My Friends Are Dragging Me Kicking and Screaming Into Facebook

So you see, though I've got a page on MySpace and a page on Facebook and a page on Bebo and a page on YouTube, and a page on Ning (bet you haven't heard of Ning) I was only doing the social networking lark as RESEARCH.

Honest!

My main photo-sharing thingy is Multiply, which a lot of people haven't heard of and that's because it mainly populated by my family and friends in the Philippines and frankly, I was happy to keep it that way.

The main thing I've learned from social networking is that the "social" is just as important as the "network". You can network meaninglessly with as many people you don't know as you want on MySpace, on the off chance that someday you will need to tell all these strangers that you've published your book. But there's nothing like a network that actually interacts with you - it takes years of blogging to get more than four comments (unless you join the Nude Blogging Movement, and then you get an instant fan base).

Or not.

I find Multiply the most rewarding because it's where my "social" is ... I only have to put one silly photo up of my husband and within seconds I have 27 pithy comments from my best friend in Washington and 27 comments from my brothers and sisters in Manila (there are many of us), discussing in detail every aspect of my husband's nose, ears, hair, etc.

It's very rewarding (unless you're my husband).

Anyway, my Facebook contacts may have already noticed that I have increased activity on Facebook. This is because my Multiply friends are slowly moving to Facebook. So now I have to go on Facebook to leave insults on their albums. Boo!

Meanwhile, one of my fave YA authors John Green (Abundance of Katherines) posted this fab link imagining HAMLET's newsfeed on Facebook!

This brilliant cartoon by Nick Anderson of the Houston Chronicle

AND here's an image of VP hopeful Sarah Palin that I took off the facebook page of Maureen Johnson (Suite Scarlet, 13 Little Blue Envelopes). Yup that's a bear. And yup, that's a giant crab. It really focuses the mind on the coming US elections.


THESE are the things that make all that wasted time on Facebook seem worthwhile.

Having Sold My Soul to Google Will There Be Anything Left to Sell to Amazon

I lifted these from
TheChetan.com.
Thank you!

It was Google's tenth birthday yesterday and I feel almost nostalgic.

I've pretty much sold my soul to Google ... my browser opens straight onto my iGoogle page so I can check out the latest things on my friends' blogs and my news subscriptions, I search the net with Google, I search my computer with Google Desktop, I keep my calendars on Google Calendars, I use Google Docs for my spreadsheets, I blog on Blogger (which belongs to Google), I even have a Picasa account (Google's photo service).

Google itself says it isn't quite decided when to celebrate

Google opened its doors in September 1998. The exact date when we celebrate our birthday has moved around over the years, depending on when people feel like having cake.

So happy birthday, Google, whenever you decide to have the cake!

Having sold my soul so comprehensively to Google, I wonder if I have a little something left for Amazon. Ebooks have been in the news with the recent launch of the Sony Ereader. The one I've got my sights on is the Amazon Kindle.

Some folk might accuse me of being party to the death of the book, but I'd rather take a cue from the FT Weekend's Jan Dailey:

So is this, finally, the death of the book? If so, it may be a death that heralds a rebirth of reading

Dailey predicts that digital readers will revolutionise not just the way we read books but the way they are published - indeed, we may have to re-invent the agent-writer-publisher relationship:

It’s more likely, though, that these devices will mean a substantial shift in the way books are published. Conventional publishers of treeware will be under pressure to create every title in e-book format at the same time as on paper; they’d be crazy not to. Soon the e-book market may overtake the other. And in that case, who really needs the publisher?

Writer’s agents are the principal quality-filter these days, as well as increasingly responsible for the editing that most British publishers no longer bother with – so what is to stop writers and their agents doing deals directly with (say) Sony/Waterstone’s? And if a few libraries and Luddites and the author’s mum want a paper version, that can be easily arranged in small-run special editions.

But I have no intention of abandoning the purchase of books.

Like Dailey, who writes how she "used to hug one in bed instead of a teddy", my family has a long history of bedding down with books.

Here is picture of my daughter Mia, age 2, sleeping with Jill Murphy's Peace at Last - such a lovely book, I am always giving away copies as presents!

Funnily enough, the thought of books was high on my mind this weekend. Husband has just finished an epic DIY job of installing these book shelves and I've been dusting off the books we've got in storage and putting them up.

The epic DIY job, finished at last.

A lot of these books have been tucked away for ages and suddenly I came face to face with these books from my childhood.

A set of Collier's Junior Classics (1962) and The Children's Classics (1961)

My parents purchased these sets from the Reader's Digest man who used to sell them from door to door in Manila. I smuggled them back to England from the Philippines in my hand carry luggage one year when my bookish brother (who would have nicked them first) wasn't looking.

