New Edition. Contemporary Publishing Magazine. April 2013.

NEW EDITION CONTEMPORARY

PUBLISHING

MAGAZINE

ISSUE

2,

APRIL

2013

THE

LONDON

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2013

THE AuthorloungE

NEW EDITION, APRIL 2013

this month 4

6 year of the author

10–13

polly courtney

8 The authorlounge

18 14

feast or famine?

glam fairs

CONTEMPORARY PUBLISHING MAGAZINE

WeLcoMe E

very good story starts with a good idea...

That good idea will belong to an author. When we’re all caught up in the maelstrom of publishing it can be easy to forget that we work in an industry entirely sustained by the lifeblood of talent. When we meet at the crossroads between business and creativity, we need to remember that the author should always be at the centre of things.

That’s what The LBF AuthorLounge curated by Authoright is all about. Putting the author first.

For too long the author has been overlooked, especially when it comes to international book fairs. As a writer myself, looking to publish my first novel back in 2005, I attended various literary events but found it almost impossible to get any answers to my questions, which were many and various. I thought, perhaps naively, that people in the publishing business would be willing to talk to me about my book and to explain the publishing process in greater detail, to one who was, at that time, still on the outside of things. But this just wasn’t the case.

I know that most authors will have the same questions today that I had in 2005, albeit with the addition of apps, eBooks and social media in the mix; in this Brave New World of contemporary publishing everyone is struggling to find their feet, even if they’ve been in the business for the best part of a century. We want to help writers to navigate this challenging new terrain so that publishing today is as exciting and rewarding as it’s ever been, with the potential to be bigger and better than ever before.

We were delighted when

The London Book Fair invited us at the end of last year to curate a new, author-centric zone for LBF2013, one that would put the author at the very heart of the fair. It was a privilege to be asked and we were immediately excited by the scope of what this author space could – and should – be: part author-HQ, part literary learning centre, part workshop, part networking hub. We’ve enlisted the support of our friends from Matador, Kobo and Kindle Direct Publishing, as well as a roster of industry experts, who’ll be on hand to answer those aforementioned many and various questions.

We knew that the reason most authors attend the LBF is in the hope of meeting a literary agent.

To date, this has been impossible.

We passionately believe in opening up the industry to authors, and, with the support of our partner, LitFactor, we’re staging the first ever author / agent pitching event, which will run across all three days of The London Book Fair, enabling authors to connect with literary agents and discuss their writing and their submissions. The support we’ve enjoyed from our professional colleagues – at what is their busiest and most stressful time of the year – has been fantastic.

Authors put their heart and soul into their writing; we’ve tried to do the same with the AuthorLounge.

For those of you who are able to join us at The London Book Fair, we really hope you enjoy The LBF AuthorLounge 2013 curated by Authoright.

Gareth Howard, CEO, Authoright

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NEW EDITION, APRIL 2013

1

Digital Publishing Comes of Age Recent studies from Pew Research Center found that the number of Americans aged sixteen and upwards who had recently read eBooks grew from 16% in 2011 to 23% in 2012. Over the same period, the number of those who were reading printed books fell from 72% to 67%. And where the US leads, the rest of the world will inevitably follow.

This is great news for authors with an entrepreneurial streak. Unlike trade book publishing and distribution, eBooks can be relatively easily – and inexpensively – self published to cater to the demands of a growing global market. This greatly increases the potential readership for a title that might have struggled to sell enough copies at national level. As a result many more niche markets, as well as literary and mid-list writers, can now flourish. Most indie authors find that much of their income now results from eBook sales: in some cases, the proportion can be as high as 95%.

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2013: The year

2

Infrastructure Expands Amazon – the market leader in online book retail -– has now opened stores in India, Brazil, Japan, Canada, UK, France, Germany and Italy, with many more to come. With the addition of new, alternative, creative publishing platforms like Kobo Writing Life, it will only be a matter of time before Apple and Google start to really engage with self publishing themselves.

Promotional vehicles like Pixel of Ink and BookBub are developing new ways in which to unite authors and readers.

As online infrastructure becomes more diverse and established, writers will increasingly be able to enjoy direct access to their readership.

Sales and distribution channels are no longer linear and limited. These exciting opportunities now offer authors all over the world worldwide multiple methods of sourcing and connecting with readers.

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of the author

Education and Professionalism Improve More trade published writers are learning about the commercial and creative advantages of going indie and in turn more self publishers are learning to do what they do even better than before. Indies have grown to understand that self publishing doesn’t have to mean doing absolutely everything yourself and that there are reliable professionals on hand to help them deliver high quality books. That is exactly why ALLi now has a Partner Membership – to bring talented writers and skilled service providers together).

