Saturday, 13 December 2014

The Valley Press Newsletter - December 2014

Note: to keep my half of this blog alive, I've decided to post my occasional Valley Press email newsletters on here too. Enjoy!  - J.M.

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Dear readers,

As another year of flat-out publishing comes to a close, I look back on 2014 with a modest amount of pride, and a lot of hope for the future - 2015 is going to be huge. But we're not there yet. I've managed to publish two more 2014 books since the November newsletter, and I feel strangely compelled to tell you about them...

A Pocketful of Windows is an anthology of powerful, original and accessible poetry from writers in North and East Yorkshire; selected, edited and arranged by VP author Felix Hodcroft. The RRP is just £3.99, for which you get 66 poems by 36 poets; aged between 16 and 92, including familiar names and first-timers.

Though formal reviews have yet to arrive, we've had some incredibly positive reactions at the various launch events for Pocketful; and more than 300 copies have been sold so far. You'll be hearing a lot more about this book in future I'm sure - but until then, you can read a sample and more information here

Also out this month: a new title from our Ink Lines imprint, selected and edited by the team at Dead Ink books (particularly, on this occasion, David Tait) and brought into the physical world by Valley Press. It's a marvellous pamphlet of poems by Richard O'Brien entitled A Bloody Mess; newsletter readers can see an exclusive sample here.

If you're not a regular visitor to our esteemed homepage, you may not know that there is a special offer on the go: any two books for £12, with free postage. This won't be around for long, so head over there and make the most of it. (Top tip: when ordering, look out for a prompt that says 'Click 'add' and name your two books now' - that's the important bit.) This is the first ever 'multibuy' offer on the VP site: if it's successful there may be more in future, so there's an incentive if you needed one!

In previous years I have kept my head down and worked through the festive season - pausing only for a sip of champagne on New Year's Eve - but this year I am attempting to genuinely take some time off. This is not simply so I can put my feet up and forget about dispersing quality literature for a while; I am getting married on the 22nd December, and it will be nice to actually see the new Mrs McGarry face-to-face, rather than from behind a big pile of book proofs (which is the usual scenario).

Valley Press will close down at 5pm on Wednesday 17th December, and re-open on Tuesday 6th January; but do feel free to email and order books during that time, I'll catch up when I get back. As for everyone who is waiting eagerly for news and developments on future projects ... just hang in there folks.

All the best,
Jamie McGarry
(Valley Press Editor)

Monday, 8 December 2014

Female Friendship is a Very Complex Thing

I told a slightly silly but true story at the launch of Best Friends Forever last week, about how I first heard of the book's editor, Amy Key. It was back in 2013, when I was trying to learn more about modern poets, and my new boyfriend suggested that I might like Amy Key's work and that he could see us being friends. I replied, 'Thank you for this helpful tip and for taking an interest in my work.' Psych! No I didn't say that, I actually said 'You can't possibly assume that I would be friends with someone, because female friendship is a VERY COMPLEX THING. I can't even begin to explain it to you.' Because I am a delight to date.

Best Friends Forever
Of course, I did look up Amy Key's work and I found that I loved it, and I do understand why someone might think we could be friends (Are we now? Maybe?! Give it time! Female friendship is a very complex thing! Jesus!). But I also stand by my original sentiment, and by my general exasperation about how female friendships are often misunderstood or just not considered important enough to try and understand in the first place.

My whole life has been defined by female friendships. I met my first best friend at nursery and I used to cry from missing her if her mum picked her up before mine at the end of the day. In year 5 our teachers put us in different classes so we could learn to be apart, and she discovered football and left me behind. Secondary school, a hothousing all-girls grammar, was fervid with changing allegiances as girls grew out of some friendships and into others, while negotiating exams, our bodies, and sex. The novelties of university put my old friendships on the backburner in the first year, but I eventually came back to them and learned to value them immensely alongside my new ones. My friendships at Orion made my very boring job bearable, and the existence of the Emma Press is a direct result of my old school friendship with Rachel Piercey plus the catastrophic end of my university friendship with my two housemates (which meant I moved home and could save up money) plus the indirect result of the support of my other best friends.

