Huzzah for a New Publishing Company with a Difference...

Jan Carr & Lorraine Gregory

@threeharesbooks

Daring to be different - isn't that the essence of 'indie'? Three Hares Books officially launched on Tuesday 20th May and on the last day of our Everything Indie month we're delighted to congratulate new publishers Helen Bryant (nee Corner) and Yasmin Standen on their new and innovative publishing company.



Helen of Cornerstones Literary Consultancy and Yasmin of The Standen Literary Agency have come together because they both want to publish books that move the reader. Their approach allows them to take a chance on first-time writers, hit the market with books at a greater speed, and explore fresh areas. Over the coming year, they'll be releasing a whole host of original adult, young adult, and children’s fiction. They are embracing ebooks alongside print books, with more author involvement in the process.

Yasmin explains:

“In creating Three Hares we have embraced technological advances in publishing - ebook sales are soaring, but print books remain a staple for many, which is why we are publishing both.”

Yasmin and Helen

The Debut Authors with their publishers

Their first batch of books!

Three Hares have dispensed with the usual genres and have created the 'mood bar'. Choices such as  'Crush curious' 'Teen Wild' and 'Feeling blue and want to wallow' cross age bands with the intention of offering readers books that match their feelings on a particular day. Ebooks make that instant mood gratification a reality.

Helen says:

“Three Hares is about quality, speed and delivery. We operate in a low risk, high return way so it's exciting what we can do for our authors, as well as bringing fresh voices to the consumer.”

Two of those fresh voices are of course SCBWI members Christina Banach and Nick Cook. Print copies of Minty and Cloud Riders looked and felt wonderful from the cover designs by creative director Jennie Rawlings to the ever so slightly velvety feel to the board - well worth a double, digital and print, investment.

Nick and Christina with Katherine Price of Cornerstones' 'Kids'  Corner'

Nick and Yasmin

Helen and Christina

Helen and Yasmin are actively seeking new voices.

Check their submission guidelines.

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Jan Carr is the editor of Words & Pictures. Her fiction is all over the place, she blogs occasionally and loves to write in magenta. You can contact her at editor@britishscbwi.org.

Lorraine Gregory has been writing fantasy adventure books aimed at middle-grade boys for the last three years. She's been a chef and a restaurant manager and now works from home as an Antenatal Teacher. She belongs to the Words & Pictures Team and helps to bring joy to our Saturday Celebrations' posts

A Fount of Fonts

Catriona Tippin

With self-publishing in mind this month, here are some thoughts on fonts.

Typeface design has a rich history; when you’re surfing the web, instead of finishing your work in progress, have a look at the history of the fonts you use. All those surnames are used for a variety of reasons, all interesting. And from that history, a variety of conventions have evolved, with the best aimed at ensuring readability and good design.

Here’s the handiest hint or topical tip for a printed end result: use a font with serifs for the main text and a sans-serif font for chapter headings, captions, titles, etc.

Here are some tried and tested serif fonts:

(Click examples to enlarge.)

And sans-serif fonts include:

For reading text online a sans-serif font may be preferable, so try Tahoma or Verdana from the list above. Book publishing is evolving so fast that your choices may be changed not only by an editor (if involved) but by the reader (if e-reading). You may be constrained by your printing/publishing company’s demands. Confidence in your original font choices is worth having though, so… serif body text, sans-serif headings, and well-established fonts for both.

Some random facts on fonts:

Serif
The decorative flick at the end of the main horizontal and vertical strokes of a letter, known as a serif, originated in Roman inscriptional carving.

For a top ten of serif fonts there are the six above plus Baskerville, Caslon, Georgia, and… 

Bodoni – despite being described by William Morris as having “Preposterous thicks and thins.”

Sans-serif
Literally ‘without serif’. Spelling? I use ‘sans-serif’ in its hyphenated form but there’s ‘sans serif’ and ‘sanserif’ too. The short form may take over as the conventional spelling.

For a top ten of sans-serif fonts there are the three above plus Calibri, Frutiger, Helvetica, Johnston, Trebuchet, Univers and…

Gill Sans – here’s a graphic designer’s in-joke: “How do you do British post-war design?” “Set it in Gill Sans and print it in British Racing Green.” Think of the original Penguin books, the BBC and the Keep Calm and Carry On poster. Based on Edward Johnston’s eponymous London Underground typeface, both are classics.

