Luo Danni feels that she is increasingly distant from authors because the focus of editing has shifted from connecting authors and readers to directly facing the market. This shift has led to a loss of her identity as a reader and a deeper connection with the text and the authors. The market, which is not equivalent to readers, has become the primary concern, pulling her away from the intimate communication and understanding of creators that she once valued.
Luo Danni's bottom line standard for publishing books is to ensure that the book does not lose money. She prioritizes the financial viability of a book over her personal interest in it. Her primary consideration is whether the book is worth publishing and whether it can provide a normal return on investment for all parties involved, including the publisher, the author, and the editorial team.
Luo Danni faces challenges such as overcoming loneliness, lack of industry perspective, and slower response times due to the smaller scale of the institution. She also notes the difficulty in achieving scale effects and the struggle to gain attention in a crowded market. However, she values the freedom to experiment and the ability to observe the industry from the sidelines, which allows her to explore new possibilities in her editorial work.
Luo Danni approaches the selection of original authors by choosing individuals rather than specific works. She commits to publishing every book by an author she selects, provided the conditions are right. This approach requires a deep trust between the editor and the author, as well as a willingness to adjust expectations for each book. She emphasizes the importance of understanding the author's long-term writing goals and being prepared to support them through the ups and downs of their creative journey.
Luo Danni is skeptical about the role of publishing brands, viewing them as more relevant to industrial products like cars and luxury goods rather than books. She believes that the concept of a publishing brand has become more prominent in recent years but questions its reliability and the value of associating books with specific brand identities. Instead, she focuses on the uniqueness of each book and the specific strategies needed to connect it with its intended readers.
《把自己作为方法》《夜晚的潜水艇》《冬泳》《重走》…… 站在这些兼具口碑与畅销的原创作品背后,资深编辑罗丹妮说:“最近几年的感受是我越来越远离作者了。” 从中华书局到理想国,再到单向空间,编辑罗丹妮迈入了从业以来的第15年,也沉淀出自己的从业感悟。面对乏善可陈的图书市场,编辑被裹挟着远离读者身份的现状,沉淀与反思也许是最行之有效的方法。 本期节目,主播希颖在北京出差间隙,与丹妮进行了这次期盼已久的聊天,关于编辑工作,关于过去的2023年,关于出版业的现状。 从大公司到小机构,有哪些编辑的困惑?现在的语境中,图书品牌意味着什么?她们还畅聊了对以往编辑工作的真诚反思,做原创选题与作者的标准和经验,2023年的遗憾等。 市场的压力下,我们如何回归读者,如何靠近作者?也许“真诚”和“反套路”是最好的回答。 嘉宾简介 罗丹妮,资深编辑,前单向空间编辑总监。编辑有:《把自己作为方法》《夜晚的潜水艇》《冬泳》《重走》《同窗》等。 本期节目你将听到 01:53) 罗丹妮的2023:外部乏善可陈之后,得到内心的宁静 04:44) 编辑工作的危机:编辑越来越远离作者 10:09) 从大公司到小机构:编辑的“怯懦”与“自由” 18:03) 策划经验谈:天时地利?“我只能说我没有做错什么” 23:45) 【硬核经验】:“我的底线标准就是要做不赔钱的书” 33:00) 兼听则明,还得听进去:丹妮“对自己工作的检讨” 41:25) 选题标准:“我做的书来源于我的问题意识” 50:06) 对原创作者的考量: “定了这个作者,我愿意出TA的每一本书。” 59:36) 关注点的转变:随着年龄的增长,生老病死无法回避 65:20) 低转化率时代的怀疑:图书品牌何为?品牌调性何为? 77:47) “码洋制造机”正在转向:“真正的帮助不只在出版服务层面” 80:11) 【新书安利】双盲命题写作大赛首奖作者林戈声最新短篇集! 82:40) 颠覆传统文学分界!“伏笔计划”is coming 本期节目出现的书 《冬泳》班宇 《夜晚的潜水艇》陈春成 《重走》杨潇 《单读》Mook 《同窗》林桂枝 / 杨京京 《贫穷的质感:王梆的英国观察》王梆 《把自己作为方法:与项飙谈话》项飙 / 吴琦 《死亡日志》伍祥贵 《纷纷水火》林戈声 《鲤·严肃点!文学》张悦然 主编 也欢迎给我们的豆瓣条目”有关紧要“来个五星好评 【更多预告,播客信息~欢迎扫码↓加入我们的听友群】
+++++ 出 品:明室Lucida 本期策划:陈希颖 本期主播:陈希颖 本期编辑:苜蓿白鲜 本期剪辑:水母 封面插画:JIN 视觉设计:山 川 片尾曲 Circle On The Snows_The fin.