Why are we picking on Richard Osman?
Why are we picking on Richard Osman?
(How we got it all wrong about writers and publishing.)
Not a month goes by without one of my many author friends,or some stranger online, having a pop at Richard Osman. And yes, I have feltthe occasional twinge of gluckschmerz myself. But I think I’m cured – more on that later.
The criticisms of Mr Osman usually fall into a fewcategories:
1. He went to the right university so doors areopen to him that remain closed to mere mortals.
2. He was already fantastically successful so he isreally just another celebrity ‘having a go at writing books’.
3. His high profile garners free publicity on TV andbeyond that other jobbing writers will never see.
4. His celebrity-endorsed novels are taking oxygenaway from other novelists.
5. His novels aren’t very good.
I’ve done a modicum of research (i.e. trawling the webbefore posting this) and here are my thoughts…
1. Yes, he went to Cambridge. And if he hadn’t,that doesn’t mean they would have been knocking on your door to fill an emptydesk (they have desks there, right?).
2. I’m not sure four novels and a fifth indevelopment constitutes ‘having a go’. Should there be a limit on creativeendeavours?
3. True and true. There’s a hierarchy of success inevery branch of the arts. And everywhere else, actually. Would you have turneddown a TV plug for one of your novels?
4. Yes and no. Let’s think about the world ofpublishing for a moment. Publishersexist to sell books. Promoting RO’s books generates sure-fire sales, whichin turn leads to profits.
5. I mean, who decides when it comes to popularfiction? Speaking as an author who received a one-word review that read‘awful’, who am I to judge? And if we’re talking about ‘good’ what are thecriteria? I received another review that one of my books was ‘a good airportread’ and I was pleased. One thing is certain: Richard’s books sell well.
So what cured me of gluckschmerz? I’m not really sure but Ican tell you exactly when I noticed it.
My fellow author, EmmaBennet, posted online that she had just received word of a four-book audiodeal. My immediate reaction was delight – for her. End of story (pardon thepun…). I know how much effort it takes to write a novel – even if it’s anairport read – and I know how engaged she is with her audience. If I’m happyfor someone I know, why wouldn’t I be happy for someone I don’t know?
And let’s not forget, before I welcome a barrage of commentsabout privilege, and what about my recent post on class, Richard Osman has hadhis challenges. His father abandoned the family when he was young and he(Richard) has longstanding health issues.
You see, dear reader, I’ve come to the conclusion that lifeis like a game of bridge. I mean, it isn’t, but it will do as an analogy. I startedlearning bridge (but poorly) just before the pandemic took hold.
When I started out I thought that the object was to make thehighest number of points. I now see it differently. The skill lies in assessingthe strength of your and your partner’s hands in order to bid an achievablecontract. Sometimes the distribution of cards mean you exceed your bid; othertimes it works against you. To me it’s a study of possibility and probability.
In cards as in life, and back to books. The song says it’snot where you start it’s where you finish, but, statistically speaking, that’sreally down to the strength of your hand.
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