pg 5 developmental editor and writing coach karen livecchia shares the mistakes she sees writers make most often and her easy fixes
pg 7 elanor fritz saw firsthand the corruption that exists in the us prison system. her NEW novel shares those stories as a means to healing
pg 12 Is the short story experiencing a renaissance? what was once considered an economic impossibility may be a self publishing goldmine
NEW EDITION CONTEMPORARY
PUBLISHING
MAGAZINE
ISSUE 19, OCTOBER 2014
Out of This
WORLD Sci-fi is taking over the universe and self published authors are leading the charge. When authors make the rules, the possibilities are endless.
NEW EDITION, OCTOBER 2014
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Welcome to the October issue of New Edition! This month, authors Phil Pauley and Eduardo Luengo tell us why they chose to make their own rules by creating whole new universes as science fiction writers. Elanor Fritz shares her true story of working in the US prison system and why she felt compelled to expose the corruption that lurks just beneath the surface. And we see if short stories are the new way for self published authors to hook their readers with succinct, quick-to-market content.
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Joe Perry reads from Rocks: My Life In and Out of Aerosmith
Coolidge Corner Theatre, Boston, MA brooklinebooksmith-shop.com/ticket-joe-perry-10914-event Legendary guitarist Joe Perry will read from his newly published memoir Rocks, which exposes the inside story of his life during the five decades of his band’s epic fame. Delving into his relationship with bandmate Steven Tyler and revealing the inner workings of sustaining a genre-defying band, Perry’s book has already been likened to Keith Richards’ Life. Sponsored by Brookline Booksmith in conjunction with the Coolidge Corner Theatre, tickets to the event cost $35 and include a copy of the book. Perry will only be signing copies purchased at Brookline Booksmith.
Kate Tempest: Hold Your Own
Southbank Centre, London southbankcentre.co.uk/whatson/kate-tempest-85856 Ted Hughes Award-winning poet Kate Tempest will be launching her new poetry performance Hold Your Own, the follow-up to the sold-out Brand New Ancients. Tempest’s new four-part show follows Tiresias of Greek myth through his evolution from child to man to woman to blind prophet. Tickets are £15 (£12 for Southbank Centre members) and are available through Southbank’s website.
Dylan Thomas 100
92nd St. Y, New York City 92y.org/tickets/production.aspx?PID=107836 Kicking off a week-long celebration of the renowned poet’s 100th birthday, the 92nd St. Y Poetry Center will host a tribute to Thomas’s work on the very same stage where he made his American performance debut in 1950 and premiered his famous play Under Milk Wood in 1953. The event is free, but tickets must be reserved on the Y’s website.
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Eat. Sleep.
Books.
The increased popularity of self publishing has created a burgeoning community of freelance editors, publishing housequality professionals who rent their time and expertise to authors for an hourly fee. Karen Livecchia is one such professional, whose Eat.Sleep.Books. Consulting helps authors with all of their manuscript needs. Ed Roberts talks to Livecchia about her role in the publishing process.
Karen Livecchia is a developmental editor and writing coach, who is quick to explain that her role is primarily based on building a relationship with an author. “As a developmental editor, it means I work as a constructive collaborator in reviewing and developing non-fiction content alongside the author. Being a ‘DE’ always consists of having a close working relationship with the author and, in some cases, involves being a bit of a therapist as I find it’s hard for writers to let go of their manuscript once it’s final and ready to be submitted to the publisher. “As a writing coach, my primary job is to clarify a writer’s intentions and goals for the work specifically in terms of their overall writing including an evaluation of their skills in order to help them write better. It’s more of a traffic cop role—Stop! Go! Move Ahead! Given the right situation, the work is satisfying on a number of levels.” Many freelance editors come to their work through traditional publishing houses, leaving their structured careers for the flexibility of being their own bosses. Livecchia entered the publishing industry as a drastic career change. “I came into this business as a career changer from the financial services industry. After much research and talking to those already working in the industry, I knew that I wanted to have a substantive career within book publishing. As a result, I worked hard to complete a Master of Science in Publishing at NYU, as it was a number of years after I’d finished my undergraduate degree at Harvard. Oddly enough, I didn’t know specifically what role I’d take on in publishing, but I definitely wanted to be part of an industry in the midst of great flux,
particularly at the dawn of the Digital Age. I believed at the time that the industry was ripe for new ideas, new platforms, and new ways of thinking about the process of publishing given the demands of a changing marketplace—and I still do! “Initially, I thought maybe I’d move into finance or business development within publishing, but I happened to have been given the chance to edit research reports for a talented financial analyst at a boutique investment firm. Through that opportunity, I found that I had an affinity with content development and wanted to do more of it in the future, but within a book-oriented environment. Hence the need for a graduate degree in publishing in order to help fulfil my goals.” Livecchia has developed her own approach to working with first-time authors and what they should expect from a developmental edit. “From the outset, I take the time to talk extensively with the author about who they are and what is it they’re looking to accomplish with their writing project. When you’re working with someone in close editorial quarters, the ‘fit’ has to be a solid one—respectful, constructive, and, in the end, productive. That’s what I’m constantly shooting for along the way! Given the demands of the developmental editor role, I take a good long look at the project from end-to-end, as I’m all too aware of the time, energy and editorial resources it takes to bring a project to a successful conclusion. My overall goal being the DE alongside an author is not to get their work published (after all, that’s the publisher’s job). Instead, I help the writer on their way to, hopefully, successful publication.”
