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Self-plagiarism – how to avoid it

July 3, 2011 by Roy Johnson

how to understand and avoid self-plagiarism

What is self-plagiarism?

Self-plagiarism is literally copying your own work. It can occur when quoting your own work without acknowledgement, or when you use the same piece of work for two different purposes.

Plagiarism is commonly defined as “taking someone else’s ideas or words and trying to pass them off as your own original work”. Self-plagiarismMost people understand the rules. If you quote from somebody else’s work, you put the words in quote marks and acknowledge the source, either as part of your text or in an endnote or footnote. Details of how to use quotations accurately are a separate issue. These conventions allow a reader to check the validity of the claims being made, the accuracy of the quotation, and to see (if necessary) how the quotation was used in its original context.

However, what if the words quoted were written by the same author of the text in question? Does this constitute plagiarism? If plagiarism is thought of as an issue of ‘ownership’, it would seem that it’s impossible to steal from yourself. But a number of cases exist where the re-use of your own work can easily become self-plagiarism.


Self-plagiarism in academic writing

It’s not normally permitted to submit a piece of work witten for one course and award as a submission for part of another. That is, a dissertation on The Poetry of Thomas Hardy written for a BA in English Literature cannot be re-submitted as part of the requirements for a separate MA course in’ Landscape and Literature’.

Even though the writing is an original piece of work by the author, academic rules forbid the re-use of material in this way. Dissertation and thesis rules normally stipulate that the material submitted for the award of a degree must not have appeared anywhere else before. Attempts to use the same material for two different purposes is sometimes known as ‘double-dipping’.

Academic authors are under a great deal of pressure to publish more and more of their research findings. This sometimes leads to the practice of publishing the same research data, with a slightly different analytic commentary. This is classed as duplicate or redundant publishing, and is severely frowned on by publishers. It is sometimes know as ‘Salami-slicing’.

The converse of this practice is known as ‘data augmentation’. This occurs when an already-published piece of work is re-published with new data, as if it were a new piece of work. This too is frowned on by the academic community and is regarded as a form of self-plagiarism.


Self-plagiarism and copyright

When a piece of work is published, copyright is automatically established, and rests with the original author. In contracts between publishers and authors, the author normally agrees to share copyright with the publisher. This means that the publisher is free to publish and re-use the author’s material (usually to the author’s benefit) and the author is normally allowed to maintain ownership of the work.

But if the author then re-cycles the work in question and publishes it elsewhere, this creates a case of both self-plagiarism and breach of copyright – since the original publisher may share copyright to the material.


Text recycling

Some parts of an academic paper may relate to research methods and procedures. The researcher describes accurately the sequence of events, the materials used, and the procedures of the research project. It’s quite likely that these will be the same in another experiment or piece of research of a similar kind.

There is therefore a great temptation to use templates of ‘boilerplate’ descriptions which can be re-used from one piece of research to the next. This is currently a contentious area of self-plagiarism, but it is worth noting that is is very easy to detect.


Citation stuffing

Academic authors are often rated according to how many times their work is quoted in academic papers and journals. Authors therefore have an built-in temptation to quote from their own work as much as possible – no matter how relevant it might be to the subject under discussion. In its worst cases, when authors articifically quote themselves for the sake of increasing the number of their own citations, this is therefore regarded as a form of self-plagiarism.

Fortunately, this is reasonably easy to detect, but it is a practice which is likely to continue so long as it is encouraged by publishers – who themselves also have an interest in their papers and journals being cited, thus enhancing their reputation.

You can perhaps see that there are very subtle links between academic honesty, accuracy of quotation, referencing, and the economics of both publishing and academic career structures. It is not the polite gentleman’s club that many people might imagine.


Internet publishing

Self-plagiarism is a very easy trap to fall into on the Internet. It’s possible to write an article, then publish it to a web site or a personal blog. Having done that, there is nothing to stop you posting the same article on another web site which aggregates similar materials. The article appears twice – with or without acknowledgement. This creates what in academic publishing is known as duplicate or redundant publication.

Unless you are a well-known author, few people are likely to complain, but it is worth noting that since Google will index the same article twice, the web page will immediately be given a lower ranking by Google, because it contains ‘duplicate material’. In terms of search engine rankings, the second instance of the article is competing against the first.

Newspaper journalists are faced with this problem all the time. But many of them now make a clear distinction between the articles they write as part of their contract with the newspaper, and the occasional smaller pieces they post onto personal blogs.


Re-cycling

Some people argue that if a piece of writing is published in a different context, for a different audience, then there can be little possibility of offence. The text may be re-edited to suit the new audience. But strictly speaking, this would still be plagiarism, unless the original source was acknowledged with a note such as: “This article first appeared as ‘Travels through Norther Italy’ in Atlantic Monthly Vol XII, number 28.”


Commercial publishing

One newspaper or magazine will occasionally reprint and article which has already been published elsewhere. The publisher usually does this fully conscious of the fact – and the article is likely to be followed by a note to its original source: “This article first appeared in Weekend magazine July 2010. The author may even be paid twice, but would not be accused of plagiarism, because no attempt to conceal the original source is being made.

Books which go out of print are occasionally re-printed by a separate publisher who see further commercial potential in the work. In such cases there will be an acknowledgement on the page listing publishing details – such as ‘First published by Acorn Books 1992’.

© Roy Johnson 2011



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Subediting for Journalists

June 27, 2009 by Roy Johnson

the art and skills of subediting for publication

The best thing about Subediting for Journalists is that it is quite clearly based on practical experience in professional journalism. There are some interesting accounts from newspaper and magazine journalists describing exactly how they work. It’s all to do with rigour and attention to detail. They deal with the basics of house style – adhering to a set of standards in spelling and representation. This means taking care with punctuation and grammar, spotting cliché, and getting names right.