I could of course, purchase most of the classics in the set from any Borders or even from Amazon. But there is a special something about these books, yellowing and ragged with age and survivors of typhoon flooding and childish ill-use. When I flick through them again, I am transported back to that FIRST time I read them, the thrill of the Prince and the Pauper or Tom Sawyer or Heidi or Robin Hood or Black Beauty unfolding for the first time.

And that's why I will never stop buying books.

Even after I get myself a Kindle.

SCBWI's Agents Party ... How Nobody Was Bitten ... Plus Some Monster News

Last night was a big night for British SCBWI people, the Agents' Party is one of the truly packed events on the SCBWI calendar - an opportunity to look Rejection and/or Success in the eye.

But if there was trepidation in our hearts, we tried not to show it:


In fact some of us looked positively gleeful:


Indeed we were hilariously joyful despite the nerves fizzing all over the room!

On the panel were two artist's agents and two literary agents (there were supposed to be three but one had to drop out because of a personal emergency).

This was my fourth Agents Party - and yes, yes, I have an agent, but who else was going to take the pictures and write up the report ... okay, I admit it, I just love going to SCBWI events and getting together with all the people. Sad I know.

Anyway, though there were some people who didn't make it at the last minute, the pub was absolutely packed!

The agents very kindly didn't bite anybody, and the audience had the restraint not to offer the agents full body massages (yes, some of us are that desperate).

In attendance were:

Illustrator Agents - Edward Burns of Advocate Art and Mark Mills of Plum Pudding.
Author Agents - Daniel Neilson of PFD and Eve White, who is a solo agent.

Edward Burns (right) described his clients as "artists who can look after themselves" - "professionals who are sending their children through school".

Mark Mills (left), who is married to the art director at Little Tiger Press (cozy!), said his agency plan to set up in US and France.

The bad news for illustrators is that editors are becoming more choosy, "The price of oil affects the price of paper and the price of paper affects what publishers do," Mark said. "The net result is we have become more careful of the kind of artist that we take on."

Interesting though that the illustrators' agents take 30% commission while the author agents take 15%.

The author agents had some good news for picture book writers ... PB texts are selling again (hooray) - Daniel said: "PB texts are selling very, very well. We are looking for picture book texts that revolve around ethnic backgrounds such as African and Asian stories." How refreshing after the dire PB is Dead stuff we were hearing all of last year.

As it is every year, books for boys are much in demand - "For me, humour goes a long way," Daniel said.

Eve White (pictured below) tells the story of Andy Stanton who was working his way from A to Z in the Writers and Artists Yearbook with little success. After five or six rejections, he gave up on A to Z and started working his way through the list from Z to A, eventually finding Eve's agency.

"He phoned me and said what do you think of this book? I said it sounded wacky and probably very difficult to get published," Eve said. "But I loved it and he sent me the rest of the mansucritp and I said, don't talk to any other agents until I have finished it."

The result was the award-winning You're a Bad Man Mister Gum.

And that is definitely NOT You're a Bad Man Mister Gum, in the picture but From Where I Stand by Tabitha Suzuma.

There is more of course but I've got to rush through this blog post so I can bake a chicken. Sorry. Hopefully Anita Loughrey, who was spotted taking copious notes will blog about the rest! Sue Hyams blogged about it hours before I wrote this on her excellent new website - in a post interestingly titled 'Too Busy To Write' ... she should add: 'But Not Too Busy to Blog' ... Sue organised the Agents Party - thank you, Sue!

On another note, how serendipitous that last night's Agents' Party happened the night before the formal launch of Authonomy - Harper Collins' social networking site designed to spot the gems in the slushpile. It's been in beta for three months and now it's live ... it works on the basis of aspiring writers reviewing each other on the site and supposedly will save editors the need to actually read their slushpile.

Former slushpile reader Aida Edemariam wrote a piece in the Guardian with the cute title File it in the Bin (hollow laughter) and describes the business of spotting talent from a stack of submissions as a "deeply fallible system":

The slush pile is the great awkward albatross of the publishing industry. Writing must come from someone, and go to somewhere, and not everyone has a friend whose boyfriend happens to be editor of a literary imprint: every day someone decides that there's nothing for it but to post their precious manuscript to someone they've never met, at a company that is receiving stuff from people like them all the time. And even in the best-case scenario - where every word of every submission is read - it is a deeply fallible system.

Rebecca Swift of The Literary Consultancy pointed out that

I think to leave it completely to peer management might be fantastically chaotic.

Which pretty much evens out the score:

No less chaotic, some would argue, than taking pot luck with a student on work experience, or an overworked editor who might be having an off day. Publishing is, in the end, a triumph of hope over logistics.

And now, having done my duty and reported on the Agents' Party, I must bring you the incredible and much more important news that my friend, Fiona Dunbar (The Truth Cookie, Toonhead) has this summer been seen with the Loch Ness Monster!