If the philosophers had been dogs

Screen Shot 2019-06-19 at 14.59.05

The canine philosophers Sun Shitzu and Bernard the Saint: some of the true masters of philosophy whose ideas have finally been revealed in ‘Philosophers’ Dogs‘ – a satirical, illustrated book created by Samuel Dodson and Rosie Benson. (Images courtesy of Rosie Benson/Unbound).

Is it possible to be a good dog? Do we catch balls of our own volition? Or are our decisions to eat the rotten apples, to bark at the cat, predetermined? What is it to know that you have behaved well rather than merely believe it?

These are just some of the questions that promise to be answered in a new creative project from award-winning publishers, Unbound. Written by Samuel Dodson and illustrated by Rosie Benson, ‘Philosophers’ Dogs‘ is the ground-breaking textbook that will shake the very foundations of both western and eastern philosophy by revealing a truth that has hitherto been kept secret: that all human philosophers stole their ideas from their dogs.

Featuring beautiful illustrations alongside thorough, meticulous research and historical fact*, the book follows the philosophic trials, tribulations and tail-wagging of the dogs owned by famous philosophers and essayists, and presents to readers the unadulterated, real histories of the true philosophical masters of enlightenment.

*Not necessarily historical or fact.

Feast your eyes on the true masters of philosophy

A vital companion to the bookshelves of all philosophy students, teachers, dog lovers and, indeed, anyone with any interest in THE TRUTH, Philosophers’ Dogs also reveals the original, genuine quotes hitherto (wrongly) attributed to minds such as Karl Marx, Ayn Rand, David Foster Wallace, Socrates and Simone De Beauvoir.

Nothing in the Rulebook are proud to present here, to you, dear readers, some of the images that can be found in the book. Here below, you can see the real depiction of ancient Greece that Raphael so diabolically painted in his artwork ‘The School of Athens’ – as it truly was.

Screen Shot 2019-06-20 at 18.23.05

Raphael can eat his heart out. In this picture we see an illustrated vision of the famous Athenian case against Socrates’s dog, Droolius Caesar, who argued that he could not possibly know anything about who pooed on the rug. Image copyrighted by Rosie Benson

Spot the difference? Compare this accurate representation of reality, above, drawn by Rosie Benson, to this deceitful painting by Raphael, below – who failed to include any of the canine companions we owe so much to. 

800px-_The_School_of_Athens__by_Raffaello_Sanzio_da_Urbino.jpg

Or why not check out the following illustration of the historic scene where Karl Marx’s dog, Karl Barks, finally broke free from his leash to teach canines across the world that they were truly in control of the means of walkies.

KARL BARX, COPYRIGHT ROSIE BENSON 2019.png

“Dogs control the means of walkies” – Karl Barks. Image copyright of Rosie Benson.

Unbound: liberating ideas

Unbound have been making waves in the publishing sector since they launched – a crowdfunding-based, selective publisher who exploded onto the scene as a suite of their books won or were shortlisted for countless prestigious awards, including the Man Booker Prize. Picking up diverse titles that range from comprehensive ‘rhyming dictionaries’ through to short stories about a small town in Dorset, England, they have played a key role in transforming the publishing sector through crowdfunding.

Their model enables them to pick up and support projects by new authors and artists – something that precious few mainstream publishers seem to be interested in doing in this day and age.

Why not check Unbound – and Philosophers’ Dogs – out, using our exclusive Nothing in the Rulebook discount code to get a whopping 25% off. Simply pledge for a reward that you want, and use the code NITR to get your discount.

What the authors say

We couldn’t turn down the opportunity to get a quote from the creative duo behind ‘Philosophers’ Dogs’ – not least because Samuel Dodson, the author, is also a part of the Nothing in the Rulebook creative collective! On writing the book, he says:

“In making this book I owe a huge amount to my early philosophical teachers, my Lab-Collie cross, Layla, who taught me that not all tennis balls need to be chased, and my border terrier, Marnie, who showed me that obeying orders isn’t always strictly necessary (especially if food is involved). Having grown up with dogs, it quickly became apparent to me and my sister, Rosie, (whose incredible illustrations in this book blow my mind) that the real masters of philosophy in the world were of the four-legged variety; and so Philosophers’ Dogs was born.

It’s hugely exciting to be launching the project – but also incredibly terrifying. Crowdfunding looks like it has the potential to break down the old barriers that existed within the publishing sector, but, given my particular English sensibilities towards being ever so self-effacing and modest, it doesn’t make it any less difficult or awkward to ask people to financially support the project! Still, the fact that people can pick up original art prints, personalised ‘dog-rees’ for your pooch, as well as unique ‘paw-traits’ of your dog as rewards for pledging does certainly make a huge difference. So I feel exceedingly lucky to be on this creative journey with Rosie. I just hope I can do her proud and we can raise the funds we need for the book. It would be so wonderful to see our name’s side by side on bookshelves and coffee tables.”

His sister, Rosie, says:

“It feels like a funny thing to call myself an artist as for many years it hasn’t been my main source of income, as I guess is true for many artists. It seems more appropriate to say that I’ve been artist in my heart, and sometimes in my head, for my entire life.

I certainly wasn’t going to turn down the opportunity to collaborate with my brother on his wonderful book.

Dogs have been part of the family my entire life, with one particularly special furry friend ‘Hector’, a beautiful, loyal and dependable Dalmatian. Although he has departed this mortal coil I know he would want me to do my best, to do justice for all the dogs out there whose philosophical ideas have been ignored and stolen for far too long.”

Pledge to support the book with a Nothing in the Rulebook Discount

If you’ve enjoyed what you’ve seen and read here, Nothing in the Rulebook are pleased to have teamed up with Unbound to offer readers a 25% discount. Just use the code NITR and pledge to support the project today.

https://unbound.com/books/philosophers-dogs/

 

 

 

 

 

Advertisements

‘It nearly killed me writing it but it’s also the reason I’m alive,’ – Marcus Zusak on ‘Bridge of Clay’, ‘The Book Thief’ and writing 1.9 words a day

H9mN+zlJT+y1sw%sO78NRA.jpg

Nothing in the Rulebook’s Ellen Lavelle caught up with best-selling author Markus Zusak at The Collection Museum in Lincoln.

‘I’ve written four books that mean something to me and two that mean everything to me,’ Markus Zusak says. The two books that mean everything to him are The Book Thief and Bridge of Clay – the latter took him thirteen years to complete. ‘It might be time again to write one that just means something,’ he adds.

It seems unlikely, however, as Zusak doesn’t seem able to do anything without doing it well, giving it absolutely everything he has and getting a kick out of the challenge. Even the talk he gives to the crowded auditorium of The Collection Museum in Lincoln is expertly constructed. At first, he tells a funny story from his own childhood, then he explains to the audience why he told it in that order, why he drew our attention to his brother’s red Esky cooler, the upside-down paint cans they sat on to eat their lunch. Why do these details matter?

‘You want people to believe you,’ Zusak says. ‘If you can give them the detail, it convinces people you were there.’

Every story is two stories, he explains. You tell the top layer, while dipping into the bottom layer – the backstory – to add emotional weight. We cared in the moment when young Markus had to confess what he’d done to his dad because we knew his dad yelled at him sometimes when he messed up at work. How did we know this? We knew because Zusak, the grown-up writer, paused the story to relay the time when he painted himself into a corner of a cupboard and had to wait an hour and a half before coming out, so he wouldn’t mess up the paint. We know because Zusak, bestselling author, dipped into the bottom layer.

He’s this good because he’s had a lot of practise. Before going onstage, I interviewed Zusak in the office below the museum, asked how he started out. The first story he ever wrote was about a boy with a cyst in his head that could explode at any time.

‘I stopped at eight pages and thought it could be entered into a competition for the worst book ever written,’ he tells me, laughing. ‘The first thing I finished was when I was eighteen. I wrote my first book and that got rejected by five publishers, which was good – I was lucky that it did. If it hadn’t, I would look back with even more embarrassment at my earlier books. Now, though, I look back at my first published books kind of happily because I think enough time goes by and you can forgive yourself for whatever you didn’t quite get right, all the things you overdid.’

Zusak’s first ever reading was in the year 2000, in a library in Margaret River, Western Australia. Not only did no one come but the librarian made him do the reading anyway, just for her. It’s the unexpected that makes a story work, Zusak explains. When he tells people this story now, the zero-attendance fact gets their sympathy but it’s the sadism of the librarian that really makes them laugh.

As a young writer, Zusak gave talks in schools across Australia in order to make money – telling a good story was essential for his survival.

‘Those boys,’ he says. ‘They really want to kill you.’

It was their sports hour or their lunch break Zusak’s lecture consumed and he knew he had to make it worth their while. It was during a school workshop that he first came up with one of the core features of The Book Thief. In a writing exercise with a class, he described the sky in three colours, used each colour to represent a death.

‘I just knew it was Death talking,’ he said. ‘It wasn’t this profound, deep thing – it was quite simple.’

At the same time, Zusak was writing a short story set in contemporary Australia, about a girl stealing books. He pulled the two ideas together and, inspired by the stories told by his parents about their childhoods in Austria and Germany during the second world war, set the book in Nazi Germany.