Subediting for JournalistsMost of what they have to say concerns correcting common mistakes – dangling participles, misused phrases, and unnecessary repetition. Anyone who wants to improve their writing skills could learn valuable lessons here. They also cover all those grammatical niceties such as that/which and who/whom which you look up then forget about by the next time you need to use them. The advice they give could not be more up to date:

your publication …. could be printed, it could be uploaded onto a website, it could be cannibalised for delivery to WAP or G3 mobile phones and it could also appear on television.

There are plenty of examples of re-written news items which illustrate the advice being given. They deal neatly with issues of names, dates, places, accuracy, and getting to the point. There are sections on writing headlines and photograph captions. These need to be snappy, but the advice is the same in both cases – make it accurate.

They outline the main legal and ethical problems confronting subeditors – issues of copyright, libel, slander, defamation, and contempt of court.

They also explain the print production process. This includes the use of computer software such as Quark Publishing System (QPS) to control what can become a very complex collection of documents. It’s like a peek behind the scenes for the uninitiated.

There’s also a chapter on print technology which won’t tell you much about subediting, but which is a fascinating sketch of the revolution which took place in 1983 when hot metal was replaced by digital typesetting.

They finish with a chapter on subediting web pages. They conclude with a glossary of journalism terms, a sample house style guide, and standard proof correction symbols in UK and US style.

This is a good book. It’s readable, written by people who are clearly well-informed, and just about as up-to-date as it’s possible to be in the old-ish world of print publication.

© Roy Johnson 2002

Subediting for Journalists   Buy the book at Amazon UK

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Wynford Hicks and Tim Holmes, Subediting for Journalists, London: Routledge, 2002, pp.180, ISBN: 0415240859


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The Art of SEO

October 31, 2010 by Roy Johnson

Mastering Search Engine Optimization

The Art of SEO seeks to explain an arcane issue. Search Engine Optimization is the art of getting more visitors to a web site. You can do this in a number of ways: by making it look more attractive, advertising its existence, or persuading more people to make links to it from their own sites. But the number one method which beats all of these put together is to make it come higher in Google search results. If somebody types washing machines into a Google search box and your site Wash-o-Matic comes up first, the chances are you will get more visitors. All you need to do is construct pages that Google will rank more highly than all your competitors – and this five hundred page compendium explains the equally large number of things you need to know to achieve it.

The Art of SEOThe book starts with a complete explanation of how search engines work, how they spider sites, and what they do with the information they gather. The same principles apply to all search engines, but the authors can be forgiven for concentrating almost all of their attention on Google, so predominant has it become. Quite apart from all the very technical matters of keywords and search algorithms, there’s a splendid chapter on creating a search engine friendly web site. This covers sitemaps, information architecture, site structure and navigation – all aimed at maximizing the effectiveness of every single page on a site. And you probably do need to start thinking of your site in this way – because that’s how your visitors will arrive, via a single page.

There are lots of free tools available – the best being at webmasters.google.com – but be prepared to go into a lot of technical detail if you wish to optimize your pages. I sat down and went through a number of the recommended steps, and after a while felt like scrapping my site and starting again from scratch. But in fact it’s very unlikely that any site starts out from a state of complete efficiency: they need to be tweaked and evolved to reach this condition. Fortunately on the issue of information architecture, many sites are now run from a content management system that will do the spadework for you. But it still pays to be aware of the underlying principles.

There are lots of subtle and complex issues – ‘keyword cannibalization’, ‘longtail of search’, and ‘thin affiliates’ – and something that had not occurred to me before – ‘self plagiarism‘. Two versions of the same page, even if they are on different parts of a site performing different functions, are dangerous as far as your rankings are concerned for two reasons. The first is that they are regarded by Google as duplicate material and are therefore given lower rating. The second is that the two pages are competing against each other for visitors, and Google will not know of any way to give priority to one of them.

The issue of creating, exchanging, and marketing links is complex almost beyond belief – but the principles on which the page ranking algorithms work is well explained. However, be warned that they are always ‘evolving’ – that is, changing. There’s also a warning on dubious promotional practices and an explanation of why many ‘guaranteed ranking improvement’ schemes aren’t worth a bean. The advice is to ignore all gimmicks, shortcuts, and sharp practice. Concentrate instead on producing lots of good quality content:

Content is at the heart of achieving link building nirvana

There’s an interesting discussion of how ‘link juice’ is generated, and some rather hair-raising warnings about link marketing. To stay on the safe side of Google acceptability policies, you are advised to run an extremely tight and clean ship indeed. Even some of the most innocent-seeming strategies for boosting the popularity or ranking of your pages can result in search engines doing the exact opposite, downgrading your page rankings behind the scenes – unbeknown to you.

In terms of promotion every course imaginable is examined – Google vertical search, local search, image, product and news search, plus all the well known social media services – Twitter, MySpace, Flickr, YouTube, and so on. To do this as thoroughly as suggested would become a full time job for most site owners, but it’s possible to pick and mix, choosing those opportunities that will best suit your own business.

This leads to the art of SEO ‘campaigns’ in which goals and objectives are closely specified, then the results tracked, measured, and analysed. At this point you are dealing with the sharp end of analytics, and you need a combination of IT skills and commercial single-mindedness to stay the course.

