How to succeed in writing competitions, agent and publisher assessments and networking, with Tina Clark, CYA conference coordinator

Tina Strachan interviews author and CYA Conference coordinator Tina Clark about how the CYA writers and illustrators conference helps aspiring and emerging creators secure publication through competitions, bootcamps, and agent/editor/publisher assessments. Clark explains her motivation to centralize trustworthy industry information and protect writers from predatory services, and she outlines CYA’s hybrid format, including online bootcamps, in-person July sessions, and a rooftop networking event at the Pullman Hotel. She details how bootcamps work in small groups with editors, how competitions provide two sets of blind-judged feedback and shortlist entries for a final publisher/editor decision, and gives practical submission tips like strictly following guidelines and formatting headers/footers. She advises not to argue with editors in assessments and emphasizes her top tip: finish the book—“bum in chair” writing. 

The Debut Spotlight for this week is Katie Hoskins and her debut novel 'When the Party's Over'.

00:00 Podcast Intro
00:56 Meet Tina Clark
06:38 CYA Origins
08:06 Shadows of Africa
12:20 Why She Champions Writers
16:15 CYA Overview
16:46 Bootcamps Breakdown
24:21 Debut Spotlight: Katie Hoskins
25:36 CYA Competition Dates
28:09 Judging Process
33:29 Prizes And Growth
35:24 Publisher Feedback Limits
35:46 Follow Submission Guidelines
37:35 Formatting Pitfalls
39:42 Why Assessments Matter
43:01 Submit the Opening Pages
45:49 Networking Not Pitching
46:58 Never Argue With Editors
48:50 Success Stories And Notes
55:26 Conference Day Options
57:07 Panels And Program Highlights
01:02:00 Rooftop Networking Night
01:03:14 Bum In Chair Finale

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Transcript

0:00

This is the Book Deal podcast where you will discover the inspiring stories behind your favorite books. We interview seasoned and debut authors, as well as publishing industry professionals to bring you the best tips and advice on how to get that elusive book deal. So no matter what stage of writing your at. We've got you covered. I'm Tina Strachan. I'm Madeleine Cleary. And I'm Natasha Rai. And join us as we pull back the curtain of published authors one deal at a time. The Book Deal podcast acknowledges the traditional owners of the land and waters, which it's recorded on and pays respect to their elders past, present, and emerging.

Tina Strachan 0:56

Hi everybody, it's Tina Strachan here, and today I'm delighted to bring you an interview with Tina Clark, the coordinator of the CYA Conference for writers and illustrators. Not only is Tina an author in her own right, but she's passionate about championing, aspiring, and emerging authors on their journey to publication. She's got a fantastic track record for success with the CYA annual conference, responsible for multiple book deals each year. In this interview, I ask Tina, or the important questions for anyone, anyone entering any writing competition, participating in an agent editor or publisher assessment, or attending a conference or bootcamp. I pick her brain on the dos and don'ts and what you can do to get the most out of your submissions and become a success story yourself. The CYA conference is held in July this year, and at the time of this episode going to air. There are still some agent editor and publisher assessments and bootcamp spots available, and the competitions are open for another few weeks. So consider this your sign to back yourself, put your work out there and submit it for the competitions or assessments today. Good luck. Tina Clark it's so great to have you here today on the book Deal podcast.

Tina Clark 2:14

Thank you Tina Strachan

Tina Strachan 2:16

Oh, thank you so much for, uh, for making the time in your very busy schedule because I know how busy you are. Um, but I really wanted to chat to you today and I know all our listeners will be very keen, for this, uh, episode to listen to, your advice, because I

Tina Clark 2:33

dunno if they like my, but there we go.

Tina Strachan 2:36

It's incredible advice. Yes. They'll, because a lot of our authors are aspiring authors. Oh, sorry. A lot of our listeners are aspiring authors and I actually feel like you're a little bit of an emerging writing fairy godmother.

Tina Clark 2:51

I seem to have inherited that title, haven't I? This was very godmother. Like, I can sprinkle magic. It's like, it's so, it's so true.

Tina Strachan 2:58

Well, I love it. I feel like you do sprinkle lots of magic on lots of authors and, um, because without you and your hard work and your team, um, like there'd be lots of including myself, um, authors who wouldn't be, and illustrators who, who wouldn't be published today. So I really want to, yeah, have a big chat you about that and that's

Tina Clark 3:18

important. You said. My team, I do have a amazing team behind me, obviously my beautiful husband, and then we have like the team on the day that, and often we just, you know, we all chat and stuff, which is really lovely. So, you know, although, you know, it's, it's basically me makes the final decision. Although Sean loves to think he does, it's like, it's always just, um, yeah, it is. It is, it is good. Yeah. And I, I do appreciate my team a lot. Uh, I do love them.

Tina Strachan 3:45

Yes, they do work very hard and that's what I love. Um, so obviously, uh, you are, you know, the lead organizer of the CYA conference, uh, each year or the C conference. So it's it's authors and illustrators conference. So very big, very important. A lot of work goes into it, which we're gonna get into. But yes, definitely your team is incredible. Also a lot of volunteers that are helping on this as as well. Yes,

Tina Clark 4:09

yes. It couldn't happen if, if it if wasn't volunteer time, it just, it would not happen. Yeah. So I think that's a, a big thing with, um, with, with the writing industry and, and that it is volunteer time is what makes. Things like CYA happen.

Tina Strachan 4:23

Yeah. It's because we're all so passionate, aren't we? And writers are author awesome.

Tina Clark 4:28

I think we're a nice bunch.

Tina Strachan 4:29

Yeah, we're pretty cool. So, but it's not just the CYO conference that you run though, Tina, you also run The Writers at Sea, which is a cruise for writers, which you've actually only just returned from.

Tina Clark 4:40

I did. I did. And it's, it is for all my sons I know. We, we, we decided to do that. So one of my really good friends, Ali and Claire and myself, we, um, were chatting the one day and we both love cruising. We were saying how much we wanted to do something on ships and riders at Sea got born. And I'm one who always takes ideas and runs with them. And so we, we run it at sea as well, which is really, really nice. You know, you get a little bit of, um, peace and quiet while you actually can dedicate your time to writing, which is very, very important.

Tina Strachan 5:14

Yeah, it is very important and it's sort of, you're very much sort of trapped from the daily distractions when you're on a cruise ship, aren't you? I

Tina Clark 5:20

know. It's actually awesome. You don't cook, you don't clean, you don't have to do your washing. It's the

Tina Strachan 5:25

best part. Yeah, it's, so is that also then how the Read Your Readers and Writers African retreat happens as well? Because you also run that?

Tina Clark 5:35

It's, it's sort of like that, like, um, there was a lot of people, I, you know, I go to talks and libraries and I go to like, you know, like talks with book launches and everyone always says, oh, I wanna go to Africa. But I, you know, I just, I don't know, you know, I don't wanna go alone. So, you know, one day I'll make a tour. So I did start a tour off for this year, and it's actually not gonna happen this year because hubby's work got rearranged. So now it'll be next year. So it'll be the same time September, October next year. But we will hopefully be able to do that next year. And it's a readers and writers for, for that one. So just, um, you know, just showing readers and, and writers a little bit of, a little bit. Home Africa as well as, um, you know, if they, if they're in such amazing place, they can write

Tina Strachan 6:20

mm-hmm. I'm sure it's hugely inspirational for them to be in areas like that. And they've probably read a lot of your books, which, because the other thing is is you also write books, Tina, oh, I do. Yourself. You know, you have a whole series, the Shadows of Africa Book series and also picture books because you know, clearly you are one of those people that like to keep busy.

