Orange Prize-winner Helen Dunmore is moving from Penguin to Hutchinson, with Cornerstone publisher Selina Walker acquiring her next two books.
Walker bought UK and Commonwealth rights, excluding Canada, in two novels by Dunmore from Caradoc King of A P Watt at United Agents. The first, The Lie, is set during and just after the First World War. It tells the story of the relationship between two young men from very different backgrounds, one of whom is killed in France.
Walker said: “The Lie is a heart-wrenching story about love, memory and loss, about growing up in Cornwall in the early 20th century, about the horrors of war on the Western Front as well as its traumatic aftermath.”
Dunmore has published nine novels with Penguin, including the Orange Prize-winning A Spell of Winter, and her 2010 novel The Betrayal which was longlisted for the Man Booker Prize.
The Guardian Hot Key Books Young Writers Prize:
Two unpublished young authors have landed themselves £10,000 book deals after winning the first Guardian Hot Key Books Young Writers prize.
Vivian Versus the Apocalypse by Katie Coyle, 25, from New Jersey, and The Rig by Joe Ducie, 24, from Perth, Australia, will both be published by Hot Key Books on 5 September this year. The books were named joint winners of the award, for new writers between 18 and 25 writing for readers between 13 and 19 years old. They were picked by a panel of judges including the Guardian’s Julia Eccleshare, authors Will Hill and Elen Caldecott, bookseller John Newman and Hot Key Books publisher Emily Thomas.
Thomas said their win marked the arrival of "two fantastic new voices" in young adult fiction.
It is time for a new start, blog-wise.
The ACHUKA blog was set up in the spring of 2003 and has been added to continually since then, with the result that the database is now huge.
ACHOCKAblog was built on the Movable Type blogging platform. Over the years that platform has become less popular, and WordPress has become the blogging platform of choice.
WordPress certainly has a lot more flexibility in terms of themes and social network interactivity.
I have decided to use WordPress for the new incarnation of ACHUKA’s blog.
The old blog is therefore now ‘mothballed’. I feel rather bad saying that, but it conveys accurately the status it now has.
No new posts will be added to it, but none will be taken away.
It will remain online and searchable and prominently linked to from this new blog, but all blog links on the main site’s navigation will henceforth link to this new blog.
Give us a Thumbs Up (or a Thumbs Down) to let us know what you think of the new blog?
If it’s a Thumbs Down it would be great to have an explanatory comment posted as well.
I’ll respond to all feedback.
In his keynote at the fifth Digital Minds Conference, bestselling author and Twitter superstar Neil Gaiman kicked off the London Book Fair by likening the digital transition to being on an unruly, but exciting new frontier. "People ask me what my predictions are for publishing and how digital is changing things and I tell them my only real prediction is that is it’s all changing," Gaiman said. "Amazon, Google and all of those things probably aren’t the enemy. The enemy right now is simply refusing to understand that the world is changing."
Over his 30 minute talk Gaiman entertained and challenged his audience to think creatively about the future, conceding that he himself was “perfectly willing to acknowledge the possibility that the novelist may have been a blip” in our cultural history. “The model for tomorrow, and this is the model I’ve been using with enormous enthusiasm since I started blogging back in 2001,” Gaiman said, “is to try everything. Make mistakes. Surprise ourselves. Try anything else. Fail. Fail better. And succeed in ways we never would have imagined a year or a week ago.”
The AAP has been tracking ebooks since 2002. That year, ebooks represented 0.05% of all trade publishing revenues. To get to the current 23% number, the biggest gains were made in 2009, 2010 and 2011, the years immediately following the 2007 launch of the Kindle. In 2008, ebooks were 1% of publisher revenue. In 2011, they were 17%. Those were the years of triple-digit growth numbers, a trend publishers thought would continue until ebooks were at 50% of revenue or more. But in 2012, according to these new numbers, growth in ebooks has hit an inflection point in the U.S.
as reported by John Harris in The Guardian (worth reading in full):
[Tim Waterstone] is also about to return to bookselling as non-executive chairman of a new venture called Read Petite. This will be launched to the trade at next week’s London Book Fair, and to the public in the autumn. An online outlet for short-form ebooks (fiction and non-fiction), its users will pay a monthly subscription – “a few pounds” – and have unlimited access to texts of around 9,000 words or under.
But this is no literary Spotify, offering hundreds of thousands of items with little quality control: Waterstone is insistent the service will be “curated” to ensure a high standard. Authors will have appeared in traditional print, and have been brought to Read Petite by a publisher. “The individual short story, or whatever it is, may not have been published, but the author will be an established, published writer,” he says, drumming his fingers on the table to emphasis those last three words. “The whole point is to avoid a slush-pile of material. What we’ll guarantee is quality writing.”
Read Petite’s name was inspired by Reet Petite, Jackie Wilson’s 1957 rhythm and blues classic. One of its key players, former Bookseller editor Neill Denny, has come along to further explain what it is all about. The pair are particularly excited about the chance to serialise new fiction à la Charles Dickens, reintroducing readers to the long-forgotten art of the cliffhanger. They enthuse about how e-readers seem to have increased people’s appetite for short-form writing. In the US, the New York Times has reported on a resurgence of the short story, benefiting new and established writers. We talk about such short-story masters as Somerset Maugham, Stephen King and Annie Proulx, and why the publishing industry has never quite managed to market the form.
“A lot of the best short fiction has never been properly exposed, because publishers don’t find it commercially comfortable,” says Waterstone. His bookselling business did have success with Graham Greene’s short stories, but such successes were rare. “Even with a collection, how do you package it? It’s difficult in print: traditionally, money was used up on production and distribution, and not enough was left for promotion. In the digital world, production costs are virtually nil, and distribution costs don’t exist, so you’re left with a much cleaner sheet.”
IBBY Announces the 2014 Hans Christian Andersen Award Jury and Nominees