Nathan Connolly is the Publishing Director of Dead Ink Books. Dead Ink was founded in 2010, set up with funding from Arts Council England as a digital-only press. At a time when ebooks were really just starting to blow up, Dead Ink were experimenting with what a book could be. Dead Ink’s focus is now based on two strands: the first is to develop the careers of new literary authors and the second is to do that through experimentation with digital technology in publishing. Here Stephanie Cox interviews him.
What challenges did you face setting up Dead Ink Books?
The challenge of setting up a small press today is that the industry is becoming increasingly concentrated and homogenous in terms of both publishing and retail. We’re fortunate in that we are represented by Inpress books who fight our corner, but overall I think the industry is becoming harder and harder to survive in. I wouldn’t be surprised to see further concentrations taking place in terms of partnerships and mergers.
I think this challenge is also an opportunity, though: publishing needs challenging small presses and I think readers enjoy them too. Hopefully the tide will begin to turn in the next few years and the independents will win back some influence and breathing space. Maybe it’s already begun?
How have you managed to build a community around Dead Ink Books?
I think that we’ve been lucky in that readers seem to get what we’re doing and completely engage with it. There are a lot of safe decisions being made in the industry and I suspect that they find it refreshing to see a small press based entirely on the concept of taking a risk. Authors frequently commit years of their life to working on a book which may never see the light of day. They’re innately risk-takers and when they see a press with that same conviction I think it is refreshing.
On the other hand we commit a great deal of resources to building that community. We get out there into the world and interact with writers at readings and events. We also try to treat our readers as a community not just customers. They’re the reason that we’ve got this far and every time they do buy a book they are having an impact. I think people appreciate that connection. We’re very much not faceless.
Why is it important to have a range of both digital and print books?
This question plagued us when we were digital-only and we always wondered if we were doing the right thing by focusing on a single medium. Eventually we decided that we weren’t. What is important about digital technology isn’t the end product. People want the option to choose whatever they individually prefer. The important part is how we connect. When we were creating just digital books we were holding ourselves back.
The success of that time was the community we had built. When we transitioned to paper books that became apparent and we’ve been growing steadily since. Readers want options and they want to feel involved.
What lessons have you learned about marketing books – what works and what doesn’t?
I still don’t know the answer to what makes a book sell. I only know how we have made it work for us. We don’t have unlimited reach or resources. There’s very little that we can do to actually market the books in a traditional sense.
What has worked for us is to build a community and reward everyone involved for the contribution that they make. I think early on we realised that we couldn’t just treat someone like a customer and forget about them. We really owe everything to the people who buy our books, so it didn’t seem right or fair to just market to them. If someone buys a Dead Ink book then they are taking a risk – just as we are in publishing it – and I think that sort of commitment deserves recognition and reward. That’s what I’ve tried to achieve with the community aspect of Dead Ink and I think that is what keeps us going.
To read the full interview, head over to Stephanie’s blog: Words are my Craft.
Nathan Connolly started in Publishing when he began The Night Light, an online literary magazine, after graduating from University. He’s also worked with The Big Issue in the North, Crécy Publishing and The Society of Young Publishers.