Tag: self-publishing

  • his scarlet-helmeted warrior

    I had a pen name, once, after I wrote two excruciatingly awful romance novels thinking this would for sure be my road to steady income. Submitted them with great condescension to Mills & Boon and they wrote back, saying (and I paraphrase) “We wouldn’t publish this shite even if you paid us.” I was so disappointed cos I had this great name all worked out: Kenya Madresson.

    However I am proud that one of those trite novels was written in a week. I had flu and was down and couldn’t get anything done. Said to myself, I bet I can write a book in a week. So I did. Three terrible chapters every terrible day. This was when I was 26.

  • a bit too helpful

    I went to my parents’ place to bring them a copy of my new book. Afterwards I left the house and drove uphill, as though I were coming up out of a valley, though my parents do in fact live on a hilltop. During the 2009 floods theirs was almost an island, floodwaters drowned the houses all round. Armies of volunteers descended afterwards with mops and brooms and buckets. My mother’s neighbour said, “They were a bit too helpful” ~ the Mud Army had thrown out some of her favourite possessions, things that though drowned in river sludge had essentially survived the flood: washable things, like the pyrex baking dish her own mother had given her on her wedding day. The feeling of having to guard oneself against the ill-spilling goodwill of people who don’t seem to mean to cause pain is one I felt familiar with.

    My parents bought their copy of the new book online, which was sweet of them and supportive I think. I rang and said, I would have given you a copy. O, my mother said, well I wanted to go through the motions and just make sure everything was working ok. Everything worked ok. Her book was #43, I numbered it and signed it and set it aside. I slid it into a paper bag and wrote in pencil on the outside, From Tochter: from daughter. We arranged I would go round on Thursday morning when they would both be home and bring them their book. She said, Bring it, but I was thinking, Show it to them. This was unwise, and not in an unpredictable way.

    My father was sitting at the computer when I came in. He turned his head to say hello. My mother advanced on me like a real estate agent ready to show the house, she looked immaculate, she was wearing a fringey necklace I’d not seen before. We hugged with the uppermost parts of our bodies like two woman at a premiere wearing the exact same dress. She made tea and set out the sticky gingerbread I’d brought, in a clockface on a large flowered plate. “It’s Nigella Lawson’s recipe,” I said, “only I put in twelve times the ginger and six times the cinnamon and also some black pepper.” “So,” said my mother. “Show me your book.”

    I drew it out of its paper bag and handed it to her. Changing my mind about the bag’s inscription I folded the brown paper and stashed it in the upper pocket of my overalls. My mother took the book and opened it. Prominently on the end table lay another book, written by an ex lover of mine who treated me with breathtaking perfidy. I lifted the cover with the back of my thumbnail and read the inscription: To dearest Cathoel, love from. I let the cover drop. It wasn’t clear why this book, which must have been somewhere on their shelves for the last seven or eight years, suddenly had appeared next to the couch the day I was to visit.

    I watched my mother encountering my new book. This book is only five days old, we found for it a sumptuous eggshell paper, it has all the decent poems I have written in the last fifteen years, since my first book, it has been a labour of decades and in the final drafts I found early copies of the illustrated layout, on my computer, going back to 2008. The poetry is as round and whole and nutty as I could make it. I had the sense, seeing it go into the press last week, of this work no longer belonging to me, as though the poems are intact worlds of their own in which I am only a familiar visitor. That’s how I know it’s done. The title, the yearning, the courage, the brimming pages: to me it is still the most beautiful book in the world, just as every baby once born is, however briefly, perhaps only for microseconds, momentarily the youngest person on earth.

    My mother looked through the book for thirty seconds. She liked the colour of the cover (bright yellow). She remarked on a couple of photographs, neutrally, incidentally: “Oh there’s that photo of the beach that you took.” She didn’t read one word. The kettle boiled and she set the book down on the couch beside her and got up to make the tea. “Are there coffee shops round where you’re living now?” she wanted to know, “are there any that you like?”

    My father left his enticing, absorbing online universe. He came struggling over to the couch, on his stick. He has a new hearing aid, his first. “I don’t notice the difference,” he was saying, as he reached me, and I said, “Perhaps it’s the other way round. Perhaps you weren’t noticing the difference beforehand, and we all were, because you just didn’t hear what you weren’t hearing.” His eyes gleamed suddenly, a kind of sleeping awakeness. “Yes,” he said, “that is probably true.”

