I was lucky enough last week to go to my first official publishing event wearing my BookMachine hat, as I wended my way to The Caledonian Club in the heart of London for the catchily-titled ‘Westminster Media Forum Keynote Seminar: Book publishing and the wider creative market – cross-sector collaboration, copyright and new avenues for growth’.
Despite having a total inability to remember the name of this event, I was excited to hear a panel of experts from across our industry discussing the issues of the day, including the likely impact of Brexit, the relationship between publishers and authors, the importance of technology and innovation, and the lack of diversity in publishing.
A force for good
Stephen Lotinga, Chief Executive of The Publishers Association, introduced the event with a summary of the main issues to be discussed – Brexit, copyright and diversity – but what really struck me was his statement that ‘Book publishing is a profound force for good, and one that we should cherish.’ In an era that sees Simon & Schuster USA’s Threshold Editions paying $250,000 to bring us the collected thoughts of Milo Yiannopoulos, it’s a useful reminder of our duty to publish books we can truly be proud of.
Paul Herbert, a partner at Goodman Derrick LLP, gave us a rundown of the specific ways that changes to the EU copyright framework may affect us as UK publishers. In summary, we won’t be facing a full-scale rewrite of our copyright laws, but rather a set of tweaks at the margins.
After taking us through all the details of the likely changes, Herbert explained that, as the new framework will be an EU directive, it will not be legally binding unless enacted by the UK parliament in legislation – so whether we press on with Brexit or not, we will still be able to choose whether to exist in harmony with our EU neighbours.
Working with authors
It says a lot about the publishing industry that authors are seen relatively rarely at publishing conferences. Nicola Solomon, Chief Executive of the Society of Authors, presented us with a list of concerns she has for her members, including the need for a strong copyright framework, for all work by authors, illustrators, photographers and translators to be credited, and for freedom of movement of creators in and out of the UK to be maintained.
Solomon called for accounting clauses to show authors not only how many books a publisher has sold, but also who has sold them down the line, and for authors to be rescued from a ‘triple tax whammy’. Touching on an issue that has flared up frequently on social media over recent months, she also supported the need for more diverse voices to be published, but pushed back on authors’ right to create characters beyond their own identities, saying, ‘Please don’t troll our authors for cultural appropriation every time they put a black face in their book if they’re not black.’
Many of the speakers mentioned the competition that books now face as a category, as our attention is distracted by Netflix, online gaming, 24-hour news, social media and more. Crystal Mahey-Morgan described her strategy of reaching a wide audience through cross-platform publishing: her company OWN IT’s first product, Don’t Be Alien, exists as an animated video, a book and a song, and as six-word stories that can be bought as designed t-shirts and jumpers. People can enter the world of this story through any of these products, ranging from a 99p song to a £30 t-shirt.
Another way of looking beyond the book came from Rosamund de la Hay, President of the Booksellers Association and owner of The Mainstreet Trading Company. She pointed out that bookshops are a vital ‘third place’ in our communities: ‘not home, not school, but familiar and safe.’ Her bookshop in the Scottish Borders also has an antiques concession, a deli and a café, and they cross-promote books across the entire shop. Books are displayed with relevant products (just as shops like Anthropologie and Urban Outfitters are doing), and the café produces food from specific cookbooks. These strategies, combined with festivals and other events, demonstrate how a book can be far more than just a book.
Another advocate for reaching broad audiences is Sam Missingham of Harper Collins, who described the way that fan communities congregate in different spaces, such as Wattpad for sci-fi lovers. Her BFI Lovefest last year was a virtual book festival delivered via Twitter, Facebook, and Google Hangouts, with a live film screening at the BFI itself. The broad range of events combined with the massive reach of the BFI’s social media following provided a huge audience of people who might not see themselves as natural literary-festival-goers.
Technology and innovation
Justine Solomons, founder of Byte the Book, took us on a tour of innovation in publishing. Her own quest to bring tech companies, authors and publishers together began when she was reading a fellow student’s typescript on a Kindle six years ago and wondered, ‘Why can’t I buy this directly from the author?’
Although self-publishing can seem to be a modern phenomenon, it has a long history, reaching back to Jane Austen, Ezra Pound and Virginia Woolf, and even including J. K. Rowling, the founder of the Pottermore website. Indeed, Solomons argued, traditional publishing can even be regarded as a form of vanity publishing, because it shows that as an author, you need somebody to validate you. She highlighted Unbound and OWN IT! as innovative publishing companies, and Mark Edwards and Mark Dawson as impressive examples of self-published authors.
Oli Christie of Neon Play shared his tips on what the book industry can learn from the world of gaming. His first piece of advice was to be agile and prepared to pivot: bring out products quickly and be willing to change them if they’re not working. Next he stressed the importance of analytics: examining user data and trying A/B testing to find the most successful types of plot and character. Finally, use brand partnerships to extend your reach to much bigger audiences.
This was a constant theme throughout the conference, and it’s one that none of us can ignore any longer. Sarah Shaffi of The Bookseller explained that it’s not just the wealth of competing distractions that turns people away from books; she said that many readers feel the publishing industry ‘isn’t speaking to them in their language or in the spaces that they occupy.’
Shaffi reminded us of the troubling fact that of the thousands and thousands of books published in the UK in 2016, less than one hundred were written by non-white British authors. She also gave an impressive range of statistics showing that film and TV adaptations, which demonstrably boost book sales, are nearly always based on books written by white people and feature non-diverse casts. This is an area where so much more needs to be done, and as Shaffi pointed out, the argument of ‘but we need to be commercial’ just doesn’t hold water: the book on which the musical Hamilton is based saw a 16,000% sales increase in two years, something any publisher would welcome heartily.
Crystal Mahey-Morgan made the ultimate point to close down any argument that diverse publishing is bad for business. In 2016, she published Mama Can’t Raise No Man, by Robyn Travis, which according to reports was the only novel published by a black British man in the entire year. (Take a moment for that to sink in.) The launch event, featuring a gospel choir along with poets and other performers, sold out the Hackney Empire, with tickets priced at £7-£10. So not only is it the morally correct thing for us to do as publishers in opening up our lists to diverse authors; it makes financial sense too. And in this era of constant change, that sounds like exactly what we need.