Funding | Arts Board | Literature FAQ
This section provides an informal guide to making an application for funding from the Arts Board Creative New Zealand. It needs to be read alongside the information in the Funding section of this site.
Common questions: New work
It says in the Funding Guide that I cannot apply for projects that have started and have substantially progressed before the grant decisions are made. Does this mean that if I have been working on my writing project for some time, I can't apply?
You can still apply. Creative New Zealand recognises that writing is an ongoing activity and that you might be seeking funding for your second or third draft. However if your project will be completed and sent to a publisher before you receive notification of grant, then you will be viewed as not needing a writing grant for that particular project.
How much of a track record do I need before I can apply to Creative New Zealand?
All applicants for writing grants must be published writers, but you need not have published a book. A reasonable track record would be several pieces of work published in anthologies or established literary journals. It is to your advantage to have a publishing history in the genre for which you are seeking funding. For example, if you wish to apply for a grant to write a novel, it is advisable to have published at least one or two short stories. The stronger the track record and the more you can demonstrate your competence in the area for which you are seeking funding, the greater the chances of success.
I wish to write a biography of a famous literary figure. I have not written a biography before. Will the application be assessed on the subject matter?
Although the subject matter is relevant, in that the biography should be about a person of national significance, the decision will be based on the literary skills of the applicant and his or her ability to deliver a lively, well written biography.
The Funding Guide says I should send not more than ten pages of work in progress in support of my writing project. I haven't yet started the project, so can I send ten pages of previously published work instead?
The sample is an important part of your application as it shows how you will approach the topic for which you seek funding. Select up to ten pages of the work in progress that will really showcase your work. Depending on the nature of your proposal this can be a piece of descriptive prose, some pages of lively dialogue, a few poems which you feel are really crafted, or a complete short story. Remember that all applicants to Creative New Zealand are competent writers, so a relevant sample of writing can be what tips the balance in your favour in the decision making process.
I thought I would ignore the instruction to send no more than ten pages of work in progress and send the complete first draft of my novel - surely that way, the committee will be better able to assess my work?
It will not be circulated for assessment. Creative New Zealand has to process over a thousand applications each round and has to limit the amount of material it can photocopy and post. Only the first ten pages of your support material will be circulated - and this might not be the sample that best showcases your work. Remember too, that it is better to send less than ten pages of really polished writing, than to send ten pages of mundane work.
Can I send my application in time for the deadline, then send in a revised sample of writing later?
No. Creative New Zealand requires a complete application by the deadline date. It is very difficult to match pieces of paper to an application once it is in circulation. The chances are that your additional material will only find its way to your file once all of the decisions have been made.
Should I send references from other writers or creative writing tutors?
References are not necessary for writing grant applications. The assessment committee is made up of experienced writers and publishers who prefer to use their own literary judgement about applications. However a letter of strong interest in your project from a publisher (as opposed to a polite standard letter) might be worth including.
How much should I ask for?
Established writers should base their request on a benchmark of $2000 per month depending on their previous track record. Writers at an early stage in their career, or those whose projects will take only a short period to complete, should pitch their request realistically, at around $9000. Because of funding constraints, most of the grants offered to writers are for up to six months' support, but occasionally grants for nine or twelve months' support are given to leading writers working on a substantial project. When investing a substantial level of support in a writer, the Board needs to have confidence that the writer will justify the investment. That is, that the writer will complete the project and is likely to have it published to a wide audience.
How do I apply for the Todd or Louis Johnson New Writers' Bursaries?
You cannot apply for the new writers' bursaries. The two bursaries are awarded each year to writers who are identified as being at an early stage in their writing career and who apply for a writing grant to the July deadline. If you wish, you can signal in your covering letter or project outline that you hope to be considered for one of the bursaries.
It states in the Funding Guide that the priorities for assistance for non-fiction applications are projects of national significance, on biography, history or cultural topics. Why can't I receive funding to work on my book on computer programming or on parenting?
Remember that Creative New Zealand is an arts development agency and is focused on the literary arts rather than on all works of authorship. Its priorities are to support fiction, poetry and drama and 'literary' non-fiction such as biography of national significance. Non-fiction projects are assessed on the literary quality of the work and how they contribute to the development of New Zealand literature. If your non-fiction project does not fall into this category, it might be better suited to one of the other funding agencies mentioned in the appendices of the Funding Guide.
I am a children's illustrator. Am I able to apply for a grant? If so, should I apply under literature or visual arts?