Finally, here are three terms it’s worth knowing about, though the proportional fonts in use now mean most of this is done for you -

Kerning

An illustration of kerning: 

Kerning is the process of adjusting the spacing between letters so the blank spaces between each pair of letters have a visually similar area. This is automatically done if using a proportional font.

Tracking

Tracking is the process of increasing or decreasing the space between letters to affect overall density in a line of text. It’s used to correct a split word or a ‘widow’ (single word at the end of a paragraph).

Leading

Leading (pronounced like the metal) is line-spacing, and with some fonts it improves legibility. The word comes from the era of hand-typesetting, when thin strips of lead were inserted into the forms of text to increase the distance between lines of type. Text set ‘solid’ appears cramped, with ascenders (as on b d f h k l) almost touching descenders (as on g j p q y). Line-spacing also avoids the phenomena of ‘rivers’ appearing. These are the gaps between words which seem to create white lines flowing through the text due to the coincidental alignment of spaces.

Further font facts will feature in the future. 

Catriona Tippin aka @ProofReadingTip will be back next month with more proofreading tips. To see previous tips, click on this proofreading link.

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Catriona Tippin has been a member of SCBWI since 2006 and helps organise venues for SCBWI North East. Details of her writing and illustrating here. She proofreads study guides, house magazines and publicity material for two national educational charities, in addition to working on a variety of proofreads and copyedits for the growing self-published world. Her monthly column is intended to give you food for thought, remembering “Any correction of the speech or writing of others will contain at least one grammatical, spelling or typographical error” (McKean’s Law, named after its inventor Erin McKean, editor of the Oxford American Dictionary). 

Somewhere between the rainbow... Part Two

Nicky Schmidt

One hopes that as more established authors self-publish both new and out of print work, and as debut authors self-publish having made the investment in professionals, the quality of, and attitude towards self-publishing will change. Agent Jenny Bent summed up the benefits of self-publishing, saying: “What I love about self-publishing is that it's opened up the industry so much, and there is no one hard and fast route to success anymore. Self-publishing means that there are now many different ways for an author to be successful.” And as both E L James and Amanda Hocking have shown, dreams of traditional publishing don't have to fade because an author decides to put their work out on their own. 

"Self-publishing means that there are now many different ways for an author to be successful." ~ Jenny Bent

On the flip side and despite the challenges, many writers cling to the dream of being traditionally published where the cost of editing, production, distribution and marketing are borne by the publisher. Nick Cross observed that as tough as it is to get a publishing deal with a big house, one of the greatest advantages of going the traditional route is shared risk. “A commissioning editor takes a professional risk by championing and acquiring your book, and that is part of what drives them to make the book the best it can be. An independent editor, no matter how well-motivated, is never going to feel that sense of ownership. And a publisher who pays to acquire a book is motivated to get it out there and get it selling.” 

While Nick’s view is correct, it doesn’t help the writer who wants the peer recognition of traditional publishing but has a writing shed wallpapered with rejection letters and isn’t willing to accept the perceived stigma of self-publishing. 

Some have suggested the alternative lies in approaching small independent publishers. Anne Rooney believes that, “If there is a 'third way' it is provided by the small independent publishers who are not charging authors, but are offering a larger (or flexible) royalty deal but no advance. They are taking a risk on the book and need it to succeed so will market it, they just don't have the cash-flow for an advance. Some will be perfectly fine publishers - some are start-ups with no significant editorial or market experience, so you have to do your research.” 

But even submitting a manuscript to an independent publisher doesn’t guarantee a deal, and writers may still face rejection. This is when the concept of hybrid publishing holds appeal. 

Hybrid Publishing

Hybrid publishing is a rapidly growing middle ground and stems from aspiring authors realising that in order to publish well, they need to have a team knowledgeable about books and navigating the industry. Team or co-operative publishing and crowd-funded publishing are key to hybrid publishing. 

Team or co-op publishing involves a group of writers getting together to edit, produce and promote a book (usually an e-book). Alternatively, it exists when a writer uses a critique group or fellow writers as beta readers and promoters, and employs a professional editor, proof-reader and illustrator. With crowd-funded publishing a writer invites people to fund their book. The funding may take several forms from straightforward donations to equity-based funding – the writer may carry no financial risk or may be obliged to split the profits. (For more info see the Wiki article, and also look at the top ten crowd-funding sites.) 

