CK: How has life been since the launch of your novel last November?
VG: Well, apart from the joy of knowing my novel is ‘out there’, nothing has changed. I am not doing anything different – still working hard at a hundred and one different things.
CK: What have been your highs and lows?
VG: Highs have been seeing some lovely reviews in the newspapers – especially the glowing reviews from A N Wilson. But the best thing? Getting letters and emails from complete strangers to say how much they have been moved by the book. And even better – when those come from Wales!
CK: The Cowards Tale is getting a new boost this month with the launch of the paperback edition. What is significant about this for you?
VG: It has happened very quickly; I think usually, there is a greater distance between hardback and paperback publication. But for this writer, the daughter of a librarian, and a person who adores books as lovely things, I was delighted to have a few months in hardback, and having now got my hands on my gorgeous paperback, I am as nuts about that book as I was about the hardback.
CK: What has it been like working with Trâm-Anh as your paperback editor?
VG: Lovely. All I ask is that there is communication – because I care enormously about my book and need to know what’s happening, or not. And Trâm-Anh is wonderful…she seems to understand that. Thank you Trâm-Anh
Trâm-Anh (“This photo makes me look like Head Girl”)
CK: Could you tell us a little about your job as a paperback editor?
TD: I oversee all paperbacks on our trade list, fiction and non-fiction. I brief our in-house designers for all paperback covers after discussing with our marketing and sales teams which direction we want to take the paperback. I then work closely with our designers as they progress their visuals and, alongside the commissioning editor and our marketing and sales directors, make the final decision on which cover we will have. I also put the book through press, selecting the best press reviews for the cover, making any corrections that need to be made to the main text, and making sure the costs for the book work. Then, in the run-up to a paperback being published, I work with marketing and publicity on their campaigns. It’s a very varied job, and I love the different aspects to it, but the best part is helping an author bring their book into the world.
CK: What is the usual time difference between the launch of a hardback and the paperback version? What are the reasons it might vary?
TD: It depends on the book and the time of year that we publish the original edition. In general there’s roughly a year between hardback and paperback, but with Vanessa’s book it made sense to publish in the spring, quite soon after the hardback. Spring and summer are our busiest times of the year for paperbacks as people tend to buy them when they’re off on their holidays, while the autumn market tends to be geared towards Christmas gifts, which suits higher priced books like hardbacks (publishers will almost always save their big cookbooks for October publication). So, of the 120 paperbacks we will publish this year, over two thirds of them are published between January to July. We look at our schedule carefully to make sure we’ve spread out our titles so that similar titles aren’t competing with each other.
CK: Why do paperbacks tend to have different covers from hardbacks? What were your thoughts when preparing The Coward’s Tale?
TD: The market for paperbacks is different from hardbacks – it tends to be a younger, much broader market for the paperback which is why we often go for different covers as we’re trying to reach a bigger readership with the paperback. The gorgeous, illustrated cover for the hardback of The Coward’s Tale (designed by our very talented designer Holly Macdonald) was perfect for making a statement to the trade and literary editors that this is an important literary novel that people need to take notice of. When it came to the paperback, Helen Garnons Williams (Vanessa’s editor) and I both agreed the cover should be photographic, concentrating on the boy Laddy Merridew, with a real sense of south Wales’s sweeping valleys. I have a close friend who grew up in Caerphilly and she helped me find the right kind of photographs of the Rhymney Valley to show our designer, Sarah Greeno. Here are some of the options that we initially looked at but subsequently discarded – we all wanted the cover to be more uplifting, and these designs weren’t quite strong enough (though the feather design is a beautiful and clever idea). As soon as we saw the vibrant orange sky, we knew it was perfect, and the image of the boy running down an empty street was so poignant. There was a collective, simultaneous sigh of ‘Ahhhh’ when everyone saw this cover. We later realized it’s uncannily similar to the cover for one of Vanessa’s previous books, but this was a pure coincidence!
CK; Books published under Bloomsbury’s new imprint, Bloomsbury Circus, will launch as ‘unusually sized’ trade paperbacks. When the paperback editions of these books launch, will there a be a difference in how you work versus one that launches in hardback?
TD: No, Bloomsbury Circus books will still be published in paperback in the same way as books that were originally launched as hardbacks.
CK: How do you see the share of sales changing between hardbacks, paperbacks and electronic books?
