24 April 2023

Last year’s London Book Fair (LBF) was not a great experience for many: the building works outside Olympia were noisy and disruptive; there were long queues to enter, as everyone had to show their Fair and covid passes; and a large percentage of attendees caught coronavirus after being stuck indoors for three days. Visitor numbers were down 10,000 or 40% on the last live event, in 2019.

In some ways, that made for a calmer LBF, one where you could walk down the aisles between stands without being jostled, and where grabbing a coffee or sandwich didn’t require a 15-minute wait.

This year, entrance on Wednesday morning was quick, although the first day was busy with the usual long queues. Works to turn Olympia into a cultural hub continue, with five enormous cranes towering over the venue, building a new music arena and theatre, along with hotels and a performing-arts school.

After a quiet start, people poured into the corridors and stands from mid-morning onwards. By the afternoon, the spring sunshine was doing its best to bake exhibitors and visitors on one of the nicest days of the year.

The Academic & Professional Hall was not busy. Cambridge University Press decided not to take a stand, and its rivals such as Oxford University Press didn’t look overwhelmed with visitors. The Trade Hall was full, with busy tables on most stands. All the free seminar events were extremely well attended, with many having to squat on the floor or stand outside the talks area to hear the speakers.

Themes of the Fair

The free talks programme was bigger and wider ranging than in previous years. Diversity, Equality and Inclusion (DEI) was a key theme. Panels covered both how to recruit and retain a wider range of talent than has traditionally staffed publishing houses, and how to widen the range of books published. Kate Wilson, MD and Founder of Nosy Crow, who is opening a new US office, pointed out that 33% of London children don’t identify as ‘white’, a figure that rises to 55% in the US. Their first US/UK title is also being published simultaneously in Spanish, to cater for the Latinx audience in the US.

Suzy Astbury, MD of recruiters Inspired Selection, encouraged those trying to get into the publishing industry to think beyond traditional editorial roles, or the ‘Big Five’ companies. With 75% of candidates after editorial roles in adult trade fiction, it’s worth applying to other roles in production, marketing, rights and sales, and remembering other sectors in which books and content are published, such as Academic, Educational and Professional.

Another area under discussion was the influence of artificial intelligence (AI), a catch-all term that US literary agent Ethan Ellenberg said had become ‘meaningless’, as people were using it to cover everything and anything. The most interesting and potentially useful tools now widely available are Chat GPT and other writing programs. These could revolutionise publishing and are already having an impact. Not only for the content they can provide, but also marketing copy and commercial plans, as you can ask the programs to produce a business plan or an advertising campaign. All the speakers I heard welcomed this new technology as an ‘opportunity’ rather than a threat. Joanna Penn, a prolific and successful self-published writer, loved the possibilities it presented, and described herself as an ‘AI-assisted, artisan author’.

Money and salaries were another concern, with many arguing for better pay rates, particularly in the big cities where monthly rent can average £830 (London) or $4,000/£3,215 (New York). No wonder HarperCollins staff were striking because they said they could not live on a $45,000 starting salary with rents like that! (For the uninitiated, US salaries are always much bigger than UK ones. When I asked one of my bosses about this years ago, I was told that’s just how it was – US colleagues worked longer hours, had fewer paid holidays and/or sick days and benefits, and were paid more. I’m still not entirely sure I get the argument.)

The overall atmosphere of the Fair was upbeat. It felt very international, with countries, foreign book fairs and international publishers taking over an increasing percentage of overall floor space. One consequence of there being fewer big, splashy promotional areas for specific titles is that there aren’t so many places to sit for those without a stand. I have fond memories of having a coffee in a large comfy chair in an area to promote a new Ruby Wax title, pre-covid. Even the Ivy at the LBF has gone. Lots of people sit on the floor to talk, eat their lunch or have a drink. I miss the pop-up spaces, mostly because of my ageing knees, although it’s good if the money’s being spent elsewhere.

Petra Green is Head of the PTC and a freelance publishing consultant. Follow her on LinkedIn.

24 October 2023

I recently made the move to literary agenting after working as an editor for over a decade. Both roles have one thing in common – no two days are ever the same. The role of a literary agent is often reactive – you might receive an offer from an editor, or an outstanding submission land in your inbox, or an author calls you to discuss how their pitch is going – all of which take precedence over what you had planned to do. Though an agent’s day-to-day work is ever-changing, there are general processes that remain the same.

Submissions

Literary agents receive a lot of submissions. Usually, I glance over new submissions every morning and flag those that instantly catch my eye. I try to find time each week to read through these, and to move quickly with any that have genuine potential. I set an 8-week response window for each submission and often dedicate one day a month to considering others I was less sure about.

I also do a lot of my own outreach. Someone may have an incredible platform or published an article or short story that piqued my interest, and I’ll contact them to discuss agent representation.

Representation

If I like a submission and it is fiction, I will request the full manuscript, add this to my reading list and try to assign a day to read through it. Non-fiction manuscripts are often not written but if I am interested in the project, I will likely have queries for the author and ask if they have other writing I can read through.

When I have decided that I would like to represent a client, I arrange a meeting with them to get to know them on a personal level, explain the agent–author relationship and provide any editorial feedback on their manuscript. I will make an offer of representation and once (hopefully) accepted, I will build an author page on the company website and announce it across our social-media channels.