Published in 2005, The Book Thief was an international bestseller, translated into more than thirty languages. It was adapted into a film in 2013, starring Geoffrey Rush and Emily Watson. Zusak suggested the filmmakers cast Sophie Nélisse as Liesel, the main character, which they did, but apart from that, Zusak says he had very little to do with the film. There are elements about it he likes, some he doesn’t.

‘Film people are different,’ he says, darkly.

Released in 2013, the film went into production exactly halfway through the thirteen-year break between The Book Thief’s publication and the release of Zusak’s latest, Bridge of Clay.

‘It nearly killed me writing it,’ he says, ‘but it’s also why I’m alive.’

Zusak never imagined anyone would read The Book Thief and, liberated by this belief, was able to write it exactly the way he wanted, in only one year. After its immense success he knew that, whatever he did next, he would have a lot of readers. He revisited Bridge of Clay’s beginning ‘thousands of times’, rewriting it over and over again with different narrators. He likes to write in the morning, at the kitchen table, and when he once asked his daughter if she could eat her cereal quieter because he was trying to work, she snorted.

‘You?’ she said. ‘Work?

This was still ringing in his ears when he finished the book and so he worked out his daily word average for the last thirteen years: 1.9 words a day.

‘Not even two,’ he laughs.

It was a frustrating, painful process but Zusak believes that these long years with the same book, the same characters, made it better.

‘The more time you spend with a book, the more you can make good decisions about it,’ he says. ‘I normally say you want to spend enough time with the book, working on it, making notes for it, writing it, that you feel like you can wake up every day and just roll out of bed into the world of the book.’

But what is it like to roll out of bed the morning after you finish the book? What does it feel like when that world, the world you’ve been in for thirteen years, is sealed off, no longer there?

‘Everyone thinks you should feel really happy but you don’t,’ Zusak says. ‘You feel a bit flat. You’ve just been kind of working for the World Championship of Yourself and then it’s over. You’re relieved, don’t get me wrong – you wouldn’t go back in – but you’re still wondering how you’re going to live without it. That’s how you write the next book.’

It’s clearly a joy, though – anyone can see that. The whole time he’s talking, Zusak is smiling.

‘I say it’s like climbing a mountain but there’s a sandpit at the top,’ he says. ‘You don’t get to play without doing the work.’

‘Playing’ is writing parts that are fun or inserting lines from real life into the story. On a hot day while writing Bridge of Clay, Zusak was cleaning his car with his shirt off. His son, then four, rode up on his trike and stopped.

‘Pop!’ he said. ‘What’re you doing out here in just your nipples?’

That’s in the book. But now the world of Bridge of Clay is over, sealed off, and Zusak is breaking his way into the next one.

‘I’ve got ideas, a few little things,’ he said. ‘I don’t guard my ideas. I was talking somewhere else last night and I told the audience the idea. I just said ‘Don’t write it because you’ll probably write it faster than I can.’ That’s the thing, though – I could give everyone the exact same idea and none of us would do it the same way. We’ll see.’ He smiles. ‘At the moment I’m still writing the first sentence.’

About the interviewer

Ellen Lavelle

Ellen Lavelle is a post-graduate alumni of The University of Warwick’s Writing Programme. An aspiring novelist and screenwriter, she has worked with The Young Journalist Academy since the age of fourteen, writing articles and making short films for their website. She’s currently working on a crime novel, a historical fiction novel and the script for a period drama. She interviews authors for her blog and you can follow her @ellenrlavelle on Twitter.

 

 

 

 

 

A poetic conversation with Frank Prem

frank by mark.jpeg

Frank Prem: a storytelling poet. 

Frank Prem has been a storytelling poet for forty years. When not writing or reading his poetry to an audience, he fills his time by working as a psychiatric nurse.

He has been published in magazines, zines and anthologies, in Australia and in a number of other countries, and has both performed and recorded his work as spoken word poetry.

He and his wife live in the beautiful township of Beechworth in northeast Victoria, Australia.

Nothing in the Rulebook – and particularly Professor Wu – have been fans of Prem’s work for some time, which is available online and via his poetry blog – as well as Youtube. So it was great fun to catch up with him and quickly get down to the bones of what makes a poet tick.

INTERVIEWER

Tell us about yourself, where you live and your background/lifestyle

PREM

I Live in a small town in North East Victoria (Australia) called Beechworth. This is the town I grew up in back in the 1960s and 70s, before moving away to the city for my middle adult years. I returned to the town about 10 years ago, and have settled back into rural life.

The town itself is well known, in a small way, for three things. It is a well preserved gold rush town. It has associations with Australia’s most renowned bushrangers (Ned Kelly and the Kelly Gang), and it has a tourism favourite in The Beechworth Bakery, which is known far and wide.

Professionally, I am a Psychiatric Nurse, and have worked in or around Psychiatric Services for forty odd years now – almost as long as I’ve been a poet.

My wife and I live a creatively rich life in our small town and, despite putting myself about in interviews like this and in whatever media I can entice to publicise my work, I consider myself quite a private person.

INTERVIEWER

Has writing always been your first love, or do you have another passion?

PREM

Terms like ‘first love’ and words like ‘passion’ aren’t quite accurate in defining the relationship I have with my writing. I have always been a word person – whether reading avidly, or writing, but with writing it is not so much a thing that I sought to do, as a thing that was required of me.

I mean that I don’t think there is much in the way of choice available to someone like myself. I simply wouldn’t be who and what I believe myself to be, if it weren’t for writing, and in my case, writing free verse poetry, in particular,

I reserve passion for my football team, or perhaps some aspect of the garden.

Writing is more like the breath I take.

INTERVIEWER

What draws you to writing and poetry?

PREM

Going back to when I started writing in a journal as a teenager, I used words and pen as a way to make sense of my world. This continued into my career in Psychiatry, where much of what I encountered was incomprehensible to me, even though I had childhood associations with the institution in which I trained as a nurse through my parents employment, still it was bizarre and inexplicable to me.

Over time, I found that my interest branched out into many different areas, and gradually I arrived at a point where I felt (and still do) that every single thought, idea, sight or sense that I encounter is potentially worthy of being captured in a poem, that in turn, should be able to be made worthy of being read and appreciated.

I felt and believed that all this was in my grasp and power to achieve.

An example, Professor. On a particular occasion, driving a country road, I had that sense of well being that led me to actually say to myself ‘I could write something amazing about the very next thing I see …’

Well, driving around the corner, the thing I saw was a row of dead foxes in various stages of decay, and strung up on a paddock fence.

Not the subject I might have hoped for, but exactly the test of hubris that I deserved.

Did I write something? Yes I did. Was it worthy, in the way I suggested above? Hard to say, but, fortunately, I can let you decide by posting a link to the poem – a conversation with three foxes – here: https://wp.me/p7yTr8-1MC.

I don’t know if I succeeded but I was quite proud of the poem when finished, and I’ve tried to avoid such extravagant thinking since.

INTERVIEWER

Who inspires you?

PREM

I have a reasonably clear inspiration for my writing and what I attempt to achieve with it, but the source dates back to a couple of writers born in the 1860s – Henry Lawson and A.B. (the Banjo) Patterson.

My writing is nothing like theirs. They wrote poetry in galloping rhyme, and Lawson wrote many short stories. Lawson was an alcoholic associated mostly with the bush, Patterson was a city lawyer who wrote of the bush.

The reason I find them inspirational is that they wrote at a time when words were not easily accessed by a largely illiterate populace outside the cities, and yet their work was memorised and recited as news and as entertainment.

I have a vision that recurs of one person who could read, holding the Bulletin Magazine in his hand and reading aloud, while a group of men stand around listening, with lips moving as they try to memorise the verse for repetition later. Perhaps asking for the piece to be read aloud again to make sure.

Fanciful? Probably, but that image informs the aims I have for my work. I want it to be able to be read and understood. I want to take complex ideas and present them in a way that lets my next door neighbour, or the greengrocer, or a stranger in the street know exactly what I’m on about and be able to form a response without difficulty.

You may get a sense that I have a few concerns about published contemporary poetry. you’d be right. I have no time for the deliberately obscure. I think it does the reader of poetry (and therefore poetry itself) a grave injustice.

INTERVIEWER

Who were your early teachers?

PREM

I’ve deliberately avoided formal instruction in the black arts of writing and of writing poetry.

My first reason is because I’ve always had a belief that only I could write the work of only me. I have been inordinately concerned that reading others and formal instruction would dilute my own voice. When I finally discovered that I had a unique voice (someone pointed it out to me in a poem), it became the most precious thing in my repertoire and I would not risk it.

A second reason though, (and I apologise in advance to any who may feel offended) is that I have not trusted the teachers of creative writing programs to know what they were doing. Harsh, yes, but it seemed to me that what I saw as product of such instruction was largely shallow cleverness dressed up in fashionable and exclusive attire. Very little uniqueness that was capable of communicating to everyday folk, who I saw and see as the proper main audience for poetry.

Having said that, I was strongly encouraged by an English teacher in my Year 9 many moons ago who marked my poem higher than neighbouring essays. I haven’t looked back.