As we share our knowledge and encourage each other towards excellence, the reputation of author-published work can only improve and increase. Professional editors, books designers and marketing companies – many of whom used to be reluctant to work with indies – are now recognising serious self publishing, taking on indie authors as clients.

4

Advances in Technology You press ‘publish’ today in Canada, you can be read in Japan tomorrow.

Readers can buy a book they discover online almost instantaneously, literally at the touch of a button. Technology has enabled authors to take advantage of what salespeople term the ‘desire-to-act’ moment.

Self publishing platforms are growing ever more author-friendly and author-focused and if the authors don’t want to manage too many accounts themselves, then there are aggregator/ distributors around like BookBaby and Smashwords offering access to multiple retailers at relatively low cost to authors.

It has never been easier for a writer to directly reach readers.

CONTEMPORARY PUBLISHING MAGAZINE

8

Reading and rising: Orna Ross, Director of The Alliance of Independent Authors, reveals eight reasons why 2013 will be The Year of the Author.

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5 Libraries and Literary Organisations Open Up ALLi is taking its campaign ‘Open Up To Indie Authors’ to bookstore owners, literary prize-givers, festivals and events to encourage them to engage with self-published writers and we’re seeing positive signs that literary organisations are at last beginning to do just that. With ALLi’s help, The Reading Agency is set to organise a special promotion to accept and incorporate our members’ self-published books into the library system.

As the industry wakes up to the reality of selfpublishing in the 21st century, they understand they must find ways to accommodate indie authors.

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Indies Strike Better Terms With Trade Publishers

John Locke and Simon and Schuster, Belle Andre and Harlequin – these are just two of the highprofile, seven-figure printonly deals signed between Reviews and Bookselling Is indie authors and trade Features Expand Changing publishers in recent times.

Productive deals are also In 2012, The New York As self published titles happening more regularly gain readers and accolades, Times reviewed a self on a smaller scale, with published book for the bookstore owners are boutique distributors very first time. This now realising that by watershed moment proved actively seeking out self refusing to carry indie to be a tangible marker for published authors. author books they are those in the industry who Expect to see many risking losing sales. more such stellar deals as had yet to be convinced Some forward-thinking indie authors continue that great indie books booksellers are now to develop their craft were a genuine threat to offering self publishers the mainstream. They are and grow their sales the chance to buy shelf space at a reasonable price, now simply impossible to opportunities. This has a positive knock-on effect ignore. under similar terms to for all writers.

Forbes, The Wall Street those already offered to If you’re a writer who’s Journal, The Huffington traditional publishers. willing to be the creative Post and The Guardian Booksellers are moving director of their book, to all report regularly on towards stocking self manage its publication self publishing and indie published books and process right up to authors and other media actively seeking ways promotion, then your outlets have started to to partner with indie time has come. follow suit. authors.

Orna Ross is a novelist and Director of The Alliance of Independent Authors. She’ll be appearing at The LBF AuthorLounge curated by Authoright with Polly Courtney at 11am Wednesday 17th April in a session entitled The Author as Entrepreneur. This will be followed by a workshop from 12 until 2pm: Indie Author Clinic & Showcase, where ALLi authors will advise and share the benefit of their experience with aspiring self publishing authors.

The Alliance of Independent Authors will launch its first writers’ guide, Choosing A Self Publishing Service 2013: The Alliance of Independent Authors Guide, at a drinks reception at The LBF AuthorLounge curated by Authoright

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NEW EDITION, APRIL 2013

Polly Courtney did something that few writers would dare to do: she dramatically dumped her publisher, HarperCollins, at her own book launch. Ahead of the publication of her new novel, Feral Youth (published by Matador, Summer 2013) which takes an unnerving look at the London riots of 2011, Polly spoke to Ben Wood about why self publishing affords her the creative control she craves.

PAPERback fighter “Leaving my publisher wasn’t a spontaneous, impulsive decision, it was the culmination of three years of pent up frustration at my experience with them, and primarily those frustrations were down to the way they had tried to ram my work into a mould without having actually read my first two books. They didn’t really know what I write. They had packaged my books in a different way for each of the three books I wrote with them, and in a different way again from the previous ones. So they were really meddling with the brand ‘Polly Courtney’ and I had no control over that. I had no say over the title or the cover design and it felt as though more collaboration would have been sensible all round. But it just didn’t happen.”

Courtney is an excellent example of a modern authorentrepreneur.

Leaving her traditional publisher was not only a bold statement, it prompted a fundamental change in her own role as an author. Although she gained back the control over her work that she had longed for, it came with huge personal responsibility: managing every stage of the publishing process.