As an editorially-focused agent, I like to spend time editing and fine-tuning a manuscript before submitting it. There might be a couple of rounds of further edits. I also work with non-fiction authors to ensure their proposal and sample chapters are as strong as they can be. I will then craft a pitch letter and begin pitching.

Pitching

Before pitching, I compile my wish list of primary and secondary editors and publishers to submit to, based on previous conversations with editors, as well as research and comparable titles. Sometimes a project might fit perfectly with an editor and I will submit exclusively to them.

It is always exciting sending out a pitch and waiting to see how the book will be received. You might have a few editors fighting for a project, or only one editor who falls head over heels for a book. Sometimes it can take months of pitching before you find that perfect home. And sometimes you have to regroup and go back out there with a revised manuscript and pitch.

Negotiating publishing offers is key to being an agent. You want to secure the best deal for your clients but you also want to make sure that your author finds the right publisher. Once I have offers, I share these with my clients before negotiating terms with publishers.

Publishers

After accepting an offer, an agent will go through the publishing contract with a fine toothcomb to make sure it matches the offer and to query any clauses that might be unfavourable to an author. A client is likely to have their queries too. I work with co-agents in foreign territories who submit books on our behalf there as well. Once the deal is secured, I will update everyone with the news (and updating co-agents with news regarding your authors’ books is happening all of the time).

Once the contract is tied up, the publisher side of things takes over. This might involve checking cover art, reading through marketing and publicity plans, chasing payments or helping an author with editorial feedback.

Another big part of being an agent is meeting with editors to learn about what they’re looking to acquire and sharing clients’ projects with them. This is useful for creating an early buzz around a project but it also makes the pitching process much easier if you already have editors in mind.

Authors are at the heart of everything an agent does week in, week out. Agents are there to provide professional and emotional support, manage their careers and brand, fight their corner, sell as many rights as possible and always seek out the best deal. Every day is different but there is always one constant – the happiness and success of your authors.

Andrew James is Founder and Literary Agent at Frog Literary Agency. Follow Andrew on LinkedIn, and Frog on X (formerly Twitter) and Instagram.

The Society of Young Publishers (SYP) was established in 1949 and is run fully by volunteers. Anyone who is in the first ten years of their publishing career can join the Society and serve on one of the committees.

The SYP helps people to get into and progress within the publishing industry through a range of events, conferences, partnerships, and schemes, such as the mentorship scheme. As an SYP member, you will be able to access various discounts from our partners, website job board and InPrint magazine.

With six national branches – in London, Oxford, the North (Leeds/Manchester), Scotland, the Southwest and newly launched in Wales – the SYP is a truly UK-wide organisation, with one more office in Ireland (Dublin).

The SYP mentorship scheme

Our mentorship scheme is a great opportunity to receive guidance, insights and personalised feedback from publishing experts. You don’t need to be an SYP member to apply. Last year, we had applicants from many different backgrounds, with candidates working across small independent publishers and the ‘big five’. If you think you could benefit from the mentorship scheme and have specific goals in mind, I would encourage you to apply.

Depending on the SYP branch, there are three mentorship schemes to apply for – Into, Ahead and Launch.

• SYPInto is designed for those searching for their first job in the publishing industry

• SYPAhead is aimed at anyone who is already working in the industry and looking to progress their career, and

• SYPLaunch is for freelancers, those looking to start their company or progress in the industry in a less traditional way. Run by SYP UK, applications are welcomed from anyone based in England, Wales, Ireland and Northern Ireland.

Check the SYP mentorship page for information on which scheme is available in your area.

Reshape your career in six months

The mentorship scheme lasts around six months and consists of a minimum of four one-on-one meetings between a mentee and a mentor, often held virtually. The exact structure is up to you and your mentor, but we suggest using the first meeting to further explore your goals and objectives and establish the structure for the remainder of the scheme.

SYP is also organising a virtual social event to meet mentors and mentees from the other schemes. This is a great networking opportunity, especially if you’re trying to break into the publishing industry, or have just moved to a new area for a job.

How to apply

SYP uses a blind application process to avoid any bias. Applicants indicate two publishing areas of interest, so we can match them with publishing experts with relevant experience and skills. Other questions are specific to the scheme but generally consider your motivations for applying and your specific goals and objectives. While we try to match as many applicants as we can, it very much depends on the availability of mentors in specific areas of the publishing industry.

My top tip is to make your objectives as clear and realistic as possible. This will emphasise that you know what you want to achieve from your mentorship and how it will benefit you. Those objectives are also a great starting point for the first meeting with your mentor.

Applications will open in May 2023 (to be confirmed) and successful applicants will be notified shortly after. The number of applicants varies by scheme and SYP branch, but last year we had over 100 applications for SYPInto in London.

Learn from inspiring mentors

To get the most of your mentorship scheme, remember that mentors are volunteering their time and knowledge, and are happy to answer your questions and offer their personal and unique insights. On SYPInto, for example, we were lucky to have mentors from publishing-recruitment agency Inspired Selection, who offered invaluable insights and tips for writing CVs and cover letters.

This year, both our schemes in London included professionals from trade and academic publishing, working across a broad range of departments – from editorial and marketing, to rights and agenting. We had mentors from publishers such as Penguin Random House (PRH) and Hachette, as well as many others.

