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Visiting Speaker: Marion Sinclair, Publishing Scotland

November 21st, 2016 by chiara_bullen | Posted in Blog | Comments Off on Visiting Speaker: Marion Sinclair, Publishing Scotland
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Last week’s guest speaker was the Chief Executive of Publishing Scotland, Marion Sinclair. Publishing Scotland is a collective organisation with the purpose to ‘help Scottish publishers do business’. The group of founders were sick of travelling down to London for publishing meetings so they decided to do something about this. Soon after, Publishing Scotland was born in 1973 and has being going strong ever since.

Publishing Scotland have approximately 70 members and unusually survives almost entirely through state funding as opposed to subscriptions. They aim to work with smaller and Scottish publishers to help them network, grow and thrive in an industry that requires more man-power than is often affordable.

Going through the list of services on offer to their members, Marion paints the vivid picture of Publishing Scotland being an incredibly valuable resource for Scottish publishers who are facing difficulties that come with operating out of the London-centric hub of the industry. Services include (but are certainly not limited to) training courses, funding to help publishers attend book fairs outside the UK, networking events and marketing.

Marion spoke enthusiastically about the new publishing start-ups across the country and even encouraged us to think about potentially starting our own, noting that many successful publishing start-ups have been established by people in their twenties (and beyond of course!).

She discussed the 4 main challenges facing Scottish publishers and these are challenges that Publishing Scotland will work hard to face during the upcoming years. These are:

  • Getting products out to an international market, which is something Marion assured us Publishing Scotland will be prioritising.
  • Competition- it’s a crowded market! Visibility is everything and smaller publishers don’t get the same marketing space or opportunities as bigger publishing houses.
  • Lack of digital expertise to navigate the ever-changing digital market.
  • The ‘Lure of London’. Smaller, Scottish publishers are excellent at spotting talent and producing best-sellers, yet this success also invites interest from bigger publishers with more resources. This is sometimes a tempting offer for authors looking to further their career.

She concluded by discussing, with an energetic buzz, the increasing activity within Scottish publishing. With new start-ups, existing publishing houses starting to grow and more attention coming our way, she announced that it was an exciting time to get into the Scottish publishing industry. It’s a good thing more than half of us admitted we wanted to work in it!

by Chiara Bullen

A Day in the Life of a Publishing Student – 17th November edition

November 18th, 2016 by barbora_kuntova | Posted in Blog | Comments Off on A Day in the Life of a Publishing Student – 17th November edition
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Here at the University of Stirling, they like to keep us busy. And when it’s not our course keeping us busy, it’s all the exciting events that are going on around Scotland that we really want to attend. Here’s a look at what a random day looks like when you’re a publishing student.

6:30 am – first alarm clock goes off – slide to turn off

6:45 am – second alarm clock goes off – slide to turn off

7:00 am – third alarm clock goes off – slide to turn off, though now I can actually see something resembling light outside

7:30 am – the alarm clock goes off for the fourth time this morning, slide to turn off

8:00 am – oh well, okay then… time to get up and do this thing called adulting

8:30 am – a jumbo sized coffee and Nielsen – living the dream

9:45 am – time for another coffee, this time Christmas edition (it’s never too early for Christmas drinks)

10:00 am – lecture time

11:10 am – group work – never does a day go by without at least one

12:30 pm – time to catch up on emails and assignments; but at least the view is good

1:00 pm – lunch time – the Student Union is affordable, though not the healthiest – but we need all the unhealthy food we can get to keep us going

2:00 pm – reading time in the library!

3:00 pm – our favourite part of the week – visiting speaker (and coffee), this week we’re very lucky to have the author Liam Murray Bell

3:30 pm – we are adults but we also love being read to, so it is story time!

3:35 pm – tweeting is basically our full time job

5:15 pm – we the publishing peeps are on our way to the SYP Scotland Freelancing 101 event.. and what better way to spend the train ride than reading/tweeting?

6:40 pm – the panel is on, so take notes!

8:12 pm – night night, Edinburgh

10:00 pm – 1:00 am – bed time varies, depending on who’s all caught up with their uni work and who’s not – also, Netflix is an important variable in this formula

Barb Kuntova

 

Designed by Apple in California

November 18th, 2016 by Sharna | Posted in Blog | Comments Off on Designed by Apple in California
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designed-by-apple-in-california-1Apple Inc. is pretty much known by everyone at this point in time, but if you don’t know, Apple is a technology company founded in Cupertino, California, in 1976 (that’s right, Apple is 40 years old!). They supply all sorts of tech products: iMac, iPhone, iPad, iPod, basically iEverything. But this post is not a tech post, it’s a publishing post, because Apple have released a coffee-table book entitled Designed by Apple in California. Perhaps not the catchiest title, but it does tell you mostly what you need to know; it’s a book featuring 450 images, depicting Apple products over the last 20 years.

