“All you need is a five-minute spot on a morning TV show,” a colleague told me recently. “Then everyone will buy your novel.” I tried to picture myself, with my horror of being filmed, in thick orange makeup, perched on a sofa in a brightly lit studio while trying to talk about how the French critic Hélène Cixous inspired me to want to write the first great ovulation novel. It sounded ridiculous for all involved.

Yet when you’re a writer, you are supposed to take every opportunity you can get. That was the attitude to news that Helen DeWitt had turned down the $175,000 (£129,000) Windham-Campbell prize on the basis of being unable to fulfil its promotional obligations, which included six to eight hours of filming. The prize, which this year was given to eight writers in recognition of their life’s work, is intended to give recipients time and space to work independently of financial concerns.

DeWitt is a critically acclaimed author, and her debut novel, The Last Samurai – published 26 years ago – is widely regarded as a work of innovative genius. Opinions on her recent stance are strongly divided: some have praised her principled refusal to play the self-promotion game that takes so much out of writers, while others have called her a spoilt, entitled nightmare.

A prize like that is the dream, and the DeWitt controversy has somewhat overshadowed the eight other winners. One is Gwendoline Riley, an author of wry, quiet books exploring family relationships. Riley has a........

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