Postcards From Armchair Travellers

LITERARY ADAPTATIONS FEATURING plenty of yearning, unresolved romance and resilient creatives rising above the odds rank amongst my favourite movies. No surprise that they’re usually about writers and our work, one of the most elusive practices to effectively commit to the screen.

The tropes of cinema’s wordsmiths are well-used: chewing on the ends of pencils while gazing at the ceiling, screwing up pages and tossing them into a bin (usually a wire basket surrounded by plenty of scrunched paper), long walks in wild places, angst.

Overused, perhaps, but all based on truths that wordsmiths recognise.

Common threads and themes run through these films: America and Europe, past and present, queer and straight, Hopkins and Streep, readers and writers, love and loss, success and failure.

The use of unusual type-key symbols in the titles of these works (digits, ampersands, question marks, etc.) is also resonant of the old typesetting language that literature lovers understand.

Welcome to my list of guilty screen pleasures…

84, Charing Cross Road

Adapted from Helene Hanff’s 1970 epistolary memoir, this tale by the mother of all armchair travellers rode into the literary scene on a post-WWII nostalgia wave. Headed up by Anne Bancroft as struggling New York writer Hanff and Anthony Hopkins as reserved London bookshop manager Frank Doel, there is perhaps no better example of a genteel story that is “just” a collection of real-life letters, unfolding over decades via simple acts of human kindness. Hanff and Doel are literature-loving denizens separated by the Atlantic, helping each other through austere years with the soul food of literature and ration-busting hampers. Along the way they find shared humanity and unrequited love. The divine art of humane correspondence.

Julie & Julia

A food writer (Julia Child) and a food blogger (Julie Powell) embody the creation and purpose of Child’s 1961 culinary classic Mastering the Art of French Cooking. Meanwhile, their separate relationships are tested by the impacts of WWII and 9/11 on Paris and New York. In the hands of Meryl Streep, this is a raucous Julia Child counterpointed by the more subdued Powell (Amy Adams) as she cooks her way through the weighty tome decades after all the obstacles of its publication. Like Hanff’s story, food plays a pivotal role, but as a conduit for passion and a metaphor for commitment. Through cooking, Child and Powell find purpose in this call-and-echo tale on satiation, nurture and never giving up. The life-enlarging art of describing food with words.

Can You Ever Forgive Me?

When her career as a biographer stalls in 1980s New York, writer Lee Israel (Melissa McCarthy) decides it’s easier to pay her bills from the takings of forging type-written letters by the city’s artistic icons, from Dorothy Parker to Fanny Brice. All seems harmless until the FBI picks up the trail, and Britain gets roped in with Israel’s partner-in-crime Jack (Richard E. Grant, although the real-life Jack was American). Apart from being a glimpse of how writers survive New York (not too far removed from Hanff’s experience), the beauty of this plot, taken from Israel’s 2008 confessional memoir, is that of course we forgive a struggling writer forced to pretend to be someone else in order to stay afloat in the book trade. The art of making believe.

{The} Hours

Michael Cunningham’s most beguiling premise springs off the page of his 1998 novel onto the screen in the hands of Nicole Kidman (as Virginia Woolf) pushing through demons to write her 1923 novel Mrs Dalloway; a suburban housewife (Julianne Moore) in 1949 Los Angeles, reading vicariously between the lines of Woolf’s classic; and a successful editor (Meryl Streep) in 1999 New York, embodying Mrs Dalloway’s brittle independence while throwing a party for a doomed poet. Taking viewers well beyond Hanff’s armchair, this time-travelling rumination on memory and regret weighs up the costs of liberating oneself from expectation instead of staying put. The art of making meaning.

Shadowlands

We fully cross the Atlantic in this counterpoint to the unrequited love of Charing Cross Road, to explore what happens when writerly penpals – quiet Brit C.S. Lewis (Anthony Hopkins) and boisterous Yank Joy Davidman (Debra Winger) – become the unlikeliest of star-crossed lovers. Their initial meeting of minds leads to a marriage of convenience, but when disaster strikes, it blossoms into a passionate betrothal. Several source materials went into this epic romance, none so visceral as Lewis’s own reflection on the experience in his 1961 book A Grief Observed. This screenplay wraps love, loss and literature into an icicle of fire shot straight from Narnia into your heart. The art of enduring love despite the odds.