INTERVIEWER

What does the term ‘writer’ mean to you?

PREM

Professor, this is an excellent question, I think. I now understand that , in my own case, I have been a writer forever. That is, a person who creates works – whether they be fiction or non-fiction, poetry or prose – by writing.

I have drawers full of manuscripts created while I was a writer.

So. If you write, you are a writer.

However, being a writer is actually the easy part of the writing pursuit.

When you create a book, you become an author. Wherever you may appear, you are representing your book as its author. Being a writer is a mere prelude to being your book.

Becoming a publisher (my Wild Arancini Press is a single author publisher) is another step again. Followed by becoming a promotor of the book you are author of. These are work tasks that go with being a professional in the industry of writing.

The simple creativity of just being a writer becomes a bit of a nostalgic dream, if we’re not careful.

INTERVIEWER

What research (if any) do you conduct before setting out on a new writing project?

PREM

I have two answers, Professor. One is a little more boring than the other and both might seem a little shallow.

My first three collections (two published, the third starting now) are written in a memoir style. My research has been to live the events that I relate and turn them into a form that is readable and attractive to readers and listeners.

  • With Small Town Kid, I walked the town again, and went out of my way to have some conversations with folk who could inform and correct my views before I made an ass of myself with them.
  • Devil In The Wind came from direct experience on the periphery of the fires, conversation with fire fighters, news (TV, radio, papers), and finally the Royal Commission we held to Inquire into the circumstances of the fires. Plus all the empathy I could muster.
  • The New Asylum will be the third collection, dealing with my lifetime involvement with psychiatry from a child through to the present day. Primarily the material in this collection will be direct experience.

The second part of the answer relates more to my more fictional work, which is yet to see the light of day. This work includes simply hundreds of poems directly inspired from reading the French Philosopher Gaston Bachelard who died in the 1960s. I can’t begin to tell the influence reading this mans translated works has had on me as a writer.

I also have a speculative fiction manuscript that is perhaps more surreal in nature. That came from a given theme, sustained by a piece of music playing in my head throughout the writing.

So, true answer on research? Not much, I’m afraid.

INTERVIEWER

Do you feel any ethical responsibility as a writer?

PREM

Ethics in my own writing is not something I think about a lot, but I believe it is a valid question.

I put great store in my writing having recognisable qualities, so that there is little likelihood of mistaking mine for someone else’s. That includes content, however, and I feel a responsibility to give my reader not, necessarily, what they expect, but to challenge them within some nebulous parameters that are clearly consistent with me, the writer they thought they were getting

I feel the need to shape any controversy in such a way that it represents, rather than dictates or argues.

Without shying away from a topic, I don’t want to be in the position where I am running a partisan or shallow line on a controversial subject.

I am most comfortable, I think, in representing and interpreting ideas and philosophies poetically than in arguing a position.

INTERVIEWER

Could you tell us a little about some of the future projects you’re working on?

PREM

My current work in progress has a working title ‘stories of the somme’. I am taking photographs from World War 1 – Australian Soldiers at the Somme and the Western Front, and using what empathy I have to allow each picture to tell me a story.

I hope to publish these in due course, providing I can raise the cash to purchase high quality photographic prints. They are not cheap.

I have been amazed by the capacity of these 100 year old images to move me, and of the poems and pictures together to affect readers emotionally.

Here are links to two of the sample poems posted on my blog page:

  1. Ypres (24): munition wraiths https://wp.me/p7yTr8-76Q
  2. Ypres (16): within the walls (while we lived) https://wp.me/p7yTr8-76s

Quick fire round!

INTERVIEWER

Favourite book/author?

PREM

Robin Hobb – Farseer books

INTERVIEWER

Most underrated artist?

PREM

Emmylou Harris – US Country singer.

INTERVIEWER

Most overrated artist?

PREM

Take your pick. Contemporary seems to be about hype.

INTERVIEWER

Who is someone you think more people should know about?

PREM

It’s going back a bit, but H.E. Bates (Darling Buds of May etc) and Damon Runyan (Guys and Dolls) shouldn’t be forgotten.

INTERVIEWER

Do you have any hidden talents?

PREM

I play ukulele in my wife Leanne’s music classes and like to sing – mainly country songs.

INTERVIEWER

Most embarrassing moment?

PREM

Early on. I was meant to say thank you, but I actually gave a rambling speech full of nonsense. Had to get dragged away from the podium. Have never forgotten, never repeated.

INTERVIEWER

What’s something you’re particularly proud of?

PREM

I think I’m most proud of my wife Leanne’s endeavours and achievements in art and other creative endeavours, including music teaching.

INTERVIEWER

One piece of advice for your younger self?

PREM

Don’t be in a hurry. Everything is material, every moment is developmental.

INTERVIEWER

Could you write us a story in 6 words?

PREM

I became my mountain, became me.

Students of Warwick University’s acclaimed writing programme launch anthology

FINAL - CHIMERA FRONT COVER JPG
Agents, publishers, and editors are invited to join Warwick’s Writing students for their
anthology launch at Piccadilly Waterstones on the evening of Wednesday, the 12th of June.

Following tradition at the University of Warwick, the students of the esteemed MA in
Writing Programme have been working hard for the past eight months to publish an eclectic anthology of their work.

The anthology, Chimera, features work from 41 writers and includes a foreword from
award-winning poet, translator, and critic Michael Hulse.

Chimera, titled after the monster in Greek mythology, encompasses different styles and perspectives from local and international voices travelling across genres in fiction, non-fiction and poetry.

The launch will feature readings from 13 of the students, whose work includes:

  • An extract from a fantasy novel, where a Warrior-Queen leads her army through the desert to meet a tribe.
  • The opening of a horror novel centring around the haunted past of a childhood
    home, previously owned by a mysterious figure, Howard Pertman.
  • An extract from a historical fiction duology telling the story of Cecily Neville, mother of Edward IV and Richard III.
  • A novel exploring a Palestinian Christian family’s experience living under
    Bethlehem’s occupation during the early 2000s, from the viewpoint of a child.
  • A poem that stands strong in the face of tragedy, telling of the poet’s experience
    losing a friend in the 2011 Norwegian massacre.
  • Short stories that range from a humorous tale, to a classical horror story, to an
    intricate tale of unfinished business at the end of a life.

Nothing in the Rulebook’s Professor Wu said:

“At a time when the major publishing behemoths risk creating a homogenised culture where only the same books are published by the same small clique of authors, it is vitally important to support collective creative endeavours like the Warwick Writing Programme Anthology, which has consistently brought unique voices to the ongoing literary conversation – and provides a rare opportunity to discover new stories, characters and worlds, as well as the writers behind them.”

A literary invitation

Literary agents, editors, and publishers interested in attending the launch are welcome to register in advance by emailing Frances at projectmanagement.anthology19@gmail.com, as spots are limited. Limited copies of the anthology will be available at the launch.

Alternatively, copies are available in both physical and e-book versions on request.

The launch of Chimera will be at 6 pm on Wednesday 12 June at Waterstones, Piccadilly, London W1J 9HD.

The greatest books that haven’t yet been made

Karl Marx mock up

“Canines of the world, unite! You have nothing to lose but your leashes.” – A look inside one of the unique creative projects currently seeking crowdfunding, ‘Philosophers’ Dogs’, from award-winning publishers Unbound reveals the truth about the real masters of human philosophy: dogs.

Will the revolution be digitised? For the past several years, this has been the question increasingly being asked by those in the publishing industry looking to break with the old, frustratingly risk-averse models that so often – as Julian Barnes once noted – only seem to be interested in publishing “copies of novels that are copies of previously successful novels.”

As the online world becomes ever more a part of the real one, the pressures on writers and publishers has only increased. With the incomes of writers continuing to collapse, and independent publishers struggling to compete with the corporate behemoths, many aspiring writers and publishers are reaching out directly to readers before their books are published (or even written, in some cases) through crowdfunding websites such as Kickstarter.

Now celebrating its 10-year anniversary, Kickstarter has seen tens of millions of dollars pledged to fund successful book projects, among their number, the speculative science fiction novel, The 8th Emotion by Josh Spiller, ‘Mud’ by Chris McCabe (published through incredible art-house publishers, Henningham Family Press), and the delightful Shallow Creek project from literary creatives STORGY.

Unbound: liberating ideas

The crowdfunding model is now even being adopted by the publishers themselves. UK publishing house Unbound made waves when they were founded in 2011; and truly announced their arrival as publishing heavyweights in 2014 when one of their novels was longlisted for the prodigious Man Booker Prize.

With Unbound, the company takes crowdfunding beyond the singular focus of financing a project like Kickstarter – as The Independent Publishing magazine explains: “Unbound is a publisher that happens to use a funding platform, rather than a crowdfunding platform suitable for book publishing. It’s an important distinction and visitors to the Unbound website will appreciate that the company is driven by the publication and sales of books. It is refreshingly transparent about its method of business.

Found in the crowd

So, why the move towards crowdfunding? Well, as the author Dan Coxon has noted, part of the reason is that this model provides both writers and publishers with confidence. Coxon says it is “useful to think of the new crowdfunding model as a kind of inverse marketing: whereas the publicity campaign usually kicks in upon publication, here we did all our marketing in advance. I like to think that most of these people would have bought the book anyway – but by doing it ahead of publication, they helped reduce the risk to both publisher and authors, and therefore made the book possible.”

