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CNA
2 minutes ago
- CNA
Commentary: Tough to make a living writing books, but Singapore needs storytellers
SINGAPORE: As an author, one question I always get when I give talks at secondary schools is: How much does an author earn? I usually smile and say, 'It can vary widely for different authors and well, most of us are not James Patterson or Stephen King.' Authors earn royalties, which means we get a small percentage from every book sold. In Singapore and globally, royalties typically fall between 5 to 15 per cent of the book's selling price. That price could be based on the gross retail price or a net figure after costs. So if a book sells for S$20, a 10 per cent royalty earns you S$2 per book. And if that royalty is based on the net price, it's even less. Then there's the big question: How many books can an author sell? That depends on many things – whether the book is sold locally or internationally, how many titles the author has, their audience reach. But generally speaking, lifetime sales often range from a few hundred to a few thousand copies. Some books never even sell out their first print run of 1,000 copies or less. That first advance – which is basically a prepayment of royalties for a projected number of sales – might end up being the only money an author ever sees from their book. They only earn more once their book has 'earned out' the advance. So when aspiring writers ask if this is a sustainable career, my answer is: Honestly, not usually; many authors write while holding down a full-time job. Of course, there are occasional headlines about Singaporean authors landing lucrative book deals overseas. Jemimah Wei's The Original Daughter recently sold at auction for more than US$500,000. TOUGH LOCAL MARKET Singapore writers face some unique challenges. First, the market is small, so there are only so many people to sell to. Authors don't have many publishers to choose from, which limits their bargaining power during contract negotiation. Add to that Singapore's well-stocked libraries, which make readers more inclined to borrow than buy books. On top of it all, bookstores are dwindling, which means fewer places for local writers to sell their books. Singapore has made efforts to support its literary scene – largely through the National Arts Council and various grants. The SG Culture Pass, a scheme that will give each Singaporean S$100 to spend on the arts, including local literature, is a positive step. Organisations like Sing Lit Station and the Singapore Book Council have helped fuel ground-up initiatives, from school programmes and mentorships to community events. Major festivals like the Singapore Writers Festival and the Asian Festival of Children's Content (AFCC) have provided vital platforms for local authors to connect with readers and showcase their work. While these efforts have opened doors, sustaining a writing career in Singapore is still tough. Grants are helpful for specific projects, but they don't solve the bigger issue of long-term sustainability. What local authors need are more direct and consistent forms of support like better book advances, more robust marketing efforts and broader distribution channels. One area that was recently talked about is Public Lending Right (PLR) – a system used in countries like Canada, Australia, New Zealand, and across Europe. Through government funding, it compensates writers when their books are borrowed from libraries. This could provide a modest but meaningful income stream for local writers, especially in a market where book sales are limited. WHY SUPPORT SINGLIT? For every person who champions SingLit, there's probably someone else who doesn't read local books, nor sees the need to. But to say we can do without SingLit is shortsighted. When a country lacks stories written by its own people, it begins to lose its place in the global narrative. Without those voices, people grow up surrounded by borrowed perspectives, which slowly shapes how they see themselves and their culture. Young readers, especially, start to feel invisible. If no one in the stories they read looks like them, talks like them, or faces the same challenges, it sends a quiet message: Your life isn't worth writing about. That kind of absence chips away at self-worth and imagination. The impact of local stories is hard to measure – but it's real. I've seen it firsthand with my middle grade series, My BFF Is An Alien. The story follows a Singaporean girl and her unlikely friendship with an alien, and the adventures they go on together. Is this the kind of story that would score me a massive publishing deal? Probably not. Is it Booker Prize material? Again, probably not. But I've had young readers come up to me and say that my books made them want to become writers. I've had parents tell me it was my books that finally got their children hooked and sparked their interest in reading. That's not nothing. There are so many great middle grade books – but what made mine hit home for these readers wasn't just their fun plot or relatable themes. It was the fact that the readers could see themselves in the pages. They connected with my stories because it reflected something true about their lived experience. The voices sounded familiar. The setting felt like home. And that recognition – that 'hey, this is about me!' moment – is powerful. THE LOVE OF STORYTELLING One might ask: If writing pays so little, why do it at all? The simple answer for most is that we do it for the love of storytelling. We write stories we wish existed, stories we want to read and see out in the world. For me, My BFF Is An Alien was the story I wish I had when I started secondary school. That period in my life was incredibly lonely, and I would've loved to lose myself in a book that felt like it understood me. I also wrote it for my own children, so they had more choices beyond the Eurocentric stories I grew up with. Representation matters. When you see someone like you – a kid from your neighbourhood, someone who sounds like your friends – as the hero of a story, it changes what you believe is possible. That's not just fiction. That's hope. But for those stories to keep coming, writers need support – whether it's PLR schemes, grants, or just making sure their books are on shelves and in homes. Without enough backing, even the most passionate authors can burn out. In a time when artificial intelligence is creeping into creative spaces, the human voice has become even more precious. There's a soul behind stories that only people can bring – our humour, heartbreaks, quirks and lived truths. And in Singapore, that voice is rare. That's worth preserving and supporting.