Designed by Apple in California is available in two sizes: small and large. Both are pretty highly priced; the small one will cost you $199 (£160.04) and the large version will set you back $299 (£240.46). To me, that seems a little obnoxious on Apple’s part; they’re going to charge you $300 to show off how nice their stuff looks. But enough about my personal opinions of Apple’s pricing strategy, let’s have a look at what that money will get you.designed-by-apple-in-california-2

The book is published by Apple themselves. Apparently, it’s been in development for 8 years. It’s printed on specially milled, custom-dyed paper with gilded matte silver edges, using 8 CMYK colour separations, and low-ghost ink. This type of ink is less likely to transfer or show through on the other side (hence ghost) and it also yellows less than regular ink. Probably a good call, considering the whole book is colour photographs – you do not want that seeping through onto the other side. Both volumes of Designed by Apple in California are white, linen-bound hardcovers, which mimics the sleek effects of Apple’s tech products.

Credit where credit’s due, it does look like a beautiful design book. You can’t fault the quality of the product and the effort that has gone in to the design and production of Designed by Apple in California, but my issue with it in general is simply: why? You can quite easily imagine it gracing a fancy, modern house or perhaps the Apple offices, but I just don’t really see it appealing to anyone else. It has also been noted by some that the book is really just Jony Ive (Apple’s chief designer) giving himself a bit of a pat on the back for his lovely design work.

All in all, it is a beautiful looking piece of work, but in my opinion, it seems unjustified and somewhat self-indulgent. But, being that Apple products are adored by so many, I’m more than certain that the limited supply it will sell itself, and that Apple will probably think about making another one, some 20 years in the future.

designed-by-apple-in-california-5designed-by-apple-in-california-3

 

Photos from Apple.

By Sharna Vincent

Publishing Ireland Trade Day 2016

November 17th, 2016 by claire_furey | Posted in Blog | Comments Off on Publishing Ireland Trade Day 2016

The fourth annual Publishing Ireland Trade Day took place on 11th November, the weekend of the Dublin Book Festival. The theme this year was #ReachingReaders. Irish publishers are small. Output varies from 1 or 2 titles per year to 20, and turnover is generally less than a quarter of a million per year. With this in mind, Publishing Ireland encourages the publishers to come together and support each other.

Bookshop at the Trade Day

Trade Day bookshop

First up was Kathy Foley, Content Marketing Manager at Twitter. Kathy highlighted the importance of Twitter for small companies:

  1. Your readers want to engage with you. 68% of people surveyed had already purchased a product due to seeing it on Twitter. Recommendations on Twitter come from people you admire and trust. It’s important to get experts/influencers to tweet about your books.
  2. The tools you need are already available to you: profile, cover photo, keywords in description, pinned tweet, and analytics. Have an overall strategy, and plan tweets.
  3. Hit the right balance. For every tweet pushing a sale, have 4 with general chat and interaction.

Next was a panel led by Peter O’Connell, a book publicist, on the ways of getting your books noticed by traditional media.

Barbara Feeney, a researcher for The Pat Kenny Show on Newstalk FM, discussed how she chooses books to review for the show:

  • Catalogues (time-consuming)
  • Receiving pitches, books by post, press releases, reviews. Ensure email is targeted specifically to Barbara/the show.
  • The timeline is important. Authors are often booked for the show up to 3 months in advance.

They look for

  • an engaging author, who is a good communicator
  • a book that is relevant to their audience in some way
  • interesting, obscure, peculiar subjects.

They won’t interview someone that has just recently been on another show. If the author is considered an expert on a particular topic, they may be invited back to contribute to other discussions on said topic, which is further publicity for the book.

Read more »

Vintage Books Reveal Newly Designed Russian Classics

November 17th, 2016 by therese_campbell | Posted in Blog | Comments Off on Vintage Books Reveal Newly Designed Russian Classics
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With autumn slowly passing and the winter months soon upon us, curling up with an old classic, by the warmth of a roaring fire – or only-slightly-working radiator if you’re a student – is the perfect way to end a cold and dreary evening.

