It ain’t easy getting published in NZ
Dreams of writing the great Kiwi novel may remain dreams for those who struggle to get published in New Zealand, writes Gordana Rodden.
Recent novelist Becky Manawatu was elated when she finished her manuscript. Little did she know it would be six years before she would hold the book in her hands.
Therein lies the lesson: it can be a long road before your closet dreams of being an author are realised.
‘‘I was high on having finished – well, feeling like I had finished my novel – and I sent it out quite early. Naturally, and deservedly, I was knocked back,’’ Manawatu says.
‘‘Having spent a long time plugging away at it in isolation I guess once it was done I felt like a kid, and wanted to run home from school, a story in my hand to show Mum. To be seen. The publishing industry isn’t Mum, though.’’
The author and journalist spent six years reworking what became her debut novel Aue¯, which was published in August. Along the way there were long periods where the manuscript stayed in the drawer.
It was her acceptance of needing to alter the plot that won her a contract. She says her ability to adapt showed her eventual publisher, Mary McCallum of boutique Ma¯ karo Press, that she was willing to put in the work.
‘‘My understanding of my own story evolved, the characters grew, the story moved [and] wanted to go elsewhere. Mary was really patient, in fact encouraging, of all that new work. It speaks to the importance of small presses,’’ says Manawatu.
The market for readership in New Zealand is small, meaning the capacity for publication is lower than overseas.
Publishers like Huia and Awa Press take a different approach, contacting potential authors with book ideas. They invest in the writing process rather than following the traditional mode of waiting for people with manuscripts to come knocking.
Colleen Lenihan was selected for Huia’s Te Papa Tupu in 2018, a writing programme developed by the Maa¯ ari Literature Trust. This enabled her to continue working on her book of short stories based in New Zealand and Japan, which is nearing completion. She says the journey to publication has been arduous, but a privilege.
‘‘The day that I hold my first book in my hands will be a happy one.’’
Harriet Allan from Penguin Random House says it receives about 600 submissions each year. This is a low number compared to overseas, which she attributes to a lack of budding authors in New Zealand.
Overseas a manuscript won’t be accepted unless it is filtered through an agent. Here, they’ll give you a shot even if you are self-promoting.
‘‘While there are certain genres and categories of books we aren’t pursuing, all submissions are taken seriously regardless of whether they come from an agent or not. Of course, self-publishing is now an easier option if you want to go down that route,’’ says Allan.
As for reading, she has no time for it outside of work. Shelves of books await her retirement; she has been in the industry for more than 30 years. Amidst the piles of manuscripts, what she is always on the lookout for is a story that maintains her attention and suspends disbelief.
‘‘While plot holes, inconsistent characters, cliche´ s and other problems of craft can be fixed up, what is less easy to create is a story that makes you forget you’re reading, that hooks you in, that you don’t want to put down and don’t want to end, that keeps you thinking, that is new and unexpected.’’
To achieve this, she recommends putting the story aside once it feels complete. Returning to it with fresh eyes after a break away can be enlightening. Even changing the typeface might help seeing it from the perspective of a new reader.
‘‘Is the language as tight or as stimulating as it could be; are your characters engaging; will readers want to know what happens next? Ask what is special about your work and consider how you can lift it from the good to the exceptional.’’
The Publisher’s Association of New Zealand says about 2000 titles are published each year, with an estimated $330 million turnover.
Despite these success stories, Allan says few writers are able to live off royalty payments alone. This isn’t specific to New Zealand, it’s an international issue. Most writers have day jobs or working partners. But money can be made if you secure a grant to write or your book is made into a film, says Allan.
The government has agreed to take another look at its contribution to the livelihoods of authors. The $2 million allocation of funds to the Public Lending Right (PLR) – the government scheme published authors can register with – has not increased in more than a decade.
From the pool of money an annual payment is made to the author based on the number of their books held in New Zealand libraries. The fund does not include payments for electronic or audio books.
Department of Internal Affairs Minister Tracey Martin has acknowledged the scheme is out of date