The closure, just two weeks ago, of the institution that was Borders at Wheelock Place, is hardly encouraging news. Sure, we all love our independent bookstores; but when a big name player can’t make enough to cover the rent, that says something—if not about our local literary scene, then surely about the gloomy future for printed books worldwide. But this is a cloud in an otherwise bright blue season for bibliophiles.
In a few days the shortlist for one of the literary world’s most coveted awards, the Man Booker Prize, will be announced. The longlist for the Man Asian Literary Prize follows in October (with the number of eligible countries expanded to 35 this year). The much-awaited biennial Singapore Writers Festival also returns next month, and the Singapore International Story Telling Festival (So what if it’s more for kids?) is currently ongoing through Sep 5. It’s also International Literacy Day on September 8.
Yet despite a number of noteworthy local publications this year (among them, Catherine Lim’s Miss Seetoh in the World and the long overdue The Short Stories and Radio Plays of S. Rajaratnam, an anthology by the late former Senior Minister), there’s a sense that we’re still punching well below our international weight. If Malaysian writers can gain worldwide recognition (Tash Aw’s The Harmony Silk Factory scooped a Booker longlist nomination, a Whitbread Prize and the Commonwealth Writers Prize for Best First Novel in 2005 and Tan Twan Eng’s The Gift of Rain made the Booker longlist in 2007), why can’t our local writers do the same?
Indifference, for one. Lawyer Simon Tay, who won the Singapore Literature Prize with his City of Small Blessings, bemoaned in 1984 that “our best minds are not drawn to the role of the writer because the writer is not recognized and accepted; because the writer in our society is no one’s hero.” A prominent Singaporean author tells us, off the record, that things aren’t all that different now either: “As a nation, we have a very narrow taste when it comes to reading; we usually read self-help books and non-fiction but hardly any quality literary fiction.” Colin Cheong, who won the Singapore Literary Prize in 1996, puts it most bluntly: “Singapore is not a reading country.”
Not that everyone thinks we need a big prize to show off what talent we do have. Author Meira Chand whose A Different Sky was released to wide acclaim late last year, is adamant that big prizes are “…unbelievably precarious monitors of a writer’s success. A writer is up against the very best in the world, and for every book that wins a prize you can be sure there are dozens of equally good or even better books that equally deserve to win. Confidence can be badly bruised if hopes are pinned only on winning.”
Fair enough, but that’s not to say we shouldn’t try. Even if prizes aren’t the main objective, wouldn’t it be great if we could boast a truly world-class literary scene? Or at least become a nation that does read? We certainly think so, and to figure out what needs to be done to get there, we sat down with some of the industry’s movers and shakers.
If You Build It, They Will Write
1. More writers’ festivals
“Writers’ festivals benefit the local literary scene tremendously,” says Meira Chand. “For most writers meetings with other writers and the exchange of ideas are precious thinga. An international festival also creates a window onto a larger literary world and gives local writers something to measure themselves against.”
To start with, it’s great that the Singapore Writers Festival is going to be an annual affair. The other welcome development this year has been the installation of poet and erstwhile creative-writing mentor Paul Tan as full-time director. According to Chand, the reason why other more established festivals like the Ubud Writers Festival have the edge over the SWF is that they have had full-time directors—allowing for better programming and featured authors.
2. Give authors a helping hand
An environment in which writers have room to develop their talent—or at least the option of not choosing other career paths out of financial necessity—is crucial.
The National Arts Council’s Publishing and Translation Grant, which seeks to “raise the profile of Singaporean authors and to widen access to their work both locally and overseas” and offers individuals up to $20,000 is to be applauded. But we’d also like to see more subsidized creative spaces (try paying rent here as a struggling writer!) and perhaps some big corporations or banks coming onboard to sponsor more local competitions.
Last month also saw NUS and The Arts House launch an inaugural creative writing residency program; the first of its kind here, open to published writers in English, in all genres, from around the world. That’s an extremely positive move. Next step: NUS or another university to offer a reputable creative writing MA to prove that we’re serious about nurturing our own artistic talent.
3. Writers need to build the scene
Support has to come from within, too. And that process, and accordingly the prospects for budding young writers, has rarely looked healthier. Says O Thiam Chin, author of anthologies Under the Sun and Never Been Better, “The local scene is thriving with new literary journals, like Ceriph, publishing works from new and unknown writers, and local bookstore BooksActually, organising Babette’s Feast for writers to mingle with one another in an informal setting. I’m excited to see the birth and emergence of a new wave of writers from these initiatives!”
4. Continued liberalization
Award-winning author Catherine Lim feels that Singapore’s best years lie around the corner. “It will only be a matter of time before the factors which seem to have acted as checks against bursts of literary activity—the traditionally low ranking of literature in school, the general hard-headed pragmatism of Singaporean students opting for courses that have greater utility and marketability, and the overall climate of restraint and self-censorship (which directly goes against the bold, untrammeled spirit of the arts) —will weaken in the foreseeable future,” she says. “I will not discount the indirect impact of the recent political opening up ushered in by the General Election 2011, and the rapidly increasing power of exposure through the Internet.”
5. Play to our (poetic) strengths
“Poetry is a luxury we cannot afford,” said then Prime Minister Lee Kuan Yew at a University of Singapore audience in 1968. In this case, it’s a good thing no-one heeded his advice. Our poets and playwrights are hitting heights our novelists can (at least for now) only dream of.