Tina Clark 6:38

No, but it's, it's funny because I actually was published before I started the CYA conference. So we were, um, we were a Yahoo group and we sort of like, you know, we're all talking and these other two beautiful ladies, Sharon Norris. And they came up with the idea and I said, you know, they said, Hey, you know, will you join us and make this conference? I went, yeah, sure, why not? You know? 'cause it had been so hard to get that information, you know, you're talking like, you know, 26, 2004, 2005. So, yeah, so my first book came out in 2005. So yeah, so that sort of timeframe, and it was very different to what it is now. So, yeah. And then, you know, the three of us took it on and that both of them got sick and, and you know, I was left hand, you know, holding, holding the baby. So, yeah. So I decided. Well, Sean and I decided that yes, I would continue with this baby because I'd put so much work into it and we just, yeah. And I would not have imagined in my thirties that, you know, 25, however many years later we are. So I think to see is what, 21 this year? 21 years there. Yes.

Tina Strachan 7:43

cause it was the 20th anniversary celebration.

Tina Clark 7:46

So 21 years this year. So, hey, we get key to the door.

Tina Strachan 7:49

Oh yeah, absolutely. Yeah. And it has keep growing and we'll get into that, shortly. 'cause it is, there's so much to it. Like, it sounds like when I first found out about the conference, I, I thought it was oh, a, a conference, like a one day conference, but Oh no, it is not. It is, it is a beast, Tina, but it's, and it's an incredible beast. But, but speaking of your writing, did I see that there's a new book coming out soon in your series? I haven't prepped you for this, but I'm gonna hit you up and I'll, can you tell us a little bit about your series and a little bit about the new book coming out?

Tina Clark 8:20

Okay, so the series Shadows of Africa series is basically because I write, um. Contemporary novels and I write, um, action adventure, some of them more on the thriller line, some of them more just on the action adventure, but all of them have, um, they all just have like the African theme across them, and it's, and it's that Africa where it's based, um, my Africa is what I like to call it. So, um, it's really just, so a lot of them, you can read them out of order. You, you know, they're all independent novels except this last one I've just written. So it can be read independently as well, but if you read the two stories before it, then, then it makes more sense. And so it's just, um, there's a lot. You know, there's Easter eggs and all of them where some of the characters appear in other books and stuff like that. So, but yes, for all my sins, I think this is number eight in my, in my adult writing. Yeah. Which is, um, yes. And it's Daughter of Africa will be out and it's sort of like the sequel to Child of Africa. So, um, yes, it was, it was very exciting to return to these characters after so many years. 'cause Child of Africa came out, I think in 2015, I think maybe it might have even been before that. So yeah, to return to that world and. Mens myself back into that sort of, that story was, was quite an interesting, you know, when, when I started it I went, oh, you know, it'll be easy to just return, but you know, I had to totally reread the other book and, and just find what, where my head was at that time. Mm-hmm. So,

Tina Strachan 9:54

yes. Yeah, that's, that's difficult. But it, you know, that is fun to go back to a world. 'cause it is sad when you leave those worlds as

Tina Clark 10:00

well when you leave it. Yes. And when you leave the characters and, you know, to, to go back to them and be able to carry on their story was quite incredible. And it was something which I hadn't really thought I would ever be very open to, but then when I did it, it was like, it was, it was really, really lovely. And I loved going back to those characters. I absolutely loved it. Um, yeah, a lot of, a lot of. Oh, how do, how do you say this? Nostalgia, I guess when you go back into, into those, into that world again and, and open that, that door. And it's amazing as a writer what your mind actually still remembers and yeah. And it's also amazing that, um, by then I had learned to keep my characters and my line, my timelines and my characters all in a spreadsheet. So it was easy to return to that world. So writers that always do that, keep your timeline, keep your character, everything from your books, put it, make, put it in. I call them a z file, which means they're over with and they go to the bottom of, of the list on, on my, and I just, I call it a Z file. So yeah, keep those Z files. 'cause you never know when you're gonna actually need them.

Tina Strachan 11:07

Yeah, it's so true. And, and the thought of probably going back and having to remap that and work into it because you do forget, Even at the time of writing, like I'm doing edits on something at the moment, you forget what you plotted before or after so quickly. But you know that there was a thought process and probably a deep thought process that went into all of that. Yes. So keeping notes is really important. I love your Excel spreadsheet. It's. Widely known that I do love the, the math of storytelling because it's a thing. It's a big

Tina Clark 11:33

thing. It's

Tina Strachan 11:34

a thing. It's a thing.

Tina Clark 11:34

Mm-hmm. Mm-hmm. You don't have to be ex, you don't have to use Excel. But that's, you know, that's what I use Notebook. I just have, yeah. I just have, oh, I, I'm terrible with notebooks. I've got a whole shelf of notebooks and I keep going. I really should just, you know, scan these and then get rid of them, but I go, if I scan them, I'm never gonna be able to find the stuff quickly.

Tina Strachan 11:52

Yes.

Tina Clark 11:52

So,

Tina Strachan 11:53

yes. I see what you mean. Sorry, I'm just thinking because I have the same, I have, I'm the same too. I have so many notebooks, but I also forget which one's in what. And anyway, notebooks are great. I

Tina Clark 12:02

went through and wrote on the front of them what's in each of each of them, so it makes it a little bit easier. But then I've got like CYA, like in two years in a row in this. Same notebook, so it's like, oh, you know,

Tina Strachan 12:15

oh yeah, spreadsheets. Let's just, let's just say spreadsheets are the way to go.

Tina Clark 12:18

Spreadsheets are so much easier.

Tina Strachan 12:20

Oh, well, I can tell you're very passionate, obviously, about your, your homeland and, uh, your books and, and clearly with all of this, effort and work that you put in and you're super busy, you have a true passion for helping and inspiring, emerging authors and aspiring and illustrators as well. So can you, can you gimme a little bit of a background on that? Like what, with the CYA conference and all these other retreats and everything that you're doing to help, what is it that really pushes you to keep doing this?

Tina Clark 12:49

What fires me up to do this, I think, is because I want everything in one place. I don't want, I remember how hard it was to get published with that first book. It was just so hard. And then, so I want all the information, all the contacts, everything in one place. I want to make it as easy it as it is for people to get to it and not be ripped off because I, the whole way through this whole process, all these years, I keep seeing authors being ripped off. And I just hate that there are predators who prey on author and illustrator's dreams and, and just take their money and just give them crap. Sorry, I probably shouldn't swear. You can swear It's okay. But yeah, it's, it's just, and I just hate that. So I think just being able to, to. To at least try and minimize that a little bit has always been what I've, what I have been about. Mm-hmm. Um, and, and I just think, you know, I, I had this passion for so many years and I wrote for so many years, and just finding that, that path that you need and realizing that every path is different is just why I keep doing it. And just, and then, you know, there's that little bit in me, which every time we have a book baby from CYAI go, you know, a little bit of me is in that. And even if I'm not publishing that year, I see all these beautiful books which got published that wouldn't have happened. And I go. I'm doing the right thing. I'm doing the right thing. So that's kind of the passion. I don't know, I've just got this thing that you always have to make, you know, you have to leave someplace better than when you, you know, when you leave it than when you got there. And I hope that, I hope that when I do get to leave the, the publishing world, that it is a better place for me being in it.

Tina Strachan 14:37

Yeah, absolutely is Tina, I think you can be comfortable in that. Yeah. And the book, the book baby thing, oh my gosh. You are, like we said, the fairy godmother of many, many books. And, and that's what we love about the actual conference as well. And all the other resources where you share those, book babies. And what we mean by book babies is. People who got published as a direct result of some form of or outcome from the CYA conference. And, as we'll get into, there's sort of many ways that we can, that you can be involved in the conference. Like we were saying before, it's grown hugely there's, it's multiple days. It's, online, it's in person, hybrid in person as well. There's a networking event outside of that. There's also boot camps, there's the competition and there's editor and agent and publisher assessments. So, yeah, will get into all of that because I really agree with what you were saying and it was, it's such a great thing that you wanted to just make sure that every, all this information was in the one spot. Because it still happens now. There's still, it's, new authors or, emerging writers, every, even those who've just signed contracts, there's so many questions that people have. Um, yep. And it's a very unique industry, for anyone who's listening, who's thinking of, pitching or getting to a point where they wonder, can I, how do I even go about getting published? I think, yep, this conference is a fantastic way to start. And again, when I say conference, there's multiple, various ways, that isn't just, sitting there on the day. So can you give us just the, I'd like to go into the bootcamps and everything in a bit, so you can share the information on what can, how people can be really successful in them and get the most out of them. Can you just give us a broad, just for the 2026 CYA conference for this year, can you just give us,, the overview of it and, some of the logistics and everything?