While, unsurprisingly, there has been a huge interest in editorial from the applicants, we have seen numerous people interested in marketing and publicity and a significant increase in interest in rights, scouting and agenting. With physical book fairs returning after the pandemic, rights are more visible than ever.

My personal experience

I completed the SYPAhead mentorship scheme a while ago, when I was working in my first publishing job and looking to move into a different area of publishing. My mentor, a Rights Executive at PRH, was brilliant in explaining her role in greater detail and offering useful guidance and tips – from job-specific advice to working on my CV. By the end of my mentorship, I managed to land a job in rights.

Alicja Baranowska is Foreign Rights Sales Executive at Welbeck Publishing and Co-Chair of the SYP. Follow her on LinkedIn, Twitter or Instagram.

Follow the SYP on Twitter. Full details of how to apply for a place on the SYP’s 2023 mentorship scheme will be available in the upcoming months on the SYP website.

23 November 2023

Right at the start, let me come clean. During my career, AI has been a significant source of concern for me. But that’s enough about my Atrocious Indolence.

Today I want to focus instead on the subject of Artificial Intelligence (AI), which suddenly the whole world seems to be talking about. As a professional writer, I have to say, I have mixed feelings about the arrival of this technology on planet Earth.

On the one hand, it’s true that, for writers like me, AI can be helpful. It has the potential to supercharge our way of working, removing a lot of pain from the task, while generally speeding things up.

For example, among many other things, we can use this technology to:

• carry out some rapid, in-depth research, before embarking on any new project

• find alternative angles and approaches that we might previously have overlooked

• arrange for awkward sentences to be fixed or overly long pieces of text to be shortened

• highlight all the clichés associated with a particular subject, so that when we write about that subject, we’ll know which words to avoid

• act as a second pair of eyes, closely scrutinising our writing for errors and inconsistencies which we might otherwise have missed.

Indeed, it’s fair to say, many of the problems we copywriters routinely encounter could be handed over to AI for a near-instant solution. By taking that option, we could become more productive and our written output less prone to human error.

This, in turn, could lead to us offering our clients an even better service, one which would enhance our reputation in the industry. Word could soon spread about the quality of our work. If we’re not careful, we could end up earning a lot more and therefore needing to work a lot less.

In other words, AI could be the rocket fuel that lifts our careers to greater heights, proving it is indeed a transformative technology. What an amazing time to be a copywriter, I hear you say.

But hold on a moment. Let’s not get too far ahead of ourselves.

A few threats

Superficially, this technology may seem like our new-found best friend, streamlining our work, potentially boosting our income. But it would be naïve to think that AI doesn’t also pose a few threats.

From a copywriter’s perspective, there are at least three less-than-welcome things it could bring about. It could:

• take much of the fun out of writing

• make us so reliant on the technology that our personal creative abilities start to seem redundant

• kibosh our jobs, as companies realise they can produce their own copy in-house by machine, without needing to hire a professional.

Taking all this into account – especially that last point – it would seem the arrival of AI is set to cast a worrying shadow over our careers. We copywriters might soon be extinct. We could end up feeling every bit as antiquated as an alchemist, town crier or VHS repair engineer.

However, based on the quality of the AI-generated copy I’ve seen thus far, I think we can relax for a while.

Without doubt, the technology provides an incredible level of detail and responds unbelievably fast. For example, it can blast out a 450-word article in about 11 seconds.

But the text it offers tends to be dry and lacking in character. Businesses using AI copy to sell their services would surely be underwhelmed by its lacklustre, won’t-pass-muster prose.

Upgrades in the pipeline

In view of this weakness, it might seem that we humans have little reason to be concerned. However, these are early days. Who knows what amazing upgrades may be in the pipeline?

Give it a year or two, and the technology may well have caught up or even overtaken us. Bearing all this in mind, how worried should we be? How much of a risk could the technology eventually pose for human copywriters?

Well, to check this out I put my concerns directly to the artificially intelligent chatbot, ChatGPT. It’s fair to say I got a mixed response.

On the one hand, it promised that AI could be helpful to writers like me. On the other, it suggested that. if I wished to survive in this brave new world, I would have to accept changes.

Opportunities for copywriters

Somewhat ominously it wrote, “While the increasing availability of AI in copywriting may pose challenges, it also presents opportunities for copywriters who are willing to adapt . . .”

In the midst of so much uncertainty, one thing is clear. Big changes are heading our way. While we shouldn’t panic, we need to familiarise ourselves with this remarkable new technology as a matter of urgency. In that way we can identify the associated benefits and risks.

Bev Legge is a copywriter and tutor of the PTC’s courses, Copywriting for Publishers and Creative Copywriting for Publishers. He has over 25 years’ experience in writing, editing and training worldwide. Follow him on LinkedIn.

22 December 2023

Petra Green is Head of the PTC and a freelance publishing consultant. Follow her on LinkedIn.

Why fiction and board games?

My husband is a board-game designer in his spare time. For some years I had been proofreading his rules, prior to their submission to publishers, as well as proofreading his games for publishers, before going to print. At the time, I was seeking a flexible career, working from home, to fit in with my family.

