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Comment from the book world in January 2018


'A quarter of a century of collaborating'

26 November 2018

‘Sean and I have written psychological thrillers together under the name of Nicci French for nearly 25 years now - a quarter of a century of collaborating, of entering the other's imagination and exploring the world together. Writing is hard: writing with another person is really, really hard. The argument with oneself becomes also the argument with the other, in a way that's intimate and vulnerable and unexpected but also messy and complicated...

Indeed there's something scarily self-exposing, wounding, even humiliating about passing a pulpy, half-formed text over to another person to edit, to change, to erase. To write with your partner is to find things out about their subconscious - possibly unwelcome things.'

Nicci Gerrard, who with her husband Sean French has written Day of the Dead and an astonishing 21 other highly successful novels under the pseudonym Nicci French, in the Observer


Don’t worry about the bad drafts

19 November 2018

'I was a lot dumber when I was writing the novel. I felt like a worse writer ... would come home every day from my office and say, ‘Well, I still really like the story, I just wish it was better written.' At that point, I didn't realise I was writing a first draft. And the first draft was the hardest part. From there, it was comparatively easy. It was like I had some Play-Doh to work with and could just keep working with it - doing a million drafts and things changing radically and characters appearing and disappearing and solving mysteries: Why is this thing here? Should I just take that away? And then realising, no, that is there, in fact, because that is the key to this. I love that sort of detective work, keeping the faith alive until all the questions have been sleuthed out.'

Miranda July, film director and author of The First Bad Man and three other books

Publisher/poet wins Goldsmith’s Prize

12 November 2018

‘I work in a pressure-cooker system where I hope that I can store up all the thoughts and lines and phrases and when I do finally get away to some retreat somewhere I can uncork the bottle in a satisfying way, to release tension, and something will be there. It's easier with poetry because you can approach it that way, novels are much longer-haul and you need a longer trajectory.

I've worked there for nearly half a lifetime, I'm afraid. But you don't leave a place like Cape because there's nowhere better to be as a publisher.

On the importance of literary prizes, ‘It's an external validation, we all like to have our work approved of in some way. The money is very welcome of course but it's more the judgement of your peers and fellow writers, it's very satisfying... rather peculiar to me that I understand it to be a long narrative poem and it's been on two fiction awards' shortlists, and now to win a prize for experimental fiction when you've written a long poem is slightly confusing - but I'll take that confusion.'

Robin Robertson, who has published four poetry collections and is associate publisher working across Cape's fiction and poetry lists with authors such as Irvine Welsh, James Wood, Anne Enright and Ocean Vuong, in the Bookseller.

Commercial fiction writers

5 November 2018

‘They are authors who are unique, they are brilliant at what they do. For every company, there are must-haves. Lesley is a must-have. (Commercial) authors are, in fact better off than ever because people can see how good their books are now, they can read reviews on Amazon, and the way we can spread the word - using newsletters and Facebook pages - is fantastic. It used to be that you could package a not particularly good author and pay for promotion, get it out there, and it would sell. You can't get away with that anymore...

The word "commercial"... I never know what I mean by that. I think it's an every-blurring line but it's that book where the narrative drives you through. You can find that with very literary authors as well - David Mitchell, Ian McEwan or Donna Tarrt, for instance - but you have to keep reading. We're not in it just for the love of the language, let's put it that way.'

Louise Moore, MD of Michael Joseph, in a joint interview with her author Lesley Pearse (who has achieved 10 million sales worldwide) in the Bookseller.

An unknown intern… now set for SF stardom

29 October 2018

‘I couldn't believe they'd built something that had come out of my brain on that scale. It was really mid-blowing - and humbling. I thought, there are hundreds of people who've done this from me just writing something in my bedroom...

I wanted to tell authentic stories about those cultures rather than, as you so often see, a collection of white American people leading a mission.'

From helping out on Netflix's The Crown, Mika Watkins has been overseeing Origin, her own blockbuster YouTube series with a multimillion budget, launching on 14 November. Our Comment is from the Observer.

'It's the rewriting I enjoy most'

22 October 2018

‘Whenever I talk to kids about writing and tell them it's the rewriting I enjoy most, they groan. I guess if you're in school, rewriting means copying your papers over. But to me, rewriting is the most exciting part of the process. When I'm rewriting, I feel most creative. I've got all the pieces to the puzzle and now I get to put them together. I go through four or five drafts of each book. (When I was writing Summer Sisters I went through twenty drafts!)

Read your work aloud! This is the best advice I can give. When you read aloud you find out how much can be cut, how much is unnecessary. You hear how the story flows. And nothing teaches you as much about writing dialogue as listening to it.'

Judy Blume, author of Are You There God. It's Me, Margaret, Wifey, Forever and 29 other books in her series on writing on her website.


A ghost writer on ghostwriting

15 October 2018

'So, true story... I was asked once during a Q&A session whether I would use a ghostwriter to write my own memoir. Ha ha ha, everyone in the room laughed. Funny question. ‘But really... would you?' my questioner insisted. I thought for a moment and then came up with a surprising answer: ‘Yes!' And the reason is that if I wanted to make it a damn good read, I would need another person's perspective on my life story. The ghostwriter and their subject are two different people and, as the old saying goes, two heads are better than one. You may be blessed with immoderate levels of self-awareness and an uncanny ability to see the cause and effect of your behavior, but we are all utterly incapable of stepping outside our own heads...'

