publishing

This year’s round-up of the best literary gifts for Christmas 2014.

December 1st, 2014 by Hannah Elizabeth Roberts | Posted in Blog | Comments Off on This year’s round-up of the best literary gifts for Christmas 2014.
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Do you have someone in your life who is obsessed with books, reading and anything literary related but have no idea what to buy them for Christmas except from a book or gift vouchers? Then this might be the list for you. I have searched the internet for the best literary gifts around and have come up with a selection that is sure to please any book fanatic this holiday season:

  1. Literary T-shirts: Buzzfeed have compiled this rather impressive list of book themed clothing that are sure to light up your loved one’s face on Christmas morning. My favourite is the ‘Atticus Finch’ To Kill a Mocking Bird t-shirt. I have definitely noticed a rising trend for book or literary themed clothing in the past couple of years so these are a must buy!

Publishing tshirt

(http://www.buzzfeed.com/jenniferschaffer/team-edward-rochester?bffb)

 

2. Literary Mugs: It’s rare that you will find a book lover without a mug of tea or coffee in their hand. Why not treat them to the Literary Gift Company’s selection of adorable mugs?

matilda mug

(http://www.theliterarygiftcompany.com/matilda-mug-15849-p.asp)

 

 3. Fancy Book Shelves:

Buzzfeed have again come up with a list of brilliant book-related gifts. How does a wall of floating book shelves sound? Find them online!

 

 

book shelves

 

(http://www.smartfurniture.com/products/Conceal-Floating-Bookshelves.html)

 

4. Literary Jewellery: If you’re like me and love jewellery and books then these should be on your Christmas wish list. Either for yourself, or for someone special. The Literary Emporium have a fantastic selection of themed jewels for you to choose from! The Ernest Hemingway ‘Cat Lover’ necklace is on my wishlist.

 

cat necklace

(http://www.notonthehighstreet.com/partners/literaryemporium/products)

 

5. Unusual Bookmarks: For those of you like myself, who have a mountain of half-read books on their bedside table, these bookmarks are just the thing you need. Practical and cute! You can find these on Amazon.

 

 

book mark

 

(http://www.amazon.com/dp/B009QY1D9I/?tag=buzz0f-20)

6. Your/ You’re set of teacups: Need I say anymore? These are available via Etsy.

 

teacups

(https://www.etsy.com/listing/150117826/grammar-teacup-and-saucer-set-of-2?ref=tre-2725348424-14)

 

So, there you have it, my selection of alternative book related gifts for you to give to someone special this Christmas.

All you have to do is decide what to buy!

  • Hannah Roberts, M.Litt in Publishing Studies, University of Stirling, 2014-15.

 

The Future of Indie Bookshops

November 30th, 2014 by Helen Griffin | Posted in Blog | Comments Off on The Future of Indie Bookshops
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On Wednesday 19th November, in the Central Library in Edinburgh, SYP Scotland held a seminar discussing the future of Indie Bookshops. The panelists included representatives from four Independent Bookshops in Edinburgh: Gillian Robertson from Looking Glass Books, Elaine Henry from Word Power Books, Ian Macbeth from Golden Hare Books and Marie Moser from The Edinburgh Bookshop. Each representative spoke about what was next for them, what had changed over the last few years and what changes were still to come as independent booksellers adapt their business models in a bid to hold on to their share of the book market. The event was chaired by Peggy Hughes, Programme Director of the Dundee Literary Festival, Co-ordinator of the Dundee International Book Prize, and sundry other projects and publications at Literary Dundee. Peggy was also one of the judges for the Scottish Mortgage Investment Trust Book Awards 2013 and a Trustee for Reel Arts. By night, Peggy is also the Programme Director of the West Port Book Festival and one third of Electric Bookshop.

 

 

 

The Independent Booksellers:

Looking Glass Books

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Looking Glass Books is a bookshop and café that was set up in Edinburgh’s Quartermile in 2012. Gillian Robertson explained that the bookshop was opened when the industry was already where it is now, and so they haven’t had to do a lot of adapting. Their strategies have been more focused on who they are, where they might go and how they might place themselves within the industry.