One of my illustrations from the book
And yes, there were dramas with boys, but honestly they were nothing compared to all this. Contrary to what popular rom-coms from the 80s and 90s suggest, best female friendships aren't a sideshow, tacked on to fill in the bits between meeting the love interest – they're the main event. Is Mean Girls about Cady Heron and Regina George fighting over Aaron Samuels? Of course it's not! Because Tina Fey gets it, and knows that the meaty stuff is Cady's friendship with Janis Ian (and Damian) and then the Plastics, and, less in the foreground, the ruins of the friendship of Janis and Regina George.

Infinitely more interesting and frequently more lasting, female friendships strike me as much more worthy of attention than most tedious A+B=Kissing romances, which is why I was so delighted when my possible friend Amy Key emailed me last year with a proposal for an anthology of poems about female friendship. Most definitely yes! All Emma Press anthologies tackle subjects close to the hearts of Rachel and myself, so I'm pleased that our first guest-edited anthology takes a look at one of the foundations of the Emma Press. Amy has collected a truly fantastic collection of poems which celebrate the life-enhancing power of female friendships while not shying away from the darker aspects of such intensity. Her introduction is soul-baring and moving, and I suspect that soon many more women will be asking themselves if Amy Key could be their friend.

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Amy Key has written about her experience of editing the book over on her blog. You can read more about Best Friends Forever on our website and buy the paperback (£10) directly from us as well as in any bookshop (you can order it in if they don't stock it). The ebook (£5.50) is available exclusively on our website.
 

Tuesday, 28 October 2014

What we're looking for in the prose pamphlet submissions

We launched a call for prose pamphlet submissions last month, which felt like a significant step for the Emma Press. Up until now we’ve only published poetry, because our first publication was a poetry pamphlet and it felt sensible to build on what we had learned from publishing it. Then, a few months ago, it occurred to me that we could publish prose pamphlets which would join our existing series of full-length poetry pamphlets. They would be as short as the poetry pamphlets and therefore less daunting to edit. I suddenly felt ready to open up our list and I’ve been excited about it ever since.

The Emma Press Pamphlets

I’ve had quite a few queries from people about our submissions guidelines and what we’re actually looking for, so I thought it would be helpful to lay out my vision of these pamphlets and give you a sense of what I hope to find for our new prose list. If you have any questions/suggestions about other suitable formats, feel free to ask me in the comments section.

THE BOTTOM LINE: £6.50


The core idea of our pamphlets is accessibility, to writers as well as readers. From a writer’s perspective, this is an opportunity to showcase your writing and ideas, at a time when you might not be ready for a full-length book. From a reader’s perspective, this is a low-pressure, low-cost purchase, insofar as a pamphlet only costs £6.50 and is about 36 pages long. It's likely you'll be able to read the whole thing, maybe several times, so you'll probably get your money’s worth.

So, my advice to writers is this: please think about the reader and how your pamphlet proposal will seem to an optimistic, philanthropic bookshop browser with £6.50 burning a hole in their pocket. Your idea must feel like it's worth at least £6.50 and, ideally, by the time the reader finishes the book and is considering buying more Emma Press pamphlets, your book has got to feel like it was a bargain at £6.50.

I know this might seem excessively worldly to demand of a writer, but it’s probably the most useful thing I have to tell you. When I’m reading your proposals and deciding which ones to pursue, I’ll be asking myself: would I, an individual with little money and still less time to spend reading for fun, fork out £6.50 for this?

THE WRITING: Be clear


For me, the accessibility of the pamphlets for the readers extends beyond the price and the length, and into the writing itself. I’m a huge stickler for lucidity in literature and I have little patience for deliberately vague and opaque writing. I’m not against experimentation, but at the same time I value the sense of an unspoken contract between the writer and the reader; the communicator and the recipient. If you don’t make the effort to convey your ideas to the reader, why should the reader bother trying to understand you? If you don’t want people to understand you, why not just keep a diary and keep it to yourself? I fully believe it’s possible to write cleverly and innovatively whilst still being clear.

I think style is a big part of readability, so I’ll also be looking for writers whose style I enjoy. I like writing which has an awareness of rhythm – just because it isn’t poetry doesn’t mean it can’t scan. If you use long sentences, make sure they’re structured well and used sparingly. I'd recommend reading your writing aloud, to see if it rolls off your tongue. If you find yourself tripping over parts of what you've written, or getting mixed up over which clauses to stress in order to make sentences make sense, you might need to take another look at your style.

