Signed Book Copies

Hello lovely people,

It's not often that I have personal book copies* for sale but I happen to have a few on hand at the moment, after a recent book stall.

I know many people love signed copies, so if you would like a signed copy of any of the following, just drop me a line at infoATtaniamccartney.com and we can organise it!

*I only have a handful left of the first five books. Apologies, but I'm only able to send to Australian addresses at this time. Hopefully very soon they'll invent molecular deconstruction and I can zap the books anywhere in the world in a nanosecond.

Ask Tania: How much of my in-process book should I reveal to the public?

Dear Tania,
How much should I say about my works in progress? I want to share what I�m working on but I�m unsure as to whether I should actually mention the book title or put some of the concept drawings up on my website. It�s not a question of being worried about someone else hearing my ideas, it�s more a matter of what level of exposure is the right amount. What would you suggest?
Jules

Hi, Jules,

The answer to this question depends on your publishing situation.

If you have a contract for a WIP (work in progress) and are actually in production, the general rule is to share either nothing, or very little until close to publication. You could check with your publisher for their thoughts on this. Some of my publishers allow little peeks at drafts or roughs (not finals or near-finals) and others would prefer nothing be revealed. Some creators post images that are a wee bit blurred or just a tiny slice of an image or character--but again, it's something you would need to check with your publisher.

Generally, however, you would not reveal the title or concept for your book, other than perhaps 'meet Johnny the astronaut' with an image rough. This reveals very little but piques interest.

I'm currently working on a picture book and I'll very occasionally share some peeks at my artwork along the way, but most of my 'reveals' will be about my creation processes rather than revealing too many visuals or concept reveals. You can see from this post just how much I've revealed/the focus of the reveal. The book isn't out till November 2016 and it's a comprehensive book with a high page count--so it's easy to reveal little bits. And I can continue to show little bits of my processes as time goes on.

At this stage in the book production process, I would never reveal title and content/concept. What I regularly do is add my WIPs to my Works in Progress list (you'll find it here, at the bottom of my BOOKS page)--but only when we are relatively close to publication, and again, depending on the publisher's wishes. You'll see on this list that I need to keep some titles quiet, so I've just written 'three more picture books, out 2017) or something like that. Other books, I actually mention the title.

If you are self-publishing or working on something that you will eventually submit (ie: you don't have a publishing contract with a traditional publisher), I think you can reveal a little more of your WIP than if you're contracted. Again, you want to be careful just how much because a little bit of mystery is a good thing. Revealing a lot or being 'everywhere all the time' can make people switch off, so balance things well.

I like how you said you're not worried that someone will steal your idea if you reveal a few things. Even if people could 100% guess what you're up to, the fear that your book will be snatched up and produced in a matter or weeks or months is highly unrealistic. And no one could ever do it as well as you're doing it, anyway!

I do think, in general, that reveals of some kind are a good thing because they build that all-important creator/reader relationship. People absolutely adore sneak peeks, and they can be a great thing if done well. They build anticipation and get people talking and bring people to your site/blog. And that's what we want!

If you have a character concept that you're keen to start marketing before the book is published, you could absolutely set up a Facebook page or website with a simple header image and a short synopsis. Don't give much away and perhaps just post little snippets on how things are progressing rather than showing too much imagery. The closer you get to publication, the more you can reveal.

When your WIP is close to publication, it's fine to begin revealing more. The cover (and this varies by publisher) is revealed to the public around 2 - 3 months before the publication date. A relatively short lead time is wise because people are strongly swayed by visuals and the last thing you'd want is people swooning over the cover, rushing out to buy it--and it's not available yet. Sale lost. If, however, they only have a few weeks to wait, they're more likely to track it down and buy it.

Good luck with the slow reveal!

See all the questions so far ...

meeting characters and finishing them off

I've been working very busily on Le Book, and have completed quite a few pages this past week in particular (there will be almost 100). In creating my very first self-illustrated book, there's been two lovely things that have taken me by surprise--two things I very much love to do.

The first thing is meeting the characters visually. I'm so used to meeting characters in text. Sure, you envisage them in your head, absolutely--but to see them appear from the tip of a fineliner or paint brush--it's just a lovely, unexpected surprise. I often have no idea who will appear until I get to work.