Tina Clark 16:24

All right, so I'm going to, I'm just gonna start date wise. All right, so top of the date is in two weekends we have the online bootcamps, which are for people who, obviously some, some people just cannot get away, they cannot get to conference. So that after COVID, we started the online stuff and it just, we had so many people asking us not to get rid of it after COVID, that we've just kept that online component. So. What those bootcamps are basically, a lot of people that use those, use those before their competition entry. So they get their, they get their story all in, in order. They get like the, um, they spend time with an editor. So the editors read, read their work before they start it, and then they do their bootcamp and then they get to re rewrite and, and enhance their novel or their story. Um, while, while they're there with the editor. Then the editor rereads that story and then they get to see whether they have actually done what the editor, you know, said yes. You know, like that she thinks, or I'm gonna say she, because most of them are, she's at the moment. So whatever the editor, you know, says. And then they get to see whether they've done that right. Or whether they've gone off, offered a tangent and gone like, 'cause sometimes an editor does give you things and then you go, oh no, wait. In my mind, your mind thinks totally different. Mm-hmm. That same editor might look at it and go, whew, that's not what I sort of like suggested, but this is okay. Or they might go, this really doesn't work with your story anymore. What were you doing? So it's sort of like that honest feedback from an editor that really, you, you get and you get that one-on-one with an editor, but at the same time, you're listening to everybody else's stuff that you've reread, you've read before. So you're getting four people in a group, so you're getting three other people's feedback as well as yours. And you can go, oh, I've done that same thing in mine, and I can go and I can change that in mine. And, and so that you, you're learning the whole time with, with your group that you're in. So bootcamps are really, really good for that. I love bootcamps. Even as a published author, multi published author, I still try and do a bootcamp every year. I don't think I'm gonna manage this year and last year I didn't manage No, I did. I did a bootcamp online last year. There we go. So, but yes, it is, it is, it is really an interesting, an interesting idea that came, um, D White actually brought me that idea and we ran with it and Yes, it was, it's, they, they are really, really great. Um, boot camps are. If you, if you're looking for something to get feedback on your work and help, um, that's, that's an ideal thing. I think you get a lot of value for money in a bootcamp. Um, so that's bootcamps online. So some of them are still open for another few days until Friday, but then they're closing, so,

Tina Strachan 19:03

oh, do, oh, do they, when do they

Tina Clark 19:04

actually. This, this Friday. They Oh, okay. They're closed. So, yeah. So that's, that's online. So if this doesn't go out, doesn't matter. It's, you know, that, that next year they'll know to look for March.

Tina Strachan 19:15

Okay, well do you wanna stick, do you wanna stick with bootcamps? And since, since we are chatting about them, um, so they will be closed, which is unfortunate. But, um, next year, obviously you're getting quick because you do have to get in quick with all the bootcamps you do and the agent and editor assessments, I swear sometimes, you hear about one going up and it's literally booked and closed before you manage to have a look online.

Tina Clark 19:33

The online ones will be closed So, but the, but the other bootcamps for in July, they will definitely still be open.

Tina Strachan 19:41

Okay. They're open. Yes. Great. Because I did have a little look and there's still a few open now,

Tina Clark 19:46

LaRay Foi from Scholastic, so she's doing in person.

Tina Strachan 19:50

Yep.

Tina Clark 19:51

Um, and you're gonna ask Michelle

Tina Strachan 19:53

Stevens? No, I'll just, I was just throwing out a few that was still

Tina Clark 19:56

open.

Tina Strachan 19:56

Michelle, Steven. So Michelle Stevens from Wombat, so she'll

Tina Clark 19:57

be doing in person Yeah. What she's doing. Yep. And Rowena Barford is in person as well. Um, and then of course, oh, we've also got, Lauren Clark is also in person, so she's always good for the adult side of it. Mm-hmm. Um, we've got also on the adult side is, laura Franks. and then we've also got another editor, another one who, I don't think it's up yet, but it's gonna be specifically for nonfiction books. I did

Tina Strachan 20:23

see that. That is up.

Tina Clark 20:24

Is that, is that up? Mm-hmm. Mm-hmm. There we go.

Tina Strachan 20:27

Yeah.

Tina Clark 20:27

I'm not sure what went live this weekend and what hasn't. I haven't, I haven't caught up. Um, so yeah, so that, so that Sophie Hanley will be there for that, which I'm really excited about. So she's from Hachette. And then for the first time we have, um, we have a bootcamp dedicated to, um, graphic novels Mm-hmm. Anastasia coming up for a marketing bootcamp for people who are already published or have a book coming to make sure that, you know, your marketing's on, on target and what you're doing. So more details of that will obviously come out and how, how that will run. But that's only gonna be eight people, so it's going to be very interesting. And yeah, with, um, it's the type of thing, you know, which you'll look at your website, she'll look at your, so it's it's

Tina Strachan 21:17

goals that Goals

Tina Clark 21:18

Yeah. The type of thing where she can look at where your book's coming out and go, okay, this is when you need to do this and mm-hmm. Sort of help you along with the marketing plan, see your marketing plan, what you've decided, you know, and see where the gaps are, which is absolute gold. I know it's, it sounds like. It's just, oh, this is so much. But it's, it's for the different steps of publication. Obviously, if you don't have a book and, and you know, and, and you are not at that step, don't go into a, a class for Mary, you know, don't, don't go to a marketing class because then you're just wasting your money. It's not for something in the future. This is like for the published people who need something more, who need something for where they are in their journey, whereas, you know, um. And the same thing with the graphic novels. If you're not writing a graphic novel, don't, don't go into a graphic novel bootcamp and waste your money because it's, it's not gonna be, uh, you know, it's, it's more, okay, what have you done towards your graphic novel? All right, how can we change, how can we make this marketable? How can we make this fit into the fit into the graphic novel?

Tina Strachan 22:16

Yes.

Tina Clark 22:17

Um, yeah. Yeah. And from there, so,

Tina Strachan 22:19

yeah. So you wanna go with some work that you can actually work on while you're there and come out of that with some improvements and things. So,

Tina Clark 22:25

yep.

Tina Strachan 22:25

Ly, but there was, I was surprised to see 12 different boot camps this year. That's, it's so many. I

Tina Clark 22:30

know. But it's great. I know it's a bit ambitious. It is ambitious, but you know, often people, if, if there's not enough in a bootcamp, we will merge two people's bootcamps into one. Unfortunately, you know, logistics mean that that has to be done sometimes. Um, but yes, we've tried to sort of like give ev, that was one of the things which came out of last year, was people were going, we want more bootcamps. So we've sort of provided more bootcamp Yeah.

Tina Strachan 22:56

Supply and demand. So, so yeah, you're responding to that. Yeah. So, uh, so they're generally small groups, about four. Um, except the marketing

Tina Clark 23:03

one, there's four people per group. Yep. So that's great. Well, no, there's eight people in per bootcamp. And then, but so, but you work as a four and a four group. Mm-hmm. Yep.

Tina Strachan 23:10

Yep. And, um, I've seen the schedule. I haven't done a bootcamp myself. I've seen the schedule. It really is when they say bootcamp, like, come with your joggers on because, and your sweatband and your big bottle of water and probably some, you know, energy, you know, drinks or something. Red frogs, some red frogs will do. Um, because it's a full day. It's a lot. But you know, it's a lot. Spending a full day with an editor or an agent or a publisher and these are the, this, that time alone is invaluable. The

Tina Clark 23:38

networking is valuable. So valuable. Yeah. And you never know who's in your group with you as well. There's a lot of. Editors who are also writers who also do bootcamps. So you get to, you know, you get to meet other people and, um, there's a lot of publishers out there as well who sort of, you know, so, and, and you never know who's gonna be in your, in your bootcamp with you either. It's kind of like when you sit down at conference, you never know who you're sitting next to, you

Tina Strachan 24:06

know? Exactly. Right. That's exactly right. Yeah. So they're super important. So yeah, so have a look. They're still o they'll still be open online and hopefully still some spaces by the time, this goes to air.