    He moved my book aside so he could sit down. He asked if there were any coffee shops round our new place for me to hang out in, any I liked. My throat filled with a hot, tight, swollen feeling like heated rocks. I was crying, but I wasn’t going to let them know that. My mother came over with the tea, a single mug for me alone, and we all sat down and gazed at the low polished table between the couches.

    We talked about my father’s hearing aid and the new fabric on the chairs outside, their wide verandah. I admired some shelves my brother and father had built together. My mother picked up the book and set it on the low table. She must have felt she hadn’t somehow paid it enough attention because she started asking, Is it selling well? And Now that you’ve got the book out of the way, are you working on the CD? I brought forward by an imaginary hour the appointment I had made in the next suburb. When my mother got up to carry the tray of tea away I pilfered the book written by the ex lover and slid it into my bag. I left behind my parents in their house which is so strongly scented with cleaning products that I’d had to get up and open the outside door casually, which is how we came to be talking about the pretty covers on the lounge chairs overlooking the pool. The silverbeet fronds I had planted in January when I came back from Berlin stood proudly greenish yellow with their scarlet and purple spines, a border to the flowerbeds as I had intended them to be. I carried away the rocks in the throat, determined they would not come all the way home with me. I knew a comforting local coffee shop where I could leave them, had left them before, could leave them. I drove away from my uncle’s house, that is opposite theirs and where my uncle who has never married hoards all the china and silver intricacies once belonging to our grandmother and pets, presumably, his conviction now three years old and formed on a strange circumstance that I had been stealing from my own family ‘heirlooms’ (some old clocks, taken to pieces by our other uncle who never repaired them) and selling them, on eBay, for a profit. He will not back down from this insulting character assessment and I will not accept it, we no longer speak. My parents have him round for dinner but not when I am there. I left all that behind under the trees including the one with the spine of our old treehouse embedded in it like an ingrown tooth and the one that sweeps its skirts along the ground, dropping seedpods like earrings, the new house that stands next to the old house now sold, and took myself up to the coffee strip and into a dingy local bookshop playing, comfortingly, the plaintive tales of local boys the Bee Gees, and browsing along the racks I found several books I wanted to read including one written by a friend of mine whose work I’ve not yet explored, and I noticed the bad feeling ebbing away and this pleased me, I felt proud of myself, and I told myself paying for the books that this was an achievement, an improvement on the other times when pain arising from this household had lasted me all day, all year.

    The pain lasted only an hour or so. Maybe a little nervousness beforehand and some despondency residual afterwards, but most of the negative part of the experience was confined to that one hour: the half hour in their house and then, in ebbing increments, the browsing half-hour afterwards, a dim fish nosing round a quiet tank. Later that afternoon I met up with a poet from Melbourne who is cycling in small sections round Australia as a fundraiser, he bought my book and cooed over it, loving the papers, loving the photographs, stroking his cyclist’s hand down the poem pages. He told me how awesome it was. I told him how awesome it was that he is making this huge trip, his own books sent on to the next town care of a performance poet friend, and I thought about how he will cycle home over the Nullarbor, west to east, planning his route so that every hundred kilometres or so he can fill up with water. You can’t bring enough water for your own journey, it’s too hard to carry. You have to rely on other people, strangers, sometimes, en route to fill you up with their water, because really all water is shared water anyway.

  • dancing friend

    I can’t stop crying. A friend of mine, a musician from Berlin, just wrote to say, do I just use your online postage calculator to pay for a poetry book? I’d like to pre-order. The books themselves are sitting tidily by me as I write, in four perfect cartons, we picked them up a few hours ago from the specialist binder who opened one volume to riffle through, saying, “This paper! It’s lovely, it was lovely to bind.” I am rather surprised how many poems have found their way into the collection, it is a lovely square-edged, strong-shouldered, upright beautiful book containing all the good work I have done in verse form since round about Y2K – when the world was intact, computers were optional: way back then. My friend wrote, I have been reading your story about how the printing got done. He said he liked it, “just as I immensely appreciate every post you make.” I hadn’t realised he was reading me, it feels like a sweet subtle connecting of our souls over all the cold lonely dark miles of sea and air. He wrote, “Time to pay back – literally.” Then my partner, another Berliner, gasped from the other room. He was fixing something on the site he built for me: this one. I ran in to see. My friend had bought every book I’ve ever published plus a download of my album. He bought the lot. He paid about forty-five dollars in postage. I sat down and put my hands over my face and cried and cried. After a few minutes my lover came closer and touched my hair tenderly. “Are you sad?” he wanted to know. “Oder freust du dich, or are you rejoicing?” I nodded, could not speak. “All die Jahre der Dürre,” he said, gently: all the years of drought.