CNA
2 minutes ago
- CNA
Commentary: As Singapore builds up, can it hold on to its memories?
SINGAPORE: When the Urban Redevelopment Authority (URA) launched its draft master plan last month, most of the conversation focused on how many new homes would be built – at least 80,000 in more than 10 new neighbourhoods over the next 10 to 15 years. It's not surprising. In land-scarce Singapore, housing is one of the most talked about and debated topics. But tucked away in the 47-point media release and stack of annexes was a concept for several so-called 'identity corridors' that were first introduced in URA's Long-Term Plan Review in 2022. What are identity corridors? And how can they help foster Singapore's national and urban identity? CITIES REPRESENT SOCIAL IDENTITY In their 2013 book The Spirit of Cities: Why the Identity of a City Matters in a Global Age, political scientists Daniel A Bell and Avner de-Shalit argue that every city expresses a set of distinctive values or ethos. In that book, Singapore is strongly associated with the ethos of nation-building. This too, is hardly surprising. Singapore's position as a thriving and liveable global city today is very much an outcome of our nation-building efforts. The outcome of these efforts is clear. The IMD World Competitiveness Index 2025 ranks us as the second most competitive economy in the world. But this progress comes with big changes. As Singapore's economy grew rapidly, so too did the changes in its urban landscape. The kampungs that dotted our island made way for high-rise public housing with cleaner and more modern living conditions. The old National Library building, much-beloved by students and readers of that era, gave way for the Fort Canning Tunnel. In some instances, brand new spaces were created to cater to our socio-economic needs. For instance, the Marina Bay district was developed as an extension of the Central Business District (CBD), which had become increasingly crowded as global banks and corporations flocked to Singapore during its rapid growth as a financial hub through the 1990s and 2000s. This is not unique to Singapore. In many cities, rapid economic development can result in equally rapid changes in the urban landscape. These can have implications for a city's social fabric. For instance, Google's entry into Zurich has given rise to extensive gentrification and a spike in housing costs and consequent public unhappiness and protests. Protesters blamed large banks and companies for driving up housing costs and accessibility. In land-constrained cities, heritage sites and buildings can be particularly vulnerable in the face of rapid economic and urban transformation. A 2024 report by the World Monuments Fund identified rapid urbanisation and overtourism as top threats to heritage conservation. At the same time, cities cannot survive without economic growth. The first cities of the world had emerged due to the confluence of economic and human activity within their boundaries. Cities today continue to thrive as key nodes in global trade and finance. Even as Singapore continues to grow as a major economic and financial hub, it will need to preserve aspects of the city that reflect citizens' memories, identity and aspirations. PRESERVING SINGAPORE'S ZEITGEIST In response to a question that was posed to me during the launch of the 2025 draft master plan, I had mentioned that '(w)e want to plan for our future climate needs, our socio-economic needs; but at the same time, we want to preserve some of the spaces that sort of define the zeitgeist of Singapore'. Like Bell and de-Shalit, I too feel that Singapore's identity is very much defined by our nation-building efforts. It is therefore important that we conserve some of the spaces that have played key roles in our nation-building story. The NatSteel building that was recently proposed for conservation is a good example of this. However, Singapore's national identity is much more than our nation-building journey, important as that may be. It comprises a rich tapestry of cultural practices and lived experiences that have accreted over multiple generations. This is where the URA's identity corridors will play an important role in conserving and even enhancing the identity and heritage that already exist in many of our iconic spaces and neighbourhoods. For instance, the Historic East corridor includes culturally rich and ethnically diverse neighbourhoods such as Geylang Serai, Joo Chiat and Katong. By linking up these neigbourhoods, the Historic East identity corridor provides a more cohesive and integrated experience of these neighbourhoods' heritage and identity. This can in turn generate greater interactions between visitors and residents and interest in the traditional crafts and food that continue to be found in these neighbourhoods. Think you know all about Katong-Joo Chiat? There's so much more to discover! From old-school charm to modern