“You do have to be a bit schizophrenic. You have to have the writing part of you, and time to be the writer as a person, and then you have to have the commercial business knowledge. Different authors organise themselves in different ways, for me it’s a seasonal thing. I go underground for six months, and I’m mainly writing the book. Then the other six months of the year I have my business head on, rigorously planning the commercial part of it. I have a timeline which starts with the production stuff; working out what form the book’s going to take, liaising with printers and publishers, sorting out typesetting… Then I make decisions on distribution, and finally move on to promotion, which can be – and probably should be – a really lengthy process which starts very early on. These work streams all overlap, so you need to be thinking about all these things at once. You have to have a business plan like you would with any other business. I never used to see myself as an entrepreneur, but I guess you have to be that in order to get the writing part to come to fruition and get your book in the right people’s hands.”

Polly clearly revels in the business side of her writing career, but not all authors do. The kind of planning and promotion that Polly goes through to get her book to print is anathema to many writers, particularly, when you

CONTEMPORARY PUBLISHING MAGAZINE

consider her ongoing work as a media commentator with a fortnightly slot on Sky News, something which forces her out of bed at 4am.

Even for traditionally published authors, this kind of profile-raising endeavour is increasingly becoming a necessity rather than a choice.

“Historically, the reason traditional deals worked so well was that the writer could focus purely on writing and they didn’t have to think about the business. I think even if you get a traditional deal now you still have to have those entrepreneurial qualities, or a lot of luck. You will need to spend time and effort planning and doing the promotion, even with a traditional publisher, because they don’t always have the budget for it. It’s a big myth that traditional publishers throw money at marketing books; they just don’t, especially for new authors. People need to know that.”

“I think the same is true for authors, entrepreneurs and business owners; you have to think about what your overall goal is, and whether it is useful to have a social media presence.

The first thing to think about is who is your audience, your readership, your market. If they aren’t even online then, obviously, you don’t need to be on Twitter every day. At the other end of the spectrum you might have a really online-savvy audience who is messing around on Twitter, Facebook or different communities and forums.

The key is to find them and get them engaged and actually interacting.”

Although she continues to self publish, Courtney has a literary agent who came on board after the split with HarperCollins.

Polly’s agent sells the foreign rights to her books, an area which remains difficult for author-entrepreneurs to negotiate. The insight that her agent

Maverick /ˈmav(ə)rɪk/

an unorthodox or independentminded person

Courtney will self publish her latest novel, Feral Youth, in June.

Inspired by the London riots of 2011, the book is written from the perspective of a fifteen-year-old girl living in south London. It is as much a page-turner as it is an exploration of the causes of the riots, which Courtney believes were largely ignored by the media. In promoting the book, Polly is filming a trailer featuring young people who were affected by the riots, which she will distribute through her exceptionally active social media channels. Courtney is among those authors whose attitude towards the importance of social media is changing.

is able to provide highlights Polly’s creative freedom in self publishing, away from the rigid consumer constraints of the traditional market.

“When I told my agent I wanted to write a book called Feral Youth about the build up to the riots through the eyes of a really disadvantaged fifteen-year-old kid, she told me she thought it sounded interesting, but that she didn’t think it was commercial enough for her to be able to sell it to a traditional UK publisher. I replied saying that was fine – I didn’t want to go with a traditional publisher anyway.”

There is an emerging path for

successful self published authors that sees them using high sales figures to entice traditional publishers to agree lucrative deals. Authors who have taken this route include EL James, Nick Spalding and Amanda Hocking, to name but a few. This is the direct opposite of the route that Courtney has taken. She isn’t sure this new approach is necessarily the author’s dream that it is often made out to be.

“I think a lot of people who haven’t experienced the traditional publishing route still think at the back of their mind that it must be best, that it is a golden ticket, and they are still holding out for it even though they may be having a lot of success self publishing. It is also important to remember with these big-money deals that in almost every case the author has built up their fan base themselves first, developed a massive platform, so that is effectively what the publisher is buying, not the books, not the content.”

For those who are still holding on to the old publishing landscape Polly predicts a bleak future, unlike that for the authors who are willing to move with the times:

“Amazon and Google will continue to squeeze the prices on books, probably to 79p, just like records are in the music industry. So authors will have to find other ways of making money; it may be that they don’t make their money through the traditional royalty, money-per-book model. They may, as is happening in the United States, have to go on author tours and make their money through live performances as happens in the music industry. Obviously that will petrify some authors as that isn’t necessarily what they do well, but I think something like that will have to happen, because the financial models are all changing.”

