Episode Transcript
[00:00:00] Speaker A: Hello authors.
[00:00:01] Speaker B: I'm Joanne Morell, children's and young adult fiction writer and author of short nonfiction for authors. Thanks for joining me for the hybrid author podcast, sharing interviews from industry professionals to help you forge a career as a hybrid author, both independently and traditionally publishing your books. You can get the show notes for.
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[00:00:31] Speaker B: Www.Hybridauthor.Com dot au let's crack on with the episode.
[00:00:42] Speaker C: Hello authors. I hope you're all keeping well in whatever part of the world you reside and listen to the podcasting. Today's interview is with Rebecca Newman and Sally Murphy, and we're talking right way down collating a work of children's poetry for traditional publication. And we chat the complete anthology process from start to finished. Product best and trying moments their tips for authors looking to write poems for a collection or undertake collating a full work such as this and much more so in my author adventure this week I am in Rottnest Island. I made it across and I must apologise that I'm very hoarse from talking to so many people. And I am also recording this intro outro and author update on my phone in Rottnest. So I'm in my bedroom and it's a hardwood floor. It's an open space. It's probably very echoey, so there's not too much I can do about that. Beside a window where I can hear a child outside, birds, probably lots of different noise. So that's just the context of where I am. If you can hear some, some different sound this week. So for those who don't know, Rottnest island is an island across the waters from Perth and it's been very wet and wild. Luckily the sun was out when we came across, so it was on the 10:00 ferry yesterday and, and I stood outside because I have been sitting inside the ferry before and you just sort of get churned around. Whereas when you're outside you can see the rise and fall of the ferry against the waves, so you're kind of ready for it to kind of crash down. And so it wasn't too bad going over. It kind of felt like you were on a ride at a theme park, to put it mildly. But the rain has not stopped. It's not too cold, which is good. So we got straight into it, obviously met with everybody and had the welcome and the accommodation this year is very nice. Nice little cottages beside the seafront. Well, we're not right on the seafront, but that's okay. We're right next to it. And today is Friday, so we start to kick off workshops with the publishers that are here and do our critiques. I've got a critique this afternoon with the publisher and also with a young adult group of writers for my young adult fiction book. So I'm very excited to do that. It's been really nice to catch up with everybody. I've talked and talked and talked. That's why my voice has gone hoarse. We had dinner at the pub last night and did a 32nd pitch. I had nothing. So just sort of pulled something out my arse, which I'm now thinking about today, and thought, you know, I probably should have put a bit more thought into that. But anyway, it's all just a bit of fun. And shout out to Cindy Lane. She launched her picture book last night called Oceans at Night with Vanessa Peyrotti, who. Who wasn't there. And I apologize if I'm not saying her name correctly, but it's a beautifully illustrated book about creatures that come out at night under the ocean. And Cindy is well known for this in the industry. And she had a beautiful big whale cake with cupcakes. It was really launched by Rebecca Newman, actually, who is on the podcast today, and it was really, really lovely. So, yeah, very, very special book. No doubt we could have Cindy on the podcast to talk about it at some point. I brought my bike over. Well, actually, I bought my daughter's bike over because mine's is a rust bucket, and I would have been embarrassed to bring that anywhere near anybody. And I plan on going out on it tomorrow. I might cycle up to the. It's the golf club where they're having the workshops today. And I might cycle around as well. But tomorrow I plan on doing the big cycle in the morning around the island because I brought the damn thing. I'm gonna use it. And it's the first time I've ever bought a bike over here, so it's been really nice. I had my Tarrells red last night. I don't know if anyone's ever done that before, but I highly recommend it. Just been thinking about that, really, which was all quite nice about, you know, having hope about things and making decisions and all. Very relatable.
[00:04:35] Speaker D: Yeah.
[00:04:35] Speaker A: All.
[00:04:35] Speaker C: We're supposed to be coming back on Sunday, but we've just found out all the fairies are cancelled. We're not sure what's gonna happen. We'll probably find out today who's going home on Saturday or if summer staying till Monday or so. This always happens this time of year because the weather's so bad. One time we, the fairies got cancer when we all flew over in tiny planes. So keep you posted. Will I or won't I get home?
