The Future of Publishing?

May 16, 2007 | 3 books mentioned 3 3 min read

What’s the pedigree of a bestseller? That’s the question the New York Times asked last week in an article that, despite the endless waves of political scandal, remained on their most viewed list for the better part of a week. The article reveals the seamy side of publishing: publishers have foresworn the metrics used by marketers to study their audiences’ buying habits, because they, much like Creationists, “don’t believe in them,” leading to an industry where million dollar advances are gambled on the Flying Spaghetti Monster of editors’ intuition. So is it any surprise that an article about the billion-dollar, high-stakes world of publishing, with its talk of big bets and horse racing, comes off sounding like a description of a Gambler’s Anonymous meeting? Won’t someone stop the insanity? (Very nicely summed up here, btw.)

Enter Macmillan New Writing, the controversial imprint of the British publishing house Macmillan. New Writing was founded to promote works by unpublished writers, particularly writers who have produced the kind of experimental, unclassifiable or controversial books that are worth publishing, but might not have what it takes to become best sellers, in other words, books that don’t have mass market appeal. The imprint publishes one book a month and currently comprises twenty titles, all of which are prominently featured in Macmillan’s catalog. No agents are involved, the publishing house accepts direct submissions, and writers get no advance, but earn 20% royalties.

coverSounds good, no? But it’s not all upside. Not only are the writers’ contracts non-negotiable, but Macmillan receives all subsidiary rights to the book and a first look at the author’s second book. Critics have reacted strongly, calling the imprint “literary slave drivers” and “vanity publishers,” and indulging in apocalyptic predictions of the end of publishing as we know it. (As if that would be a bad thing. The submissions, at least, are entirely electronic.) The negative press was so strong that the founder of the imprint, Michael Barnard, felt compelled to write Transparent Imprint, a book defending his idea. (Which the imprint, of course, published. See how that works?)

Why all the consternation? Sure, novelists lose their right to film rights, translations, and licensed merchandise (Ignatius J. Reilly trebuchets, anyone?), but is that so bad? Without an agent, they wouldn’t be able to sell them anyway, and apparently Macmillan has been doing a good job so far, bagging a movie deal for the thriller The Manuscript and a decent advance on a German edition of the fantasy novel The Secret War. What’s really at stake, it would seem, is the publishing industry’s ego. Despite the fact that their best work is guesswork, they like to believe they know what they’re doing when they get into a bidding war over a total unknown. The novelist Giles Foden, quoted by the Guardian, put it like this, New Writing’s list is like “putting a bet on every horse in the race – but without paying for any of the bets.” And that doesn’t make us feel very special, does it?

But, if the New York Times is right, isn’t that what publishers are doing anyway? If advances are the big gambles everyone says they are, then they only serve to make publishers risk averse. Much like Hollywood, which instead of looking for fresh material, increasingly hedges its bets by turning out retreads of once popular comic books and old TV shows, the publishing industry is in a rut. Bestsellers are inherently unpredictable, and yet, if a publishing exec had to choose between a cutting edge novel and another Harry Potter knockoff, you can bet that “Parry Hotter and The Sorcerer’s Merkin” would be the one stacked on the front tables of Barnes and Nobles nationwide. By not giving writers advances, New Writing has found a way around this problem, allowing them to take a chance on a book, while reducing the considerable overhead attached. This system should be a boon for mid-list writers who, it’s often said, are not nurtured by publishing houses in the way they once were. Sure, you’ll hear writers grousing about being unable to make a living from their work, but, with the exception of the biggest literary stars, isn’t that’s how it’s always been? For my part, I’d much rather have my books in print, giving my readership a chance to grow with me. After all, readers will seek out a good writer’s backlist, and every book that sees print should increase royalties from previous efforts. And what a boon for those writers who don’t have the savvy, connections, or good luck to get an agent. Hell, some writers, John Kennedy Toole comes to mind, are literally dying to get published.

It’s been over a year since New Writing put out its first book, and the imprint’s list of well-reviewed books seem to be proving the naysayers wrong. The writers’ seem satisfied with the deal (here and here), and if Roger Morris’s Taking Comfort (recently reviewed here at The Millions) is any indication of the quality of the books New Writing has on offer, they’re doing the literary community a real service. It might be time for the rest of the publishing industry to put down their dice and take notice.

Bonus Link: The MacMillan New Writing titles currently available in the U.S.

is a Washington correspondent for the Japanese news service Kyodo News. He writes on US-Japan relations, reporting from the White House and the Pentagon. In his spare time, he works as a translator. He is currently writing a police noir set in Japan. Follow him on Twitter @benjamindooley.


  1. I would like to know more about how the subsidiary rights work. Does the author get a royalty on rights that are sold? If so, then the deal doesn't sound so awful, except for the no-advance bit. And for first-time authors, no-advance is no big deal since they generally write their first novels without an advance anyway (so that if they are lucky enough to get an advance on signing, it's after all the work has been done anyway). I think it's quite an interesting project. I'd like to see an American imprint of a major publisher try this.

  2. Re RWB's query about subsidiary rights. Yes, the author shares in all subsidiary income.

  3. I'm an American, residing in California, but my debut novel is being published by Macmillan New Writing. Why? I tell the story at some length in a post at my blog, but the short version is this: I had a good NYC agent who shopped the book to the major US houses. The editors liked the novel–or at any rate said flattering things about it– but most objected to the subject matter, and one came right out and said "The fact that the bad guys are Americans makes this a hard sell for us."

    The publishing industry is not only risk-averse in terms of dollars and cents, but also increasingly spineless about political content. Thank god for Macmillan New Writing; one can only hope a US press will launch a similar imprint some day.

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