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- Contents Category: Publisher of the Month
- Custom Article Title: Publisher of the Month with Rod Morrison
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My first job in publishing was a paid editorial internship with legal house CCH in the early 1990s. It taught me a lot: not least the importance of being meticulous (and earnest). However, the glitz and glamour of trade publishing caught my eye and I soon jumped ship, spending twelve or so years at HarperCollins, Hardie Grant, and Pan Macmillan before co-founding Brio in 2011.
How many titles do you publish each year?
Approximately twenty.
What qualities do you look for in an author?
Imagination, tenacity, intelligence, and a sense of humour.
In your dealings with authors, what is the greatest pleasure – and challenge?
The greatest pleasure is relating good news; the greatest challenge, moderating expectations.
Do you write yourself? If so, has it informed your work as a publisher?
Apart from some very poor poetry I wrote in my twenties, no.
Who are the editors/publishers you most admire (from any era)?
For her genteel, measured approach, Diana Athill. And for his eclectic taste and curiosity, Christopher MacLehose.
In a highly competitive market, is individuality one of the casualties?
Often it is – sadly. Unless your publishing house is subsidised or preternaturally successful, it’s necessary to balance tried-and-tested and/or commercial acquisitions (i.e. ‘sure things’) with riskier, experimental projects in order to survive. From time to time, all publishers succumb to acquiring what is familiar, comfortable. But I think there should always be a place in publishing for unique new voices.
On publication, which is more gratifying – a brilliant launch, a satisfied author, encomiastic reviews, or rapid sales?
Without sales – rapid or not – it’s impossible to stay in business; however, I am susceptible to the glow of good reviews (and awards).
What’s the outlook for new writing of quality?
The avenues for publication today are endless. In many ways, it’s never been a better time to be a writer of quality. Of course, finding and nurturing an audience that is willing to pay for art remains a challenge, but the foundations for the creation of great writing in this country – whether they are courses, writers’ centres, festivals, or the plethora of journals and independent presses – seem strong. As an industry we have excelled in investing and honing the craft of writing; now we need to band together to better promote books and reading. If we don’t, I fear we’ll lose what little audience we have.
Rod Morrison is Publishing Director at Brio Books.
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