Saturday, 21 April 2012

London Book Fair 2012 | Part Two: China & delayed gratification

The sun rises in the East

Each year the London Book Fair has a focus and this year it was China. Thought-provoking talks were dedicated to exploring the developing tastes and buying patterns of this huge market, alongside the movement of Chinese literature into other languages and cultures, and vice versa.

Rising literary star Sheng Keyi, who's Northern Girls is soon to be published by Penguin Asia, spoke of the clash between old and new China and reflected on how "in most of [my work] I am trying to reflect the life and fate of the small villages".

We also particularly enjoyed Tuesday's author of the day Bi Feiyu - a prolific author and screenwriter with over 50 short stories, 10 medium-length novels and 4 full-length novels to his name.  Bi was in conversation with Rosie Goldsmith on the Pen stand. We learned that he achieved much of that extraordinary output by writing through the night, when he was working as a teacher!

Behind Bars & learning from failure

Another great lecture on the Pen stand, though not about China, was given by Anthony Horowitz who talked about his work with Prison Literacy and Reading schemes.

This is a cause I've got a bee in my bonnet about anyway... statistics vary, but it is estimated that 2/3 of UK prisoners are functionally illiterate.

BUT the good news is that Horowitz also spoke about his journey to publication - it took 30 years and a variety of media before the first Alex Rider book got a big reception. He said that he had benefited from this "failure" - he learned new skills, got to try out different ideas, and hone his craft. Worth bearing in mind when freaking out you haven't written a best-seller over the weekend ;)

Friday, 20 April 2012

London Book Fair 2012 | Part One: Dogs and Lawyers

The first of four posts from your correspondent at #LBF2012

Disunited we stand

The 2012 London Book Fair opened with a feeling of uncertainty - and some anger.

As the 25,000 industry visitors from 104 countries pounded the aisles of the Earl's Court Exhibition Centre, they absorbed the news that last week the US Department of Justice launched an antitrust lawsuit against Apple and five of the "Big Six" publishers (Penguin, Macmillan, HarperCollins, Simon & Schuster, Hachette Book Group).

The inquiry hinges on the question of whether publishers, at the urging of Steve Jobs, agreed to adopt a new policy in 2010, that in essence coordinated the price of newly released e-books at the price offered in Apple’s iBookstore — typically between $12.99 and $14.99.

So far three of the publishers have settled; whilst Penguin, Macmillan and Apple maintain they have done nothing wrong and have told the DoJ "we'll see you in court".

As Trevor would say....and finally.  Every dog has its day.

English language business:

  • HarperCollins signed three new novels by best-selling writer Cecilia Ahern.
  • Simon & Schuster won out a six-way auction for debut spy novel Treason by former CIA clandestine operations officer Jason Matthews. The agent billed the title as "Tinker Tailor for the Homeland generation". Where can I  buy my copy!
  • As you will no doubt have heard, the title of JK Rowling's first title for adults was revealed - The Casual Vacancy. It will be published by Little, Brown this September.
  • Harvill Secker acquired Black Chalk by Christopher J Yates, a psychological thriller set in New York and Oxford University.
  • Penguin imprint Viking has bought world rights in The Numbers Game, billed as the first big book on football's data revolution, it's "Moneyball meets Freakonomics for football"
  • HarperCollins imprint Fourth Estate bought star journalist Hadley Freeman's Be Awesome: Modern Essays from Modern Ladies 
  • Macmillan bought two more two further series from the School of Life - the Great Thinkers series will be collectable pocket guides offering essential life lessons...handy for some of us.
  • Finally - believe it - Uggie, the canine star of silent movie The Artist has sold his rags-to-riches memoir to three publishers the UK, US and France. Harper UK said of their acquisition: "Uggie is enchanting. He has already graced Graham Norton's sofa and appeared on the BBC. We look forward to his author tour and making this the Christmas gift book of 2012. Move over Meerkats"....... 

Tuesday, 27 March 2012

The Writing Room Bursary: Part One

In February 2012 we announced Saudha Kasim as the winner of our first ever Writing Room Bursary. 

Scroll down to read Saudha's winning extract, taken from her novel In the Medinah.

Saudha's prize is a full editorial report, worth £1000 and prepared by one of our professional editors.

To shed a bit of light on the editing process we will be reporting on our winner's progress and her experience in The Writing Room.