Please tell me in the comments the examples I’ve overlooked…

The Book Tour Survival Guide

THERE ARE MANY ways to tour a book: author talks, writer’s festivals, in-store signings, literary conferences, book launches, in-conversations, library appearances, etcetera.

Authors ignore such events at our peril, although the major challenge is getting readers to even hear about our books in a saturated marketplace, where some publishers are claiming there’s too many new releases in this country.

One solution is to hire a publicist.

At a big-city writer’s festival the year that my debut novel was released, a very successful author leaned over to me at the bar. “Your book is everywhere!” they whispered. “Who is your publicist? I want to work with them.”

When I pointed to my chest, their jaw hit the floor; but I took it as an indication that my DIY approach was effective.

Publicists rightly earn good money for getting an author’s book into the path of readers (here’s some insight on salaries for all key players in the book trade). Maybe I’ll work my way up to affording a publicist down the track?

If you’re still reading, you probably can’t afford to share your hard-earned royalties either. So here’s my gift to you: how to tour a book without getting ripped off or embarrassed.

Plan ahead

At least six months before your publication date, get your marketing materials together. Don’t panic if your publisher’s Advance Information Sheet (AIS) isn’t quite ready. Rustle up your own stand-in, even if it doesn’t have a final cover image. Include a description, a couple of endorsements about you and your work, the publication date, the ISBN and start approaching bookshops and/or libraries about hosting a launch. If you have no endorsements, get one from your publisher explaining why they picked up your manuscript and that they’re excited about publishing it. If you’re self-published, approach a wordsmith in your genre and ask them for a quote about you and/or your writing.

Planting seeds in bookshops

Right now, there’s likely to be someone on staff in bookshops and libraries who manages events, very often they’re more contactable via social media messaging than email. Send them your AIS and ask about the possibility of a book event! It’s increasingly common for authors to head into bookshops and libraries well ahead of our publication date. For emerging authors particularly, this is a way to plant seeds about our upcoming books, and can assist our distributors (who are less likely to be on the road and more likely to be emailing or messaging bookshops) by making an impression about a new release.

Bookshops are busy

Particularly at lunch hour and, for big-city and suburban outlets, after 5pm. Make a time to come in (if you can), but don’t expect a lengthy audience with anyone. More than five minutes is a bonus. Be aware of any customers waiting to be served, and stand aside for them. Leave your AIS and a positive impression. Be prepared to be assertive about your right, as the creator of books, to be in a bookshop doing book business. When your distributor approaches that shop, your seedling will already be above soil level. If they already have, your visit is another chance to get attention on your new book.

Libraries bear fruit too

There’s no harm in supporting your distributor by alerting library networks about your upcoming book. Keep a few AIS sheets in your car and drop one into libraries when you travel. In Australia, we have the Lending Rights Scheme, which allocates micropayments to authors every time our books are borrowed. Libraries very often have event programs too, and many pay authors to appear.

Get a paid gig or two

While you’re in the planning phase, particularly if you’re thinking of touring to a city, look out for literary events to submit yourself and your book for. The organisers may be very grateful to be approached, since you’re going to be in their location anyway. Garnering a few appearance fees along the way is a great way to self-fund your book tour.

Recruit allies

Invite fellow wordsmiths to front up with you at your book events: the authors, journalists, academics and librarians who live in the region you’re touring through. Someone will be very happy to interview you, particularly if the bookshop you’re appearing at stocks their books, too.

Use pencil in your diary

Because the dates of your book tour are going to change, likely more than once. If you have given your plan enough lead time, these shifts will not matter. Stay agile as your itinerary comes together.