Ensuring the critical elements of editorial and marketing expertise, costs. For a writer unable or unwilling to provide the necessary finance, crowd-funding may be the answer - though again, there’s no certainty that funds can be raised. While a “third way” of publishing could involve both a team and crowd-funding approach, the writer would have to, as Nick Cross observed, engage readers from day one. For children’s writers, particularly those without an established market, this could be extremely difficult and may be seen as exploitative. And, as already mentioned, even if the team publishing a book consists of published authors or professional editors, there is no guarantee that a book will be good or well-written, or that it will sell. All team publishing - like self-publishing – ensures is that the book gets into the world. While a novel’s success is never assured, it is the fundamental role of gatekeeping, together with the associated question of risk that remains the biggest stumbling block to any genuine third way of publishing. 

As much as the need exists, at present there appears to be no clear-cut “third way” for children’s writers which involves shared risk, some kind of income guarantee and a quality product. It may be that a third way cannot exist while the issue of financing remains the primary stumbling block. But while a genuine third way may not exist, what writers have, however, are a lot more options to get their stories into the world and find potential success. 

As Kristyn Keene of ICM Partners has said, “Independent publishing has become an important space full of emerging talent, where a writer’s success often leads to a strong relationship with a major publisher.” If you’ve written a good book as well as you can, going out there on your own may well lead to the dream of being successfully traditionally published. It may also lead to an income you might not otherwise have had. The publishing world is no longer an either/or place and writers need to carefully assess their options and be willing to think laterally about their careers. Above all, they need to see them as businesses in which they should be willing to invest not only time but also venture capital. 

I’d like to thank all those who participated in the discussion and made it possible to write this article. 

To read the full discussion thread please go to the SCBWI- BI Facebook page. 

To read one self-published author’s journey with what she calls her A-Team of beta-readers, editors and designers. 

Take a look at Nathan Bransford’s excellent post on how he believes the publishing industry needs to change to accommodate authors in the e-book era.

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SCBWI-BI “member abroad”, Nicky Schmidt  is an ex scriptwriter, copywriter, and marketing, brand and communications director who "retired" early to follow a dream. Although she still occasionally consults on marketing, communications and brand strategies, mostly she writes YA fiction (some of which leans towards New Adult) in the magical realism and supernatural genres. When not off in some other world, Nicky also writes freelance articles - mostly lifestyle and travel - for which she does her own photography. Her work has been published in several South African magazines and newspapers. As well as being a regular feature writer for Words & Pictures, Nicky also runs the SCBWI-BI YA e-critique group. Nicky lives in Cape Town with her husband and two rescue Golden Retrievers.

Somewhere between the rainbow... Part One

Is there a “third way” of publishing? 

Nicky Schmidt 

Since writing a series of blog posts on self-publishing in 2011, I have followed the debate with interest. Three years later, self-publishing remains a hot topic - driven by a publishing industry in a state of flux and focused on shareholder profit. The reduction in royalties and advances and lower offerings on new books also factor into the debate. While it is true that publishers are still very much on the lookout for new talent, it is equally true to say that nurturing an author’s career is increasingly a thing of the past. Authors have a small window of opportunity in which to prove their financial worth and should they fail, they are cut adrift. 

“...we’re modelled on a traditional press, with a strict vetting process… traditional distribution… and authors who bring strong marketing plans to the table…"

So what can writers and published authors who have lost follow-on deals do? Is there an alternative to traditional publishing and the still somewhat tarnished option of self-publishing? With this question in mind, I posted an article “Between Traditional and Self-Publishing, a ‘Third Way’” to the SCBWI-BI Facebook page. The writer described the offering as being “author-subsidized” and said there the similarity to self-publishing ended. “In every other way,” she wrote, “we’re modelled on a traditional press, with a strict vetting process… traditional distribution… and authors who bring strong marketing plans to the table (which authors now need to do regardless of how they publish).” She described her offering as qualifying “as both a traditional publisher and a self-publisher, and we are redefining the middle ground as part of an ever-growing landscape of hybrid publishers.” 

The article generated significant discussion. While comments indicated that this particular “third way” was nothing more than a vanity press, both published and unpublished writers expressed a desire for a genuine “third way”. 

Faced with ongoing rejections for work that is seen as uncommercial, more and more writers are exploring self-publishing options.

It has always been the case that many beautifully written books do not make it into the marketplace, but the sheer volume of writers currently vying for publishers’ attention makes it much more noticeable. Constant rejections and cancelled contracts are frustrating and demoralising for any writer, especially when they are deemed to be ‘not commercial enough’, despite positive feedback. At present, to succeed in publishing a writer must be seen to be instantly commercial. Those who are not, irrespective of whether they are traditionally or self-published will have a hard time earning a living. Faced with ongoing rejections for work that is seen as uncommercial, more and more writers are exploring self-publishing options. 

