It’s author branding that gets the limelight tonight – one of the hottest topics in publishing at the moment, but what does it really mean? Can an author really be a brand – and how do you go about creating one for yourself? Luckily, we’ve got marketing guru Jamie Mollart on hand to supply some answers and sage advice – don’t miss it!
Also on the panel tonight- from Florida, leading lawyer and author of the forthcoming Writer’s Guide to the Courtroom Donna Ballman… from Edinburgh Litopia’s own Salmagundist, Eve Harvey… and from England’s West Country, the master of the fromage á trois - he created it live on air, folks – it’s Dave Bartram.
Topics covered and links include:
- Denise van Outen’s worst joke of the festival
- What’s wrong with clichés?
- Third hand remnants of Victorianism are screwing us up
- Self-publishing is working
- Brand Author - what does it mean?
- Book swaps not a new idea
- Curious George eats haggis
This week’s farrago of titles for the licentiously lascivious Commissioning Meeting comprise:
Donna
“What’s He Doing in There?”
Fritz Leiber, 1910-1992Jamie
“Radio Boys Cronies”
Wayne Whipple, 1856-1942Eve
“Lays of Ancient Rome”
Baron Thomas Babington Macaulay, 1800-1859Dave
“Ranching for Sylvia”
Harold Bindloss , 1866-1945
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I’m surprised and not surprised. First, I’m not surprised that Litopia A.D. in its discussion of Independent Publishing/Indie Authoring has once again stressed the importance of the agent/publisher “Gatekeeper Effect” in preventing the wholesale distribution of rubbish on an unsuspecting world.
I was surprised at the brevity that the discussion was given. A single comment from each panel member is not a discussion, it is a statement. Yet after such a fast overview airing the same-old, same-old, the panel turned to a spirited discussion on the market fact of author branding creating rubbish.
Where is the “Gatekeeper Effect” so proudly touted just a few moments before? What could have been added to the discussion is that indie publishing may prove to provide new voices to readers who are tired of the “rubbish” that no-risk, immediate R.O.I, no-future publishing churns out. If the gatekeepers will only support the work of the proven brand, even if the brand is rubbish, then where will writers go from here, but to indie publishing. Or to churning out market driven garbage.
Either the publishing industry needs to return to the grand old days of having some pride in what they do — willing to risk on the side of quality — or they will crumble under their own weight.