You should apply under literature. It is recognised that young children read picture and text together and that children's authors comprise both writers and illustrators. It is preferable that the illustration project is tied to a specific book that is to be written by someone else, or that the applicant will be both author and illustrator of a proposed book. Some of the text should accompany the sample illustrations. The required track record applies as much to children's illustrators as to other authors.
Please note that for children's illustrating grants we require five copies of each sample illustration with some accompanying text where appropriate. The total support material for children's illustrating grants should not exceed five sample illustrations and five pages of accompanying text.
My circumstances are such that I really need some money. Why should people who are obviously better off get grants?
Remember that Creative New Zealand is not a social welfare agency. It does not 'means test' applicants but seeks to support the best literary projects that will contribute to the development of New Zealand literature. While it might elicit sympathy from those reading it, applicants who emphasise reduced personal circumstances will not increase their chances of success.
Are there Do's and Don'ts I should be aware of?
- Do send in a concise application on single sided A4 paper
- Do send a literary 'cv' showing a list of published work (when and where published), awards and achievements, and relevant occupation
- Do include your best sample of work in progress
- Do send a brief project outline
- Do feel free to approach the arts adviser for more advice
- Don't swamp us with support material - too much can look unprofessional
- Don't be tempted to 'pad out' your cv with lists of unpublished work
- Don't send a lengthy description of your project
- Don't seek advice on Creative New Zealand from other agencies - we give free advice!
- Don't take it personally if you are unsuccessful - only a few get through
Common questions: Presentation, promotion and audience development
Publishing Projects
What is meant by an established publisher?
An established publisher is a commercial organisation large or small which has already published a number of books. The publisher should be able to demonstrate access to marketing, promotion and distribution networks. Someone who has previously worked for a large publishing house for a significant period of time and who sets up in business as an independent may also be viewed as an established publisher.
What about low-profit publishing collectives?
Creative New Zealand will consider support for publications by small publishing collectives provided that they have successfully published several books for which they have achieved national distribution and have not been set up solely for the purpose of 'self-publishing' members of the collective. A typical collective of this nature might be one that specialises in publishing poetry to a high literary standard. Creative New Zealand support is dependent on the literary quality of the work, proposed print run and proposed royalties to the author.
What material should I supply in support of a publishing application?
You should supply two copies of the complete manuscript. Failure to do so will mean that the project cannot be objectively assessed against others. If you are not an established, commercial publisher, you should also enclose a business plan or description of your publishing operation and show how you will promote and market the book.
Why can't I get funding to self-publish my work?
All writers wish to see their work in print and it would be impossible for Creative New Zealand to supply grants for this purpose in a way that would be fair to everyone. Established writers have gone through the process of submitting their work to publishers and many writers experience rejection before finally having work accepted. Those who are accepted by those publishers who objectively appraise their work against competing submissions, gain credibility and stature as professional writers.
What is meant by a vanity publisher?
A vanity publisher usually places advertisements that solicit manuscripts from writers. The writer then receives a very enthusiastic response full of flattering praise for the work. The catch is that the publisher wants a hefty fee for publishing the work. Although royalties on sales are sometimes promised, little attempt is made at promoting and marketing the book, except to offer the writer the opportunity of purchasing the books at a 'reduced price'. Writers should beware of vanity publishers. A variation on this theme is when poets are told they are in the running for a major prize and are invited to attend expensive international conferences.
Can a publisher get funding which covers the total cost of the project?
No. Creative New Zealand provides incentives for publishers to publish good quality New Zealand literature. However it takes into account that when the books are sold the publisher makes a profit. A list of current benchmarks for subsidies against the size and type of book can be found in the Funding Guide (PDF, 1.16MB).
Literary Festivals, Tours and Performances
What should I provide in support of my application?
You should provide a description of the event, when and where it will take place, together with a draft programme. Even if the participants are not yet finalised, a list of those who will be invited to take part is useful information. Information about the organisers should also be provided.
Can anyone apply to organise a literary event?
The same expectations of a track record apply. Organisers should be people with the requisite experience and who know the sector.
Which literary events are likely to attract support?
Festivals that provide audiences with an opportunity to see and hear a mix of writers from all over New Zealand; forums that provide stimulating literary debate; well planned tours of remote areas by writers from other centres. When there is evidence that ample and sufficient planning has gone into the proposal it has a better chance of success.
Common questions: Creative and professional development
Why are literary magazines directed to this funding programme?
Literary magazines provide elements of individual and collective development. They give opportunities for first publication to new writers and 'snapshot' presentation of work in progress by leading and established writers. They are also forums of literary discourse and review, which contribute to the overall development of the art form.
Can anyone start a new literary magazine and apply for funding?