I particularly admire the authors Douglas Adams and Hilary Mckay for their style. 

THE FORMATS: A whole range


Short stories. I think a single short story, or maybe two short stories, would work really well as a pamphlet. After reading my favourite short stories, I always feel like I’ve been clubbed over the head and have to sit quietly for a little while, to process what has happened. You can do a lot with a short story, and I’m hoping we find some writers at the starts of their careers, pre- bestselling novel, as well as more established writers who fancy mixing things up a bit. I love children’s and YA literature, so writing in those genres is very welcome. I’ve had a few queries about flash fiction, and to be honest I’d be concerned that a collection of 30-odd pieces of flash fiction might not feel like any more than the sum of its parts, unless perhaps there was a unifiying narrative. If you think your proposal will negate my concerns, then by all means send something in.

Short plays. I really like Tom Stoppard’s one-act radio plays, like Artist Descending a Staircase, so I can imagine publishing some tightly-written mini-dramas or comedies. I think we could have some fun with the launch events!

Comics. Emma Press books already contain illustrations, so I’m very interested in exploring fully-illustrated, graphic novel-style pamphlets, for both fiction and non-fiction. If you are a graphic novelist and have an idea which might suit a short black-and-white pamphlet (or even a colour one, possibly), we’d be very happy to hear from you.

Essays. Some writing is just too good to leave on a blog, magazine or newspaper website, so we'd love to build up a list of non-fiction pamphlets. We're interested in all kinds of well-written essays which make sense as a pamphlet, including essays on politics, humorous subjects, travel, memoirs, and any other specialist areas. I know this is vague, but if you're a really good writer and can write something interesting and engaging then we may be interested in you.

Recipes. I love reading cookbooks, even though I rarely have any intention of using the recipes. I like good food writing (hello Nigella) and I'd like to publish pamphlets of maybe 10 recipes, each accompanied by my illustrations and with quite chunky introductions to each recipe. General food writing is welcome too.

Guides. The pamphlet lends itself very well to manuals and guides, so if you have some wisdom or facts to impart on the world, step this way! Do consider which subjects might appeal to us, as we won't be able to publish something that we don't understand at all and have no interest in.

Speeches. A bit of a wildcard, but why not? Any modern-day Ciceros and Plinys will certainly get a look-in, as we have a soft spot for orators and rhetoricians. You could even send us a dialogue, like the ancient philosophers!

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The call for prose pamphlet submissions is open until 25th January 2015. In order to submit, you need to be a member of the Emma Press Club (you join by buying a book/ebook/set of postcards from our website) and pay a £5 pamphlet submission fee per proposal. Read all the details here.

Monday, 22 September 2014

What We Do When We Process Submissions

A few weeks ago at the Poetry Book Fair, I was on a panel discussion called 'What Do Poetry Pamphlet Editors Look For?', chaired by Joey Connolly. It was a short session, so we only had time to give the briefest of outlines of our submissions policies, but one theory which was floated was that it was impossible to say what editors looked for, because they are always looking for something new and also will just go with their gut anyway. I agree with this to some extent, but I'm not sure if it's the most helpful way of looking at it.

For starters, you probably can get a decent idea of what a single editor is interested in by examining their history of commissioned works. This might not work for a team of editors, but most small presses operate on teams of one anyway. You'll be able to glean clues about the styles they like as well as their main concerns, so you can use empathy and imagination to consider whether yours would fit with this or perhaps provide a refreshing change. Either is good!

My inbox
The Emma Press runs regular calls for submissions, with the proviso that people submitting must join the Emma Press Club, so it's especially important for me that the submissions process is as transparent as possible. Part of the thinking behind the Emma Press Club (where people must buy one book/ebook/set of poem postcards from our website in order to submit for that calendar year) was to ensure that everyone submitting would have to engage with our website and buy something we had created, and in doing so get a better idea about what we like. On our flyers, we describe ourselves as specialising in 'books which are sweet, funny and easy on the eye', which is fairly accurate although it doesn't take into account the darker direction in which some of our books have wandered. I hope that people find this helpful when deciding whether – and what – to submit.