Coxon knows what he is talking about here – having successfully crowdfunded two anthologies on Kickstarter: Being Dad: Short Stories About Fatherhood (Tangent Books), and most recently This Dreaming Isle (Unsung Stories). But for every book that does reach its crowdfunding target, there are two more that fail to do so and never see the light of day.

10 (plus one) of the best literary crowdfunding projects

So, in the hope of honouring our ambition to support creatives of all stripes to fulfil their artistic ambitions – while also introducing readers to new and unique books, we’ve put together the following list of literary crowdfunding projects that we’d recommend you all supporting. And remember, there aren’t just books on offer here, but often wonderful rewards that you can pick up as well.

P.s. If you or someone you know has a crowdfunding project that you’d like to see here in this list, contact us and let us know – we’ll be updating the list over time as projects successfully fund and new ones launch, so it’s always fresh.

1. Philosophers’ Dogs

Philosophers’__Dogs_2_3DIs it possible to be a good dog? Do we catch balls of our own volition? Or are our decisions to eat the rotten apples, to bark at the cat, predetermined? What is it to know that you have behaved well rather than merely believe it?

All these questions – and more – are answered in Philosophers’ Dogs: a ground-breaking book, featuring beautiful illustrations, it promises to shake the very foundations of both western and eastern philosophy.

Support the campaign now – and pick up rewards including the opportunity to name a dog in the book, pick up beautiful original art prints, as well as even receive a personalised illustration of your own dog as a philosopher.

Also – considering one of the creators of this book is a member of our own creative collective, how could you not support this project? We’re a collective, after all.

2. The Advanced Rhyming Dictionary for Rappers and Poets

3D.RAPPERS_2.4.19.jpg

This book is a necessity for writers everywhere. Traditional rhyming dictionaries are becoming outmoded as we see rappers and poets turn to multi-syllabic slant rhymes rather than the mono-syllabic perfect rhyming suggestions of ‘cat/mat/Monserrat’. Rhyme is rarely so precise anymore. It has evolved. And with that evolution our tools, too, need to evolve.

With traditional rhyming dictionaries ill-equipped to cater to modern writers, this book, from battle rapper Adam ‘Shuffle-T’ Wollard, there are so many applications for this book and so many ways in which it can help people’s creativity.

Get rhyming (and battle rapping, if you so wish) now – all through pledging for one of the fabulous rewards on offer.

3. Atari: A Visual History

Atari Visual History.jpg

Atari: synonymous with some of the best-known early arcade hits such as Pong, Asteroids and Centipede, and to this day a favourite of those who understand the groundbreaking impact it had on the home computer and video games industries.

But this book isn’t just a sweet nostalgia trip (though it promises to be that, too). It is, more obviously, a beautiful, one-of-a-kind compendium book for your coffee tables about the Atari 8-bit home computer and its third party software titles from the 1980’s and beyond.

4. Future

Future Poster.jpg

A full-colour science fiction graphic novel about love, hope and the end of the Earth.

Featuring stunning illustrations from award-winning artist Rupert Smissen, Future posits that it’s during the worst times that we most need to move forward, to push through hopelessness and shape our future rather than letting it shape us.

What’s more, you can sneak a preview of this fabulous book by reading the first chapter online.

5. ‘The Willows Magazine’ Hardcover Anthology

Willows Anthology.jpg

We love a good creative endeavour put together by a collective of likeminded creatives, so perhaps no surprise to find this one in the list. ‘The Willows’ is the beautiful hand-crafted magazine put together by a group of artistic and literary misfits. This project aims to bring all past issues together into one beautiful anthology edition.

Featuring a wealth of classic stories from G. D. Falksen, Sarah Monette, Lawrence Dagstine, and many more — along with brand-new tales from award winners Gemma Files, John Langan, Brian Evenson, Orrin Grey and Jesse Bullingtonplus a new introduction from editor Ben Thomas — this anthology will be a collector’s item you’ll be proud to treasure.

6. Nothing But A Good Time

This one is right on the cusp of reaching 100% funding. This book will provide readers with a fascinating cultural history of Glam Metal: where it came from, how it defined America in the 1980s and how it all came crashing down.

The book is written by Justin Quirk, an award-winning writer, editor and broadcaster from London who has written for The Guardian’sKerrang! Arena and Esquire as well as the Times, Sunday Times and The Independent.

 We have nothing but good things to say about this book – help make it a reality.  

7. 100 Voices

This book is the culmination of a huge undertaking. Between 6 February and 16 May 2018, 100 Voices crowd-sourced stories from female-identifying writers all over the UK. Award-winning novelists, theatre makers, short-story writers, bloggers and poets each contributed a short piece responding to the theme ‘something I have achieved’ on the 100 Voices For 100 Yearspodcast. The resulting collection, transcribed in this stunning book, is a treasure trove of thoughts on what it is like to be a woman in 2018.

8. Wonders and Visions: A Visual History of Science Fiction

CoverRenderWhite.jpg

This sumptuous book tells the story of science fiction through its most iconic, beautiful, interesting and (sometimes) crass cover art: from the earliest days of publishing in the 19th-century, through the glory days of Pulp magazine covers and the Golden Age, into the endless visual experimentation of the New Wave and so to the post-Star Wars era, when a ‘visual logic’ comes to dominate not just science fiction but culture as a whole.

With over 350 full-colour images and more than 50,000 words of text this is more than simply an anthology of famous science fiction covers–it is an ambitious attempt to tell the whole history of the genre in a new way, and to make the case that science fiction art, from the sober future-visions of Chesley Bonestell, to the garish splendours of Hannes Bok, from the Magritte-like surrealism of Richard Powers, Frank Freas, Judith Clute, and Ed Emshwiller to the amazingly talented designers and artists of the 21st-century, exists as a vital and neglected mode of modern art as such.

9. The Bystander Anthology

bystander anthology

50+ South Asian creatives. 13 countries. 1 Comics Anthology. Stories about Gender,Identity, Boundary and Exclusion. Presented by Kadak.

The BYSTANDER anthology is comprised of both a print and a web component. The print output will be a beautiful and stunning book offered alongside a variety of rewards like delicious zines, posters, postcards, stickers… which are all up for grabs!

10. Quiet Pine Trees

Quiet Pine Trees is jet fuel for your imagination and a wrecking ball against writer’s block. This collection features more than 500 tiny, strange stories from my years-long campaign to turn the humble tweet into a self-contained work of literary art. The limited format forces each story to combine powerful imagery with haunting themes in just a few words, creating snapshots of bigger, stranger worlds to inspire the creativity of the reader.

These micro stories cover a wide range of genres, from science fiction about advanced time travel techniques, to otherworldly fantasy about desperate trees and artillery pianos, to cosmic horror about why dolls can close their eyes.

11. Poetry to the People: A Book Truck Tour

poetry to the people

Okay, so technically not a single book, but we’re a collective and all about any project that aims to bring lots of literary delights to lots of people, so we’re big fans.

House of SpeakEasy, an inventive NYC-based literary arts nonprofit, has a 27-foot-long box truck retrofitted with open-air bookshelves with enough room to haul thousands of books. Narrative 4, a global story-exchange organization, has a summit in New Orleans. What happens when you put these two together along with dozens of community partners along the way? A 10-day, 10-stop tour: Poetry to the People.

The tour will feature outstanding authors including Raquel Salas Rivera, Rayna Guy, Rickey LaurentiisJenny JohnsonHanif AbdurraqibEloisa AmezcuaHannah PittardKiese LaymonDarrell Bourque, and Daniel José Older–with more authors joining the tour soon!

Go on and get involved. You know you want to.

 

 

 

“Groundbreaking” app to predict whether a book can be crowdfunded successfully

00-phone-apps.jpg

Award-winning publishing company Unbound has launched a “groundbreaking” app to predict crowdfunding revenue as well as the length of time required to fund a project.

Unbound, who have carved out a space in the literary market for bringing together traditional publishing and crowdfunding, have already successfully brought over 300 books to market. The company now hopes the new app, developed by their own head of data science and astrophysics, Dr Noelia Jiménez Martínez, will help improve their commissioning decisions and increase profitability.

Having recently launched their own Crowdcube campaign to help expand the publishing house, the new app could play a key role in attracting new investors.

The app uses data from more than 200,000 pledge transactions on its platform, as well as authors’ online engagement, to predict revenues. It is now being used by the company’s commissioning team, with 80% accuracy.

Unbound books

Already featured among Nothing in the Rulebook’s list of fabulous independent and alternative book publishers, Unbound has been making waves ever since it first emerged onto the literary scene.

Based out of a converted warehouse in London, the expert team behind the company have over 300 years of expertise in publishing and connecting people around creative projects.

They’ve got a wonderful catalogue of books they’ve already published (including ones shortlisted for the prestigious Man Booker Prize). But of course, the real thrust of Unbound comes from discovering new authors and ideas, and liberating (read: crowdfunding) them.

