Brian Lister at Biscuit Publishing explains why authors need agents to mediate for them
Brian Lister
For the 12th feature in our series on publishing houses we talk to Brian Lister, Managing and Editorial Director at Biscuit Publishing. Biscuit is very much a family business and was founded in 2000 to coincide with the release of their first book, an anthology called The Biscuit Tin. Brian tells us how and why they talent-spot via their short story competitions.
What inspired you to establish Biscuit Publishing?
In 1999, to mark the approaching millennium, I published an anthology of mini-anecdotes written in poetry and prose. They were sent to me from members of UK writers’ groups (I co-founded NAWG: the National Association of Writers Groups).
Each of the writings gave a brief glimpse of past lives; together they formed a social history of the 75 years leading up to year 2000. I called the book The Biscuit Tin. All of the sales money went to the Rainbow Trust.
Publishing that book inspired me to establish Biscuit Publishing Ltd. Its aim is to boost the confidence of struggling new writers; giving their work some public recognition. And create a business that might, just might, grow and even become a legacy for my grandchildren - the start of a dynasty. There now!
What is your role with the company?
Managing Director and Editorial Director. Oh yes, and Company Secretary. I manage the day to day running of the business, assisted by my wife Anne.
The one thing I do not do is write cheques. Daughter-in-law Jacqui does that, and keeps accounts, for she is our Financial Director. It’s a family business but I’m generally allowed to get on with things. I’m on a long-ish leash.
Did you receive any formal training?
I have no formal training or previous experience in the publishing industry. My background is in industrial diamonds. Sounds exotic but they were for engineering tooling, not gemstones.
Following premature retirement (thank you Maggie Thatcher) I changed direction, took up writing and gained a Creative Writing MA. I attended the Publishing Training Centre in-house courses “Introduction to Publishing” and “Marketing for Publishers” which were both excellent.
I learned a great deal in a short space of time, and I met others already employed in various positions within mainstream publishing houses. Just meeting and talking with these people was valuable.
What makes Biscuit Publishing different to other publishing houses?
We are certainly different from the mainstreamers in terms of size. We are, by definition, a small independent publisher; an indie. Unlike many indies we are not financially dependent on Arts Council funding, and that makes us truly ‘independent’ and self-supporting. ACE funding does offer a badge of merit but, in my opinion, it can also stifle eclectic output.
What kind of books does Biscuit Publishing publish?
We publish anthologies and collections, short stories, novels and novellas, autobiography and poetry. We like writing that is ‘deceptively literary’. In other words, writing which is accessible in terms of easy-reading and entertaining, but still hits the high spots of artistic creativity.
What happens to a submission once it reaches your office?
We refuse unsolicited submissions. They are politely returned to sender. We do not allow a slush pile to develop. Slush-pile! Shoot the person that first coined that derogatory phrase!
The way to get published by Biscuit is through our competitions. Writing for publication is a competition. The whole of the publishing industry is a competition. Agents, publishing houses, booksellers, are all competitive. Authors compete with other authors; competitors but not enemies, I hasten to add.
Submitting work to agents and publishers (it should really be going to the former) is a costly and time-consuming process for aspiring writers. The days, the weeks, the months, the years even; the postage and stationery expenses; they all add up.
With Biscuit, the writer enters a short story into a competition and pays a small entry fee. Publication and cash are the prizes. We receive around 400 entries. And incidentally, we do not exaggerate those entry figures in order to gain a false status (oh yes, it happens).
Entries do not come in their thousands, and that is good because it means a manageable quantity. Every story is thoroughly read and scrutinised by a team, and - unlike a slush pile - several of those stories will be published and some authors will be offered a publishing deal or a sizable cheque. Sometimes both!
What do you look for in a competition entry?
We look for all of the tools and devices writers employ in creating a fine piece of work.
We talent-spot from entrants’ competition submissions and then approach writers whose work attracts us with a view to commissioning the work.
Once you have accepted a manuscript for publication, how do you prepare it for publication?
We do not edit the work; the writer maintains full control of it. Regarding the cover artwork, if it’s a single-author book - as opposed to an anthology - we give the author the choice of submitting their own front cover design or using a front cover designed by the artist we commission.
If it is an anthology of short stories then we design the artwork and select a title which is usually the strongest story title in the book, and that is not necessarily the outright winner’s story title! Once the writer is content with the work (are they ever?) it must be submitted electronically.
We then format and typeset it in a Quark program; the pages are printed onto hard copy which are handed to the author for checking. The author proofreads, marks typos or whatever other corrections needed in red ink and returns them to us. We do the corrections and we proofread again.
The author makes another “final” check before the work goes for printing. The printing firm supplies a proof copy of the book, and that is shown to the author for cosmetic checks. Once the author is satisfied and we are satisfied, the print run goes ahead.
What is your favourite part of this process?
Two-fold. Handing the proof copy to the author, then handing the finished books to the author and planning a book launch event.
Okay, that’s three favourites. Hold on, there’s a fourth; phoning a total stranger to say: “You’ve won!”
What is the most challenging part of it?
Ensuring that the whole process is an enjoyable and fulfilling experience for all parties. A literary agent once told me she would not take on any author, however talented they might be, if she thought they’d not get along together.
When I offer a winning entrant book-publication as prize I take on a stranger. I have to take a chance that we might not get along personally. I have to say, so far - so good, every writer I have published has been a joy to work with. Maybe I’ve just been lucky. Who knows what tomorrow might bring: the author from hell?
Whose writing has excited you recently?
Apart from our own authors (of course), that of Shappi Khorsandi. Her A Beginner’s Guide to Acting English is brilliantly good. This Iranian comedian shows herself to be a gifted writer. The subject matter is strong, and bang-up-to-the-minute topical. Read it. It will change your life.
What would you say the main challenges are for an aspiring author?
Firstly, discovering where your own work stands in the contemporary literary landscape. Secondly, knowing there is a danger line between healthy aspiration, and manic obsession. Thirdly, understanding that Mainstream publishing is an Industry.
And it is a Manufacturing industry, subject to all the aggressive commercialism that drives profit-seeking businesses. And that is why authors need strong agents - business people - to mediate twixt them and the publisher.
What advice would you offer an aspiring writer?
Gain an early understanding of self. Get on a credible creative writing course, an MA if possible, one that is led by qualified tutors, not quacks. Network, mix with like-minded aspiring writers, ‘workshop’ your stories and in doing so be willing to accept constructive, perhaps even brutal (but still constructive) criticism. Be willing to go through a process of self-awareness. It can be a painful experience, but you should still undergo it. Do all of that for no longer than three years!
After that, be your own person. Listen to advice, but believe in yourself. Avoid any further group-mentoring. Too many cooks spoil the broth. Some cooks even nick recipes!
Be a prolific reader. Haunt bookshops. Spend more time reading than writing. Work to this order: read, read, write, read. Analyse the books you are reading. Figure out what makes them so good. Then write a better book, because you know you can.
For more on Biscuit Publishing, please visit www.biscuitpublishing.com
Other publishing houses and imprints interviewed for this series include Parthian Books, Tonto Books, Dedalus Books, Alcemi Books, Gomer Press, Trapdoor Books, Seren Books, The Friday Project, Chicken House, Wild Wolf Publishing and Anderson Press
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Helpful advice. I like your points about not doing the ‘writing group/course’ circuit for years and years. In the end, it just replaces the writing.