You have to put all your energy into persuading other people in the big companies to do this for you. As an editor with a book you really believe in, you don't tell the world about it. ‘By the time you get to a company that's bigger than, say, 300 or 400 people, an amazing amount of the energy that's expended is internal, it's all about filling out forms and attending meetings and setting standards and training and it's got very little to do with publishing.
Publish responsibly and publish creatively and look at that person as a long-term career not a short-term enterprise.Īgent Nelle Andrew of Rachel Mills Literary in London in conversation with The Bookseller's managing editor Tom Tivnan at last month's FutureBook conference. What I am sceptical about is this idea of a collective bandwagon or reaching a quota and thinking I've done that quota. What everybody wants is to be given the same equality of platform to voice their experiences in the world. People from lots of different backgrounds write about lots of different things, it doesn't have to be mining the same pain over and over again. My people and my people's experience is not a trend, the collective history and pain of my ancestors is not something that is in vogue. particularly because film and television companies are desperate for IP and this is kind of a glorious time.
I know publishers will disagree but I think there are some ideas that are better for screen than necessarily for books and vice versa so that actually that is the thing I think agents should start to begin pivoting towards more rather than seeing it as an adjunct. ‘Quite a few of my authors have wanted to move into screenwriting which makes sense because publishing doesn't always pay them enough to keep them going in that particular way.
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