What unique challenges do you face in publishing exclusively French fiction for a British reading public?
The biggest challenge is that none of our authors have a track record in the UK before we publish them. And of course, they are not on the spot for promotion, so they have to travel to promote for us, which is disruptive for them and quite expensive. But having said that, our authors are all brilliant about dropping everything and jumping on the Eurostar. Some don’t speak English though, which is a problem for any kind of live interview.
Another challenge is that our authors’ historical, cultural and political reference points do not necessarily resonate with a UK audience. So, Vaux-le-Vicomte not Hampton Court; Colbert not Cromwell; Corneille not Shakespeare; Balzac not Dickens; Mitterrrand not Thatcher. This can create a barrier and a translation problem: how far should we explain references?
How do you go about choosing which books you are going to publish In English?
When we started out we immersed ourselves in the French market and read like mad. We chose to start with two bestselling historical crime series, one set in the years leading up to the French Revolution, and one set in fin-de-siècle Paris. Our idea was to paint a portrait for the UK reader of France through the ages, seen through fiction.
We then branched out into contemporary French fiction, where we look for fantastic writing, strong characters and plot. But we also try to choose subjects not addressed by Anglophone authors. So The Elegance of the Hedgehog has an apartment concierge as a main character, the forthcoming Monsieur Le Commandant presents a uniquely French take on the second world war, and The President’s Hat features 1980’s Paris.
We want to showcase in English, the books that French readers love, and we try to choose books that give a glimpse of France in an entertaining way.
Gallic was formed at a time when a large number of disruptive elements were beginning to take hold on the publishing industry. Which of these do you think has had the most influence in shaping the way the company has grown?
There was a gap for small independents like Gallic, created by the conglomerates merging and swallowing the larger independents. We felt that our niche was probably better served by an independent publisher than by an imprint of a large group.
Digital has I suppose been the biggest disruptor, but I can’t say that has had a huge effect on our development; we have merely followed along and entered the digital market, as all publishers must.
What challenges have you been most personally aware of when you moved from a large publisher (Random House) to running a small independent? What changes have you most welcomed?
I think the biggest challenge was initially getting the right kind of distribution. Without good distribution, you can’t ensure your books get where they need to be on time. For us the key was having a bestselling book, The Elegance of the Hedgehog, which opened up access to good distribution, initially with LBS and now with MDL, both of whom offer fantastic service to independent publishers.
The best thing about being small is the speed of decision-making, as you can take a project from conception to publication pretty quickly. You can take risks and there are fewer people to justify your decisions to!
Much of Gallic’s translation work operates through a group of high quality freelancers. What do you look for in your translators and what do you see as the main benefits from working in this way?
The most important thing for our translators is to have English as a mother tongue. Most have acquired French as a second (or third language). Strangely, it can be a disadvantage to be fully bi-lingual, although obviously an excellent knowledge of French is essential. It is also essential to be well read, so that you can easily access different ways of expressing yourself, and to have a good writing style. Some of our translators are also published authors.
We use a variety of translators to ensure that we match each book with the best possible translator voice. We also translate in house. I translate and we also have an in house translator, Emily Boyce. Emily and I teamed up with a freelancer, Louise Rogers Lalaurie, to translate The President’s Hat, which is made up of four individual stories linked by the hat. Each protagonist had their own translator and therefore a slightly different inflexion. So far, readers have approved.
Have you noticed any significant changes in the market for translated fiction in the UK since Gallic’s first book was published?
Yes, there has been an explosion of translated fiction since our first book was translated in 2007. Several new independent publishing houses have started up publishing only or mainly translations – Peirene Press in 2010, And Other Stories, Profusion and Istros Books in 2011, Stork Press in 2012, amongst others. And the large houses are also publishing significantly more translations.
This has been great for the bookshop we run, Belgravia Books where we have many translated fiction evenings, most recently on Latin American crime with Bitter Lemon Press.
Generally it feels as if the UK market is now a lot more open to translated fiction, and publishers are stepping up to meet the increased demand.