The Competition
We asked writers to send us the first ten pages and synopsis of a complete work of fiction, on which they had not received any professional advice.  After reading all the entries (and then reading them again, after some panel disagreements - eat your heart out The Man Booker) we decided on Saudha, and the extract from her novel In the Medinah, as our winner.

We were really impressed by her piece, the confident yet subtle writing immediately establishes an engaging narrative voice with an intriguing backstory. The strong sense of place and activities of the wider world complement a finely-drawn family portrait, filled with intimate detail.

We wanted to read more.

Saudha has now submitted the full manuscript of her novel, and our editorial report is underway.

We've been getting a lot of requests from readers (and writers) desperate to read Saudha's work...we have great pleasure introducing her competition entry here.

The Winning Extract
Please note: Copyright remains with Saudha Kasim, you must not reproduce it without her permission.

In The Medinah
A novel
by Saudha Kasim

The Blow! What is the Blow?
Who shall teach thee what the Blow is?

-Sura 101, The Blow, The Koran

Part One – A Storm in the Desert

In the years and decades to follow, Shameem will, whenever she thinks of The Medinah and the years she spent there, remember this: night time drives on the swooping highways vending through the hills and the series of orange streetlights browning the mountains, yellowing the roads, shining on her father’s face.

She will remember the descent down the overpass, her mother’s soft sigh as her shoulders relaxed and her brother’s eyes closing from sleep as they went around the flying fish roundabout, briefly skirting the Corniche with the black sea beyond an unfathomable vastness. Her father would park the car in the lot in front of the long white row of buildings with walls that tasted of salt (she knew this to be true – she’d run her tongue on the wall of the local all-girls’ school one evening when her mother was not watching). They would tumble out of the car and the stink of the low tide would hit them – fishy, briny smells and Shameem would wrinkle her nose.

It will feel as though the smells are with her now, two decades ahead and a sea away.

Chapter One

On the Monday afternoon a week before the Americans launched their storm in the desert, Shameem knelt on the beige carpet in the living room with her nose pressed against the screen of the NEC television set. Nine of the ten channels showed nothing except black and white grains and one showed State TV that broadcast for nine hours every day. The three o’clock Koran recitation programme was in full flow. An old mullah with a thick, snowy beard that reached his navel sat at the head of a long green room in which prepubescent boys in spotless white dishdashas sat against the two long walls, facing each other across the width of an emerald green rug. Shameem, with her face flat against the screen, saw nothing but a bright green ground and white blobs reciting the Yāseen. Her nine year old brother, Rahim, sprawled behind on the two-seater sofa, spoke in a low voice: “She will kill you if she sees you like this.”

Shameem broke off her communion with the television screen and rocked back on her heels. The static still played across her face and her shoulder length black hair.

“There’s nothing on TV.” Shameem pressed each of the buttons again. She pressed the narrow panel on the side of the screen and it opened, to reveal the gear-like dials which she’d turned so many times that the tip of her right forefinger often had a fine groove down the middle. She had committed to memory the labels of each of the dials – UHF, VHF. Ultra High Frequency. Very High Frequency. Her father had taught her the mysteries of television tuning.

“Voltron comes on at four thirty.” Rahim thought the half hour episodes of Voltron, even when dubbed in Arabic – a language he didn’t understand – was the only bright spot in his day.

Shameem, who’d discovered the delights of English language-only television in Dubai (Channel 33, broadcasting for much longer than State TV in The Medinah), said, “I want to see Addams Family. Or Archie.”

But all that she got from the TV was the sing-song of  boys reciting the Koran.

*****

When their parents, Abdul and Tahira had taken them to Dubai over the Christmas holidays, Shameem had been smitten. Rahim, however, had found the city, with its one tall skyscraper sticking out in the middle of all that flat land, its endless number of parking lots and claustrophobic shopping malls, intensely boring. The first view of Channel 33 in their hotel room had captivated Shameem (Sesame Street in English!) and she had asked Abdul on the second day of their stay, while they were having breakfast in a small restaurant in Karama, if they couldn’t get it on the television back home.

Abdul, halfway through a crispy masala dosa, frowned and said, “You could try tuning it. I don’t know if their transmissions are that powerful though.”