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NEW EDITION, OCTOBER 2014
When you’re working with someone in close editorial quarters, the ‘fit’ has to be a solid one—respectful, constructive, and, in the end, productive. That’s what I’m constantly shooting for along the way!
She says she frequently encounters many of the same mistakes among the writers she works with, most of which are easy fixes. “That’s difficult to answer concisely (and briefly) here, as there are so many ways in which a writer can veer off track in their work. In many cases, I see writers who make mistakes such as not having a firm command of language – that is, grammar, sentence structure, word choice, etc. There is a consistent struggle in writing with brevity, clarity, and insight on the part of many writers. I’ve seen writers who have difficulty organizing their thoughts and struggling to determine what their overall purpose is for the work. However, the most common issue I experience is that writers don’t formulate a plan before setting off to write. Having a blueprint, if you will, can help keep a piece or a project from going ‘off the rails’ with their writing. I call this following ‘the outline from the outset’.” Writers should begin looking for a developmental editor after they’re done writing, but before they begin to query agents or start their self publishing process. “I believe the best time to bring in a developmental editor is near the end of the writing process when a writer is moving toward generating a workable ‘final’ draft and is in need of specific suggestions about the work as a whole. To be clear, what a developmental editor is not is a copyeditor and/or proofreader. That is another type of editorial role for the final phase of a manuscript and is a process right before the manuscript goes into
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production. The DE comes in to evaluate: the validity of the work’s underlying thesis/es, the ‘flow’ or pacing of the work (meaning: is it a smooth read?), the proper use of terminology and descriptive language. It also includes evaluating the author’s voice, style and word choice throughout the text. In the end, the job of the DE is about the art and craft of the book overall.” Ultimately, the job of the editor is to help the author on the way to the vision they have for the book. Rather than being afraid of editors, authors should embrace their knowledge of the industry and artistic craft to let their book be the best it can be. Karen Livecchia is here to help. Karen Livecchia is a developmental editor and publishing consultant through her company Eat.Sleep.Books. Consulting. Find her online at eatsleepbooks.com. Authoright also provides substantive editing services. For more information, visit authoright.com
CONTEMPORARY PUBLISHING MAGAZINE
Breaking the
Silence
As a prison therapist in Nashville, Elanor Fritz lived through devastating and traumatising moments that she recalled in her harrowing new novel The Woman Who Threw Gasoline on the Yellow Jackets. She sits down with Diana Rissetto to talk about her journey of writing the book and the Elanor Fritz realised as soon as challenges and triumphs she began working in a prison that came along with it. that while the prisoners were
incarcerated for their crimes, it was really the officers who were breaking laws: smuggling contraband; verbal, emotional and physical abuse among officers and other forms of criminal activity. Conditions were so appauling that Fritz considered filing an official complain with the FBI. Rather than leave the job and turn the other cheek, she decided that it was up to her to expose the inner corruption of the prison. She recalls, “At this point, staff knew I was not to be played with. This is the Southern way. I am a professional, not an amateur.” She first had the idea to start writing in her second year of working in the prison. Fritz would stay up late at night, writing notes about what she had gone through that day. Fed up with being tortured by officers because she refused to play their corrupt games of sleeping around and smuggling
in contraband, writing finally gave her a therapeutic release. Fritz was breaking down emotionally and mentally and, before long, even her physical health was in jeopardy. As a trained therapist, she knew she had to do something to relieve her angst and began writing everything down with the intent of one day releasing the book to the world. She felt taxpayers needed to know where their funds were truly being spent. Prisons staff are technically hired to serve and protect, but Fritz knew the truth. “Officers have as much time as offenders to think about how they can hurt others. They are not called to duty unless they are to escort an offender, pop doors for them, do count, respond to the rare emergency and other remedial tasks. This is simply the truth.” Fritz felt that she was helping prisoners, and therefore decided to remain at her job. “We have to counsel the offenders, write up case notes, talk to attorneys and family members of the offender, do
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NEW EDITION, OCTOBER 2014