To succeed in publishing a writer must be seen to be instantly commercial.

Self-publishing, however, despite gradual improvement, continues to have a tainted reputation – primarily due to lack of quality. Librarian and writer Tracy Hager remarked that self-published books she is asked to promote are, “…rarely very well edited and the 'published books' are usually cheap and riddled with typos.” 

Self-publishing is no guarantee of success.

Self-publishing is also no guarantee of success. While there are success stories, they are rare and many have not helped the tainted reputation. Amanda Hocking and E L James’s novels are hardly great literary fiction, yet they were read by enough readers to make publishers offer substantial contracts. What this does indicate is that many readers are willing to read a badly-written, easy and rollicking story. As Will Self said in his recent lament about the death of the serious novel, “The kidult boywizardsroman and the soft sadomasochistic porn fantasy are clearly in rude good health.” To this end, a writer must consider her personal integrity and weigh it up with career aspirations. 

To self-publish well, writers should pay for professional editorial and illustration costs and invest much of their valuable time in marketing and PR. But this doesn’t necessarily guarantee financial success. Besides, many are unwilling to use professionals, some don’t realise they should, others can’t afford the cost. And even books which have been professionally edited may not make the grade. While an entire industry has grown up to support aspiring authors looking to self-publish or get their manuscripts in publishable shape, there remains a concern that while many provide a valuable service, others are just looking to line their own pockets. Spotting the cowboys can be hard, and decent options may be unaffordable.


Read more in the second part of this article on Wednesday.

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SCBWI-BI “member abroad”, Nicky Schmidt  is an ex scriptwriter, copywriter, and marketing, brand and communications director who "retired" early to follow a dream. Although she still occasionally consults on marketing, communications and brand strategies, mostly she writes YA fiction (some of which leans towards New Adult) in the magical realism and supernatural genres. When not off in some other world, Nicky also writes freelance articles - mostly lifestyle and travel - for which she does her own photography. Her work has been published in several South African magazines and newspapers. As well as being a regular feature writer for Words & Pictures, Nicky also runs the SCBWI-BI YA e-critique group. Nicky lives in Cape Town with her husband and two rescue Golden Retrievers.

A Spark of Independence

Thank you for bearing with me last week. Pre Book Bound, my head like my fiction (see below) was all over the place.

Now half way through May, we've had some fabulous insights on Everything Indie. Please note our theme is aspirational; we haven't quite and don't expect to, achieve everything Indie by the 31st!



However if you click on the box you'll find:

• Philippa's inspiration - State of Independence - can't get the mystifying Jon and Vangelis song out of my head.
• An entertaining interview from Nick with Ali Fraser, creator and publisher of the classy new kids mag 'Stew'
• And the Simply Super Mike Brownlow reporting on the Brooklyn Superhero Supply Co. It's not what it says on the tin…?

This is Indie for me - people with ideas and enough oomph to make them happen.

In April SCBWI announced the first winners of its own indie award, the SCBWI Spark Award, for publishing through a 'non traditional route'.

Many congratulations to Karen Avivi from Montreal and  Neil Waldman from New York for two beautiful books - an adrenaline rushing YA girl BMX story and a picture book about the love between two brothers and the transformative power of art.

This, from SCBWI Executive Director, Lin Oliver, highlights why Karen is succeeding:

“Kudos for Karen Avivi for going about self publishing in the proper way, using the editorial and design services of professionals in the field. Shredded is the perfect kind of book to publish independently. It’s got a built-in audience of BMX fans and supplies a great story for a specific market. The action is tense, her characters are full, and the writing is full of pace and appeal.” Lin Oliver  

And here's another excellent reason to indie publish and to do it well. I love what Neil is doing with Al and Teddy:

"Proceeds from book sales will go to the Fred Dolan Art Academy, a free Saturday school in the Bronx, that helps young artists go on to college after high school. Every penny earned will be used to buy pencils, erasers, watercolors, oil paints, easels, and healthy lunches for the academy's students." Neil's Amazon page for Al and Teddy 

The Spark Award is open to any self-publishing SCBWI member. You need a hard copy of your book which has to be mailed to the US. All the details and judging criteria can be found here. The submission period for the second award is September 15th to December 15th for any book published in the calendar year 2014. Karen and Neil have set a high standard, who's up for the challenge?


