Receiving payment from the bookartbookshop last week for all the Sea-creatures and one In Good Weather... I’d left with them last time I was in London was initially heart-warming news. People had walked into a shop, full of beautifully crafted, intelligently written short run books and bought some of mine. And what’s more, they had paid twice as much for them as I sell online or at readings. The bookshop sells them at this mark up so I get my full asking price for them, and they take their cut.
These books took designing then making - not including the time on the writing in the first place. I wanted some reflection of that in the price. It is how we lay value onto things in our society ... but, as all artists know, to tally up an hourly rate is unfeasible, so how do you land on a price that reflects 'worth', especially on something that has no predecessor? I haven't kept a true and accurate account of hours spent on writing, editing, rereading, thinking, prototyping, making... the only thing I have a real account of is the material cost... So, in one way the pricing is completely arbitrary, using other pamphlets/booklets as benchmarks, even if they bear little relation to my work. So it comes down to gut feeling, which is no way to commercial success.
As it happened I was in London at the end of the week so took another batch of Sea-creatures for their stock and a few of the newbies, There is no Night. There was no hesitation that they were also 'worth' twice the price I sell them for.
I've stuck to my guns, however, and the booklets do sell. Obviously it is a different customer who goes into a specialist bookshop - that stocks books that range from £1 to £100 - to one who pays £3 to go to a poetry reading.
Later the same day I was loitering off Marylebone High Street, checking out the estate agents windows. Three bedroom apartments were for rent at £6000 per week. We pay that (almost) for a year in our place. Admittedly it does't have a bathroom for both its bedrooms, but it does have a good sized piece of land attached, views of the sea and no other house around.
I mention this because even though I understand the economics of scarcity (and the myth of scarcity), and that there is a whole world of the superwealthy who do not inhabit my world, and that art is not valued in our society, I never fail to be gobsmaked by notions of 'value' - ever since fifteen years ago in Whitby when I bought a 300000 year old ammonite for a fiver.