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[00:06:32] Speaker A: Rebecca Newman is a children's poet and flash fiction author. Her poetry has been published in the school magazine New South Wales Department of Education, a children's poetry anthology, Bloomsbury, UK, and exhibited at Paperbird Books and art in Fremantle, Western Australia. Her flash fiction for adults has been shortlisted in competitions and published in anthologies Night Parrot Press in Western Australia. Sally Murphy an australian author of over 50 children's books. She writes fiction, poetry and non fiction for children and articles, education materials and resources for adults. Sally also gives motivational speeches and writing workshops for all ages, and conference presentations about literacy, reading, and much more. Welcome to the hybrid Author podcast, ladies.
[00:07:21] Speaker E: Thanks for having me.
[00:07:22] Speaker D: Thanks for having us, jo we are.
[00:07:23] Speaker A: So excited to have you both to chat to us today. So can you please both share how you got interacting and publishing?
[00:07:31] Speaker D: Do you want to start?
[00:07:32] Speaker E: Sally? Yeah, I'll start.
So, yeah, I don't really remember a time that I didn't make up stories and poems. And all through my school years I knew that I wanted to be an author and by the time I finished school though, people were telling me I needed another job. So I became an english teacher and a mother. But I never stopped writing and I didn't really give up on that idea. And the first pieces I had accepted were poems, including for the school magazine. And then because I was a teacher, my first book acceptance was actually a book of educational printables. So it brought those two careers together. And since then I've had lots of books published and lots of individual poems and other pieces.
[00:08:12] Speaker A: Amazing. How about you, Rebecca?
[00:08:15] Speaker D: I was always a really big reader as a child, but I didn't really think of writing as a possible career choice. I went to uni and did a Bachelor of arts with a major in english literature and then a graduate certificate in editing and publishing later when I was having babies and thought that would be quite a good side step career while I had my kids at home. And then I published a magazine called Alphabet Soup for Kids for over three years before I decided to. It's a tough time for magazines. I decided to shift it to a website. And then my first writing break was with the school magazine with some poetry. And I've had poetry and play scripts published with them and then a few anthologies when you see call outs, very keen to submit to those so that they were my first public publishing credits. Yeah. And then this seemed to be the next logical step.
[00:09:09] Speaker A: Yeah. Fantastic. Well, it seems you've came together through editing skills and the love of poetry, as today we're talking about right way down, which is a collection of poetry for children selected and edited by you both and written by a congregation of, you know, amazing wa writers, including yourselves. And it's published by Fremantle Press. And of course, the COVID is beautifully illustrated by our very own local author illustrator, Bryony Stewart. And so can you start by taking us from the beginning of this, you know, adventure? How did the idea come about? Came together to work through it. Yeah, just take us from beginning to finished product.
[00:09:47] Speaker D: I might start, if that's okay. So Sally and I have been talking for quite a few years about the possibility of having western australian writers in an anthology together. We saw anthologies coming out, I wouldn't say regularly, sporadically from the eastern states. And often the first we'd heard about it was when an anthology was out and we weren't aware of call outs for writers. So we thought it would be really great to have the opportunity to have western australian writers, australian writers initially, but we narrowed it down to western australian writers, living authors, only one book. So, yeah, over a couple of years we were tossing that idea around and then I was at the. I was at a fellowship placement opportunity at Paper Bird where I was there for a term in 2019. And Bryony Stewart had heard about us talking about this idea, floating it around, and she said, oh, if you ever get that off the ground, I'd be interested in illustrating that. So we filed that one away and gave us a bit of energy to get the project in motion, I guess, and start putting feelers out for how we could possibly make it happen.
[00:10:56] Speaker E: Did you want to put project really? So I remember we are both members of what we call Squibby in Western Australia and were regularly going on retreats to Rottnest. And I stood in the rottnest store the last time we had a retreat there, which I think was 2019, perhaps, and looked at all the books on for sale there for tourists to buy and wondered why there wasn't a collection of west australian poetry and that we had this three minute pitch that evening and I pitched it as an idea and Bec came to me afterwards and said, that's going to happen one day. And it did. It has happened. But I must say that although it's been a joint project and a joint passion, it was Rebecca who then, after we'd met and discussed and dreamed about it, who then said, I'm going to make this happen, and went and applied for a grant under the auspices of the Alphabet soup imprint, or, sorry, publications, and really had to work very hard to get that grant, which is what gave us the ability to commit to producing biology that would be illustrated, that would be good quality, where the poets would all be paid. You know, we put out a call then once we had that backing, put out a call for poems and, you know, got some wonderful poets come in. We also, in the process.
In the process of sort of making sure we covered lots of topics, lots of styles and lots of different poets, really wanted to use a piece from a book that had been previously published by Fremantle Press. And that was how they became aware of it and said, let us be part of it. Which, of course, is wonderful, because although it would have also been a wonderful product under just the Alphabet soup badge, it has given us a greater marketing reach and distribution reach. So it's just been a lovely partnership.