Catching up on the last two weeks...
For those aspiring to make their own picture books and even take the indie route Ask a Picture Book Editor with SCBWI British Isles RA Natascha Biebow and Ellie Farmer from Little Tiger Press is a must as is Margaret Sturton's brilliantly clear instructions on how to make a picture book dummy.   We are so lucky that such talented people are so willing to share their knowledge and expertise. And a big thank you to Anna Violet for sharing her experience of the London Book Fair this year - so useful to know what to expect from attending large high profile events like this.

If you haven't already cheered on eleven-awards-&-counting Teri and Slush Pile champ George do. Both are amazing ladies who work very hard for SCBWI!

Next week:
We have a two parter from Nicky Schmidt on 'hybrid publishing'. Not sure what that is? Check in on Monday and Wednesday to find out.
Friday brings us a new Featured Illustrator…
We're celebrating Candy's Crystal Kite win on Saturday
And on Sunday look out for The Chalkface Challenge 2014! Plus I'm delighted to hand over the editorial to Katrina while I swan off to a campsite in Swanage with the family for a few birthday celebs.

Have a  great week!

Jan Carr

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Jan Carr is the editor of Words & Pictures. Her fiction is all over the place, she blogs occasionally and loves to write in magenta. You can contact her at editor@britishscbwi.org.

Simply Super

Mike Brownlow 

Superhero Supply Co.

We were on a mission. We had our orders and knew we must carry them out to the letter. The Manhattan skyline glinted at us across the East River as we marched along the streets of Brooklyn. We were close. Just a few more blocks now. Then suddenly there it was – a modest little store, chirpily advertising its unusual wares to the world. 


“If you are invisible, please make your presence known to a member of staff” one of the signs on the door warned. Inside we stood marvelling at the goods on display. They were wonderful, and they were very definitely weird. We searched the shelves, found the items our friends had asked us to buy for them, and placed them by the checkout counter. 

"Ah, a tin of Immortality and a can of spray-on Mind-Control," intoned the assistant, " Excellent choices. Can I interest you in a cape today? We have a special offer. And we would like to remind our customers that no purchases can be made until the Vow of Heroism has been read."

We were in the Brooklyn Superhero Supply Company. "The choice of many a well-regarded Brooklyn Superhero" it boasts. "Dastardly plots will be foiled. Swinging into action our speciality. Serving Brooklyn and the Greater Metropolitan Area." 

The capes looked tempting. You could choose from two colours, blue or red, both of which came in several sizes. 

"Hm," mused my wife, "Medium or small?" 

"Perhaps Madam would care to view them on our specially constructed pedestal?" 

Madam tied on a cape, stepped onto the pedestal and the fans were started. She struck a suitably heroic pose and the cape billowed pleasingly in the uplift of air. Definitely the medium. Much more of a flowing line to the cape in mid-flight. My daughter favoured the cute and sassy sidekick cape, although the 58” black satin number (“Save the day, then own the night”) was tempting. 

Capery

But frankly, whatever flavour of superhero you might aspire to be, there was something here for you. Gallon cans of Omnipotence jostled besides Photon Blasters; Evil Blob Containment Units next to Cyborg parts and accessories; Mind Control serums next to Mylar Force Field Shields (“Deflects most laser-type beams”). How about a secret identity kit or the sidekick placement service? And what self respecting crime fighter could afford to be without a Humanoid Onesie to relax in at the end of a busy day battling the Forces of Evil? 

Carb Gumption

I sidled up nervously to the sales assistant. "Er, I hear you have a portal to another world in here," I muttered, not certain how this statement would be received. The young man glanced at his colleague. The two of them nodded at each other. "Yes sir. That is correct. May I enquire as to the nature of your interest?" I explained and they nodded sympathetically. They obviously got a lot of this sort of thing. I was ushered down one of the aisles of shelves, but it was a dead end. The aisle led nowhere. Seeing my confusion, the assistant smiled sympathetically. "It’s behind here. Would you like to go inside?" Would I? You bet your snug-fitting, non ride-up, superhero tights I would. He flipped a catch and pushed. The whole bank of shelves gave under gentle pressure and moved inwards. I was ushered through and the secret of the Inner Sanctum was revealed. 

The portal is revealed!

There were no dripping stalactites or machines to whisk me to a different dimension. Instead, I could see comfy sofas, tables, benches, chairs, computers and row after row of books. On the walls were examples of the sort of stuff they make here – stories written by school kids. For this was no ordinary store. Strictly speaking its main function isn’t as a store at all. 

