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Dealing with money and totting up figures … It’s not exactly the first thing a writer imagines when they’re thinking about their next book. But if you’re self-publishing, you’re not only working creatively—you’re running a small business. If you want your business to succeed (because paying the bills allows you to keep writing, right?) it’s important to make sure that the ‘money’ side of things is all in order.

The business of writing

Once you’ve written your book and scheduled the release, the first thing you should do is to set up a business bank account.

A business bank account allows you to monitor the money you’re earning from your books. Apart from the satisfying feeling of watching the royalty money roll in, a separate account makes it easier for you to organise information for your accountant at tax time. It also means you know exactly how much money is available to cover production costs of your next self-published title.

Business bank accounts are a must for collaborative authors—the ATO requires separate bank accounts for partnerships. But the ATO also recommends a business account for any small business. Having a business account that allows you to accurately balance your self-publishing budget (you have a self-publishing budget, right?) is just smart financial sense.

The problem with Amazon

The main problem for independent publishers is that Amazon is a US company, so in every market except Australia, you’re being paid in foreign currency.

In the bad old days, Amazon used to pay Australian authors by paper cheque. Fortunately, those times are long gone, but now you have to be prepared to receive EFT (electronic funds transfers) from overseas. Almost every Australian bank wallops you with a hefty surcharge for foreign transfers—$15 to $50 AUD or more per transfer, in some cases. But you don’t want to be losing your hard-earned book royalties on bank charges, do you?

Solutions to the surcharge problem

Payoneer and PayPal are both financial services companies that provide digital payment and online transfer services. You can sign up for an account with one (or both) of these services, and direct your royalties into this account. Then, when you reach an account threshold that you determine, you can automatically transfer the money into your local Australian business bank account. Transfer costs are usually small (certainly smaller than with a direct transfer, although there will be fluctuations depending on the currency conversion rate and your bank’s processing or landing fees).

Use Payoneer for Amazon, and/or PayPal for other aggregators—you can do a comparison of Paypal fees and Payoneer fees to find a service you prefer.

Having a foreign currency account is also really useful for times when you might need to pay for book production services overseas—with a $USD account, you can pay a cover designer, order author copies from Amazon, or pay for advertising campaigns with US companies like BookBub.

Aggregators and other platforms

You can make the same banking arrangements with aggregators like Smashwords and D2D as you do with Amazon: provide the details of your PayPal (or Payoneer) account to accept foreign currency royalties, and set an appropriate threshold for automatic transfers into your local bank account.

If you’re published on other platforms individually—Kobo, Nook/Barnes & Noble, Apple iBooks, Tolino, OverDrive etc.—you can make a similar arrangement there.

Tax time! Oh, the joy

Yes, it’s getting closer to June as we speak—so it might be time to get your tax details in order. Luckily, you’ve now got a separate business bank account that lets you track different income streams, shows you how much you’ve really made in royalties, and allows you to monitor withdrawals that you might be able to claim as business expenses at tax time.

For pete’s sake, make a budget!

Every small business goes through financial ups and downs. We all love to write, to create enthralling worlds and beautiful words … but we’ve got to pay the bills too. Without a budget for book production costs, you might be tempted to blow money you’ve set aside for personal expenses. Don’t do that! Work out how much your costs are likely to be for each release—take into account editing, proofing, typesetting, cover design, promo and marketing—and stick to your budget. Successful budgeting could make all the difference to your writing career.

If you’d like more info about banking, budgeting and small business finance, the ATO are really helpful on the phone.

And if you’re still confused, I recommend you talk to your accountant—or a specialist accountant for the arts. Creative Plus Business (a great organisation for information about arts and business) has a good list of suggestions for arts accountants here.

Ellie Marney is a teacher and hybrid YA author. She lives in Victoria with her family, and her latest book, White Night (Allen & Unwin), was published in March 2018. Find her at www.elliemarney.com or on Twitter or Instagram.

The Emerging Writers’ Festival (EWF) has announced its 2018 program, which runs from 19-29 June in venues across Melbourne’s CBD and surrounding suburbs.

Timmah Ball, Tony Birch and Neil Morris will reflect on their ‘storytelling inheritances’ at the opening night event, which aims to ‘inhabit, question and critique our literary canon’. The opening night will also include the announcement of the winner of the Monash Undergraduate Prize for Creative Writing.

The National Writers’ Conference for industry professionals will run from 23-24 June at State Library Victoria. This year’s guests include the previously announced EWF ambassadors Melissa Lucashenko, Isobelle Carmody, Ellen van Neerven, Michael Mohammed Ahmad and Stuart Grant. For the first time, the conference will also give attendees the opportunity to pitch to publishers, editors and industry professionals.

More than 300 emerging and established writers, artists and arts workers are featured in this year’s festival line-up. Among them are writers Nayuka Gorrie, Melanie Cheng, Helen Razer, Ellena Savage, Emilie Zoey Baker and Maria Tumarkin; editors Michelle Cahill, Cosima McGrath and Hella Ibrahim; comics artist Rachel Ang; translator Alice Whitmore; and poet Shastra Deo.

Highlights from the rest of the program include a series of ‘speakeasy’ debates on the topics ‘money, sex and death’, which will also include dinner and roundtable options; a literary gig and performance event that brings ‘Afrikan artists together in conversation with First Nations and Pasifika artists’; a ‘Queer Icons’ party celebrating queer ‘histories and herstories and theirstories’; and an ‘intimate performance journey’ on the Blackbird boat along the Maribyrnong River.