It occurred to me that something else which might help potential submitters was an account of what we do after the submissions deadline. It might be useful for you to imagine what your poems will have to face after you've pressed 'send', and you might also find it reassuring that your poems are in hopeful, encouraging hands. We want to choose your poems, and we open every email hoping that this will be a 'MAYBE YES'. This might also explain why we're sometimes late in responding to submissions...

What We Do When We Process Anthology Submissions (from my point of view)


  1. I read all of the poems within a submission twice, and then label it 'NO' or 'MAYBE YES', which feels as alarmingly harsh to do as it sounds. But! At least the labels aren't 'AWFUL' and 'OBJECTIVELY GREAT' – all we're doing at this stage is deciding which of the poems might be the kind of thing we like and which might be suitable for the brief, and which are not so much the kind of thing we like or not really suitable for the brief. This is not a statement about quality, and I know that we have turned down lots of great poems just because they didn't quite fit our vision for the anthology or because they just didn't click with us. About a third to a half of the overall submissions usually end up on this longlist.
  2. I read all the poems on the 'MAYBE YES' longlist again and create a shortlist, this time noting down my thoughts on the poems. By this point, I'll have a better idea of what the book is going to look like, so it's slightly easier to decide if a poem will be right for it. I start reading the submissions with a very open mind, but by the shortlisting stage I'll have formed some ideas about what areas the book will focus on and the general feel of the book. I'll also be thinking hard about whether this poem grabs me and has stayed with me since I last read it. My shortlist usually contains 60-70 poets.
  3. I meet up with Rachel Piercey, my brilliant co-editor, and we compare our shortlists. We'll discuss each of the poems and how we feel they could work in the book. Like Paul Hollywood and Mary Berry deciding whether to expel Kate or Richard on The Great British Bake-Off, our discussion can become heated. I like to keep our anthologies fairly slim, so we aim to select around 30 poets for each book.

I hope this is helpful! Our calls for poems about 1) UK politics and 2) voting are ending on Sunday, so do check our our guidelines on our Submissions page. We're also currently looking for poems about 'Slow Things', and we'll be announcing still more calls for submissions over the next few months. Sign up to our newsletter so you don't miss out.

* If you want to hear me talk more about poetry pamphlets and see some of our pamphlet poets in action, book a free ticket for our Special Edition event at the Poetry Library now: http://www.southbankcentre.co.uk/whatson/the-emma-press-pamphlet-poets-86755

Wednesday, 17 September 2014

Exclusive extract from the introduction to 'Homesickness and Exile'

Homesickness and Exile
This week we're tremendously excited to be launching our new anthology, Homesickness and ExileThe book is the second in our 'Emma Press Ovid' series, which began with A Poetic Primer for Love and Seduction, and it's a fantastic collection of poems about home and belonging with contributions from poets from across the world. There are poems about leaving home and missing it, returning home and feeling like a stranger, and about not knowing where 'home' should really be.

When Rachel (Piercey, my co-editor) and I began planning Homesickness and Exile, we hoped it would be the kind of book people would give to imminent travellers, to keep them company on the road. I think we've achieved that, and I couldn't be happier with the sensitive and varied ways in which all the poets approach the subject. It's a thoughtful, moving set of poems and I hope that it will strike a chord with everyone who reads it, whether they're at home or abroad. To give you a sense of the book, I've posted an extract from my introduction below. Enjoy!

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Inside the book
When the Roman poet Ovid was ejected from Rome by the emperor Augustus and sent to Tomis, a remote town on the Black Sea, he wrote five books of poetry in an attempt to bring about his pardon. These books, the Tristia, describe his last night in Rome, his terrifying journey across stormy seas, his misery in Tomis, his abandoned wife and friends, his early life and poetic works, and – above all – his hope that Augustus will relent and let him come back to Rome.

Ovid’s heartbroken descriptions of his wife and friends will resonate with anyone who has ever had to leave behind a loved one, but for me the fascination lies in Ovid’s unwavering belief in where his home is. He’s been banished from it by Augustus and he’ll live the rest of his days in Tomis, but his home will always be in Rome – not where he was born, but where he chose to live, surrounded by his wife, friends, library, reputation and personal history. In a very callous way, I feel envious of Ovid in his absolute conviction in where he calls home, because it strikes me as quite rare and wonderful to be able to identify somewhere as your home with full satisfaction and accuracy. Ovid may have lost it, but he had it to begin with: somewhere he was happy to belong.

