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On the other hand, you have the opportunity, by your own clever promotional initiatives, to have a significant impact on sales. My editors put many weeks of work into each of my books, and always have. One of the best things about being published is having the opportunity to craft and polish your work with the aid of an experienced, sensitive professional. Consider carefully every point your editor makes. I would agree with 9 out of 10 suggestions my editor makes. In that case, kiss your writing career goodbye. Beginning writers have less leeway than established ones. A novice who does so may never be published.

If your editor tells you to cut your page manuscript to pages, do it. Cutting a long book almost invariably makes it better. Neither get too downcast about the cumulative effect of all those critical comments my last book, The Life Lottery, had 28 pages of them. Your manuscript will generally go through two stages of editing. Some publishers frown on the author making significant changes at the line edit stage. British publishers are often happy with Australian editing; American publishers will want to change the spelling, at least, but may also re-edit the story to suit the sensitivities of the US market, or their own editorial concerns.

If your book is scheduled for October, say, to take advantage of the pre-Christmas sales period, and you deliver a month too late, publication is likely to be delayed for months. Few books are published in December or January, and February is the slowest sales month of the year. In an emergency, eg for a really topical book or a blockbuster author who delivers late, all this can be done in two months.

For everyone else, where a book is to be published in, say, October, this process would begin in January or February, after the manuscript has been accepted and editing is underway, and be completed in late August when finished books are delivered to the warehouse. In a publishing house, decisions to approve these milestones are normally made in meetings, not by individuals.

They ought to know what constitutes a good cover in their marketplace. American covers are so different to Australian and British ones that you may not have anything useful to contribute. Australian or British publishers may ask you to provide copy for the blurb. American publishers will probably write their own and may change the title to suit their own sensibilities or markets. Here are some of the most common problems.

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But the vast majority of self-publishers do their dough, so if you are going to do it, do it right, and get the right advice, otherwise you might as well tear your money up and flush it down the toilet. You must employ a professional editor, a professional cover designer and have the book typeset. The biggest problem of all is distribution, which is why publishers have invested millions in it. It takes the most monumental effort for an individual to sell more than — copies, even if you get some good publicity and a few bookshops stock your books.

Print runs are surprisingly low in Australia and other English speaking countries — in fact everywhere. The initial paperback print run for a popular fiction title by a new author in Australia would typically be 3, — 8, copies. For literary fiction, it might only be 1, — 2, copies. In the UK, initial paperback print runs for popular fiction by new authors are typically 10, or less, and in the US, 25, or less. Again, for literary novels, print runs can be considerably lower.

If you sell translations, print runs for European countries, except the largest, are likely to be in the range , copies. In Australia, only major bestsellers are published in hardcover because consumers are reluctant to pay for them. Even there, typical hardcover print runs are 10, or less. The tiniest flaws now appear gigantic, while the typos, errors and inconsistencies that no one noticed during editing and proofreading are numerous and glaringly obvious.

Either way, take what pleasure you can — after all, you are doing what you love and thousands of people are just aching to get there themselves. Neither expect bookshop staff to recognise your name when you drop in to say hi. But take some leaflets showing your book cover anyway, as a reminder. And ask to see their media release as well.

After all, no one knows more about your work than you do, and all you have to do is talk enthusiastically about it to people who love books. Spend it wisely, but quickly. To have a chance of succeeding, your book has to sell a critical mass of copies in the first two months, to ensure that:. For more on self-promotion see my semi-tongue-in-cheek Guide to Success.

They need to know.

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Australia has more than 20, books published a year 10, being local titles , the UK around , more than doubling in the past 25 years , and the US around , a year though ,odd also went out of print, thankfully. The major newspapers and periodicals have space to review only a tiny fraction of those books. Take out the duplication and only a few thousand books would get mainstream media coverage a year, of which most would be non-fiction, or by well-known novelists, or worse, celebrities. The same goes for feature articles and TV appearances, only more so.

Ignore them and use the good ones — quotes on book covers do make a difference.


Since this costs time, labour, freight etc, sometimes the bookshop may prefer to discount if they think the books are going to sell in a reasonable time. If not, back they go, Returns start coming in around the beginning of the fourth month earlier in some cases and most will have come back by months, though some returns can still come in over a year later.

If significantly above this figure your publisher will be worried. Returns in the UK and US are similar or higher though the shelf life is likely to be shorter and, in the US, mass market paperbacks are such cheap editions that unsold copies are not worth returning. Sometimes your publisher will do a deal to sell a new title to a book chain on a non-return basis, in exchange for a higher discount.

These are guaranteed sales and therefore the bookshop will make extra efforts to shift them. With trilogies and longer series, which are the rule in fantasy and some SF, the subsequent books will always sell less than the first. If the second book sells only half as many as the first, the series is in trouble. Somewhat lower percentages prevail in the UK and US, where there are a lot more titles available and hence more competition.