ELANOR’S FAVOURITES treatment plans for those with mental health issues, keep offender files in order, respond to all offender requests. And the list is endless.” Fritz continued to write, suffering a form of PostTraumatic Stress Disorder as she had to relive all that she had seen. However: “In writing this book, I healed. Yet, it took much therapy. My business partner is a therapist and aided me in my healing. She was the key element in encouraging me to press on and not stop revealing the truths behind the razor wire.” Fritz did choose to write her story as a novel instead of a memoir. Many stories she tells in her book were told by other individuals about their lives in other prisons. As for the book’s title, it is very symbolic for Fritz. “The reader needed to know the prison system is truly broken and can’t be repaired at this point in time. I had to address the issue of the DOC system as a metaphor to yellow jackets. The cruelty of the officers is like puncturing one’s being. These winged creatures can only be extinguished by throwing gasoline/ kerosene down their nests at night and setting fire to them. Officers hide in their earthly nests, creating their cruelty to generate new screams for their next day’s chosen prey. Unless these corrupt officers are extinguished from the system and honest professional officers hired to replace them, prisons will continue to deteriorate.” Fritz hopes that readers will take away from her book many things, among them that they can easily affect the situation by writing to those in power to do something about the conditions in prisons. Fritz is an avid reader herself, and she prefers to read books that “tell the truth behind the scenes of certain cultures and entities. I like authors who are brave enough to reveal these truths, telling it like it is.” Elanor Fritz’s The Woman Who Threw Gasoline on the Yellow Jackets (CreateSpace £11.99/$17.99) is available from amazon.com and in all good bookstores.
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NEW EDITION, OCTOBER 2014
Finding a literary agent used to be a necessary first step to securing a traditional publishing deal. Now, in some cases, that may no longer be true. Jordan Koluch asks why big publishers are finally opening their direct submissions.
HarperVoyager, a digital-first sci-fi imprint of HarperCollins, recently announced that it had acquired fifteen new titles, mostly from unagented authors. The first of the titles will be published this winter, with the rest forthcoming in 2015. This move is one of the few exceptions to the traditional model of publishing, which includes literary agents because publishers want to focus on what they do best—producing and selling books—rather than sort through slush. Literary agents act as trusted readers, whom editors count on to bring them the cream of the crop from which to choose. This arguably allows energy to be spent where it’s most needed—the books already on the publisher’s list. That’s not to say that all publishers have embraced the agented submissions-only model. Publishers as big as Harlequin (which is consequently now owned by HarperCollins) still accept unsolicited submissions through most of their imprints. Small independent publishers also welcome slush in the hopes of discovering the next big name in their pile. This allows editors to ensure that authors they may have loved don’t get left behind by agents who don’t share the same aesthetic. It also allows for the book’s vision to be driven in one constant direction agreed upon by the editor and author,
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instead of passing through many hands. Natasha Bardon, editorial director of HarperVoyager UK, said of her imprint’s upcoming season, “Being able to launch this much new talent is fantastic, especially in a genre which is so difficult to break into. It was great experience doing the open submissions; seeing the [number] of voices out there was brilliant. Everyone here came into publishing because we were looking for good stories, so it was heartening to find so many. It was a lot of hard work, but we’re not afraid of that.” That’s not to say that agencies are getting the short end of the stick. Observing the rising success of self published authors (who often don’t need agents, since they make higher royalties self publishing than they would with a traditional publishing deal) and the decrease in advances from publishers on traditionally published projects, some agents have taken to what has become known as agent-assisted self publishing. Services like Amazon’s White Glove offer benefits above KDP’s (like advantageous placement in search results), but only to authors who publish through their agents. Often, traditionally published authors whose backlist rights have reverted will choose to have their agents self publish those backlist titles, rejuvenating titles abandoned by their
CONTEMPORARY PUBLISHING MAGAZINE
RightAmazon offers a version of their KDP service to authors who self publish through their agents, called Amazon White Glove. Below: HarperVoyager, a digital-first scifi imprint of HarperCollins, is publishing a winter list comprised mainly of open submissions.
