Ask Tania: What's with these book awards that authors can buy? Are they worth it?

Hi Tania,
I'm an emerging author, and I'm in the middle of self-publishing a little chapter book. I was wondering ... what's with these book awards that authors can buy? Are they worth it? I'm not sure how they work.
Caroline

Hi, Caroline,

Oooh--the vanity book award. This is a tough one. About to get frank here!

You may have heard of the term 'vanity publishing', where authors pay to have their work published. Some vanity publishers prefer to call it 'joint venture' publishing, but it's still the same thing.

While this type of publishing may suit those who'd like to publish their memoirs for their family, it's not recommended* for anyone who wants to make a career out of writing books. There is no selection criteria with vanity publishers (even if they insist there is) and the outcome for your work is therefore nowhere near the professional level it would enjoy with a trade publisher (who makes financial, time and emotional investments in your work).

*Footnote: I think self-publishing is wonderful--I've done it and I'm a big supporter of it--but you can absolutely self-publish books well and with credibility, without having to use a vanity publisher (and you'll save yourself a tonne of money, too!). See my post on self-publishing for more.

Fundamentally, you should never have to pay to submit work to publishers, and you should never have to pay to have your work published. The reasons are far too many to go into here (you can google this topic for thousands of references), but suffice to say that 99.99 per cent of the time, using a vanity publisher is not only unprofitable (in fact--it can end up costing you a lot more money than you bargained for), it can be damaging to your career in terms of both the production quality of your book, and your credibility as a creator.

I know the pain from those achingly long years of writing, submitting and waiting waiting waiting, endlessly waiting. Nonetheless, it's good to remember that it takes an average of three years to be even noticed in the industry (and this is the kids' industry in Australia--adult and overseas markets would take a lot longer) and as many as ten years to have any book success that could lead to career success. New creators must 'earn their due', just as anyone in any career field must.

These 'overnight success' stories you hear about are rarely that. Many people work so hard, squirreling away behind the scenes, till one day, things finally click, and they experience publication or even publication success. It's virtually never an overnight thing, even if it appears that way to outside observers.

So, we must work hard and bide our time. Things WILL happen if we continue to hone our work and produce great manuscripts. But the bottom line is, we need to put that work in, and can't expect to jump the queue with minimal experience. The more experience we have, the better work we create.

We need to marinate!

It's the same with awards. We shouldn't be jumping the queue. It doesn't look good.

There are many and varied vanity awards that can be purchased (a great deal of them based in the States). Basically, you send in your book details, pay a fee, receive a shortlisting then a win, followed by an 'award' for your book ... for no reason whatsoever. Not for its narrative, not for its illustrations, not for its themes or content. You win because you paid to win. Every single entrant 'wins'. You even pay for the stickers and certificate. Oh--and no one reads these books. They just take your money and assign wins.

The biggest trouble with this type of award is that average or even substandard books can win.

I know this may sound harsh, but it's the truth: average or substandard books should not be winning awards. It's false advertising. It's illegitimate. It's dishonest and deceptive. And not only that, it takes away from the slew of truly deserving books and creators who DO put in the time and effort to create something that actually deserves accolades.

But what about profile-building? Can fake awards help?

In a nutshell, buying book awards does NOT boost your profile. It either has no effect or it actually damages your profile. Here's why ...

There are two groups of people you want to impress when you write books. Firstly, your audience. Secondly, your industry's gatekeepers.

In the children's book industry, your audience is children and the people who buy books for children. Honestly, your audience (most especially the children) doesn't care a whit about awards. Sure, the odd book-savvy/industry-involved librarian or parent might see a gold sticker and be more likely to reach for the book, but they won't be buying said book if it's a) not good, or b) isn't the right fit for their child. So, a sticker is almost worthless with this group.

The gatekeepers are booksellers, teachers, librarians, awards judges, publishers, editors, agents and other literary professionals. If you want to buy book awards to impress this group and perhaps gain contracts or credibility, think again.

Gatekeepers know their stuff. They know which awards are important and which ones absolutely ensure the book is actually good enough to be award-winning. They also know the fake awards--those that have been awarded without merit. And they'll give these books (and their creators) a wide berth because they'll know, almost without question, that a book with a fake accolade is very different to a book that has actually earned one. They'll also know that the creator lacks authenticity.

Books are part of a brand. Authors and illustrators absolutely do become a brand of sorts--a brand that continues to add to its product cache (books, illustrations, articles, short stories, etc) over time. You want that brand to be solid, respectable, reliable and high-end ... and all this takes time to build. So a book with a fake award sticker does reflect on its creators.

These vanity awards are also costly. You pay to enter, you pay for award stickers, you pay for your certificate, you pay for critiques, you pay to be listed in awards publications, and you will not receive any kind of prize (indeed, the prize would be your sticker ... which you pay for). These awards are 100 per cent about making the provider money--essentially, profiteering on aspiring creators--and have little to do with assessing, identifying and awarding great literature.

Do you really want to be associated with that? Would you want to be operated on by a surgeon who purchased their degree online?

Yes, many awards--even the credible, important ones--have entry fees, but this is to cover the cost of a reading and assessment team. Prizes are correspondingly decent, there are only a handful of categories (as opposed to scores with vanity awards) and--here's the biggest difference--only a small handful shortlist and win. This is what makes it prestigious. If everyone wins, how is that a prestigious thing, let alone a 'win'?

No, we're not all winners (alas!), so don't be tempted to market yourself as a faux winner, and so lose credibility with those who matter. Instead, spend time working towards the real deal. Hone those manuscripts and produce great, award-winning work. It will be so worth it in the end.

Happy writing!

Tania

PS: See this great article on Vanity Book Awards. And this one on writing contests that have a hidden agenda.

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Ask Tania: What makes a great author website?

Dear Tania, 
I am keen to create my author website but want to know--what should I include? What makes a great author website?
Thanks!
Toni

Hi, Toni,

A website is vital for all authors and illustrators. It's a global, easily-accessed, inexpensive platform that takes minimal effort once set up--and serves as your Virtual Headquarters, not to mention your virtual marketing professional and sales rep!

I'm consistently looking at the work of other authors and illustrators, not only for Kids' Book Review, but because I have a strong interest in supporting emerging talent. One thing that consistently surprises me is the lack of strong web presence. In fact, I've lost count of the times I've looked someone up--or the title of their book--and literally found nothing.

And this lack of web presence is so hugely detrimental to any creator. If we can't find you, how can we find your books?

So, first and foremost, you simply must must must have a website. A website is a standalone 'centre'. Think of it as your home. Then, you have several satellite sites that link to your website, such as a blog, a bookstore, a Facebook page, an online gallery or illustration portfolio, book or character websites, etc.