Katie Hoskins 24:21

Hi, book deal, podcast. My name is Katie Hoskins. My debut novel when the party's over published by Pan McMillan Australia, is out on the 31st of March when mom of three and Natalie has a party for her 36th birthday. She just wants to reconnect with her friends that she's been drifting apart from, to remember when life used to feel like one big party and leave the mundane behind for one night. Now she'd do anything to have mundane back the day after the party. She finds 18 month old Toby clutching an unmistakable colorful tablet with a quarter missing, and her life quickly unravels into chaos even once Toby recovers and returns home. The fallout is really just beginning for Natalie and for her two best friends whose lives have also been upturned by the night of the party. When the truths about what happened that night are all revealed, will any of their friendships survive? I'm really excited to share this book with you all. It's been about six years from first draft publication, so I really hope you enjoy it.

Tina Strachan 25:36

Now can we chat a little bit about the competition?

Tina Clark 25:40

The competition is the next thing coming up. Yeah. So that goes on the 12th of April.

Tina Strachan 25:45

Mm-hmm.

Tina Clark 25:45

So I hope this goes to you before that.

Tina Strachan 25:47

It it will, yes. I'm gonna get it to air. So look, it'll be tight. There's a few weeks to go, but I'm sure there's still some people who, who are like me and leave it to the last minute. So, just to make sure that you edit and edit and edit and edit to the point where you can't edit anymore. And, um, and send it at

Tina Clark 26:01

that last minute I of that.

Tina Strachan 26:02

Mm-hmm.

Tina Clark 26:03

And very guilty of doing that myself with competitions when I was entering them. Absolutely. Even, even now, if I enter one, I, I still sort of stall, stall, stall. And I think that's natural. It's, you know, you want to put your best foot forward. So it's, it's very natural. So the competitions, they are open from picture books all the way through to adult. Um, adult writing. Um, the under eighteens are free to enter so that we started during COVID and we've just kept it as under eighteens to grow the hatchlings through. We do have a couple of hatchlings who have grown through from the competitions and now, you know, they have actually become adults and they have continued into the adult world, which is just amazing to see. And you know, when, when, when we see their successes, it's like extra special 'cause we've known them for so many, so many years. You know, we're behind the scenes, known them sort of thing for so many years, which is really, really awesome. Um, but so under eighteens are free. Um, but everybody else, sorry, you have to actually pay, so it's, it's, you know, but it's, I think it's, it's actually not that much to get the feedback. It's extremely

Tina Strachan 27:12

reasonable, Tina, and a lot of it's extremely reasonable, entry fee and like you said, to get the feedback and then if anyone's listened to this podcast before and heard my own publication story, like that is literally what I did. I was someone who was just writing, I never shared my information with anyone. I was tinkering around with a manuscript and I just thought, what do I do with it now? And then I stumbled across, the CYA conference and the competition and thought. Like the beauty of it was that you get the feedback from the judges. Yeah. Which you don't get, for many other competitions. Yeah. Or when you submit in the industry, you just don't get that feedback. And I thought that was, that's valuable. I'll get that information and that'll tell me, whether I should just give up or like, keep going and, the, and anyway, the long story short as I ended up, winning and, meeting a publisher and that's how I got published in the end. So yeah, very valuable. Very valuable. Another one of your book babies. So tell us a little bit about who, judges and who's providing the feedback.

Tina Clark 28:09

All right, so the feedback is all provided from different judges. You could get, there's normally per entry. There's normally one published judge and one unpublished judge, except in the published section where we try and make it two published judges. Um, or it might be an editor might step in where the published, um, person is. We have editors as well who, who do actually read a lot of the competition entries, believe it or not. Mm-hmm. Um, so you always get two feedbacks. Um, there is obviously, you know, with two feedbacks, there is always the chance that one feedback will get, you know, like, you know, 99% and the other one will get like 68% and you go like, well, what happened? This is two different things. Mm-hmm. If they're really, really big like that, I often get a third judge involved, and then they just get the two which are closest. Um, well, the higher one always stays and then, you know, if that one's closer, but if it's lower, then they just get the higher of the two lower ones. Um, so it's, it's a bit of a process behind, it's all done blind, so when your files come to me, I actually strip all electronic out of it. So, you know, there's no way that the judges know who's, who's. Um. Entry is whose it's all done online. We've got a judging portal that they go in and they get their stories and, and they, they all sign a thing, you know, electronic signatures to say yes. They will delete the stories afterwards. So it's all pretty, it's all, I, I try and make it as safe as we can make it. Obviously there's always the human factor involved, but it's, um, yes. And then so you, you get somebody a lot of the time, you, you could land up with two published people reading your work and, um, you never know who those published people are. Some, some people love to send a letter to or a a, an email afterwards to thank the judges. And then I do send those on the judges, whoever they are. Um, I normally then just strip the email outta that as well. Um, except if it goes to a, a. You know, like if it's a one for the person who has come first, second, or third mm-hmm. Because, you know, the editor already has the email, so it doesn't matter. Yeah. But if it's just a normal one, it, it's again that whole protecting you, protecting you, protecting the writer, basically. It is what it's all about. So yeah, so the competitions are actually really, really valuable for that feedback. And yes, we, we do, the sheets do change now and again, you know, if we find something like pitches, we, we added that in a few years ago that, um, I think it's like two years now that the pitch has been there. Um, maybe three that you have to, because we found that people were really stumbling on that, um, that they don't know how to pitch their, their book in like one sentence. So, you know, always, always trying to be dynamic and change for what the marketing, what the market is doing, the trade market is doing.

Tina Strachan 30:58

Yeah. That's really important. And another just is like a value add, isn't it? For Yeah. For the competition. And it's normally hundreds and hundreds of entries that you get.

Tina Clark 31:06

Yeah, there's, I think our, the most we've ever had has been about 650.

Tina Strachan 31:10

Mm-hmm.

Tina Clark 31:11

So that means you've got like. 1300, um, people like judging entries coming in. Gosh. So, yes. To, to sort through. So it does take, take a little bit of time. So, yeah. I think last year was, the last year was the first year where we were actually, we, we could not, I, I could not physically do the things I needed to do at that time 'cause I was really ill. Mm-hmm. So we actually were late for the first time ever. But normally it's out the, you know, on the 20th of June. So that date is like the D-Day that all the, you know, that everything, people get the. Yes. The short list. So yes. Yes, that's right. And yes, and even, even, yeah, I make sure even, you know, if it's that late at night, it comes out on that day.

Tina Strachan 31:57

Yes. It's incredible. Everyone's very appreciative of that. The, the workload that must go into that is is It

Tina Clark 32:03

is, but you know, a lot of it's electronic so it's, you know, but it, it just, it's that whole making

Tina Strachan 32:08

sure I'm just sending the feedback and not getting it mixed up. I just dunno how you, how you keep on top of all been, I know there's

Tina Clark 32:14

been years where to the judges who did it instead of the people

Tina Strachan 32:21

look understandable. I think that's completely understandable. But so, so it's

Tina Clark 32:25

human error.

Tina Strachan 32:26

So you have judges that, read every single entry

Tina Clark 32:29

yeah. They volunteer judges. They only get paid like a minimal amount and that they, they can use that towards paying off their conference if they want, if they need to do that. Yeah. If they want to do that, they, they do that. And then we get a short list.

Tina Strachan 32:41

Mm-hmm.