The portal

The Brooklyn Superhero Supply Company is actually a front, a front for an after school literacy programme to help students aged 6 – 18 to develop their writing skills, and to help teachers inspire their students to write. There is free access to writing workshops, publishing projects, and one-to-one help with homework and English language learning. And what’s likely to attract young kids through the door to do that kind of thing? Well, by hiding the door amongst all this superhero exotica for a start. 

Through the portal door

The organization responsible for the Superhero Supply Company goes under the name of 826 NYC and is a non-profit making charity. It’s actually modelled after 826 Valencia, in San Francisco’s Mission District, founded in 2002 by Dave Eggars, the multi-talented, award winning novelist, and a group of energetic and passionate volunteers. You can hear him talk about 826’s inspiration and early beginnings in a TED TALKS video here… 

826NYC has assembled a large team of volunteer writers, artists, educators and publishing professionals. They offer an impressive range of after-school workshops, field trips, in-school projects and programmes that include Storytelling and Bookmaking through to TV Writing classes. The mentors and writing coaches set the students challenging tasks. Challenging but enjoyable. The point is that this is probably the first time that these kids will have had intensive, one-to-one tuition like this. They thrive under this individual attention and the results can be transformative.

The writing and tutoring room

826 NYC is committed to making sure their students have an outlet for the stories and scripts they produce. The students are helped to publish and distribute their work, be it in their own magazines, specially produced books or in The 826NYC Review or The 826 Quarterly. The initiative has helped thousands of young people throughout Brooklyn and New York City to nourish their creativity, develop as writers and grow as people. 

And it’s not just Brooklyn and San Francisco that have 826 shops and tutoring centres. Many of America's major cities have similar facilities, each with its own theme. Brooklyn, just across the Brooklyn Bridge from Manhattan, was naturally the perfect location for anything to do with Superheroes. San Francisco, on the other hand, has a Pirate based store, (“Cannons Don’t Sink Ships: Pirates With Cannons Sink Ships”), Los Angeles boasts a Time Traveller's Supermart, (“Whenever You Are, We’re Already Then”) and you have got to check out the website for Chicago’s Boring Store, an undercover secret agent supply store. There are other schemes in Seattle (the Greenwood Space Travel Supply Co,) Boston (the Bigfoot Research Institute,) Michigan (the Robot Repair Shop,) and Washington DC, (the Museum of Unnatural History, where their big seller is canned Primordial Soup.) The same standard of wit and imagination is maintained from store to store and wandering through their goods for sale is a joy. 

The boring store

Ok, the items in the stores don’t really enable you to see through walls or leap tall buildings in a single bound, but their descriptions are beautifully written and very funny. What impressed so much was the level of wit and thoroughness that had gone into the making of the store. Two small display signs read, "Do not open any boxes or cans. For further information on our products, please ask a store representative or use X-ray vision", and “We are sold out of this item. Time Travellers: both the past and future are fully stocked.” That sort of attention to detail takes commitment as well as talent. 

Gravity cans

Of course it must have been enormous fun to set up. I can imagine caffeine, or possibly alcohol fuelled, late night sessions with writers competing for the funniest lines. Everything in the store was locally funded, locally built. The construction and design were done pro bono. The cans of Gravity, Anti-Gravity, Omnipotence, Intelligence and all the rest contain coloured sand or harmless gloop, but they, like everything else in the shop only cost a few dollars and the profits go straight back into the programme. By buying one of the Store's items you are in effect contributing to this extraordinary, non-profit charity, which helps inspire children from all backgrounds to gain critical skills and write with enjoyment and confidence. And in return you end up with a neat conversation starter on your shelf at home. 

It was time to go. We gave the Secret Salute of Valour as we said farewell to this Super Store. It had been an energizing visit, and of course it made me think... could we ever do something like this over here, in London or elsewhere, to help our young people have the same opportunities as their American counterparts? With prescriptive teaching and the loss of reading for pleasure in our schools, surely there’s a need. SCBWI BI is an affiliate of an American parent body. Could the same thing be replicated with the 826 organisation? And if so, what would the London chapter of an 826 outlet be? The Steampunk Outfitters and Provisioning Company? The Baker Street Detective Supply Company? The Diagon Magic Emporium? (Has anyone got JK Rowling’s telephone number?) 