TD: Over the past year or so we’ve seen a marked increase in the sales of electronic books but so far it’s difficult to tell how much they’ve impacted on sales of print books. Sales overall for publishers are down (hardback and paperback), but we’re yet to see if the rise of eBooks has compensated for this downturn, as unfortunately the sales data for eBooks isn’t quite accurate enough for us to get a clear idea of how they’re doing.
Traditionally, the paperback is the main life of the book and 9 out of 10 print books purchased are paperbacks. In America, eBook sales of big, commercial titles have been known to outsell the print edition. We haven’t quite seen that level here, but I suspect it’s just a matter of time.
CK: What has it been like working with Vanessa?
TD: Vanessa is an incredibly warm, intelligent and passionate author and it’s genuinely a pleasure to work with her. I remember first meeting her on our editor-in-chief’s houseboat last summer and having a lovely chat with her about books, families, life and everything. It’s also brilliant to work with authors who are clued up about using social networking sites: I cannot count the number of times our marketing and publicity teams ask editors if their author is active on Twitter! Via her blog, website and Twitter feed, Vanessa clearly works hard to promote the book, and it’s increasingly important to have authors as pro-active as her. More than anything, we’ve all found Vanessa to be a very gracious author, thanking everyone involved in every stage of her book (marketing, publicity, production, design, etc).
CK: How early on in the life of a book do you get involved? OK, I admit that’s a slightly loaded question…so have you been having thoughts about The Night Rainbow yet?!
TD: Ha, good question! Well, I’m very much involved in the acquisition process here at Bloomsbury and try to read as much as I can of the books that the commissioning editors are considering. It’s impossible to read everything (especially when you have over one hundred paperbacks a year!) of course, but I try to get a feel for as much of our list as possible. So, I normally start thinking about a paperback as soon as the commissioning editor has bought it, and the editor also talks to me about their thoughts on the paperback at a very early stage. Helen Garnons Williams is such a passionate advocate of all her authors and is constantly checking on the progress of all her paperbacks.
And to answer the question about your book: as you know, I’m a huge fan of The Night Rainbow (I almost cried when Helen was launching it at the marketing meeting recently) and have some thoughts on the paperback cover but you’ll have to wait and see!
CK: So, Vanessa, now you’ve seen the alternative covers to the one you were proposed and ultimately ended up with, what are your impressions?*
VG: I am struck by the sombreness of the palette used in firstly the cover showing the close rows of houses – and secondly the boy on the hilltop overlooking the town. And, although I prefer the third concept – the colours in the ‘feather’ cover have the same effect on me. The Coward’s Tale is not a gloomy book – it is about healing, at base – the meta-nattative is about the healing power of story, the way repeated telling of the same tales finally helps the community to acknowledge the past and move on. And frees the teller.
If I tried consciously to do anything at all, I tried to make the story sing. So when Trâm-Anh’s note, in with the paperbacks, said ‘Doesn’t the orange sky sing?” that felt absolutely right!
I know colourways can be tweaked. But the first (hilltop) holds no intimacy, whichever colour it is. The second (close up houses) is too ‘house-orientated’ – it’s muddly as an image, and I don’t really like it as a cover. The feather idea is better, it is clever, but it kind of misses the point – the boy is not the coward, and it leads the reader to expect him to be.
The chosen cover works so very well – and one of the most resonant things for me, apart from the street being ‘right’, the Cat public house, the mine in the distance…the flame-colour of the sky – is the shadows. Or not. When I was sent that cover I liked it immediately. It has very close echoes with the cover of my first book – a red-haired child walking away from the onlooker. So there was a synchronicity about it. It is a more commercial cover than the hardback, and that has to be a good thing, for sales.
The most important thing for me in all this was that I was in the hands of professionals who know the market, who know what works and what doesn’t. It would seem silly to impose my likes and dislikes onto that, as they ought to be irrelevant. Besides, Trâm-Anh told me that some important book buyers liked the cover we ended up with – and that was key. It’s just a product, in the end.
So, on to a cover I like came the fabulous quote from A N Wilson when he made ‘The Coward’s Tale’ his novel of 2011 – saying the book is lyrical, moving and funny. You can’t get better than that, and coupled with an engaging, eye-catching image, more than that we cannot do!
CK: Vanessa, you said at the start that you’re ‘working hard at a hundred and one different things’! What are you up to now/next?