But Tahira, who knew how obsessions took root in her eleven year old daughter’s mind, cut in: “No. Don’t fiddle around with that TV set. School will start next week. You’ll have too much homework.”

“But they show Archie in English!”

“Archie? Your school has asked us to not let you read or even watch them. They even sent that notice around.”

A notice that Tahira and Abdul did not get from Shameem since their daughter had torn it up and thrown it away in the bus bay outside the school compound.

Instead, Tahira came to know about it from Amala, their neighbour on the ground floor. She had read the notice (Dear Parents, Please ensure that your children do not read Archie comics...Bad English...Slang...Grammatically incorrect) with pursed lips and thought of the little shelf in Shameem and Rahim’s room filled with the Archie digests and magazines and strips clipped by Shameem from newspapers.

“So are you going to throw them out? Maybe we can both collect them all and burn them on the roof together,” Amala, plump and matronly, had grinned.

“How many do Asha and Anita have?” Tahira thought of Amala’s two demure daughters, slim and prim with their long hair tied in plaits, ribbons knotted into extravagant bows.

“Maybe a dozen or so. They had bought a boxful from India last summer. They are too expensive to buy here. Most of the pages are blacked out. They don’t like two piece swimsuits and short shorts here.” Amala guffawed.

Those swimsuits and shorts that covered voluptuous breasts and backsides. Tahira had been furious when she’d first caught Shameem with a comic in one hand and half eaten chocolate bar in the other, the previous April.  Shameem told her that she had borrowed it from a school friend and Tahira had seen it for days afterward on her bed, next to the pillow. After avoiding it for some time, she finally gave in and opened the book. Tall, American girls loafed on beaches with their flat stomachs exposed, their perky breasts at attention when smiling at boys.

Tahira remembered the comics of her youth – the two scamps Boban and Molly making erudite comments on Kerala politics and gently poking fun of the adults around them. Boban and Molly were a world away from the lustful Archie and his gang. A bikini clad Betty wandering through Boban and Molly’s world would have been forcibly shoved into a sari and asked to keep her belly button to herself.

A part of Tahira had wanted to take the book away, to protect her daughter. What, she’d thought later, would that achieve? Shameem would find new ways to read what she wanted.

And she had, persuading Abdul to buy her some on their visit to Kerala last summer. Shameem had come back from Thrissur railway station with twelve Archie digests that Abdul had bought from the Higginbothams stall on the platform. Anything Shameem wanted to get or do, she invariably managed to get done.

It proved so in Dubai. Abdul, who Tahira thought spoiled their daughter far too much, quelled Shameem’s fears of returning to The Medinah bereft of the animated Archie. He said he would buy her a VHS tape of the cartoons. They would look for it the next evening when they went on their final shopping expedition.

In the somnolent hotel lobby stuffed with potted palms and plush sofas where they waited for Abdul’s cousin to take them on an expedition to Jumeirah Beach, Tahira told her husband not to buy the tape.

Abdul, reading the day’s Khaleej Times, was puzzled. “They are just cartoons.”

“They are not good for her.”

“I don’t see the harm in reading comic books. We read them – I still see you reading Boban and Molly.”

“Molly doesn’t roam around a beach half-naked.”

“Is that what Archie does?”

“Archie’s girlfriends do that, yes.”

“Girlfriends eh? So you read them too.”

“I had to – I had to know what she was reading.”

“Of course you had to.” She could hear the laughter he was trying to suppress.

“So will you please not buy her the tape? And remember – you promised you would search for an Ustad for them.”

“From Archie to religious lessons. You really make the most obvious moves. If they’re reading vulgar comic books, it must be because they have no religious grounding.”

“It’s not just me who’s been asking you to get them religious education. It’s your father, too.”

“My father, the Madarassa teacher. Of course he’d suggest something like that.”

“So you think they don’t need it?”

“Not at this point of time, no.”

“Then when?”

“Tahira – did going to the Madarassa help us? No. They didn’t even teach us Arabic properly. I had to learn it when I reached The Medinah.”

“When things go bad...”

“They won’t.”

“They will and you will blame me.”

That was how it always worked.

****

Abdul bought Shameem the tape when Tahira’s cousin took them around Karama the following evening to buy clothes and shoes, which were far cheaper in Dubai than The Medinah. Rahim, seeing his sister getting the tape, asked for cartoons as well.

“Which do you want?” Abdul asked his son.