Tina Clark 32:41

And once got a shortlist out, the editor actually who is doing the, being the final editor on that competition, she gets them, um, again, I'm saying she, but we do have, he's as well. Um, they get it, use the right thing, they get it, and then they, they make the final decision. It's, we don't, we don't have anything to do with that at all. We just do all the pre-judging and, and, you know, whittle it all down to what, what, what comes out. And then they do that,

Tina Strachan 33:09

which is incredible. It's, it really is amazing too that, uh, it's a publisher or an editor that's. Making that final decision as well. Yep. And they're reading it. So, if you make that shortlist then that's getting in front of the, of an actual publisher. Yep. Anyway. Which is a

Tina Clark 33:23

real publisher,

Tina Strachan 33:24

a real live one, because we all know how hard it is to get our work in front of them. Uh, so can you tell us about the prize if you do win?

Tina Clark 33:34

Okay, so this year we actually increased that. The first place used to just get a, um, an assessment with the editor on, on their work. But this year

Tina Strachan 33:43

we, which is incredible though, like, which is didn't just used to just get that, that is, I remember, just thinking that 15, it was 15 minutes. That's what I got with, um, my publisher and like 15 minutes one-on-one with a publisher just doesn't, you just, it doesn't happen.

Tina Clark 33:59

Yeah.

Tina Strachan 33:59

You know, so that was, that was gold. That was. But keep going. What else do we get now?

Tina Clark 34:04

So then you also get a hundred dollars now, which, you know, for a lot of people, oh my God, that more than, you know, it more than covers what they Absolutely. They pay to, to do it. But it's also a little bit towards going, you know? Yeah. You know, you're doing well. Keep investing in yourself. Is is how we sort of like think that money of that money, it's like it really is. And, and writing it is a really, it is a really personal thing. So you do need to invest in yourself to always be making yourself better and better. And you know, and I think any author who tells you, oh no I don't attend conferences and I don't do this anymore, is just, you know, they just cutting off their own notes. Because you do need to be dynamic. You do need to be keeping up with trends. You do need to be, um, learning and, and improving yourself. Otherwise you're gonna get bored and you're not gonna wanna write.

Tina Strachan 34:50

Mm-hmm. Yeah. And the networking part of it as well is incredible and lots of, lots of industries and lots of jobs you do continually. Learn and learn. Learn. Yeah.

Tina Clark 35:00

Yep. So, so think of conferences like this as professional development. Absolutely. Because that's what it is. Yeah. It's, yep.

Tina Strachan 35:06

Mm-hmm.

Tina Clark 35:07

Absolutely. Obviously second and third gets 60 and 40, so Yes,

Tina Strachan 35:11

yes, yes. But also still the publisher has read your work. It's incredible. Yes. The publish publisher has, they get some feedback work too, don't they? Do they give

Tina Clark 35:18

feedback on too? Sometimes. Some, sometimes they do. Some publishers do give feedback and they, they go, oh, you know, I love the story or whatever. Um, some publishers do, some publishers don't. It depends on the final judge, whether they do or whether they don't. It's, that's up to them. I can't, I can bring the opportunity. I can't actually force an editor to spend, you know, more time giving more feedback. It's, it's, you know, that's kind of the, how much they personally put into it is mm-hmm. Is really.

Tina Strachan 35:43

Because they're also very busy as well as we know very well.

Tina Clark 35:45

Yeah.

Tina Strachan 35:46

Uh, now what are your top tips for entering the competition, though, Tina, I know there's some do's and some don'ts. Um,

Tina Clark 35:53

don't, yeah. Read the guidelines,

Tina Strachan 35:55

Uhhuh,

Tina Clark 35:56

read the guidelines, look at the frequently asked questions, because a lot of the questions which come through to me, people, they're in, they're in the frequently asked, but above all, just read those guidelines because I see amazing stories throwing away one point. And it makes a difference between them getting into that shortlist and not getting into shortlist. And it's, and it's so, it's so heartbreaking. It's like, look at this amazing story. And it's like, you know, it gets like, you know, a hundred percent from the judges and then they fall down in admin. And the whole thing with that admin thing is because when you read a submission. To a publisher and you go onto their submission page and they give you guidelines. And if you don't listen to it, they have interns who are starting and the interns are looking at that slash pile. Or as you know, um, Luna Sue loves to call it the treasure trove. Mm-hmm. You know, they're looking through that. And if you haven't just followed the guidelines, they just reject, reject, reject. 'cause the whole thing is, can you follow the rules? Can we work with you if we give you something? That we require a view, are you gonna do it or are you gonna give us trouble? And the last thing any publisher needs is an author giving them trouble because you will be dropped so quickly. It's Yeah, like hot potato.

Tina Strachan 37:14

Mm-hmm. Yep. It's kind like a job interview. Like, just, just do what they're asking of you. And I think, do you still have a video online? I think that you actually run through Yeah. Everything that you have to do. And I watched that when, um, a couple years ago when I. Entered, and I just wrote the notes down of what you were saying, which, and it honestly, it's so simple.

Tina Clark 37:35

But I'm gonna give a little tip here because this is the thing that has irritated me for the last couple of years. People don't change their header and their footer to match the same font. So your header. Needs to be in new times Roman or courier, as well as your footer needs to be in it. And that's one of the things that admin checks is not like, is your, and that's worth a point. So you don't wanna lose that. My God gonna go

Tina Strachan 38:00

and check everything ever,

Tina Clark 38:04

which is, that is the biggest mistake that people make. And it's so, and then you've got all these different fonts on a page and it looks scrappy and it's like, okay, that doesn't look professional. So, yes. And it's just basically trying to train everybody to make their document look as neat and perfect as possible, because you know what looks matter in this industry, when you get that little person who's on an internship, they look at it, they go, look at, it's all the same. That's all perfect, you know? That's fine. And mm-hmm. And they always say, you know, editors always say, oh, you know, we don't mind the odd spelling mistake and stuff like that, but the little intern sitting there reading it, she's got her instructions just like the judges got the instructions, and she'll see that, you know, that editor's name is spelled wrong, or that publishing house's name is spelled wrong. And they go, Hmm. Okay.

Tina Strachan 38:52

Yeah, yeah, yeah. You got it. Won't even get to the editor. Yes. Okay. So it's so simple, but yes. Something that people forget. And that's an important point that you said about the header. I know it sounds really small, but it literally, I, I did a new document yesterday, added a new header and it was actually in a different font to the font that I was using in the thing. I don't know why. Must be some default somewhere that I

Tina Clark 39:11

programmed. Yep. And Microsoft changed something in the last years and it's coming up. So you, when, even me, when I do a new document now, even though I know my documents are all in New Times Roman up, it comes in app aptos or whatever. That new, that new one, A PTO, that's what

Tina Strachan 39:26

it did.

Tina Clark 39:27

That one. And it comes up in that and it's like, and it's so sneaky.

Tina Strachan 39:31

It is. It is. Especially if you do it at the last moment. And, and Yes. Yeah.

Tina Clark 39:35

Don't check.

Tina Strachan 39:36

Okay.

Tina Clark 39:36

So that's the biggest tip for the competition.

Tina Strachan 39:39

Biggest tip, just follow the guidelines.

Tina Clark 39:40

Follow

Tina Strachan 39:41

the guidelines. Alright. So, um. Now the assessments, the agent, editor, publisher, assess assessments are massive as well. And I, I couldn't count how many you had on, on there, but, um, we can't

Tina Clark 39:56

get as many editors from as many publishing houses as we can. And every year we try, we are finding new, you know, editors come to us and we also hear of other editors and we sort of go to them as well. We beg the publishing companies to give us editors because obviously they're also really busy. And um, but it is just such an amazing way for people to get feedback on their work getting, and, you know, and it doesn't matter if it's an independent editor. Because a lot of independent editors actually work behind the scenes with the public, with, with the publishing houses. And I think a lot of people, they go, oh, look, she doesn't have a, a, an, a trade publisher behind her. But they forget that those people actually work for trade publishers. They contract.

Tina Strachan 40:43

Yeah.