 

 

 

 

 

Word Power Books

Word Power Books

It has been 20 years since Elaine Henry cut the red ribbon to Word Power Books in West Nicolson Street. Even after their 20 year success, Elaine said that there are still people who come into the store and ask how long they have been open for. Sometimes thinking, ‘what are we doing wrong that people still don’t know our existence’, Elaine believes this to be one of the major challenges of being an independent bookseller. Independent bookshops are not one homogenous group, and Word Power Books is what Elaine would call a radical bookshop dedicated to supporting small presses and independent presses (although they would get anything in for their customers). Word Power Books also publish, having done 22 titles. Their latest book, The Liberty Tree, about the Scottish radical Thomas Muir, was a leading review in the Sunday Times. Elaine commented that this feat meant they had finally been given some recognition for what they do after 20 years in the business.

 

Golden Hare Books

Golden-Hare-new

Golden Hare Books opened 3 years ago and is based in St. Stephen Street, Stockbridge. Ian Macbeth described the shop as having a curated feel, like many independent bookshops, distinguishing itself from larger chains.

 

 

 

 

 

 

 

The Edinburgh Bookshop

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The Edinburgh Bookshop, nestled at Holy Corner in Bruntsfield, was opened 7 years ago and bought by Marie Moser just 2 years ago. Since then Marie has benefited from a double turnover and successes such as winning the UK Children’s Bookseller 2014 and being named Scottish Independent Bookshop 2014. Discussing the obvious successes of her predecessor, Marie nonetheless talked about the importance of accepting what you are and what works for your customers rather than what you want to be or feel you should be. When Fifty Shades of Grey came out it was 15% of the book market, and although, as Marie acknowledged, ‘ it might be considered by some people to be a rubbish piece of writing, it was the biggest thing since Harry Potter’. Marie’s predecessor would not stock the book, telling people they would need to go across the road to Tesco. Marie’s position on this kind of mentality was simple: ‘As a small independent retailer you have to get off your high horse’.

Existing Relationships with Digital

When discussing independent bookshops’ relationship with digital, Marie challenged that as yet the world might be 50% digital but not everything in the world is digital. In Britain we buy physically half a million books a day, not E-books, physical books! That might be massively down on 20 years ago, but according to Marie, if you found any businessman who was setting up a business and you said to him you could sell him half a million units a day, could he honestly think that wasn’t one cracking business? In relation to social media, however,  Marie questioned the practical uses of Twitter. Although a tweeter herself, since Marie has come into the industry, her opinion has become more inclined to regard it as a platform for the way the industry talks to itself.

Continuing with this discussion, Peggy Hughes humorously compared being good at Twitter as like ‘being good at the egg and spoon’. Ian Macbeth also likened twitter to playing ‘Guitar Hero’, with links to articles and people’s opinions coming at you all the time, just like the coloured blocks in the game. Ian also felt that it was a platform where it was difficult to make your voice heard. Although he does tweet about events and interesting books that have come into his store, Ian believes that interpersonal links are far more important, with tools such as a mailing list being a much better way to keep in touch with your customers. Although many people do love a mailing list, in today’s digital age it may be seen as archaic. Overall, Ian felt that Facebook had less impact than Twitter but that mailing lists and store websites were much more significant tools for promotional activity from the standpoint of an independent bookseller.

In a rather different digital era, Elaine Henry first used microfiche to look up books. From stock-card indexing to today’s methods, Elaine has definitely seen first hand the rising demand for instant response. In terms of twitter Elaine said, ‘I don’t tweet because I just don’t have the time. This thing that you should be sending out three tweets a day, I just find it a challenge’. However, when informed by Peggy that she had been tweeted by Russell Brand, an astonished Elaine relented to find a positive outcome to the social media platform, laughing, ‘I guess sometimes Twitter can work to your advantage’.

Gillian Robertson also commented that she tweeted regularly, but was quick to point out that you can’t have blanket rules for every bookstore. Gillian did agree with Marie’s opinion that Twitter was a way in which the industry spoke to itself, but pointed out that it depends on whom you follow. Gillian follows local independent businesses and Edinburgh locals, which she believes, has been crucial to her success. ‘I don’t know if we would have been able to get off the ground without social media’.

Indie Bookshop VS. Amazon

Marie Moser was of the opinion that businesses could not be future proofed, claiming that in today’s day and age, ‘there is no room to be mediocre, if you are not interested and engaged you are not going to make money’. Marie’s basic view of digital was that it was a society and that Amazon was at the pinnacle of it.