With me, I have my central website then I link to my blog, my social networking sites (Facebook, Twitter, Instagram, Pinterest, Youtube). I also link to Kids' Book Review and the 52-Week Illustration Challenge, because both are directly associated with my work as an author illustrator.

It would be tempting to link to your travel blog or your cooking blog or other interests, but unless you're a travel or food writer, it can become confusing to pack too much into one website.

This brings me to my first website tip.

1. Keep it Simple
This is vital. Your website should be clean, uncluttered and easy to navigate. Have the front page relatively clutter-free, with clearly displayed 'chapters' or 'tabs'. Essentially, you want to have a direct, clear link to EVERYTHING on your website, on that very front page.

You can see with my website, below, I have very little on the front page.

I have my header, then a large picture of my latest book. Then either side of that, I have my tabs to sections like ABOUT BOOKS MEDIA NEWS EVENTS. You'll notice these are very clear and concise and only relate to my work as an author/illustrator.

The only other things I have on the opening page is a moving gif showing some internals from my latest book (bottom left), and an Instagram widget and a 'latest post' widget for my blog (bottom right). This lets visitors see, at a glance, what my latest blog post is. They can then click this and go visit my blog.

Normally, I have nothing else on the opening page, but I'm about to launch Australia Illustrated, so I have the launch invitations on the opening page, too, along with an early review quote. These will be removed soon.

Sometimes, people have an opening page that's even more simple--and I LOVE this idea. Anna Walker is a great example of this: www.annawalker.com.au. When you enter the site, you have only a small handful of pop-up options to view more, including WORK PROFILE SHOP PRINTS PROJECTS. This makes the site a joy to navigate and a visual delight.

Another great website font page is Gus Gordon's creation... You simply click on each veggie and will be transported to such pages as ABOUT NEWS BOOKS ILLUSTRATIONS FAQs. Visually beautiful, simple, and covering all bases. Which brings me to my next point.

2. What to Cover
There are several 'musts' to include on an author or illustrator website. As mentioned above, these are best covered on separate pages of your website, not the opening page (though I strongly believe in having your latest book or artwork on the opening page).

ABOUT
Tell your readers about you but keep it succinct. Like a book introduction that's longer than one or two pages, readers will quickly lose interest. Introduce yourself and then if you must, link to 'more' (such as FAQs, literary CV, awards and achievements, etc).

BOOKS
Show your books! If you have none, have a section called WORKS IN PROGRESS. Preferably, show your books on the Opening Page. They are your focus. You want them prominently featured.

For each book, you should be including the following: Title, creator names, publisher, publication date, ISBN, format, price, reader age, a link to buy, blurb, a handful of review quotes, and perhaps links to any teaching notes or reviews. You will make it exponentially easier on reviewers and the media if you all this information with your book, and will also make it easier for viewers to purchase it.

Below is my page featuring Australia Illustrated. You can see that beneath the book, there is the title, pub date, publisher, price, format, ISBN and a link to buy. I then have the price for various countries, the blurb and a mention about teaching notes coming soon. Once review start coming in, I'll add a link to my MEDIA page, where people can scroll through and find reviews on all my titles. I find keeping review links in one spot so much easier to manage.

When you click on BOOKS on my website, you're taken to an opening page with ALL my book covers on it. You can then click on each cover to view more about each book (as per the screenshot, above). I find this a lot easier for readers to navigate, and also--they can see all my books in one hit.

EVENTS
List your upcoming events--either where you will be featured directly (like book launches or festival appearances) or where you will partake in some way (book stalls at markets).

NEWS
I have a section here where I add any exciting news that's come in. You could post achievements or book releases or upcoming bits and bobs.

MEDIA
This is where I link to online and in-print articles and reviews, etc. If you don't have a weblink to an article, you can scan a picture of the article and write a short blog post. Then link that blog post in your MEDIA list. You can also have a link to your online portfolio or resume, and provide a contact email if media want to get in touch with you.

AUTHOR VISITS + OTHER SERVICES
If you are doing school visits or if you are an editor or are looking for illustration work, you can list your services here. I've set up an author visits and speaking page here where people can learn about what I do at a glance. It also links to my popular school presentations so schools can check them out and see if they're a good fit for their needs.

LINK TO BLOG + SOCIAL MEDIA SITES, etc
You can create little widgets (images that link to other sites or pages on your website) that people can click to visit your SM sits and blog, youtube, etc. Here are the little widgets or 'buttons' that I created, and each links to the sites mentioned below them.

{ i n s t a g r a m    t w i t t e r    b l o g
f a c e b o o k   p i n t e r e s t   y o u t u b e }

BUY BOOKS
I have a BUY BOOKS link on my opening page that leads directly to ALL my titles on Booktopia. If you are selling directly, you could link to your online store.

CONTACT
Make this easy to find! Nothing worse than faffing around searching for an email address. Some authors have a form that readers fill in--personally, I don't like this as it's a little alienating. Make your contact details quick and easy to find and be sure to write your email address without the @ symbol so spambots can't find you.

For example, I write my email address booksATtaniamccartneyDOTcom and I just link it to make it live for users. For those who can't click to open a new email, they also have the address written out, so they can type it in manually, if they need to.

OPTIONAL EXTRAS
It's up to you what extras to include, but as an example, I also have:

ILLUSTRATIONS featuring links to my illustration work.

A PIC GALLERY with photos from events and also author photos that people the media are welcome to use.

WRITING
Much of my earlier writing and editing was done for magazines, so here I cover what else I've done in the writing vein.

KIDS
This is Fun for Kids--colouring pages, spot-the-difference, paperdolls to print and cut out, word searches, pictures kids and have sent in, etc. I actually have to update this!

GROWN-UPS
I have lots of resources for adults (mostly on my blog--you are reading one now--'Ask Tania'!) and on this page, I link to my sites such as Kids' Book Review and the 52-Week Illustration Challenge. I also give info on what events, etc, I can host for adults.

You might have other pages you want to create to reflect what you do.

On that note, for ideas and inspiration, simply check out the websites of other creators to see what they've done. Do what works for you. For a collection of over 80 inspirational author/illustrator sites, see my post on Favourite Author Illustrator Websites

3. Imagery

You want to keep your text to a minimum with a website. Onscreen text is hard to read. You may notice on news websites that they tend to keep paragraphs short, as tracking across a screen is a lot harder than on paper, and on top of that, we have become a 'scanning' culture when it comes to reading. You want to keep things succinct to keep reader interest.

Keep text tight and to the point. And use lots of imagery. On my website, you'll see it's mostly images. People are MUCH more like to click an image than a set of words. So use pictures whenever you can.

4. Make it Unique
Whatever you do, try to resist using existing 'templates' for your website when it comes to design. It's actually really easy to change a website header by uploading a banner of your own. You could create it yourself (that's what I did for mine) or have an artist friend create one.

