“Why this promotion leading up to the London Book Fair in April?” asked one publisher as she merrily jumped on to BookBlast’s celebratory bandwagon. Why indeed? Even the smallest publisher now has a website and a vital presence on social media, however visibility remains an issue.
SO MUCH is published! How can avid book readers, students on publishing courses, Media researchers and stumble-upon book browsers find the good stuff amidst the avalanche of words available online and piled high on bookshop tables? To separate the wheat from the chaff is becoming ever more essential. The need for well-informed curated recommendations is growing and growing . . .
When I first came into publishing in the late 1980s, commissioning editors held sway (as they still do at houses such as Gallimard across the Channel). They were respected for their knowledge and idiosyncratic flair in spotting potential new talent, much as a wine expert can identify a promising wine. Now it is the sales and marketing teams that hold sway in the ivory towers of corporate publishing. They follow trends, play with pie charts and algorithms, and pray daily at the hallowed altar of The Market. Of course there are still superb editors at the corporates − they are remarkably adept at surviving with steely determination in an environment which commodifies and monetises creativity remorselessly. It is a different mindset. Continue reading BookBlast™ celebrates independent publishing | Georgia de Chamberet on why independence matters
Russia: friend or frenemy? The Ukrainian crisis and Russia’s direct military involvement in the Syrian Civil War are generally reported with an anti-Russian bias. Britain’s phobia has its roots in the 19th century and fear of Russia’s rising power. Today, still, Russia asserting its national interests is presented as an act of blatant aggression. A Cold War mentality lives on. Yet Western militaristic aggression in Afghanistan, Iraq, Syria and Libya are portrayed as noble moral endeavours, bringing democracy to the unenlightened.
Colin Thubron opens Among the Russians (Picador 1995) with the words: “I had been afraid of Russia ever since I could remember. When I was a boy its mass dominated the map which covered the classroom wall; it was tinted a wan green, I recall, and was distorted by Mercator’s projection so that its tundras suffocated half the world.” Continue reading BookBlast™ Spotlight | The Russians are Coming? They’re already here! #RussianLiterature
BookBlast™ was founded in 1997 to give voice to new or neglected writers, and to showcase world writing. The agency was one of the first in the UK to adopt online technology — the company website went live in 2000. It was selected by the curators of Bodleian Electronic Archives and Manuscripts, Bodleian Libraries, Oxford, as being of lasting research value and worthy of permanent preservation in the Web Archive of the Bodleian Libraries in March 2015.
At a young age, I was introduced to writers, stories and imaginary worlds from many lands. To cross cultural boundaries and explore alternate ways of seeing and being is a great gift to give a child.
Sorting through the BookBlast agency archive has thrown up happy and sad memories, not only in terms of the projects and writers I have been lucky enough to collaborate with, but also the visionary commissioning editors who backed untried-and-tested writers and projects.
Continue reading BookBlasts™ from the past | Empire Windrush #bookblastofficial
It is rare for a single book let alone a translation to generate widespread excitement across the publishing industry. Joel Dicker’s thriller, The Truth About the Harry Quebert Affair, published in 2012 by 87-year-old veteran, Bernard de Fallois, became the most talked-about French novel of the decade. Christopher MacLehose, the publisher behind Stieg Larsson, made an offer a few weeks before the Frankfurt book fair − pre-empting a stampede of publishers bidding for the rights to translate the novel into 35 other languages. Novels by Norwegian author Karl Ove Knausgaard and Turkish Wunderkind, Orhan Pamuk − agented by Andrew ‘the Jackal’ Wylie − are likely to be hot properties at this year’s Frankfurt book fair. And Scandi-Crime continues to be hugely popular.
Translators and their publishers are a bridge between worlds . . . between writers abroad and readers at home. Judging by the throng of professionals attending International Translation Day 2015 held at the British Library − the waiting list to get in was long and many were turned away – translation continues to be The Next Big Thing & Getting Bigger, as it rises in popularity and visibility. The insularity of certain mainstream sectors of the book trade come across as increasingly old-skool elitist like politicians quaffing Dom Perignon in the Westminster bar.
Continue reading International #translation Day 2015 @britishlibrary @FreeWordCentre @englishpen
Georgia de Chamberet talks to Florent Massot, French publisher of Virginie Despentes, Kurt Cobain, Mike Tyson and Valérie Trierweiler. Baise-moi (Fuck Me), his first hit, published in 1994, sold 50,000 copies for éditions Florent Massot before being released by Grasset and J’ai Lu, nudging up to 200,000 copies.
Why publishing and not music or film?
I started work on my first book age 17 in 1982 about a group called Urban Sax. Why publishing? Because my generation went into music and film, but I’m not competitive, it’s not my way. For 15 years I was the youngest publisher in France and the only one of my generation. Publishers who are 50 now all began their careers 20, not 30, years ago. So for 12-13 years I was alone. My friends were all in music which was great, but I was the only young indie publisher which is why I carried on, since I don’t like having to be combative. I wanted to be the best publisher of my generation and was . . . the worst! . . . there was only me!
I had a go at journalism and published a magazine called Amazone in 1984, then Intox in 1990, but that world moves too fast. I like a slow burn, and am not speedy. In publishing you meet up, the project develops over 1-2 years, it takes time, isn’t fast and furious, all on the surface. A book can really make a difference, go deep, whereas an article is ephemeral.