There are some exceptional projects currently out there – all of which are worthy of support. To give you a flavour of the variety of excellent books on offer, we’ve compiled a short list:

  • The ‘Advanced Rhyming Dictionary‘, from Adam ‘Shuffle T’ Woollard – a revolutionary rhyming dictionary and workbook for multisyllabic rhymes.
  • Keeping On’, by James Kennedy – part memoir, part exposé of the music world’s murky underbelly and part collection of life lessons gained from many years of ‘trying’ but ultimately having to learn to live with defeat.
  • Crow Court‘ by Andy Charman – a novel of short stories set in Wimborne Minster, Dorset, in the 19th century.
  • Blackwatertown‘ by Paul Waters – think LA Confidential meets The Guard set in Northern Ireland against the backdrop of the troubles.
  • Never So Perfect‘ by Sobia Quazi – a domestic noir, psychological thriller set in London amongst an elite set of British Asian society.

There are also books about Brexit, deepwater diving, and illustrated satirical books about dogs (of the philosophical variety).

So, what are you waiting for? Go get funding them, eh!

Book review: The Only Story, by Julian Barnes

the only story.jpg

Paul and Susan meet at a tennis tournament, at their village sports club, when they get randomly paired together. He is “only nineteen”, is not interested in British politics at all and “dislikes and distrusts adulthood”; she is blond, in her forties, has prominent front teeth and looks beautiful in her white tennis dress. They both seem to instantly know they will fall in love with each other. What they don’t seem to know, is that this love will destroy their lives.

When opening this book, leave aside all of your assumptions of what this story will be about. Embrace it without expectations. This is not a story where a boy who falls in love with a woman who could be his mother. Where she then teaches him the arts of love. Where he eventually grows up and looks back at the love affair with nostalgia. This is a book about the destructive power of relationships. Indeed, from the very first line, Barnes doesn’t hide that the characters of this book will be suffering because of love: “Would you rather love the more, and suffer the more; or love the less, and suffer the less? That is, I think, finally, the only real question.”

Perhaps you picked up this book because of its title: it’s short, it’s absolutistic – it indubitably means there’s only one story worth telling. This is a recurrent theme throughout the whole book: Susan’s story is the only story that will characterise Paul’s existence forever. “Everyone has their love story,” she explains to her young lover, “Everyone. It may have been a fiasco, it may have fizzled out, it may never even have got going, it may have been all in the mind, that doesn’t make it any less real. […] Sometimes, you see a couple […] and you can’t imagine them having anything in common, or why they’re still living together. But it’s not just habit or complacency or convention or anything like that. It’s because once, they had their love story. Everyone does.”

What is peculiar and fascinating about Barnes’ The Only Story, is the honesty of the narrator’s voice. Paul tells the story of his love for Susan exactly as he remembers it, because he thinks “there’s a different authenticity to memory, and not an inferior one. […] Memory prioritises whatever is most useful to keep the bearer of these memories going.” This way, Paul’s memory itself becomes one of the main characters – we follow the story not simply through him, but through his memory. And Paul is not afraid to admit that his memory can sometimes be faulty. He has no interest in focusing on details such as the food he ate, the clothes he wore, the name of the village he and Susan lived in, or the subject he studied at university. “I’m remembering the past,” he says, “not reconstructing it.”

At the same time, we witness some extraordinary moments of intimacy between Paul and Susan, which are described with precise and vivid details. For example, when the two move together to a small flat in London, which Susan has managed to buy, Paul’s account of their nights together is sweet, funny and exquisitely real: “The notion of lovers falling blissfully asleep in one another’s arms resolved itself into the actuality of one lover falling asleep on top of the other and the latter, after a certain amount of cramp and interrupted circulation, gently shifting out […] I also discovered that it wasn’t only men who snored.” Julian Barnes is, indeed, the master of delicate descriptions.

Unfortunately, this idyllic life that Susan has always dreamt – this life that Paul has chosen to be his forever when he’s only nineteen – will not last long, and Paul will have to choose if he’d rather love the more and suffer the more, or love the less and suffer the less.

This heart-breaking, tender novel reminds us that we all have one story worth telling, and that is the only one that matters.

About the reviewer

foto anthology

 

Anna Maria Colivicchi was born and raised in Rome. After a BA in Italian Literature, she is now pursuing a Master’s in Writing at the University of Warwick. In her writing, she seeks the extraordinary in the ordinary, focusing on the details of everyday life.

Will Eaves’s novel ‘Murmur’ – inspired by real-life tragedy of Alan Turing – wins £30,000 literature prize

IMG_9320

The novelist and poet Will Eaves has won the 2019 Wellcome book prize for his fictionalised take on the chemical castration of mathematician Alan Turing.

‘Murmur’ (read our review here), published by CB Editions, was hailed as “a future classic” by judges of the £30,000 prize. It is Eaves’s fifth novel and the third published by the independent printing press run by Charles Boyle. The book has been picking up critical acclaim since it was published – winning the Republic of Consciousness award earlier in 2019 and being shortlisted for the Goldsmith Prize and James Tait and Folio awards.

Taking its cue from the arrest and legally enforced chemical castration of the mathematician Alan Turing, Murmur is the account of a man who responds to intolerable physical and mental stress with love, honour and a rigorous, unsentimental curiosity about the ways in which we perceive ourselves and the world.

Formally audacious, daring in its intellectual inquiry and unwaveringly humane, Will Eaves’s new novel is a rare achievement that explores everything from love, society, mathematics, memory and consciousness itself.

In an interview with Nothing in the Rulebook, Eaves said of his novel:

“I was very nervous about tackling Turing. I’m not a mathematician so I had to work hard to understand the meta-mathematics of Godelian incompleteness, the Entscheidungsproblem, etc, and I hope I haven’t made too many errors. For fictional purposes, he had to be his own avatar: I couldn’t allow myself to put words into the mouth of a genius. That would have been wrong. But I think my overall wager is sound. Murmur tries to find a dramatic paraphrase for Turing’s physical, mental and political predicament. It asks: how does one fit the personal experience of trauma into a material conception of the world? The story’s scientist, Alec Pyror, discovers that the outward responses one gives to the world are not necessarily related to the inner life, which may be crying out, in great distress. At the same time, the novel resists that pain. It’s the story of a man trying to overcome desolation and self-pity by objectifying the trauma.”

The judges of the Wellcome Prize, awarded to pieces of exceptional scientific writing, were left stunned by the impact of the novel. The judges called it an “extraordinary contemplation of consciousness” and “a feverish meditation on love, state-sanctioned homophobia and knowledge, alongside an exploration of sexuality, identity and artificial intelligence”.

Chair of judges, the novelist Elif Shafak, called Murmur “hugely impressive”, adding that it “will grip you in the very first pages, break your heart halfway through, and in the end, strangely, unexpectedly, restore your faith in human beings, and their endless capacity for resilience”.

“Every sentence, each character … is well-thought, beautifully written and yet there is a quiet modesty all the way through that is impossible not to admire,” said Shafak. “Whether he intended this or not, Will Eaves has given us a future classic and for this, we are grateful to him.”

Given the subject matter, the skill of the writer and the breadth of the novel’s scope, it is perhaps no surprise that Murmur is already being hailed as a groundbreaking piece of fiction that will influence readers for years to come. As Nothing in the Rulebook‘s own Professor Wu noted: “Startlingly ambitious in its scope and form, Murmur invites us into an incredible world of philosophical mathematics and artificial intelligence, written all the while with skill, care, and attention. What’s not to love?”

So alternative: 50 independent and alternative publishers to support, buy books from, and submit your work to

Independent_publishing

We live in an era where the biggest publishing companies and media organisations are only concerned with stabilising profits for shareholders – and are prioritising making money over supporting originality and new creative ideas. This is strangling our modern culture – limiting us to a devastating cycle of reboots, sequels, prequels and franchises; where the only novels we read are copies of novels that are themselves copies of commercially successful novels. This risk-averse and profit-focussed approach in turn risks homogenising our culture; and limiting our exposure to new ways of thinking.

At a time when we need new ideas and voices to counter the prevailing cultural winds, which tell us creativity is only of value if it sells, we need independent publishers to continue their fine work. We need diversity and originality in our publishing; not ceaseless imitation and repetition in pursuit of a fast buck. We need books that experiment and take risks; not those that seem afraid to be different. We need independent publishers; not corporate monopolies.

book_publisher.jpg

Looking to add to your ‘To Be Read’ pile of books? Or looking to get your own work published and added to somebody else’s reading list? The following list of independent publishers should help!

But independent publishers need us, as readers and writers, too. They need us to buy their books and support their projects; and they need writers to keep submitting books and poetry collections to them, so that they can keep discovering and publishing new, unique, and inspiring new voices and stories.

It’s a reciprocal relationship, then, and one that we hope we can help support ourselves by bringing you the following list of independent and alternative publishing houses where you can find inspiration and submit your own work to.

Put together alongside our other writing resources, including our list of literary magazines that are always open to unsolicited submissions, the list below provides all the handy details readers and writers alike might need. But of course, we are fortunate to live in a world abounding with creative entrepreneurs, so, if there’s a great indie publisher that we’ve missed, or if you own or run an independent publishing house yourself and you’d like to see if listed here, please get in touch and let us know.