Unless you're creating dark or spooky books that completely define your brand as a creator, steer clear of black as a background colour. White is the way to go. It's easier on the eye and is the most professional-looking background. Colours and patterns look dated and amateur, unless they've been done by a design pro.

When adding imagery and content, look for ways to sit outside the square. Make your site beautiful, interesting, clever and unique. And always, always remember your target audience when creating one. My website has childlike elements because, well, I write for kids. This doesn't mean, however, it can't look polished or even sophisticated.

5. Entertain Enlighten Education
This is probably the most important point when making a great author website. Although your website essentially serves as a central pivot and is relatively static (you can have a lot more material and variety on your blog), you can still make it a lovely place to be for readers.

When I write books for kids, my aim is to first entertain, perhaps enlighten, then educate. The same should apply for your website. Offer something interesting and fun for your visitors. Think of ways you can offer things that tie in with the books you create. I link to my resources for authors and illustrators and this GIVES something to the reader. I also have my Fun for Kids page and other things that offer something more than just a place to view book covers and read a bio.

Think about ways you can do that.

6. Platforms

As for which platform to go with, I still use Blogger. Wordpress and Square Space are popular, as is Weebly and many others. You will need to investigate this for yourself--though I do strongly recommend you spend time learning how to operate a platform yourself. It will be well worth the investment, as using someone else to do it for you can be eye-watering in regard to price, and you have no control over when and how things are done. With my websites, I go in and change things in a flash, whenever I want. I wouldn't have it any other way. And it's free to do that.

Either that, or pay a 15-year old rellie or friend to do it for you!

Unlike a blog, which needs to be updated at least once a week or once a fortnight at a stretch, your website can remain relatively static. Just update it every now and then with news and events, and media exposure. Easy peasy!

Wishing you every success with your shiny new website, Toni!

Tania

PS: for even more, see my Fantastical Flying Creator ebook/workshop ... with over 20 years' worth of insider info and tips on taking your author/illustrator career to new heights. It includes comprehensive how-to website information, among many other things.

 

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Ask Tania: Non-Fiction Picture Books--where do I start when submitting to publishers?

Dear Tania, 
My question is about approaching publishers with non-fiction picture books. I'm aware how to submit fiction picture books, but is there a difference with non-fiction? If I was interested in writing a book about a person in history, should I go full throttle, researching meticulously, honing my text and sending off a fully-polished manuscript, knowing that all that research could be of no use if the ms is rejected?
Emma

Hi, Emma,

A girl after my own heart--I adore non-fiction PBs! And I most particularly love books on people from history. I'm busting to know who you want to research; might have to ask you privately (sorry readers!).

But to your question. The very first thing you need to tell yourself when it comes to dedicating the endless hours to researching and penning a non-fiction book is this:


Not a single minute nor single word will be wasted. 

Even if the book is never published, every moment you put into that work is a precious and vital part of your author journey. It's what will make you qualified to write--and good at writing--this type of book. You have to tell yourself this, Em, otherwise writing in this genre will send you stark raving mad from the perceived grief at 'losing' that time and effort and resulting words.

It's never easy to create something, especially something lengthy (as is often the way with this genre) without guarantee of publication, but it is the reality for most writers. No author wants to write a word that becomes lost, but we don't need to grieve lost words that never make it to print. They really are invaluable feathers to our bow. They're not a sacrifice. They're an addition to our skillset.

And also remember that words don't have a time limit. Many an author (me included) has had older work published years down the track--with a bit of honing and updating. As market needs and trends shift and change, one book idea presented in 2023 may receive a more positive reception than it did in 2016.

As you progress with your career and have first books published, you'll be in a better position to have work commissioned and approved before creation, so things will change.

This happened with This is Captain Cook and the National Library of Australia. We discussed the concept for the book and I received contract before commencing. This is because I'm a house author, so the same thing happened for Australian Kids Through the Years and other books.

Australian Story was the book I first approached the Library with--way back in 2010. I met an author who was published by the NLA, I asked her advice on approaching their children's publications team, I did so, I had a meeting with the children's publisher and the rest is history (literally!).

Two Options

So, there are two ways you could approach the creation of your book.

Number one. You could simply fall into it, begin it and dedicate your heart and passion to it, regardless of outcome, and in the knowledge that whatever happens, you're learning invaluably. Along the way, you could begin researching appropriate publishers and their submissions processes.

Number two. There's nothing stopping you from approaching publishers who publish in this genre, and asking them if your book would be of interest to them. Some publishers are happy to receive a book outline only, particularly when it comes to non-fiction books which can sometimes be more comprehensive and time-consuming than fiction (at least in terms of research and authentication).

If the subject matter is of interest to them, they may be willing to look at the work as you go along and perhaps contract you part-way through. This is entirely dependent on the publisher, for each is very different, and things will change as the publisher goes through their own changes, and works through their annual list. 

Remember, some publishers may respond to this request, some may not. Many have really strict rules (out of sheer necessity) around submissions and submission queries, so don't take it personally if you hear nothing back. Just move on to someone else.

Here's a great article on writing non-fiction query letters.

Look at publishers who have an established series of books in the style you are thinking of. You could always approach them to offer your idea, if it would fit well with the current series.

There's no harm in trying! You never know your luck. Just ask!

The other thing I would do--and I strongly recommend this to all emerging authors--is get industry involved. Network. Make friendships. Go to festivals and conferences and publisher events, and MEET publishers face-to-face. Get to know them. By doing this, you could eventually enjoy marvellous opportunities, like being able to sub directly to a commissioning editor, without having to go through the usual processes. This will up your chances of being contracted prior to commencement of your work.

Also know that you're not alone. As I've recently begun illustrating books, I have several on the go with no contract, and have no way of knowing if they'll ever be contracted. Just because I'm with several publishers doesn't mean they'll take on these books, and some of them don't even publish this type. So I'm in the same boat as you when it comes to finding a home for them--and knowing that I may not ever find that home.

But I simply must create them. If I don't, I'll burst! And I have to reconcile myself to the possibility that all this work may be for nought but skillset enhancement.

You're not alone.

Em, I wish you every success with the creation of your historical Opus. If you love the subject matter and feel passionately about it and do it well, there's every chance it will be snapped up by someone eventually, even if you have to finish it and shop it around. And, as annoying as it sounds, if no one takes it, at least you'll have a priceless addition to your skillset.

Tania

PS: I hope the following writing tips help you on your journey!