  • print’s charming

    When a poet walks into a printer’s and says, I have written a book, I want to publish it, their eyes light up like neon stars. “It has to be on sumptuous papers and beautifully bound,” says the poet, and the printer’s salesman purrs, “Right this way, madam,” and leads her into an impressively empty boardroom. He is all attentiveness, spreading paper samples before her like red carpet, laying on shitty coffee and shit-eating grins. When he phones his colleagues to check the price of this or that component he is telling them, “I have here a young lady who’s written a book of poetry, we might be quoting a poetry book!” ~ possibly to alert them that, as the poet will learn to say later that same week, “there’s some air in these prices.” She is not a chain of real estate agents, who print up their repetitive brochures week in and week out and have cycled through every local printeria and copy shop, learning how to mistrust them. She is not a pizza bar who distributes six thousand pizza-shaped leaflets every month and shaves the price of each slice they serve by one sliver of prosciutto and an anchovy. She is more like an engaged couple planning their hand-cut wedding invitation. Nothing is too good for her baby and money raises no objection. This customer’s a poet.

    The trouble with this theory of sales is: poetry’s earnings are poor. Poets have no money to waste. They cannot expect much profit from their enterprise so this is a different kind of investment. Some poets have even printed books before today and have learned, via painful experience, the wily weaselly ways of printers’ salespeople.

    Ten days ago I first met S, sales rep for a local printing house. He took me upstairs to the abandoned boardroom and scattered paper samples before me. He made calls, he made coffee. He was excited.

    I drew out the books I have published already and pointed out to him their beauties and their flaws. His excitement dimmed visibly. He tried to rally, with a story about his little bookworm daughter, to whom he had confided after our phone call the afternoon before that he was preparing a quote for a poet, and “We might be printing a poetry book!” How old was the daughter, I wanted to know. He told me, “She’s 8. She loves poetry. She reads it all the time.” “That really is remarkable,” I said. “Seriously. I’ve been writing poetry all my life, started when I was maybe nine or ten. I don’t think I’d even seen any poems before that, it just sort of happened. And I certainly wasn’t reading poetry at the age of eight! I was reading Milly Molly Mandy.” He looked discomfited. My tone was warm and inviting, and yet… “Maybe your daughter is some sort of prodigy!” I said, brightly.

    What happened in me over the course of this week is at long last I taught myself to project-manage. I was in trouble. The poetry festival is a week away and on Thursday I’d still not found an affordable printer. It was starting to seem as though S – nice guy, big innocent blue eyes, he had the little bookish daughter – was lying to me. He talked me into a more durable and expensive form of binding called PUR, based on polyurethane, which made the price leap up by seven hundred and fifty dollars. It took me days to work out that when he had added in the PUR to his second quote, the total price had gone up but not down – in other words, he had added in the PUR but had not taken out the simpler “perfect binding” method he’d first quoted on. So I would be paying for the book to be bound twice. Could this be right? I couldn’t believe anybody would be so underhanded, so shamelessfaced. He came to our house to deliver a sample of the colour prints included in my design and rambled on about how beautiful everything was. There was a crack in his character somewhere but I couldn’t find it.

    I asked him about the double-bind my book was in and instead of answering, he tried to sidetrack me with faux earnestness. “Ah, that $750,” he said, “yes, that’s what it actually costs. That is what I will be paying them. That’s actually what the binders charge me.” And then in his enthusiasm to bamboozle me with extraneous detail – a technique assault specialist Gavin de Becker likens to scattering tin tacks to stop a large truck – he made a tactical error. He gave me the number of his specialist binder, a guy I’ll call W, and told me to ask him directly about the advantages of the PUR binding so that I wouldn’t have to feel S himself was “talking me into it.”

    I rang W. What a lovely guy. He hesitated to drop anyone else in it. But he had to say, when I mentioned the PUR price, “Ah, no. That is not what we would charge him.” He told me printers, naturally, add in a margin of profit for themselves on every component of the job. But, he said, when you take one back out – which in this case S had neglected to do – ordinarily you leave the margin in there. “Is that a way of sort of paying themselves for the time and effort they waste quoting?” I asked. “You could say that,” said W, reluctantly.

