literature and stories to children.

This decision would cripple our efforts to put wonderful stories into the hands of Australian kids.’

Sheryl GwytherThis battle, vehemently fought and won back in 2009 continues, as Sheryl Gwyther, seasoned author for children and staunch advocate against parallel imports states, ‘the war rages on!’

‘The surest way anything positive happens is through People Power, and that means you, me and everyone in our industry who cares about Australian children’s books and young readers.

Lifting the Restrictions against Parallel Import threatens all those Australian publishers who took the risk of publishing the books in the first place and who invested in the development, editing and publication of the books.

There have been massive cutbacks to our industry – this will add so many more difficulties and restrictions. Less money means less books published, less new authors, less risks taken at all levels of authorhood.

‘The most insidious threat from Parallel Imports is how Australian children’s picture books and novels that have been Americanised would be allowed into this country and sold in competition with the Australian versions.’

Boomerang Books banner-boomerSo what, you may be asking. Story is story. If you have the option to buy a cheaper ‘version’ of the same story, why not? Sure, many books are sourced online nowadays but there are still sites, such as this one, Boomerang Books which are Australian owned and operated and offer original Australian content and titles at discounted prices.

Opting for the severely discounted, ‘altered’ overseas versions of our Australian stories found in discount chain stores further depletes a uniquely faceted yet delicate culture already challenged by a gamut of Americanisms. Of course, it’s the Z Generation that concerns writers and illustrators for children most. Children risk further literacy confusion. Parents will not be able to identify imported copies from the ‘real deal’ with ease and confidence. Essential settings, sense of place and character idioms will disappear from our language and when that happens, a people as a whole alter inextricably.

‘Books written in our country give Australian children insights into our unique culture; those books speak our language, colloquialisms, our English-Australian spelling, even common words (like Mum instead of Mom; pavement instead of sidewalk; tap instead of faucet, and so many more), our Aussie humour that Australians ‘get’, but is mostly misunderstood overseas, and most of all a subtleties in picture books that I have seen changed in Australian books to suit the American market.PIR sign the petition logo

We can’t influence those adaptations in another country nor would we have the right to, but we can stop the remaindered copies that failed to sell in the US being dumped into the Australian market and sold cheaply in bookshops, ‘masquerading’ as the authentic versions.’

If the repeal to drop current restrictions on parallel imports is successful, the effect for Australian readers, let alone those whose livelihoods revolve around producing those reads, will be knee-breakingly devastating. To petition this very real threat to (y)our reading-way-of life, please take a moment to consider the impact by reading through Saving Aussie Books AGAIN. Visit the petition site, here. Support our beautifully diverse, colourful reading culture and all those whose dreams and stories create it by signing on-line. And please, please, do it before it’s too late.

Excerpts, quotes and images included from Saving Aussie Books and Saving Aussie Books AGAIN used with permission.

The views represented in this article are the author’s and are not necessarily the views of Boomerang Books