I enjoyed the proofreading work, so decided to use my existing skills. In 2016 I completed the PTC Essential Proofreading course, gaining formal proofreading skills and an industry-recognised qualification. Initially, I specialised in proofreading for the board-game industry, using my previous experience. However, once my business was established, I expanded into copy-editing and proofreading fiction. Following further training in copy-editing and fiction editing, I now specialise in historical and fantasy/sci-fi/speculative fiction – my favourite genres. One of the great aspects of freelancing in publishing is that you can work on the subjects that interest you most, including your hobbies.

Getting started

Networking with my husband’s contacts in the board-game industry helped kickstart my career. Just one month after completing Essential Proofreading, I received paid work from my first client – who I still work with today! It then took a year or two to establish further clients.

My work in a nutshell

Copy-editing fiction requires a great deal of checking – including for accuracy and consistency of spelling, grammar, punctuation, syntax, formatting and page layout. I also check for consistency and logic of the story, carry out basic fact-checking and keep a detailed style sheet of editorial style, character names and place names. Editing historical fiction also involves checking for anachronisms.

Editing board games involves working on rulebooks, cards, box covers, boards and other written game components for publishers, and prototype rules for game designers pitching to publishers. I check spelling, grammar, punctuation, page layout, and that the graphics and images are correct. Consistency checking is important within each file and across all components, for example to ensure consistent use and styling of game terms.

Training – a vital confidence booster

Training gave me the confidence to set up my business and offer professional editing services. Despite having good spelling and grammar (vital for successful proofreading) and some proofreading experience, I learned so much more on the course. Having my work and assignments assessed by my personal tutor, and passing the course with merit, gave me the skills and knowledge to carry out proofreading work for clients – and the assurance that clients would feel confident working with me, knowing I have a proven qualification.

My training experience is on my website and listings, so clients can see what I’ve completed, and it endorses my credibility to potential clients.

What I enjoy about my role

I enjoy the variety of genres of fiction and themes of board games I work on. Every project is different in terms of length and the level of work involved. It’s rewarding to work methodically through fiction manuscripts and to keep details of the story in a spreadsheet, to help check for inconsistencies. I also love completing style sheets! There’s something satisfying about listing editorial style choices, character names, place names, and so on, knowing it will help the author to keep consistency in that book – and later books if they write a series.

It’s a privilege to be asked to copy-edit or proofread someone’s book or game that they’ve spent months or years working on, and I feel a great sense of achievement sending back the completed work with suggestions for improving the accuracy and consistency.

Keeping up to date with industry developments

Commitment to regular Continuing Professional Development keeps my skills up to date and ensures I keep track of developments and trends in the publishing industry. This includes:

• membership of the Chartered Institute of Editing and Proofreading, which allows me to attend local group and fiction group meetings and their editorial conferences – offering an excellent way to explore new skills and ideas
• reading books, guides and blogs, and staying up to speed on social media
• ongoing training, including taking courses and watching fiction writers’ webinars in different genres.

My top tips for aspiring fiction or board-game editors

My top advice is to do some proofreading training first, followed by copy-editing if you wish to. Join an editorial society, for course discounts, access to a wealth of information, and to meet other editors for mutual support.

There are some excellent courses and books available to ensure you gain the necessary specialist skills for fiction editing.

If you’re considering a career in board games, attend conventions to connect with publishers and designers, find out about the latest game releases and new trends, and even play games to gain useful experience.

Rachael Mortimer is a freelance copy-editor and proofreader.

You can visit her website and follow her on Twitter and LinkedIn.

Scotland is home to around 100 active publishing companies, varying greatly in size and focus. Structurally, our publishing reflects global industry trends: a large number of small independents, most established in the past five decades, which operate alongside offices of larger conglomerates. ‘Small’, however, should not be confused with ‘insignificant’ – Scotland has a thriving book trade, with its publishers and authors regularly receiving prestigious awards and international acclaim.

Over 2,000 books are published in Scotland per year, with 90 percent of our publishers also selling their titles overseas.

Global success for Scottish publishers

Scottish publishers have an increasingly global outlook, both in exporting their products and in welcoming writing from all over the world. Canongate, one of our largest trade publishers, is known for its excellent internationally-focused list that recently attracted two Booker Prize nominations in one year, for A Spell of Good Things by Ayọ̀bámi Adébáyọ̀ and The House of Doors by Tan Twan Eng. With its mission statement of ‘publishing in Scotland for the world’, Birlinn also works with an array of internationally acclaimed and award-winning authors like Alexander McCall Smith, Denise Mina and Jenni Fagan. There are also indies that focus on translated fiction: Charco Press is scooping up awards and nominations for its brilliant work in uncovering the best of contemporary Latin American literature, and Vagabond Voices publishes work translated from Estonian, Italian, Latvian, Swedish and more, calling itself ‘both Scottish and fervently European in its aims’.

Promoting national culture

While increasingly looking outside of Scotland, our publishers are also fundamental to sustaining and promoting our literary and linguistic heritage. Companies like Acair, Luath Press and Itchy Coo (an imprint of Black and White Publishing) publish acclaimed Scottish authors and celebrate the national languages, Gaelic and Scots, advocating for their inclusion in the Scottish curriculum. These (and many other) companies make an enormous contribution to Scotland’s understanding of itself and its past, ensuring that our distinct culture is recognised and represented.