Is Polly Courtney all the things an engaging author has to be in these trying times? If the answer is maverick, then certainly. An entrepreneur? Absolutely. A very modern writer? Most definitely.

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NEW EDITION, APRIL 2013

It’s the original never-ending story: the eternal struggle to get a literary agent remains one of the biggest concerns for authors who, like Woody Allen in Manhattan just want

“let’s face it... to sell some books here.”

Being relegated to the slush pile has become the stuff of literary legend, sparking gallows humour at writers groups the world over.

But no longer. The time to get a literary agent is now.

The way to do it is with LitFactor is the world’s first online resource designed to unite writers and literary agents in a meaningful, proactive and efficient way, all in the name of new writing. Think of us as literary matchmakers.

Everyone who works with words knows that the road to becoming the next EL James can often be a lonely and disheartening one.

Writers send off endless submissions to a long list of agents, only to hear nothing but the deafening sound of silent rejection. They become frustrated by the lack of feedback and can remain utterly oblivious to the nuances of how literary agents actually operate. At the receiving end, literary agents are constantly inundated by a veritable deluge of irrelevant, poorly-judged submissions that they have neither the time nor the inclination to wade through. If you’re already looking after fifty author clients and your role is only becoming more and more demanding in the digital age, how can you be expected to plough through your 1000 monthly submissions in order to find that one special talent? That said, communication between authors and agents has never been particularly open, which only makes the job all the more challenging, all round. So how does an author

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LitFactor

know if an agent has closed their non-fiction submissions window, or is actively looking for women’s commercial fiction? And, in turn, how does an agent liaise effectively with new writers, in order to find that next big thing?

The answer is LitFactor: a community, a resource, an opportunity for authors and literary agents to connect and to create.

In short, LitFactor has all the information an author could possibly need about literary agents, updating it daily to ensure that details about new agents, agents moving, new lists opening, limited commissioning rounds and everything else under the sun is up to date, so that authors have all the facts at their fingertips. Who’s accepting, who isn’t. And when.

They also are able to recommend those agents with whom they’ve had a positive experience. For agents, the submissions process suddenly becomes seamless; authors have to follow respectable and responsible guidelines before they can apply to the agent of their choice, ensuring that each and every submission is tailored, targeted and appropriate.

Many writers waste valuable time in applying to the wrong agency, at the wrong time, and with the wrong material. Often, the type

of book that an agent is looking for will change from one month to the next, but this information is kept within the industry. LitFactor gives agents the opportunity to alert authors to changes in their submissions wish-list, meaning an end to inappropriate applications.

LitFactor understands that publishers’ lists vary throughout the year; we are no longer living in an age when an annual industry directory will suffice!

LitFactor is passionate about unpublished authors.

LitFactor also believes that the role of the agent is more relevant than ever. We want to demystify the submissions process and reduce rejections, helping agents to provide a better quality of service to new writers, encouraging creative collaboration between agents and authors. Agents are an essential part of the publishing process; we all know that their role is changing and we want to help them do this as successfully as possible.

Transparency, connectivity, best-practice and easier talent spotting are the founding principles of LitFactor and are sure to benefit agents and authors alike.

LitFactor is an exciting new step into the future of publishing; we hope you’ll join us on the journey.

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lounge lovers % STATS

2

The number of continents from which guest speakers have travelled

1st

Time that Goodreads has been to the UK

10

CEOs or senior Directors speaking from leading international companies

100% Seminar slots that have been filled

first

Time that literary agents will meet authors at the LBF thanks to LitFactor

10

s The LBF AuthorLounge curated

by Authoright puts writers centre stage at The London Book Fair, we highlight some of the best talks and events the Lounge has to offer.

MONDAY | 15 April The future of bookstores is a hot topic. Book lovers, publishers and authors alike love the humble bookshop, which can act as a place of discovery and inspiration, as well as a venue for events that allow authors to connect directly with their readers. However, the future of bricks-and-mortar shops is increasingly uncertain as the world of online retail has boomed and eBooks become increasingly popular. At midday on Monday, Foyles CEO Sam Husain and Philip Jones, Editor of The Bookseller, will be in the Seminar Room at The AuthorLounge to discuss the future of bookshops, what changes are needed to keep them relevant for readers and authors, and ultimately to answer the question, ‘Are Bookstores Here to Stay?’