Writing Tips for Children's Non-Fiction

• write about something or someone you have a personal passion for; if you have zero interest in a topic, it WILL show, no matter how cleverly you write it; also, you want to enjoy the work!
• define your readership age and adjust text to suit; what interests you as an adult may be of nil interest to kids; keep it age-appropriate
• look for other books on this same topic--is the market too saturated? Who else has done this type of book? How can you make it different/stand out? What is unique about your version?
• STEM topics are particularly sought after in non-fiction, and since history has been added to the junior school curriculum in Australia, it has become even more popular with publishers
• consider contacting and subbing to educational publishers or other organisations like state libraries, museums and universities (who often have their own publishing programmes), and the CSIRO
• don't be tempted to fill a market gap unless the subject matter is of deep interest to you 
• remember that non-fiction can absolutely be as creative as fiction; think outside the square
• never believe non-fiction plays second fiddle to fiction; when it comes to kids' books, non-fiction actually outsells fiction
• keep an eye on world events, current affairs, anniversaries, etc--as your book idea may correlate with an upcoming something-or-other; publishers love that
• read read read everything you can on your topic
• don't underestimate the power of film, books, documentaries and imagery when completing your research
• research tools include books, encyclopedias, newspapers, magazines, photographs, biographies and other books, sites such as Trove, Ancestory, census, radio and television archives, national libraries, museums, universities, national archives and research institutions, as well as talking directly to people, and of course--the internet in general
• when it comes to the internet, you must use government or other official sites, and pay particular attention to authentication; remember, although it can be your greatest ally, the internet is also renowned for spouting rubbish and falsities
• you will want to cross-reference and verify any research (most especially internet research) at least three times ... more if the reference is obscure
• if something sounds fandangled, it probably is
• keep comprehensive notes on ALL of your research sources, including any links!
• know that even the most meticulous research can falter, especially as new light is shed on historical events; for example, in one of my books, I talk of the lamington being made for Lord Lamington, a governor in Queensland--a story that has been touted and authenticated for well over 100 years, but new research shows the cake was more likely made in honour of the Lord's wife, Mary Houghton Hozier (fun fact: Lord Lamington allegedly referred to lamingtons as 'those bloody poofy woolly biscuits'--more evidence they were probably NOT made in his honour!!)
• there will always, always be someone (with nothing better to do) who will try to refute anything you write; don't let this put you off--history records are far from infallible and conflict will always appear (especially as new information arises)
• enjoy every single, incredible moment of discovery--get set to laugh, to cry and stare into the distance in a state of wonder; fact truly IS stranger than fiction

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Ask Tania: What's the process when someone is commissioned to illustrate a book?

Dear Tania,
What's the process when someone is commissioned to illustrate a book?
Thank you!
Jolanda

Hi Jolanda,

Like most things in publishing, this is a far-reaching question and has many moving parts, but I'll do my best to give you a general overview!

Publishers

Traditionally, publishers (both trade and independent) like to appoint illustrators to books. They use either in-house illustrators whose work resonates with their overall book list, and with whom they have an established relationship, or they commission illustrators they've had their eye on, or whose work might complement the book's text, genre and 'feel'.

Commissioned illustrators may be experienced or emerging--and again, this is dependent on many factors. A lot of the time, publishers like to go with someone who understands the book creation process and how to interpret and add visual value to a manuscript, but this doesn't mean emerging creators can't achieve contracts, especially if they spend time reading and studying picture books (or other types of illustrated books) to familiarise themselves with layout, design, construct and the priceless nuance that imagery can add to text.

Many illustrators submit their work to publishers, and most are willing to receive unsolicited portfolios, as looking over artwork takes just a fraction of the time than reviewing a manuscript. Visit publisher websites and check out their illustration-receipt process. There's absolutely no harm in having your work out there. You can also showcase your work at many children's book festivals and conferences. It's well worth doing this.

If you're unsure how to present your work/create a portfolio, there are countless tips online--just google it. You can also google what publishers particularly esteem in regard to illustration. Being able to effect 'movement', emotion and character consistency are all highly regarded, as is an understanding of attractive colour palettes.

Self-Publishers

As self-publishing continues to gain traction, a greater number of high quality books are being produced without the aid of a trade or independent publisher. If you are asked to illustrate a self-published book, the chances of the book becoming a bestseller are very small, so probably the best route would be to sign a one-off payment contract (see Contracts, below).

ALL books must be formally contracted, even if you're illustrating for your sister or a best friend. Things can easily go pear-shaped, so it's vital that you cover yourself with a signed contract.

Commission Timeline

Here is a generalised guide (remembering that each contract is different!) on what you might expect when commissioned to illustrate a book:

• initial contact from publisher or author
• text sent to you for perusal--I highly recommend only taking on works that resonate with you, and suit your style
• contract agreed upon and signed
• liaison with author about the text and any nuances/expectations (you might also liaise with a publisher or editor)
• page roughs delivered to the publisher
• response to roughs/changes required 
• original artwork created and shown to author/publisher
• advised of any changes/updates to work
• make changes and finalise artwork
• send originals (or files, if digital) to publisher
• work is scanned and made digital; work may go to a finishing artist
• text and imagery are combined digitally by a graphic designer or layout artist, to create pre-press PDF files
• PDFs may be sent to you to look over; editor and publisher go over with a fine tooth comb
• proofs (prints) of the book may be sent to you to look over, though this is costly, and may be done electronically instead; if you can view printed proofs, I highly recommend it, as colours and detail can change dramatically depending on the paper they are printed on
• proofs are sent back to publisher; any changes or updates are made
• finals are gone over once again (digitally)
• digital files are sent to print
• you will receive an advance copy several months prior to publication, and your illustrator copies (between 5 and 10 books, depending on the publisher) will be posted to you

This process will be a little different if dealing with a self-publisher--you may find yourself more involved in the process, or may even do layout and design if you are skilled in such things. Again, any extra work you do should be built into the contract.

Contracts

Contracts are also dependent on various factors, but in general, there are two types of contract: 

• a fixed, one-off payment
• royalties (with our without advance)

A fixed payment can be attractive to new illustrators because the longer you're in the game, the more quantities of book you sell (generally, speaking). When you're first starting out, your book's print run may not be large, and you may not sell a lot of copies, so a contracted, single payment may be a better bet financially.

Of course, you then run the risk of having the book become a bestseller, and you'll potentially miss out on some great royalty payments, but this likelihood is exceedingly rare. Make your decision depending on who you're publishing with... for example, a Top 5 Trade Publisher vs a lone self-publisher... illustrating the text of a famous, established author or an unknown, emerging author.

In your contract, it's also important to cover royalties on any kind of electronic version of the book, as well as TV, film, product, and any other revenue possibility. 

Changes to your artwork should also be built into the contract. Small and reasonable changes are to be expected but should be based on inaccuracy or an inability to convey story, and not just because the author or publisher wants it to look a different way or be done in a different style. If you build expected changes into the contract, you can then charge extra if changes are unreasonable or extensive.