The Vintage Russian Collection
With these winter evenings in mind, Vintage Books have recently revealed on Facebook and Twitter, a series of newly designed Russian classics. To mark the 100th anniversary of the Russian Revolution, the series will be released in January, 2017, and will include six texts by authors such as Leo Tolstoy, Fyodor Dostoevsky and Mikhail Bulgakov. Readers will be given the chance to delve into post and pre-revolutionary Russia once more with these exquisitely designed books.

In an interview with Waterstones, Suzanne Dean, Creative Director at Vintage, discussed her inspiration for the books unique covers. She explained that while republishing classical texts was tricky – there are so many editions already available – her aim was to create a series that readers would ‘cherish, collect and keep.’ She wanted to give each novel a contemporary twist whilst also conveying the era in which they were written. A mesh of different patterns can be found on each cover, with some being taken from and inspired by traditional Russian dress. The different tones of red used on each book give them all an individuality while simultaneously bringing a unity to the collection.

The intention to ‘evoke the essence of each novel’ in their design certainly comes through and each carefully considered colour and pattern breathes new life into these timeless classics. Any true book-lover would be proud to have this beautifully designed series as part of their collection.

Waterstones is currently the only bookshop to stock the series and all six books can be pre-ordered before their general release in January.

by Therese Campbell

Visit to Booksource

November 16th, 2016 by helene_fosse | Posted in Blog | Comments Off on Visit to Booksource
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It was one of the first truly cold mornings of the year – the soul destroying, mind numbing kind of cold that makes you want to slip into a coma just to get away from it. The whole Publishing cohort was standing outside Pathfoot waiting for the bus to show up, all in a severe state of zombie due to lack of sleep. We all had three assignments to finish with two days left until the last deadline. The mood was a bit depressing. It was dark. It wasn’t great.

When the bus showed up, my rarely awakened competitive instinct roared into life as if this was the most important task I ever had to do – get on that bus FIRST. Why? Who can tell. I don’t mess around with warmth and comfort. They’re very precious to me.

Anyway, five minutes later I woke up and we were at Booksource, situated in a small retail park-looking area in Cambuslang, Glasgow. Stepping out of that bus was heartbreaking, but we did, and dragged our feet into the reception where we were warmly welcomed by Jim O’Donnell, operations director, and Louise Morris, customer service director.

As a booksource-2distribution hub for more than 85 publishers, Booksource operate out of their 42,000 sq ft warehouse, which holds around 4 million units across 10,000 titles. Breaking up into two groups, we set out on the Booksource Adventure. As part of group A, I entered the warehouse where we were told it could get OUTRAGEOUSLY cold in winter. -25 degrees Celsius or something ridiculous like that. My brain could not compute. It wasn’t too bad at the moment however (though I was glad I wore thermals that day), so I quite happily followed my group as we delved into the massive room.

It was literally stacked from floor to (dizzyingly high) ceiling with books. We beheld the wet dream of every book-lover with continuous squeals of excitement and did not hold back when Jim said we could even touch the books (and that if anything went wrong, hbooksource-1e would blame it on the employees. I liked Jim a lot). We walked between the high shelves much like the Israelites crossing the Red Sea guided by Moses (Jim).

The bottom two shelves (about hip and eye-hight) were stacked with a wide variety of books. From there on up, there were mostly cardboard boxes on pallets. This was to accommodate picking, and every night the bottom two shelves would be restocked from the boxes so that there were always loose books to hand. There was no easily discernible system (for an outsider to see at least) as to where books were placed. Different titles from the same publishing house were scattered all around; fiction, non-fiction and academic books were happily mixed together; there was no alphabetical (or other) system. Jim explained that one reason for this was that some books, such as Cicerone Press’ travel books, could not be placed together due to the similarity of their covers.

As we came to the end of the warehouse tour, we knew we had to go upstairs and go to a short lecture on Booksource. We were all a little bit disappointed as we really just wanted to stay in the warehouse forever, burrowing into the shelves, making book forts and never ever leave. Ever.

Oh, and apparently CDs are still a thing. Mostly folk music, according to Jim. There were numerous shelves filled with CDs, which we approached with caution, not sure what those pre-historic round discs with the holes in them were.

As we climbed the stairs and entered the conference room however, it was decked out with tea, coffee and biscuits. Our spirits were thoroughly lifted, and although we did not quite forget about the warehouse, we were (I was at least) certainly content being in the warmth with handfuls of biscuits (and perhaps a few in the pocket for the drive to Bell and Bain) and hot beverages.