The other thing I'm loving--and this comes as no surprise, as I'm an editor at heart--is the finishing. I'm hand-rendering most of this book in watercolour and fineliner, but I'm also digitising the artworks and creating full pages, touching up and correcting the hand-rendered works as I go.

This is a good, good thing for someone as impatient and imprecise as me! I find it astonishing that anyone could produce a completely finished artwork by hand--I bow down before you if you can do this. My style is just too loose and un-trained to operate with such finesse, so I give thanks to the Computer Software Gods for handing me the tools to polish up my mistakes! And, of course, being able to move objects around, play with them and see where they sit best--heaven heaven heaven.

Off to draw some bees, and who knows what they'll look like--I'll soon find out!

o lovely spring

Isn't Spring just lovely? The older I get, the more I appreciate its fluttery, blossomy appeal. Things seem fresher and brighter--overnight--and enthusiasm and creative mojo seem to burn a little brighter.

I had a challenging August but September is a new month and I'm loving the renewed sense of energy that's come to my work, after an unwanted hiatus.

I haven't worked on Le Book (my first self-illustrated book) for many, many weeks--and sometimes, when you don't work on something for so long, you not only lose enthusiasm, you worry if you could ever draw or write or think creatively again.

The thing about reconnecting, though (and most especially reconnection done with baby steps) is that enthusiasm and creativity rush back quickly--as though someone has reached out their hand and turned on a tap.

So if you're worried. If you're procrastinating. If you're uncertain. Just do it. The tap will turn on.

Here is a peek at my recent spring wanderings around my neighbourhood and yard, and a peek at recent doodlings for Le Book that have totally relit my fire.

I hope your fire is being lit right now!

Rich and Rare Anthology

I'm so utterly excited (and humbled) to have a story in Ford Street's new Rich and Rare anthology of stories and poetry and artwork by some of Australia's leading talent. Out November, and already receiving a 5 star review from Bookseller and Publisher, contributors include:

Shaun Tan, Leigh Hobbs, James Roy, Justin D'Ath, Kirsty Murray, Simon Higgins, Gary Crew, Scot Gardner, Michael Gerard Bauer, Gabrielle Wang and many more.

Oh--and there's also some pretty spectacular cover artwork by Shaun Tan.

The book will be launched by Isobel Carmody on Friday 23 October in Melbourne--watch the Ford Street Publishing website for details.

Spring Reads Book-A-Day, days 1 to 5

Day 1: Garden #SpringReads #3LibraryLadies Matisse's Garden by Samantha Friedman and Matisse-reproduction illustrations by Cristina Amodeo (MoMA, 2014). A riot of colorful gardens in the way only Henri Matisse knew how, this stunning book celebrates the paper-cut artwork he produced, using Amodeo's own paper-cut artwork. A visual garden to behold.

Who could resist? Three lovely library ladies--Megan Daley, Trisha Buckley and Claree M--got together on Instagram to post a book-a-day to a theme--all in celebration of Spring.

I just had to join in (see my IG account here). I'm posting picture books, but you could post whatever genre you like.

Won't you come along for the ride? It's not too late to join in. Just use #3LibraryLadies and #Spring Reads. You may just find your next great read.

Day 2: Flower. #SpringReads #3LibraryLadies A breathtaking peek at a wordless walk that proves more fraught with meaning than words could ever say.

Day 3: Rain. #3LibraryLadies #SpringReads Adore adore adore Frank Viva's work, and this play on words with cut-out pages, is both a literary and visual joy.

Day 4: Colour. #3LibraryLadies #SpringReads These Puffin children's classics, with cover designs by the illustrious Daniela Jaglenka Terrazzini, have my heart apace every time I look at them. Books have the ability to enchant even when closed with spine facing out - not only because of the prettiness but because of the magical promise of story crammed inside. When the books' colours are as bright and colorful and enticing as this - it's like living in a literary candy store.

Day 4: Colour II. #3LibraryLadies #SpringReads
Couldn't resist a second colour book - totally in love with the Pantone books! 

Day 5: Spring. ?#?3LibraryLadies? ?#?SpringReads? Yes, another obsession - Blexbolex and his colour/simplicity/whimsy genius. In Seasons, we not only enjoy the visual joys of Spring, we revel in all four seasons of the year. ?