Award-winning children’s publishing

Scotland is also known for its award-winning children’s publishing. Floris Books offers an array of titles for all ages, from the classics of Scottish literature to new authors discovered through its annual Kelpies Prize. Barrington Stoke produces accessible, dyslexia-friendly books that encourage every child to be a reader, and DC Thomson has been publishing its bestselling annuals (including Oor Wullie and Beano) for over 80 years. Independents such as Little Door Books or Cranachan Publishing have also been developing, establishing themselves as some of the most creative and exciting children’s publishers on the market. You can watch our recent documentary on the growth of children’s writing and publishing in Scotland, Forever Lands, here.

It’s not all about trade

Of course, Scottish publishing is not all trade – our specialist and academic companies, such as Witherby Publishing Group and Edinburgh University Press, are amongst the largest and most successful publishers in the country. Bright Red Publishing, the only independent educational publisher in Scotland, has been producing excellent resources for secondary students and teachers for the last 15 years. And Scottish publishing is not all independent – conglomerates like HarperCollins and Hachette have their offices in Scotland, making an important contribution to the health and diversity of our industry, while the trading arms of the national cultural institutions such as the National Galleries of Scotland or the Royal Botanic Gardens Edinburgh all have lively publishing programmes.

Publishing Scotland – championing the nation’s book industry

All of these publishers are members of Publishing Scotland – the network for trade, training, and development for the book publishing sector. Established in 1974 by a group of independent publishers, the organisation acts as the voice and network for Scottish publishing, developing and promoting the work of companies, organisations and individuals in the industry, as well as co-ordinating joint initiatives and partnership.

Some of our flagship activities include organising the largest book trade event in Scotland, the Scottish Book Trade Conference, facilitating international exchange through the International Publishing Fellowship, and promoting Scottish books through our Books from Scotland portal and New Books Scotland catalogues.

We also provide training in publishing skills, and have done so for nearly 30 years – our programme aims to make publishing training more widely accessible to publishing industry professionals working across all areas of the trade, both in Scotland and beyond. You can find out more about our courses here, follow us on LinkedIn and X (previously Twitter), and sign up to our training newsletter for regular updates.

Alice Piotrowska is Training and Digital Marketing Manager for Publishing Scotland.

20 March 2023

I won a Printing Charity Rising Star Award in 2019 whilst working at a small publishing company in Lancaster. As a Publishing and Book Design Assistant, I worked closely with authors to develop their manuscripts into professionally produced books. And as it was a small company, I had the opportunity to work on all aspects of the publishing process like marketing, editorial, sales, and production.

Publishing has historically been quite London-centric (especially pre-pandemic); working tucked away in the north of England, there were few opportunities to fund professional development. I had recently graduated from Lancaster University with a degree in English Literature and Creative Writing, but I was new to the publishing world, with my experience limited to the role I was already in.

One goal was to improve my project-management skills so that I could take on and lead individual projects of my own. I found a course run by the Publishing Training Centre (PTC) in London, that would help me discover more about project management, working with authors and suppliers, learning about budgeting, scheduling and dealing with delays and problems. This course would help me understand the editorial process in depth, making me better at my job. However, the cost of travel, a night’s stay in London and the course fees made it difficult to fund. Then I came across the Printing Charity and their Rising Star Awards (previously the Print Futures Awards).

Applying for an award

The application process was straightforward, with a written submission followed by an in-person interview with the judges. The questions were about what I wanted to fund with the award money and why it would be important to progressing my career. The interview similarly was about me and my ambitions and how the Printing Charity funding would help me with my professional and personal-development skills.

The award ceremony at the House of Lords was the highlight of the whole experience. The opportunity to interact with other award winners and members of the industry was something I hadn’t had before then.

The course I enrolled on with the award was the PTC’s Editorial Project Management – two days covering how to plan a project, budgeting, estimating costs, working with authors and suppliers to develop realistic expectations, and many other interesting skills associated with print and digital project management. Doing this course helped me identify areas to improve on in my working life and boosted my confidence when creating estimates and working closely with authors.

The benefits of the course

One of the unexpected benefits of taking this course was the interaction with others in the publishing industry who worked at bigger publishing houses. It gave me an opportunity to network and learn how a big publisher like Penguin Random House or Oxford University Press operates compared to a small independent publishing company. I also realised the importance of having a rounded understanding of the whole process from start to finish, as many people working in large publishing companies tend to get caught up in the day-to-day nuances of their own work, and never get a glimpse at what it’s like in another department. Having this overview of the editorial process was especially important to me when I started working at Taylor and Francis (T&F) in 2020.

Even though the course I took focused on editorial project management, I learnt many transferable skills that I still use in my current job (Procurement Controller at T&F) working closely with internal production teams and external suppliers to ensure our books are printed and available globally. These skills have helped me manage and lead internal projects on supplier selection, and improve processes.

Having an understanding of editorial schedules, estimating and budgeting helps me manage manufacturing schedules, and work out costs so that we keep to the agreed margin. The skills I’ve learned on negotiating with printers, and dealing with problems and delays, have definitely come in handy – allowing me to understand the bigger picture and see how different departments work together to produce books on time and to budget.