Happy reading, comrades!

404 Ink

About 404 Ink: 404 Ink is the award-winning alternative, independent publisher of books and literary magazines.

Books: A wonderful collection of books available from their online store, including ‘The Goldblum Variations: The Adventures of Jeff Goldblum”.

Submissions: 404 Ink regularly accept unsolicited submissions during their submissions windows. Check online for more information.

The 87 Press

About The 87 Press: The 87 is a small press, publishing collective, events organiser, and platform for discussion, committed to publishing the very best of bold, innovative and experimental writing from emerging and established writers.

87 Press Books: Check out their online store featuring books by Caspar Heinemann, Callie Gardener and others.

Submissions: The 87 Press accept unsolicited submissions during defined submissions periods. Check online for more information.

Biteback Publishing

Described as ‘Britain’s leading political publisher’ by Charles Moore, Biteback Publishing is one of Britain’s leading independent publishers of political and current affairs titles. They also publish espionage, general non fiction and sport.

Submissions: Always up for considering new writing proposals, you can find out more about Biteback’s submissions guidelines here.

Birlinn Ltd

About Birlinn Ltd: Described as “passionately independent”, Birlinn Ltd is made up of a number of imprints, including Origin, Polygon, BC Books, and Arena Sports. Polygon is known for publishing literary fiction and poetry, including by acclaimed authors like James Kelman and Liz Lochhead. With so many imprints, their catalogue provides an opportunity to lose yourself browsing the digital bookshelves. Worth checking out!

Submissions: If you have a work of fiction, non-fiction or poetry that you strongly believe would suit their list, Berlinn want to hear from you. You should post a synopsis and three sample chapters, or half a dozen poems, with some biographical information about yourself (including contact details), a stamped addressed envelope (should you wish the material returned) and a brief explanation of why you have chosen to submit your work. More information via their contact page.

Boiler House Press

 About Boiler House Press: BHP is a new publisher of fiction, non-fiction, poetry, and everything in-between. Based out of the University of East Anglia, they accept unsolicited writing submissions.

Boldwood Books

About Boldwood Books: A new global publisher founded in 2019 in London, UK. Promises to be innovative and fearless.

Boldwood Submissions: Actively seeking unsolicited manuscripts (praise the day!) Check out their website above or Twitter @BoldwoodBooks for more info, then send manuscript directly to submissions@boldwoodbooks.com

Burning Chair Publishing

About Burning Chair Publishing: From first class editing to cutting edge marketing and promotion, Burning Chair are an exciting new independent publishers that look to provide authors with the support they need to make sure their book fulfils its potential. Check out some of their books published so far via their store.

Burning Chair Submissions: This indie publishers is open for submissions and accepting unsolicited manuscripts from a variety of different genres. Information about what they’re looking for, and how to submit, is available online.

Burning Eye Books

 “Poetry for the people, not just professors.” Burning Eye Books are all about putting Slam/Stand Up/Performance & Spoken Word Poetry on the page. Something that arguably hasn’t been done enough. They have a bookstore where you can purchase their titles, but perhaps of more interest are the free (yes, FREE) book samples you can read right now through their website.

These guys do open every now and then for submissions, but they also charge a small £5 fee (which goes to charity). Check their website for information about when to submit, as well as submission guidelines.

Carcanet Press

Described as “the most courageous publisher” by Charles Tomlinson, Carcanet has been publishing poetry, inventive fiction and literary criticism for decades. They’re a massive name in the world of independent publishing and have a dizzying array of excellent and unique books to choose from, including work from Will Eaves (read our interview with Eaves here), who won the Republic of Consciousness Prize this year.

Carcanet Press Submissions: considering the reputation of this publisher, it’s a sign of their core values that they’re still keen to accept unsolicited manuscript submissions. Carcanet considers submissions and book proposals sent electronically as emailed attachments – and does have strict reading periods for when these submissions can be sent in. Check their website for more information.

Copy Press

Copy Press is an independent publishing company, dedicated to extending ideas of writing, pictures and readability. They have a number of publishing products and welcome proposals of new writing to fit within these.

Cranachan Publishing

Cranachan Publishing we focus on sourcing the finest, freshest writing so that we can produce books that our readers will want to devour in one sitting.

Submitting to Cranachan Publishing: These guys are always open to new proposals but they receive loads of submissions so you need to send a query email first. More information online.

Dahlia Books

About Dahlia Books: A small press publisher, championing regional and diverse voices in literature. They publish a range of different genres and styles of literature (all of it good), and are open to unsolicited submissions twice a year, in March and September.

Damaged Goods Press

Damaged Goods is a queer & trans owned press specializing in poetry & creative nonfiction by queer & trans writers. They’re actively seeking new writing so get submitting!

Dancing Bear Books

Dancing Bear Books have a clear mission and they chose to embark on it because of the lack of diversity in fantasy and fairytale literature within commercial fiction. They are a publisher of Folklore, Fairytales and Fantasy and specifically are after tales that feature BAME, LGBT and disabled protagonists. They have bases in both Newcastle and London, UK, and perhaps more importantly, they are very keen to hear your stories.

Submitting to Dancing Bear Books: With their focus on diversity in literature (and the stories we read), they have some specific rules that manuscripts must meet in order to be considered for publication. Information about this is all online. Importantly, they accept both agented and non-agented submissions and you should feel free to submit your manuscripts directly to them!

Daunt Books Publishing

Founded in 2010, the Daunt Books imprint is dedicated to publishing brilliant works by talented authors from around the world. Whether reissuing beautiful new editions of lost classics or publishing debut works by fresh voices, our titles are inspired by the Daunt Books shops themselves and the exciting atmosphere of discovery to be found in a good bookshop.

Submitting to Daunt Books: DB welcome unsolicited submissions via email or post.

With their roots as a travel bookshop, the titles they publish are inspired by the Daunt shops themselves. They’re interested in writing that evokes a strong sense of place — literary fiction (novels and short stories) and narrative non-fiction with a lingering atmosphere, a thrilling story, and a distinctive style. Further submissions information is available online.

Elsewhen Press

Ahoy there, speculative fiction fans! Elsewhen Press seeks to publish new exciting titles in the Speculative Fiction genre, especially (but not exclusively) from previously unpublished authors. We are looking for high quality manuscripts that tell a compelling story, ideally developed around a strong underlying theme which adds something significant and novel to the genre. Manuscripts must be of book-length, can be an individual story or (first in) a series of stories. More info online!

Epoque Press

About Epoque Press: époque press is an independent publisher based between Brighton and Dublin established to promote and represent the very best in new literary talent. Through a combination of their main publishing imprint and their online ezine, they aim to bring inspirational and thought provoking work to a wider audience.

Submit to Epoque Press: Open to submissions from new and established writers. More information online.

Eyrie Press

About Eyrie Press: A small indie publisher focused on peculative & historical fiction. Especially keen on featuring underrepresented groups, and supporting regional writers from UK. Info about what they’re looking for in submissions – as well as when they will open their inbox to unsolicited submissions, is all online.

Fairlight Books

Fairlight publish literary fiction and books that promote quality writing. For readers, they have an interesting shop where you can buy bundles of their books together (check it out). For writers, these fabulous folk are accepting submissions of literary fiction (short story collections, novellas and novels). Guidelines here.

Fly on the Wall Press

A really lovely indie publishing press with a commitment to discovering (and, importantly, printing) new writing. Have a great collection of books available through their online store, which readers can peruse at their leisure. Meanwhile, writers interested in submitting their work to the press can find out more online.

Four Corners Books

Four Corners make art books that have a story to tell, with a special focus on art outside traditional gallery contexts. In their ‘Familiars’ series – in which they invite artists to reimagine classic works of literature – or their new series, the Irregulars – about fascinating pockets of British visual culture – they try to find art in the most intriguing and unusual places.

Submitting to Four Corners Books: These fine literary folks are always happy to hear from artists and writers with proposals for books, but ideally they should fit within their current remit: art history, with an emphasis on art made outside the traditional gallery system, and especially on culture in Britain after 1945. Email with a brief enquiry in the first instance.

Galley Beggar Press

Galley Beggar Press is an independent publisher from the UK – they publish innovative writing and all all-round fine folk. Importantly, despite their esteemed reputation, they also accept unsolicited manuscripts once a year (in 2019, this period is July). More information about their submissions processes is available online.

Guppy Books

About Guppy Books: New independent publisher of fabulous fiction for children of all ages, tweeting as @guppybooks. Various new children’s books available online.

Submitting to Guppy Books: Guppy Books welcomes fiction submissions from agents and previously published authors. They remain open as a publisher, and twice a year they will be accepting unsolicited manuscript submissions from unpublished writers over a specific period of time. They will put up these dates on the Guppy quarterly newsletter and via Twitter and social media.

Handheld Press

Based in the lovely, limestone-clad city of Bath in the UK, Handheld Press sells stories, handpicked tales from the past and the present, because they are remarkable and wonderful. They publish books to be books; creating beautiful objects that are designed and laid out with care. They were the regional finalist for The Bookseller Small Press Award in 2018. Importantly, they accept not only manuscript submissions from new and established authors, but also simply ideas for new fiction. So drop them a line and pitch them your story (what are you waiting for? Check out their submissions page for more info).