publishers and paying their agent the requisite fifteen percent of net receipts. Recently, agents have also been suggesting to authors that manuscripts not sold to publishers can also be self published while the author works on a new project which may be more commercially viable. Either way, this disruption of the traditional model ultimately shows that while an author does need a team to publish their book, there isn’t a required list of players. If the agent is fulfilling the role of author advocate, editor, social media advisor and PR expert, then having said agent on the author’s team is quite an asset. On the other hand, if the publisher is fulfilling all of those roles, the book will turn out just as well. Equally, if the author independently hires all of the professionals they need, self publishing can result in profits equal to—or maybe even eclipsing—a traditional publishing deal. It’s also a good sign that one of the Big Five is embracing the change and switching up their publishing process, if only for a digital-first imprint. For an industry in a time of drastic change, most of that upheaval has come from smaller names and startups, which—while they may be the way of the future—have yet to establish reputations equal to the likes
of HarperCollins. While authors may find benefits to the hundred years of tradition at the big names, it’s also nice that the imprint’s newer brand of thinking is serving authors well. Authors also benefit from the increased competition—between publishing houses to find the best talent, and between agents and publishers to provide value to authors—since it broadens an author’s choices of where to send their manuscript and allows them to choose the best publishing option for their book. Perhaps the ultimate question is who offers the reader the most value in terms of spotting talent, producing books and promoting them—agents, publishers or the authors themselves? Hopefully the new world of publishing will continue moving in the direction of more choices for authors, allowing them to make well-informed decisions about which route to publication is best for their books and their careers.
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NEW EDITION, OCTOBER 2014
Worth Its Wei in Words To borrow a phrase from a recently published article in The Telegraph, the short story is undoubtedly “having a moment.” Traditional wisdom in the publishing industry has always been that while short stories are surely literary, they rarely translate into commercial or financial success; it remains a great professional honour to be published in The New Yorker or Atlantic Monthly. But beyond the cultural and academic praise such an honour undeniably bestows, not much comes from the opportunity in the way of mass market appeal. That being said, conventional wisdom seems to be changing. You’d be hard pressed nowadays to find anyone who hasn’t heard the lamentations regarding our endangered human attention span. But if you happen to be one of those five elusive people, common opinion is that the internet, wifi, cell phones and other digitised forms of content and communication have resulted in a significant deterioration of our human ability to focus. Studies have shown that users will allow a website between one and five seconds to provide the information they are seeking before they leave the site in favour of a competitor that does a better job. It’s the age
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of bullet points, bold headlines and brevity. In other words, short stories are enjoying their first ever cultural advantage. In 2013, the Man Booker Prize stunned the world when they conferred the prestigious award upon decorated short story author Lydia Davis. Davis was lauded at the time for producing works with “the brevity and precision of poetry”, and her success was followed by a tidal wave of subsequent prizes awarded to short stories for their deliberate nature. This sudden position of favour enjoyed by the short story in high-powered award circles is not the only worthwhile evolution of the genre’s profile. The Bookseller recently released a report claiming that commercial sales of the form increased by thirty five per cent in 2013. Audiences strapped for time or reading on the go have demonstrably embraced the quick literary fix that only an effective short story can provide; as in the case of websites and television shows, it is evermore advisable for authors to eschew rich detail in favor of purposeful concision. Adverbs ending in -ly border on the profane in most creative writing classes and “narrative momentum” has become a key phrase in most reputable book reviews.
CONTEMPORARY PUBLISHING MAGAZINE
ight Common knowledge is that short stories are for literary journals, and maybe for getting an author noticed by an agent, but certainly not economically viable publishing material. But is the ease of self publishing changing all of that? Justin Kelly posits that the short story is finally enjoying its day in the sun.