After settling down, Louise told us about the history and services of Booksource. Not only do they hold and distribute books, they also re-price, re-barcode-sticker (I’m making it a word) and jacket. They also provide POD (Print on Demand) and financial services. They have a website, InfoSource, which works as a reporting tool for publishers can use to keep track of everything from sales to stock to order processing. It is also possible to buy books directly from Booksource at www.mybooksource.com. They stock books, ebooks, CDs and DVDs. What do they not do?

All in all, it was a thoroughly enjoyable trip and we exited the building in high spirits. And back on the bus we went…

Leonard Cohen-legendary poet-singer, dies age 82

November 15th, 2016 by siqi_cai | Posted in Blog | Comments Off on Leonard Cohen-legendary poet-singer, dies age 82
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Photo: https://www.leonardcohen.com/

“I am ready to die.” -A great poet said.

On 11 November 2016, we lost another almighty star of fiction, poetry, music, and acting. Leonard Cohen died at age 82. Compared with the other day the cheering news that Bob Dylan got the Nobel Prize in literature, it is, indeed, a depressing tale today. Some fans who were enchanted by Cohen’s husky voice and infectious lyrics even said: “Cohen should have been given the recent Nobel – not Dylan.” As an editor who may deal with text in the near future, I am here to say that Dylan’s musicianship is of the higher standard than Cohen, but in the aspect of the literature and art, Cohen is better than Dylan. It is the statement of only my opinion and I know some big fans of Dylan must be angered by this statement, the judges of the Nobel Prize in literature are no exception, but I will still say so. When I first listened to his songs, I was not only touched by his melodies but also shocked by his lyrics. It is no exaggeration to say that he is a troubadour who can sing to the depth of people’s souls. When he croons romantic songs and ballads while playing the guitar, there is just no way that we can deal with any more musical tenderness.

Leonard Cohen majored in English Literature and published eight poems and two novels. He won the highest honor in the Governor General’s Literary Awards for his poems, and the novel Beautiful Loser was known as the 60’s masterpiece.

“As far as I’m concerned, Leonard, you’re Number 1. I’m Number Zero.” Dylan once said to Cohen.

No matter who is better in literature and music between Leonard Cohen and Bob Dylan, they are great people in this day and age, they are worthy of respect.

In the last part of the article I want to attach a lyric from one of my favourite songs, please image the picture of a melancholy poem standing in front of the microphone, singing a love song Suzanne with his husky voice to people who are lost a loss:

“Suzanne takes you down to her place near the river,

You can hear the boats go by you can spend the night beside her,

And you know that she’s half crazy but that’s why you wanna be there,

And she feeds you tea and oranges that come all the way from China,

And just when you mean to tell her that you have no love to give her,

Then she gets you on her wavelength and she lets the river answer,

That you’ve always been her lover.

 

And you want to travel with her,

And you want to travel blind,

And you know that she will trust you,

For you’ve touched her perfect body with your mind.

 

And Jesus was a sailor when He walked upon the water,

And He spent a long time watching from His lonely wooden tower,

And when He knew for certain only drowning men could see him,

He said “all men will be sailors then until the sea shall free them,”

But He Himself was broken, long before the sky would open

Forsaken, almost human, He sank beneath your wisdom like a stone.”

A Book With Only One Sentence Won the 2016 Goldsmiths Prize

November 14th, 2016 by Yun HAO | Posted in Blog | Comments Off on A Book With Only One Sentence Won the 2016 Goldsmiths Prize
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%e5%b1%8f%e5%b9%95%e5%bf%ab%e7%85%a7-2016-11-11-12-54-35Irish novelist Mike McCormack won the 2016 Goldsmiths Prize with£10,000 prize money for his book Solar Bones on 9th November 2016. The book’s narrative focuses a “man’s experience when his world threatens to fall apart” and how his memories came to live and flowed to him on Irish traditional festival, All Souls Day. The book’s writing style is its most distinct feature. There are no chapters, full stops, or speech marks, instead simply telling an ordinary story in one unbroken sentence “in the most extraordinary words.” The book has a quality of attention that caused Blake Morrison, the chair of the judges, to proclaim the novel “a masterpiece” and sta%e5%b1%8f%e5%b9%95%e5%bf%ab%e7%85%a7-2016-11-11-12-54-13nd out of the shortlist of six remarkable books for the prize this year.