I highly recommend getting to know digital software if you're serious about entering book publishing. Small changes can quickly and easily be made with digital editing, to save redoing entire scenes.

You can also build into the contract whether or not you want to do roughs. Many publishers expect full roughs for picture books, and this can be very time-consuming. Make it clear upfront how you would do roughs, how detailed they would be (perhaps no colour, just outline).

Royalty-based contracts come, most of the time, with some kind of advance. The amount will depend on the size of the publisher, and their revenue. The smaller the publisher, the smaller the advance. A lot of smaller publishers are unable to pay an advance, so you might consider signing for royalties only. This is up to you, but do remember that it could be a year or more before you earn a cent. 

Check with the publisher when their royalty payments are made. You should, at bare minimum, ask for 5% of RRP, with the author also earning 5% of RRP.

ELR/PLR 

Australian authors receive Educational and Public Lending Rights annually, for works that are borrowed and used in libraries and educational institutions around the country. Once you have a few books under your belt, these payments can really add up and become a fabulous source of income.

These payments are ONLY made on royalty-based contracts. One-off payments don't qualify, so this is another thing to consider before signing contracts.

Reprints

If you are going for a one-off payment for illustrations, you could agree on a reprint clause. This would mean that if the initial print run sells out, you would receive a percentage (per book) on any reprints. No royalties would be payable to you on these reprinted books, of course, but at least you would earn a little more for the actual reprinting of the work.

If you have a royalty-based contract, you would not be paid upon reprint, but rather, upon eventual sales that emerge from the reprint.

Copyright

When you sign ANY kind of contract, fixed or royalty-based, you do NOT automatically give away copyright. All copyright for image remains with you, and usage of this imagery is under your guidance. This is why contracts should clearly state what your illustrations can and can't be used for (and it's the same for text). Other than short excerpts or imagery for promotional purposes, your work cannot be used for any other kind of revenue (such as a TV show or auxiliary product) without your permission, and without payment to you. All this should be placed in the contract.

If a publisher or self-publisher wants you to sign away copyright, so that they can use your imagery in any way they see fit, including changing that imagery or using it to create other sources of revenue, they need to pay you for that copyright. The best people to contact is the Australian Society of Authors, for such information. If you have an agent, they could deal with this side of things.

The Creative Process

Many (though this is rapidly changing) publishers take edited text, send it to the illustrator and have them create the imagery. Oftentimes, the author receives little more than a peek, if that. Good illustrators certainly won't 'ruin' a manuscript, but some authors may be hugely disappointed if final imagery doesn't accurately convey the storyline, or is nothing like they imagined.

Thankfully, more and more authors and illustrators are working in tandem to create a more seamless, more detailed and lustrous creation. Two heads are often better than one, and a good collaboration can be priceless. So, if you can work directly with an author on the imagery, I strongly advise it.

An illustrator should pretty much receive free reign to interpret text and add their own ideas and detail to that text--and the style an illustrator works in should only be questioned by the publisher or illustrator if it's way off the mark (unlikely if the illustrator was commissioned, as their work style would already be known) or fails to carry the story correctly in terms of clarity or meaning. 

An author can't cling too tightly to how things 'should' look, because a good illustrator will often come up with something even better than the author dreamed. And just as the illustrator would not insist upon text changes, an author shouldn't insist upon illustration style. Ideally, there's a little give and take between both parties. I have absolutely changed text to suit an illustrator's work, and the book was all the better for it.

Of course, there are some texts that do require author notation or instruction, especially if text is scant or abstract. With my books, I've had to outline several parts of the story for the illustrator, in order to ensure the meaning of the story is carried and that things are clear for the reader, but once I've done that, I've let go and allowed the illustrator to work their magic. I've never been disappointed.

Having said that, if an illustrator is way off point or presents something that just doesn't work for the book, they may be asked to make some changes. Don't be crushed or devastated if this happens--you can't be precious. There has to be give and take. Having said that, if you feel intensely about something, do make a stand for it and state your case, especially if the nuance or gist of the illustration has been missed.

If you find yourself unable to work well with the author (this is extremely rare--I have heard of maybe one or two problematic collaborative relationships EVER), bring in your editor or publisher or an intermediary to help, or act as go-between.

In the end, the book creation process should be a joyful one, and the focus should be on creating the best book possible, all egos and 'wants' aside. If you collaborate in an inclusive way, with open ears and eyes, there's no doubt an illustration commission will be a wonderful experience for you.

Good luck!

Tania

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Ask Tania: What's the best way to work towards becoming a full-time author?

Dear Tania,
What's the best way to work towards becoming a full-time author?
Cathy

Hi Cathy,

I could write 1000 paragraphs on this! And even then, it would be part-way subjective and would fail to cover all the intricacies and variations and far-reaching tentacles.

Some of us need to work full-time jobs, some of us work part-time, and some of us have the luxury of all the time in the world. Some of us have small kids, older kids, grownup kids, no kids. Some of us are in marriages, some not, some in supportive relationships, some not. Some of us have self-belief and some of us don't. Each author's life situation and journey is unique, and so very many variables contribute to the acquisition (or not) of a full-time writing career.

I could also regale you with the myriad things you 'should' be doing, but honestly? ... other than the fact that each person has a unique life situation that must be navigated around, authorship is changing. Our online world is changing. The way we read books is changing. The way we write and publish is changing. And it's all changing so fast, I reckon by the time you read this, my 'advice' would be redundant.

So, I'm going to go back to brass tacks. I'm going to hand pluck the 'little things' that I've learned in almost 30 years in the writing industry (first magazines, then adult non-fiction, then children's). I reckon if you can resonate with the following stream of consciousness, you stand a good chance of securing full-time authorship.

Bolded entries are especially important. At the end of these points, I'm going to cover Self-Belief and The Flow--also especially important!

Here we go ...

