July 2018 - Writers Magazine

News Review

• Amazon's latest figures are astounding and cement its dominance of the book business, particularly self-publishing, as well as the huge inroads it is making in many other areas. Operating income for the second quarter increased from $628 million in the 2nd quarter of 2017 to $3 billion, whilst net income jumped from $197 million to $2.5 billion...'
• 'The sale of Waterstones to activist hedge fund Elliott Advisers has been widely welcomed in the book trade and is very much in the interests of writers. Like Barnes & Noble in the US, the British bookstore chain occupies a key position in terms of chain bookselling. The difference is that Waterstones has benefited from having James Daunt in charge for a number of years and, although there have been painful cuts, not least to a level of management in the stores, Daunt's efforts have been widely admired by publishers and seen as enabling the bookshop sector to continue to benefit from being able to deal with one big chain of ‘proper' bookshops...'
• 'There's good news in Bookbrunch about poetry sales coming from the UK, the market is up two-thirds since 2012. A 66% increase in poetry sales over the past five years has led to a million poetry books being sold with a total value of £1.1m. There has been a boom in poetry events and festivals, with increased interest in the work of living poets with strong online followings...'
• 'This week's London Book Fair has been a buzzy and optimistic occasion, as publishers from around the world gathered to sell rights to the international market. Second only to the Frankfurt Book FairWorld's largest trade fair for books; held annually mid-October at Frankfurt Trade Fair, Germany; First three days exclusively for trade visitors; general public can attend last two., the LBF punches above its weight in terms of its usefulness to publishers...'
• 'Bologna seems to have been a lively occasion as usual, with considerable interest in Middle Grade fiction and some reviving interest in YA too at the children's book fair. Picture books are still difficult but there is interest in talented new writers and illustrators. Bonnier's decision to close down its Australian children's publishing arm was a real shock...'

Comment

• ‘Publishing is all about taste. You have other things, but at the centre of everything you do is your taste - and your trust in your taste and your judgement... It's such a difficult job - you need to have the big picture and the detail. An editor who is just an editor thinks only about the text and creating a marvellous book and handing it over - whereas one who is also a publisher has a 360 degree view on a book and they are the engine that drives a book and they get involved in all aspects, particularly publicity...' Alexandra Pringle, editor-in-chief, Bloomsbury Publishing, in Bookbrunch.
• ‘You must dedicate yourself to keeping a journal. When I look into my own journals, what fascinates me most about what was going on in my life 30 years ago are the things that we would consider the most mundane. What was I reading, who was I talking to, what were the main subjects of conversation...' Ian McEwan, author of 22 books including The Child in Time, Amsterdam and Atonement in an interview in Signature.
• ‘A bestseller might be read by hundreds of thousands of people, but Apple Tree Yard on TV reached 8 million people per episode - one of the few occasions when an author can become part of the national conversation. But writing a good book on its own is not enough - it needs to be a lucky book. Apple Tree Yard was a lucky book, lucky on several levels. Lucky in being published by Faber & Faber, who did the most amazing job even before the glamour of TV. Then it was lucky again as the rights were optioned by Kudos TV and lucky a third time when they sold the adaptation in a brilliant version by Amanda Coe to BBC1...' Louise Doughty, author of Apple Tree Yard, Black Water and six other novels provides our Comment in a speech at the UK Publishers Association Summer Reception in the Terrace Pavilion in the House of Commons, London.
• ‘Revision is absolutely necessary. If something is easily too good to alter, thank the gods, but don't expect it to happen again. Expect, rather, that you will need to improve upon the given, to continue the imperfect formation that your initial work has produced. Which is, after all, what making the poem is all about - to take the passion and, without cooling it, to put it into a form...' Mary Oliver, from Rules for the Dance: A Handbook for Writing and Reading Metrical Verse. This Pulitzer Prize-winning poet has also produced four books of poetry and Devotions, a definitive collection of her work.

• ‘You don't necessarily choose the books you write; they choose you, in a way. Sometimes one arrives when you are least expecting it, a bit like an unplanned pregnancy. This book was very much like that. But I had huge trepidations about publishing it. I only let my publisher give me a £1 advance in case I changed my mind...' Our Comment this week is about 'A memoir that didn't fleece the people I love' and is from Maggie O'Farrell writing about her latest book, I Am. I Am. I Am in the Observer. Her seven novels include The Hand That First Held Mine and This Must Be the Place.
• ‘I got insomnia because I was so freaked out. Everyone else was delighted for me but it was destabilising. My friends had to process the success for me. I didn't realise writing was not the final stage. You hope the book speaks for you - you write because you want to make sense of the world through your books, so to have to be the representative of it was challenging... When I started writing it was like I didn't need to ask permission. Unconsciously perhaps, the roles I created in The Miniaturist were dream roles I wanted to play...' Jessie Burton, author of the bestsellers The Miniaturist and The Muse, in the Evening Standard.
• 'My greatest fear is of suddenly feeling that to devote so much of my life to writing is meaningless. It's a sensation that I've felt very often, and I'm afraid that I will again. I need a lot of determination, a stubborn, passionate adherence to the page, not to feel the urgency of other things to do, a more active way of spending my life. So yes, I'm fragile. It's all too easy for me to notice the other things and feel guilty...' Elena Ferrante, author of My Brilliant Friend and four other Neapolitan Novels in the Los Angeles Times.

R L Stine