Ian was quick to point out that it’s not just Amazon, it’s supermarkets, Waterstones, etc. Independent booksellers cannot match the discounts of these large retailers, and even if  they could, they wouldn’t want to. Ian’s theory is that if you can’t offer the same discounts you have to offer people something else. Amazon can never provide the same experience as bricks and mortar bookshops as they are selling on experience and Amazon is selling on instant gratification.

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Within Word Power Books they have leaflets exhibiting quotes such as ‘think before you click’ and ‘discounts don’t come for free’. Marie’s agreement with these slogans prompted her to challenge the role of the publisher, arguing that there is a danger the industry is losing sight of volume and bestsellers versus actually making profit, therefore illustrating the idea that any fool can sell something cheap. Marie commented  that when you let big chains heavily discount your lead title you devalue that brand and you devalue the years of work that the writer undertook to make the product. The fact that publishers should value what they sell was most evidently what offended Marie the most.

Marie also argued that publishers, as an industry, are letting retailers hammer down prices. If you were to ask the public if they wanted to buy products as cheap as they could, it is inevitable that they would say yes. The reality, according to Marie, is that this is not true or we wouldn’t have luxury brands; ‘We will buy what we think is a fair price for something nice’.

The seminar ended on the positive note that since 2009 there has been a resurgence of independent bookshops. According to all four of the independent booksellers, what we need to do is look at what is driving this; it may be a small movement, but it can have a big impact. Overall, for independent bookshops world domination is not on their agenda, however, they do not just want to survive, because that’s a low bar; they want to thrive, and as far as the seminar proved, Amazon is not going to stop them.

Guest Speaker: Lindsey Fraser

November 19th, 2014 by Leia Forster | Posted in Blog | Comments Off on Guest Speaker: Lindsey Fraser
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fraser

fraser ross

On the 13th of November, Lindsey Fraser of Fraser Ross Associates visited us here at Stirling to give a talk on the role of the literary agent.

Lindsey began by reminiscing of a time when book publishing was simpler. Books had one price; that which was displayed on the book jacket, and books were limited to paperback and hardback formats.

As the publishing industry adapted to reflect changes in the digital landscape, it became apparent that authors needed representatives who had their best interests at heart and would help them to manoeuvre the unfamiliar realm of publishing.

Having spent ten years working for the Scottish Book Trust, Lindsey and colleague Kathryn Ross had established that there was a need amongst Scottish authors for agent representation, and so they left the Scottish Book Trust in order to create Fraser Ross Associates. They are now part of the small literary agent community which forms The Association of Scottish Literary Agents.

When speaking specifically about the role of the agent, Lindsey said that she considers literary agents to be responsible for finding the best possible homes for books. She also expressed that a major part of the role is giving your writers confidence, and that it is important to remember that agents are sometimes the only contact that writers have with the world of publishing. Trust is essential in this relationship.

Lindsey went on to highlight that the agent is on the side of the author, and ultimately it is their aim to help the author make money from their writing. The agent also encourages the writer to respect publisher deadlines and teaches them how to deal with promotional events as well as showing them how to make the most of opportunities that are presented to them.

Talking more about the encouragement that should be offered to authors, Lindsey noted that they are particularly vulnerable after having their first book published and are beginning to consider the next. It is important to help them through this period of insecurity. She commented that authors have a tendency to look at what was not right with their book and need to be reminded of what was good. She also said that sometimes after having a book published, authors would like to have a period of rest, but there is an important issue here regarding the children’s book industry. Children grow up quickly, and their interest in certain books changes. If you are publishing a children’s series, you need to ensure that the books are published before your readership outgrows them. Sometimes it is necessary for an author to produce a number of books in quick succession, especially if their books are doing well.                                                                                                                              scottish bt

Nearing the end of the talk, we were informed of The Scottish Book Trust’s live literature scheme which provides funding for author visiting sessions at schools in Scotland. They pay half of the author’s fee as well as traveling expenses which allows more schools to benefit from visiting sessions while authors also get to promote their books and interact with their readers on a more personal level.

Lindsey’s talk offered wonderful insight into the role of an agent in the publishing industry. She shared with us her refreshingly honest thoughts and opinions regarding some issues within the industry, and I particularly liked her comparison of the Bologna Children’s Book Fair to speed dating which highlighted once more the importance of networking in this industry.

