WATCH | Mark Camilleri: ‘We often focus too much on what is lacking instead of recognising the strides already made’

Executive chairman of The National Book Council, Mark Camilleri (Photo: James Bianchi/MaltaToday)

Malta’s book sector is facing rising costs, limited readership, and structural gaps, according to National Book Council Executive Chairman Mark Camilleri.

He tells me that higher paper prices have increased production costs and are making it harder for readers to prioritise books over essential spending. The small size of the local market and the limited number of large bookshops also restrict sales, he says.

Despite these pressures, local publishers continue to produce strong work and new publishers enter the sector in recent years. He says that language remains both an opportunity and a barrier. “On one hand, it gives uniqueness to our literature and highlights it internationally, particularly within Mediterranean and translation contexts. On the other hand, Maltese is not accessible abroad without translation,” he says.

Camilleri explains that authors and institutions rely more on English pitches, foreign rights catalogues, and international book fairs to connect with foreign publishers. New translated editions of Maltese works are already in development.

He highlights the need for stronger professional structures across the industry. Formal rights agreements, clear royalty systems and the long-term goal of establishing literary agents in Malta remain key priorities, Camilleri says. Continued training for writers and editors is also necessary, he adds, because most authors do not work full time in the field.

Last year, the council had proposed a basic income scheme for writers. Camilleri says it is still in infancy stage. He explains that research needs to be conducted, and then a pilot study to assess feasibility and cultural impact, will have to be launched.

When I ask about models used in other countries, which Malta could take inspiration from, Camilleri points to Ireland and Iceland as examples of how smaller literary markets grow through sustained investment in translation and international promotion.

Furthermore, he says the council’s first Annual Book Conference being held on 8 May 2026 focuses on the future direction of the industry and brings together stakeholders from across the sector.

The follow is an excerpt from the interview

Malta has a very small book market. What, in your opinion, are the biggest challenges for publishers and booksellers and are there any upsides to working on such a small scale?

I think the biggest challenge is the micro-economy of our industry. In Malta, culture starts at a disadvantage compared to other sectors. We also have very limited audiences, which must then be subdivided into different genres, creating further challenges.

There is a lack of bookshops in the style we see when we go abroad, and many people experience book culture mainly outside Malta. Another major issue is the exponential increase in paper prices, which has raised the price of books and made it harder for Maltese audiences to prioritise buying books over essential expenses. If someone must choose between spending €15 more on groceries or on a book, priorities will understandably lie elsewhere.

Nonetheless, I remain optimistic. Despite the situation, several publishers continue producing very good books, not only in content but also in production quality. The emergence of new publishers in recent years is itself a sign that we are still heading in the right direction.

So how does language fit into this? Because obviously we have a lot of books that are published in Maltese. How does that choice affect sales readers and the chance of Maltese books reaching abroad?

I am a huge fan of the Maltese language, and I do not see Maltese versus English as a real conflict. Maltese is a double-edged sword. On one hand, it gives uniqueness to our literature and highlights it internationally, particularly within Mediterranean and translation contexts. On the other hand, Maltese is not accessible abroad without translation.

The biggest challenge is not Maltese-to-English translation, which is common, but translation into languages that cannot be reached directly. For example, Maltese to Romanian may require Maltese to English and then English to Romanian, doubling costs.

Because of this, authors prepare English pitches for foreign publishers. Translation-focused presses abroad create opportunities to spotlight Maltese work. Translation is the way forward, and we need to look outward rather than inward.

At the London Book Fair and the Frankfurt Book Fair, when you guys go, is there interest in Maltese literature and interest in translating it into other languages?

For the third consecutive year, we have invested in a foreign rights catalogue that showcases local publishers, selected works across genres, illustrators, and translation possibilities. At international fairs, our stand becomes a hub presenting Maltese publishing to foreign agents, editors, and publishers.

There is genuine interest, including from countries outside Europe and unrelated to the diaspora. Malta has its own literary voice shaped by its traditions, language, Mediterranean position, and history. Even in crime fiction, the whole country can function as a character rather than a single city.

We support translated pitches of up to 2,500 words that authors can use internationally. One Maltese novel will soon be published in England purely through foreign publisher interest, without council funding [the author being published is Maltese].

These opportunities also professionalise the industry. Contracts between authors and publishers are essential to protect both parties, especially regarding foreign rights and adaptations for theatre, television, or film. Every book in our foreign rights catalogue has a proper rights agreement in place.

Before we move on, could you maybe explain what the rights are for people who maybe are not in the know about it?

A rights agreement is a contract that establishes publication details such as print run, royalties, territorial rights, and ownership. Royalties are payments made by the publisher to the author based on printed or sold copies.

The author owns the intellectual property of the text, while the publisher owns the specific printed edition. Rights may also cover translations, theatre, television, or film adaptations, whether locally or abroad.

One major gap in Malta is the absence of literary agents who can promote works internationally. A key strategic goal is therefore to train and establish literary agents so that promotion and rights management can develop professionally.

Considering all of these realities, what do you think the weakest points in Malta book ecosystem is, and how we can make solutions for certain things

Several factors combine here. Authors and editors need more training, not because they lack skill, but because writing is rarely a full-time profession. Most people write as a passion or hobby, which means continuous skill development is essential.

Editing, in particular, is the most crucial stage of the writing cycle. Through successive drafts and professional editing, a manuscript reaches its best possible version before publication.

Last year, the council had spoken about a basic income for writers. Where is this proposal standing at the moment?

This is a long-term project that must begin with a commissioned pilot study to understand the real situation before any scheme is introduced. If viable, a pilot scheme would support a number of authors for two years, allowing evaluation of productivity and cultural impact before wider implementation.

The goal is not symbolic action but meaningful benefit. If writers gain time to produce more work, the entire cultural cycle benefits through more books, enrichment, and community value.

We plan to begin commissioning the study this summer, although our small team must balance many responsibilities, particularly the national book festival.

Are there small countries, like Malta, that we should be looking towards in terms of models?

Rather than focusing only on size, we should look at achievement. Iceland and Ireland are strong examples, each investing heavily in translation, international promotion, residencies, and funding structures that amplify local voices.

Malta has also made progress. Recent book funds have attracted publishers from countries such as Turkey and Japan, and the first Maltese novel will soon be published in Japanese. Similar translation-support systems exist across Europe, aiming to export national literature through publisher interest rather than direct selection.

We often focus too much on what is lacking rather than recognising the strides already made. Growth has happened, and international connections continue to expand.

Can you tell us a little bit about the annual book conference that's happening in May?

The conference will take place on Friday 8 May and is open to anyone interested in the book industry, including stakeholders, academics, publishers, authors, and readers. It will address themes such as micro-economics, consumer dynamics, and the future direction of the sector through workshops, panel discussions, and a keynote speaker.

This will be the first conference of its kind, intended to become an annual space for critical reflection on where the industry stands, where it needs to go, and how stakeholders can contribute to shaping its future.