[00:12:50] Speaker A: What was the poem from them that you wanted to keep in there?
[00:12:54] Speaker D: So when we were looking at the lineup of poems that were coming in and we thought, you know, what would be really great if we're having an anthology put together with western australian writers to have a poem by Sally Morgan.
And so I reached out to her and she said she was so busy at that particular time, our window was only a month because of all the time constraints from the point where I got the grant to the point where we wanted to be releasing the book. We had a one month submission window, but she was happy for us to use poetry that she'd already had published. And we were very keen to use a poem from her verse novel that had been published with Fremantle Press, which is why we then approached them. She was happy for us to use it, but we also wanted to get sign off from Fremantle press because it wasn't really a standalone poem, it was a poem within the first novel. So I thought it would be best to get sign off from them. And that's how that came about. So we were having conversations with them that led to them saying perhaps we could partner with distribution initially. And then, yeah, when we showed them the collection, they were quite interested in partnering on the anthology itself. And, yeah, as Sally said, that gave us greater reach. But also the value of their expertise with what would work with paper quality. And the size of the book is slightly larger format paperback due to that collaboration and a bigger print run than what we could afford just with the money from the. It was generous funding, but we were still a smaller project before we collaborated with Fremantle Press. And they've really taken it to the next level. Briony was able then to illustrate every double spread in the book. So it's kind of got a graphic, novelly feel to it when you look at it. Lots of white space and large illustrations to go with each picture. As a kind of a weigh in for kids who are more visual readers to start with.
[00:14:58] Speaker A: Yeah, no, that's absolutely amazing. So obviously you had all the. You'd obviously done a lot of the work and sourced poems and then brought it to them. So it was more like a collaborative thing with them when they wanted to take it on. Not so much like an author kind of pitching their work and then the publisher just taking control, I suppose.
[00:15:18] Speaker D: But I guess we were kind of. We were sort of like an author pitching at that point because we had brought the project together. We got. Sally and I had done editing on the poems by that point. So what we were showing them, we were able to show them pretty much a finished product.
So at that point, I guess I was kind of dealing with them the way that an author would with their manuscript, handing that over and having discussions with them about what they would like to make changes to with layout and that kind of thing. We did have a book designer on board because, of course, when it was going to be published under Alphabet soups umbrella, I had hired someone, thanks to the grant to do the layout with us. So she also came with us on board to Fremantle Press to help us out with those next steps. And then the proofreading and typesetting. And everything happened after Fremantle press came on board. And we were able to tap into some of their networks for that, too.
[00:16:17] Speaker E: One thing I was going to add is that usually when you're a sole author, the editing would be done in house by Fremantle Press or by someone that they've contracted. But they did give us the freedom to. They really trusted our editing process, which was, I think, was actually a testament to that. Maybe we got it right because we did put a lot of thought, you know, in the initial call out, we really thought about what we were, you know, what our vision was. And then, as we selected poems, we really worked, I think, to select carefully for balance across the collection that we would have. There are themes in the collection, so it's divided into thematic sections, but we wanted to have different voices represented, different forms represented. And that is something that neither of us had had a lot of experience, certainly in a book length publication.
And Fremantle really sort of let us run with what we had come up with, which I think we. Quite proud of. Aren't we, Beck?
[00:17:26] Speaker D: I think we did that well. Good job.
[00:17:28] Speaker A: Yeah, you should be. It's fantastic. And so if Fremantle Press hadn't come on as the publisher, but obviously helped with distribution. Can't say the word. What was the plan? Did you have one?
[00:17:41] Speaker D: I did have a plan.
Under the grant application, you had to have a plan. Quite detailed. So the ASA, the Australian Society of Authors, has an arrangement for self published authors to publish and then distribute through a distributor arrangement that they have set up where I guess it's kind of like ASA is the client and they sub self published authors underneath them. So my plan was to hook into that program, I'm a member of the Australian Society of authors and use their distributor. But it is quite. That was a way we were going to get it into bookshops across Australia. Because I couldn't really have managed that on my own. I really wanted to have a distributor on board. But once we collaborated with Fremantle Press, they took it over from the point of proofreading, typesetting, printing and distribution. So we tapped into all of their networks and it was folded into their Fremantle press list. So the book has come out as a Fremantle Press book in association with Alphabet soup books. And it's listed for sale everywhere as a french press title. Being able to hook into their distribution network has been a really magic bonus.
