How I work

I write commissioned histories, memoirs and pictorial books for families, companies and organisations. I manage the whole project from scoping to final delivery, so you deal with one person for everything.

One point of contact

• Research and interviews. A research plan, recorded and transcribed interviews, and archive research.
• Writing. Structuring, drafting and revising the manuscript through each round of your review.
• Editing and proofreading. Two rounds of external copy editing, including the final proofread.
• Design and photography. Briefing and coordinating the designer, photographers and any video or multimedia work.
• Print. Print quotes and sign-off, liaison with the printer in New Zealand or offshore, printer's proofs, freight and customs clearance, through to delivery.
• Distribution. Liaison with a national distributor to place the book in bookshops, if wanted, and delivery of any private or members' editions.
• Launch. Coordinating the book launch with you, if you would like one.

The team

I can coordinate your existing preferred suppliers, or bring my own proven team. I work with the same people from project to project. Those long-standing relationships mean competitive quotes, and I can guarantee the quality of their work.

• Photography and design. A photographer based in Arrowtown and a designer based in Central Otago, so the team can be on site at short notice.
• Copy editing. A PhD-qualified external copy editor. I generally use two copy editors at different stages, for two thorough passes including the final proofread.

Research database

A full research database is built as the project runs, with interview recordings and transcripts, documents, letters and images catalogued with their sources, captions and credits. Every fact in the book is checked against it, and it stays with you afterwards for anniversaries, marketing and future publications.

Timing and meetings

Both are set around your preferences and the needs of the project.

• Duration. Twelve months to two years, depending on scope. A slower pace suits books that follow a project or a change as it happens.
• Timing and cost are separate. A longer timeframe spreads the same fee across more monthly invoices.
• Overlapping stages. Interviews continue while the first chapters are drafted, and design and photography begin before the writing is finished, so no stage waits on the one before it.
• Meetings and updates. Fortnightly or monthly meetings, whichever suits you, and a short written update with each invoice.

Milestones

Agreed at contract stage and held to. Writing and design stages overlap.

From manuscript to finished book

Once the manuscript is approved, I manage the rest of the book's production, from the copy edit to finished copies in your hands and on the shelf.

Editing. I do the structural editing myself while the drafts develop, settling the order of chapters and what each one needs to carry. The approved manuscript then goes to an external copy editor for a full line-by-line edit, and a second editor proofreads the laid-out pages independently. The editors keep a style sheet recording their decisions on spelling, numbers, place names, te reo Māori and captions, so late corrections follow the same rules. In place of a printed index, I use the online database of the research that I build during the project.

Design and layout. I brief the designer on the readers, the format and the balance of words and pictures, and the designer comes back with a concept, cover ideas and sample spreads before the full layout begins. Format, paper, binding and the balance of words and images are agreed at the design stage, before a full design quote. Editions and print run follow from the specification, so print quotes are accurate. The pages then go through numbered proof versions, each checked by me and the editors, until they are signed off and the print files are prepared.

Images. Archive images are ordered from the institutions that hold them, with reproduction fees, permissions and credit lines agreed before the pages are finalised, and family photographs are scanned from the owners' albums. Every image goes into the research database with its source, caption and credit, and new photography is either taken by me on site or commissioned from a professional photographer.

ISBN and legal deposit. I apply for the ISBN and have the barcode made for the back cover, and once the book is published I send the copies the law requires to the National Library of New Zealand.

Printing. I get quotes from printers in New Zealand and offshore against the same specification, and the choice weighs price against quality, schedule and freight. After the order is placed the printer supplies digital proofs of every page, wet proofs on the actual paper if the budget allows, and then folded-and-gathered sheets (F&Gs) from the press run so the printed pages can be checked before binding. Printing in Asia adds several weeks to the schedule, and factories in China close for Lunar New Year, so an offshore print date is planned around the holiday.

Freight and customs. Books printed offshore usually come back by sea, and the printer can quote delivery to the door with customs clearance included. Importing into New Zealand needs a New Zealand Customs client code, and GST and any duties are paid at the border before the books are released, after which they go to your address or the distributor's warehouse.

Distribution and trade sales. For a book that will be sold in shops, I set up the arrangement with a national distributor, who holds the stock, presents the title to bookshop buyers and handles orders, invoicing and delivery to the shops. I prepare the sales sheet the distributor's representatives show to booksellers. Private or members' editions are delivered direct.

Complimentary copies and launch. Before publication I draw up a list of complimentary copies covering legal deposit, the archives and museums that helped, the people who were interviewed, the editors and designer, libraries and review copies for the media, along with a media list for reviews and author interviews. If you would like a launch, I coordinate it with you.

Inclusions

• Full service. All of the work above, and project management of every stage and every contractor.
• Reviews and editing. Three rounds of review with you, and two rounds of external copy editing.
• Research database. Handed over to you at the end.
• Additional material. If required, newsletter articles and progress updates, drawn from the work as it is produced.

Billing

• Production is quoted separately. Design, photography, printing and distribution are quoted separately from the writing, once the format and extent of the book are known, because the specification usually settles late in the project.
• Payment schedule. Either two months' fees upfront or a 20% deposit, then monthly instalments for the rest of the project.
• One bill. Contractor costs are passed on at cost on my invoices.
• Fee. Set out in a full proposal after we meet, should you wish.