• great work sells; time spent honing your craft is never, ever wasted
• practice, practice, practice--invest in your skills endlessly
• never stop learning
• know your market inside out; live in bookstores whether in person or online; watch what's being published, get to know publisher lists and the work of other creators
• read read read, especially in the genre you want to write in
• write what you love and what calls to you, even if the market doesn't agree
• if you need to work at a full time job, write in your spare time, on weekends and holidays--pass up TV and socialising and all manner of deflections, to dedicate to your craft; this can be tough, but like anything in life, the sacrifices you make for writing are clearly indicative of how much do you want it
• over time, find ways to downscale the full time work you do in terms of hours--then fill those hours with your writing and earning from your writing; over time, if you play it right and dedicate yourself, your writing hours will outweigh the full time work; if your current job would deem this impossible, look for other work
• if you have small children, things will be tougher, of course, but they do grow up eventually; a famous author once told me that I shouldn't even think about being able to achieve an impactful 'career' until my kids were not only older, but had actually left home; so know that one day, you'll have your time (and in the meantime, dedicate what time you can)
• always be curious, and always stretch yourself
• think outside the square and try something new
• learn the formula for storytelling and plot structure, then break all the rules 
• avoid formulaic writing like the plague--surprise your reader
• avoid prescriptive, expositional, predictable, over-written text; write intuitively and don't try to sound like a great writer; rather--BE one
• use your own voice, not someone else's
• avoid overly familiar, typical themes, especially in regard to picture books; if you simply must write about fairies and trucks, do it in an unexpected way
• avoid didactic writing; if you must include messaging, make it barely perceptible, especially in picture books
• never write for publishers or for perceived market gaps; YOU dictate what the market needs (with your fabulous new idea)
• stop asking for critiques of your work; the more others dissect and opine, the faster your work loses authenticity, honesty and clarity; too many cooks DO spoil the broth
• believe in yourself; have faith in your own intuition
• if you do receive criticism, never take it personally, NEVER react badly to it, take what works (or doesn't), let go and move on
• if you get a bad review or an assassination on your character, walk away, let it go, do not respond
• a great idea is far more evocative to an editor or publisher than a perfectly-polished (over-worked) manuscript 
• unique work, with a unique voice is highly sought after
• luck does have a something to do with full-time authorship--but perhaps more than luck--rather being in the right place at the right time; put yourself in situations that increase this 'luck' (you'll find suggestions in this post!)
• always, ALWAYS respond to people in a timely manner--by phone, email, in person; don't leave anyone waiting, even those you perceive 'unimportant'
• always, ALWAYS treat people with respect
• always, ALWAYS thank 
• never look down on, dismiss or judge anyone regarding their work, presence or 'status' in the industry--not only is it mean, you never know who will be whom in five years' time
• ergo, never burn bridges
• excellence all the way--from your beautiful email signature to your carefully proofread manuscript submission
• think twice before gossiping about or deriding colleagues; it's mean and our industry is small
• kindness! generosity! maybe fairydust to some, but you better believe it works
• the vast majority of authors (and illustrators) are smart, intuitive, generous and kind people--get to know them
• give back
• support and uplift your colleagues
• don't look sideways at what anyone else is doing and what they're achieving--put your head down and focus on your own journey
• don't be threatened by anyone else's success--feel genuine happiness for others, even if you don't particularly like their work--there is always enough room in this industry for everyone. Never blow out someone else's candle, because it won't make yours brighter.
• real relationships are everything--get to know people--you may well develop working relationships and opportunities, sure, but you may also make dear lifelong friends and share in immensely rewarding connections and support
• check in on your friends and colleagues--this is a lonely profession--even the high-fliers and those who appear supremely confident, falter sometimes
• never shout about yourself; don't bombard people with sales pitches
• for every promotional post you do, post three that are informative, educational, fun, personal or promoting someone else
• have a solid web presence--a website at the very least; it doesn't have to be fancy, just have one
• don't fret about social networking; have a Facebook page and/or Twitter/Instagram/Pinterest, etc, account and post when you want to!
• be easy to work with and never be demanding
• commit to a writing schedule
• learn ways to streamline your life and kybosh procrastination
• if you are working full-time elsewhere, write at night, on weekends and during holidays--ask yourself, how much do you want this?
• enter competitions and apply for grants
• attend festivals and conferences--they are life-changing and will shuttle your career trajectory into the stratosphere when compared with staying home; meeting publishers personally really does up your chances of becoming known/having work looked at faster/receiving contracts
• get industry involved; this is my TOP TIP and it's huge (and totally underestimated by newbies); do something for your industry; judge awards, support fledglings, volunteer for organisations or festivals, review books for websites, involved yourself with CBCA or SCBWI or ACLA or other children's lit organisations; I frequently volunteer, and founded Kids' Book Review and the 52-Week Illustration Challenge, but you don't have to invest an enormous amount of time and energy--just do SOMETHING!
• if you don't know something, ask others (or google it!)
• try not to use too many exclamation points!!! 
• expect nothing while you expect big things
• BE PATIENT--gaining any kind of industry recognition can take at least three years (if you're active in the industry!)--and most authors wait at least 10 years before making a solid impact with their books
• realise now that much of an author's income doesn't come from books--it comes from events, talks, presentations, school visits and other writing gigs; much of mine comes from ELR/PLR payments, copyright payments, presentations and events; also know that over time, your wage will increase as you have more books on the market and earn more ELR/PLR, copyright and reprint payments
• support other creators--attend book launches and writerly/literary events
• be self-effacing; be willing to look objectively at your work and see where you can do better (we are always improving!)
• tenacity and hard work is as vital as talent, oftentimes more so (there are plenty of supremely talented creators who will never publish because they give up or expect things to be handed to them)
• understand this: you simply must put in the hard yards; this career is HARD WORK ... thank goodness it's so much fun
  
• a hole-in-one IS possible; but how many times are you willing to hit the ball?
• believe in yourself
• have I said 'believe in yourself'?

Self-Belief
Self-belief is a curious thing. It's like the tide--it ebbs and flows, and this affects all of us, no matter where we are in our writing career. Any writer's biggest hurdle is self-belief. It's not publishers or editors or the market. It's how we feel about our own work, and how much we believe in it. (And I'm talking truly madly deeply--in our heart. Our brains can tell us they believe in us all they want. It has to come from the heart.)

Having self-belief doesn't mean we stand on chairs and shout. We can be quiet and have self-belief. We can be shy and have self-belief. But the bottom line is--if we don't believe in ourselves and our voice and our stories, publishers won't, and readers won't.

If we want to make authorship a full-time career, we need to believe in ourselves enough to commit the considerable time and energy required to write full-time. We need to trust, despite the inherent solitude and rejection authors suffer, that our investment will pay off. And we have to MAKE that investment--in ourselves and in our work, always bettering ourselves and our words. Growing, moving, changing. Listening to what calls us ... and honouring that call.

We need to trust that we can still be standing after many years of 'getting nowhere', and that we will not (nay, CANnot) give up. Tenacity is as vital as talent in this industry, and although it's tempting (and normal!) to have moments of 'why am I doing this? will I ever get anywhere?!', we must move through them if writing is our true calling. And get back to writing.

Elizabeth Gilbert once spoke of a very talented writer friend who gave up on his authorship journey because he was tired of getting nowhere. She described him as supremely talented, and she remember being shocked and desperate that he would give up 'so easily', but the fact was this: it didn't mean enough to him. He actually told her that. Writing didn't mean enough to him to continue to suffer the slings and arrows of rejection, editing, and idle waiting. So he moved onto other things, and he did so happily.