Head of Zeus

Winner of the 2017 Independent Publisher of the Year award, Head of Zeus are an acclaimed indie publisher dedicated to beautiful books and great storytelling.

Head of Zeus books: A host of excellent titles are available through their online store, including novels by the equally excellent Tim Leach (who we’ve interviewed on our site).

Submitting to Head of Zeus: These guys are immensely popular and, as such, receive an overwhelming number of submissions. That said, they do try to open their submissions portal to unsolicited manuscript submissions whenever possible, so keep up to date with them online.

Henningham Family Press

HFP are a book publisher with a difference, creating award-winning and critically acclaimed books that are in themselves works of art, created through fine art print making and book binding. Their books are each unique and worthy of entire webpages in themselves, so suffice to say we’d urge you all to spend some time checking out their online store and picking up a couple of copies for your friends and family (as well as yourself, of course).

Submitting to Henningham Family Press: HFP, in their own words currently “have enough manuscripts written by white males to keep [them] occupied for ten years”. So their focus is on considering unsolicited material from women and BAME authors. Further information about what they’re looking for and how to submit is available online.

Hera Books

About Hera Books: An independent digital publisher bringing readers the very best in commercial fiction.

Submitting to Hera Books: Actively seeking submissions of new writing, the team behind Hera Books also offer hands-on editorial services, so check them out and get submitting!

HopeRoad Publishing

HopeRoad promotes inclusive literature with a focus on Africa, Asia and the Caribbean. They vigorously support often neglected voices and many of their YA titles (featured in their lovely bookstore) focus on issues dealing with identity, cultural stereotyping and disability. It’s unclear whether they accept submissions but they encourage people interested in the press to get in touch with any enquiries.

Inkandescent

Apart from being a wonderful pun, Inkandescent is also a new publishing venture committed to promoting ideas, subjects and voices underrepresented by mainstream publishing. They hope to discover and celebrate original, diverse and transgressive literature and art, to challenge the status quo.

Lilliput Press

The Lilliput Press is one of Ireland’s smallest and most prestigious publishing houses. They publish a wide variety of Irish interest books and represent authors such as James Joyce, John Moriarty, J.P. Donleavy and many others.

Submissions policy: The Lilliput Press still accept unsolicited manuscript submissions; but only by post (email submissions will not be considered). They offer a range of guidelines and processes for submitting, including what to submit alongside your manuscript.

Linen Press

Linen Press is a small, independent publisher run by women, for women. They are now the only indie women’s press in the UK.

They have dozens and dozens of exceptional books available to readers through their lovely online bookshop.

And, good news, sports fans, Linen Press are looking for submissions. Specifically, they are after ‘beautifully written manuscripts which are relevant to women’s lives and which surprise us with their style and content.’ This can be literary fiction, top-end contemporary fiction and memoir. Check out submissions guidelines online.

Maytree Press

Maytree Press are a new, budding indie press from the UK. They have a small but cool catalogue which they’re currently building and adding to (which means readers can pick up one of their books they’ve already published from their shop, and writers seeking to get published themselves can submit their work for consideration).

New Island Books

About New Island Books: New Island Books are an independent Irish publisher, printing groundbreaking writing from both established and emerging writers. Featuring beautiful writing (often with stunning illustrations on the cover, as with Antony Cronin’s No Laughing Matter), their bookshop is well worth a browse.

Submissions: these guys are all about reading and discovering new writing and new voices. They regularly open their inboxes to unsolicited manuscripts, so check online for information about their submission windows and how and what to submit.

Nine Arches Press

About Nine Arches Press: Founded in 2008, this lovely publishing house based in the midlands, UK, are about more than just printing (award-winning) literature. They are all about the wider literary and social community and help organise events, readings, workshops and open mic nights.

Nine Arches Books: They’ve published over 70 collections, which is pretty great going. Two of their pamphlets. Mark Goodwin’s book Shod stands out after it won the 2011 East Midlands Book Award. All My Mad Mothers by Jacqueline Saphra is also a great read and was shortlisted for the TS Eliot Poetry Prize, while David Clarke’s debut poems, Arc, was longlisted for the Polari Prize.

Submitting to Nine Arches Press: They have a couple of steps that interested writers should familiarise themselves with before submitting, but the important thing to remember is that these guys are very open to publishing new writing (it’s sort of what they do), so, if you have a cracking collection of poems burning a hole in your pocket, do consider submitting a sample of poems during one of their regular open submission windows.

No Alibis Press

About No Alibis: Based in a small corner of Belfast, No Alibis Press is a small publishing company with a big shouty attitude. As an independent press they’re relatively new on the scene, but for some time now they’ve been quietly incubating among the shelves of No Alibis bookstore where David Torrans and his team have been selling books for more than twenty years. One of their first books – December Stories I by Ian Samson – has already received praise from critics (including ourselves).

Submitting to No Alibis Press: These lovely folk are real champions of new and exciting writing and welcome submissions from authors (unsolicited or otherwise) at different times during the year. Check their website for information about how and when to submit.

Obliterati Press

Obliterati Press is a publisher for writers set up by writers keen to use the experience they have gained to unveil great new voices.

Obliterati Press Submissions: This indie press is particularly keen to receive submissions from new and emerging writers – so keep an eye on their various channels for news about their reading periods.

Onwe Press

About Onwe Press: UK publishers committed to discovering unforgettable stories and highlighting diverse voices. They’re a new publishing house, so drop them an email for information about their books and submissions via info@onwepress.com.

Panther Publishing

About Panther Publishing: Publisher of crime, mystery, thriller, paranormal and horror novels, based in Wales.

Panther Publishing submissions: These guys are OPEN for unsolicited manuscripts and are looking forward to reading your work. More info online.

Peepal Tree Press

About Peepal Tree Press: Leeds-based Peepal Tree Press is home to some of the finest Caribbean and Black British fiction, poetry, literary criticism, memoirs and historical studies. Discover some of their stunning and unique reads through their online catalogue featuring dozens of excellent writers.

Peepal Tree Press submissions: despite receiving a high volume of submissions, Peepal Tree Press are still open to unsolicited manuscript submissions year-round, and promise to respond to 90% of submissions within 12 weeks. Submit via submittable.

Peninsula Press

This quirky publishing house launched following a successful Kickstarter campaign (oh the things you can do with CrowdFunding!). As they build a following they are keen to receive submissions from new writers, so check out their website for information about how, when and what to submit.

Pool Publishing

A publishing house based out of Vienna, Austria. They primarily focus on illustration, graphic design and photography, working with creatives (being a creative collective ourselves, this is something we strongly endorse) from around the world, they look to create new and interesting publications. They are open to new ideas and submissions so you should check out their website and drop them a line to introduce yourself.

Red Squirrel Press

Red Squirrel Press is a self-funded independent press based in Scotland. It was founded in April 2006 and has published over 190 titles to date.  It publishes poetry pamphlets and full collections.

While they have a full production plan in place until 2021, you can still submit your work by following the press submissions guidelines online.

Salt publishing

About Salt: Salt is one of UK’s foremost independent publishers, committed to the discovery and publication of contemporary British literature. Advocates for writers at all stages of their careers, the company help ensure that diverse voices can be heard in an abundant, global marketplace.

Salt books – huge number of books available at reasonable prices directly from their online store. Two of their books, by Eleanor Anstruther and Samuel Fisher, have been longlisted for the Desmond Elliott Prize 2019.

Salt Submissions – information about Salt’s submissions processes, including when they are open and closed for manuscript submissions, is available online.

Seren Books

About Seren Books: Wales’ leading independent book publisher, specialising in English-language writing from Wales. With a list spanning poetry, fiction and non-fiction, many of their books are shortlisted for – and win – major literary prizes across the UK and America. You can check out some of their great book titles online via their store – and you can usually nab yourself some nifty discount by registering with their website and newsletter.

Submitting your work to Seren Books: Seren Books are keen to publish new and exciting writing – so don’t be afraid to submit. They have a clear set of submissions guidelines you should read through first, though, so head to their website for information on how to submit your manuscript.

Serpentine Books

Serpentine Books set themselves our as genuinely seeking new, alternative fiction that doesn’t simply “follow trends” (as the majority of the publishing industry seems to try and do). They’re building their first list of books, which will no doubt build the anticipation among readers; while also providing an opportunity for writers with a new story to tell to get published. Check out their submissions guidelines if you’re interested in submitting your manuscript.

Silvertail Books

Publishing fiction and non-fiction, based in the UK. Open for submissions, importantly.

Stewed Rhubarb Press

About Stewed Rhubarb Press: SRP are an independent publisher specialising in spoken-word poetry. Its mission is to treat spoken-word poetry and novellas with the enthusiasm and respect they deserve. They advertise opportunities for submitting unsolicited manuscripts online, via Twitter and through their mailing list.

Swan River Press

Ireland’s only publishing house dedicated to literature of the gothic, fantastic, strange and supernatural. They have a range of beautiful books that are all worth checking out, popping in your shopping baskets and purchasing. Check out their list of titles via their online store.