CONTEMPORARY PUBLISHING MAGAZINE

TUESDAY | 16 April The world of eBooks and book apps is continually growing, prompting publishers to present their content by embracing new ways that use new technology to its full potential. At first eBooks tended to be ‘carbon copies’ of print editions, but increasingly publishers and app developers are being more creative. Eric Huang, Director of New Business at Penguin Books, and Charlie Redmayne, Pottermore CEO, are two of the publishing world’s most innovative thinkers. Pottermore is an interactive site which brings together content from across the Harry Potter universe, including stacks of previously unpublished material. Eric Huang’s work at Penguin has put him behind partnerships with other media industries – such as the online cartoon world of Moshi Monsters – in order to create unique multi-platform content. At midday on Tuesday this pair of forward thinkers will consider the question, ‘When is a Book Not a Book?’ Expect some serious outside-the-box thinking!

WEDNESDAY | 17 April The LBF AuthorLounge curated by Authoright is all about authors, and wouldn’t be complete without fellow writers sharing their experiences of the world of publishing. Nick Spalding will be in conversation with Authoright’s Director of Marketing, Hayley Radford, on Tuesday, and on Wednesday morning we welcome author and broadcaster Polly Courtney with author and Director of the Alliance of Independent Authors, Orna Ross. They will be discussing the role of author as entrepreneur and are uniquely well-placed to do so. Polly Courtney started by self publishing and was picked up by a traditional publisher before quitting her contract and returning to self publishing. Orna Ross is another true authorentrepreneur, with experience in both traditional and self publishing; last year she founded The Alliance of Independent Authors, a rapidly expanding community of self published authors which encourages and facilitates mutual co-operation between its members. The panel will be chaired by Gareth Howard, whose own promotional experiences as an author led him to found Authoright. Bring your notebook, good advice is guaranteed.

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NEW EDITION, APRIL 2013

CHANGING THE CONVERSATION OUR SPONSORS HAVE THEIR SAY Kobo, Matador and Kindle Direct Publishing are each altering the way in which we produce and consume new writing Mark Lefebvre, Director Self Publishing & Author Relations, Kobo As an author, I’m intimately aware that nobody cares as much about a book’s success as the writer; even in the case of a traditionally published book – where the publisher is the one laying out the money, the key player involved in mitigating risk – nobody is as vested in that book as the writer. And yet, at book industry gatherings around the world, much of the focus, fuss and budget is on the branding of the publishers. Authors, when invited, are often merely one element of the programming at booths. But this year, thanks to the good folks at Authoright, the author is celebrated and central. The LBF AuthorLounge curated by Authoright, a place dedicated to authors, puts the writer front and centre with programming that instructs, informs and discusses all aspects of writing, from the craft to the intricate and complicated elements of the business.

Wonderfully, The AuthorLounge is an inclusive celebration of the writer – topics focus on virtually every opportunity in front of authors: working with agents, editors, publishers, and bookstores, not to mention self publishing, digital, marketing and the future of the industry. This lays out an in-depth and valuable resource for authors that Kobo Writing Life is delighted to be a part of.

MONDAY | 15 April

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TUESDAY | 16 April

WEDNESDAY | 17 April

11:00

15:00

10:00

e to Eternity: The Future of Digital Marketing

Key Skills for Success as a Hybrid Author

I Win, You Win, We All Win: Winning Through Collaboration

CONTEMPORARY PUBLISHING MAGAZINE

MONDAY | 15 April

15:00 Self Publishing 101 TUESDAY | 16 April

13:00 Opportunities for Authors in a Fragmented Self Publishing Industry WEDNESDAY | 17 April

14:00

Self Publishing 101 Jeremy will be speaking with Gareth Howard, CEO of Authoright and Mark Coker, CEO of Smashwords on Monday at 15.00 Jeremy Thompson, Managing Director, Troubador Publishing Ltd & Matador Self Publishing Matador have been exhibiting at The London Book Fair since 2003 and were probably the first self publishing company to do so. For us, The London Book Fair is a crucial event, not just to meet authors, but to interact with our trade partners – retailers, agents, distributors and sales reps. We are excited to be co-sponsor of this year’s LBF AuthorLounge curated by Authoright, as it looks set to be the most informative yet for authors – authors who have previously been sidelined by a trade fair that relies on the authors’ work!

Making the Right Choice as a Self Publishing Author

MONDAY | 15 April

10:00 The Author Journey Daniel Cooper, Head of Kindle Direct Publishing, EU Tim Cooke, Author Mel Sherratt, Author

Thom Kephart, Community Outreach Manager, Kindle Direct Publishing Connecting directly with authors is the best part about attending events like The London Book Fair, so sponsoring The LBF AuthorLounge curated

by Authoright was a natural choice. Authors are the heart of our business; through The AuthorLounge we will have the opportunity to interact with – and learn from – authors at all stages of the publishing process.

