Terms and Conditions

A competition should always be a level playing field. Each entrant should have an equal chance to succeed, follow the same rules as everyone else, be treated fairly. Otherise, it’s not a competition, it’s pretending to be. Sadly, in the book world, it isn’t always so fair where prizes and awards are concerned. Because some books don’t have an equal chance of being entered into certain competitions in the first place. The rules may be equal once you’re in, your book may be judged on its merit once you’re in, you may have a chance once you’re in. But you can’t get in. Here’s why.

The brilliant indie publisher of my memoir, Eighteen Seconds, considered entering it in a certain non-fiction prize. Obviously, I was excited. Then they saw the T&Cs. At various stages of the comeptition, large amounts of money are required form the publisher for ‘promotional activity’. And they simply don’t have it. I understand that prizes have to find money from somewhere for funding and costs, that these things can’t be operated without such donations, but this immediately alienates small/indie publishers who don’t have a vast budget. And that means that only certain books stand a chance. Even with bigger publishers who can fund such competitions, they will have to choose a ‘sure winner’ as the book they find they money for – and ‘sure winners’ are often very big names.

I don’t want special treatment. I don’t think my book deserves to shortlist, longlist or win over any others. But this experience made me think of the many books published by smaller presses that deserve a chance to be considered in the first instance. I’ve read some breathtakingly beautiful books from indies. Many of my favourites on my bookshelves were released by such publishers. And as I’ve savoured those literary delights, I’ve wondered why I’m not seeing them on competiton longlists and shortlists. Sadly, it’s probably because they were published by a team who can’t afford to fund this.

Bearing in mine that book prizes can’t run without funding, I wonder if there’s another way. One that offers a more level playing field. One that means anyone and everyone can enter if the book meets the criteria. I know that such fees happen with so many – not all but many – bookish accolades. Some well-known book club picks by certain celebrities come at a large cost. As do certain chart placings in a certain bookstore. I’m sure that once entered, books in these competitons are judged on merit, by a panel who loves selecting a wonderful winner. And I know that some of my other favourite books over the years have been those winners. Big prizes can make or break a novel. I love that these teams take the time to acknowledge literature in the way they do. But how about a way to include those who can’t afford this acknowledgment?

Published by Louise Beech

I remember sitting in my musician father's cross-legged lap while he tried to show me the guitar chords. I was three. His music sheets fascinated me - strange language that translated into music. My mother taught French and English, so her fluency with words fired my interest. I love all forms of writing. My short stories have won the Glass Woman Prize, the Eric Hoffer Award for Prose, and the Aesthetica Creative Works competition, as well as shortlisting twice for the Bridport Prize and being published in a variety of UK magazines. My first play, Afloat, was performed at Hull Truck Theatre in 2012. I also wrote a ten-year newspaper column for the Hull Daily Mail about being a parent. My debut novel, How to be Brave, was a Guardian Readers' pick for 2015. My third novel Maria in the Moon was described as ‘quirky, darkly comic and heartfelt’ by the Sunday Mirror; The Lion Tamer Who Lost shortlisted for the Popular Romantic Novel of 2019 at the RNA Awards and longlisted for the Polari Prize 2019; Call Me Star Girl longlisted for the Guardian’s Not The Booker Prize and was Best magazine’s Best Book of the Year 2019; and I Am Dust was a Crime Magazine Monthly Pick. This Is How We Are Human was a Clare Mackintosh Book of the Month. Daffodils, the audiobook of my memoir, and Nothing Else were released 2022. End of Story (as Louise Swanson) and the paperback version of my memoir, Eighteen Seconds, were released in 2023.

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