In a bespoke session at this year’s London Book Fair, Suzanne Collier and Hermione Ireland discussed five areas to consider when developing your career.

1. Get training

Training is valuable and can be an easy way to get experience. It will build your confidence, help you get promoted and unlock new ideas.

Look at the jobs you’re applying for and read the ads. Identify your existing skills, those you’re missing and what’s essential or nice to have. For example, if a job description specifies fluency in languages, you will need to learn those languages. However, if the ad says it’s an advantage to speak another language, this would be a ‘nice to have’.

Other examples include knowing InDesign, understanding metadata or how Facebook ads work. Many of these skills can be supplemented by informal or formal training.

From the Independent Publishers Guild (IPG)’s Skills Hub (free for IPG members), to the Publishing Training Centre (PTC) and BookMachine, there’s plenty of choice for developing your skills with industry-specific or other relevant training.

2. Get noticed

Attitude is paramount, particularly when seeking internal promotion. You need to instill confidence in your line manager and help make their life easier, with a ‘can do’ attitude and the ability to communicate and solve problems.

It’s important to work smart, not all hours of the day, to prove you’re a great worker. A good leader is not the first one in or the last to leave. And don’t let people exploit your good nature!

If you’re ambitious, discuss your goals with your line manager. Let them know you’re keen (but not that you want to be managing director), that you value your job and would like to stay in the business. Ask them to help with your career roadmap and get you to the next level. If you work with someone whose role you aspire to, talk to them, informally or formally, about what to learn while in your current role.

3. Manage staff when you lack experience

Management and leadership skills are different, and you need experience of both. Management is usually taking responsibility or control of things or people, ensuring delivery of a project. Bring people with you and don’t isolate team members. Leadership is more about taking people on a journey, focusing on their goals, encouraging and motivating them. If you have the chance to manage, try to bring in your leadership skills, and vice versa.

Volunteer to lead projects when you can, those that allow you to lead a team or take charge of a situation. Perhaps something new comes in or you feel your boss has too much to do. Offer to take on a project but be specific about your role to avoid getting the most junior or mundane tasks.

If someone is working on a difficult project and you can see a solution, offer your advice and input and ask if you can take ownership in any way.

In the absence of in-house opportunities, consider voluntary organisations with committee roles – for example, the Society of Young Publishers. This can be a great way to gain management and leadership skills, which you can transfer to an office environment.

Don’t worry if you’re applying for a role which requires management experience and you’ve only managed one person. The skills you’ve learned are just as relevant to managing a team of several people. Focus on what you like about managing, how you manage difficult people and have demonstrated lateral thinking when working with other teams.

4. Gain commissioning experience when you have none

Do you work outside editorial and want to make the leap into commissioning?

Meetings and one-to-ones can give you an advantage, with the chance to come up with clever ideas. Discuss your ideas and proposals with the publisher or senior commissioner and back them up in writing.

If you have knowledge of a niche market, immerse yourself in the subject and become the go-to expert within the company.

Subject knowledge can sometimes outweigh publishing skills. If you have a passion for a particular genre and want to work for a publisher who publishes in that genre, research the subject area and the market – the authors, jackets, content, prices, the competition. And predict trends if possible.

Suzanne has a great example of this. Previously working in sales for a specialist transport publisher, her role involved talking to customers and so she learned what books people were looking for. She scoped out ideas, which were taken up by the publisher. This gave her the confidence to speak to senior people in the business and propose more ideas about what they should be commissioning.

Commissioning requires time and energy. Be commercially aware and know what sells. Look for strong ideas and other angles that will give you the edge. Keep an open mind – pay attention to social media, listen to people, talk to retailers.

5. Decide whether to stay or go

You’ve been in your role for a while and want a new challenge. Do you stay in the hope of being promoted, or move on? Every situation is unique, from your skills, the company you work for to the opportunities available. Some businesses have a strong culture of wanting to keep talented staff, others are tied to their budgets and will let people leave.

There are two key signs to consider. Are you being encouraged and developed, or held back and discouraged?

Perhaps you have the chance to take on more responsibility, but your company can’t or won’t to pay the extra salary. You could negotiate but, whilst you should never undervalue yourself or work for free, it can be better to stay put, gain experience and aim for short-term promotion. After a while you could ask for more money or you may feel the time is right to move on.

Hermione has experienced better promotion opportunities by moving – including being offered permanent, more senior roles after completing freelance maternity covers.

She’s also been promoted within a business after handing in her notice. She doesn’t advocate taking another job just to negotiate a better one, but you may find that if you’re offered a job elsewhere your company won’t want to lose you.

Sometimes, however, it’s better to move, whether for a fresh start, new challenge or a more senior job title. Be prepared to take risks and don’t be scared to move if a new job comes up.

Suzanne Collier is the founder of bookcareers.com. Follow her on Twitter @SuzanneCollier and     @bookcareers.

Hermione Ireland is managing director of Académie du Vin Library. She is the tutor of the PTC’s Introduction to Marketing for Smaller Publishers virtual course.

Follow her on Twitter @hermioneireland.

