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

 

Australian YA: Meet Trinity Doyle and Pieces of Sky

 

Thanks for talking to Boomerang Books, Trinity.

My pleasure!

Pieces of SkyPieces of Sky (Allen & Unwin) is your first published YA novel. How did you get published an agent or through the slush pile?

I got my deal through my agent.

What is the significance of your title, Pieces of Sky?

In the novel the idea of sky represents something to reach for out of the grief and the story is a somewhat fractured look at that.

The characters seem very real as if based on experience or young adults you know or have observed. How did you give your characters this verisimilitude?Trinity Doyle - credit Farrah Allan

Thank you. I tried to instil them with as much truth as I could—whether it was my truth or someone else’s. If I could work out what each of them wanted—small or big—it helped them become more alive for me.

Who do you hope reads your book?

Everybody haha. People who are searching and feel stretched thin by the world, those who want beauty and an escape. Those who are up at 3am developing obsessions for things most people have never considered. Photo of Trinity Doyle (credit Farrah Allen)

One of the characters writes snatches of poetry. Do you write poetry or song lyrics?

SextonI’ve tried my hand at song lyrics. I was in a band once and did some writing—not much of a singer though so I just spoke gruffly into the microphone haha. I had an intense period of journalling when I was 19 and that was mostly poetry. I tried to be all Anne Sexton over my lack of boyfriend 😉

 

You included some really interesting bands in the novel? Why did you pick these?

Some, like The Jezebels, had a lot of impact for me in the early writing of the book while others became important to me later. I tried to make each mention count, it had to have the appropriate feel for the scene and also be someone I thought the character would’ve actually listened to. I had a lot of fun with Evan’s more obscure taste.

Why did you choose Pennant Hills in Sydney as the place Evan grew up?

haha! Because I wanted him to come from somewhere a bit well off but not too much. It’s also outside the city, which I liked, I like him being an outsider. Truthfully though it’s just what came to mind. I had some friends who grew up there.

Where are you based and how involved in the Australian book world are you?

I’m based in Newcastle, NSW. I think I’m somewhat involved in our book world—I think it’s the best book world going. I’m a part of our local CBCA group, the Australian Society of Authors and the brilliant #LoveOzYA campaign.Night Beach

 

How else do you spend your time?

I work as a graphic designer, hang out with my 4yo daughter and hubby, cook—I love food and am passionate about health. I garden a bit though I tend to lose interest when things die or are overcome by weeds. One day I’d like to have a tiny farm—gotta get better at keeping the backyard alive first though.

What have you enjoyed reading?

Graffiti Moon

So many books! Night Beach by Kirsty Eagar is my absolute fave, closely followed by Looking For Alibrandi by Melina Marchetta, Graffiti Moon by Cath Crowley and Maggie Stiefveter’s Raven Cycle books.

All the best with your new book, its a stunner and I reviewed it in the Weekend Australian here. Thanks very much, Trinity.

Thank you!

Digital diary dates for 2012

Photo: Wolf Concepts' award-winning Caesar's Filofax ad (www.wolfconcepts.com).
Have you started filling in key dates for 2012 in your digital diary yet (read on for a list of ebookish events)?

I switched to using Calendar on the iPhone earlier this year and still miss my Filofax terribly. I am convinced that the act of physically writing an event into the diary ensures its details are etched into my memory too. Typing something in via a touchscreen doesn’t seem to have the same effect at all.

In fact, I’ve just read a blog post that explains why this is indeed the case very well, here on Lifehacker.com:

“With writing, you use your hand to form the letters (and connect them), thereby more actively engaging the brain in the process. Typing, on the other hand, involves just selecting letters by pressing identical-looking keys.”

The trouble is, the Filofax is too heavy to carry around everywhere, whereas the iPhone is always on hand. Sigh.

But back to key dates. There are already plenty of 2012 dates for digital publishing fiends to add to their diaries, written or otherwise. Here are just a few for you to ponder entering:

  • The Australian Society of Authors’ E-Exchange forum, February 18, Sydney, with other states to follow through the year.
  • Copyright Agency Limited member seminar and digital publishing guide launch, including guest speakers Mark Tanner (Google eBooks) and Sabine Heindl (NBN Co) February 23, State Library of Victoria, Melbourne.
  • Perth Writers Festival, February 10-March 3.
  • Adelaide Writers Week, March 2-18, 2012
  • The Australian Society of Authors’ Creating and marketing an app, March 16, Sydney, with other states to follow.
  • Creating your own ebook workshop, March 23-24, Melbourne, with other states to follow.
  • Sydney Writers Festival, May 14-20.
  • Australian Publishers Association’s ebook essentials for editors seminar, June 5 (Sydney) and June 7 (Melbourne).
  • Australian Booksellers Association annual conference, June 17-18, Sydney.
  • Emerging Writers Festival, TBA June, Melbourne.
  • How to publish your ebook course, University of Technology, Sydney, Tuesdays, 6-8pm, from mid-year with dates TBC.
  • Australian Society of Authors’ How to publish your ebook – six-week course (identical syllabus to UTS course above), from July 4, Sydney.
  • Australian Publishers Association digital marketing seminar, July 5 (Sydney) and July 10 (Melbourne).
  • Byron Bay Writers Festival, August 3-5.
  • Melbourne Writers Festival, August 23-September 2.
  • Brisbane Writers Festival, TBA September.
  • Various must-attend if:book events, dates and venues TBA.

    I’ll try to keep this page (and my iPhone calendar) up to date as the year goes on, and hope to see you at some of these events.