In September, as part of the Lit-Quest project, we hosted in Ljubljana and Novo Mesto a trio of literary agents from abroad whose work plays an important connective role in the literary scenes of their respective countries. Among them was the Slovak literary agent Lucia Galdíková, with whom we spoke about the current state of the domestic literary market, the challenges of working as a literary agent on the global book market, and the importance of building a broad network of contacts when selling rights abroad. She shared more about her work and mission, which is closely linked to the promotion of high-quality literature.

You are a literary agent and a collaborator of the Slovak Literary Centre, which is responsible for promoting Slovak literature worldwide. Could you tell us more about the activities of this organization and about your work as an agent?

I collaborate with the Slovak Literary Centre (SLC) as Head of International Projects. My task is to promote Slovak literature on the global market, primarily on German-speaking book markets. Together with my colleagues in the international department of the SLC, we focus mainly on the so-called major markets: the British, German, and French ones.

My role as an agent involves trying to attract the attention of foreign publishers who might be interested in contemporary Slovak literary production and meeting with them. This is why the SLC prepares the annual catalogue Books from Slovakia and organizes various events, as well as educational activities for foreign publishers during the BRAK festival in Bratislava. Of course, we also present Slovak books at international book fairs (Frankfurt, Leipzig, Vienna, Bologna, Prague, etc.). We regularly cooperate with partner organizations, such as Slovak institutes, honorary consulates, university lecturers, and others. I am constantly looking for new ways to increase the presence and visibility of Slovak authors on German-speaking markets through literary festivals and similar initiatives.

Which of the projects you are currently preparing excites you the most?

At the moment, I am very much looking forward to starting work on the CELA project, which brings together more than ten European countries, with Slovakia participating for the first time. I hope this extensive network will generate new collaborations and opportunities for our young authors and translators. In addition, I am preparing the introductory essay for a thematic issue of the Austrian literary magazine Lichtungen, which will feature six renowned contemporary Slovak authors.

Could you describe the current situation on the Slovak book market? What trends do you notice in your literary environment?

As far as the Slovak literary market is concerned, I greatly admire its vibrant scene, made up of small and medium-sized publishers with excellent taste and interesting publishing programs. In terms of trends, I would highlight a strong generation of women authors. I also notice that recently more novels have been published, alongside the previously popular genre of short prose. These novels often focus on family stories and relationships, and some also deal with coming to terms with our recent past.

You are also the coordinator of the Visegrad Literary Residency Program, which connects authors from four different countries. How does the program provide support and opportunities for collaboration and exchange?

I have been working as coordinator since the beginning of the year. Each year, we announce two residency cycles: in spring and in autumn. Each time, we select four authors, translators, or journalists from Slovakia, the Czech Republic, Hungary, and Poland. They can spend either one month or three months in Bratislava, Prague, Kraków, or Budapest, where they develop their manuscripts or new texts. We also provide them with a stipend.

As part of the residency in Slovakia, participants take part in public discussions at the BRaK and Novotvar festivals. We are happy to help them connect with people from the Slovak literary scene and organize various meetings with authors, publishers, and others. In addition, I also take care of supplementary programming, such as organizing exhibition visits, readings, and literary walks around the city.

You also work with translators. Which literary environments have so far shown the greatest interest in translating contemporary Slovak writers?

In terms of the number of translations, publishers from neighboring countries are the most familiar with our authors—not only because of geographical proximity and historical ties, but also due to similarities in mentality, shared challenges, and the larger number of suitable translators. However, thanks to everything the SLC does and thanks to our translators, ten Slovak titles will be published in English this year, as well as a relatively large number of German translations next year.

What challenges do you face in your work?

I think it is important not to lose courage when things take longer than expected. Convincing an editor in another country to commission a translation can be a lengthy process, but it is always worth it. In the end, when we manage to find the right title for a particular publisher, the feeling is always good and rewarding.

Is it difficult for young Slovak authors to secure their first translation into a foreign language? Do they usually have their own agents, or are they represented by their publishers, who then promote their books and sell translation rights?

Most of our authors do not have their own agents. The reason is quite simple—we do not have literary agencies in Slovakia. Some authors are represented by agents from the Czech Republic, and some by their own publishers, but this is rare. At the SLC, we try to compensate for this gap to some extent by acting as intermediaries between domestic and foreign publishers to facilitate new translations.

We also offer the SLOLIA subsidy, which is available to foreign publishers who wish to translate Slovak books. Despite this, it may not be too difficult to secure a translation within the region or even in Balkan countries, but it can be much harder to break into Western and Northern European markets. This is where translators are key figures—they often have excellent connections with publishers and actively contribute to spreading Slovak literature and culture around the world.

How do you decide which book to present to a particular publisher? What can authors themselves do to promote their books abroad?

Finding the right title to pitch to a publisher first and foremost requires a good understanding of the publisher’s program and a high-quality literary work that has already received some attention at home and is suitable for a specific market. In general, I would say it is a mix of knowledge, experience, intuition, and luck.

Authors can help with promotion by being willing to travel, participate in events abroad, meet their readers, and engage in conversations with them. Literary residencies, where they can connect with local audiences and meet other authors, are also very helpful. They always open up new opportunities for collaboration.

“I think it is important not to lose courage when things take longer than you expected.”

How has the Lit-Quest project positively influenced your work?

Thanks to the Lit-Quest project, I gained a lot of useful information about the Slovenian literary environment. Since I work for a state institution, it was important for me to learn more about the Slovenian Book Agency and all its activities, which are truly inspiring. I was also pleasantly surprised by the excellent public library system in Slovenia and by the tremendous state support for reading campaigns in schools, among other initiatives.

What did you like most about the project, and would you change anything?

I really appreciated the rich program prepared for us by the editors and other staff of the Goga publishing house. I believe we gained a genuinely useful insight into the specific features of the Slovenian book market. The interactions with my colleagues from France and Spain, Pierre Astier and Olivia Ávila, also gave me valuable insight into the state of their respective book markets.

How can different cultures connect through literature? How can we foster the uniqueness of individual literary environments on the global book market?

This is a very difficult question. From my perspective, international exchanges, mobility programs, and new and creative pathways that connect authors, publishers, translators, and other professionals from the literary world are the most beneficial for all stakeholders.