Planning to get a job in publishing? Ever wondered about selling rights? I'm here to tell you what a great option it is!

When I was looking for a job in publishing, I thought I knew what editors did (deep thoughts and chatting to authors, right?) but had little idea of other departments and how they fitted into the publishing world. I answered an advertisement in The Guardian and found myself with a job in rights. I loved it and still do, nine companies and 30 years later. 

So, what is selling rights? It's a way to make content available in a wide range of languages, formats, territories and platforms. Selling rights is all about making money for the rights holder (usually the publishing company and the author) - extra to the money made from publishing and selling the book in their home market and overseas in the original language.

People who work in rights always have an interest in other countries and cultures. They usually have a degree - any subject will work. Work experience in any area is helpful but experience in publishing (when that is again possible) shows some commitment to the industry. A new recruit is not expected to know much about rights but they will need to be able to work methodically and multi-task; absorb a lot of information about numerous books; enjoy meeting people; and get a kick out of being part of the business of publishing.

Here are my three best things about selling rights:

1. Selling rights feels more like a collaboration than a hard sell

You are usually selling to another publisher, either an editor or the boss of the company who decides what to publish in their market. They really want to know about the content, not just the cover, so it makes for interesting discussions about both the book and the different markets.

The customer is looking for content that is right for their company and their market. You are there to tell them what you have that might fit. You are making connections and agreeing deals. It’s a commercial role but also a collaboration. You hope to build lasting relationships with your customers so that you work together over many years. Despite the flexibility of modern communication, selling rights still relies on personal relationships and trust, which can be very rewarding.

2. You meet some fascinating people and travel to interesting places (pandemics permitting!)

It's a very outward looking role, ideal for people keen to learn about other countries and cultures. You need to be outgoing but also good at listening. There are book fairs in London, Frankfurt and Bologna but also in Beijing, Taipei, Guadalajara amongst others, not to mention sales trips to visit customers. You always learn something new on these visits.

In house, selling rights involves contact with nearly every department of a publishing company: editorial and design, so that you know what the book is about and can get material to show to customers; production, to get books printed in translation; sales, to share material - so you have a wonderful overview.

3. You play an important part in the publishing process

You may not be making the book, like editors and designers, but you are often very much involved in what gets published and how it develops from an idea to a book. Companies want to publish books that sell, so you will report back to publishing meetings on what will work in the rights markets. This is endlessly fascinating - you think you’ve just about figured out what works in translation and something happens to confound you; what about a seven-book series about a boy wizard at a boarding school, books that get longer and longer and go up the age range? I don’t think so! You will bring ideas to the meetings, from your conversations and travels, which may become books. Often a book will not be published unless there is potential to sell rights, since it is such an important source of additional revenue. 

It’s very rewarding to see a book in translation that you made happen, or to hear a book on the radio that you sold, or see a large print or an audio book published because of your deal - all through selling rights. You are contributing to publishing decisions, the overall success of a book and the bottom line through a job that is intellectually stimulating, challenging, sociable and most important, all about the books!

Joanna Everard is a freelance publishing rights consultant, tutor, trainer and speaker. Follow her on LinkedIn.

What’s the best way to impress a potential client?

Show them your T-REX! Rather than the famous dinosaur, this stands for Training, Reputation and EXperience. I obtained the T on completing the Publishing Training Centre (PTC)’s Essential Proofreading course with a distinction in July 2020. Next, I needed to focus on the REX – and this is what I did.

First step: set up a formal business

I launched Well-Tempered Proof after researching how best to market my proofreading services (and keep HMRC happy). Preparation behind the scenes meant I could offer a professional front to potential clients.

This included building a website, writing regular blog posts and investing in essential reference books. I’ve yet to complete a proofreading job without having to consult the New Oxford Style Manual or The Chicago Manual of Style.

Gaining experience and building my reputation

Suddenly finding that there’s no tutor support can be terrifying at first – how does one get experience and build a good reputation? I began by proofreading as a volunteer for a local charity. Being new to proofreading, I had neither testimonials nor a proven track record. However, I did know people who could vouch for my character.

I found my first paying clients through a friend who introduced me to her writing contacts on Instagram. I also got work from an independent publishing agency after being introduced to the chief executive by a mutual acquaintance.

The benefits of a professional membership organisation

Joining the Chartered Institute of Editing and Proofreading (CIEP) has been great for strengthening every part of my T-REX. Membership means I can tell clients that I adhere to the CIEP’s code of conduct.

Plus, the forums serve as a support network and source of encouragement, and provide access to helpful resources and tips from other members.

The value of networking – with clients, authors and fellow proofreaders

While some networking efforts have led to clients approaching me, it’s crucial to find opportunities too. This is an ongoing challenge, and there’s always plenty to learn.

Sending my CV to local publishers resulted in being hired for two projects. As well as being included in the PTC’s Freelance Finder, I applied to specific publishers, asking to be considered for work and added to their freelancer databases. I was successful with one of these, which was a big confidence boost, especially as I had to pass a proofreading test as part of my application. I haven’t received any work from them yet, but at least I’m on their radar.