Publishers are in the game for different reasons: for some it’s a love of words, for others because they want power. What interested me was to meet the movers and shakers. A friend said, “If you go into publishing you’ll meet the people making it happen, who are the zeitgeist.” He often spoke to Cartier Bresson on the phone because of a book he was working on about the great photographers behind photojournalism. I wanted to meet these people. Since then, over the last 32 years, I have met so many people from different walks of life, that publishing has been good to me on that level.
As an object, a book can be a bit fetishistic. For me it is neither the object, nor the words, but the encounters. A book is a meeting place for people and ideas.
Continue reading The BookBlast™ Interview | Florent Massot, fine young radical of French publishing
Narrative non fiction: a new category
When Lesley Blanch wrote that “Journey into the Mind’s Eye is not altogether autobiography, nor altogether travel or history either. You will just have to invent a new category . . .” the label narrative non-fiction did not yet exist. Her autobiography about the early part of her life was published in 1968. She was ahead of her time. Like Rebecca West and Truman Capote, Lesley Blanch was experimenting with different forms and techniques to tell a damn good ‘true’ story.
Lesley Blanch claimed she could not invent, hence choosing biography rather than fiction, although her storytelling was underpinned by a vivid imagination and scholarly research. The Sabres of Paradise: Conquest and Vengeance in the Caucasus took six years to complete and required thorough investigation in Russia and Turkey.
What is narrative non fiction?
Narrative non-fiction is not just a convenient label used by publishers to help booksellers categorise their titles and display them, or a new genre fresh out of American writing schools for literary critics to argue about. It is favoured by clever young editors like Leo Hollis at Verso, or Richard Milner at Quercus, as a way to get across difficult, or dry, ideas in an engaging manner. People are most interested in other people and their experiences, not the dusty archives of research. To take the reader on a scientific, or philosophical, or historical journey of discovery by means of a series of a well-written scenes knitted together to form a compelling whole, as opposed to recounting how A then B then C happened in a cut-and-dried linear fashion, makes for a more exciting read and a saleable book.
Continue reading BookBlast™ Spotlight | Lesley Blanch and the Art of Narrative Non Fiction
Gone are the days when an author’s book promotion was simply about having a launch party, doing a few press and radio interviews, some bookshop signings and a talk at an appropriate venue. Now, in the UK, more books are published per inhabitant than anywhere else in the world: the scramble to get noticed is fierce.
What does a book promo package entail?
The full author book promo package now includes: having an author website, contacting personal Media contacts and those with specialist and local appeal, as well as international contacts; getting endorsements; writing for the press when and where possible; arranging speaking engagements, seminars, or workshops; connecting live ‘n’ direct with readers to build up a following via social media (facebook, twitter, youtube, pinterest); writing a blog, guest blogging and going on blog tours. It is immensely time consuming, but adopting a luddite attitude is ill-advised.
The literary festival circuit is a key component of book promotion. The more an author gets known the more likely it is sales will rise, ergo financial gain for all involved. Few writers would shun the opportunity to promote their latest book to potential punters, however many or few of them come to a talk and buy a book afterwards, with an autograph thrown in.
Continue reading BookBlast™ on the seemingly unstoppable boom in literary festivals
Translations on the UK market
In a piece for The Swedish Book Review published in 1997, I stated that, “Roughly 3% of the titles published in the UK every year are translations (as opposed to 30-40% in France and Germany).” It is a puzzling paradox that Britain is such a multi-cultural society yet so insular when it comes to ‘foreign’ writers in translation. Especially since book-buyers just want a good story and are not particularly concerned about its provenance.
Dr Jasmine Donahaye’s 2012 survey Three percent? Publishing data and statistics on translated literature in the United Kingdom and Ireland is unequivocal: “Literary translation in the UK and Ireland – whether assessed according to its broader definition or restricted to the genre categories of poetry, fiction and drama – is a little higher than the often-cited 3% figure. Indeed it is consistently greater than 4%, and, over the sample years, consistently increases.”
She gives the following statistics:
“The percentage of all publications that are translations: 2.21% in 2000 ; 2.65% in 2005 ; 2.43% in 2008.
“The percentage of poetry, fiction and drama that is translation: 4.37% in 2000 ; 4.51% in 2005 ; 4.59% in 2008.
“The percentage of all literary genres (the entire 800 Dewey range) that is translation: 4.17% in 2000 ; 4.20% in 2005 ; 4.37% in 2008.”
Continue reading BookBlast™ Spotlight | Boom not Bust: A new chapter in the story of translation in the UK
What is BookBlast™?
A brand is your personality, so the saying goes. Since I am a blasty kind of person, and an idealist with chutzpah when it comes to getting writing and ideas out into the world whichever way possible, BookBlast™ is a reflection of this. I dreamed up the name for the London-based writing agency founded in 1997. In 2009, we registered the trademark BookBlast™ in both the United Kingdom and the United States of America in Classes 35 and 41 for services relating to promotion, marketing, advertising, writers agency matters, publication of electronic books and the provision of information in relation to books. The first company website went live in 2000. Since which time much of the writing and self-publishing community has been inspired by the concept of BookBlast™ online.
The Founder of BookBlast™
For over twenty-five years − as an editor, agent, book publicist, literary executor and translator − I have cross-pollinated ideas, connected the dots and contributed to making major book projects happen, often against the odds. Since 2005, I have contributed as an occasional writer to words without borders , 3:AM magazine and various publications.
On 5 March 2015, the company website bookblast.com was selected by the curators of Bodleian Electronic Archives and Manuscripts, Bodleian Libraries, Oxford as being of lasting research value and worthy of permanent preservation in their Web Archive.
Continue reading Viva BookBlast™!