Creative New Zealand looks for evidence of expertise in publishing as well as editorial knowledge, national distribution of the publication, and inclusion of contributors from all over New Zealand. The project should be commercially viable - ie, sold through subscription and through bookshops rather than a free give-away, and contributors should receive payment for their work. Literary magazines that evolve from student collectives that form in universities or in writing courses are unlikely to get funded. This is because they are usually ephemeral in nature as people move on in their professional careers, and lean towards 'coterie' type magazines in their content.
Which other projects come under Creative and Professional Development?
- Assistance with the running costs of workshops and seminars run by experts in their field (but not normally for fees for individual students to attend workshops or seminars).
- Attendance by an established practitioner at overseas conferences or seminars where the proposed invitee will have a significant speaking role.
- Residencies that are focused on creative development rather than on producing a new work.
I wish to attend a writing course at a local Polytechnic. Can I apply to Creative New Zealand for the cost of my fees?
Because of very limited resources, Creative New Zealand cannot normally supply grants for students to attend courses.
Budgets
Writing application (New Work funding programme)
The budget for a writing application need only be very simple, eg:
Living expenses @ $__________ per month for _________months = Total $
A variation on this might be:
Living Expenses = $
Travel for Research = $
Publishing budget (Presentation, Promotion and Audience Development funding programme)
Proposals should include details of the proposed print run, the proposed retail price of the book and the agreed royalty payment to the author. eg,
Printing and Production costs: $
Size of Book (X number of pages)
Size of Print Run (X number of copies
Proposed retail price of book $
Royalty to be paid to author: --%
Why subsidy is needed: (eg, poetry publishing is of high commercial risk)
How will book be promoted/distributed?
Literary festivals and tours (Presentation, Promotion, Audience Development funding programme)
Organisers should not simply provide an overall budget and request the shortfall. The budget should be broken down to show exactly what component would be funded by a Creative New Zealand grant. Other sources of income should be detailed such as sponsors' contributions and projected ticket sales. A component of the overall budget suitable for Creative New Zealand support might read as follows:
Speaking fees for writers - x number of writers x $_______=$________
Fares and accommodation for x writers =$________
Programme compilation =$________
Total requested of Creative New Zealand: =$________
In the above case Creative New Zealand might choose to support only two out of three items or more depending on the funds available.
Literary magazine budget (Creative and Professional Development funding programme)
You should supply a breakdown of costs and other relevant financial information, eg:
Printing and Production Costs $
Proposed Print Run (X number of copies)
Retail Price per copy $
No. of current subscribers at $
Projected sales
Details of fees to be paid to contributors
If you are a first time applicant you should also supply some background information about your publishing operation and a business plan.
Seminar Budget (Creative and Professional Development funding programme)
A reasonable request would be for venue hire and freelance tutors' costs, eg,
Venue Hire $
3 x tutors over two days @ $ each per session = $
Travel and accommodation costs for tutors = $
Case studies
Biography Application (New Work funding programme)
A journalist wished to write a biography of a famous artist. He argued that although he had not written a biography before, he had written several short profiles of similar people and had published an in depth interview with his subject. The committee considering the application agreed that such a biography, if well written, would be of national significance. However the sample of work in progress that accompanied the application was uninspiring and lacked the ingredients of a lively biography. There was also no indication of how the applicant would research his subject or that he would apply sufficient thoroughness to the task. The application was therefore unsuccessful.
Application to write a novel (New Work funding programme)
A South Island woman decided to apply for funding to assist her to write her novel. She had already published four short stories in literary magazines and had been included in an anthology of new writing. In addition she had attended a weekend creative writing course where the course tutor had expressed his approval of a chapter of the novel and urged her to continue with the project. She was particularly proud of the chapter, realising that it showed her writing at its best. The section was only seven pages long, but she resisted the urge to 'pad' the extract with a less polished example of her work. The committee were excited by the evidence of a new up-and-coming writer and recommended a grant of $9000 to support her work.
Publishing application (Presentation, Promotion, Audience Development funding programme)
A publisher was very excited by a collection of poems by a previously unknown poet. She sent the manuscript into Creative New Zealand and requested a publishing subsidy. The proposal was to sell 1000 copies of the book, which would retail at $24.95 per copy. The poet would be paid a 10% royalty on every copy sold. Production costs would make it difficult for the publisher to break even, let alone realise a profit, and because the book was by a previously unknown writer, the publisher knew that it might take two years to achieve reasonable sales. The committee agreed that the collection by a promising young poet was worth supporting and recommended a small publishing grant.