VG: Top of the list would of course be anything needed for ‘The Coward’s Tale’. Thus far, there has not been much to do apart from a few visits to read/talk/record video etc at Bloomsbury. But I’m not twiddling my thumbs doing nothing, I hate not having lots of things on the go! While I was writing The Coward I also wrote two collections of short stories, pitched, organised, edited and contributed a chapter to ‘Short Circuit, a Guide to the Art of the Short Story’, wrote an as-yet-unpublished flash collection, did masses of teaching, and started to learn about poetry.
1. Next Novel! Yes! The working title is ‘Kit’, and it will be a prequel/sequel to The Coward. I started it in Ireland back in Jan/Feb and came back with 40,000 words to play with. Early days, and it’s going to be a rather tough call to make this work - but I will give it a good go. I’ve got a Hawthornden Fellowship for November/December, a period of four blissful weeks in a drafty Scottish castle, with no internet, no phone signal. HO HO! Hot water bottles, blankets, laptop. Imagination. Hopefully ‘Kit’ will start taking shape…. at the moment, it is shut away and I won’t look at it for a few months. Already I know I went down completely the wrong road with one character, and he has to come out.
2. Planning the most exciting thing – a residency on the island of St Helena for 2013. For anything up to six weeks/two months I would like to be on this
fascinating island, responding to the place and the people, somehow, in writing. Whatever comes. Stories, hopefully, then it becomes a third collection. If not, a travelogue with a twist. We’ll see. I’m also hoping to work with the schools, and other plans up the sleeves. And of course, it will be a suitably remote place to work on ‘Kit’.
3. Second edition of ‘Short Circuit,’ for Salt Publishing. You can’t let a great ‘how-to’ book go stale – so I’m making it bigger – adding new stuff – and working with writers like Scott Pack, Stuart Evers, Tom Vowler, Nicholas Royle, either on new interview-based chapters or they are going off and writing their own. It begs the question why am I doing this – I won’t earn much from it – but it’s a good thing, a great book, and I love the thought that it is helping new writers, inspiring tired ones. Passing this thing called writing on to the next generation is very important to me. Many of the original Short Circuit writers, whose chapters will remain an important part of the book, have blossommed even more in the last couple of years – Alison MacLeod, Graham Mort for example – both finding success in national competitions – and Carys Davies – winning the Society of Authors’ Olive Cook award. We have a strong strong team, giving insights and practical advice.
4. ‘Ed’s Wife and Other Creatures’. I am working with a fantastic illustrator on a mad collection of flash, subtitled ‘Portrait of a Marriage’. We are planning to publish this as a gift book with a tiny tiny press, planning, funding, designing, sorting all the stages of the production process ourselves – and that will be a fab experience. Sales, marketing, distribution – ask me later! All I’d like to do is break even at this point, so it is an interesting project.
5. Learning! Poetry. I am loving learning about poetry, and maybe uncovering a small talent for this slippery thing. As I write, I am in the middle of a series of wonderful poetry workshops tutored by Pascale Petit. She is poet in residence at The Tate, and we meet every Monday after Tate Modern has closed, in
whichever exhibition she has chosen that day – just us, a group of twenty or so - and we respond to the art. Yesterday, we were with Boetti and his world maps sewn by Afghan women who didnt know what the sea was, so coloured it with what silks whatever they fancied, and sometimes filled it with patterns. Amazing.
6. Teaching! Invitations so far this year to take workshops for Spread the Word in London, New Writing South in Brighton, Wellington College, University Campus Ipswich, Claremont School, The Winchester Writers’ Conference Pitstop, Hope and Anchor Writing School in Whitstable, a week on the short story at Anam Cara Writers and Artists Retreat in Ireland – and I’m in discussion about another week at a Spanish writers’ retreat. I love teaching – and besides, it pays. That is very necessary now, the combination of husband retiring a while back, our youngest son in his first year at university and the recession has done its worst in our household – I am seeing Toby through uni on what I earn as a writer… go figure!
Thank you to Vanessa for coming by to give us an update, and especially to Trâm-Ahn for taking the time to be interviewed and providing us with the ‘rejected’ covers!
Finally, it’s Bloomsbury’s Year of the Short Story. Vanessa’s ‘unofficial’ contribution is to read and record for posterity what she thinks is one of the most powerful short stories ever written. ‘The Ledge’, by Lawrence Sargeant Hall. Here it is – interspersed with a bit of natter – in two sections. It’s long… http://readmesomethingyoulove.