So what does the changing landscape mean for aspiring writers looking to make their mark in a supersaturated industry fundamentally altered by the emergence of self publishing as a legitimate business venture? It has long been said that a fundamental flaw of the self publishing movement is that quality is shirked in favor of universal accessibility and speed of publication. We are told that anyone can publish a book; we are also told that few can publish well. But for self publishing authors determined to combat such unfair stereotypes and prove their professional mettle—not to mention writing chops—the current market love affair with the short story could allow the best of both worlds. Independent authors can crank out work at their signature rapid pace while traditionally published authors continue to hit stores and distributors at a more calculated rate; if independent authors have written high-quality short stories, modern readers will have presumably consumed the story and gone on to the next independently authored snippet long before traditional authors have even released a single product. Such a cycle could conceivably alter the reputation of self publishing authors for the
long overdue better, and it should seriously be considered an exceptional opportunity for independent authors everywhere. But the key word in this equation is undoubtedly “quality.” For the very first time, conditions are ripe for self publishers to capitalise on their immediate access to an audience thirsty for immediacy. The chance to shed an unfortunate image of inadequacy has fully presented itself and the moment shouldn’t be lost. We are very much in the midst of a short story moment, but if navigated correctly, it could very well be another self publishing moment prime for reinvention. When authors famous for rapid-fire publication are told their material no longer has to be longer than fifteen pages to remain commercially viable, things can happen, and they can happen fast.
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NEW EDITION, OCTOBER 2014
Out of This
WORLD In 1954, magazine editor Forest J Ackerman first coined the term sci-fi to represent a genre of fiction covering futuristic science and technology. In the past sci-fi has often been marginalised as a niche genre but with the popularity of authors like George R. R. Martin it has recently seen a boon. Kate Appleton questions two very different sci-fi authors on their motivations and inspiration behind writing and self publishing their sci-fi books. 14
CONTEMPORARY PUBLISHING MAGAZINE
Phil Pauley, award winning futurologist and author of Moral Order: The Rise of Luca C. Mariner As a young adult I had a passion for developing concepts for underwater habitats that would support human life. I was inspired by the vision of the cataclysmic extinction of dinosaurs by an impossibly large meteor striking Earth. Some years later, I’m now a conceptual designer, creating innovative ideas for the future as I see it. Over the years, many of my standalone futuristic designs have received tens of thousands of hits online. So it struck me that it might be an interesting exercise to pull them all together to create a complete, futuristic world as a narrative to base
these designs in. As most of my concepts are intended for a near-future society, I began to wonder what that kind of world would look like. From that point, imagining a science fiction storyline was a natural fit. Furthermore, I have always concerned myself with marine conservation and underwater habitation, and my dissertation at university centred around the devastation a runaway greenhouse effect will have on our global village. Creating Moral Order has been an amazing journey and the perfect way to blend my speculative designs with my wild imagination! My concepts are scattered throughout the fictional world of Acacia Burj and the Wilds, which form the backdrop to Moral Order, everything from high-speed, flying motorbikes to advanced subsea settlements—imagine a submerged, self-sustaining Eden Project. I’ve enjoyed weaving in inspiration from developments in robotics, agricultural science, space exploration and more. In my opinion, science fiction is the perfect genre for young adult readers. They are the future, the next generation, and sci-fi allows them to explore new and emerging ideas. My dream is that the Moral Order books inspire young readers to step up and take responsibility for the care and stewardship of our planet and drive more open dialogue about safeguarding our home far into the future. This is, after all, the purpose of humanity, to survive as a species indefinitely through our gene pool. I’ve always been absolutely fascinated with space and passionate about marine conservation. Once, whilst diving beneath the waters of the Galápagos Islands, a huge shoal of golden rays—hundreds of them—swept around me. It was incredible. And in that moment, floating weightlessly in this hostile alien environment, I realised that Earth’s ecosystems are so fragile, so interconnected and, ultimately, so threatened by humankind. One of the messages of the book is that life is an extraordinarily rare thing—so rare that out of the thousands of exoplanets we’ve found, not a single one of them could host Earth’s unique biodiversity. And the indisputable and fundamental key to life on Earth is the presence of liquid water, our global ocean. Readers of Moral Order will find themselves immersed in an unsettling yet possible future, in which Earth is ravaged by a merciless aggressor. While I hope the characters and the fast moving plot pull readers in. My aspiration is that the underlying conservation message will touch as many people as possible. For more information on Moral Order: The Rise of Luca C. Mariner (published by Clink Street Publishing RRP £8.99 paperback, RRP £2.99 ebook), please visit moralorder.com