The scariest part of all comes last. What do you do if somebody steals your site’s content? Or even worse, if a competitor reports you to Google and asks for your site to be de-listed? Both of these things can easily happen. Fortunately there’s guidance on how to deal with such situations – plus enormously long lists of things to avoid in order to stay out of trouble. These are all the seemingly innocuous tricks people use to increase their site rankings, such as ‘repurposing’ material from other people’s sites, embedding keywords in hidden text, buying popular keywords that are not related to the publisher’s site, using ‘entry pages’, and so forth. The advice – as ever – is to avoid these easily detectable tricks and stick to producing rich original content.

This is one of O’Reilly’s masterful publications that covers a single but enormously complex subject in a thorough and authoritative manner. It’s written by experts in the field of site promotion, and even though several authors are involved it has a consistent tone and approach that makes it both clear and surprisingly readable.

The Art of SEO   Buy the book at Amazon UK

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© Roy Johnson 2010


Eric Enge et al, The Art of SEO: Mastering Search Engine Optimization, Sebastopol (CA): O’Reilly, 2010, pp.574, ISBN: 0596518862


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The First Five Pages

February 21, 2010 by Roy Johnson

a writer’s guide to staying out of the slush pile

Noah Lukeman is a New York literary agent with a number of top-ranking authors as his clients. He has also written a number of books on the craft of writing (see The Art of Punctuation for instance) so he knows what he’s talking about when it comes to the literary marketplace – in which it must be said so many people wish to make their mark. Publishers and literary agents receive hundreds and hundreds of manuscripts each month – almost all of which are rejected. The First Five Pages is his advice for staying out of the slush pile.

The First Five PagesIt’s the job of these publishing professionals to be discriminating, and it’s the job of the writer to produce a manuscript that stands out among the competition. Those outstanding qualities, Lukeman argues, have to be apparent from the first five pages – otherwise no agent or publisher will bother reading further. In fact he claims – and I believe him – that five sentences is enough. His advice when it comes is quite bracing. First of all he dismisses the supremacy of plot, and lets you in to a secret from the professional’s office:

Agents and editors often ignore synopses and plot outlines; instead, we skip right to the actual manuscript. If the writing is good, then we’ll go back and consider the synopsis

The other thing which creates an immediate impression on agents and publishers is the physical presentation of text. He takes a really strict line here.You should use clean, new A4 paper, and the text should be printed at high quality, double spaced with one inch margins and indented dialogue and paragraph first lines. The slightest falling off in these standards gives the reader every reason to chuck your work into the reject bin.

Next comes the surgical removal of excessive adjectives and adverbs – the most common mistake of would-be writers. This is followed by advice on the sound of language, and how to avoid unwanted alliteration, assonance, and verbal echoes. The same is true for any comparisons or metaphors you use. They should be fresh, original, and to the point – otherwise, leave them out.

On literary style his advice is to avoid mannerism and extremes, and he nails down two excellent examples of the ‘academic’ and ‘experimental’ style of writing.

There’s a section on dialogue and eradicating all that ‘he said … she retorted’ sort of thing. He warns specifically against the easy trap of using dialogue to fill in the back story. That is, having characters explicate matters they would both already know (for the benefit of the reader). The rule – as ever – is show, don’t tell.

The same sort of rigour is well-advised over point of view and narrative mode. Many amateur writers use the first person mode thinking it will allow them the chance to show off, but all they end up doing is littering their story with too much biographical dross, and failing to create a consistent and credible or interesting narrator.

Next comes the creation of character. This is a difficult topic on which to generalise. Some great novels have memorable characters about whose appearance we know very little (Kafka’s Joseph K for instance) and others are memorable merely for what they do – such as Catherine Earnshaw, who even dies half way through Wuthering Heights.

The later chapters deal with some of the more subtle points of being creative – knowing what to leave out, striking the right tone, how to stay focused on the main event, and how to deal with setting and pace.

Many aspiring writers will complain that their favourite authors ignore these guidelines – and Lukeman admits that great writers break all the rules. But what he’s offering here is a guide to common mistakes which should be avoided. As he says, would-be writers from California to England to Turkey to Japan … do exactly the same things wrong

To get into print in the first instance you have to obey the literary norms of the day. And that’s what this book The First Five Pages is doing in its own modest way. Noah Lukeman just wants to show you how to stand out from the also-rans in the slush pile, as something worthy of notice.

The First Five Pages   Buy the book at Amazon UK

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© Roy Johnson 2010


Noah Lukeman, The First Five Pages, Oxford: Oxford University Press, revised edition, 2010, pp.191, ISBN: 0199575282


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The Forest for the Trees

July 3, 2009 by Roy Johnson

advice to writers – from an experienced editor

All authors, editors and publishers should read this book. Even those who think they know all about writing and the publishing process will find fresh ideas and perceptive insights. Betsy Lerner has a wealth of experience, from her youthful beginnings at Simon & Schuster to becoming executive editor at Doubleday and now as a literary agent. She writes with style, empathy, wit, realism, and above all humanity. In The Forest for the Trees she identifies five ‘writer types’, all of them familiar.

The Forest for the TreesThe Ambivalent Writer is one who can’t commit to a one idea for a story from the many possibles and who does not realise that writing is 90 per cent sheer sticking power. The Natural Writer is the one for whom writing appears to come easily. Or is that the myth of not realising that hard writing makes easy reading? Lerner’s definition of the ‘natural’ is one who is always writing. She cites Thurber who never quite knew when he was or wasn’t at it, ‘Sometimes my wife comes up to me at a party and says, “Dammit, Thurber, stop writing.”‘ For ‘natural’, maybe one should read ‘persistent’.

