Pen pals

There has been no end of articles, advice and warnings that the writing world is becoming harder and harder these days. Debates around class, gender, sexuality, race and regional diversity continue on and offline, while aspiring writers are told that smaller budgets and increased competition mean getting a book published is more difficult than ever. Even when that elusive contract does come through, there with the initial celebration is an increased workload (for no more pay), new expectations from many different people and concerns about the mental fortitude required to navigate the challenges of publishing and promoting a book.

But there is one lifeline for aspiring and emerging authors: other writers. Speaking recently on my Northern Voices podcast, novelist Jessica Andrews talked about why she co-runs both a literary and arts magazine, The Grapevine, aimed at underrepresented writers and a literary podcast, "Tender Buttons". For her, the process of being a writer is as much about reaching a hand back down the ladder to help those behind, as much as it is about climbing to the next rung herself.

"I think as a writer, it’s really good practice to be a listener and platform other voices and stories," she says. "If we’re thinking about class, gender or northern voices, we need to hear from as many different experiences within those identity markers as possible. Having a zine, small press or podcast allows you to contribute to that."

While Andrews’s position as an award-winning critically acclaimed novelist seems an obvious position from which to be championing others, it’s not just established writers who share these values. Jennie Godfrey released her debut novel, The List of Suspicious Things, in February this year and the book went on to sit in the Sunday Times Bestseller List for a number of weeks. But her desire to platform and assist other writers was present long before that.

"I made a decision early on that I would make sure that I was always reading and supporting other writers work on social media, and not just established authors," she says. "It might sound trite, but I have been helped enormously by lots of generous people in the industry reading and talking about The List of Suspicious Things, I want to do the same for up-and-coming writers, particularly people who might not necessarily have the marketing budget."

It is these small acts of kindness that build a healthy and diverse literary community

But for many writers, this level of generosity is not without its challenges. Caledonian Road author Andrew O’Hagan has seen national and international success with his work, but this level of recognition brings with it a new kind of dilemma around how to champion other writers while also maintaining a manageable work-life balance.

"I feel a commitment to my younger colleagues in the writing business — especially those from working-class backgrounds, because I know from experience that they will not have the network around them that eases them into the writing world," he says. "Most writers are quite stretched already, trying to do our own work and fighting to meet our commitments to publishers and commissioners. 

"Quite a lot of expectation comes my way about supporting other writers, and I put my best effort into it by blurbing their books, recommending them to festivals, suggesting them for TV and radio programmes and teaching them. The problem always is time. Writing is not my hobby, it’s my profession. And like most professionals my day is pretty packed, but I try my best to do as much personal encouraging as I can."

It is these small acts of kindness that build a healthy and diverse literary community — not just boosting a person’s career, but also their confidence. Not everyone has the time to run a podcast or address a writing group, but there are other, less time-consuming ways to show support. A response to an email, a retweet or a quick chat at a literature festival might seem like insignificant acts, but we all know how unexpected life can be, and your willingness to share just a little of your time could make a world of difference to someone else.

There’s also a lot to be said for the effect of this on diversity both within our literary output and the publishing industry. If we work together to champion, support and enhance as many different voices and perspectives as possible, then it stands to reason that the publishing industry will only grow healthier and more diverse.

While the onus is on publishers to make changes in the way they work, we as writers and publishing professionals can work to increase the speed at which that’s happening and revolutionise the industry as it is now.