[00:18:56] Speaker A: Fantastic. So what has been the best and the worst? Well, not the worst. What's been the best and the most trying moments from, you know, the overall experience?
[00:19:06] Speaker E: Well, I'll go first if you like. I think absolutely the best part of it has been working so closely with Rebecca. You know, we've been friends for a long time. I hope she counts me as a friend.
And actually, we managed to stay friends even.
[00:19:22] Speaker A: I was just going to say, are you still friends after this?
[00:19:25] Speaker E: Working with someone who is equally, if not more passionate as me about poetry was such a lovely thing to come together on, and then to have Briony, who's an illustrator that I've always wanted to have, illustrate one of my books, but also so many other poets. And I knew that other poets would be pleased to be part of it, but I think I was a little bit. I was a bit taken aback by just how much it means to the other poets. And it's really created this communal joy of bringing the book to life, so that for me, one of the most joyful book launches I've ever been to. And so, yeah, that to me has probably been just so wonderful. And the other part of it is, I went to Sydney a few weeks ago, and because of that extra distribution power, I didn't announce my visitations, but I went to four bookshops, and they all had the book, and they all had it face out. And in three of those bookshops, I was able to talk to the children's bookseller who said how wonderful it is to have such a quality anthology. And that's, you know, with west australian poets in New South Wales. So that was, for me, a great delight.
[00:20:45] Speaker A: That's amazing. What about you, Beck?
[00:20:47] Speaker D: That's very exciting. Yeah, definitely. Working with Sally has been fantastic because we've been talking about this for such a long time. To be able to actually bring it off has been amazing. And holding the book in our hands when it first was released, that was definitely a huge high point. As well as celebrating at the launch, there were 38 poets in the book, and quite a large number of them were at the launch. So, yes, that was really. That was really a highlight. That was so much fun. But I think as well, the. The first time it really felt real for me was when we did the call out and on the. I think all writers are a bit like this. They like a deadline. So on the day that it was closing, my inbox was just going ding, ding, ding. All the folks were coming in and doing preliminary flick throughs to make sure that things had the right things attached. And that sort of thing was just so exciting to see all these poems coming in. And I was thinking, I have the best job in the world. This is amazing. It was really fun. Most trying things, I think, were probably the time frames. It was pretty tight. So it feels like the industry moves very slowly, but when you're actually working on the project, everything had quite tight timeframes. And when we signed on with Fremantle Press, because we were folding the book into their list and their time deadlines, within a year were shorter than ours, we had to fast track what we were doing towards the second half of our plan, which I think was probably harder going on. Briony, who was doing lots of illustrating. Yeah, that was just keeping track of that. There were a couple of. It was a big year, 2024. So I moved house and I was also judging a big poetry competition at the time. So juggling all the different things at once, that was probably the most trying thing. And they weren't always the fault of the anthology. It was a big lineup in general.
[00:22:48] Speaker E: I was going to add that the other very, I think, hard thing for both of us was not being able to accept every poem or every poet who submitted. Because given that it was the west australian community, there were people there that we knew, people there we knew of, and, you know, people had gone out of their way to contribute. Yeah, that was a tough thing to do. And I should have said when we were talking about the process, though, that we actually read them blindly. So we didn't.
When we were. We both read every poem and I didn't know who'd written the poems that I was looking at. So there was, you know, it wasn't based on whether we knew them or not knew them. It was more afterwards that you sort of feel that pain, because we both know what it feels like to be rejected. Yeah.
[00:23:38] Speaker A: Off top of your heads, roughly how many submissions do you think you got? Or do you know?
[00:23:44] Speaker D: The anthology has close to 60 poems in it.
[00:23:48] Speaker E: We got.
[00:23:48] Speaker D: I can't remember off the top of my head, but I think it was about 150.
[00:23:53] Speaker A: Wow.
[00:23:55] Speaker D: Yeah. So everyone submitting could submit up to three poems. And quite a few people that submitted did submit multiple poems. So we had. Yeah, lots coming through. Gosh, it sounds like them through on the last day, so.
[00:24:08] Speaker E: Yeah.
[00:24:11] Speaker A: Sounds like such an undertaking. You guys have done such a good job. Can I. Do. I dare say, do you have a couple of favorites? Would you like to read any aloud? If you've got the book in your hand putting yourself.
[00:24:26] Speaker D: I've got the book in my hand. I don't know about reading out other people's because we haven't really asked permission.