Visiting Speaker: Dr Simon Frost, Bournemouth University

November 14th, 2014 by Sarah Boyd | Posted in Blog | Comments Off on Visiting Speaker: Dr Simon Frost, Bournemouth University
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Simon FrostAs an extra addition to the Visiting Speaker series, Dr Simon Frost, Senior Lecturer in English at Bournemouth University, came to talk to us about his current research project. Entitled ‘Private Gains and Retailed Literature: Pathways to a Sustainable-Economic Account of Reading‘ (though Frost pointed out that his subtitle keeps changing!), this ambitious project is being undertaken in association with John Smith’s, the higher-education bookseller familiar to most students for their on-campus shops.
It’s probably worth mentioning at this point that Dr Frost’s project is quite a complex and, in some ways, esoteric one and that it is very much ongoing and developing, so at times it became a little difficult to take on all of the information he was conveying. The seven-and-a-half pages of notes I took during his presentation are testament to this! However, I’ll do my best to cover what he had to say.
First, Dr Frost outlined the aim of his project, to produce a defence of literature (the project is focused on fiction) in economic terms, rather than the cultural terms in which arguments for literature’s value are usually expressed. This was one of the trickier ideas to get our heads around but Frost put it in layman’s terms, saying that he’s trying to find out why a customer would choose to buy books, rather than booze! Essentially, his belief is that pointing to literature’s cultural importance does not mount a strong enough defence for the funding and resources allocated to it and that we require a discussion that engages with the economics of literature in sustainable terms or, in other words, attempts to discover what readers gain from the books they buy in more practical terms.
We then looked at the structure of Frost’s project, which is organised into three ‘threads’:
  • ‘theorisation’ – produce a model of how readers gain from books, bridging the literary and economic by investigating the idea that books meet intangible needs for readers.
  • ‘tuition’ – a number of students will be involved in the research for this project, particularly in compiling the results of an extensive survey, aiming for 750 completed surveys.
  • ‘professional practice’ – working in conjunction with John Smith’s, examine the shift from ‘bookseller’ to ‘book-based supplier of solutions’, in particular the move to provide new services based on outcomes/gains.

John Smith's BooksIn order to explain how he became involved with John Smith’s, Dr Frost gave us a potted pre-history of the current bookselling situation in Britain. John Smith’s has been around since 1751, so it has survived and responded to the major changes that have happened in the bookselling industry over the last several centuries, from the 1899 establishment of the Net Book Agreement (NBA) and its encouragement of dedicated bookstores, to the collapse of the Agreement in the 1990s which led to the downfall of almost all chain booksellers on the British High Street. More recently, the rise of online bookstores (themselves largely a result of the NBA’s collapse) has forced John Smith’s to rethink its business, as Amazon and its ilk have disrupted the traditional tutor-student-campus bookstore relationship. Their response has been to stop thinking of themselves as ‘booksellers’ at all and instead re-brand as a provider of solutions for students and Higher Education (HE) institutions. Indeed, their website is tagged as ‘John Smith’s Student Store’, with no reference to bookshops at all.

In effect, this has resulted in John Smith’s working with HE institutions to provide students with all the resources they need to successfully enter, negotiate and exit higher education. Their Stirling store, for instance, lists 15 departments, providing products from art supplies to bikes, mobile phones to university-branded clothing. They are no longer thinking about how they can sell the most books to students but about how they can meet all the needs that students might have, how they can become the main provider of solutions to students’ demands and problems (as well as aiding HE institutions to meet their outcomes). In this way, their rethinking of their business model fits neatly with Dr Frost’s project, as it relocates books as one part of a service that anticipates and provides everything that students will gain from appropriating. So, a copy of ‘Mrs Dalloway’ is no longer just a tool for education and cultural influence but also a product that can be analysed and quantified in economic terms.

aspireFor the final part of his presentation, Dr Frost went into more detail about how the relationship between students, their HE institutions and this new incarnation of John Smith’s works. An essential part of this is the distribution of bursaries to students in England (introduced as a mitigating response to the raising of tuition fees). Universities receive a sum of money from the government and parcel this out to selected students in bursaries, often around £300, which are intended to widen opportunities for students from low-income backgrounds (and, ideally, to be spent on university-related goods and services, rather than down the pub, though we did have a discussion of whether or not the social environment provided by pubs – and cafes, equally expensive though perhaps less stigmatised – is a valuable part of the university experience!). John Smith’s have become involved in this process via their ‘Aspire‘ smartcard, which can be pre-loaded with the bursary money and limits what it can be spent on. This allows for a number of interesting features, from each card being tailored to its recipient’s needs, to facilitating data gathering and feedback to the institution. Of course, as several members of the class pointed out, this has some moral and legal implications, particularly with regards to privacy (the idea of tutors being able to keep tabs on whether you’ve purchased their reading list or not is more than a little Big Brother!) and this is an area that Dr Frost will be looking into as his study develops. At the moment, though, his main questions in this area are:

  1. Is the diversity of purchasing agency (i.e. those involved in the process of purchasing) now so great that it produces a break from the linear rational-choice model of purchasing?
  2. Do the limits imposed by the ‘Aspire’ model constitute an interruption of free will or free exchange? They limit the convertibility of one resource to another (the bursary can be turned into books or bikes but not beers) but do they also limit free choice? Such limits are common in the public world but how do they function in the semi-commercial and commercial spheres?
It was fascinating to hear about a project still in progress, with Dr Frost acknowledging that he is still in the process of gathering information and developing the theories and concepts that will form his ultimate conclusions. His observation that his ‘inner critic’ was working even as he spoke was one that I – and I’m sure most of us – identified with, but it’s reassuring to know that the pros suffer too. It was also great to feel that he was genuinely interested in our responses and in engaging in conversation with his audience – it’s always encouraging to feel that we’re being taken seriously by people already working! I’ll be interested to see the results of his project and how it shifts and develops as it progresses.

Visiting speaker: John Innes – Think Publishing.

October 15th, 2014 by Heather Margaret McDaid | Posted in Blog | Comments Off on Visiting speaker: John Innes – Think Publishing.
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Whale Dolphin Conservation“We want to create content that connects with the reader, and has its own aims and objectives,” says John Innes, associate director of Think Publishing, the second of the MLitt’s visiting speakers for 2014-15. Heather McDaid reports:

The company currently has 58 staff, 38 clients and 45 titles they handle, with 4.5 million copies per year printed. But it’s not just content creation they handle; as with any competitive company within publishing they offer a full service to meet their clients’ needs. This can range from editorial and design, advertising and research, to finance account management.

Just like the service they provide, their client base is broad and varied. Publications include Historic Scotland and CAMRA (Campaign for Real Ale), as well as Whale & Dolphin, with digital copies available on ISSUU. Though there’s a stark contrast in some of the content, Innes notes there are lots of similarities in dealing with membership magazines that makes it easier.

“We need latitude to make it look interesting,” he notes, explaining that it’s hard to work within a rigid brand. To avoid it looking like a corporate brochure, they need to evolve the publication to keep it interesting for readers. He deems it “Brand+” – they take the basic brand and add to it to create a better product.

In order to do that, he continues, they need to satisfy all three of their customers without encroaching on another – the client, the reader and the advertisers.

“Every issue we produce should be better than the last” in at least one way, and they use workshops heavily in order to meet the client’s needs while creating a quality product. This goes beyond a mere print publication at times, with digital content being generated for almost every client, from extracts to video content. People are platform agnostic, he adds, but it’s still important to make each one functional and appealing.

With this digital age, there is one key issue: “there is no such thing as news in an internet environment”, instead they’ll try generate interviews and analysis, not “news that happened last week”. In a world where information is available instantaneously, print publications can’t compete.

But what about those who would like to work with Think Publishing? “The best question to ask is ‘why?'”, says Innes. They need people not only with an interest in their work, but the ability to ask why they do certain things, why competitors do certain things, and whether that’s something they should consider. They need people who want to make the publications better and more interesting, and encourage people to look into their internships if it sounds something they feel they’d be suited for.

Leia Forster, MLitt in Publishing Studies 2014-2015

October 15th, 2014 by Leia Forster | Posted in Student Profiles | Comments Off on Leia Forster, MLitt in Publishing Studies 2014-2015
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 new display brannanHi there! I’m Leia. Upon reaching the final year of my English Studies undergraduate course here at Stirling, I was more than pleased to hear about the MLitt in Publishing Studies that was also offered by the university. I had began looking at my English Studies degree as a foundation on which I should build, and so I jumped at the opportunity to do just that and learn about the industry that had produced the books I had been reading all of my life.

With a particular interest in science fiction and craft publications, I hope to learn about the traditional side of publishing as well as the digital side which seems to be advancing at the same quick pace as the rest of the technological world.