Tina Clark 40:43

So don't, and the information inside any editor's head is just gold. Mm-hmm. To get in their head and get that, it doesn't matter if they're from a small firm or a huge firm, you know, one of the big five, or if they like a, an independent company, they have information in that head of theirs that they can share with you and that they will share with you and give their, their 5 cents towards your work, which is really, really valuable. Mm-hmm. So. We do, we have independent editors, we have, um, trade publishing editors as well. Um, and we have authors who have been there and done it. Like we've got Sarah, Sarah Davies, who is an amazing illustrator, and she gives amazing, you know, like her, her, her, her feedback on her illustrations, you know, and you can give her like an illustration or you can give her a, um, illustration portfolio. Sorry, I had to think of the word there, illustration portfolio. Um, and, and you know, she does, you know, so you have all these different industry professionals who do all these different things. So you can, it is obviously, um, if you are targeting like Hhe in particular and you really want to work with them, you know, then obviously you go for a Hhe person. But if you can't get in with them, get in with somebody else who will give you that information and remembering it's an assessment. So they pre-read your work. And they are head again, guidelines to what you can give. And they pre-read your work and they give you actual feedback on your work. Because to me, it's easy to get in front of an editor and just, you know, like, and give them your one second or your, your one sentence pitch or your two minute pitch or mm-hmm. You know, I think as said does like a three minute you can do that, but that's not them seeing your work. You still then have to wait for them to, you know, to say yes to that and then you, you're adding in another step. So, although, like Alex Adsett does do those always at CYA, like the, this, the five minute pitch, um, she's actually also doing assessments this year. So it's, but it's, it's awesome. Um, because you actually get feedback on what you've written, which is, and you get a synopsis so they know what's going on and they get the first part of your book. The, the biggest rule with assessments is. Don't give them like, you know, chapter six, chapter seven, down the line. 'cause they need to know what's happening right in the beginning. And if, if an editor can't get through the first couple of pages of your book before they get to that good stuff at page six, then the front of the book shouldn't be there. It should be starting on page six. So, um, yeah, just, just use that wisely.

Tina Strachan 43:25

Mm-hmm. Yeah.

Tina Clark 43:26

Don't all

Tina Strachan 43:26

good stuff should be on page

Tina Clark 43:27

one. Yeah, it should be on page one. You know, you should grip their tension right there. Um. And also, you know, it's really confusing for an editor to start in the middle of a story. So give them the beginning of the story. If, if we notice it when we are going through it, we will actually normally contact the person, say no, you know, gimme the first three page, the first three chapters, or, you know, whatever it is that fits into that, that work that they are needed.

Tina Strachan 43:51

Yeah. Because that's what they'll read. If you submit it to them, that's what they'll read. Absolutely. Read from the beginning. And they may not even make it to page six if the good stuff isn't there. Um, or chapter six or whatever it is. Um, so

Tina Clark 44:02

the synopsis, pitch synopsis.

Tina Strachan 44:04

Mm-hmm.

Tina Clark 44:05

Again, that pitch came into it, pitch synopsis, and that. Yeah, absolutely.

Tina Strachan 44:10

And they're so invaluable. They are like gold, when it's so hard to get in front of a publisher normally, and so many publishing houses are closed a lot of the time, which is fair enough because they're just getting so many people submit to them. I find these assessments are a huge, like you are, you know, your, you can shortcut, you can shortcut that SL part. Oh yes. Treasure trove. The treasure trove. You can shortcut that. Yes. Yes. I, I have actually heard a publisher say who does do assessments for CYA, that she only really, um, signs anyone from or accepts manuscripts through assessments like this, uh, because she thinks it also shows that you are putting in a little bit more effort and, and, and like sort of. You know, honing on who you wanna submit it to and, um, going that extra step to get it in front of

Tina Clark 44:59

Yep.

Tina Strachan 45:00

Of the

Tina Clark 45:00

cause. Absolutely.

45:01

Because

Tina Strachan 45:02

you're investing yourself.

Tina Clark 45:03

Yep.

Tina Strachan 45:04

Yeah. The pile and what they get, when they open, uh, it's huge. It's huge. And you're really competing against all these people having an actual real life publisher or editor read your work and, that's, that is like absolute gold. So it's a 15 minute, it's 15 minutes online.

Tina Clark 45:21

15 minutes online. And then we do have in person this year for, for, for the first time since COVID, we are now having in person on the 11th as well. So it's, yeah. So most of on, on the fourth and the fifth, we have the online ones.

Tina Strachan 45:34

Yeah.

Tina Clark 45:35

And then we have the in person. The in-person are only available to people who are coming to conference. On the, the 11th. Mm-hmm. So if you're in person conference, you can have an in-person editor.

Tina Strachan 45:45

Okay. Oh, that's fun. Okay. There's so, there's so many great things about it as well. When you submit to a publisher, you give them maybe like three months, and they say, give us three months. If you haven't heard, then let it go. But with the assessments, you send it in and you, you have to get a response.

Tina Clark 46:00

Yes.

Tina Strachan 46:00

And it's only gonna be good because it's gonna be giving you fantastic feedback and advice for how to work on your manuscript. You have that, you ha having a connection and you're networking with them and, and there's a lot of times maybe they didn't without, weren't really into the manuscript that you sent, but you, 15 minutes, it is really short, but it can also has enough time for you to have a little chat, to talk a bit about yourself and who you are, what, what else you like to write. And you have that opportunity to kind of, make a connection another way. Or say like, oh, well I'm working on this. What are you looking for? Maybe I can send you that.

Tina Clark 46:34

Yeah. So a lot of them do actually. Some, some, some, some of them do ask like, okay, this is not really for our publishing house, but do you have something else? And then they, they can ask for it or they can, oh, that's interesting. You know, why didn't you bring that to me if you, you know, sort of thing. And then you'll have like a talk about the industry and, and, and stuff like that. Even that is so valuable. Mm-hmm. Um, but yes, absolutely that, that happens. But the thing I wanna say the most about assessments is. Do not argue with that editor, I cannot believe. Do people do that? People can do that, yes. And even though, you know, people come to the talk and it's normally obviously people who haven't gone online and watched the, you know, and, and, and come to the talk about that I do about them. You know, and they, they argue and they go, but this is why it has to be that way. And it's like, you know what, that's not what I read in that. And the minute you start arguing with an editor, they know that you don't, you're not prepared to change your, your way. You are working and you're not prepared to work with them. And that's like a big red flag. And you just got yourself blacklisted from that publisher. So it's, um, yeah, really important that you are really nice to that editor and Yeah. Yeah. And we have, it's

Tina Strachan 47:51

only 15 minutes. Just keep it.

Tina Clark 47:52

Only if you

Tina Strachan 47:53

don't agree, just.

Tina Clark 47:54

Smile, just keep it together for 15 minutes and afterwards you can do whatever you want. Once you off set Zoom, or once you are out that chair, you know, you can say and do whatever you want, but just do not argue with that editor while you are sitting there because it's, it's, that's not what you're paying her for. You're not paying her to be your therapist and to argue with her. You're paying her or him for your work. And to, you know, to give a, an, an honest assessment of your work and where you are, whether you are needing work on it, or if you sit there and they go, you know, this is absolutely lovely, can we talk about something? And then they can go off and talk in tangent about, you know, publishing industry and something else. And they've basically said to you, this is ready to submit. And at the end they might go, can you send me the render for the rest of this? And then it's like, okay.

Tina Strachan 48:40

Which happens a lot. It, it's, it does very good. Uh, percentage of people get those requests. It does. Um, or it leads to something else. Um, yes. The success stories that come out of the assessments

Tina Clark 48:53

Yes.

Tina Strachan 48:53

Is Phenomen

Tina Clark 48:53

and also also people, they see the editors year after year. Yes. And, and the editors get to know them and that whole networking. I know some, an editor who waited for about five years for a book from somebody, and every year she would check in with me and say, how's this person going? How's this person going? And I would go, oh, you know, she's still having family problems. She's still, you know, she hasn't, she hasn't got to write this five years. She waited.

Tina Strachan 49:17

Wow.

