With the Man International Literary Festival almost upon us, an inspired Bong Miquiabas finds out how to get a book published in Hong Kong.

See also: Writer Beware?

Veteran novelist Nury Vittachi (mrjam.typepad.com) knows the Fragrant Harbour is wanting in talented English-language authors. Pressed to name a rising star, he politely smiles and says, “Hong Kong is not at that stage yet.”

But that doesn’t mean Hong Kong’s most commercially successful author is pessimistic. When he pitched the idea of an Asian literary prize to executives of the Man Group, title sponsor of the world-renowned Booker Prize (www.themanbookerprize.com), Vittachi used the following logic: “I said, ‘We need to bring two anomalies together. We need to bring 62 per cent of the world’s population to a greater representation in literature.’ Asian writers’ presence in the English language is miniscule.” The pitch succeeded, and, since 2007, the Man Asian Literary Prize (www.manasianliteraryprize.org) has recognised the best Asian literary novel as yet unpublished in English.

While some of us may long for literary prizes, many more of us simply dream of publishing a book for mass consumption. For many, the stumbling blocks are as fundamental as choosing a topic and understanding the steps towards publication. We spoke to several members of Hong Kong’s publishing industry to address how one gets a book commercially published.

Choose a subject
Vittachi, who has published more than 30 books over the last two decades, offers this advice for getting started: “Capture universal themes while being local and unique.” He says his books have been praised for use of English with local flavour.

Dania Shawwa of Haven Books (www.havenbooksonline.com), an independent publisher of Asian-themed tomes, echoes Vittachi’s sentiments about writing something that is “relevant locally.” She suggests that clues to the public’s appetite are sitting on our store shelves. “Poke around the bookshops and see what else has been published.”

Look closely and you’ll probably find something by Xu Xi (www.xuxiwriter.com), a celebrated US-based novelist who draws upon her Hong Kong upbringing in her work. Xu advises aspiring authors to go beyond the maxim of writing about what you know. “Discover what you don’t know, not only through reading, but also through going out and experiencing the world,” says Xu. “It’s the people you meet. You can get yourself out of your own life and into that of someone else. Writing is a chance to search your imagination.”

Those needing help to decide on the type of book they should write (fiction or non-fiction, for example), would do well to heed the insights of Pan Macmillan Asia’s (www.macmillan.com.hk) managing director, Daniel Watts. Watts’ international publishing house is one of the largest in the city. “Children’s book sales now comprise 60 per cent” of the publisher’s total turnover in the Asia Pacific region, he says. “The obvious connection with children’s books and education is a main driver of this trend. [Also], non-fiction works in English can sell better in Asia than in the Western markets, and non-fiction works have better longevity in the bookstores than fiction,” Watts adds. He gave the example of a self-help book Pan Macmillan will release this spring in Hong Kong that applies Confucian values to modern society. The book has already sold over five million copies in China.

Find a publisher
Watts says Pan Macmillan has “definitely noticed a growing interest in Asian writers, particularly from China.” Accordingly, Pan Macmillan and other international publishers like Penguin Books and Random House would be logical places for aspiring authors to approach.

However, despite the superior name recognition enjoyed by international brands, there are plenty of local independent publishers worth investigating, too. Pete Spurrier of Blacksmith Books (www.blacksmithbooks.com), which specialises in Asian-themed non-fiction, sees a level playing field once a book hits the market. “You could have a book by a first-time author sitting on a shelf next to an established best-selling author from a major publisher,” says Spurrier, a 15-year industry veteran. “It’s a matter of presenting something in a way that seems original and interesting.”

Jo Allum, of local children’s book specialists P3 (www.ppp.com.hk), cites the personal touch as a definite upside of dealing with independent publishers. “We’re not just looking at commercial gain,” she says. “You can talk directly with us. We have great relationships with bookshops in Hong Kong.” But Allum concedes there are inherent challenges. “It’s harder for independents because of the pull the major publishing houses have. They can negotiate big deals.”

The pitch, part one: complete and clean
Once you’ve identified your publisher, you’re ready to pitch – provided you’ve written part or all of a book. Many writers are unsure how far to proceed with their work before pitching. Complete the magnum opus, or just write one gripping chapter to entice a publisher?