Kay Weitz, ghostwriter of 10 published memoirs with an 11th due out in 2018, on the Andrew Lownie Agency website

'All reading is good reading'

8 October 2018

‘I have always loved reading, but when I was at school, especially in primary school, I didn't realise that I did. The reason for this was that what seemed to count as ‘reading' was, in fact, something much more specific: reading meant fiction, and it meant chapter books. To read a book also meant to start at the beginning, and to finish at the end. When I was at school it was true that I didn't particularly enjoy reading fiction, and I found it hard to sit with a book for a long period of time, working my way through it in a linear fashion. But looking back, it is most definitely not true to say that I didn't like reading. I loved, and continue to love, factual books and anything to do with geography and history. I loved comics and newspapers. I loved dipping into a book with no pressure to read it from cover to cover. I was, and am, a reader, and when I visit schools I do my best to help pupils see that reading does not necessarily mean just one thing. All reading is good reading.' Joshua Seigal, author of I Don't Like Poetry and two other children's poetry collections.

'Editors are readers first and foremost'

1 October 2018

‘One of the great joys of being an editor is sharing your enthusiasm with colleagues and seeing others really get behind a project, so I suppose that's a strength - feeling that I'm able to gather a team around a book so that it might be published in the best possible way.

Editors are readers first and foremost, and when I love a book my first instinct is always to approach its acquisition and publication with that readerly passion. But of course that's not always enough. I've had to really reign that in sometimes and remind myself to always consider the market.

My favorite part of my job is editing - it always feels like the most extraordinary privilege, so I certainly hope I'll still be acquiring exciting new voices and working closely with authors to make sure their book is the best version of itself it can be.

The other thing that drives me is helping build writers' careers. In a few years' time, I hope I'll be able to look across my list and see some of the authors whose debuts I've acquired continuing to succeed on their second, third, fourth books.'

Sophie Jonathan, Pan MacmillanOne of largest fiction and non-fiction book publishers in UK; includes imprints of Pan, Picador and Macmillan Children’s Books/Picador senior commissioning editor, interviewed by Porter Anderson in Publishing Perspectives


Writer's block

24 September 2018

'I am never completely cold. I don't have writer's block, really. I do have times when I can't get the lead and that is the only part of the story that I have serious trouble with. I don't write a word of the article until I have the lead. It just sets the whole tone-the whole point of view. I know exactly where I am going as soon as I have the lead. That can take me three or four days and sometimes a week. But as for being cold-as a newspaper reporter you learn that no one tolerates you if you are cold; it's one thing you are not allowed to be. It's not professional. You have to turn the story in. There is no room for the artist.

And so trouble with the lead is as close as I get to being cold, and yes, I do go away from it for a while and go buy a pair of shoes or have dinner. And I know that maybe if I can talk to someone at dinner I'll find the thing I am looking for...'

Nora Ephron, journalist, film director and author of screenplays such as When Harry Met Sally and Sleepless in Seattle in an interview with Michael S. Lasky

'The richness of the novel'

17 September 2018

‘The mature, serious novel is the best art form for explaining our complicated lives. It gets all the little shades of meaning and the nuance of the human condition. D H Lawrence called the novel the ‘bright book of life', and it's the art form that has evolved to explain this bizarre adventure we are all on. The richness of the novel and its vast generosity as a form seems to me to be explaining our lives to us.'

William Boyd, author of 15 novels, including Love is Blind, A Good Man in Africa, An Ice Cream War and Any Human Heart, in the Sunday Times magazine.

Waterstones acquires Foyles

10 September 2018

‘Given that some very big and powerful companies dominate the UK books business, it is logical for other businesses to join together to shore up their profitability and influence in the market. I hope that these two well-loved booksellers find renewed strength and creative energy together. When big companies get bigger, it also leaves the door open for independent businesses to prove the potential benefits of risk-taking and difference and I hope that all independent booksellers see opportunities in offering the market something individualised and original...

As an agent, my concern in a books industry dominated by big companies is that - as well as needing a healthy and profitable bookselling and publishing business - we also need to ensure that authors' economic needs are met. Authors can't club together into bigger more powerful entities to protect their profitability in the way other parts of the business are. It clarifies the reality that one of our roles as agents is to continue to use the strength of our client lists to protect and promote every individual author's income in a market shaped by more powerful entities.'

Lizzy Kremer of David Higham AssociatesAgents for the negotiation of all rights in fiction, general non-fiction, children's fiction and picture books, plays, film and TV scripts (home 15%, USA/translation 20%, scripts 10%). Represented in all foreign markets. Preliminary letter and return postage. All adult submissions should be typed with double line spacing on one side only of A4 paper and pages should be numbered. Be sure to include a covering letter; a full plot synopsis of the proposed book; the first two or three chapters of the book; a CV and a stamped addressed envelope. Founded 1935, currently president of the Association of Authors Agents, commenting on the Waterstones acquisition of long-established bookseller Foyles in the Bookseller