Rosemary Davidson is a senior Commissioning Editor at Bloomsbury Publishing Plc, UK. At Bloomsbury her achievements include publishing Sue Miller, Alice McDermott, Jon McGregor, Chang Rae Lee, Justin Cartwright and Ben Schott amongst others. She is shortlisted for the 2004 Editor of the Year, British Book (Nibbies) Awards to be announced on March 11.
Currently visiting Australia as part of the Adelaide Festival’s Writers’ Week’s VIP program for 2004, Davidson is part of a program which has seen more than 60 international publishers and literary agents invited to scout for new talent and meet the local publishing industry. And the trick is working because during this time foreign rights in over 70 Australian titles have been sold, generating in excess of $AU 2.5 million. People like Davidson are considered ‘key decision makers’ and the powers that be know that access to the skills and advice and influence of someone like Davidson makes all the difference in the publishing world.
Rosemary Davidson take times out to talk to ArtsHub UK’s Marian McCarthy whilst attending Writers’ Week at the Adelaide Arts Festival in Australia.
How did you begin your career in publishing?
I started out as a secretary to Carmen Callil (Managing and Publishing Director) at Chatto & Windus, and then worked as a Press Officer at Chatto. In 1990 I became Publicity Manager at Gollancz and then moved to Bloomsbury as Publicity Manager in 1991 (where she worked on campaigns with Will Self, Alasdair Gray and Michael Ondaatje). In 1993 I was offered a promotion to return to Chatto as Publicity Director, and then in 1999 I rejoined Bloomsbury as a Commissioning Editor.
What was your first big break?
That was becoming Publicity Director at Chatto. At the time Chatto was a small team, there were just five of us, so I had the opportunity to work very closely with editorial and become more involved in the editorial process. I was also starting to develop confidence in how best to publicise and sell particular books and was working with wonderful authors like David Malouf, Toni Morrison and Alice Munroe.
How difficult was it to move from publicity to editorial, and have you found the skills very different?
It was lucky for me that I already knew Liz Calder (one of the founding members of Bloomsbury) from my publicity days. Liz recognised that I had an editorial sensibility and gave me the chance to acquire my own books.
Initially I found the transition really scary because as a publicist I knew exactly what I thought of each book and how to publicise it, but that’s so different from making the decision to buy a book and then learning how to edit to make that book better. It gave me a sense of vertigo. I had to get past the fact that in the beginning it is almost easier, less risky, to say no rather than yes. Then you gain a bit of confidence and find your feet. With some successes under your belt you learn to trust you own taste and not to be so afraid of failure.
How would you sum up the Bloomsbury experience?
I think the key thing is that Bloomsbury has an intrinsic trust and faith in its editors. We have the freedom to take a punt – from the most literary first novel to the most outlandish humour title. Unlike most editors in London I have been able to publish a range, from serious biographies of Nelson and Colette right through to a comic book by two graduates and a book of bad hairstyles. We’re also lucky in that our sales and marketing departments back us in our most idiosyncratic tastes.
What had you heard about the Adelaide Festive before you were invited and what were your expectations?
I knew it had a reputation for getting some of the best international and Australian writers and that everyone I’ve spoken to who has been, has had a complete ball.
I was expecting to meet some great writers and interesting publishers from around Australia and the world, to see some sun and to have some fun, having left London in the snow.
Until I arrived I was mainly aware of the Writers’ Program rather than the festival as a whole, but I’ve been completely excited and bowled over by the program of events from theatre and dance to music. I only wish I was staying longer and had booked something for every evening. There’s such a lot I’d love to see.
What were you most looking forward to?
Meeting people and hearing about interesting things and hopefully finding new authors. Also making new contacts in the publishing world.
Most dreading?
Having to give a talk on Thursday!
What are your first impressions of Australia and the Festival?
An incredible book buying public and such an enthusiastic audience for the arts and written word. It feels very relaxed and fun loving while still being professional and I’m impressed by the enormous amounts of diversity.
What do you think of the VIP publishers program?
Absolutely great. It’s a wonderful idea and has been amazingly well organised.
Did you already know many of the VIP publishers present?
I only knew the two UK delegates.
What do you feel the value is in meeting at festivals?
It is amazing to meet colleagues from other countries in the personal and more informal setting of a festival. It creates real relationships that last and can be very fruitful. Also, you are able to get a real instinct for the tastes of your colleagues which is hard to do in the more formal book fair environment.
How were you picked for the VIP program?
I think from a former VIP who talked to me about it and recommended me to the committee.
What is the schedule like, and are you required to do a formal overview of your experience on your return to the UK?
Well, I haven’t seen the beach yet. Seriously though, I’m fairly booked up with a combination of seeing authors and meeting publishers/literary agents and going to various publishing parties in the evenings.
I am regularly sending emails back to the UK, but don’t have to do a formal report.
How would you say Australian publishing is viewed internationally?
It’s definitely seen as a significant and important source of great writing – from literary and commercial fiction to serious non-fiction, self-help and quirky humour.
For the US and UK publishers the Australian market is vital and a book can be made or broken on the Australian print run. If a book works in Australia it really does, and has a significant impact on the success of that title. Australia can double or triple the sales of a book.
How would you sum up what you look for when buying a book?
Fiction – a good story that will speak to many readers with characters you can feel, love, and relate to. Something that touches you and maybe changes your perspective in some way.
Non-fiction – a strong idea. History and the history of ideas are particularly strong at the minute. People seem to have a thirst for knowledge and want an understanding of the world past and present.
Highlights so far?
The VIP program and the literary festival program. They are so good.
What else are you planning to do while in Australia?
I’m planning to visit friends in Melbourne and then spend a week in Sydney seeing friends, authors and publishers. Then I’m off to Tokyo, can’t wait.
Favourite books of the moment?
Jonathan Coe – The Rotter’s Club
Peter Robb – A Death in Brazil
Chang Rae Lee – Aloft
Last thoughts?
The Australian writing scene seems to be incredibly vibrant with lots of people I would like to have published. Being here will definitely make me more open, interested and alert to the talent at work in Australia.