Less than books in all formats, non-fiction as well as fiction would sell more than 20, copies in a year. Not very high, are they? One of the most bitter lessons of publication is how long you have to wait for the money, starting with the advance. Publishing is organised so that money advanced to the author is recovered as quickly as possible, while money owed to the author is retained as long as possible. The advance is normally paid in two or three stages:.

Your agent should resist such contracts. However you may be able to negotiate a top-up advance, to be paid in the event your sales earn back the advance within a short period. Where income is earned from sales of other rights, foreign royalties etc, the publisher will normally retain your share until the next royalty period, though you can request that they pay it earlier. To introduce you as a new author, eg if you get picked up by a major book chain as Author of the Month, the publisher may sell your books to that chain at a high discount in return for a large order, and guaranteed publicity and shelf space.

Export sales are worth a lot less than local sales, so always try to sell your book to a publisher in your own country first. The royalty rate is very low, however, around 5 cents per book. The same applies with omnibus editions of your books. These promotional editions may increase your overall sales, or may come at the expense of your full-priced books. Your publisher should offer remainders to you at the remainder price first, so buy as many as you can afford.

They make great give-aways. The royalty rate will be about 5 cents per copy, but it may be worth it for the exposure of your name. This is what your royalty statement should tell you, so you can be fully informed and manage your writing business properly:. Check your royalty statements carefully. It will almost certainly say that the higher royalty rate applies on full-priced sales. In Australia, as in many other countries, you can be paid a small sum per book for copies of your books held in public libraries PLR and educational libraries ELR.

You have to register for both by filling in the form that your publisher will send you when your book is published. Payment is deposited to your bank account in May and June respectively. Most writers would get from a few hundred to a few thousand dollars a year, but a rare few will get tens of thousands of dollars.

Australia, also in line with a number of other countries, has a Cultural Gifts Scheme to encourage creative artists in all fields to donate their works to Australian institutions rather than selling them on the world market. For example, science fiction and fantasy, being world literatures, are probably worth more than books that are of only local interest. For beginning writers, the program is worth little if anything. Grants go overwhelmingly to literary fiction writers. There are two main kinds of awards — voted awards and judged awards. Such awards, like the Oscars, are given partly for quality and partly for popularity, so it helps to be well known and likeable and to round up all your friends to vote so that you get on the shortlist.

It can take surprisingly few votes to do this. Judged awards are generally assessed by a panel of judges, usually from academia or literary figures. They tend to be looking for literary qualities, originality and themes that are of concern to them. These are often not the qualities that would appeal to the reading public.

Success as a novelist requires you to establish your name, just like any other brand. Building a successful writing career requires you to keep selling your backlist and, for most writers of popular fiction, that means writing some form of series that your readers can identify with and keep following over the years. If you can write a compelling series with engaging, developing characters, each new book should build sales of your backlist.

The big problem comes when you want to write something different as, sooner or later, you almost certainly will. Few writers can. In any case, your present publisher is most unlikely to buy your new book, because she knows how difficult it will be to sell. If you really want to write in a new genre you may be better off changing your name to avoid confusing everyone. Even writing a new series within the same genre can lose you sales, if the style or characters are very different from the old series. Tastes change and styles date.

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Even genres boom and bust: westerns have practically disappeared, horror goes up and down like a roller coaster from decade to decade and SF seems to be in long term decline. Luckily, one kind of writing never goes out of fashion — a good story well told, with well-drawn characters that the reader can identify with if not necessarily like. The other thing you have to do is be productive.

Most successful popular writers produce a book a year, if not more. One of the most successful of all, Nora Roberts, writes eight books a year but she is, of course, a phenomenon. Furthermore, many bestseller lists excluded popular fiction in favour of literary works, and were widely manipulated. The same company produces bestseller lists in the UK and US. Some may go on to become genuine bestsellers, though many will have disappeared within a year or two. In most weeks of the year, you can get to No.

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The annual lists are a better guide to the true bestseller. In Australia, for adult hardcovers, full priced sales of 7, copies in a year are required to make the annual APA bestseller list. Roughly titles make each annual list. The biggest selling title in each of these categories would sell around a quarter of a million copies in the year lifetime sales would be rather higher.

In the UK, a new paperback can make the annual Guardian Fastseller Top list with , copies this generally includes substantial export copies and the top seller will sell around a million copies in the year. The writers on this list are almost all British, Irish or American. While Australian writers do make the list from time to time, none has ever made the annual Top consistently.

