“I’ve spent the past two years writing a book for myself and one reader.”
Last Wednesday night I was privileged to attend a Canadian Authors Association meeting featuring guest speaker Alan Twigg.
Twigg is famous in the B.C. publishing world, and rightly so. He has turned his passion for B.C. and its writers into his life’s work. In 1987, he founded the quarterly literary newspaper B.C. BookWorld, which is chock-full of stories and book reviews about B.C. authors and their work. He continues to be the principal writer for this publication, with partner David Lester in charge of editing and production. Twigg has also created the online resource http://www.abcbookworld.com . This site now lists over 10,000 B.C. authors. It is searchable by author or by title and provides a veritable treasure trove of information on these authors and their contributions to B.C.’s historical and cultural landscape.
Twigg mentions that he is a fifth-generation B.C. native, but he acknowledges that most people are immigrants here, and claims that even if you aren’t from here, “B.C. will rub off on you.” He claims that we have “a psychological zone” here that is very different from most other places on the planet. Twigg relates a few anecdotes to illustrate how little of B.C.’s history is taught in schools. It is the authors Twigg promotes unflaggingly through B.C. BookWorld who have shared Twigg’s sense of wonder about B.C. through their research and the books they’ve created.
In a sense Twigg’s pride in B.C.’s writers is ironic because he admits that in the hierarchy of international publishing B.C.’s publishing industry doesn’t even make it to “the bottom rung of the ladder”. Internationally, the top places are New York, London, Frankfurt, and a few other cities, with Toronto positioned somewhere near the bottom of that ladder.
Twigg calls this situation the “outsiderism” of B.C. Yet, he goes on to ask, why should we complain or care if a B.C. writer never makes it onto the cover of Quill & Quire? [a Toronto-based literary magazine]. We don’t care because we have our own B.C. BookWorld.
Twigg is proud of what he calls “the huge appetite for B.C. BookWorld”. He describes B.C. BookWorld as an educational newspaper containing “deeper news”. In his conception, books are a form of “cultural news”. The online site abc.bookworld.com is now getting about a thousand views a day.
In everything he says, Twigg conveys the idea that successful writing is not reflected by the number of readers but by the quality of readers. The whole question of how many readers a writer needs is related to Twigg’s conviction that B.C. writers don’t have to be ashamed that they don’t publish in the “power centres” of publishing. He does concede, however, that if you’re a writer who wants to be rich and famous, you’d better go to New York, London, Frankfurt, and other top publishing cities.
In one of his more outrageous statements of the evening, Twigg expressed his opinion of readings and literary festivals: “Readings are a ridiculous bastardization of literature.”
Why? Because both reading and writing are private activities, according to Twigg, who believes that “writing is underfunded because it’s not a spectacle,” like other arts such as dance and theatre.
(I should add that Twigg muttered some disclaimers, such as “I have nothing against the Vancouver Writers Fest” along with his statements about readings.)
Although I agree with him that the serious business of writing and reading books happens in private, I enjoy attending readings. Most people are curious to meet the authors of books they like. They want to compare the writer’s “voice” with the real person, and perhaps to gain some insights into the creative process and technical aspects of writing. Also, oral storytelling is an ancient art, and a writer who reads his book well can enhance his audience’s appreciation of it. Getting a “taste” of a book through a public reading often leads me to buy it (or at least read it!).
When I suggested that writers could gain international readers for their books through e-publishing, Twigg responded with scorn. He thinks e-books are putting independent bookstores out of business because they are so cheap. I agree with him on this, but I don’t agree with his opinion that people don’t really want e-books and have just been seduced by low prices and the persuasive marketing of e-readers. E-readers are here to stay because many people appreciate their portability and convenience.
However, I agree with Twigg that virtually every writer would prefer to be able to hold his own book in his hand. A physical object isn’t the same thing as words on a computer screen. Twigg is quite supportive of self-publishing, acknowledging that many high-quality books are now produced this way. One advantage of self-publishing is that writers have more control over the design and production of their books. Twigg sees self-published and print-on-demand books making up an ever-larger percentage of books.
Twigg encourages writers not to be overly concerned about how many copies of books they sell. Writers (and the readers they most want to have) are motivated primarily by their desire to create and appreciate art. This must be the reason Twigg, a self-confessed “private person” is willing to work so hard to promote the writers he believes in. After all, as he concludes, “Life is empty without art.”