Tina Clark 49:17

And then she got it. She loved it, but then she asked her, can you work on something else? Like, have you got something else? And she worked on that, something else. So then they spent another three years or whatever it was, working on something else. She bought that something else. She didn't buy the original, but she bought that something else. So that editor knew that she wanted that writer, but she just needed her. To get to that place that she could then take her.

Tina Strachan 49:40

Yeah,

Tina Clark 49:41

so it's editors are amazing that they, they nurture people through as well. Every year she would come to her assessment with, she would go, well, this hasn't changed much. You haven't, you know, how much further have you got with this story? And mm-hmm. Yeah. Um, it is, of course, you know, you get people who go in there and, you know, their work is really, really bad. And the editor will say to them, you know, perhaps you should start this again and start from here. Do this, do that. And they'll do story construction and, and, you know, and, um, dynamic work with you. And sometimes that is, is just absolutely valuable. Yes, you love your words that you've written, but sometimes your story just has started in the wrong place. Yeah. So they can see that.

Tina Strachan 50:24

And that's really important because if you are just, submitting and you're not getting that feedback, it's no one's telling you that. And that's the brilliant thing about it. And it is for all different stages. You don't have to have a full manuscript. You can have a little bit, and you're testing out the idea. That's really important too. Or you can have the full one and you literally are using it as a pitch session. You know? I mean, it's the, that's not what the, what they're there for then. It's not like you don't do this and, and, expect, but

50:49

you

Tina Clark 50:49

don't

Tina Strachan 50:49

to get a deal.

Tina Clark 50:50

Can I give this to you? But

Tina Strachan 50:53

yes.

Tina Clark 50:54

But if they say, I'd love to see the rest of it,

Tina Strachan 50:56

yes.

Tina Clark 50:56

That's good.

Tina Strachan 50:57

Yes, that's right. So yeah. Hugely invaluable. Make sure you have your pen and paper at the time to write it all down. Um, yeah. What they come back with. But yeah, those connections, uh, really are, yeah, because

Tina Clark 51:06

not none of them give, like, written feedback. It's all verbal. So just write, write what they're saying. Have a copy of your manuscript next to you. Write what they're saying. I often have my husband, um, when I do assessments, he writes for me because I get so like, just focused on what they're saying, that I actually don't forget to, I forget to write it down.

Tina Strachan 51:27

Yes.

Tina Clark 51:27

So he sits there and he writes it all down and then, oh, that's

Tina Strachan 51:31

a good idea.

Tina Clark 51:32

Yeah, it can, that can be really good.

Tina Strachan 51:33

Yeah. And 'cause also you want to make, maintain that eye contact as well and you wanna have that chat instead of like frantically writing and, and scribbling and stuff. Yep. Okay. All right. Fantastic advice. Um, and just, I just want to reiterate that the competition and the bootcamps and the conference and the assessments are for all ages, like you said at the beginning. Yes. Picture books right through to adults. So there's right illustrator.

Tina Clark 51:56

So it used to just be for children, the children's writers. And then there was a couple of adults who, um, were really in Brisbane who were going, we want something like this for us. Why can't we come to yours and do the craft and the business of writing? So they got added in with craft in the business for writing also. Yeah. No, that's perfect. Now, it now just covers everything, but we still predominantly very much, um, a lot of children's and young adult. Mm-hmm. Still, um, the adult side is not as big. I wish it would get bigger. Mm-hmm. But, you know, it's, it's slowly growing. Yeah.

Tina Strachan 52:29

And a lot of the information's transferable, like basically everything that we spoke about then about how to Absolutely. And all that sort of thing is, is transferable no matter what you're writing.

Tina Clark 52:37

Even when you get to the conference and you do a session, A, the sessions are all based, obviously not like the picture book. Picture book is on picture books, which isn't in the program yet. But picture books is on picture books. But the person who writes picture books also writes series. So she might also say something about series and you know, and you know, and you know, she also writes adults, so she might then say something about adult writing as well. So the, the presenters all know that their range is extremely large. So it's, it's, and they are presenting to people who write children's books and adult books. And so yes, they, they're very aware of that and they try and, and cover all bases. On that.

Tina Strachan 53:18

Yeah, no, that's, that's fantastic. And so the assessments are still open. Um, there's some that have closed. 'cause like I said, sometimes you just have to get in super quick for some of them. But I did just have a little look. They are still open for, I believe, a couple more weeks once this goes to air. There was still, some of the, publishers and editors, we had Perentie presses on there, Hardy Grant, Walker books, larrikin Penguin, Simon Schuster, um, affirm. And there's agents and editors up there. Alex Adsets up there and Curtis Brown and Tara Wynn from Curtis

Tina Clark 53:48

Brown. Yeah.

Tina Strachan 53:48

Yeah. So, so lots. So get on, have a little look. It's, um, hard to choose just one, I think.

Tina Clark 53:55

Yes,

Tina Strachan 53:55

absolutely. One other point that actually, that's reminded me one other point that I wanted to make about, choosing just one. And look, it does cost money and we're, it's, it, some people kind of afford to do this, but Sometimes if you send the same manuscript to multiple assessments, it's very interesting and surprising. The feedback that you get and comparing them. Yes. And 'cause some want, some can be really on one end of the spectrum and the other, the other way. But I think it's a really important lesson in, that's the exact same thing when you're pitching. It's the exact same thing with your readers. Some people are gonna love it, some people aren't. And you know when you pitch it's and say you get a no or it's rejected. It's not necessarily because it's no good, it's just it didn't appeal to that person

Tina Clark 54:34

so well. It happens when you published as well. So when you published, your book is out there, you can get five star reviews from everybody and all of a sudden you get a one star review and it's like, okay, well why didn't that person like my book? And then you go look at the one store units. I couldn't get this book in my area. And they've given the author a one star review, and it's like, that's not my fault. That's distribution. That's, you know, the world rights haven't sold or whatever, but you still get that one star review or you get a two star review saying, oh, you know, I saw she was female and I didn't, I don't read female authors. Yeah. So you just never know. You can't please the whole world, but when you get an editor who loves your work, they will be your champion and they champion that book from beginning to end, and that's what you need. And you only need one editor to love your work. Mm-hmm.

Tina Strachan 55:20

Mm-hmm.

Tina Clark 55:20

And it can land on that right desk at the right time.

Tina Strachan 55:24

Yep. It's putting yourself out there, isn't it?

Tina Clark 55:25

Yep.

Tina Strachan 55:26

Um, so, okay, just quickly, let's touch on the actual conference day. Um, 11th

Tina Clark 55:31

of July.

Tina Strachan 55:33

11th of July. It's in person. But you can also tune in online, can't you?

Tina Clark 55:37

You can. So online what will happen is you'll be in one, a zoom session. Yeah. And then you'll be able to just jump between, so you'll be able to go, there will be a person controlling it. So if you wanna be in this, in, in the session A or session B, depending on your room, they will just push you into that room. Then if you don't want to be in that room anymore and you go, Hmm, no, this isn't really for me. I want to go back. You just. Leave the room, you come back into the middle and then they will push you across into the other one. Mm-hmm. So you're not actually tied into doing like, the sessions if you don't, if you're not enjoying it and you just, you don't even have to ask them, sorry, can I be excused?

Tina Strachan 56:16

Yes. Okay. And, uh, the benefits, so I'm going in person this year. I've been the last, yeah. Many years in a row actually. I, I, I love it. I'm not entering any of the comps or anything like that, but I just love going along and just. You know, mingling and listening to the chat.

Tina Clark 56:32

Networking

Tina Strachan 56:33

and networking. Networking. Um, the announcement of the award winners for the competition

Tina Clark 56:39

Yeah.

Tina Strachan 56:40

As well.

Tina Clark 56:40

Yes, it's always exciting. And of course the success stories, we always love having those. So yeah, so those are, those are, and I'm still working out in my head how we doing these this year because obviously we've got the online component as well coming in

Tina Strachan 56:54

Okay. And who are, who are our guest speakers this year? Who can we plan on

Tina Clark 56:58

hearing from? Oh, so who can we say, oh, so, um, oh, are you allowed

Tina Strachan 57:01

to say.