The program will also feature a number of professional development opportunities focused on podcasting and criticism, as well as masterclasses for nonfiction and poetry.

‘Our aim with this program is to provide a bird’s-eye view of at least some of the staggering creativity, care and critical rigour that’s happening here in this moment,’ said festival artistic director Izzy Roberts-Orr.

To see the full program, visiting the Emerging Writers’ Festival website here.

This news story first appeared in Books+Publishing on 16 May 2018. Books+Publishing is Australia’s leading source of print and digital news about the book industry, keeping subscribers up to date with the latest industry news, announcements, job advertisements, events, trends and more.

Sydney-based literary organisation Subbed In is expanding its Chapbook Prize—previously open to NSW residents only—to writers across Australia.

Launched last year, the Subbed In Chapbook Prize aims to support emerging writers (including those who have not previously published a book) who are working in the forms of poetry, microfiction/nonfiction or ‘a blend of these mediums’.‘We hope to uncover and encourage voices not often heard and told in ways that push the traditional boundaries of form,’ Subbed In director Dan Hogan told Books+Publishing. ‘Last year we were able to publish three books, while this year we are looking to publish one manuscript’.Of the prize’s focus on microfiction/nonfiction, alongside poetry, this year, Hogan told Books+Publishing: ‘We love reading collections of microfiction/nonfiction. We view the form largely as writing for workers; most often workers don’t have the time or space to tell their story via writing a novel or three. We’d like to see more works of micro-writing published in Australia as we believe the medium provides space for people who may not consider themselves “writers” to tell their story.’

The prize is currently open for submissions until 1 July. To learn more about the prize, see the Subbed In website.

This news story first appeared in Books+Publishing on 20 April 2018. Books+Publishing is Australia’s leading source of print and digital news about the book industry, keeping subscribers up to date with the latest industry news, announcements, job advertisements, events, trends and more.

Teacher and former president of the Mathematical Association of Tasmania, Helen Prochazka, has an enduring love for mathematics that has seen her author a series of high school maths textbooks, as well as her latest book for adults, The Mathematics Book.

Prochazka spoke with Independent Publishing about her self-publishing journey.

Describe your latest book in under 50 words.

The Mathematics Book is a lavishly illustrated ‘how-to’ coffee-table book created for adults who ‘can’t do maths’. It gives readers the opportunity to improve mathematical skills while also showing them the wonders of mathematics and a global perspective of the role it plays in our society.

Why self-publish?

The book is a large format one with 376 pages that weighs in at 1.7 kg. It has over a hundred full-colour photographs and several hundred diagrams. The costs for a traditional publisher to do what I wanted would be prohibitive. I realised that the only way to make my vision happen was to give up full-time work, finish writing the book and self-publish.

What year did you start and where are you based?

I began writing the book in 2010, in a tiny almost sea-side bungalow on the Mornington Peninsula. The deprivation and the romance of several months of living like that made me feel like a ‘real’ writer! But most of the six years it took to complete the book were spent in my home state, Tasmania.

How many people did you contract on your book and what did you do yourself?

The only person I contracted was a great Hobart graphic designer, Clare Bradley. She created the overall book design and cover and then worked as a consultant, helping to turn my rather crazy dream into a reality!

Excellent editing is essential for any book, and the recognised wisdom is to not rely on family or friends. However, I was lucky enough to have four people amongst my family and friends who had the expertise to carry out the various types of editing. One even had the maths knowledge and fortitude to check the answers to more than 2000 problems contained in the book!

Everything else, from drawing the diagrams to indexing, I did myself.

What makes your book unique?

The book has been structured in layers, with each layer telling a different ‘story’ about mathematics. The theory and exercises layer is the most important one but is made as unobtrusive as possible, given that the target audience is inclined to be maths-phobic!

Other layers include the history and context, quotes expressing the views of others, and images to illustrate the amazing nature of mathematics. The final layer is a sequence of 14 poems which give an overview of the book’s contents in rhyme.

This has all been packaged up into a big glossy book that models the essence of mathematics—patterns, harmony, beauty and applications. There is no other book like it.

What has been your biggest success?

Without a doubt, the biggest success is hearing that The Mathematics Book has made a difference to someone’s life in some way.

However, running a close second was seeing the book in the number one nonfiction spot in a major Tasmanian bookshop for almost three months. It was quite surreal to see books by famous authors occupying the same shelf, unable to knock a maths book from the prime position!

What has been your biggest challenge?

The page layout was a major challenge. It took a month to roughly work out what would fit where and almost two years to fine-tune the contents. This stage was punctuated by periods of utter joy and times of deep frustration.

A word would be deleted or a sentence added to make the typography more aesthetic. Diagrams would be altered to better fill spaces. And if the maths itself did not look good on the page, it was changed. The process was organic and the manuscript was very much a work in progress until almost the very end of the layout.

What would be your top tip for those starting out in self-publishing?

My top tip is to join ALLi—the Alliance of Independent Authors. As a member you will have access to numerous resources and the combined knowledge of more than a thousand fellow indie authors that will assist you to produce an industry standard book and learn the skills to market it. ALLi support will help you get through the tough times and when you succeed, they will be there to help you celebrate!

What will you publish next?

Another part of my maths vision has already been produced—a music album, More than Numbers, based on the poetry from The Mathematics Book.

The next goal is to publish some smaller books that complement the book. The first two in the series will be titled The Pure Mathematics Book and The Applied Mathematics Book.