We look forward to discussing how we can continue creating compelling tools and services to help them publish their books and make a living.

MONDAY | 15 April

16:00 The Future for Authors

WEDNESDAY | 17 April

12:00 Introduction to KDP and CreateSpace 13

NEW EDITION, APRIL 2013

FE OR FAM

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EAST

MINE?

CONTEMPORARY PUBLISHING MAGAZINE

As many literary agencies struggle to adapt in this new era of publishing, Curtis Brown continues to evolve into one of the world’s most daring and innovative literary and talent agencies. Leading agent Gordon Wise tells Hayley Radford why this 114 year-old stalwart isn’t afraid of change.

“It’s funny looking through emails from five or six years ago… the things you were talking about, the ways in which you were trying to sell things then.

They’re miles away from where we are now. The essential ingredients haven’t changed but how you blend them together, what you put the emphasis on, has changed. And as an agent who is choosing to keep abreast of change and push things further forward, you really have to engage with the changing scene.”

Gordon Wise’s confident take on modern publishing comes from having done rather more than work as an agent. Having started out as a bookseller in 1989, he worked as a publisher for fifteen years – at Pan Macmillan divisions Sidgwick & Jackson and Boxtree, at Channel Four Books, and as Publishing Director at Hodder Headline / Hachette – before joining Curtis Brown in 2005. Wise is on the Association of Authors’ Agents committee and was shortlisted for Agent of the Year at the Bookseller British Book Industry Awards in 2012 and 2013. His passion for books is infectious; his pragmatic, enterprising approach to cultivating the business aspect of being a literary agent even more so. It’s clear that his early interaction with living, breathing book buyers has shaped his approach to the trade.

“Publishing… is this point where creativity and business cross over, so that something that someone’s created actually becomes a commodity that can be sold. That’s something that I’ve tried to track in each of the stages of my publishing career. As a bookseller, I was fascinated by the way people behaved in bookshops. After lunch, if you had to re-shelve a section because

it had been very heavily picked over, it was usually romance or true crime.

These were sections where people knew exactly what they were getting. That taught me a big lesson, which was that it’s really important to be able to flag up to people exactly what a project is about.

Don’t be afraid of ‘badging’ something.

A book might be far more sophisticated than that, but you do need some clear signposting, then at least people will know where they’re heading. Knowing that I’ve looked people in the eye who were actually buying books and indeed made recommendations to them, it makes you remember that someone always has to engage with the books you’re working with. You need someone who’s never even heard of a book to pick it up and want to read it for the whole business to work at all.

“When I first went into publishing I was quite struck by all these people who were effectively publishing for themselves. They thought a book was marvellous so they’d try to get everyone to back it and to sell it without really thinking about the end user and whether it was going to make a difference in their lives. Would they take time to read it? And that’s a really important thing to remember, nowadays. People don’t need to read books to fill their time any more; there are millions and millions of ways in which we occupy ourselves. If you stop someone in the street today and ask them what they’re reading, many people won’t actually be reading anything. But they will be watching television, going to the cinema, listening to radio, they’ll have various online activities… so you have to find a way of justifying a book taking

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NEW EDITION, APRIL 2013

up time in amongst all those activities.”

As an editor and publisher for fifteen years, it was the flexibility of agenting that appealed so strongly.

“I was looking for a fresh start to use everything I’d learnt in the industry. Inside a publishing house you can feel quite locked in. It’s like being on a ship, merrily heading towards the horizon… even if you had quite significant responsibility you couldn’t really dictate which way that ship was sailing or enable it to change course.

Whereas if you’re an agent you can almost smell the ways in which trends are changing and begin to anticipate those things. For example, if you have a group of authors all writing within the same genre and you know that, by next year, their genre isn’t going to be commanding the same kind of income, you can discuss with them whether they can change tack to start writing in a different area or whether there are other things that you can be doing with their copyright material to enable them to sustain their livelihood. Each agent here effectively has their own micro-business; it’s like a series of boutiques underneath an umbrella organisation that holds everything together and to which we all contribute. And that was really the perfect solution; I could do everything I wanted to do but have colleagues to work with, share information that I had about the industry and in turn learn from others as well. I’m very glad I made that decision because in the last eight years the changes in the publishing industry have been significant, as has the rate of change.”

Curtis Brown has a history of being able to anticipate change, of being settled with relative ease into a new way of working while competitors are still panicking over what to do next.