I’m hopeful that this course will give me the skills and knowledge required to play a role in the publishing industry in the future. I enjoyed my first four years here greatly and from what I’ve experienced of the Publishing Studies course so far, I’m sure I’ll enjoy this year too.

 

Booksource: Not the sexy side of publishing, but the most important

October 10th, 2014 by Heather Margaret McDaid | Posted in Blog | Comments Off on Booksource: Not the sexy side of publishing, but the most important
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Heather McDaid reports on a class trip to book distributor Booksource:

One of the first things you’re told when you arrive at Booksource by Davinder Bedi, managing director, is that the distribution end of the publishing chain may not be the sexy end of the scale, where you craft the content and look of a product, but it is the most important. You could have the most amazing product in the world, but it’s worth nothing if it can’t reach the consumer.

WP_20140924_008It almost comes out of a book lover’s dream to wander in a building that houses 3.42 million books, but they’re mere units when you view it from a business perspective. This has almost halved in the last few years from 7.6 million; it isn’t a drop in business but indicative of industry changes. Publishers don’t house as much stock now Print On Demand exists, meaning that books can still fly of the shelves sales-wise, but not be sitting around waiting in a warehouse. It limits the risk of overprinting to quite so extreme proportions.

Booksource is different in a way because it doesn’t shy away from self-publishers or independent publishers; in fact, it seems to thrive from them. If they can sell, then they have a place. It’s a key part of their formation, as they’ve grown from 8 publishers to just under 70 using their services – which go far beyond merely sending out books. As one story featuring a football legend proved – you could go out and sell your books yourself, but you need a company like Booksource to both shift their books in bulk and get them into major stores like Waterstones, with their responsibilities constantly evolving to offer the best service possible.

An informative day that gave a broad insight into a side of publishing we’d yet to see. Working in line with Publishing Scotland, Booksource’s ethos is ‘profit with perspective’, which seems a relatively different idea, but ultimately their aim is to simply help publishers do business. So, all in all, an interesting afternoon well spent!

The First in Our Visiting Speakers Series, 2014-15

October 7th, 2014 by Kiley Pole | Posted in Blog | Comments Off on The First in Our Visiting Speakers Series, 2014-15
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On Thursday October 2, we had the first in our visiting speakers series. Chani McBain, Leah McDowell and Nadia Suchdev provided us with a plethora of information on not only their specified topics but also their experiences in the publishing industry.

To start the session off Leah McDowell and Nadia Suchdev introduced us to the Society of Young Publishers Scotland (SYP). We learned how the organization is run by volunteers with the aim to help and inform those who have been in the publishing business for less than 10 years, or those like us who are attempting to break into the business. SYP Scotland offers different events and workshops available to members (to become a member it costs £24 per annum) that help put their name out there and start the all dreaded networking. Included in the membership is free entry to all events, a newsletter, job bulletins, discounted tickets to the annual SYP Conference and participation in the mentoring programme.

Some of upcoming events include, “How to network for those who hate networking” on October 23rd and the Booksellers Panel Event on November 19th.

Leah and Nadia also encouraged us to not only join, but apply to become committee members. As a member of the committee you would have a hand in putting on the events throughout the year that really help people.

You can find them on Facebook SYP Scotland and on Twitter @SYPscotland.

Chani McBain spoke to us about Floris Books and more specifically the internship available from them. She gave us some useful advice about using our time in the course to make those connections and getting a lot of different experience in the different fields of publishing. Her main tagline about internships being that we might be wrong. In our heart of hearts we may think we are meant to be editors when in reality we are best suited for production or marketing, that really we could love a field that we never thought possible.

The internship at Floris Books is one day a week (which day that is they are flexible and willing to work with us) in a “marketing focused” capacity. That does not mean that the intern (one this semester and one next) will solely be stuffing envelops, although that is part of it, but that they will be working on press releases, marketing briefs, and flyers to name a few. Since Floris Books is a small company, composing of 11 employees, the interns will have the opportunity to witness and be part of many small projects and get to see the whole publishing process.

What Floris lacks in number of employees they make up for in their plethora of teas to chose from.