If you are at a stage where you want to progress in your career and know what courses or help you need to get there, then the Rising Star Awards is an opportunity you absolutely cannot miss. Investing in your own professional and personal development is really important to having a satisfying career, and I cannot recommend the Printing Charity enough!

Srishti Kadu is a Procurement Controller in the Books Publishing Services Department at Taylor & Francis. 

You can find full details about the 2023 Rising Star Awards, including FAQs and an application form, on the Printing Charity's website. The closing date for applications is 2 April 2023.

26 September 2023

What happens when you put 16 writers together? Every week we have a new group of writers arrive at Moniack Mhor, Scotland’s national writing centre in the Highlands. Each week is fascinatingly different. For the last 18 months, I have watched as groups of writers, most of whom have never met before, arrive, mingle and bond as a group. Some release the stress of the past few years. For some introverted writers, it is their first intensely sociable period for the first time in years. “People think it’s going to be this quiet lonely time sitting at your desk looking out at the wilderness, but it’s not, it’s so sociable,” said Genevieve Carver, this year’s Jessie Kesson Fellow and one of our International Residents this summer.

I love seeing people’s reactions on their first encounter with Moniack Mhor. Ostap Slyvynsky, our poet in residence from Ukraine, compared our Straw Bale Studio (affectionately known as “the hobbit house”), and the whole experience of being at Moniack Mhor, to being on a boat. “Here are the portholes, there is the wide horizon stretching out below us. Even the landscape is in waves, and here we are all together,” he said.

A unique and inspiring place to work

For me, the sociable nature of my job as Centre Manager is what drew me here in the first place. I had longed to go on a course at Moniack Mhor, and had occasionally seen jobs crop up, but since I didn’t have a driving licence, I was never able to apply. Then, after lockdown, I was working from home, yearning for a more sociable job and one connected to the world of books, when this opportunity popped up. I edged my way northwards from Edinburgh getting to know the wonderful bunch of people who work there. Six months later, I took the plunge from remote working and moved to the Highlands, where I grew up and where I never imagined returning.

I have worked at magazines and publishers, and organised literary events, but nothing quite prepares you for the intimacy and friendliness of Moniack Mhor. It took me some time to settle into a more public-facing role again, and now I love it.

“Working for Moniack Mhor is like trying to stuff an octopus into a wardrobe,” as our Director, Rachel Humphries, said recently. This image aptly describes the myriad challenges and sometimes bizarre nature of the job. I enjoy the hosting and looking-after-people elements of my job the most. Best of all is when a person has a problem and I need to solve it. One guest requested a weighted blanket, but, given our remote location, such things aren’t always easy to find, so I invented my own using a large cushion cover and some wood from the woodshed. She was delighted with it.

A place of extremes – from cosy kitchen to seasonal challenges

The kitchen is the heart of Moniack Mhor, where some of my favourite conversations with writers have taken place. Guests have described the nourishment that helps them get their writing done by stripping away all the hard work. We staff all share in the house tasks, including working in the kitchen. It has its quirks: the “cupboard of chaos” and “drawer of doom” meld into the mix of chatter, cakes and a feeling of delicious sociable warmth. The lunches are nothing short of joyous thanks to our talented cooks and the quality of our locally sourced food.

Moniack is a place of extremes. In winter, we pull the food delivery down the steep track on sledges. I have had to go out and rescue lost guests in the snow and the dark. I have been stuck in the snow myself and was lucky to have had the help of Graeme Macrae Burnet and other guests to push my tiny car up the hill.

The Monday night arrival meal is my favourite time of the week. Laughter and hubbub emanate from the dining room as the group get to know each other. People bond so much they often want to come back in the same group. I try to have lunch with guests and tutors as much as possible. Then, at the end of the week, we have to say goodbye and hope they will come back.

My only regret is that I didn’t come here as a guest before I worked here. But next month I am going on my first course at Moniack Mhor. I can’t wait to experience it from the other side, to burrow myself into the sofa by the fire, where I have rarely sat before. I will try my best to ignore the tentacles of my to do list reaching out to me, and I will write.

Claire Daly is Centre Manager at Moniack Mhor, Scotland’s national writing centre. You can follow the centre on X (formerly Twitter), Facebook, Instagram and YouTube.

LDN Apprenticeships are rated an ‘outstanding’ apprenticeship training provider by Ofsted. We have been delivering apprenticeships for over 12 years, across a range of business sectors, and focus on creating opportunities for diverse talent to reach its full potential.

In 2019, after discussions with The Publishers Association, we launched the Publishing Assistant apprenticeship to help varied talent succeed in the sector. Since the first cohort, we’ve collaborated with some brilliant publishers – including Bloomsbury Publishing and Pearson – to open fantastic opportunities for new talent to enter the UK publishing industry.

Learn while you work: the purpose of apprenticeships

Apprenticeships are designed to support learning whilst working, allowing apprentices to apply their knowledge, skills and behaviours immediately in their day-to-day role. They are an effective way to embed knowledge in a structured and practical way.

In publishing, they produce well-rounded professionals who understand how their role fits into the wider publishing process, and how that process works end-to-end. Publishing apprentices have a commercial and practical understanding of publishing and often perform above the standard expected of them.