The Wicked Child relies on ‘kiss-and-tell’: someone who exposes family relationships, friends, acquaintances (or even, like Philip Roth, a whole tribe) in a more or less disguised fashion. personal relationships. The Self-promoter will do anything for fame – there are many such writers today, but it is a shock to realise that Walt Whitman shamelessly trumpeted himself from the roof-tops and sucked up to celebrity writers of the day. Emily Dickinson on the other hand died with 2000 poems unpublished .

The Neurotic makes a great fuss about the process itself – writing has to be done with an HB pencil, or on lined paper of exactly the right width. Few of these quirks are as eccentric as Dame Edith Sitwell who needed to start the day’s work by lying in an open coffin, but every reader will recognise such stalling techniques.

The second half of the book deals with the publishing process – everything from finding an agent to the book jacket and sales conference. Authors should be aware of what editors are looking for and what they can realistically expect from a publishing house. It would seem that a wad of rejection letters followed eventually by a book without a launch party and no reviews is completely the norm. And if authors turn up to read their books in local bookshops only to find they haven’t got any copies to sell, that’s par for the course too.

Naturally every author is looking for validation, but ten per cent of all titles earn ninety per cent of all revenues. Publishers are clearly going to concentrate on those at the top of their lists. Yet the truth seems to be that even the publishers don’t know which books are going to be in that top ten per cent. If they did, they probably wouldn’t print any of the others at all.

Lerner concludes: ‘Most of the disappointment that writers experience in having a book published can be traced back to their initial expectations – what most writers don’t understand … is that landing a contract and being published do not guarantee the fulfillment of all their hopes and dreams.’

Why do we do it?

© Jane Dorner 2004

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Betsy Learner, The Forest for the Trees: An Editor’s Advice to Writers, New York: Riverhead Books/Penguin Putnam, revised and updated edition 2010, pp.304, ISBN: 159448483X


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The Hogarth Press

July 25, 2009 by Roy Johnson

The Hogarth Press 1917—1941

The Hogarth Press was established by Leonard Woolf in 1917 as a therapeutic hobby for his wife Virginia Woolf who was recovering from one of her frequent bouts of ill-health. It was named after Hogarth House in Richmond, London, where they were living at the time. Its first manifestation was a small hand press which they installed on the dining table in their home. They also bought two boxes of type, which was used to hand-set the texts they produced. Working from a sixteen page instructional handbook, they taught themselves how to set the type and print a decent page. What started as an amateur diversion became one of the pillars of European modernism.

The Hogarth PressThe Woolfs have proved endlessly interesting as individuals and as central players in the drama of Bloomsbury. Yet surprisingly little attention has been paid to their achievement as publishers. But with ten years research behind his endeavour, John Willis brings the remarkable story of their success as publishers to life. You might expect a book of this kind to be not much more than a long descriptive catalogue of publications, but in fact he generates interesting thumbnail sketches of Hogarth’s authors, which brings both them and the books they wrote into sharp focus

He also follows the development of many of its best-selling titles, and there’s a full account of the social and cultural development of the press, as well as the minute details of its finances which Leonard Woolf left behind as a legacy of his administrative skills and background.

The press is best known for its fiction, but it also ventured into poetry – supported by a £200 a year subsidy from Dorothy Wellesley. But despite attracting many of the brightest young talents of the inter-war years, none of these publications broke even. The whole enterprise was kept afloat by its best-selling stars, who just happened to be the one-time lovers Virginia Woolf and Vita Sackville West.

Leonard Woolf is rightly famous for his shrewd commercial judgements and his fanatical bookkeeping, yet the press also took on an amazing range of authors – from an unknown sixteen year old girl (Joan Adeney Easdale) to the ‘working class’ John Hampson (Saturday Night at the Greyhound) and arch modernists such as Gertrude Stein and Rainer Maria Rilke (The Notebooks of Malte Laurids Brigge).

What’s not so well known is that the Hogarth Press published a great deal on politics – from polemical essays on current affairs to substantial works of political and economic philosophy, particularly anti-imperialism and the promotion of internationalism, which was of particular interest to Leonard Woolf. A measure of his astuteness as a businessman was his publication of Mussolini’s article ‘The Political and Social Doctrine of Fascism’ in 1933.

The Maurice Dobbs and the Sidney Webbs of this era published books and pamphlets arguing that Soviet communism offered a positive alternative to the nationalism and imperialism of the European powers which had led to the horrors of the First World War.

Their fundamental error, now more easily observed with the benefit of hindsight, is that they took all the data for their analysis directly from the Soviet regime itself, which we now know was based on lies, falsehoods, corruption, and deceit. They were bamboozled, and didn’t check their facts. Few escaped the God that Failed embarrassment – but Leonard Woolf was one of them, and he deserves to be more highly regarded because of it.

It’s interesting to note that many of the same issues which are being debated at the end of the first century of the twenty-first century were alive eighty years ago – educational reforms, anti-Imperialism, international finance, unemployment, and capitalism in crisis.

Willis’s account also features the strained and often difficult relationships which were created when Leonard Woolf took on assistants and partners in the firm – the best known of whom was John Lehmann, who had two periods of tenure. The partnership approach foundered because Leonard insisted on sticking to his independent commercial practises, and in the end he was proved right.

He was also right in his judgement that the English-speaking world was ready for psycho-analysis and the works of Freud. He took the bold step of publishing translations (some by friends, James and Alix Strachey) of the International Psycho-Analytic Library, as well as Freud’s Collected Papers.

This is a fascinating work which embraces literature, poetry, politics, feminism, international affairs, the mechanics of publishing, and a general account of cultural history in UK of the inter-war years – sometimes referred to as ‘the long weekend’.