Shop front

If you’re ever in Brooklyn, do look up the Superhero Supply Company. The address is 372 Fifth Avenue, Brooklyn, NY 11215. Tel: 718.499.9884. www.826nyc.org. They can help with all your Nemesis problems. But please note: the Secret Identity Naturalization Office is now closed on Thursdays. 

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Mike Brownlow is a writer and illustrator of books for children. His website, (which is in need of a jolly good spring clean,) is www.mikebrownlow.com

Swimming Against the Tide - an Interview with Ali Fraser, Editor of Stew Magazine

As part of Words & Pictures' Everything Indie month, Nick Cross chats with Ali Fraser, the editor of Stew Magazine - a new bimonthly independent publication for children aged 8-12.

In an in-depth interview, they discuss the creative and commercial challenges of launching a print magazine without the support of a corporate publishing team or a fat marketing budget.

Nick Cross

This month sees the publication of issue 3 of Stew Magazine, and I should probably declare my bias upfront, as Stew has been farsighted/crazy enough to publish my children’s short stories in every issue to date. But it also features art and writing by other SCBWI members including Lisa Mann and Yoko Tanaka, and is handsomely produced, with a professional design that belies its indie origins.


I’m very pleased to be joined today by editor Ali Fraser, to find out all about Stew's recipe for success.

Hi Ali, thanks for agreeing to be interviewed for Words & Pictures. Could you talk a little bit about your background as a journalist, and how that led you to the idea of starting a magazine?

Ali Fraser

As a boy, I dreamt of becoming a prize-winning foreign correspondent, but at some point in my career - probably at about the time I joined Woman's Own - I knew it wouldn't happen and that I'd found my level as a desk editor. Since then, on various magazines and papers, I've gained some practical knowledge about producing publications, and, during this time, have also written quite regularly, so I've been able to combine that experience in launching Stew.

But my background as a journalist merely gave me the tools; the idea of starting a magazine actually came about when my daughter, then aged 8, was given a subscription to a publication that her grandmother thought was worthy but which Ellie found dull. The product might have been wrong, but I thought the concept was great: Ellie was thrilled to get her own magazine through the post, and, like most children, she loves stories and laps up information. So perhaps a different kind of magazine would work. Instead of being didactic and like an encyclopaedia, it should tell knowledge-based features as if they were stories, full of anecdotes and human interest.

How long did it take between you having the idea for Stew, and sending out the first issue?

About 18 months, though there were long gaps during that time when I did nothing. I wasn't sure I could do it alone and didn't know anyone who wanted to get involved, so I'd leave it for a while.

But Ellie's curiosity kept bringing me back to the idea. I'd tell her some historical story or show her an item in the newspaper and her eyes would be like saucers. She's not unusual or precocious and is no different from other children her age, which made me think that if she was interested in these yarns, others would be too.

In the current publishing climate, launching a print-only magazine seems to be swimming against the tide. What makes you think that Stew can succeed?

I expect there's an ancient Chinese proverb that could express it more pithily, but maybe swimming against the tide is the way to succeed. I'm not against digital magazines - I've even started a couple - but a printed publication offers children a different aesthetic and intellectual experience to what they get online. Yes, it means more work, and the costs are higher, yet in spite of that, and for lots of reasons, it feels absolutely the right choice.

Besides, no one really knows where publishing is going. Right now, as you say, practically everyone is swimming like mad towards that end of the pool without having much idea why or whether they'll stay afloat. As with vinyl records, I think people have a soft spot for magazines.

You’ve opted for a primarily subscription-based sales model, similar to that used by other indie kids' publications like The Phoenix. Have you found it hard to persuade people to sign up?

Among the seven million questions you have to ask yourself when launching a magazine are the obvious ones such as how often you will publish, how much you'll charge and how you'll sell it. I can't really picture Stew in WH Smith's, for instance, and I've no idea if retailers would even want it, so a subscription model seemed the natural choice.

I felt that six issues a year was the right number (and probably all I could physically manage) and that £20 for an annual subscription was a good price - neither off-puttingly expensive nor tackily cheap. For the price of a hardback and less than a family ticket to the cinema, a child could have a good-quality magazine for a whole year. I think that's an attractive proposition and am confident that the number of subscriptions will increase as more people get to know about Stew.

So, yes, the challenge is to raise Stew's profile. Without an advertising budget, I'm relying on social media and word of mouth. Inevitably that's a slow burn. But the numbers are going up with each issue.

Are there any physical shops where Stew is on sale?