Apprentices are given time during their contracted hours to do their apprenticeship work. Monthly one-to-one coaching sessions support them throughout, and monthly live sessions allow them to embed and share their knowledge with fellow apprentices, whilst developing a wider network. There are also quarterly masterclasses where industry experts share their knowledge, and twice-yearly development days which offer a valuable opportunity for apprentices to meet and network.

Attract and retain talent

Apprenticeships are a great way to attract and retain non-traditional talent into the publishing sector. The structured learning and support, alongside the network they develop, means that apprentices achieve a 95% positive progression rate. As a result, apprentices either stay with their employer or find a role at another publishing, or related, company. Alumni cover a broad spectrum of roles, including digital editors, production editors, account managers, assistant editors, assistant project managers and publishing executives.

It is also a great way to support employees who have moved from a non-publishing to a publishing role, so they can learn on the job. 

The majority of apprentices stay in the sector after completing their apprenticeship and have already started to progress within the industry. Many apprentices on other programmes have also progressed to senior positions – including the current education minister, Gillian Keegan, and the CEO of London Gatwick Airport, Stewart Wingate.

The Publishing Assistant programme

The 15-month long publishing assistant apprenticeship provides a broad introduction to the publishing industry, from editorial and design through production and legal to marketing and sales. It covers:

• Getting to know the publishing industry, including the publishing process and systems, the commercial aspect of publishing and metadata.
• Editorial processes and skills, editorial design principles and production.
• Digital publishing.
• Rights and law.
• Sales and marketing, including digital marketing.

After 12 months, the apprentice undergoes an End Point Assessment (EPA). In the EPA, the apprentice’s portfolio is reviewed, the apprentice delivers a presentation and has a professional discussion. If successful, they are awarded a pass or a distinction.

The ideal preparation for a successful career in publishing

The breadth of the LDN publishing apprenticeship gives our apprentices a real advantage over candidates with 2–3 years’ experience and allows them to discover the area of publishing they are most comfortable with.

As one of our line managers said of the scheme,

“I think this is an excellent experience for apprentices. They gain an incredible wealth of knowledge of the whole industry, work with the best people and it really sets them up to interview well and thrive in roles in publishing.“ Lucy Brown, Commissioning Editor, Bloomsbury Publishing

and from Tom Avery – Publishing Director at The Tate,

“Aki has almost single-handedly produced a publication proposal for one of Britain’s brightest young artists, in collaboration with colleagues at Tate and with regional galleries and an international cultural foundation. The book should be one of our key titles for 2023, and it’s largely thanks to Aki’s hard work and tenacity.”

Marcus Simmons is Sales Director at LDN Apprenticeships. Visit the LDN Apprenticeship website to find out more about the Publishing Assistant programme.

Follow LDN Apprenticeships on Instagram, LinkedIn and Twitter.

20 February 2023

World Book Day (WBD) is a charity that changes lives through reading. Every year, and year-round, it creates a national conversation about the enjoyment of books and reading. Through its annual event in March – with its joy, celebration and fun – we encourage more children to read, and raise awareness of the difference reading makes to their lives. Through our year-round activities we support families, schools, libraries, bookshops and the wider community to help children develop a life-long love of reading.

Our aim is to improve life chances for more children, particularly those growing up faced with disadvantage and inequality. Whether we like to measure success as educational attainment or well-being, reading for pleasure matters more than a child’s family circumstances, their parents’ educational background or their income.

But reading for pleasure is in decline. Evidence from the National Literacy Trust (NLT) shows that in 2022 just 48% of children said they enjoyed reading, a figure which – when we look just at children and young people growing up with disadvantage and inequality – drops to 44%.

So, with reading for pleasure is at its lowest level since 2005, and a cost-of-living crisis combined with deepening educational and social inequality, WBD is a celebration that matters, and makes a difference.

The importance of reading

There’s no question that WBD is a huge presence in children’s lives. We know that 97% of children have heard of it, and that when children take part in a WBD event, 55% go on to read more books as a result.

We know that many children aren’t confident in saying ‘I am a reader’, despite its vital importance to their development. That’s why at WBD we have looked at the evidence to understand what factors are at play, and use our annual celebration to provide routes to reading enjoyment.

We’ve defined ‘reading for pleasure’ as ‘feeling [a] sense of satisfaction or pleasure by engaging with chosen reading material in their free time’. And we have absorbed and analysed the evidence to present six elements that enable a child to read in this way:

• Being read to regularly
• Access to books at home
• The ability for children to choose what they want to read
• Having trusted adults and peers sharing and recommending books
• Time to read
• The reading experience being enjoyable

Our resources, activities, events and the celebration itself are all based on encouraging these six behaviours, and finding ways to overcome barriers to reading.

The NLT also found that 1 in 10 children from disadvantaged backgrounds said that they don’t own a single book of their own at home. It’s important that, through an exceptional collaboration between publishers and booksellers, WBD is able to offer every child and young person the chance to experience choosing and owning a book – for free.

An industry collaboration

Every year WBD works with publishers and booksellers to make a range of £1/ €1.50 books available for children, who can access them for free when exchanged with the £1/ €1.50 token they receive in school or at nursery. 1 in 5 school children who receive free meals say the first book they have owned is a WBD book.

WBD’s charitable work has been supported by the industry from its earliest days, over 25 years ago. The first WBD in the UK and Ireland took place in 1997 to encourage young people to discover the pleasure of reading. As one of its founders, Baroness Gail Rebuck, recalled, “We wanted to do something to reposition reading and our message is the same today as it was then – that reading is fun, relevant, accessible, exciting, and has the power to transform lives.”