“Back in the 1930s when speaking tours became all the rage we opened up Spokesman – an agency that solely represented speakers and who took people, like Churchill, all around the world. Then when various areas of copyright expanded – in theatre and drama and radio – we opened up departments to serve that. It’s been a constant, rolling process, to expand the

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‘‘

There's a lot more pressure at the author's end to have done more brand development work

management to field the needs of the clients. I think a lot of people focus on the fact that some traditional models aren’t working in the same way that they used to. I would turn that on its head and say, yes, you’re right, you can’t get things done the way you used to, so you can now spend time looking at other opportunities, other ways of doing things. You can see with them, as with us, that it’s feast or famine. You either have very, very big hits with high concept, very interesting themes, things that a lot of people will talk about or at the other end of the scale you have much more specialist things for whom there is a discerned market. The challenge is that the middle ground, that had kept everyone ticking over, has not exactly completely disappeared but there are now many more distractions for people within that middle area. If you are the reader who reads five or six books a year, you’ll probably be looking to WH Smith’s or Richard and Judy for your recommended reads.

If you’re a far more literary reader you’ll heave a sigh of relief when The Booker long or shortlists come out, as that neatly curates the series of books that you think you should read. So, as an agent, you’re constantly trying to shoot projects into those sweet spots, with books that will qualify.

“We’re also finding that publishers are showing a great reluctance to build brands by themselves. So there’s a lot more pressure at the author’s end to have done more brand development work, so that they arrive as an interesting commodity. And that’s where literary agents really should come in these days.

You can’t expect everything that comes over the transom to be fully branded

and for that person to be amazingly networked, but you will be looking for someone who has the aptitude to do that, someone who is promotable, maybe adept at social media, has other traditional media contacts that can be activated to support a project, and who shows a real willingness to engage in supporting the publication of their book. I like to talk about finding people who will be business partners to the publishers, effectively, going into a degree of joint venture with them.

Some people think that doesn’t sound very literary, but it’s realistic. I certainly don’t think it’s ‘un-literary’, and if it’s how you’re getting books noticed now, then that is a process you have to go through, whether you like it or not.

“I represent the cartoonist Andy Riley, who writes very successful humour books. The humour market has changed somewhat, but Andy’s material is fantastic so we’ve been able to roll him out across a whole range of licensing options, using his work for calendars, coasters, lunch boxes… these aren’t necessarily antiliterary products. If discovering the calendar in a card shop leads someone to buying the book, then the sales of the book will grow in turn. There’s a circle that can be developed. When there are shifts in traditional markets it gives you the opportunity to think outside of the box a bit more. I work with several literary estates – the Estate of Winston Churchill, for example – who are effectively literary businesses now. Change can be something people complain about, but it can present exciting opportunities.”

With a client list that incorporates both non-fiction and intelligent fiction – yes, he works

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with celebrities but prefers the term ‘personality-led’ projects – you have to admire Wise’s practical approach; there’s room for everyone at the publishing party, but, regardless of their profile or their prose, the author must be commercially aware.

“As an agent you need to know that you can sell it, you need to be able to ascertain that it is something that is being ‘looked for’ at that time. So you’re looking for people who know what they’re talking about and why they’re writing about it. Any writer should really research and understand the area in which they are writing. Some people will admit that they don’t like reading other thrillers – if they write thrillers themselves, for example – because it might put them off, but you’re trying to reach readers who’ve probably read ten other thrillers in the last twelve months, so you need to know how not to be samey. You can’t be corny. There are things that you need to learn about the world into which you’re going.”

So what does he look for on the creative side?

“I think you’re looking for originality, always. You’re looking for confident expression. You’re looking for someone – whether it’s in fiction or non-fiction – who’ll take you into a world you didn’t expect to go into but that you end up feeling really glad that you went there because they made this world so colourful and accessible and interesting for you. People want to go on journeys of discovery; that’s why you escape into a book or a film.”

Gordon Wise is a literary agent in a truly 21st century sense, and proudly so. His eclectic list of clients includes Luther creator Neil Cross, John Yorke and Miranda Hart. You get the impression that, as an author, if

you can demonstrate a combination of literary flair, commercial ingenuity and a dogged commitment to your own self-promotion, he would really put himself through the wringer if it meant squeezing every last delicious drop of opportunity out of your book, on your behalf. Rather than feeling anxious about the increasingly involved – and multi-faceted – role literary agents are having to play, he’s excited about the chance to work in new and unusual ways.

“There are instances where publishers are doing less full-service publishing and agents are having to step up to do more and to encourage clients to do more and I think the publisher needs to justify their role in all of this.

Quite often you’re asked what is the role of the agent going to be in the future if authors can do so much themselves?