There are three ideal audiences for this book: fans of Bloomsbury who want to know about one of its most productive enterprises; bibliophiles who are interested in a company which produced fine objects which were culturally significant but still made money; and cultural historians who might wish to ponder the significance of an enterprise which started out as a table-top hobby and became a major national cultural force.

© Roy Johnson 2005

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J.H. Willis Jr, Leonard and Virginia Woolf as Publishers: Hogarth Press, 1917-41, London: University of Virginia Press, 1992, pp.451, ISBN: 0813913616


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The Hogarth Press 1917-1987

September 18, 2009 by Roy Johnson

from hobby to major cultural enterprise

Hogarth Press 1917-1987
The Hogarth Press 1917-1987 was established by Leonard Woolf in 1917 as a therapeutic hobby for his wife Virginia Woolf who was recovering from one of her frequent bouts of ill-health. It was named after Hogarth House in Richmond, London, where they were living at the time. Its first manifestation was a small hand press which they installed on the dining table in their home. They also bought two boxes of type, which was used to hand-set the texts they produced. Working from a sixteen page instructional handbook, they taught themselves how to set the type, lock it up in chases, and print a decent page. Their first project, Two Stories, was a thirty-one page hand-printed booklet containing a story by each of them – Leonard’s Two Jews and Virginia’s The Mark on the Wall. One hundred and fifty copies were printed and bound on their dining table and sold by subscription amongst friends. These are now highly valued collectors’ items. (See the book jacket and a bibilographic description.)

More small books followed, many of them written by their friends. Fortunately for the success of the Press, they just happened to be connected with the most amazingly avant-guard (and yet popular) names of their day. The list of people published by the Hogarth Press is like a role call of cultural modernism: Katherine Mansfield, E.M. Forster, and T.S. Eliot. They even went on to become the official publishers of the works of Sigmund Freud, via their connections with James Strachey – his English translator and brother of their friend Lytton Strachey.

The Hogarth Press 1917-1987Many of the book jackets were designed by Virginia’s sister, the designer and painter Vanessa Bell. Other covers in the early series were designed by Dora Carrington and Roger Fry. The jacket covers were considered very modern for the period, and they helped to establish a recognisable house style, which contributed to the success of the Press.

Within ten years, the Hogarth Press was a full-scale publishing house and included on its list such seminal works as Eliot’s The Waste Land, Virginia Woolf’s Jacob’s Room and Freud’s Collected Papers. Leonard Woolf remained the main director of the publishing house from its beginning in 1917 until his death in 1969.

There was no formal agreement about policy: they simply published work which they liked or thought was important. They did all the most menial tasks of running a small home-based publishing business themselves. Virginia spent hours wrapping up books in brown paper parcels and tying them up with string for dispatch to booksellers. She even set the text of The Waste Land by hand, using a compositor’s stick.

In 1921 the Press was equipped with more sophisticated printing equipment and moved to new premises in Tavistock Square. It also began to publish translations of works of Russian literature by writers such as Dostoyevsky, Tolstoy, Checkhov, and Gorky.

The Hogarth Press 1917-1987Virginia Woolf is now well known for her love-affair with fellow writer Vita Sackville-West. What is not so well-known is that Sackville-West’s work, such as her long poem The Land (1926) and her novel All Passion Spent (1931) was also published by the Hogarth Press. In fact it sold far more copies than Woolf’s work at the same time. She was a best-selling writer in every sense of the term, making money for the Press and handsome royalties for herself. It’s to her credit that even when wooed by other publishers promising her larger advances, she stayed loyal to the firm. The Land was awarded the prestigious Hawthornden Prize for literature in 1926, which added to the firm’s prestige.

Leonard Woolf kept the accounts for all commercial activity with the same rigour and the attention to detail that he had learned from his days as a colonial administrator. He made it a policy to answer every letter he received the same day as it landed on his desk. Each penny that went in or out of Hogarth Press was noted by him with anal-retentive exactitude – though as one of his many assistants records, this also reveals something of his dual nature:

Leonard himself was, in general, cool and philosophical about the ups and downs of publishing: his fault was in allowing trifles to upset him unduly. A penny, a halfpenny that couldn’t be accounted for in the petty cash at the end of the day would send him into a frenzy that often approached hysteria… On the other hand, if a major setback occurred – a new impression, say, of a book that was selling fast lost at sea on its way from the printers in Edinburgh – he would display a sage-like calm, and shrug his shoulders.

The Hogarth Press 1917-1987As their enterprise became more successful and the volume of business grew, they felt they needed more help. A succession of younger men were employed to help run the Press – many of them aspirant young writers themselves. Amongst them was Richard Kennedy, a sixteen year old boy, who recorded his very amusing memories of the experience in A Boy at the Hogarth Press. Others included Ralph Partridge, George Rylands, Angus Davidson and John Lehmann.

John Lehmann was the longest lasting and the most serious member of the firm, He was the brother of actress Beatrix Lehmann and novelist Rosamund Lehmann, and he had two spells of employment. He worked first as an apprentice manager from 1931 to 1932. Then in 1938 when Virginia Woolf chose to give up the practical drudgery of packing and typesetting, he bought out her share and returned as part-owner and general manager.

He had ideas to transform the Hogarth Press from a cottage industry into a fully-fledged modern publishing business, and he proposed that they should raise share capital and employ publicists and agents. But his ambitions were antithetical to all Leonard’s principles of self-reliance, independence, and control. Leonard argued – quite rightly as it turned out – that the strength of the Press was its independence and its policy of working with minimum overheads and outlay. He stuck to his guns, and was proved right in the end. Lehmann describes the conflict of views from his point of view in Thrown to the Woolfs, whilst Leonard gives his version of events (complete with balance sheets) in his magnificent Autobiography.