“Popeye.”

****

The next morning, at dawn, they piled into the car and started their four hour journey back to The Medinah.

Tahira looked at Dubai disappearing in the side view mirror. The World Trade Centre, the lone black tower, receded to a thin dark line in the pale blue winter atmosphere.

At the border check-post they were stopped and the car searched. The video cassettes were found and confiscated by the Kingdom Police. Videos not checked and approved will not be allowed in, they explained.

Abdul said he had the receipt – they were just cartoons for the children. The men, impassive and lean, bored almost, said in Arabic that the law was the law. These VHS tapes were contraband, they couldn’t let them in to the Kingdom.

Shameem cried and sobbed all the way back. Not even a stop at a small provision store in a dusty town fifty kilometres from The Medinah to buy and drink cold packs of laban comforted her.

Rahim played with the watch he’d been gifted by Tahira’s cousin. He wasn’t mourning the loss of his Popeye tape. The watch, with a hinged dial the shape of a rhino and a built-in game was much better than the digital ones worn by his friends.

When they reached home – a two bedroom flat in a four story apartment building near the old souq and the Corniche – Shameem had cried herself to sleep.

Tahira let herself into the house first and as the children straggled in and went to their bedroom, she went to the cupboard in the master bedroom from which she pulled out the bag of comic books she’d hidden before leaving for Dubai.  When she passed the children’s room, bag in hand, she heard her daughter complaining. It was all Tahira’s fault – she wanted the tapes to go away. She must have prayed for it. Whatever Tahira prayed for, Shameem told her little brother, usually came true.

No, Tahira wanted to go in and tell her. Not everything.

Maybe she should give the books back to her daughter?

Then she remembered Shameem’s grades in the December exams – all Bs and a disgraceful C – and she carried on, out to the front of the apartment and to the empty lot where the municipal garbage bin stood. She threw the books in. A cat sprang out, hissing at her indignantly. Tahira watched it streak away. She was regretting it already.

****

Bereft of the tapes and the comics, Shameem had taken to the futile task of trying to tune the television to Channel 33 every day for a month. She had convinced Abdul to try as well but nothing happened. Occasionally she found flickering, ghostly figures.

“Channel 33?” she’d ask her father.

“No.”

“What is it?”

She’d press her ears to the TV speakers and convince herself that the song was there, underneath the noisy static:

They’re creepy and they’re kooky

Mysterious and spooky

She hummed the rest.

“It’s not really there,” Rahim said.

The afternoon ritual of trying unsuccessfully complete, the groove on her finger a little more pronounced, she joined her brother on the sofa and watched Voltron and Ifthahya SimSim, Sesame Street in Arabic. They watched the letter ba turn into houses and oranges.

When both shows were over, Tahira pushed them to their bedroom where they sat at their small desks and cracked open their books. Tahira watched them write out their homework assignments as she drank a cup of black tea.

Shameem fidgeted in her chair. Rahim, quiet, placid Rahim, kept his limbs in place and in order. Tahira, her tea finished and cup cold, looked out the bedroom window. The almond tree cast a shadow on the wall of the girls’ school as the sun set. Somewhere in the neighbourhood goats were bleating. The breeze blew in from the sea, the branches of the almond tree shook and a chain clanged.

The quiet never lasted long here.

****

State TV showed the half hour English news bulletin at eight o’clock. In the days before the war drums were banged with increasing fury, they were sedate, soporific events. The King received diplomatic cables from other kings, presidents and prime ministers. The cables he answered to or sent were also read out – just the names of countries or leaders, never the details. He held his council in the middle of the desert somewhere. He appointed ministers and retired ministers. In between there was the odd bit of international news: Arafat featured prominently, as did Hanan Ashrawi. Palestinian children in a permanent state of flinging stones at Israeli soldiers – untiring and constant or so it seemed to Tahira, Shameem and Rahim, who would watch the scenes of the Intifada each day and feel momentary dread and despair. Dread and despair which melted away when anodyne pictures of Queen Beatrice or Prince Rainier meeting the King followed the daily Palestinian/Israel news. Abdul, alone in the family, did not react.

On some days the English news bulletin was read by the platinum blonde British expatriate Caroline Saunders, who, according to Abdul, was not really a journalist. She must have, he contended, known the right sheikh. Then again, most things to do with State TV and Radio meant knowing the right sheikh.