Tina Clark 57:02

I mean, I don't think it's, I don't think it's out yet.

Tina Strachan 57:05

Okay. Alright.

Tina Clark 57:05

Stay tuned to find out more. But, um, I, I can say that there is somebody coming who is a teacher who is then, who does curriculums for Queensland writers and all the Queensland education and all of that in the school. And that she will be talking about what. Teachers actually want coming in. So important because, so important. You know what authors, we always say, oh, we always get told, oh, you know, do this, do that. But we, so this will be from the teacher's point of view this time,

Tina Strachan 57:33

that's

Tina Clark 57:33

perfect to see what, what we're getting there. We do have somebody coming who does marketing, um, on if you are self published or if you are published and you just don't feel like you're getting enough, um, air time and Yeah. And stuff. Um, basically how you know when your book is ready and if you want to, you know, for, for whichever path you wanna go. So if you deciding to go on the. On the traditional path, or if you're deciding to go on the self-publishing path, you know how you know it's ready and then what you do with it. Mm-hmm. So we have that, that's important. We have, yeah. We have a non-fiction writer coming in to talk. Um, and he, he's gonna be brilliant actually. So, oh, there we go. I'm giving heat.

Tina Strachan 58:20

Mm, I know, I'm, I'm coming up with people in my head that I'm assuming. Yes. Okay.

Tina Clark 58:25

He's gonna be brilliant. 'cause he, he actually puts photography with some of his stuff, some of the stuff that he does, he doesn't, but, you know, all the way through educational as well as through trade. So it's, you know, the, the spectrum, which is really, really interesting. And, um, and finding where nonfiction can fit and 'cause NonFiction's one of those funny areas, which is often neglected by authors. And so, yes, that's, that. I, I'm really excited for that one. We have. A change in our, um, publisher panels. So normally at the end of the day, we just have all our trade publishers there. So this year we have a panel which will be on, um, alternate ways for publication. So with lots of people now looking at, self-publishing, so different companies which are doing different things for and how to still avoid the vanity publishers who take your money and don't do anything and who are saying, we will do this, we will do this, we will do this for you. And you give them so many thousands of dollars and they do none of that. So there's a lot of companies which have sprung up, who are quite reputable now, who will help you to take an alternate path. And who will then do that work with you and you work and co like, like co companion. Some of them are calling themselves co companion. So we've got a panel on that, which is gonna be amazing. Well, I, I think it's gonna be amazing. I think it's a very needed resource. And then of course we've got our trade publishers who are talking about, you know, what's the trend now, what, what they expect to see in trade happening. We've got a return, another person who's coming to speak about how you can, um, in your, in all the way from, from picture books all the way through to adult books, how you can, um, look bullying, how you can control and give, give ways in which to enable a child or an adult to learn a way to actually, um, cope with what's going on. So I think that's something which is. Really needed. 'cause a lot of us touch on these subjects and books, but we don't give a coping mechanism with it. So to have being, being given a coping mechanism is, is a really a, a, a good thing to be able to add, you know, value add into your book.

Tina Strachan 1:00:47

Yeah. So like, messaging in stories, but not making it come across like you're teaching someone a lesson. Yes. 'cause no one likes that in there. Yes. Not obvious. Not obvious. That's right. Yeah.

Tina Clark 1:00:57

Not obvious. Yes.

Tina Strachan 1:00:59

Ah,

Tina Clark 1:00:59

so, and, and how to do it in a non didactic way. How's

Tina Strachan 1:01:03

that

Tina Clark 1:01:03

solved?

Tina Strachan 1:01:03

Yeah. Yeah. Which is really tricky, especially, you know, very tricky. It

Tina Clark 1:01:06

is very

Tina Strachan 1:01:07

tricky. Wow. We've,

Tina Clark 1:01:09

and obviously picture books.

Tina Strachan 1:01:10

Yes.

Tina Clark 1:01:11

Picture books and theories. There's, there's something, theories and, yes. Mm-hmm.

Tina Strachan 1:01:16

Oh God, there's so much. You, it really is a lot.

Tina Clark 1:01:19

There's one on editing.

Tina Strachan 1:01:20

Perfect. Yes. Editing's always valuable. I think you always pick something up. Every ev you know, every time you, you'd learn a bit about

Tina Clark 1:01:25

it. Yes. And from picture books all the way through to adult, you always, you always need to know how to, hundred

Tina Strachan 1:01:30

percent. Yep.

Tina Clark 1:01:31

Yep.

Tina Strachan 1:01:31

Okay. Wow. I feel exhausted. Just, uh, chatting. Chatting. Oh, that's so much there. So. Yes. So for everybody listening, um, who may already have entered or is thinking about entering, um, any of the competitions or the assessments, yes. This is your sign to go and do that because it really Absolutely, if you're looking for something more, you will really find it, uh, through either the bootcamp or the assessments or the competition or the conference, whether online, the conference or, yeah.

Tina Clark 1:01:59

And just join us. And then of course we've got our networking

Tina Strachan 1:02:02

Networking.

Tina Clark 1:02:02

So our networking evening this year, you can get it's on the rooftop.

Tina Strachan 1:02:07

Mm.

Tina Clark 1:02:08

It's gonna be amazing. It's gonna be amazing, and it's gonna be absolutely amazing. So at the Pullman Hotel on the roof. It's gonna be absolutely awesome. And yes, it, I'm, I am very much looking forward to that. Yes. And you know, that's when you just get to mingle with everybody and you know, talk to everybody and

Tina Strachan 1:02:25

Yes. And everyone's a little relaxed because, you know, we've all found out who's won the competition, everyone's done their assessments and they don't have to stress about that anymore. Yes. And the editors and the publishers, like editors and the publishers are there too. So they're there.

Tina Clark 1:02:38

You can

Tina Strachan 1:02:38

sneak in and sle up to them and have a little chat to them. It's a perfect time to do it. They're also relaxed 'cause they've done all their working stuff. They've,

Tina Clark 1:02:45

yeah.

Tina Strachan 1:02:46

Um,

Tina Clark 1:02:46

be, just be nice to the, you know, the bootcampers are still, you know, starting at like eight o'clock the next morning, so don't expect them to be there like, you know, past like or past nine. Yeah. Sort of thing. They're too go to bed together, they go home, get up and, yeah,

Tina Strachan 1:02:59

that's exactly right. Okay, we'll out. And

Tina Clark 1:03:02

it's really lovely.

Tina Strachan 1:03:03

Thank you so much for sharing all of that, any time. It's really important and very valuable and thank you. Again, for, for all the work that you do and your team and your volunteers. Thank you Sean, who's probably there in the background. Um, now I need to ask you just one last question. Yes. What is your number one tip for aspiring authors? It can be anything.

Tina Clark 1:03:22

Put your bam in your chair and write your book. That is the number one tip. Uhhuh. Without a product, without a product, you are, you, you're not finished. You have to have a finished book. So if it's a picture book, finish it. If it's a middle grade novel, finish it. If it's an adult novel, take the time, finish the book. That's all I can say is writing takes time. Put your bum in that chair and type dictate, do whatever, but get your story on the page. 'cause you can't, an editor cannot edit a blank page. I think Nora Roberts says that all the time. Mm. But yes, give us a book.

Tina Strachan 1:03:59

Mm-hmm.

Tina Clark 1:03:59

People can, can then fix a book. You can't fix a blank page.

Tina Strachan 1:04:04

That's right. Yes. Perfect. Wonderful, and amazing advice to end on, bu bum glue, bu let's end on bum glue. Love that. Thank you so much, Tina Clark. Appreciate Thank you for having

Tina Clark 1:04:14

me.

Tina Strachan 1:04:19

Thank you for listening to the book Deal podcast. We're able to bring you these weekly writerly chats because of our amazing patrons. Join the TPD family by becoming a member of our Patreon community@patreon.com slash the book deal podcast. And if you love the pod, please give us a rating or review. And don't forget to follow us on Instagram and Facebook.