experiences, go on an exciting adventure with Toufiq, our urban designer, and local heritage business owner Michael as they reveal the best-kept secrets of the Historic East Corridor. Have ideas to shape the future of our Identity Corridors? Sign up for our visioning workshops at: #DMP2025 #SpaceForOurDreams #IdentityCorridors #Katong #JooChiat #ExploreSG Posted by Urban Redevelopment Authority on Wednesday, November 13, 2024 Cities are much more than just buildings and infrastructure. They are living repositories of the shared memories, stories and traditions of the people who live in them. The two need not be mutually exclusive. Through sensitive urban planning, our built environment can be planned and designed to highlight and enhance our rich cultural heritage and foster a sense of belonging among residents. Even as Singapore continues to experience rapid economic and urban transformation, there remains a need to preserve and grow the Singaporean spirit or zeitgeist. This means ensuring a lived environment that both protects and expands on our rich cultural identity. Dr Woo Jun Jie is Senior Lecturer at the Lee Kuan Yew School of Public Policy, National University of Singapore. He researches global cities in Asia, with a strong focus on urban governance, policy design and economic development. He is the author of several books on the emergence and development of global financial hubs in Asia.
CNA
2 minutes ago
- CNA
Why some home-based F&B businesses choose to enter Singapore's tough restaurant scene
SINGAPORE: What would it take to leave the comforts of running a business from home – with no commercial rent and in successful cases, a continuous stream of customers – to set up shop outside? The pressure of working alone, the itch to answer "what if?" and the hunger to serve patrons the best possible version of your product, according to some chefs who have done just that. Recently, debate has stirred over whether home-based food and beverage (F&B) businesses enjoy an unfair advantage over restaurants, which have been closing in record numbers. In a commentary for CNA, former restaurant and bar owner Chua Ee Chien questioned the "minimal oversight" of home-based eateries and asked if this should spur a rethinking of F&B regulations, such as tiered requirements. Despite what seems like an unlevel playing field, some home-based F&B owners are still choosing to venture into commercial spaces. They acknowledge that running a full-fledged eatery brings higher risks, but are taking on the challenge to push the limits of their businesses and themselves. FLYING THE COOP Mr Karthik Bakthavathsalem, course manager of Nanyang Polytechnic's diploma in F&B business, said that while the vast majority of its graduates enter the industry through established brands, there is a small but growing shift of young Singaporeans exploring home-based ventures instead of traditional restaurant jobs. Wheathead bakery owner Marilyn Lee started that way, churning out pies, galettes, bread and other sweet and savoury pastries from ovens in her family's flat for two-and-a-half years. She told CNA the biggest advantage to running a home-based business was the flexible schedule and power to choose how much she wanted to work. "(But) if you put out a product that is on par with restaurants or cafes in terms of quality, I don't think there are any corners that can be cut." Last December Ms Lee, 31, moved Wheathead into a shop at Buona Vista, which takes walk-in customers - but has limited dine-in space - as well as online orders. The move was spurred by the progress Ms Lee saw in order volumes, which convinced her that Wheathead could be a viable business. But it was also about shaking off the restrictions and inefficiencies of staying home-based. Working from home meant there was not enough space for equipment like a dough sheeter, deck oven and spiral mixer, which she needed for certain baked goods. Some of these require three-phase power, which Housing Board flats simply do not supply. The limitations of household ovens and mixers meant she had to do more things by hand or make several batches of one item. Producing on a smaller scale also jacked up the cost of ingredients, because she was sourcing them from retail grocers and not directly from suppliers. This involved making multiple trips to stores, which in turn took up more time. For Jeffrey Yeo, chef-owner of Ovenbird, it was a very specific ingredient that drove his supper club out of his Yishun flat after about two years and into a restaurant in City Gate mall. "SFA (Singapore Food Agency) prohibits home-based businesses from serving ready-to-eat raw fish or seafood. I'm specialising in Singapore-Japanese fusion," said the 53-year-old. Then there is Mustard Seed's chef-owner Gan Ming Kiat, 36, who gave himself a one-year trial period when he started serving dinners at his parents' home in Potong Pasir in 2017. The end result was a