In 1939 the Press moved to Mecklenburgh Square, but it was bombed out in September 1940 during the first air raids on London. A temporary refuge was found with its printers, the Garden City Press, in Letchworth.

The Hogarth Press 1917-1987Curiously enough, as John Lehmann records in his account of these years, these disasters proved to be a benefit to the press. Its editorial offices and stock rooms were in the same building as its printers, and both were a long way away from London, where other publishers were suffering losses to their inventory as a result of air raids during the war. The odd thing is that despite paper rationing, sales rose, because of general shortages: “Books that in peacetime, when there was an abundance of choice, would have sold only a few copies every month, were snapped up the moment they arrived in the shops.”

Priority was given to keeping Virginia Woolf’s works in print even after her death, as well as the works of Sigmund Freud which the Press had started to publish. Other writers whose work appeared around this time were Henry Green, Roy Fuller, and William Sansom.

However, following Viginia’s death in 1941, there remained only two essential decision makers on policy. Without her casting vote, the differences between Lehmann and Leonard Woolf grew wider and led to clashes. Lehmann wanted to publish Saul Bellow and Jean Paul Sartre, but Leonard said ‘No’. There were also misunderstandings about income tax returns and the foreign rights to Virginia’s work.

The Hogarth Press 1917-1987Disagreements rumbled on until after the war had ended. When the final split between them came about in 1946, Leonard solved the financial problem of raising £3,000 to keep the company afloat by persuading fellow publisher Ian Parsons of Chatto and Windus to buy out John Lehmann’s share. The Hogarth Press became a limited company within Chatto & Windus, on the strict understanding that Leonard Woolf had a controlling decision on what the Hogarth Press published.

Ian Parsons was the husband of Trekkie Parsons, who had illustrated some Hogarth titles. She lived with Leonard during the week and with her husband at weekends – so they became business partners as well as sharing a wife. The slightly bizarre nature of this relationship is recorded in their collected Love Letters.

In the period after 1946, the most important books published by the Press were the multi-volume editions of Virginia Woolf’s Diaries and Letters, the twenty-four volume set of The Standard Edition of the Complete Psychological Works of Sigmund Freud (1953-1974), as well as Leonard Woolf’s Autobiography. Following Leonard’s death in 1969, ownership of the Press was transferred to Random House UK in 1987 when it bought out Chatto & Windus.

© Roy Johnson 2000-2014


Bloomsbury Group – web links

Bloomsbury Group - web links Hogarth Press first editions
Annotated gallery of original first edition book jacket covers from the Hogarth Press, featuring designs by Vanessa Bell, Roger Fry, and others.

Bloomsbury Group - web links The Omega Workshops
A brief history of Roger Fry’s experimental Omega Workshops, which had a lasting influence on interior design in post First World War Britain.

Bloomsbury Group - web links The Bloomsbury Group and War
An essay on the largely pacifist and internationalist stance taken by Bloomsbury Group members towards the First World War.

Bloomsbury Group web links Tate Gallery Archive Journeys: Bloomsbury
Mini web site featuring photos, paintings, a timeline, sub-sections on the Omega Workshops, Roger Fry, and Duncan Grant, and biographical notes.

Bloomsbury Group - web links Bloomsbury: Books, Art and Design
Exhibition of paintings, designs, and ceramics at Toronto University featuring Hogarth Press, Vanessa Bell, Dora Carrington, Quentin Bell, and Stephen Tomlin.

Bloomsbury Group - web links Blogging Woolf
A rich enthusiast site featuring news of events, exhibitions, new book reviews, relevant links, study resources, and anything related to Bloomsbury and Virginia Woolf

Bloomsbury Group - web links Hyper-Concordance to Virginia Woolf
Search the texts of all Woolf’s major works, and track down phrases, quotes, and even individual words in their original context.

Bloomsbury Group - web links A Mrs Dalloway Walk in London
An annotated description of Clarissa Dalloway’s walk from Westminster to Regent’s Park, with historical updates and a bibliography.

Bloomsbury Group - web links Women’s History Walk in Bloomsbury
Annotated tour of literary and political homes in Bloomsbury, including Gordon Square, University College, Bedford Square, Doughty Street, and Tavistock Square.

Bloomsbury Group - web links Virginia Woolf Society of Great Britain
News of events, regular bulletins, study materials, publications, and related links. Largely the work of Virginia Woolf specialist Stuart N. Clarke.

Bloomsbury Group - web links BBC Audio Essay – A Eulogy to Words
A charming sound recording of a BBC radio talk broadcast in 1937 – accompanied by a slideshow of photographs of Virginia Woolf.

Bloomsbury Group - web links A Family Photograph Albumn
Leslie Stephens’ collection of family photographs which became known as the Mausoleum Book, collected at Smith College – Massachusetts.

Bloomsbury Group - web links Bloomsbury at Duke University
A collection of book jacket covers, Fry’s Twelve Woodcuts, Strachey’s ‘Elizabeth and Essex’.


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Filed Under: Bloomsbury Group, Hogarth Press Tagged With: Bloomsbury Group, Cultural history, Hogarth Press, Leonard Woolf, Publishing, Virginia Woolf

The Weekend Novelist

July 15, 2009 by Roy Johnson

fundamental  techniques of novel-writing explained

The Weekend Novelist is a guide to novel-writing techniques which teaches by two principal features. The authors Robert J. Ray and Bret Norris (both experienced creative writing workshop tutors) first take you through the basics elements of novels by showing structure, character, and plot being created in the work of successful novelists. Then they set exercises which allow you to practise the techniques you have just learned. Actually, there’s a third strand too.