In-store signings

Think small table near the bookshop counter, a stack of your books on it, or – heaven forbid – sitting out on the street waiting for customers to give you time and attention. Only for the brave. You might sell a few books. You might sell none. In-store signings work for some, but an event at a bookshop can be more worthwhile and less anxiety-filled.

Tell everyone

When you have your book-tour itinerary planned, start the massive job of spreading the word. Tell everyone, literally. There’s nothing like a personal invitation to an event as opposed to just scrolling past something on social media; but paid social media boosts have worked for me when promoting library events. Contact radio stations in the area where you’re touring and send a press release with your AIS, and a free copy of your book as a listener giveaway!

We all have ‘that awful story

Last year, I dropped into a small bookshop, and once the sales desk was clear of customers I introduced myself to the one staff member as an author with two new books about to land in the supply chain. Instead of the expected welcome, she freaked out, hands waving right in my face, loudly repeating, “No, no, no!!!” It was such a shock, and I tried to explain myself but she just wasn’t interested. Maybe she was hungry? Maybe she needed to use the bathroom? Whatever … her reaction was awful, and delivered loudly enough for customers to notice.

The mental health thing

If the above incident had happened in my twenties or thirties, it could have been quite damaging. Being an author whose debut novel came out in my middle-age has made me more resilient. I quickly regathered my composure, and rang my husband. We had a good laugh and moved on. Have allies at hand when book touring, to help protect you from the unexpected challenges. Such moments are very much the exception. Most booksellers and authors realise that we need each other and that we’re working towards the same aim: reaching readers.

Sometimes, people just don’t turn up

During my last book tour, a fellow author posted a picture of an empty chair on social media, taken at their suburban book event to which nobody came. I’ve done my share of events best described as “intimate”, but I came up in the trenches of the theatre, where there’s an old rule about the show only going on if the numbers in the audience are more than the cast. When you strike a no-show or a low-show, please don’t have a shame spiral. It’s a rite of passage in every author’s life.

The skittish venue

Sometimes, the host library or bookshop will cancel your event ahead of time, even days before. There are good reasons: staff rostering is the one usually cited. Roll with it. If it leaves a hole in your itinerary, try another venue, or have a night off!

Go places you like

It’s your tour, so treat yourself along the way. A scenic walk, a swim, a picnic, or a visit with a friend. I live in the bush and don’t get to cities very often, so I combine book touring with visits to family and friends, gallery and theatre visits, ocean dips and laps at local pools. It all helps take the edge of the inevitable anxiety of putting myself out there.

Travel with friends

In recent years, authors have been going out into the wild in pairs. Usually from the same publishing stable, this tandem approach saves money and resources (particularly fuel) and offers libraries (particularly in the regions) a double-barrelled event to promote to their members and visitors.

Practice your signature

Particularly if you’re a debut author! When someone has made time in their day to come to your talk, bought your book and waited to have it signed … and you give a literary flourish instead of a smudged scrawl, you will have achieved book tour perfection!

Book tours never really end

If you don’t believe me, take a look at mine. It started in October, 2021 and probably has at least one upcoming event at any given time. I figure that when my publisher and their distributor have stumped up the money to get my book into the supply chain, the least I can do is get out there and meet readers.

I’ll be giving my book marketing workshop ‘Back Your Own Book’ at Queensland Writers Centre on Saturday August 22. Book now via the QWC site.

For more tips about promoting your book, whether you’re traditionally or independently published, check out my book Write, Regardless!

Main picture: Michael Burge and Hayley Scrivenor at Qtopia Sydney for the Eastern Sydney launch of Dirt Trap

A novel reckoning: five crime stories ignited by a gay-hate inquiry

THE NEW SOUTH Wales Special Commission of Inquiry into LGBTIQ Hate Crimes was a world-first judicial process that took place from 2022 to 2023.

In his final report to the state government, Commissioner Justice John Sackar summed up by stating, “There is always a risk that history such as this will fade from – or never truly enter – the broader public consciousness, and even the consciousness of members of the LGBTIQ community who did not live through this period”.

“The history of violence against the LGBTIQ community is an ugly one, but the trauma to and resilience of the LGBTIQ community through that period should have enduring recognition.”