When we launched the call for poems for this book, I wondered what we would learn about modern attitudes to home and whether Ovid’s feeling of bereavement would be echoed in any of the poems. In the privileged world of cheap flights and Skype, people can, in theory, go wherever they like, come back and visit often, and stay in touch via the Internet. Do people even feel homesick like Ovid anymore?

* * *


Four poets from the anthology, Holly Hopkins, Anja Konig, Selina Nwulu and Stephen Sexton, will be reading at the Story Museum in Oxford on 2nd October. This special event will be part of the National Poetry Day celebrations, and the poets will be reading from the anthology as well as other poems on the theme of 'remembering'. You can book tickets here.

You can read more about the book and the poets involved over on our website and buy the printed book and ebook over on our website.



Sunday, 7 September 2014

Valley Press Friday Digest, #19 (Final, Sunday edition)

Readers, the day you've all been dreading is finally here - it's time to retire the 'Friday Digest' format. I've really enjoyed writing these posts over the last four months, and I'm sure it's been good discipline. Sometimes I had the time and inclination to write a lengthy, stirring essay, sometimes I just rushed off links to things I'd seen on Twitter, and sometimes I quite literally phoned it in - but I always got it done. Eventually. But not any more.

I believe some sort of regular communication with the public is essential for a publisher, but I'm not quite achieving that with this current format. I haven't been able to reconcile writing these posts with sending out a newsletter; this seems to make the newsletter irrelevant, and yet I know the newsletter is more important than the blog - or do I? The point is, I need to go away and rethink my basic 'news dispersal' plan, and more importantly how to start building a genuine digital community around VP and EP. Answers and suggestions are always welcome.

Before I call it a day though, what have I got to report from this week? Well, me and Emma had a wonderful time at the Free Verse Poetry Book Fair on Friday - lots of sales and good discussions at what they are calling the 'Poetry Christmas'. Here's a representative photo:


Also, it would appear Love and Eskimo Snow has been nominated for the People's Book Prize, which (as you can guess) is a book prize voted for by the people. I really dislike 'marshalling the troops' to go and vote for stuff - but we won't get into the muddled psychology behind that just now. There's been a bit too much of that on these Digests as it is! The important part: if you would like to support this excellent VP novel, you can do so here.

That's all for the time being - I'll see you on the new newsletter/blog/whatever when I figure it out. If there's anyone out there who's read all nineteen of these posts, top to bottom, my sincere thanks to you - and of course, there's still time to catch up if you'd like...

Sunday, 31 August 2014

Valley Press Friday Digest, #18 (Sunday edition)

Despite appearances, this blog is not just here as a source of one-way Valley Press propaganda - I do occasionally drop in some hints of the larger struggle, and of course you can tell how things are really going by reading between the lines. If the post appears on Friday (as billed), full of good news, that's because I've had a good and relatively easy week; if it appears on Saturday, with very little substance to it, it's been an overly busy and boring week. This post is going up on Sunday afternoon, and was, at one point, full of hand-wringing and woe-is-me rhetoric. It has been a difficult week.

That being said, there have been a couple of bits of good news - one I've agreed not to tell you about, and the other you have probably already heard: the arrival of the new Dead Snail Diaries from The Emma Press. She's done a spectacular job, as hoped; the physical object is a beautiful and intriguing bit of work, and definitely worth £8.50 of your money. Huge thanks are due to Emma and Rachel for their top-notch efforts on both art and text.

I took a few minutes on Friday, when the books arrived, to think how I had suddenly attained the status of 'legitimately published author' - to consider what a strange road it has been from writing the snail poems in 2009 to their appearance in this new volume, and try to imagine how pleased 2009-era Jamie would have been to see it.

I've not perhaps been able to appreciate it as much as I should, as the rest of the week has been such a horror - blighted with all sorts, including illness and a lack of phone signal/internet connection. This whole month has been one I'd like to erase from history, or perhaps go back to the 1st August and have another go at; I have, quite simply, achieved nothing. But it is unquestionably over now; tomorrow is September, and we've got the Poetry Book Fair to look forward to on the 6th. Onwards and upwards!