Indeed, perhaps some of us think we want to write (it IS fun!) but maybe it's not our truest passion or calling. We get this idea in our heads that it will be a certain way and when it proves otherwise, we might become disillusioned and question our direction. And that's okay. We can move on.

But, if like me, writing is like oxygen to you--you can't live without it--then embrace it, claim it and give it every ounce of self-belief you have. This kind of courage and passion is like a magnet for your full-time authorship desire. It's powerful stuff.

The Flow
On a similar note to Self-Belief, above, I really do believe that we need to do what makes our heart sing, yes, but also what fully absorbs us. When we become lost in our work, that's when we know we're on the right path and have stepped into life's flow. Things come easily, things just sort of 'work out'--the obstacles slide on by, synchronicity is rife, and little miracles pop up with sign posts saying 'this way', 'enter this!' and 'meet such-and-such--she's looking for someone like you'.

When obstacles begin flourishing, when things become fraught, difficult, agonising, unbalanced, or just feel 'off', you've stepped out of the flow, and are, mayhaps, not doing what's right for you. You're standing on the riverbank and the water is rushing past and you're feeling that desperate ache in your chest that you're getting nowhere and are somehow missing out/something is not right. It's like you're pining for something and don't even know what it is. (A friend recently made a big realisation in this vein and has made some huge decisions about her future career, which may lie completely outside the kids' market--so utterly inspirational! and brave!)

But when you step back into the river and relax and go with it, you notice the river is running more gently and more smoothly than it appeared on that riverbank. And you are floating along nicely and you are passing wonderful opportunities and people and they're jumping into the river to float alongside you and you just feel GOOD. You float around obstacles and don't even need to look sideways. Your eyes are on the river--the journey. And you're soaking wet, you're so absorbed.

That's being in the flow.

Finding yourself out of the flow doesn't have to mean your writing career is over. It can simply mean you need to change genre. I've lost count of the times a friend or someone I'm mentoring realises the book they've written is sitting in the wrong genre '... whaaaa? It's a picture book, not a chapter book!' or vice versa. A friend recently made an enormous realisation that her future didn't lie in children's picture books. She was meant to write adult romance. And voila--she's just signed a huge deal with a major publisher of women's romance novels!

Perhaps you just need to change your direction or style or skillset. A couple of years ago, I made the realisation that I really wanted (needed!) to illustrate as well as write. I hadn't picked up a paint brush since my early 20s (I was a prolific illustrator back then) and had no idea where to restart. But restart, I did (via the 52-Week Illustration Challenge) and my first self-illustrated book, Australia Illustrated, is out November 2016. I've also just signed a contract to illustrate a major children's compilation.

If you had told me I'd be doing this even two years ago, I would never have believed you. But I couldn't be happier, more excited or more absorbed by this new, unexpected (deliciously pined-for) turn of events--and all because I just went with the flow. I went with what called me at the time.

Who knows, in six months I might be embarking on another direction--so long as I sit in that river and follow the flow. Who wants to sit on the river bank and watch it all go by? Not me.

So, Cathy, jump in that river. Your full-time authorship awaits.

Tania

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Ask Tania: I'm media-terrified. How do I promote my work without putting my foot in it?

Dear Tania, 

I'll get straight to the point. I'm media-terrified. Interviews unnerve me, as I never know what question is coming, if my responses will sound dumb, if I'm saying the wrong thing, or--worst of all--if I don't even know what to say. This is also a worry when I need to do presentations. How do I promote my work without putting my foot in it?

J

Hi, J,

You are not alone! Even the most seasoned creators experience angst and nerves before an interview or speaking engagement. I don't think I'll ever get used to it, personally, and there's been times where I've literally not slept the night before, I've been so angst-ridden. 

I think the first thing to remember is that feeling nervous is absolutely normal, and is a human  reaction that almost everyone experiences, no matter how confident or seasoned they are. When we really absorb this knowledge and really embrace it, we feel a lot better about ourselves.

I also think that 90% of nerves are anticipation. It's all in the lead-up. It's the 'unknown' that unnerves us (and indeed, you expressed this in your question--not knowing what's coming). Once we're actually IN the interview or the talk, most of the angst melts away as we are operating in the Now, and are not pre-thinking or pre-empting what might happen next.

Of course, there are some people who do pre-think and pre-empt during their interview or talk, and when this happens, mouths dry up, voices start shaking, and stage fright sets in, sometimes rendering the speaker mute. If you find yourself experiencing any of these things (I have once or twice), focus on the moment and what's happening in the Now. Focus on the question, pause, take a deep breath and a drink of water, then speak from the heart. The angst levels will drop rapidly if you can do this.

The second most important thing to remember is that people really do want you to succeed. Audiences and interviewers want a great talk and a great interview. They don't want you to struggle or be fearful. If you're speaking in front of an audience and your voice starts to shake, the audience will feel either awkward or sorry for you, or will feel compelled to back you and ease your fears. Look for an audience member who might be smiling, or engaging you with eye contact, but above all, remember that they do want you to succeed. Better yet, make light of your shaking voice--mention it and have a laugh. Tell the audience you're nervous. Be real.

In all the radio interviews I've done over the years, I've only ever experienced two that were a little 'difficult'--both in terms of confronting questions and/or accusations or inferences, and in terms of the general 'feel' of things. So they're very rare. And I've only experience one talk that was uncomfortable--where the audience was unresponsive and some audience members were cold.

I got through these by being 100% myself, by laughing, by allowing myself to fumble and make mistakes, to make light of those mistakes, and to admit when I didn't know something or couldn't answer a question. 

Once, during a radio interview, the host kept asking inappropriate questions and I just outright told him I wasn't comfortable answering that question, or that the question was irrelevant to the work. He backed off immediately and went onto the next question.

Another great way to skip over a question that you don't want to answer is to respond with a one word answer and then stay silent. It's the host's job to carry the interview, not yours. And good interviewers will immediately sense your reluctance, and happily divert. Bad interviewers will persist or even get snarky--and that's solely their own agenda and has nothing to do with you. I would more than happily end an interview if I was being abused in some way--would not even hesitate (I think that would be exceedingly rare).

On that note, don't ever feel threatened by silence in an interview or talk of any kind. What feels like a half-hour pause to you is only a few seconds in reality, and never feels long to the listener. 

If you find yourself in a situation where you literally don't know what to say, perhaps ask for the question again, and then look for elements in the question that will lead you to something else--or something related to that same topic. If you're still stumped, just tell it is like it is: say you're not sure.

If you are lighthearted, 100% yourself, and 100% real, you really can't go wrong in any speaking situation. And if an interviewer or an audience member is a jerk, trust me when I say the listeners/rest of audience will see it, and it won't be you they'll be rolling their eyes at.