On days when Caroline Saunders didn’t read the news, Tabassum Ali read it. She was Indian, from Delhi, and had a proper journalism degree. This was an advertised fact in The Medinah. Most of the advertising was done by Tabassum’s mother, Jahannara Ali, a director of the Indian Cultural Association in The Medinah and a popular State Radio host. Tabassum’s father was Ajmal Ali, one of Abdul’s oldest friends, who’d divorced Jahannara and lost custody of both Tabassum and his younger daughter, Ruqsana, to his restless wife. In The Medinah, Jahannara lived under the patronage of Sheikh Hafeez, a close friend of the King, the Minister of the Interior and one of the most powerful businessmen in the Kingdom. Ajmal, separate from his wife and children, lived a more prosaic life, working as a chartered accountant for The Medinah’s biggest fruit and vegetable importer.

Jahannara declared often that she lived for Culture. Culture drove her life. It was what drove her to Abdul’s office every year, trying to drum up sponsorship for events put on by the association. Abdul, as office manager, had to put up with listening to Jahannara hold forth on the need to expose the Indian expatriates to Culture. He listened until it grew unbearable and let Jahannara talk to his boss, Sheikh Qahrawi. Qahrawi didn’t really care for Pankaj Udas concerts or kathak performances. He would sit through Jahannara’s passionate declamations about the need to reclaim and submit to the beauty of the Arts with a barely suppressed smile. Abdul, watching his boss reach for the chequebook and sign one off with a flourish, would ask after Jahannara left, “Why?”

“It’s a good thing.”

“You never attend these programmes.”

“No,” Qahrawi would gently nod, “No, I don’t. But a number of your people get pleasure from them. Even you.”

“So you’re doing it for us.”

“You people work too hard.” Qahrawi laughed.

Wednesday, 22 February 2012

Elephants at the gate - the Jaipur Literary Festival


I came back two weeks ago from India and the Jaipur Literary Festival, and have survived until now on the protracted glow of those eleven days.

I loved the country, the festival, the crowds. Loved seeing new people, meeting old friends.The festival itself is the most incredible experience: noisy, overcrowded, like a medieval city, people seemed to come to eat, drink, buy books, check one another out, listen to music, and often, without the inhibition of tickets or gates, surged from one canopied venue to another, one author to another – cramming in to hear Richard Dawkins here, or Ben Okri there, standing where they could, obscuring the exits, spilling out onto the lawns and cool passages of the shabbily elegant Diggi Palace. 

With an event of this size there were hiccups, of course, but not as many as you would imagine: writers cancelling, times changing. And controversy: Salman Rushdie was rumoured to be appearing and then did not, a squib that fizzled damply but dangerously, armed guards at the gate. Some younger writers, including my friend Jeet Thayil (Narcopolis, just out - find a copy), angered at Rushdie’s exclusion read from the banned Satanic Verses and were expelled from the event – and from the city. Oprah Winfrey appeared, stopped traffic and started a bit of a debate about the popularization of the festival.

The word I heard most often used to describe this event was democratic. But like India itself, the Jaipur festival might be democratic (India is the largest democracy in the world) but there is hierarchy everywhere. It’s a genuine paradox. The festival is free, and open to all. But there are layers upon layer of visitors. Some visitors register as delegates. Some register and pay a modest daily fee, these paid delegates having entry to a gated garden within the garden, where food is served and you can mingle with friends and authors (sometimes the same thing), and might be invited to an after-hours party, or two.

Four days of events, four days crammed with stimulation, noise, colour. There were clear, cool blue skies by day (a bit like Dumfries in high summer), and in the evening I found myself shivering by the battlements of some beautiful castle or palace. On the closing night, the party surpassed all others, and I found myself wondering - how do they pay for all this? The Amber Fort at dusk, with its sunken gardens with little rivulets running through, elephants at the gate as we arrived, camels, monkeys. Music. And some distinguished literary figures silhouetted in overcoats and caps against a starry desert sky, gently swaying to the beat of some strange Eastern fusion. I almost fell into an ornamental pond. The glamour of it all…

Ah, coming back to Edinburgh was not easy – so I detoured to Bombay for a few days, finding a different kind of stimulus there. There are poets in Bombay too – plenty of them. I travelled to India, spending a few days in Delhi before Jaipur and onto Bombay after the festival, with my friend the novelist, screenwriter, filmmaker Farrukh Dhondy. He is a Bombay native. How wonderful to spend a little time in someone else's world. How wonderful Bombay is. What a beautiful, resilient city. What a beautiful, resilient country...