“Our major poets have all been invited to important literary festivals abroad and our playwrights have seen their plays dramatized in many international theatres,” says Prof Kirpal Singh, poet, literary critic and lecturer at the Singapore Management University. “I was recently the Featured Poet at the internationally acclaimed Austin Poetry Festival in Texas, USA and was very pleasantly surprised to be told by many that our poems are studied and read in many different USA schools, colleges and universities!”
So while we still hope for a brighter future for local fiction, perhaps we shouldn’t beat ourselves up too much after all.
6. Be bold (and patient)!
The reason why Malaysian writers (among others) are more successful? “Singaporeans still tend to be too ‘polite’, preferring to keep real, hard realities and truths subtle, hidden and submerged,” says Prof Singh. “Or when we do write about these we over-do it, revealing simple outrage without tact.”
“Singaporean writers also tend to be too precious, refusing to hone their craft,” he adds. “Creating good fiction takes time and most Singaporean writers tend to be in a hurry. But we have the innate talent, what we need is careful nurturing of the execution.”
Write Here, Write Now
Written the Next Great Novel, but no clue how to go about getting it published? Phil Tatham of Monsoon Books, explains how to improve your chances of landing that big book deal.
What’s the most important thing for an aspiring writer to know about the industry?
Writers in Singapore hoping to find a publisher for their work should research the market (start with www.singaporebookpublishers.sg and www.bookcouncil.sg) and talk to other published authors.
Similarly, for writers intending to self-publish their works, they would be well-advised to talk to other self-published authors first. Do visit the Singapore Writers Festival and sign up for the two-day SWF Publishing Symposium (Oct 27-28, $20/panel; $60/day; $100/2 days). Many Singapore-based trade publishers will be in attendance so this is the best opportunity for writers to learn more about the industry and talk to the publishers face to face.
I have a great idea for a book, what should I do with it?
Start writing. For some nonfiction works, it makes sense to approach publishers with a proposal first, but for fiction you really just need to write it. Publishers can reject a work of fiction from sample chapters but they invariably need to read the whole manuscript in order to accept it.
How can I go about finding an agent?
Singapore is one place where it is possible to submit manuscripts or proposals directly to publishers (having researched which publishers are interested in which genres). Don’t feel shy about dropping a publisher or acquisitions editor an email; just don’t send a cookbook proposal to a poetry publisher.
How can I improve my chances of getting signed?
Proofread your manuscript several times before submitting it. Submit your manuscript to the most relevant publishers and/or agents. Follow the submission guidelines posted on the publisher’s website. Don’t tell the publisher that your friends really enjoyed reading the manuscript—that’s meaningless. Do make sure you have an Internet presence in the form of a Facebook page, Twitter account, blog or website. The hard work begins when the book has been accepted and authors need to be prepared to push their works 24/7 online.
Are certain types of stories more popular with agents and publishers at the moment?
Depending on your genre it may be difficult to work a sex-crazed vampire into the story but it’s always worth a try.
How can I deal with the inevitable disappointment?
Pop a valium before you open any emails from prospective publishers. Just don’t mix it with a celebratory glass of bubbly if your manuscript has been accepted, otherwise you may not be around to spend the royalties.
Is it worth the effort?
Absolutely! Everybody should write their book. If you’re unable to find a publisher then self-publish an eBook, or even leave an unpublished manuscript for your children. Monsoon recently published a memoir of a WWII spy thirty years after the death of the author as the grandchildren decided it was worth sending to a publisher.
Word Up
Philip Jeyaretnam and Colin Cheong, two leading local writers, share their insights on the Singaporean scene.
Philip Jeyaretnam
Singapore Writers Festival Steering Committee Chairman and author of First Loves
What do you think is the most important ingredient for the local literary scene?
We as a society need to focus on arts education for young Singaporeans growing up and exposing them to different literary forms. This is crucial as this would inspire the scene, and in turn attract youth to pursue arts based careers.
What are some recent developments that have impressed you?
There is something brewing in the country, with the introduction of new quality journals like Ceriph and online outlets like Poskod. The vibrancy is never about producing big international literary stars because you can never plan for that but what you can do is build a conducive environment for writers to exchange ideas, create networking opportunities and connect with publishers.
What do you hope to achieve with The Singapore’s Writers Festival?
It’s a great opportunity for Singaporean writers to garner a wide audience. The publishing symposiums will also expose the local literary community to folks from abroad. We hope the big international names will inspire the next generation of writers too.
Colin Cheong
Award-winning author
What’s your new book Polite Fiction all about?
Polite Fiction, unlike so-called hard truths, is about the lies we tell ourselves and others, about ourselves. So maybe in that sense, the book really is about hard truths. Trust no one, especially those who purport to tell you hard truths. But you can trust me. I lie all the time. I write fiction after all. But then, so do politicians.
What do you make of the local literary scene right now?
We have a vibrant lit scene here—there’s quite a bit you could read, but not so much you wouldn’t know where to start. As for “validation”—recognition by the cognoscenti does not equate with quality. Not always. Recognition is sometimes also politically-motivated. The best validation really, is a wide, devoted readership. I’d rather have J.K. Rowling’s readership than the Nobel Prize for Literature.
What issues and concerns would you like to see being addressed in the next generation of Singaporean writers?
Surprise me. The naughtier, the more irreverent, the better! Definitely more comedy, please.