[00:24:31] Speaker A: Okay.
[00:24:32] Speaker D: Yeah. To read those. To be honest, I don't know about favourites. They change all the time when I flick through, I think, oh, yeah, yeah. I really love that poem. So don't kind of have one standout favourite. What about you, Sally? Do you have some standout ones that you like?
[00:24:48] Speaker E: You, I wouldn't read out someone who hasn't given permission, but I think does change. But one thing I've really enjoyed is other people telling me their favorites, and that's different every time, too. So if you read from our own, what I found the other day, someone actually messaged me to say that I'd written a poem about their dog.
And I thought, no, I haven't. I've written about my dog. So that the poem that I'm prepared to read is greedy, which is a poem about a dog, if you'd like to hear it.
[00:25:24] Speaker A: Yeah, go for your life, greedy.
[00:25:26] Speaker E: My dog, Fletch, likes to fetch a squeaky toy, a stick, a ball, but though he'll run after everyone, he doesn't bring them back at all.
[00:25:40] Speaker A: It's lovely. It's chicky.
[00:25:43] Speaker D: Yeah, I think it's. I also think it's really interesting, the poems that people connect with, because one of the things we'd planned to do when we were looking or dreaming about the collection in general, before it really existed, was having a different poem in the book to cover every child in a class. So that if you were in a classroom and you were handed the book, there'd be a poem in there that each child in the class could connect with. So some kids like really deep, thoughtful poems that keep them thinking afterwards. Some kids prefer wordplay or silliness or nonsense poems. Someone else might like a bit of informational aspect to it. So there are short poems and long poems and all different styles in there. And I think it has hit the spot, because when I'm talking to people, they invariably tell me what their favourite poem is and it's never the same poem. So everyone connects with a different selection from the book, which I think is. Yeah, I think that's a really great thing in a poetry collection, to be able to flick through and find one that. That really speaks to you. If I was going to read one of my poems, I'll read shoelaces.
[00:26:50] Speaker A: Yep.
[00:26:51] Speaker D: So this is my. My poem's called shoelaces. Goes like this. My shoelaces are purple. His shoelaces are green. Our laces are splendiferous, the best we've ever seen. They give our sneakers zing. These laces give us zip when running in these shoelaces. Our toes have extra grip. My shoelaces are awesome. His shoelaces are cool. We had to tie them perfectly. That's why we're late for school.
[00:27:19] Speaker A: They're both fantastic and the whole collection's amazing. Can you. And you've shared so many great tips through your processes so far, but for any authors out there, or duo or friends who are maybe thinking, oh, we would love to put together like an anthology or collection of poems and things like that, do you have any tips? Tips for anybody looking to do what you guys have just done?
[00:27:42] Speaker E: I won't say run away fast. Don't do it.
[00:27:45] Speaker A: Don't do it.
[00:27:47] Speaker E: I think there's lots of people who write for children who want to be poets, and it's a good reminder that there are currently limited markets for full length collections or full length anthologies. And so before you try to put together a collection, especially all of your own poetry, focus on getting individual poems published. So in Australia, the main paying market is the school magazine in New South Wales. But there are other occasional opportunities, just like this anthology that we've just put together. There's also international markets, and while I'm big on paying markets, there are, particularly in poetry, some reputable publications that can't afford to pay poets, but that do help you to build confidence and public publishing credits. If you're submitting to a call for an anthology or for a magazine, look at the guidelines and follow the guidelines. And if possible, read the publication to get a feel for what the editors might be looking for. But don't just copy what you're reading. Try to find your own voice. What can you add to that? Bec?
[00:29:00] Speaker A: Yeah.
[00:29:03] Speaker D: Yeah, I think. I think I would add to that. The guidelines is very important because if your work is very good, but you've submitted it and you haven't followed the guidelines, there's a chance that your work won't get read because editors are very, very busy. I think if you were looking at self publishing, which is essentially what we are originally planning to do, Alphabet soup is me and my business. I would look at getting a grant, but I would also.
It's worth planning ahead really thoroughly because it does take a very long time. It's not a really quick process.
I guess if it was your own work, it might be. But yeah, the best thing you can do is to keep an eye out for opportunities that come up follow lists and people on social media that in the industry and poetry circles, and definitely look into the school magazine because they're always looking for. For content and material. And yeah, a publication credit with them is a. It's a really good opportunity to hone your skills in submitting your work to publishers. And you can submit to them much more regularly than you might be able to submit to other publishers whose submission windows maybe are not, might not be open year round. And it helps you build confidence in your work when you do get things accepted there. That was certainly where I got my start and I'm very grateful that they are out there featuring work by australian writers.
