The Desmond Elliott prize reminds us that authors need long-term support

With her prizewinning debut, Claire Fuller could be following in the footsteps of Ian Rankin and Hilary Mantel who found success with their later work – but only with the support of her publisher

Claire Fuller, whose debut, Our Endless Numbered Days, recalls the early work of Ian McEwan

Louise Doughty

Friday 3 July 2015  The Guardian

As one of the judges for the Desmond Elliott prize for best debut novelist this year, I couldn’t help reflect on some of the challenges still to come for the authors. With three such accomplished novels on our shortlist, there was some hard talking in the judges’ room, but in the end we decided, by an honourable 2:1 vote, to award the prize to Claire Fuller for Our Endless Numbered Days. It is a dark and perfectly poised account of a survivalist father hiding out in a remote forest with his increasingly embattled daughter that recalls the early work of Ian McEwan in its brooding slow build to a dramatic climax. But nobody could dispute the literary skill evident in the other books on the shortlist: Elizabeth Is Missing by Emma Healey and Carys Bray’s A Song for Issy Bradley.

The vital thing now is that these writers are offered long-term support from their agents and publishers. The amount of publicity given to those first novels that become instant bestsellers distorts the reality for the majority of debut novelists, even very gifted ones: a moderate advance, a small amount of acclaim, a continuing battle to get their next book written and then published. This is the reality for authors who want a sustained career in books.
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