The Weekend Novelist Running through the chapters is a practical example of a novel in the process of being created – though Trophy Wives reads as if it’s going to be closer to a Jackie Collins novel rather than Nostromo or To the Lighthouse. Nevertheless, they are demonstrating for would-be novelists all the things they need to take into account. They start quite reasonably with the concept of structure, encouraging writers to sketch out diagrams of their stories.

This is backed up with some very useful analyses of novel plots, showing how they are built on standard models such as the journey, the quest, and the rise from rags to riches.

As points of reference they use contemporary fiction such as the Harry Potter novels, Ian McEwan’s Amsterdam and Zadie Smith’s White Teeth, as well as examples from classics such as Jane Eyre, Moby Dick, and The Great Gatsby.

Sometimes the advice is conveyed by emotive metaphors – “When your prose speeds up your brain catches fire. When your brain catches fire, ideas spark” – and at other times they draw heavily on a scene by scene construction technique which is drawn from the world of television and cinema.

In fact there is so much concentration on concepts such as ‘the back story’, ‘chain of events’, ‘climax’, and ‘the importance of carefully chosen objects’ that I suspect it will be just as much interest to screenwriters and dramatists.

There’s quite a lot of plot synopsis, and as a result of using the same plot lines in most of their exercises, there’s also a good deal of repetition and overlap. But the upside of this feature is that you get to consider these stories in depth, and they make you aware of the complexities and careful planning which goes into the development of a successful novel.

Given their title, I was surprised there wasn’t more advice on personal time management, but they are telling you how to write – not when. Besides which, I doubt if many people with serious designs on writing novels will limit themselves merely to free time at weekends.

The approach is very encouraging and hand-holding. You need to plan, plan, plan. Then write, stick at it, and be prepared to revise and edit.

It’s realistic, because it realises you don’t have all the time in the world. And it urges you repeatedly not to sit staring out of the window, but to get pen to paper, fingers to keyboard. Their advice is a mixture of writing techniques, warnings, and encouragement. All you need to do is follow it, and you could have a best-seller on your hands.

© Roy Johnson 2005

The Weekend Novelist   Buy the book at Amazon UK

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Robert J. Ray and Bret Norris, The Weekend Novelist, London: A & C Black, 2005, pp.268, ISBN: 0713671432


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The Writer’s Handbook

July 22, 2009 by Roy Johnson

addresses, contacts, resources, and advice for writers

The Writer’s Handbook is the ‘other’ reference manual for writers and people working in the media. It lists publishers in the UK and the US, offers advice to would-be writers on how to place their work, and counsels them on how to deal with agents and middlemen if they have the luck to be ‘accepted’. It’s a comprehensive guide which even goes into the detail of listing the key personnel you need to contact if that deathless prose of yours is ever to see the light of public day. How does it differ from the more established Writers and Artists Year Book?

The Writer's HandbookWell, it spreads itself just a little more generously across a wider range of media. There’s a bit more here on newspapers and magazines, more on radio, TV, small presses and theatre companies. There’s a particularly good section on library services, and there are tips on writing from well-known authors.

It’s updated every year, and many of the entries are annotated with subjective but useful comments on how much people pay – an important issue for hard-pressed writers. New features for the latest edition include how to crack the American market; e-books and the future of hard print; how to get into travel writing; and how newspaper serialisations work.

This is the information you will need for Getting Published. Recent editions have also featured best-seller lists and articles written by successful authors. There’s not a lot to choose between this and the Yearbook. Have a look at both and decide which one suits you.

© Roy Johnson 2000

The Writer's Handbook   Buy the book at Amazon UK

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Barry Turner (ed), The Writer’s Handbook, London: Macmillan, (issued annually) pp.832, ISBN: 0230207294


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The writer’s marketplace

October 2, 2009 by Roy Johnson

a selection of resources

You’ve written a short story, a novel, poems, your memoirs, or even an article on goldfish or steam engines. The problem is, how to get your work published? How can you find a publisher who will accept what you have produced? You need to be aware of the writer’s marketplace.

If you’ve had a preliminary stab at this, you’ve no doubt received a few rejection slips. Don’t be put off. Everybody gets them. It is not necessarily to do with the quality of your work. It’s much more likely to be a question of matching what you have to offer with what a publisher is looking for. Publishers have audiences and markets. They want to supply these markets with the products which sell.

Some publishers specialise in antiques, travel, or local history; others concentrate on modern fiction, historical fiction, or science fiction. You need to match what you have to offer with what they are looking for. It’s no good sending your family saga to a publisher who specialises in chic lit or travel guides. And if the latest fad in publishing is for Running Over Lemons from a House in Provence – that’s what they will be looking for.

However, many long term best-sellers have been written for niche audiences – such as Walter Wainwright’s walking guides to the Lake District, or Elizabeth David’s cookbooks. So the first thing to do is get to know your market. Fortunately, this problem has been around so long that there are now several excellent books on the market to help you with all the issues involved.

Writer's MarketplaceThe Writers’ & Artists’ Yearbook
Without doubt, this is the most successful. It’s a number one best-seller which offers details of publishers, agents, and outlets in the US and UK. It tells you what they are looking for, where to contact them, and how to submit your work. But the real value for beginners is in the short essays offering advice to would-be writers and media workers which punctuate the listings. They cover fiction and poetry; drama scripts for TV, radio, theatre, and film; graphic illustration and design; plus photography and music.

