'Sifting through the submissions for our annual publishers’ highlights features, I was struck by the number of books coming out next year that explore the experiences of refugees. Lloyd Jones’ new novel The Cage stood out in particular, perhaps because it was put forward so passionately by Text Publishing senior editor Jane Pearson. The Cage explores the treatment of two strangers—refugees—who arrive in a small town, where a ‘wary hospitality’ quickly descends into ‘deep suspicion’ and eventually, an imprisonment that ‘gets more shocking as the days go by’. Pearson writes: ‘This novel is our world, and I’ve never felt our position in it so starkly and truthfully revealed. This is the kind of book we exist to publish.’' (Editorial introduction)
'As a reader (and try-hard geek), I’ve been fascinated by all things transmedia for some time. But as a publisher, I have struggled to imagine how hybrid print/digital storytelling in its many forms will enter commercial publishing. How will these transmedia ‘products’ be available to the market? How will they be written and what will the production process entail? What will the supply chain and profit margin look like? Who will actually publish them?' (Introduction)
'The federal government has declined to support the Productivity Commission’s recommendation to introduce a fair use exception to copyright law, and will instead consult on developing more flexible copyright exceptions next year.'(Introduction)
'The Australian Society of Authors (ASA) has launched a digital marketplace to showcase and sell the work of Australian writers to publishers, agents and literary scouts around the world.' (Introduction)
'When Hardie Grant Publishing was established in 1997, the company had two clear goals: to publish ‘strong nonfiction’ with an ‘Australian design sensibility’ for the Australian and global bookselling market; and to provide ‘expert custom publishing services’. ‘The values that were held at the start still hold true today,’ says group managing director Julie Pinkham. Hardie Grant’s first book was Labels by UK author Louis de Bernieres—a short story published in 1998 in conjunction with the author’s arrival at Adelaide Writers’ Week. A facsimile copy is being re-issued in February 2018 commemorating 20 years since its original publication.' (Introduction)
'In recent years, Australian literary journals have expanded into public events, unpublished manuscript prizes and even traditional book publishing, and are increasingly being seen as places that nurture vibrant literary communities.' (Publication abstract)
'With a number of traditionally published authors moving into self-publishing, there's never been a greater demand for bricks-and-mortar bookstores to stock self-published titles. Andrea Hanke asked hybrid author Ellie Marney and booksellers Kym Bagley from Dymocks Melbourne and Angela Crocombe from Readings Kids how self-published titles are making their way into bookstores. ' (Publication abstract)
' 'In all my roles I search for talented people with fascinating work and find them new audiences,' writes Penguin Random House commissioning editor, festival director and arts programmer Lex Hirst. She shares her career journey.' (Publication abstract)
'They're a generation more talked about than listened to, but the collective spending power of millennials is set to grow. Sarah Farquharson investigates how publishers are tapping into the millennial market.' (Publication abstract)
'Tracy Sorensen's 'The Lucky Galah' (Picador, March) recounts the lives of ordinary Australians from the 1960s until the 2000s, as narrated by a galah called Lucky. The conceit is handled 'with a deft touch so that the characters come to life as vividly as the ideas', writes reviewer Lorien Kaye. She spoke to the author.' (Introduction)
