Authors write in isolation and we read in isolation and yet books can bring us all together. Literary Festivals shatter the wall between writers and readers as they meet to explain, question, and enjoy the power of words and ideas. The Lakefield Literary Festival is widely respected for bringing writers and readers together for over twenty-five years.
It began small. Its founding spark was the acknowledgement that the Lakefield area has a thriving arts community and was once home to pioneer authors Catharine Parr Traill and Susanna Moodie and, from 1974 to her death in 1987, renowned Canadian writer Margaret Laurence.
In early 1995, Ron and Joan Ward purchased the modest Lakefield house in which Laurence had lived with the notion of creating a writers’ retreat. While that idea failed to materialize, the conversations about honouring Laurence morphed into a two-day event that July that involved a walking tour and performances, readings, and musical selections at a banquet in the dining hall of Lakefield College School. CBC Radio host Shelagh Rogers was the banquet’s master of ceremonies.
The event’s success led to the formation of a group of volunteers who created what became the Lakefield Literary Festival. The enthusiastic group was led by Shelley Ambrose and Brenda Neill. At that time, Ambrose was the personal assistant to CBC Radio personality Peter Gzowski and summered at a nearby cottage. Neill was a retired teacher and long-time Lakefield resident. They were the perfect team as Ambrose’s connections to Canada’s cultural community brought attention and noted authors to the festival and Neill’s local ties inspired a group of eager volunteers. An early sponsor was Quaker Oats, located in nearby Peterborough, with generous donations from many local businesses and individuals.
From those humble beginnings the festival grew. Its mandate became: To commemorate Catharine Parr Traill, Susanna Moodie, Margaret Laurence, and our community’s ongoing literary heritage; to showcase Canadian authors; and to promote the joy of reading among children and adults. A Board was formed and the festival was incorporated as a non-profit organization. The festival has no staff. While authors and those attending the festival come from across Canada, it remains a grassroots organization, run by dedicated volunteers.
The festival came to involve free readings for children in the downtown Cenotaph Park in what became known as the Children’s Tent. There were readings in a local church on Sunday morning, a Village walking tour, a reception, and a Young Writer’s Contest involving students from the area’s secondary schools.
A range of noted authors entertained and challenged audiences including Margaret Atwood, Richard Wagamese, Andy Barrie, June Callwood, Michael Crummey, Michael Enright, Terry Fallis, Douglas Gibson, Graeme Gibson, Charlotte Gray, Lawrence Hill, Wayne Johnston, Thomas King, Roy MacGregor, Linden MacIntyre, Alistair MacLeod, Rohinton Mistry, Lisa Moore, Michael Ondaatje, Adam Shoaltz, Paul Quarrington, Nino Ricci, Bill Richardson, Noah Richler, Drew Hayden Taylor, Jane Urquhart, and many, many more.
In 2019, the Lakefield Literary Festival celebrated its 25th Anniversary. The next year, the COVID-19 pandemic shut down the world. The Young Writers Contest continued but the festival was suspended.
The festival will return on July 14 and 15, 2023. It will celebrate its core elements with author events on Friday night, Saturday afternoon, and Saturday evening, the Children’s Tent on Saturday morning, and the Young Writers Contest. The adult author readings will take place at the United Church on Regent Street, each followed by authors signing books and a reception in the church auditorium.
In 2023, the festival will continue its dedication to commemorating the area’s literary heritage, celebrating authors, and promoting the joy of reading. The Lakefield Literary Festival’s history is still being made by those who write, those who read, and by the power of the connections between them.
My first book was published a number of years ago and I am now working on what will be my eighth. I’ve seen a lot of changes in the publishing industry over that time but the most essential element remains the same as it’s been since Gutenberg invented the printing press. An author sits alone with the seed of an idea and a reader sits alone enjoying the fruit of that idea. It’s only the middle bit between those solitary acts that has changed. Here’s what I have learned.
If you want to write, then go ahead. It’s like Yoda said, “No try, do. Do or don’t do. No try.” There are many ways to get started and the easiest is to set up a free WordPress webpage and begin blogging. Write about what you know. Develop a theme. Forget how many people click to read it, that’s not what it’s about.
You are writing not as a sprinter on race day but a marathoner in training. Build writing muscles and skills by using them. Read authors you admire. Then read those you don’t. Treat them as teachers. Then write more. Someone who is not writing is not a writer. They are someone who either has written or someone with a dream but no plan.
(Iconix Brand Group Inc)
Printing and Self-Publishing
Printing is often all many people want. For example, if you want to write a history of your family that no one but your family will probably read then find yourself a printer. They will help design, and then print and bind as many copies as you wish of whatever you give them. Be sure you have at least five people proof-read your work or even hire a professional editor to save yourself the embarrassment of errors that will live longer than you.
Self-publishing is becoming increasingly prevalent. It’s tough as you must essentially become your own publishing company. It demands a lot of work which means hours away from your writing. However, if willing and able to take the risk and do the work, the reward could be your book appearing on Amazon and other online sites and generating sales.