restaurant in Serangoon Gardens in 2019. "One of the reasons for the change is that I did not want to stagnate, I wanted to push myself to grow as a person, a chef, a leader and a business owner," he said. "I'm glad that over the last six years that has come to fruition and it's been an exciting and rewarding journey." For him, lower costs and risks were also upsides of running Mustard Seed from home, while the main downside was the lonely and taxing nature of working alone. WHAT CHANGED AFTER When Mustard Seed operated out of his parents' home, Mr Gan served three to four dinners a week, charging S$88 (US$69) for each of the eight diners each time. Eight years on, his commercial version serves both lunch and dinner and charges S$238 per meal. Mr Gan declined to go into the specifics of his current business model, but said the costs and pressures of running a shop were "significantly higher". NYP's Mr Karthik pointed to restaurants having to pay commercial rent, hire full-time staff, go through safety audits and contribute goods and services tax, among others. Rents are a longstanding pain point for businesses, recently prompting discussions about the need for retail lease reforms and perceived competition from Chinese brands. There are also expenses associated with obtaining and maintaining food licences, which home-based businesses do not incur. The criteria for a licence - which costs S$195 a year - include a pest control contract, design specifications, cleaning schedules, up-to-date food safety certificates and more. Ms Lee pointed out that the design requirements - like a minimum kitchen area and specifics for exhaust system - can be expensive. Ensuring tax compliance also brings significantly higher costs. When Wheathead was home-based, expenses ran up to about 60 to 70 per cent of revenue. After moving to a shop, revenue grew by four to five times, but overheads and expenses also increased by the same amount, she said. Aside from rent, she pointed to difficulties finding manpower. Only migrant workers are willing to work in F&B given the long hours, low pay and customer-facing nature of the job; but businesses must first hire locals to achieve a mandated quota, she said. Ingredient costs have also risen "non-stop" due to global conflicts disrupting shipping routes, climate change affecting agricultural production, and higher prices of raw materials. "Every month that I can pay my staff and suppliers and keep the lights on, I'm happy," said Ms Lee. Mr Gan said that compared to private dining, food and service expectations are much higher in a shop setting - further adding to costs "A guest would not bat an eyelid if he needed to top his own water up in a private dining setting. But a constantly empty water cup might warrant a complaint in a restaurant. Labour is needed to ensure that does not happen," he said. "For a restaurant like Mustard Seed, we don't feel comfortable serving guests tap water, so we have invested in a water filtration system. But because we decided not to charge for water, it's also another cost we bear." For Ovenbird's Mr Yeo, "nothing much has changed" apart from rent and operational costs, such as for internet, credit card terminals and licensing requirements. Describing himself as a "hawker in a mall", he said it was good enough that his one-man operation was "staying afloat" after four years. SPACE FOR ALL Last year, 3,047 F&B outlets closed in Singapore. This was the highest figure in almost 20 years, averaging about 254 closures a month. So far, in the first half of 2025, F&B closures have trailed, totalling 1,404 or an average of 234 closures a month. Yet at the same time, the pace of new F&B openings has quickened from a monthly average of about 316 last year to around 327 in the first half of 2025. Amid Singapore's increasingly crowded F&B landscape, the chef-owners who spoke to CNA believe that home-based eateries continue to play an important role. "The costs to set up and run a business are too high in Singapore now. Home-based businesses (are) a good way for the scene to grow as the risks are much lower," said Mr Gan. Said Ms Lee: "Maybe restaurants and cafes should focus on their unique selling points rather than feel upset about the emergence of home-based businesses. "I think the market is big enough for both types of businesses to coexist, and the challenges faced by commercial and home-based businesses are quite different." Mr Karthik described home-based F&B ventures as bringing "intimacy, agility and cultural depth" that are increasingly difficult to achieve in restaurant settings. "Meanwhile, restaurants provide scale, service, consistency and trained teams – the backbone of any food economy," he said, adding that "there is a value in structure that cannot be replaced purely with innovation". With Singaporeans dining out an average of three to four times a week, "the appetite is there for both formats to flourish".