The Goldsmiths Prize was launched in 2013, in association with the New Statesman, aiming “to reward fiction that breaks the mould or opens up new possibilities for the novel form.” The prize is significant because it greatly encouraged the development of creative literature. For readers, the award saves time and money for them to directly get access to the most outstanding works from abundant unknown experimental novels, as well as reduces risks of picking up a bad one. It also helps readers better understand and realize the value of the books. For experimental novels writer, their subjective initiatives are significantly activated by the prize, since they know the value of their works has increased chances to be spot and admired.

The prize also has important meanings and impacts on publishers. After all, the bridge between authors and readers can hardly be established without them. Large publishers, however, tend to be conservative and reluctant to publish creative literature, based on the considerations of unknown market, whereas small and independent publishers have long been the engines of creative literature. The confusing fact that none of the winners in the past four years come from England may indicate the point because small publishers in Scotland and Ireland are more willing to support the new form novels compared to those London-based large publishers. Solar Bones, for example, is published by Tramp, one of Ireland’s small independent publishing houses in Ireland. The author and winner, McCormack, called on more publishers to take the risk with experimental authors: “It’s about time the prize-giving community honored experimental works and time that mainstream publishers started honoring their readership by saying: ‘Here are experimental books’.” The words reflect experimental novel writers’ difficult situations when contacting large publishers. A more obvious example is the winner in 2013, Eimear McBride, the author of A Girl Is a Half-Formed Thing. She also struggled to find a publisher. It had taken her nine years before the book appeared from the tiny, independent Galley Beggar Press.

The Goldsmiths Prize may reduce the anxieties and pressures of large publishers and new-form novel writers since the prize has proved that experimental writing can find a large and appreciative readership in its fourth year. Regarding customer comments on Amazon, you will find that most readers spoke highly of the new form novels. Experimental novels are of significant value because it extends literature to art, focusing the feelings and thoughts that words and formats convey in novel ways. With the prize’s recognition, an increasing number of readers will come to know and understand its value; large publishers will be more willing to publish experimental novels with a clearer market, and innovative culture industry will be further facilitated.

Sources:

The Irish Times, New Statesman, The Guardian

 by Yun HAO

Visiting Speaker – Kathryn Ross

November 11th, 2016 by rachel_kay | Posted in Blog | Comments Off on Visiting Speaker – Kathryn Ross
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Last Thursday, our publishing class had the privilege of spending a few hours with literary agent Kathryn Ross. Alongside Lindsey Fraser, Kathryn runs Fraser Ross Associates Literary Agency and Consultancy (www.fraserross.co.uk), which the pair established in 2002.

logoKathryn didn’t take the traditional route to becoming a literary agent. She began as a secondary school English teacher, overseeing the school library, and eventually collaborating with the department head to set up a mobile bookstore in a van. When this venture did well, she left teaching and got a position running the children’s tent at the Edinburgh Book Festival, afterwards moving on to work at the Scottish Book Trust. Kathryn spent ten years here, where she met Lindsey and built up a long list of author and publishing contacts. Finally, with the encouragement of author Vivian French, the pair took the leap of setting up their own literary agency with Vivian as their first client.

Fourteen years down the line, she says her job is hard work, hugely rewarding (emotionally, although not always financially), and that she gets a lot of joy from seeing authors set off, and in helping them grow their careers. Fraser Ross Associates now represents about sixty-five writers and illustrators, most of whom work in children’s fiction (although some write across all age ranges and genres).

booksWriting for children is challenging. There’s a lot to accomplish in a short format, including fleshing out the characterisation, problems, and emotions that form a complete story. Children’s books must be equally appealing to parents- these are the buyers, and the ones who will be reading the book over and over. Children’s authors need to be good at summing up and pitching their content, and are now expected to do more marketing and publicity than ever before. An author’s success has increasingly come to depend on things like doing events and getting positive online reviews.

Agents are integral within this process, acting as sounding boards, cheerleaders, and business advisers to an author. This includes ideas development, networking, brand-building, and actively pursuing sub-rights. When taking clients on board, Kathryn and Lindsay look for long-term partnerships, where the content and the personalities both fit. Good communication is essential, as are trust, openness, and honesty, as everyone needs to be able to talk through ideas and problems.

Authors / illustrators and literary agents are often recommended to each other, one of the reasons that networking is vital. Kathryn and Lindsey also seek out new talent, such as by attending end-of-year college art shows. On top of this, they receive unsolicited manuscripts, about 200 per month. Many of these come via email, and Kathryn says she misses the physicality of receiving packages in the post- although she doesn’t miss the occasional extras, like glitter stars, crushed biscuits, melted toffees, etc. Kathryn has gotten some extremely creative submissions over the years, and was able to give us extensive, and often hilarious advice on what not to do, including why penguins and polar bear must never meet.