Interesting examples of this consciousness are starting to appear in Australian crime writing, after a significant deficit of fiction that tackles gay-hate, includes gay characters, or at the very least has any reference to the state’s history of gay-hate crimes.

Such themes appear in these five titles to differing degrees, in the hands of authors who are LGBTIQA+ and those who are not. Queer characters at the height of the HIV-AIDS epidemic; gay journalists on the hunt for the truth; historical identities from Sydney’s crimey past, and homosexual cops.

Australia’s most courageous book publishers, distributors, booksellers and authors are digging deep to bring gay-hate stories into the mainstream. Time to get reading …

The Trap by Fiona Kelly McGregor

The gay-hate crime inquiry examined several historical deaths that took place at gay beats, very often public toilets. Such analysis was necessarily sterile, but McGregor’s novel puts the mysteries of queer cruising and entrapment into visceral focus. Wartime Sydney, 1942. In the half-light of brownouts, the city’s queers are prone to a nexus of ambitious police, toothless reporters and corrupt legal eagles. McGregor follows the fortunes of black, queer nightclub manager Ray Sayles, entrapped by cops in a cruel sting that runs right to the very top of the force, the media and the judiciary. McGregor’s raw blend of history and sexual politics makes this startlingly familiar.

Finding the Bones by Natalie Conyer

There’s just no credible way to portray crimey 1980s Sydney without including queer characters, and Conyer lines up a cast of cops, newshounds, crooks and misfits in this, her third crime novel. The plot reimagines Sydney’s reaction if the body of activist Juanita Nielsen – real-life bane of developers and organised crime bosses – was ever discovered. Conyer’s Nielsen stand-in is the feisty and alluring Belle Fitzgerald, friend and confidante of Nelson Guthrie, gay sex worker and former student of Belle’s who holds several pivotal secrets about organised crime, police corruption and hate crimes in Darlinghurst and King’s Cross. There are just too many spoilers in describing Nelson’s pivotal role in this crime cracker!

Death in the Gardens by Michael Duffy

In the opening of this Blue Mountains-set cozy mystery, a mention of the hate-crime inquiry is an example of what Justice Sackar hoped for in his report: that the homophobic crime wave is simply remembered. Keen gardener Serena Ives and local newspaper editor Bella Greaves meet at Leura’s Everglades after the discovery of disturbing graffiti. Bella places the womens’ last encounter in the 1980s by recalling the spate of violent gay death in Sydney at the time; but Duffy backs up his recurring sleuth’s memory by having her connect the dots with the announcement of the hate-crime inquiry the day before. Truth and resonance in one innocuous scene is all it takes to be inclusive.

Redbelly Crossing by Candice Fox

This one makes the list because of the courageous manner in which author and publisher have centred the trauma of a gay serving cop, DI Russell Powder, in a bestselling piece of commercial fiction. Queer cops are rare in popular culture, very often they are victims or problematic anti-heroes (think Al Pacino as Detective Steve Burns in William Friedkin’s 1980 movie Cruising). But Redbelly Crossing shows the degree to which the hate-crime inquiry can alter the stakes in Australian crime fiction, when it tackles the emotional landscape of gay men who also happen to be police officers. The result: no visible decline in a major author’s trajectory, for a book described by Sisters in Crime as, “one of Candice’s best.”

Dirt Trap by Michael Burge

“It’s been 20 years since the death of James Brandt’s cousin Tony, the first love of his life, and through that entire time his passing has been labelled a suicide – alongside several others in the small rural community of Kippen. Now, there is a major NSW inquiry into the deaths of same-sex-attracted men, with a particular focus on regional deaths. Michael Burge’s decision to return to the setting of his first novel, Tank Water, was inspired and driven by the recent NSW inquiry into LGBTIQ+ hate crimes. A captivating sequel, filled with genuine characters and heartfelt sincerity for the ongoing struggle of the regional LGBTIQ+ community and cements Burge’s place in the Australian noir genre.” – Glen Christie, Glam Adelaide