I would ask what the purpose of a publisher is going to be in the future – not because I want them to go away, by any stretch of the imagination, but because I want them to be taking steps to ensure their survival. I would encourage trade publishers to really put their money where their mouth is, look at the detail and make sure you have a portfolio of people whose skills are perhaps nascent at the moment but are going to become the key skills in two or three years’ time. I think all literary agents will be having to look at their business model to see what they’re offering, to make sure that it matches up with what authors require in this marketplace. You can self publish very easily – you don’t need a middle man to do that. What you do need is an experienced person to hand to advise you on things like your cover, on your pricing, on the right kind of digital publishing platform, are you only ever going to publish on a digital platform

Change can be something people complain about but it can present exciting opportunities

or are you using that as an incubating device in order to get noticed…? These are things that someone with experience can bring you and that’s what a good agent will have. An agent shouldn’t be working from a standing start. A junior agent will be able to draw on advice from others at their company; someone like myself who’s moved from another area of the industry will have all the contacts and a considerable amount of hinterland. That’s really what you’re getting with an agent and I would recommend that any author who is wishing to be published to seriously try to get the services of an agent. Without one, you won’t get that sense of career management and career development.

That’s something that should be an aspiration on all writers’ parts.”

Since Curtis Brown is such a Jack of all trades, master of the lot, why aren’t they publishing too?

“An agency has to be careful about conflicts of interest. We are facilitating self publishing now. We must grow according to the needs that our clients have. We found that some of our authors’ books were being sold for film but that those films weren’t being made. So we set up a production company. We’ve become very involved with getting authors on the road, going to public speaking events.”

As his job description continues to shift andexpand,onethingremainsattheheart of Wise’s profession: discovering talent. “[It’s about]… finding new talent or finding talent that can go into a book environment. I’m a book specialist, but having found that talent you have to be a switchboard operator, you have to have this network of contacts and a clear idea of who you would get a project off the ground with. What I do is where business and creativity meet. You’re given something with amazing creative potential and you can be the bridge or the midwife, as it were, turning that into something that someone can make their living out of.”

Wise words indeed.

For more information on Curtis Brown Literary and Talent Agency go to curtisbrown.co.uk. You can follow Gordon Wise on Twitter at @gordonwise

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GLAM FAIRS NEW EDITION, APRIL 2013

MIAMI INTERNATIONAL BOOK FAIR 17th–24th November, 2013 You’d imagine any kind of fair situated in the so-called ‘Magic City’ would be a pretty awesome affair, and the Miami Book Fair which takes place each November certainly fits that bill. Who’d want to be trapped in a stuffy building when the weather outside is so fantastic and the beaches are so stunning? Well you don’t have to, the last two days of the fair – which was aptly named Books by the Bay when it launched in 1984 - are held outside on the palm tree-lined streets.

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When the LBF draws to a triumphant close – and with the British weather finding new ways of defining the meaning of misery – we take a look at some of the most exotic, sun-drenched book fairs around the world…

Guadalajara Book Fair 30th November–18th December, 2013 The annual event held in Guadalajara, Mexico is the largest book fair in the Spanishspeaking world and the second largest of all the book fairs, after Frankfurt. Visually it tends to be quite a spectacular event and last year was no exception with the inclusion of the so-called ‘Chilean Pavilion’ - an impressive piece of architecture which was conceived as a grand library, serving as a casual reading space and communal area for the fair’s half a million visitors.

hkbfr.blogspot.co.uk

archdaily.com

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HONG KONG BOOK FAIR 13th–17th July, 2013 With the number of visitors growing every year, the Hong Kong Book Fair is becoming one of the more important events in the Asian book industry calendar. The fair has a less corporate feel than many of the world’s book fairs; its organisers strive to promote local reading culture and visitors include book fans ranging from veteran readers to bibliophilic babies alongside the usual industry professionals. With members of the public welcome to browse and purchase new titles, the fair doubles as a giant bookshop. If it wasn’t unique enough already, it’s (probably) the only book fair in the world whose website includes a section entitled ‘Measures against Typhoon Attack & Black Rainstorm Warning Signal’.

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NEW EDITION, APRIL 2013

PREVIOUSLY...

New Edition is Authoright’s monthly magazine for authors.

Issue 1, featuring advice on book cover design, discussion of the crisis facing highstreet bookstores, and an interview with bestselling author Nick Spalding is available online at authoright.com, and you can subscribe at issuu.com/authoright

New Edition is written and designed by Authoright.

Contributors: Louis Dresner, Gareth Howard, Hayley Radford, Tuulia Sipila, Ben Wood.

NEW EDITION CONTEMPORARY ISSUE

PUBLISHING

2,

APRIL

2013

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