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Eduardo Luengo turned a high school assignment into his debut sci-fi novel Corvus I find alternate history to be extremely fascinating and love seeing how events turn out differently. Questions such as, “What if Germany won World War II?” or “What if dinosaurs were still alive?” or in this particular case, “What if demons overran a city in the Middle Ages?” are what push me to write fiction. The prospect of an epic journey full of danger and adventures is what moves me to keep writing until the end. Of course, I’m not alone in this by any means. The first novel I read in my life was Harry Potter and the Goblet of Fire. I was ten years old. My mind buzzed with ideas for stories, before and after I read my first novel. Sometimes I would act them out with my brothers and cousins. We had lots of fun. And then one of two things happened. Either the world became dull, or I grew up, and I’m sure it was the latter. As a teenager I still had lots of ideas for stories, only I couldn’t cope with the embarrassment of acting them out. Then a great realisation struck me, for the most
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part thanks to the Harry Potter books. I began writing those stories down instead. Ironically, after I had finished writing a story down, I would keep it a secret. I couldn’t cope with the embarrassment of having someone else read it. Thus comes the question, “Then why write it in the first place?” First drafts are always bad, there’s no question about it. But through revisions you hone your writing and learn from your mistakes. It is safe to assume that after a few revisions you can open your draft to the public without much harm. And yet, I still found it hard showing them to anybody. “What if they look at me weird?” I used to think. In the fantasy genre, anything can happen within the rules of each made-up world. The only limits to fantasy are plausibility and the extent of the author’s imagination. I think the most difficult task in fantasy is to make the reader fall in love with your world. We all want people to love and remember the worlds we create. To achieve that, each world has to be unique. J.K. Rowling did a fantastic job in this aspect. In all seriousness, who wouldn’t love to attend Hogwarts? Or visit Middle Earth, by J. R. R. Tolkien? These last six years I have learned to write better and that there’s nothing to be embarrassed of when writing. World building is what I enjoy doing the most while developing my stories. It sucks me in. I can go on for hours just doing that. I love dragons and making up names for characters and places. It’s a no-brainer for me: sci-fi and fantasy is the way to go. Corvus by Eduardo Luengo (published by Clink Street Publishing, RRP £8.99, ebook RRP £2.99)is available now on amazon.com and from all good bookstores. Find him on Twitter @LEduardoLuengo
Guess That Novel! How well do you remember your classic literature? We’ve summed up some of our favorite titles. See if you can guess them all! (Answers below.)
1) Robbed of his true love (and his freedom) due to wrongful imprisonment, a sailor escapes jail and vows revenge on his captors. After decades of gaining wealth and embodying a charming and elusive alter ego, he returns to avenge himself and reclaim his love through a deception of grand proportions.
2) Mother of five unmarried daughters desperately seeking wealthy suitors to make honest women out of them. Has noted that two extremely eligible bachelors are renting property nearby. The one deemed obnoxious and who enters wet t-shirt competitions would be perfect for her headstrong second eldest daughter, although at first she will resist all advances.
3) Steal a fleeting glimpse of cognition’s true potential. For introspective readers who know there’s always more than meets the eye, observe the uncontested master of deduction in an unparalleled intellectual display that pushes the boundaries of what many consider natural.
4) Brother and sister duo living on a Canadian farm send away to adopt a young boy to help them out (ah, the good ol’ days) but the orphanage sends a girl instead of a boy! Instead of sending her back, they decide to keep her (which is a good idea, since children aren’t cats or scratchy sweaters). The little girl, a spirited redhead, goes on to win the hearts of all around her, gets her best friend drunk on raspberry cordial and eventually falls in love with a boy on whose head she once broke a piece of slate in anger.
1) The Count of Monte Cristo 2) Pride and Prejudice 3) Sherlock Holmes 4) Anne of Green Gables
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Next month in New Edition:
The realities of working with a PR professional Should you fictionalise your memoir? Crowdfunding your publishing project And more!
NEW EDITION CONTEMPORARY ISSUE
19,
PUBLISHING OCTOBER
MAGAZINE
2014