Publishing houses understand that they are making art and making money but if they don’t do both then they can’t do either. Accept that. Many small houses will accept unsolicited manuscripts – over the transom, as the saying goes. Larger houses, and there are fewer of them as they have been shuttering or swallowing each other, will only accept manuscripts from agents. Agents and houses will not be interested in a whole book, just a proposal.
If you want to write a book, then don’t write a book. That is, develop your idea for a book into a proposal for a book. It is a two-page sales pitch. Be succinct in explaining why anyone would want to read your book and why a publisher will make money by publishing it. A novel’s proposal is more straight forward but a non-fiction proposal’s subtitles could be: Elevator Pitch, Argument, Market, Author, Table of Contents. If you are a first-time author you will probably also need a sample chapter. Have a couple of people read and edit your proposal. Be sure it is not someone who loves you or will not be harshly critical for you want unburnished opinions now, not later. Then find yourself an agent.
Get an Agent
Scan the web and you will find lots of agents. Or, go to a bookstore, if you can still find one, and look at the acknowledgement pages of books like yours and see which agents are being thanked. You only want to approach an agent who specializes in your kind of book. An agent is the liaison between you and the publisher. If your proposal is any good, an agent may take you on as a client. A contract will be signed in which the agent will get around 15% of everything you make.
She will then be like your best friend, supporting you or kicking your backside depending on which you need most at the moment. She will help to hone your proposal and make it better than you thought it could be. She will then approach publishers attempting to have them take it on. She will negotiate an advance on royalties and contract with them. Meanwhile, you concentrate on your writing.
The Publishing Contract
Famous people sell a lot of books and so they get huge advances that can sometimes be in the millions of dollars. First-time authors, however, can expect between $5,000 and $20,000. You should not get too excited, though, because the money is there to pay for expenses incurred while writing the book and it is later deducted from royalties earned from sales. Most authors will earn from 8% to 12% of the book’s sale price. The contract will establish when the finished draft manuscript must be submitted. Now you must actually write the thing.
There is always time. I am up and writing each day at 5:00 am. The sane world is still asleep so there are no emails or calls, just me, tea, and the muse. Even if the muse doesn’t show up some mornings, I am there doing what feels like a punch-the-clock effort but at least I’m there. I run and take long walks without music and it is there the real writing takes place. When in my office, I am usually just typing what I have already written in my head. The best secret as to how to get words on a page is to get your ass in a chair.
Kurt Vonnegut once told students that anyone can write. To be a writer, though, is to write something then rewrite it, and then rewrite it, and then re-write it again. Then, when it is absolutely perfect, re-write it three more times. You should do this before submitting the manuscript. When you do, you will be assigned an editor. This is your other best friend or perhaps like your best high school teacher. He will take your manuscript and mark it up noting where the structure should be improved or grammar fixed. You will go back and forth a number of times until finally, you are on the phone or in an office going through the entire manuscript one sentence at a time. It will then be sent to a proofreader who will, hopefully, find all the little mistakes left for you to fix.
It’s a glorious feeling. A box will arrive at your front door and inside are the dozen or so books that your publisher sends you for free. There it is. After two or three years of solitary work and then months of editing it is finally a tangible thing. The verb has become a noun as your writing is a book.
Your publisher will assign a publicist. She will do all she can to sell you and the book. You may be interviewed on radio or TV, do speeches, or appear at literary festivals. You must be ready to explain your book in twenty seconds, or ten minutes, or an hour. You must never be ashamed by shameless promotion. You are no longer in the business of writing. You are now in sales. This will involve your engagement in social media for you must take on a lot of the marketing work yourself.
You will need to grow the hide of a rhinoceros because there will be those who will not like your book. You may get trashed in a review. You may have no one show up for an event. Your book may be ignored altogether. All you can do is your best and keep smiling.
Dividing Your Brain and Time
Usually, several months or even a year may go by between your having submitted the final draft manuscript and the publication date. While editing that one, you will be writing your next one, beginning with the idea and proposal. You will then be in the odd position of talking about your first book while all your brain really wants to focus on is your next one because your first one, to you, is already two or more years old. It’s an interesting dance.
About five to ten years ago, it was predicted that book sales would plummet. They did not. There are actually more people buying and reading books today than ever before. Even the sales of physical books have become relatively stable year to year. Even if physical and e-book sales are combined, the sales of nearly all books are relatively low. There are only a few HarryPotter like hits each year. They allow publishing houses to publish all the others. One can have a Canadian best seller at 6,000 – 8,000 copies. That is why nearly all writers have other jobs. Most teach or are journalists but there are a lot of writing waiters.
Like in the music business, there are a lot of people doing it but only a few making a good living. That said, if all you are interested in is the money then forget it. You probably won’t make much and you will probably not be much good because you are in it for entirely the wrong reason.
Writers understand and live for the warmth of a well-written sentence and cogently constructed argument. Margaret Atwood once observed that you know you are a writer when you are writing in July about a winter scene and then after an hour lost in creative thought you look out the window and wonder what happened to all the snow. Good luck. I’m pulling for you.
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