Yes, it's in a few, including Foyles bookshop and Tate Modern. Contacting other, similar outlets is on my lengthy to-do list.

You’re editing, publishing and promoting Stew at the same time as doing your day job – how do you cope?

I guess that anyone who launches a business has to expect to burn the candle at both ends. I do find it frustrating, though, that lack of time means nothing is done particularly well and some things don't get done at all (see the answer above). More worryingly, I think I might be drooling in my sleep on the train to work.

Have you been pleased with the magazine’s reception so far?

The magazine has had lots of really lovely comments and those, frankly, are the things that keep you going when you're sitting at your desk at 3am wondering if it's all worth the slog.

There was some controversy a couple of months back, when you were challenged over your policy of not paying contributors to the magazine. Do you think that criticism was justified?

I wouldn't call it a policy. That makes it sound as if I could pay but have chosen instead to keep any money the magazine makes and build myself a swimming pool.

The fact is, Stew was launched on a shoestring; I don't have any backers or savings sloshing around, and rather than borrow and be in debt, I try to keep costs as low as possible. I always explain to potential contributors that there is no editorial budget - yet - so they can choose to walk away.

I would pay fees right now if I could, because the contributors' work is fantastic, and I'm very grateful to all those who support the magazine and show their commitment to it in these early days. When sales increase and Stew is making money, they will be properly rewarded.

Do you have a long-term vision for how Stew will evolve?

No, I have a short-term vision, which is to get the next issue out.

Are there any areas of writing or illustrating the magazine that you feel SCBWI members can contribute to? How can they contact you, if so?

Illustrators should look at the sample issue (embedded below) to get an idea of the kind of style that works in the magazine. And I'm always interested to hear from anyone who wants to write short stories or non-fiction educational features. People can contact me at editorial@stewmagazine.co.uk.

Finally, if this has whetted our readers’ appetite for a tasty Stew, where can they get more information about the magazine?

The Stew website has lots of background information about the concept behind the magazine. I'd love to hear from anyone who just wants to chat about it, or would like to contribute or even get involved in the business side.

Thank you, Ali, for being so candid and for creating such a great magazine - it's clearly a labour of love, and that comes through on every page.

Thanks very much for giving me the opportunity to tell you a bit about Stew. Now please excuse me while I go and put on my Speedos.

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According to his official website, Nick Cross is a "children's writer, ex-zombie and part-time superhero."

Only one of these statements is true.

State of Independence

A Words & Pictures Inspiration piece

First off, apologies to all those who now have the Donna Summer hit wriggling into their ears.

The roots of independence as a word also relate to ‘pendant’ – there’s a sense of ‘not hanging onto something’. Our development from baby to child to adult often means letting go. We release our grip on our parents’ fingers to stand by ourselves, we stop clutching the side of the pool to take our first swimming strokes.

That can be as much of a severance for the adult as the child. Repeated small separations make it easier for both. The child used to coping with things that are just a little stressful grows to take larger steps in her stride. The adult who loves a child enough to allow her a succession of freedoms feels less anxiety.

Adults have to give up control in order for the children to develop self-control – and accept they may do it in a different way.

          You may give them your love but not your thoughts, 
          For they have their own thoughts. 
          Kahlil Gibran – On Children

Perhaps we could think of our creative work a bit like that.

Let it go out there little-by-little. By soliciting constructive criticism from our colleagues, we can develop the individual strengths of our tales – and how we tell them. Like all good teachers, good critique partners, editors and the like seek to bring out the best in our creative progeny.

By separating ourselves from the work, letting it stand on its own paws, hooves or talons, we could give it enough space to thrive. Maybe then we might not feel too hurt if it lives differently in someone else’s imagination.

A state of independence might not result in what we first imagined – but it could be equally remarkable.

Some questions to consider in your current work

• Is there a point in your tale where a character makes a bid for independence?
• What action or object is emblematic of this?
• Is it a gentle relinquishment or a violent rejection?
• A reaching-out for something way beyond, or a tiny moment of courage?
• How will your reader or viewer know?
• Does it end well or is another attempt needed?
• How will it feel for those around?
• Could it be funny –or disastrous – or both?

By Philippa R. Francis - who writes as K. M. Lockwood

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K. M. Lockwood is a writing name of Philippa R. Francis. As well as being a regular contributor, Philippa (@lockwoodwriter) is also part of the Words & Pictures team as the @Words8Pictures Tweetmaster, growing our following and maintaining our 'Industry news' feed.