Approaching independent authors has required different tactics. Unless they specifically post on social media that they’re looking for a proofreader, I avoid cold calls or emails, and unsolicited, impersonal sales pitches.

I aim to create genuine interactions with people, taking an interest in what they have been working on and showing my support on social media. I’ve been hired several times because someone needed a proofreader and remembered me months after we first connected.

Building relationships with other proofreaders, and professionals, has been worthwhile too. Some have approached me about working together and, even if I’m not the right person for the job, I can often recommend someone else.

Demonstrating my proofreading skills

Initially, I demonstrated my skills by providing free sample proofreads when clients got in touch. It’s important not to undersell oneself, but there’s a balance with gaining experience. This tactic allowed me to decide if I was a good fit for the project and gave me time to work out a fair quote. Enough clients have gone on to hire me to make this a worthwhile exercise.

Adding the free resources page to my website and writing my weekly blog have also been great ways to showcase my proofreading skills.

Staying motivated

Freelancing can be lonely at times. Remembering the social aspect of social media creates a far more pleasant experience for everyone, leads to stronger connections and helps overcome feelings of isolation.

I’ve received some wonderful comments from clients, which are kept on a board next to my computer for when imposter syndrome looms.

A year on, I know that training as a proofreader was the right call for me. There have been many struggles, but my training continues to steer me in the right direction. Next, I plan to evolve my T-REX, by expanding into copyediting and developmental editing. That probably means signing up for another training course soon!

Philip Ridgers is a freelance proofreader and professional musician.

Visit his website, Well-Tempered Proof, and follow him on LinkedIn and Twitter.

The way we communicate at work has been transformed over the last 18 months. More important, however, than the change itself is its transformative permanence, and how we plan, manage and follow up on meetings, webinars and workshops, conferences and online events, and even job interviews.

Unless you have a background in journalism, the likelihood is that you haven’t been trained on ‘camera communication’: speaking on camera, to camera and with and to an audience you either don’t know or can’t see. And because humans are so adaptable, we’re getting on with it the best we can, with varying degrees of success. The following tips will provide you with a basic toolkit to use in most circumstances that you’ll encounter.

1. Writing is key

The first point is that online speaking begins with writing. Yes, that’s what I meant to write: online speaking begins with writing. To build rapport, create some level of familiarity, take away the strangeness and the ‘coolness’ of digital communication, it’s a good idea to contact your interlocutors-to-be at least 24 hours before your ‘call’ takes place.

This ‘written first contact’ will allow you to introduce yourself, provide background and context to the call and outline your objectives (if you are not chairing the meeting). Plus, you can ask questions about the technology, the attendees, the duration and the mechanics of the video meeting. This is considered best practice in face-to-face meetings, but somehow, with digital, we think that it’s acceptable to click on a link and ‘turn up’ on the screen with no preparation. Well, it’s not. The more you invest in the pre-meeting phase, the easier and more efficient the live event will become.

2. Practice makes perfect

The second step is to create a free account with as many video applications as you can and practise in your own time. You can then familiarize yourself with the technology and its features, and also record yourself and get used to looking and speaking at the camera. This is important, because most of us tend to look at the faces on our screen when we speak; looking at those happy souls while you listen is fine, but you should try and treat the laptop’s built-in camera, or your additional camera, as a person.

The camera has behind it the faces and eyes you would normally look at in a face-to-face environment. This will feel odd and gravity will pull your gaze towards the screen. Persevere - discipline yourself to look towards the camera. The impact on, and the perception from, those listening to you and watching you will be more professional, more persuasive, and more in control. This takes time and practice, but it’s worth the effort.

3. Use your hands

Another key component of your on-camera ‘performance’ is the use of your hands. We have become so used to seeing still heads on video calls that the only environmental aspects we notice are backgrounds in people’s rooms. However, hands are a powerful communication tool, one that will make your video calls more personal, more interesting and bring you closer to other participants. Use them deliberately and regularly, but be mindful of their proximity to the camera as too close an approach may be counterproductive.

4. The follow-up call

As important as the pre-meeting procedure, if not more, is the follow-up post-video call. Sending a thank-you note, a summary of actions, an acknowledgement of what went particularly well or badly and a request for feedback is good practice for any meeting. It’s especially good for online meetings, as these post-meeting messages will help you to build your relationship with the client, colleague or interviewer, and rapport for future video encounters. It takes effort and discipline; the feedback piece in particular will build your confidence and your technique. You will gather a portfolio of recommendations that you can apply to future calls and share with colleagues and friends alike.

5. Be yourself, be lively

Finally, be enthusiastic, be energetic and smile. A big weakness of video communication is that it is easy to lose that precious chemistry and heat between humans. You have to make an extra effort to maintain some electricity and interest between the two parties. Be yourself and be lively. You’ll have more fun and other attendees will too.

We live in exciting and testing times. Embrace the opportunity and experiment every day. Video calling is here to stay and you can master it. Start with the recommendations outlined here and you will soon develop a more advanced repertoire of tools and techniques.

Carlos Gimeno is founder of Cg and a freelance trainer. You can follow him on LinkedIn.