The only other writer who does is Wilbur Smith South Africa. Thirty years ago the top figure was , copies; now more than fifty titles have hardcover sales over that figure. The top seller in trade paperback and mass market paperback is generally over two million each. Mass market paperback sales have declined significantly over the years, with loss of non-bookshop sales outlets, but hardcover sales have risen dramatically as the price differential has fallen. Many books that sell steadily for years may never make the bestseller lists, though they can end up selling a lot more copies than bestsellers that shone briefly only to be out of print a year or two later.

In the US, 18 hardcover novels sold over , copies in without once making the weekly bestseller lists.

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Science fiction and fantasy are easily sold internationally. Crime set in Australia has a limited international market, as do most other forms of Australian literature. Your publisher has the resources to hawk your books at Frankfurt and the other big book fairs, and will already have relationships with agents in many countries. This can also avoid foreign tax issues and payment problems i. Some Australian publishers are extremely good at selling foreign rights, while others have little experience. Find out before signing a contract that allows your publisher to do these deals.

For the final question, Jamal is asked the name of the third musketeer. He uses his "Phone-A-Friend" lifeline to call Salim, because it is the only phone number that Jamal knows. Latika answers and tells Jamal that she is safe, although she does not know the answer to the question. Relieved, Jamal arbitrarily picks the first answer, Aramis.

He is correct and wins the grand prize. Javed hears Latika on the show and realizes that Salim has betrayed him. He and his men break down the bathroom door. Salim kills Javed before he is shot and killed himself. In the final scene, Jamal and Latika meet on the platform at the train station and kiss. The movie ends with a Bollywood -style musical number.

The screenwriter said of his goal for the script: "I wanted to get across the sense of this huge amount of fun, laughter, chat, and sense of community that is in these slums. What you pick up on is this mass of energy.

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Boyle hesitated, since he was not interested in making a film about Who Wants to Be a Millionaire? Gail Stevens came on board to oversee casting globally. Stevens had worked with Boyle throughout his career and was well known for discovering new talent. Meredith Tucker was appointed to cast out of the US. The film-makers then travelled to Mumbai in September with a partial crew and began hiring local cast and crew for production in Karjat. Originally appointed as one of the five casting directors in India, Loveleen Tandan has stated, "I suggested to Danny and Simon Beaufoy, the writer of Slumdog , that it was important to do some of it in Hindi to bring the film alive [ And as we drew closer to the shoot date, Danny asked me to step in as the co-director.

Boyle has cited other Indian films as influences in later interviews. However, Khan turned down the role, concerned that he did not want to give his audience the impression that the real show was a fraud by playing a fraud host in the movie. Warner Bros. Slumdog Millionaire was first shown at the Telluride Film Festival on 30 August , where it was positively received by audiences, generating "strong buzz". The film opened at No. The release production was mixed up; some full versions were shipped in rental cases, and some retail versions were missing the extras despite their being listed on the outside of the box.

Public apologies were issued by Fox and Amazon. The film was released in the United Kingdom on 9 January , and opened at No. The film's success at the Academy Awards led to it seeing large increases in takings elsewhere in Europe the following week. The film was released in Sweden on 6 March and in Germany on 19 March In India, the premiere of Slumdog Millionaire took place in Mumbai on 22 January and was attended by major personalities of the Indian film industry , with more than a hundred attending this event.

I didn't want any exaggerated dubbing. I wanted a young unspoilt voice. Balasubrahmanyam and Radha Ravi dubbed for Kapoor and Khan respectively. Fox Searchlight released prints of the film across India for its full release there on 23 January Though not as successful as major Bollywood releases in India during its first week, this was the highest weekend gross for any Fox film and the third highest for any Western release in the country, trailing only Spider-Man 3 and Casino Royale.

A few analysts have offered their opinions about the film's performance at the Indian box office. Trade analyst Komal Nahta commented, "There was a problem with the title itself. Slumdog is not a familiar word for majority Indians. The film's success at the Academy Awards led to it seeing large increases in takings in the Asia-Pacific region. In particular, the film was a major success in East Asia. Slumdog Millionaire was critically acclaimed, named in the top ten lists of various newspapers.

The much acclaimed title sequence has been honoured by a nomination at the prestigious Rushes Soho Shorts Film Festival in the 'Broadcast Design Award' category in competition with the likes of the Match of the Day Euro titles by Aardman and two projects by Agenda Collective. Outside of India, Slumdog Millionaire was met with critical acclaim.

The consensus reads, "Visually dazzling and emotionally resonant, Slumdog Millionaire is a film that's both entertaining and powerful. Roger Ebert of the Chicago Sun Times gave the film 4 out of 4 stars, stating that it is, "a breathless, exciting story, heartbreaking and exhilarating. Boyle and his team, headed by the director of photography, Anthony Dod Mantle, clearly believe that a city like Mumbai, with its shifting skyline and a population of more than fifteen million, is as ripe for storytelling as Dickens's London [ How else could Boyle get away with assembling his cast for a Bollywood dance number, at a railroad station, over the closing credits?

