Authoring & Playwriting

Hey Authors and Playwriters,

I've had a few writers reach out recently about how to get to their next steps. Some are seeking representation, some are looking at getting traditionally published, others are seeking more media opportunities.... everyone's next steps are different.

Here are some ideas for network outside the box:

Reach out to your favourite authors and ask them if they have time to chat to you about their journey to publication. I've done this many times and made some valuable connections in the writing community.

Attend Writers' Conferences and Literary Festivals: These events offer opportunities to meet agents, editors and publishers. Many conferences include pitch sessions, workshops, and panels, facilitating direct interaction and learning. However, even volunteering is a great way to get behind the scenes and get some one on one time before the event kicks off.

Attend Book Launches and Author Events: Supporting other authors by attending their events can lead to meeting them, as well as editors, publicists, and readers, expanding your network organically.

Volunteer at Literary Organisations or Bookstores: Contributing your time to literary organizations or independent bookstores can provide exposure to the industry, introduce you to key players, and demonstrate your commitment. My local bookstore owner introduced to me distributors after I spent some time promoting their store.

These are just some ideas... of course there are so many different ways to get your name out there.

Hey Authors,

Here’s a peek behind the scenes:

Submissions vs. Slots

A small Australian publisher I know receives over 400 picture book submissions when open, yet only publishes around three books for that round. That means less than 1% make it through. And even among those, not all reach the sales needed to break even.

The Real Cost of a Picture Book

Producing a picture book is expensive. Between illustration, editing, design, printing, and marketing, the average cost in Australia is estimated around $15,000–$18,000 per title. Illustrations alone can cost $6,000 or more for a 32-page book (based on Australian Society of Authors’ recommended rates).

Print Runs and Risk

A first print run might be 2,000–3,000 copies, and the publisher needs to sell most of them just to recover costs. Once you factor in distribution, discounts to bookstores, and returns, profit margins are slim.

Why Publishers Are So Selective

Given these economics, most publishers can only take on a handful of picture books each year - often those they believe have strong commercial potential, a unique hook, or standout artwork. It’s not just about the quality of the story; it’s about the viability of the project.

The Takeaway for Children's Authors

If you’re querying picture books, don’t be discouraged by rejection. Sometimes it’s not about your story at all - it’s about the numbers. Even the best manuscripts can be too costly to produce in today’s market.

That’s why so many authors are exploring small presses, co-publishing, or hybrid models, where the creative vision can still come to life with shared risk and reward.

I hope any children's authors find this information helpful and look broadly when submitting your work.

In character development of a story , what are some of the tips and trick you use, and have perfected over the years

1. Develop a Backstory:

2. Define Clear Goals and Flaws

3. Create Distinct Voice and Personality

4. Show Growth and Change

This model has guided me in creating, and helped me a lot.

what are some of your tips

It recently occurred to me that, as writers, we find ourselves in a wonderfully unique, magical and powerful position. Whilst working on my debut novel, there was a part I was not overly happy with. There was something that just didn't resonate and it bothered me. Having got a little deflated I tried to explain the issue to my wife.

She retaliated with a light bulb moment for me that I hope sparks that excitement back into other writers that get stuck in a rut...she said "It's your book, surely you can just change it?"

As obvious as this is, it was the exact impetus that I needed to bounce back and it got me thinking what a powerful position we are in as writers, we have the ability to influence, guide, emote, excite. We can install fear and dread, make readers fall in love, detest characters, reason with themselves. It's an important job in the morality of humanity we play.

Thumbs up to all those finding themselves in this position x

I find myself going back to a series of videos titled "Dracula Flow." They're available on YouTube and were supposedly produced by George Miller, aka Joji, the highly successful alternative RNB musician, known for various songs, most notably slow dancing in the dark.

I suppose I should say that the videos are NSFW, highly offensive, grotesque even, so proceed with that in mind. But, all in all, the writing is really vivid — I keep picturing a villain or a supernatural entity saying these words. They've inspired me immensely as I attempt to construct cool characters for scripts. The character in the videos references all sorts of incredibly specific things.

Which writing do you guys go back to when you want to be inspired?

1. "I'm not loyal to anybody, I'm a demon! I have no loyalty for anyone. Never did, never will."

2. "Last guy who ran off on the pack got choked out by some Givenchy gloves.

The last thing he ever saw was the price tag on them ... slowly faded into darkness and I let the archangels take him.:

3. "I have seen the Magna Carta, I've seen the Eye of Horus

I was flippin' bricks for Mansa Musa before y'all even became a type-1 civilization."

4. "I'm in Göbekli Tepe shirtless in a loin cloth."

5. "My Audemars Piguet worth the GDP of Yemen.

If this watch breaks, the foreign exchange market will take a twenty-eight percent hit, people will die."

Hey there, authors!

This lounge isn't just for writing, authoring and publishing... even though that's mostly what I contribute with... It's also to let you know what else is happening around the platform.

I’m excited to share details about our next free Stage 32 webcast, which is perfect for anyone looking to better understand how the film business works - and how to make real progress at industry events.

How to Work the AFM (American Film Market) 2025, Live on Monday, October 13th at 1:30 PM PT

Free Registration Link: https://www.stage32.com/education/products/how-to-work-the-afm-2025

Why it matters:

The American Film Market® (AFM®) is one of the most important events in the global film industry. Every November, thousands of producers, distributors, sales agents, financiers, and other industry professionals meet in Los Angeles to make deals, showcase projects, and forge connections that can truly transform careers.

Whether you’re a filmmaker trying to land distribution, a producer looking for financing, or a screenwriter or actor hoping to understand the business side more deeply, this webcast about AFM is a goldmine of opportunity.

I'm going to tune in and check it out - if you can't make it live, you can always listen on demand.

Rejection hurts - no matter how many times we tell ourselves it’s “part of the process.” But here’s the thing: it IS part of the process.

A “no” doesn’t always mean your work isn’t good enough. It could mean:

They already have something similar on their list.

The timing isn’t right for that genre.

They’re working with a known author whose project overlaps with yours.

Or maybe… your story just hasn’t found the right champion yet.

I personally know number 3. I was rejected for my story because the publishing house went with a well known author who they knew would sell with a similar story. Did it hurt? Yes. But was I OK? Absolutely YES! I was compared to a best selling author - #win!

Every rejection means you’re in the game. You’re learning, growing, and daring to share something personal in a world that often plays it safe.

Keep writing. Keep submitting. Keep improving. Because every “no” is a step closer to the “yes” that changes everything.

What’s one piece of advice that’s helped you push through rejection?

Thank you Stage 32 for another opportunity to learn from the experts.

Today’s Free webcast (Composer + Filmmaker Relationship: How to Make Your Indie Film Successful) not only educated us on how music and sounds enhance a film’s story; the presenters verified my belief that choosing a team / cast / crew with positive vibes who are fun and pleasant to work with is an important consideration in staffing your film.

I have a strong opinion that building partnerships with pleasant people elevates your film - and the mood on set transfers to the screen with the lighting and sound.

Do you consider the personalities of your cast (of course), but have you chosen producers, directors, film crew, etc. based partially on gut feelings and a sense of connection with them? Please share your most uplifting story.