Now, in 2023, our headline sponsor is still National Book Tokens, and we receive funding from over 40 publishers. This year over 4,000 bookshops are taking part, making the WBD books available to children across the UK and Ireland.

We know WBD has more to do. We want to make sure the charity, our event and our year-round work helps to improve engagement with reading, and reach more diverse communities to support life-changing reading habits with children and families experiencing disadvantage and inequality.

Working together with publishers and booksellers, WBD is helping to reverse the decline in children choosing to read. As an industry, in supporting WBD publishers and booksellers are helping to improve life chances for all children.

Cassie Chadderton is Chief Executive of World Book Day. This year’s WBD takes place on 2 March 2023. Find out more – including ways to fundraise – at www.worldbookday.com.

Cassie Chadderton is Chief Executive of World Book Day. This year’s WBD takes place on 2 March 2023. Find out more – including ways to fundraise – at www.worldbookday.com.

You can also follow WBD on Facebook, Twitter, Instagram and YouTube.

Blueprint for All, formerly known as the Stephen Lawrence Charitable Trust, was founded in 1998. It believes that talent exists everywhere, but equal opportunities do not. Its mission is to create an inclusive society in which talent is respected and nurtured, regardless of race, ethnicity or background, and where anyone can thrive.

The charity achieves this through working with organisations and businesses to recognise and harness the advantages of a diverse workforce, and with schools, universities, community groups and employers, to inspire and enable young people aged 13–30 to pursue and succeed in the career of their choice. It also empowers communities across the UK to tackle inequality and discrimination for long-term, sustainable change.

Its programmes are organised into four key strands: careers, communities, society and a recently launched digital platform, 'My Blueprint for All'. These programmes encompass workshops, events, bursaries and mentoring opportunities, further supplemented by its social enterprise consultancy, Building Inclusive Futures, which sits alongside it. Many of these programmes focus on literary careers, including those in writing and publishing.

The Publishing Training Centre is partnering with Blueprint for All to offer those registered with the organisation free access to the e-learning module An introduction to publishing, until 31 December 2023.

Breaking into writing ­– and top tips

Eve Froude, the charity’s Communications and Content Manager, and Adjj Owusu-Darko, My Blueprint for All's Career Ambassador, share their experience and advice to those wanting to break into books, whether as a published author or working within the industry.

“The art of writing has always captivated the imagination of readers, marvelling at the ability of authors to craft literary masterpieces. One lesson I've learned through my own writing journey is the importance of taking that first step,” explains Eve. “Whether it's tapping away at a keyboard or scribbling ideas in a notepad, the act of beginning is far more rewarding than remaining in a state of creative inertia.

Writing, as an art form, holds immense potential for mastery, accessible to all who possess the right knowledge and dedication. While some may be naturally gifted writers, the journey of becoming a skilled writer often starts with short-form writing.”

The focus of Adjj’s work and writing is “to empower individuals to achieve their dream careers, whilst also creating valuable resources to support their professional endeavours. These resources range from how to write a CV to handling job rejection without taking it personally. All are designed to give you a deeper understanding of how to navigate your professional career and provide open access knowledge to people from diverse backgrounds who may not have had this opportunity before.

I’ve had a lot of experience landing jobs I didn’t quite feel qualified for, cold pitching and hearing nothing back,” says Adjj. “But from these experiences, I’ve also been lucky enough to have multiple wins along the way due to developing my writing skillset. Knowing your own personal experience and how it can help others is a surefire way to get good at writing. Here are some of my top tips:

• Just start: embark on your writing journey by capturing your thoughts and letting ideas flow freely.
• Ignore the mistakes: remember that the first draft is not meant to be flawless. Embrace imperfections and refine your work later.
• Write from familiarity: draw upon personal experiences to enhance authenticity and boost your confidence as a writer.
• Seek feedback: share your work with others, as writing ultimately serves a broader audience.”

Overcoming common hurdles

“The writing journey is not without its challenges, especially for those who come from disadvantaged backgrounds, who may be aspiring to work in the publishing industry”, advises Eve. “Here are three common hurdles that individuals face when starting or progressing in their careers:

• Limited access to opportunities: many aspiring writers from disadvantaged backgrounds often lack the connections and resources necessary to enter the publishing industry. They may face barriers when seeking internships, work experience, or mentorship.
• Financial constraints: pursuing a career in writing, whether as an author or within the publishing industry, can be financially demanding. Costs associated with training, courses, and attending industry events can create significant barriers for those with limited financial means.
• Lack of representation: the publishing industry, like many others, has historically struggled with diversity and inclusion. Individuals from underrepresented backgrounds often face challenges in finding role models and mentors who share their experiences and can guide them in their careers.

Building a fulfilling writing career takes time and exploration to find the right stories and opportunities, but it is undoubtedly within reach. I stand as living proof of the possibilities that lie ahead!

To access further creative opportunities, check out My Blueprint for All, and be part of a network of like-minded people looking to expand their skillsets.

Good luck!”

For more information about Blueprint for All, visit their website. 

You can follow them on Twitter, Facebook, Instagram             or LinkedIn.