Each ‘day in the life’ of a literary agent is different, but typical tasks include:

  • Reminding publishers to pay invoices
  • Checking/negotiating contracts
  • Polishing submissions before they’re sent to editors – lots of editing!
  • Meeting with publishers, especially in London
  • Pushing for better royalties for her clients
  • Reading Facebook, Twitter, blogs, and The Bookseller
  • Attending launch parties
  • Negotiating permissions fees
  • Talking authors through outlines, edits, and cover design
  • Giving advice to cold callers
  • Informing authors of success / rejection
  • Discussing deadlines, delays, relationship problems, moving house, etc. with clients
  • Paying authors
  • Submitting manuscripts
  • Sending congratulations cards of all types
  • Reading unsolicited submissions
  • Attending book fairs, especially Bologna
  • Reading, reading, reading, reading, reading, reading, … and emails.

Many thanks to Kathryn for sharing her time with us, and for bringing back the nostalgia of story time for us Masters students!

The President-Elect and the Publishing Industry

November 10th, 2016 by isabella_pioli | Posted in Blog | Comments Off on The President-Elect and the Publishing Industry
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When we started the semester discussing Publishing and threats to publishing, everyone was discussing Brexit. As an American, I recognized it as a threat, but I saw a threat on our horizon and so I too brought up a potential threat to Publishing… a Trump Presidency. crying-studentsEveryone chuckled, not really believing that it was a possibility. If we are being honest, if I’m being honest with myself, I saw the writing on the wall about five months ago when Trump became the Republican Presidential candidate. America is a pendulum when it comes to its’ presidents and these past four years have driven the Republican party farther to the right.

The day after the election, The Bookseller published as article titled “’Dismayed’ trade reacts to Donald Trump’s election” and I felt disgustingly vindicated. Trump’s presidency presents a threat to publishing just as it poses a problem to first amendment rights.People came up to me and gave me their condolences. We were all there at the funeral of America’s future, but this is not the first time we’ve felt that way about our country. Most felt the same fear upon George W. Bush’s election and re-election.This time the stakes are higher, this time people have more to lose. The LGBTQIA community has won so many victories in the past eight years and now we have elected a man whose vice president openly promotes conversion camps. Women have grown in their voices and intersectional feminism is steadily growing, but upon election night 53% of white women voted for Trump. Vice President Biden became a voice for a movement to bring an end to sexual assault and our President-elect has double digit accusations of sexual assault against him. This is truly a harrowing time in American history.

People are talking about a growth in anti-intellectualism with the election of Trump and all for which he stands. So, how can the publishing industry combat these new issues, well we can start by addressing the fact that these aren’t new issues at all, but a continuation of hate, ignorance, and fear. The lack of diversity is an issue that isn’t going away, because very few people are doing anything to stop it. By diversity, I don’t just mean the racial and economic disparities present in publishing, but the lack of diversity in topics. Heteronormativity in literature is an issue. Publishers are slowly coming out with more LGBTQ material, but most of it is produced by specialty publishers. Main publishers need to create more diverse content. We need main characters that are bisexual and state that they are bisexual. oscar-wilde-quoteWhat is bisexual? Authors need to write their characters with well-informed notions. The authors don’t need to be LGBTQ themselves but they need to know what they are talking about. People need to start understanding what feminism actually means, not just saying femi-nazi or assuming that its about women being better than men. We need to be explicit in our definitions and not leave anything up to interpretation. We need more characters that are people of color. We need POC’s to be described as human beings, not using food metaphors to describe the color of their skin. We need characters to understand and accept differences between cultures and have discussions about religion. We need literature (from YA to hyper-intellectualism) to be an inspiration and a source of accurate information. We need literature to build the bridges that real world conversations are failing at addressing. We need to be a strong global community that lifts each other up, that allows for a safe place fo minorities to escape into, and we need to never forget that fear and hate are founded in ignorance. Books disperse information and create worlds that give hope. We need hope in these next four years and the publishing industry needs to be at the heart of a movement to dispel misinformation, bigotry, and xenophobia. It has never been more important than it is now that we, as publishers, look at what we publish as a moral and ethical paragon of information. Let us quell the tide of fear and hate with more inclusivity and more diversification.

by Isabella Pioli