For one of my books, that sometimes attracted externalised political questions, I asked my publicist to pre-inform hosts that I wouldn't be answering political questions (indeed, I was unable to, due to my husband's work). I asked if we could please make it about the book, and nothing else--and every interviewer honoured that. So, that's also an option if you find interviewers becoming consistently pushy over something inappropriate.

I have this saying that I always tell myself whenever I speak publicly:

I know my stuff.

I don't give a stuff. 

I can't even tell you how much this helps with nerves. The fact is, I DO know my stuff, as do you. Anything I'm speaking on or talking about is 100% my knowledge and my experience/work, so I know I can always speak with authority and confidence. And if I'm asked a question that's outside my world, I simply say 'I don't know' or 'not sure, but you could ask this person/organisation'. This doesn't make you look like an idiot. It makes you look real, self-effacing and honest. People love that.

The other is to not give a stuff. When you're speaking or being interviewed, your goal is not to have everyone love and adore you. Your goal is to fulfill the concepts and messages related to the event/topic at hand. So, deliver them, then let go.  

A good thing to remember is that each person will take your words and concepts in different ways and there is absolutely nothing you can do about that. People see and hear through filters and lenses that have nothing to do with you. They twist and manipulate meaning (whether positively or negatively) to suit their own agenda and beliefs. So why stress over what people will think when you speak? It's pointless because if someone wants to think ill of you, you could be pooping rainbows and flowers, and they'll still find fault.

If someone is ever rude or demeaning to you (so very rare!), remember that audiences can see or hear who's being the jerk, and if they can't, they're not worth worrying about anyway.

As for saying something 'stupid', again you are not alone. We all do it. I do it more that I'd like! and it's either from nerves or trying to be funny or goodness knows what--sometimes we just say things we don't mean, or they come out the wrong way. I've made comments during my talks that I STILL have a physical reaction over, years later. I worry what people will think of me over those comments, and again, this is normal! But we really have to remember that if people want to judge us over one comment or slip of the tongue, that says more about them than you.

As for saying something that's taken out of context or even misquoted, I've also been on the receiving end of that, as have most people. It's something that comes with the territory and, unless it's libel, you just have to brush off, no matter how seemingly unfair. I had a journalist from the Canberra Times put her own spin on a long interview for my book Beijing Tai Tai, conjecturing and adding her own two cents to my personal, actual experiences (ie: putting words in my mouth). This is a no-no in journalism, as an interview is NOT about the journalist (just as editing is not about the editor). I'm still surprised the newspaper editor let this one through, but I do realise now that the journalist was enormously inexperienced, and would never get far in her career if she continued to condescend her interviewees.

Remember that all interviews, print, radio, TV, disappear quickly. People don't remember them, and will soon be onto the next thing. 

J, I know everything I've said is probably nothing new to you! I'm also aware that, in the heat of the moment, no amount of philosophising can help. But these things really are worth rehashing, because they're true. And if you can actively live them and repeat them over and over in your mind as your career grows and expands, you'll find yourself far less anxious before any kind of interview or speaking engagement.

Some authors I know have taken public speaking courses, and some have even taken stand-up comedy courses, to help with their speaking journey, and there are many other ways you can up your confidence. Here are some overall tips and reminders for dealing with interviews and talks:

Interviews

• look your interviewer up online; read their bio and find a photo of them--I find this really helps personalise the experience
• ask if the interview will be live or pre-recorded, and how long it will go for
• prepare a handful of questions and answers that are likely to crop up
• make dot points of responses to questions you might expect overall
• have your book on hand, perhaps with some pages marked if you want to read extracts
• have numbers and statistics and quotes on hand if you think they may arise
• have a glass of water nearby
• if you're doing a phone interview at home, be sure your surroundings are quiet
• speak evenly and slowly--don't rush
• pauses are good; silence is good; don't be afraid of either
• be open and warm with your host--they want you to succeed
• try not to say 'um'; this is enormously distracting for the listener; I once listened to a woman use the word 'um' every three or four beats--it was so horrendous, I had to change the station; so be aware of them--pause and take a breath rather than fill it with 'um'
• take long, slow deep breaths before and during the interview (and after!)
• listen carefully to the questions and don't pre-empt things or get lost in other thoughts, as you may miss the question
• if you do miss the question, or don't understand it, ask to hear it again
• be sure to actually answer the question (unless you don't want to!) and don't go off on tangents
• say 'I don't know' or change the subject if topics become difficult 
• for questions you absolutely don't want to answer, take it and lead to something else 'that reminds me of...' 'that leads to a bigger issue...' 'that's the same as when...' this is called 'bridging'
• if the interviewer says something you disagree with or that's inaccurate, don't hesitate to disagree and then state your case calmly and warmly 
• if the interviewer leaves a pause to try to incite you to more comment, refuse it (if uncomfortable); stay silent--the interview is their responsibility, not yours
• if you do say something in error or 'put your foot in it', correct yourself straight away; laugh
• be clear and succinct--don't elaborate too much on one topic, and know when to shut up
• don't talk over the host
• relax and be informal; laugh, respond to banter, keep things light
• be 100% yourself, warts and all
• know your stuff, don't give a stuff

Talks

• know your audience and speak at their level
• make it about your work or presi content, not about you
• organise your content in advance and have it all ready to go 
• practice your presi for length and stick to your presentation time frame; ask for a 5-minute warning bell, if needed (I always do)
• don't speak too fast or too slow; take consistent pause, especially between topics
• don't pace or make repetitious movements (brushing aside a fringe, pushing up glasses)
• stop with the umming 
• speak loudly--make sure everyone can hear you
• vary the tone of your voice so it doesn't become monotone
• never read out the dot-points on your slides; use them as reference only
• look around the room, not at one person
• if someone is scowling at you, know that 99% of the time, they're not upset with you--some people just have odd or negative resting/listening faces--seriously!
• if someone is being openly hostile or rude, rolling their eyes or giving you evils, DO NOT LOOK AT THEM AGAIN! completely ignore them
• be clear and brief, especially when asked questions
• try to speak off-the-cuff, without reading notes--you may surprise yourself how much better your talk is when you trust yourself to speak on the spot
• watch for audience boredom and adjust your energy to suit
• if you have a PowerPoint presi, make the slides attractive and actually viewable! no odd colours or bad contrast/lighting/small type and images/typos
• display your books nearby
• mention any book signings at the end--don't rely on your host to let people know
• leave enough time for questions at the end 
• leave handouts to the end (they are popular)
• relax and be informal; laugh, respond to banter, keep things light
• take deep breaths and sip water when needed
• remember, your audience wants you to succeed
• be 100% yourself, warts and all
• know your stuff, don't give a stuff 
• see my post on Presenting Brilliant Presentations.

I wish you the very best on your interview and speaking journey!

Tania

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