[00:30:36] Speaker E: And I might just add that quite a few of the people who submitted to right way down and who are in there didn't necessarily see themselves as poets. And I really think it doesn't matter what you are most like to write, how you identify as a writer, be prepared to submit to things that perhaps take your writing, challenge you in a new way, or take you in a new direction. Both Rebecca and I are in a new collection of micro memoir that's coming out this week and that's certainly something I had never done before. But I saw the call out and I thought, I'm going to have a go at this. And I'm really delighted that I'm in that book because it's something new for me. It's a new readership, but it also, it's just a writing challenge. So don't think, oh, I'm not a poem, a poet, sorry, or I'm only a poet. Write in different forms and for different markets because it can be a long time between acceptances if you're, you know, if you sort of put yourself in little box in some way.
[00:31:37] Speaker A: That's all absolutely stellar advice there. Thank you to you both. And again, congrats on right way down. We're so excited and glad it's out there in the world. So what can we expect from you both in the future? Will there be another collaboration? Maybe a second collection, perhaps?
[00:31:55] Speaker D: We'd like to do a second collection. We're keeping an eye on what the sales are doing with the first book, but yeah, it's looking positive at the moment. So possibly a second collection in the future. I personally haven't done a lot of writing in the twelve months that I was working on the anthology because it was a very steep learning curve doing all the managing administration side of things. So I'm looking forward to doing a lot more writing this year and finishing off a middle grade that I've been working on, you know, some other little bits and pieces of poetry as well that I like to build up my bottom drawer collection of. What about you, Sally?
[00:32:34] Speaker E: One of the things that I think is a side effect of working on this is that I have. I'm a regular. I regularly submit to the school magazine, but I probably drop off, dropped off a little bit in the last few years. And last year I started submitting again. And this year and I've got, I think, three poems coming out in the next year with the school magazine. So that's a lovely thing. And I also have a new verse novel coming out in July, which is a historical verse novel. And I'm currently working on a middle grade historical novel, which is not in verse. So prose novel, which I don't know when it will come out because first of all, I have to write it and I have to find a publisher.
[00:33:15] Speaker A: That sounds amazing. Congrats again to you both. And yeah, can you tell our listeners where they can find right way down and obviously both individually for your own works as well?
[00:33:29] Speaker D: The right way down can be found at most bookshops across Australia. And if they don't have it in stock, most bookshops will be able to order it in for you if you ask for it. It's also in many libraries across WA, at least I know because I googled that this week and it is actually on a lot of catalogs. So if you not in the market for buying the book yet, you can certainly go and look for it at your public library under 821 Dewey label in the non fiction section, which is where you usually find it. And of course you can order it directly from Fremantle Press if you prefer to order online fremantlepress.com dot au and search up right way down in their search field.
[00:34:10] Speaker E: And it's also, I've had some people from the United States contact me about where they can get it. And best way to get it, if you're not in Australia at the moment is probably there's a Kindle version so you can actually get it on. On a Kindle version so that's available internationally, obviously.
[00:34:29] Speaker A: Amazing. And what about for your own other books as well? Sally, did you say your site or.
[00:34:35] Speaker E: Yes, I have a website which is sallymurphy.com dot au and I'm on Instagram alimurphy author and facebookally Murphy books.
[00:34:45] Speaker A: Fantastic. Well, thank you both so much for sharing your time expertise. And I'm sure our listeners are very intrigued to go out and find the book, and anybody who is interested in doing an anthology collaboration has picked up many tips. So thanks. Thanks for coming on.
[00:35:00] Speaker E: Excellent. Thank you for having us.
[00:35:02] Speaker D: Thanks, Joanne.
[00:35:11] Speaker A: So there you have it, folks.
[00:35:12] Speaker C: The amazing insights into poetry collaboration and anthologies with Rebecca Newman and Sally Murphy. Next time on the hybrid Author podcast, we have Noah ashore on what not to do and to do hybrid publishing. I wish you well in your author adventure this next week. That's it from me.
[00:35:29] Speaker A: Bye bye.
[00:35:30] Speaker B: That's the end for now, authors. I hope you're further forward in your author adventure after listening, and I hope.
[00:35:35] Speaker C: You'Ll listen next time.
[00:35:36] Speaker B: Remember to head on over to the hybrid author website at www.hybridauthor.com dot au to get your free author pass. It's bye for now.