Monday, 19 December 2011

Remembering George Whitman

Me, aged 23, in Paris.
George Whitman, ageless seller of dreams, died last week in the apartment above his legendary Paris bookshop, Shakespeare and Co. I was about twenty-three years old when I walked through the door of the shop for the first time. I seem to remember it was raining, it was probably winter, and in my mind's eye the cathedral of Notre Dame was lit up as I walked across the bridge to the little rue de la Bucherie en face.

George was sitting behind his desk, the electric heater drawn close, draftily corralled among the papers and half drunk cups of coffee left behind by careless helpers. Some of the books on the table were beginning to curl at the edges, from the damp or the cold, or from being too often handled by readers without the funds to buy. Not that anyone seemed to mind.

I asked him for a book. He asked me why I wanted it - a strange question for a bookseller. He asked if I had somewhere to sleep. And when I said I didn't he offered me a berth, up the rickety wooden stairs to a three-roomed library overlooking the street and Notre Dame. A place to sleep, in exchange for absolutely nothing. All compatriots of James Joyce, George said, were welcome there. I didn't dare to explain that I only looked Irish. By the time he learned I was a Scot, it was too late. During the day I helped out in the shop, usually finding a quiet corner away from the cold blast from the door, reading the stock rather than selling it. Nobody seemed to mind that either. I got hungry and thin. Occasionally George would send down some food from his apartment on the floor above. More often we library-dwellers shared what little we had, bread, cheese, wine if we could get it. At night I slept among the books, on a little lumpy couch with a red velvet cover, pulling my sleeping bag over my head in case the mice ran over me, tipping my boots out just in case in the morning. My body was covered in bites, from insects of some kind, the scars lingering for months. I didn't like to ask.

I don't think I have ever been happier.

I've tried, in every home I've possessed since then, to find again the spirit of that place and of those months when I could reach out a hand at night and touch a book. There was some unique combination there to do with time, books, hunger, freedom, and yes, with youth. My youth. Looking at my picture from those days though, and at the more gnarled me now, I can see that much remains.

George was about a hundred years old when I knew him in Paris in the early eighties. I noticed this week that the obituaries put his age when he died last week at 98. Strange. As I say, the ageless seller of dreams, though he gave most of the dreams away in exchange for absolutely nothing.

The book I went looking for, by the way, was Auto da Fe by Elias Canetti.

Wednesday, 13 October 2010

Agents, Writers and Editors: how does it work?


I’ve been working for and with writers almost all of my working life.

When I left university I worked in bookshops in Paris for a while, my happiest days spent in Shakespeare & Co on the left bank. I should say I spent more time reading the books in that shop than selling them.

While I was there, a number of writers came through the shop, some to stay a few days others just to browse or get out of the cold. I didn’t want to be a writer myself, somehow or other my literary imagination failed me, but I wanted to be around writers, and so I have been ever since.

I was an editor and publishing director in corporate publishing in London for 20 years. Now I’m a literary agent. The main difference in what I do now to what I did then is that as an editor my job was to promote the interests of the publishing house, now I promote the interests of the writer.

I’m still looking for the same qualities in the writers I take on as an agent as I was when I was an editor. I’m looking for a strong distinctive natural voice, the ability to conjure an image with a few words, I’m looking to be touched, moved, transported, to be made to cry, to think, perhaps even to laugh though that doesn’t often happen.

I’m not looking for perfection or a highly finished work, more an indication of that rare and, so it often seems to the searcher, elusive x factor – the alchemist’s gift of turning words into images in the reader’s head.

To be more prosaic, I’m looking for high quality fiction writers with a broad potential – writers who, one or two, or even ten books, down the line will be winning major prizes. I don’t care so much what they write as how they write.

I think most editors and agents will say that they are looking for integrity and seriousness, whatever the genre of the writer, whatever the specialism. A writer who takes his or her work seriously. Most of all, we’re just looking for talent, that’s what we respect and what we came into the business for.