Vittachi says there is an unwritten rule distinguishing fiction from non-fiction. “If it’s fiction, you need to deliver the whole manuscript. Chapters are okay in non-fiction.” Anyone can write part of a novel, he explains.

As for the pitch itself, clean copy is the rule. Watts of Pan Macmillan says “a strong, original story that’s supported by an outstanding quality of writing” is absolutely critical, joined by “a clear and simple synopsis and proposal.” An ability to articulate why a book will sell is vital, too.

“Attention to detail,” Allum advises. “Make it easy. Don’t bring me something handwritten or sloppy.” And if you’re using the same template letter for several publishers, be scrupulous about customising each letter. Allum recalls one pitch that listed a rival publisher’s address in the cover letter. Attentiveness matters also in remembering who else might see your letter. “For children’s publishing, depending on the age group, you might be pitching to parents,” Allum says. “That’s often forgotten. You must make it stand out for parents.”

Spurrier says it’s essential for authors to do their homework and try to understand where a publisher is coming from. He says he receives over 500 submissions a year and can publish only eight of them. “When I receive a manuscript, I want a clean paragraph explaining the story in a way that makes me think the author can write in an interesting way.”

The pitch, part two: quality, luck, and help
Justin Hill (www.justinhillauthor.com), an award-winning Hong Kong-based novelist who teaches writing at Hong Kong University, says writers should have an eye to crafting pitches and excerpts so compelling that they “should not give a publisher a reason to put down the manuscript.”
Allum observes that a successful pitch can turn on serendipity. “A lot of it is luck as to what sparks the publisher’s interest. It’s about having that one little thing that makes people think it’s original.”

Some may hesitate about the costs incurred by hiring an agent, but Watts says they can be of great use in navigating the process. “An agent can really help get an author in the door of many of the big houses, and also help find the right editor who’ll support and champion the book in house.” Otherwise, he says, “Unsolicited works rarely make it to the desk of the decision makers.”

Once pitched, Shawwa preaches patience and persistence. “By the time I read the e-mail, it may not get read right away. Our phone number is available to check on progress.”

And if you’re successful, Allum says don’t expect your duties to end with writing. “You need to be able to make time to help promote it, too.” Spurrier agrees, “The days of wilting lilies are long gone. Readers want to know something about the author, want to know you’re willing to stand behind your words and get out there.”

If at first you don’t succeed…
For every successful pitch, there are countless rejection letters. Xu Xi describes her path from marketing executive to full-time writer as “long and arduous.” She and everyone we contacted for this story had the same advice for the unsuccessful: keep at it.

For one thing, resources abound. You can join a writing seminar like those Lawrence Gray offers at the Hong Kong Writers’ Circle (www.hkwriterscircle.com), a group that gathers regularly for creative and business workshops. “We’ve done workshops on how to put together a book proposal. We help you learn the business,” says Gray.

You can also try to land your work in a publication like the Asia Literary Review (www.asialiteraryreview.com). Created specifically to showcase short stories, poetry, travel writing, and memoirs, the English-language quarterly journal offers budding writers a taste of publishing, and invaluable exposure. As contributing editor Hill says, “The Asia Literary Review is almost unique in offering Asian writers a serious place to publish their writing about this region, with unknown writers sharing the pages alongside some of the most famous writers in the world.” Founded by Vittachi, the Review sprung from the latter’s earlier compendium Dimsum.

Another option is to consider an academic programme. While the master of fine arts degree in writing is currently not offered in Hong Kong, there are other courses targeting writing, such as those led by Hill at HKU and Vittachi at Hong Kong Polytechnic.

Shawwa says feedback from pros and peers is indispensable, yet increasingly rare from ever-busier publishers. “You’ll be able to improve to the point where you can publish. It’s just a useful exercise.” Other services Shawwa mentions are online services and hiring an editor. “At the end of the day, someone could have a great story that just needs to be worked on.”

Vittachi’s encouragement is blunter. “Most take book-writing from the angle that it’s difficult. It’s not. The infrastructure is now here. Ten years ago it wasn’t. We’ve got book prizes, we’ve got book festivals, and we’ve got publishers. All we need are books. So get off your butt and write!”
 

See also: Writer Beware?