Tangent Books

Deliberately and resolutely independent, Tangent Books maintains close relationships with the authors, designers and printers they work with to ensure that everyone involved in the production of one of their volumes gets a fair deal, as well as supporting local, independent business. A fine ethos to be celebrated, championed and supported – which you can do so by purchasing one of their wonderful books from their digital shop.

Ugly Duckling Presse

UDP is a nonprofit publisher based in Brooklyn, NYC, focusing on new poetry, translation, lost works, and books by artists. They have a swanky website featuring a host of equally swanky-looking book titles; and, what’s more, they’re open to new ideas and submissions at different points in time (for instance, they’re open to unsolicited submissions of new writing during May 2019).

Unthank Books

Unthank Books is an independent publisher founded in 2010. Historically, the Unthank is the unclaimed land at the edge of town, and that’s where this printing press resides, nurturing distinct and vibrant literature, both in the novel and short form.

Submitting to Unthank Books: To submit, in the first instance, you need to check online or via social media whether they are currently open for unsolicited submissions. If they are, and you have a piece of work no more than 80,000 words long, you should email the first 50 pages and a synopsis and covering letter to ashley.stokes@unthankbooks.com.

Verve Books

About Verve Books: A dynamic digital publisher, inspired by a love of great, original, page-turning fiction led by a team of passionate book lovers.

Verve Books Submissions: these fine folk accept new book submissions from new and established authors. Check out their guidance.

 

And a special shout out to a truly groundbreaking alternative publishing house…

Unbound Books

Innovative and unique in the publishing world, Unbound have a core mission to disrupt the publishing industry with fresh ideas that don’t fit the traditional mould. They combine Crowdfunding with traditional publishing expertise and processes (they have a team of editors, designers, and marketers, as well as a distribution team to ensure the books they publish reach new readers as well as those who back their projects). The end result is a publishing firm that genuinely creates radical and often unique books that readers and writers enjoy and benefit from.

Check out their list of published books via their online store; or go one better and pledge to support a couple of the fantastic projects they’re currently raising funds for. There are some really incredible ones out there, from poetic rhyming dictionaries for battle rappers, to books about Brexit, hills, feminism, deepwater diving and more – including this wonderful illustrated book, ‘Philosophers’ Dogs’, based on the idea that all human philosophers stole their ideas from their dogs.

Philosophers’__Dogs_2_3D.jpg

‘Who really is a good dog?’; ‘What even are tennis balls?’ ‘How can anyone ever be sure who ate the chocolate cake you left on the table?’ All these questions – and more – answered in ‘Philosophers’ Dogs’, just one of countless fantastic crowdfunding projects currently raising funds through innovative, award-winning publishing company, Unbound.

And, if you have an idea for a book yourself, they’re always keen to hear it. Information about how to submit your idea is available online.

 

 

Creatives in profile: interview with Sean Leahy

sean-leahy-3000x15000.jpg

Named as one of the ’50 Funniest People on Twitter’, Sean Leahy has built quite the following on the Twittershphere as @thepunningman. Appearing on Buzzfeed, Comedy Central, The Poke, Huffington Post, Funny or Die and TimeOut (among others), he has recently published his debut children’s book, The Monster Cafe via award-winning publishers Unbound. 

Illustrated by Hungarian artist Mihály Orodán, The Monster Café is a humourous tale that deals with pre-conceptions, pre-school excitement and pre-tty big monsters.

INTERVIEWER

Tell us about yourself, where you live and your background/lifestyle

LEAHY

I’m 36, and I live just outside the gates of Hampton Court Palace with my wife and two children. I earn a crust as a Graphic Designer, and have done for the past 15 years.

INTERVIEWER

Beyond writing and comedy, what are you passionate about?

LEAHY

Football, punk rock and Guinness. The order is dictated by Tottenham Hotspur.

INTERVIEWER

Who inspires you, and why?

LEAHY

Shepard Fairey (the mind behind Obey Giant), for taking something as raw as street art (despite my disliking that term) and punk and making a phenomenon out of it. And Jerry Seinfeld for doing the same with comedy.

INTERVIEWER

Was it always your intention to wind up writing jokes for a living?

LEAHY

Well, it’s not a living yet. I had a real interest in jokes, wordplay and the structure of comedy from a young age, and I had a real interest in ‘making’, be it art, design, writing, film, whatever, in order to get through the working day, rather than doing something I had no interest in.

INTERVIEWER

You’ve published The Monster Café, through Unbound books. Can you tell us a little about where the idea for the book first sprang, and how it evolved?

LEAHY

Having two children means I’ve sat through several kids books, and while there are loads of utterly brilliant and beautiful ones, there are SO MANY that are just complete and utter dog eggs.

It’s trite to say “Christ, I could do better than that”, but I think I have, and hopefully the kids agree.

INTERVIEWER

What’s your experience of publishing with Unbound been like?

LEAHY

The’ve been amazing. The book simply wouldn’t exist had they not afforded me the opportunity. They’re really interesting, in that they crowdfund all of their books, which allows the authors total creative freedom.

As designers, both Mihaly (the illustrator) and I wanted to be able to lay the book out ourselves, and we were able to do that and make all the decisions about how it should look. Once the money was raised we delivered the finished book to them and they made sure it was just as we envisioned it.

It’s taken a while, but we’re really pleased with it.

INTERVIEWER

It seems old hat to say it in some ways, but generally speaking the ‘mainstream’ publishing industry has been somewhat risk averse when it comes to championing and publishing new books that aren’t in someway “copies of novels that are themselves copies of previously successful novels”, as Julian Barnes once noted. What opportunities do you think Crowdfunding offers to aspiring writers with new, unique or otherwise quirky ideas?

LEAHY

It’s meant a lot. You just need to take a glance at a some of the books Unbound have published to see there’s a wealth of topics you don’t see on the shelves in Waterstones. Obviously they’re not only way to go about crowdfunding your book, but the fact they’re a publisher (and a respected one at that), means the buyers take them seriously too. They’re not just putting out any old rubbish, they consider each and every project that is submitted to them, but really champion those who don’t usually get given a voice in this industry.

INTERVIEWER

What makes a good crowdfunding project, in your opinion? And what should authors considering following this route themselves consider before starting their own campaign?

LEAHY

Make it stand out. You only need to scroll the length of one screen these days before you’re bashed over the head by someone asking for your money. Give them a valid reason to part with theirs, and make it colourful.

INTERVIEWER

Your creative partner in The Monster Café is Mihaly Orodan – could you tell us about your artistic partnership; how did you know Mihaly’s illustration style would complement your writing?

LEAHY

Mike (to his pals, and some enemies) and I worked together at a tiny creative agency just outside London. His main task was creating infographics and icons for super dry financial companies. But he also drew caricatures for all the birthdays and leaving cards. Once I saw what he was really capable of, I basically twisted his arm until he agreed to illustrate the book. He’s now has an agent and is working on his fourth book since mine.

His work is really incredible. To be able to put your full faith in someone to just ‘get’ what you want is quite rare, but that’s what I was able to do. I basically laid out the entire book with blank pages and small notes on what should be on each spread. I think I had three amends from the first draft he sent me. It was astonishing.

INTERVIEWER

You’re extremely active on Twitter – what role does social media have to play in the professional lives of artistic and established creatives? Is it an inevitable part of our world with which we must participate?

LEAHY

Twitter is the reason the book is here, make no mistake about it. I’ve been lucky enough to gain a decent following on there from writing jokes and little “micro-sketches”, and that audience has meant I had someone to sell the book to. Obviously friends and family make up a big part of who fund a project, but the fact there was an active group of people who enjoy my writing enough to subscribe to it meant I had more eyes to put the project in front of.

Quick fire round!

INTERVIEWER

How do you tell a good joke?

LEAHY

Start with the punchline and work backwards

INTERVIEWER

Curl up with a book or head to the movies?

LEAHY

I never get to go to the cinema any more, so definitely that.

INTERVIEWER

Critically acclaimed or cult classic?

LEAHY

Both have value, but I’ll go cult.

INTERVIEWER

Most underrated book/film?

LEAHY

The Red Dwarf novels

INTERVIEWER

Most overrated book/film?

LEAHY

On The Road – It’s SO short and I still couldn’t finish it.

INTERVIEWER

Who is someone you think people should know more about?

LEAHY

Jon Klassen. His children’s books, particularly I Want My Hat Back, are brilliantly dark and hilarious.

INTERVIEWER

Do you have any hidden talents?

LEAHY

I can clap one handed.

INTERVIEWER

A bad film review can sink a new director, whereas a good one can catapult someone from obscurity into stardom. Do you personally feel any ethical responsibility as a reviewer?

LEAHY

I am a very enthusiastic recommender. I will bore the ears off anyone that will listen about anything I love. There is value in criticism though, as long as it’s valid.

INTERVIEWER

Could you write us a story in 6 words?

LEAHY

She opened the door.
SURPRISE!
Goose.

INTERVIEWER

Could you give your top 10 tips for writers?

LEAHY

Write all the time.
Write again.
Read it back, twice.
You’re never finished.
Write again.
Tea and biscuits.
Consume everything, even the bad stuff.
Invite criticism.
Listen to criticism.
Write again.