I mentioned above that I think the main difference between the editor’s and the agent’s role in the publishing business is a simple one. The agent works for the writer, the editor for the publisher. Agents are often blamed by publishers for pushing up the cost of publishing by getting too much money for writers, increasing unearned advances and in a few cases even bankrupting publishing houses. In reality though, publishers prefer to work with agents than without them.

Agents act as a filter system, sifting through the acres of unsolicited manuscripts, finding the decent prospects and passing them on to publishers. That’s why publishers tell new writers that they only look at submissions that come from agents. Agents also help to keep the publishing ball rolling – they smooth over the cracks, put the writer’s case, put the publisher’s case too, help to keep the writer happy and their expectations reasonable.

In exchange agents should ensure that the writer is not, to be blunt, ripped off by the publisher. And yes, of course, without an agent a writer is very likely to be ripped off. Publishing is big business after all, and however romantic a notion they may have about writing when they start, all editors learn sooner or later about maximizing profit.

The agent is there to make sure profit isn’t maximized at the expense of the writer, letting the writer get on with doing what they do best: turning the base metal of our lives into art, or at least into entertainment.

Wednesday, 30 June 2010

Ten Tips for Approaching Publishers

I spent a wonderful evening in Hawick, down in the Scottish borders, talking to a group of writers on my favourite subject: how to get published. It was a beautiful drive through one of the best of the Scottish summer evenings, golden and scented. I wasn't terribly well, car sickness, so afraid I might have bolted through my talk and hoped that the writers got as much out of the evening as I did. Here's the gist of what I said to them - if you're writing you might find these tips useful. I've taken my own selling technique and adapted it a little for use by a writer - in your case you'd be approaching either a publisher or an agent.


1 Don’t send the work out until it’s absolutely ready. Don’t make excuses for it. If it’s not ready, go back and make it ready.


2 Write a KEYNOTE. Make it a good one! Practice. Look at some famous books and write some keynotes. You’re not going to give this to the publisher (though an agent can) but it’s going to discipline you into thinking like a publisher. A keynote is one reasonably short line, which says basically what the book is about. It must be


Honest
Factual
Selling
One line


3 MARKET ANALYSIS: what kind of book am I selling? What’s the genre? What’s selling at the moment? Realistically, is this book pressing the right buttons? If not, how can I spin it?


Crime
Romance
Literary fiction – avoid!
Women’s fiction
Horror
Science fantasy


4 BIOGRAPHICAL NOTE. Again, not to be used undigested. Practice. Keep it short, accurate, informative.


Who is the author
What’s their background
How old are they
What’s unique about them
Take their ‘bad’ points and turn them into good points



5 DESCRIPTION. Make it enticing, leave the reader wanting more. Don’t tell the whole plot… Hint like mad. Even if it’s a complete tragedy and irredeemably dark, try to think like a publisher – make it sound uplifting, life-enhancing, riveting, exciting. Try to give them a sense of what it feels like to read it. Include


What genre
Where it’s set
When it’s set


6 PROPOSAL – integrate the keynote, and use points 3, 4 and 5 to create an intelligent, honest pitch to bring the whole thing together. Obviously, no spelling mistakes. This is your chance to show how well you write.


A great letter, or email approach - succinct, accurate, alluring - should describe the book and the author in one paragraph maximum.
Include either a one page winning synopsis for fiction OR a detailed outline for non fiction.
A short sample of the work shows the author can write and whets the publisher’s appetite.


7 DON’T give the publisher reasons in the proposal to turn the book down. Let them do their job themselves. Turn your negatives into positives. Don’t be self-deprecating – publishers have no sense of humour. They’re wanting winners.


It’s my first book – great, no track record for the bookshops to check up on!
I’ve already written loads of books you’ve never heard of – but this is my breakthrough novel!
It’s old-fashioned – yes, readers are old-fashioned too!
It’s not 'experimental' - it’s amibitious and cutting edge!


8 DO give the publisher reasons to take the book on, this time by doing their job for them. Be positive and give them their pitch to take to the publishing meeting.


Marketable author – very young – very old - very famous - very talented – fascinating background.
Great story – page turner - moving - unforgettable - colourful.


9 CALL TO ACTION: invite the publisher to act – if they’ve asked to see something they are more likely to read it.


10 FOLLOW UP by doing exactly what the publisher asks you to do. Don’t send the whole book if they ask for 3 chapters.