    He took me in hand and explained how the industry works. I was right, he said, to have felt that when I walk in talking about poetry they will instantly see dollar signs. At last he said, “Listen. If you’re serious about this – if you really want to go on producing books of a high quality, in short print runs, and it’s important to you to turn out beautiful work – then you need to learn how to project-manage. Call the paper merchants yourself, and ask them for a price on the paper. Call the binders – not just me, get other prices. Then call every printer and ask them the exact same questions each time, so you’re comparing like with like.” He said, “Say to the printers, listen. All I want from you is to print onto my own paper, and stack the pages. Then I’ll bind it. How much is that?”

    This conversation and W’s honesty and generosity sparked a revolution in my heart. I felt a wave of confidence arching up to sweep away the nervous insecurity I’d always had because I did not understand the print process and lacked the vocabulary to find my way. I rang the paper merchants, whom we had already visited recently in our quest to find an unfashionably unslick, chalky, handmade-feeling paper (“the whole market’s gone glossy” he’d told me as we leafed through the samples) for my other print project, an album of jazz and folk and funk songs recorded in New York which I want to publish in a photographic book. The paper merchant remembered me and gave me a figure. I knew it was a good price because S, who interlarded his outright lies and his evasions with bullets of honesty for me to bite down on, had mentioned a similar price for the lovely fine papers I’d chosen, in order to justify his unjustifiably high quotes. And besides, the paper merchant begged me not to tell any printers the price we had come up with. He said, normally I charge you more, because they buy so much all the time and you have kind of walked in off the street. “With my sheaf of poetry under my arm,” I said, glowing with effort and the sense of belatedly returned goodwill.

    The binder quoted me $648, a hundred dollars less than what S had sworn he was going to pay directly. We chatted about my band and his band. He described the recording equipment he had bought when a studio in Sydney closed down and how he was building a space for it under his house. After we rang off he sent me a beautiful email saying he would like to offer me PUR binding for the price of the much cheaper perfect binding, because “it’s not often you meet really genuine people in this business.” I burst into tears. Within 24 hours this impossible project which would have had to sell for forty-five dollars a copy just to break even had come clean. And just through my favourite deviations: honesty, kindness, respect, and decent real communication.

    Emboldened by this progress and able, now, to brief more effectively for the quote, I rang five other printers. “It needs to be done on the Cadillac,” I said, referring to the machine S had so proudly shown us – the HP Indigo – which turns out digital prints almost indistinguishable from the traditional offset. I named the paper and told them where to find it. I asked them to quote on plain printing “supplied flat”, and also on fully completed, bound books. I chewed my nails and somehow found space, in between all of this overwhelming and stressy business talk, to clear the waters for my own work and forage through the manuscript one last time, making tiny and crucial decisions about a word that was too many here, a comma there which intruded. Resurfacing to field calls from printers’ sales reps I negotiated by comparing one quote against the other. I was awesome: I’m not normally awesome in that way. Scrabbling back and forth through my forty pages of closely-written notes and scrolling from one tab to another on the screen I brought the price down by nine hundred dollars. Camaraderie, kindness, and art will out. For now at least, in this one tiny meadow of enterprise and effort, poetry prevails.

  • alone at last

    I have this really long poem which I have rewritten decisively – indecisively – thoroughly over about four or five years. It’s five pages long and it’s called Reaching for the Remote – about our longing despite celibacy for gods. Did I say celibacy? I mean atheism. This poem is one of three reasons the book I completed six years back cannot yet be published. It’s infuriating. I love the book. I want to hold it in my hand. Its title strikes me as genius, listen up: Comb the Sky with Satellites, It’s Still a Wilderness.

    The other two reasons are a poem called We and Yet We, about colonialism, which I rewrote yesterday and think I may finally have wrestled to the mat, and the cover, which is made from salvaged cement bags, which I have sourced and designed and all of that only I cannot find anyone who can print in full colour on this brown-paper surface. Anyway today I dragged out all six major versions of the poem. I set them all side by side on my tiny screen. I made a big pot of tea and banished the cat. I set to work. Mumbling aloud and compiling slowly like an ant dragging large crumbs of earth these ideas which stand larger than I do, weaving them all in the way they seem (today) to best speak for each other. Like a entire school called before the headmaster and no one will dob anyone in. Anyway I’ve done it. I read it three times. My eyes are swimming, my brain is numb. I think I have completed it, I’m so pleased and relieved, now the book can go ahead. Or it could be just today. You know how you need to leave things several weeks to be sure they aren’t playing tricks on you.