The other features which make it particularly useful are general information on publishing methods, copyright and libel, income tax and allowances, and a list of annual competitions and their prizes. Recent editions have also included lists of the year’s bestsellers – including both the number of copies sold and the amount of money they’ve made. It is issued annually, and gets bigger each year.
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writer's marketplaceThe Writer’s Handbook
Barry Turner’s rival book does much the same thing – but focuses its attention on writers, and covers a slightly broader spread of media. In addition to the key areas of UK and US book publishers and agents, magazines, screen writing, TV and radio, theatre, film and video and poetry, this edition contains features on the appeal of biography; the uses and abuses of the English language; the challenges and rewards of self-publishing; writing poetry; and media contracts. This is well worth considering as an alternative.

Both of these books have extensive listings of all the outlets for creative work – fiction, journalism, sound broadcasting, photography, reporting, and editing. They also include mini-essays on various aspects of the publishing business, advising you how to place your work, where to find agents, and even how to sort out your tax problems after you hit the jackpot.
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writer's marketplaceThe Guardian Media Directory
If your writing is more geared to the mainstream media – newspapers, magazines, radio, and television, the Guardian annual directory is establishing itself as the major source of advice. It lists the addresses, phone numbers, websites and key personnel for companies in every sector of the media, from digital television to magazines, regional newspapers to publishing houses, think tanks to charities. This edition contains over 10,000 contacts and has been redesigned throughout.

There are lots of resources for writers on the Internet: the problem is knowing where to find them. Even trawling through search engine results can be time-consuming, and sometimes a dispiriting experience. Thank goodness then when somebody else has done all the research and written up the results.
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writer's marketplaceThe Internet: A Writer’s Guide
The main strength of Jane Dorner’s guide is that she is a professional writer who practices what she writes about. She writes for print and screen, and promotes her work via a personal web site. This book explores both the new opportunities for writers created by the Internet and the practicalities of publishing on your own site.

She touches on writing groups which exist in the form of mailing lists, websites, newsletters, chat groups, and conferences, and she also deals with eBooks plus annotated lists of all the sources a writer could possibly wish for – from libraries to bookshops, dictionaries to writing circles, newspapers to writing style guides, electronic publishers to free Internet service providers.
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Writer’s Market
This provides no-nonsense advice and authoritative guidance you need to get published and to get paid. With updated listings and ‘need-to-know’ publishing advice, Writer’s Market gives writers over 4,000 listings for consumer magazines, book publishers, trade journals, and contests and awards. It also includes complete contact information for fifty top literary agents.

There are dynamic interviews with established writers, plus publishers, editors and successful freelancers. This is essential publishing information and advice, including pay rates, a guide to book publisher imprints and valuable self-marketing tips. If you want to find out what’s available, or if you are really serious about placing what you have written with a commercial publisher – then sooner or later you will need one of these books. There are others, but these are the best; and every professional writer I have known has one or more of them on the shelf.
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writer's marketplaceWriters’ Questions and Answers
Writers who wish to publish their work are often baffled by some of the mysteries of the publishing process itself. How can you get the attention of a publisher? Do you need an agent? How much can you expect to get paid? Should you submit an outline – or the complete work? Gordon Wells’ book answers these question, plus lots more which are frequently asked by people trying to get a foothold in the world of published writing.

The press always seems to have stories of first-time authors who have been paid a five or six-figure advance for their first novel. But those who have tried to do the same thing know that it’s a far more common experience to be dealing with rejection slips. How do you break into this seemingly charmed world?

Well, these guidance notes certainly tell you how to learn from rejection – and what to do about it. The advice is all practical, realistic, and based on the clear-eyed realisation that if you wish to succeed in this extremely competitive world – you need to know how it works.

Wells tackles all the most frequently asked questions – Who is the best person to approach with your masterpiece? Does vanity publishing work? What makes a best-seller? What if somebody poaches your ideas? Which publishers pay best?

If you want to move beyond the comforts of your local writers’ circle into the world of commercial publishing, you should read what he has to say. Keep dreams of success in mind by all means, but take the trouble to learn how professional writers actually work.
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The Writer's MarketWriter’s Market UK 2009
This is a huge, 1,000 page compendium of advice, resources, and detailed information on how writers can locate markets and get their work into print. It has feature articles written by well-known authors giving advice on breaking into print. These are surrounded by listings of publishers, magazines, literary agents, and broadcast outlets. Then come specialized resources such as prizes and competitions, bursaries and fellowships, writers groups, and web sites.

The feature articles are precisely the sort of advice that aspirant writers are most likely to want and need. How to tackle the various genres of fiction writing: the short story, children’s writing, crime, and the novel. What agents and publishers are looking for – and how to approach them. Writing for radio, the Web, newspapers and magazines are all covered well,

There are essays on how books are designed, financed, and marketed, plus why you should know about contracts and legal issues. There are articles on the odd but very profitable field of ghost writing, and when you have made lots of money how to deal with agents, and how to promote your work once it’s published.

There are huge listings of bursaries, prizes, competitions, writers’ foundations, and all sorts of support to help the struggling want-to-be. And testing it out for being up to date, I found all sorts of on line resources for would-be writers: magazines, forums, self-help groups, web sites full of resources, writing software, plus competitions and prizes.

Given the differences in page and font sizes, it’s difficult to do a direct quantitative comparison with its two main rivals, but having looked through all three recently, I’d say that this gives the other two a very good run for their money.
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return button Publish your writing

© Roy Johnson 2009


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Filed Under: Creative Writing, How-to guides, Journalism, Publishing, Writing Skills Tagged With: Creative writing, Journalism, Publishing, The Writer's Handbook, Writer's Market, Writers' and Artists' Yearbook, Writing skills

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