You can either chide the film, at this point, for relinquishing any claim to realism or you can go with the flow—surely the wiser choice. Other critics offered more mixed reviews. For example, Peter Bradshaw of The Guardian gave the film three out of five stars, stating that "despite the extravagant drama and some demonstrations of the savagery meted out to India's street children , this is a cheerfully undemanding and unreflective film with a vision of India that, if not touristy exactly, is certainly an outsider's view; it depends for its full enjoyment on not being taken too seriously.

A few critics outright panned it. The movie unfolds in a start-and-stop way that kills suspense, leans heavily on flashbacks and robs the movie of most of its velocity. By then, it's just a little too late. Slumdog Millionaire has been a subject of discussion among a variety of people in India and the Indian diaspora. Some film critics have responded positively to the film.

At the same time, others objected to issues such as Jamal's use of British English or the fact that similar films by Indian filmmakers have not received equal recognition. A few notable filmmakers such as Aamir Khan and Priyadarshan have been critical of the film. Author and critic Salman Rushdie argues that it has "a patently ridiculous conceit.

Adoor Gopalakrishnan , one of the most acclaimed film makers in India during the s and s and a five time Best Director winner of the Indian National Film Awards —the most prestigious film awards in India—lambasted Slumdog Millionaire , calling it in an interview to NDTV: "A very anti-Indian film. All the bad elements of Bombay's commercial cinema are put together and in a very slick way. And it underlines and endorses what the West thinks about of us. It is falsehood built upon falsehood. And at every turn is fabricated.

At every turn it is built on falsehood. I was ashamed to see it was being appreciated widely in the west Fortunately Indians are turning it down. The film has been subject to serious academic criticism. Mitu Sengupta and raises substantial doubts about both the realism of the film's portrayal of urban poverty in India and whether the film will assist those arguing for the poor. Rather, Sengupta argues the film's "reductive view" of such slums is likely to reinforce negative attitudes to those who live there.

The film is therefore likely to support policies that have tended to further dispossess the slum dwellers in terms of material goods, power and dignity. The film, it is also suggested, celebrates characters and places that might be seen as symbolic of Western culture and models of development. However, there are others who point to the changing urban aspirations and prospects for mobility that can be seen in Indian cities such as Mumbai in which the film is set. The film is seen by D. Parthasarathy as reflecting a larger context of global cultural flows, which implicates issues of labour, status, ascription-achievement, and poverty in urban India.

Parthasarathy argues for a better understanding of issues of dignity of labour and that the film should be interpreted in a more nuanced way as reflecting the role of market forces and India's new service economy in transforming the caste and status determined opportunity structure in urban India.

Academic criticism has also been extended to the underlying philosophy of the film, with its apparent ends-justify-means message. Slumdog Millionaire has stirred controversy on a few issues, including the welfare and illegal housing of its child actors and its portrayals of Indian communities.

The Slumdog Millionaire soundtrack was composed by A. Rahman , who planned the score for over two months and completed it in two weeks. Rahman had two songs nominated for Best Original Song — the nomination for " O Saya " was shared with M. The soundtrack was released on M. On Radio Sargam , film critic Goher Iqbal Punn termed the soundtrack Rahman's "magnum opus" which will acquaint "the entire world" with his artistry. From Wikipedia, the free encyclopedia. Slumdog Millionaire British release poster.

Celador Films Film4. Boyle's daughter pointed Dev Patel out from his role in the British television ensemble drama Skins. Pinto was an Indian model who had not starred in a feature film before. Boyle initially wanted Indian actor Shahrukh Khan to play the role. Kapoor has also starred as a guest on the show with Amitabh Bachchan and won Rs 5,, Main article: List of accolades received by Slumdog Millionaire.

Main article: Controversial issues surrounding Slumdog Millionaire. Screen International. British Film Institute. The Guardian. Box Office Mojo. Retrieved 12 October Somini Sengupta. The A. Archived from the original on 2 December Retrieved 24 May The Daily Telegraph.

Retrieved 17 January The New Yorker.

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  7. The Hollywood Reporter. Retrieved 12 November Retrieved 15 January The Times of India. Pyro Radio. Archived from the original on 15 July Hindustan Times. Vanity Fair. Retrieved 4 January The Hindu. Archived from the original on 25 March Retrieved 23 January Mumbai Mirror.

    Archived from the original on 8 May Retrieved 30 January Harper Collins. The Independent. Retrieved 21 January Archived from the original on 2 March Retrieved 1 February The Age. Melbourne, Australia. Retrieved 8 February Sunday Independent. Los Angeles Times. Retrieved 16 March Chicago Tribune. USA Today. Archived from the original on 21 February Retrieved 26 January Retrieved 31 March Archived from the original on 28 December