That was the name of the panel that I moderated at this year’s London Book Fair, and which featured Abby Blachly of LibraryThing, Lance Fensterman of Reed Exhibitions (in particular, BookExpo America and New York Comic Con), Bob Stein of the Institute for the Future of the Book, and Mark Thwaite of ReadySteadyBook.com, the Book Depository, and the Independent Foreign Fiction Prize.
By design, this panel was more about new methods and ideas about marketing, and about the evolving relationship between publishers and their readers, rather than about how to market a particular book. That said, a lot of the discussion—and the particular ideas presented—centered around more “niche” books and how to find a particular audience for these sorts of books via the internet, LibraryThing, etc.
Rather than recap the whole event (not that my memory of what happened last Monday is all that clear anyway), here are a few of the bigger points that came out of this:
Overall, this was one of the best London Book Fair panels I’ve ever been on. Great presentations and wonderful questions from the audience. And hopefully we came up with some interesting ideas that are of some benefit to publishers large and small.
Despite cries that literature is dead, dying, and self-replicating in the worst way, once in a while a book comes along to remind readers that there’s still a lot of surprise to be found on the printed page. To be. . .
“I was small. And my village was small, I came to know that in time. But when I was small it was big for me, so big that when I had to cross it from one end to the other,. . .
A few weeks after moving into a farm house in the Welsh countryside, Emilie, an expatriate from the Netherlands, starts to think about her uncle. This uncle tried to drown himself in a pond in front of the hotel where. . .
Think back to the last adventure- or action-type book you read. Wasn’t it cool? Didn’t it make you want to do things, like learn to shoot a crossbow, hack complicated information systems, travel to strange worlds, take on knife-wielding thugs,. . .
In Aira’s Shantytown, while we’re inside the characters’ heads for a good portion of the story, the voice we read on the page is really that of Aira himself, as he works out the plot of the book he’s writing.. . .
Noir is not an easy genre to define—or if it once was, that was a long time ago, in a galaxy far, far away; as a quick guess, maybe Silver Lake, Los Angeles, 1935. When two books as different as. . .
Some time ago I read this phrase: “The page is the only place in the universe God left blank for me.”
Pedro Mairal’s short novel The Missing Year of Juan Salvatierra is more about these blank spaces than the usual full. . .