These three ladies gave us lots of useful advice, stemming from their experiences as newcomers to the industry and from when they were students as well. Namely, that internships are good, if not essential in getting to know the business as well as getting to know yourself. Are you really an editor? Or, are you a literary agent? This is our industry, it pays to become involved. Take advantage of every opportunity, not just internships but events, panels, book and literary festivals. And, when it comes dissertation time, choose a topic that is useful, something that not only will inform you about the industry but something that is geared to the type of job you want.

Martins the Printers

April 24th, 2014 by Aija | Posted in Blog | Comments Off on Martins the Printers
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How are books made? If you ask a publishing student, you are in for an earful on the wading through a pile of slush in the hopes of discovering the next Hunger Games-trilogy or the next Booker Prize winner – something that stirs either financially or inspirationally. After that you will get an in-depth description of the editing and the decision-making processes all the way from typesetting, cover design to the final version. You might hear about the printing but the emphasis definitely is in the processes pre- and post-printing. That is what we know. That is what we can do. A publisher would not explain the whole printing process not as much for the lack of knowledge than for the fact of it being very mechanical and very distant form the publisher’s actual job. Therefore, the class of 2014 was in for a treat when we got to visit Martins the Printers at Berwick-upon-Tweed and get that rare glimpse to the inner workings of the printers.

David Martin, the sales director at Martins the Printers, kindly welcomed our group and gave us some history to the printers (printing since 1892 with newspapers and since 1950s they have focused on books) before unleashing us in two smaller groups to the belly of printers. Our guide Paul Waugh took us through each of the specific processes required in making a book, showing us the function of each machine and explaining in detail the time frames, the order in which each step is made and the differences between litho and digital publishing. As David and Paul both emphasised that is good for us young publishing hopefuls to know: the biggest differences that have come up through developments in printing is the effective cuts in costs; no more warehousing and the whole process is becoming faster and cheaper, enabling publishers to keep up with times and move their stock much easier – and this is definitely where the future of publishing is steadily moving towards.

The best way to show the process of printing is to visualise it through the snapshots taken through our tour.

Paul showing a printing plate

Printingplate2

 

First of all we went to see the creation of the printing plates, and how the printing plate is then entered into the machine that in the offset printing (economic way of producing large quanitites in one go) prints on the large sheets of paper before those sheets are taken to the next step.

Folding1

Printingplate3

 

The next step is the folding. The machine actually folds the large print sheets into correct combinations of pages and spreads. The man standing there then stags the fold onto a gurney, ready to be wheeled to the next step.

 

SownAfter the folding the pages are then sown together, the binding and glueing ready to be made. After sewing the covers get glued on and a version of the paperback is done.

 

The boys at the glueing machine were over-zealous in their testing, ripping Gluedcovers2covers and pages apart, destroying perfectly well-made ready books for the sake of testing. Heartwrenching. As seen in the above picture of tossed pages and covers of Tim Burton’s book. Never thought I could make such girly shrieks.

 

 

FinalisingThere is one more machine to be mentioned, besides the amazing hand-made Warmbookwork that follows each procedure to ensure perfection – and that is the “finaliser”. It is a machine that rounds the corners and compacts a hardback, to give it that book-look. There is nothing better than having that fresh-from-the-oven book in your hand, warm like a roll on  Sunday morning.

 

Definitely a tour every publisher needs to make regularly to keep up with the changes happening in the developemnts, and to understand the actual process of printing. It is a process to be appreciated and respected. It takes knowledge and skill and is an integral part of book making. Insightful.

 

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Our excursion ended with a long-awaited visit to Barter Books!

Best Books Are Not Necessarily the Ones That Sell – Lindsey Fraser as guest speaker

October 30th, 2013 by Aija | Posted in Blog | Comments Off on Best Books Are Not Necessarily the Ones That Sell – Lindsey Fraser as guest speaker
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One of the most interesting parts of having guest speakers come to the Stirling Publishing class is the varied mix of individuals from all fields of publishing. This time the guest speaker was the key step between an author and publisher; a literary agent, who gave an astute talk from someone who has seen a varied side of the publishing trade.

Lindsey Fraser of Fraser Ross Associates spoke to the MLitt Publishing class of 2013/14 on the long path that led to the start of her own business together with colleague Kathryn Ross. For a time Lindsey was aiming to become a teacher, until the teacher training proved to Lindsey that it was a wonderful career to be admired – but it was not for her. What came out of her studies was the realisation of deep love for books. Therefore, Lindsey went to work at James Thin bookshop, and worked at the children’s books section until becoming part of the family run company of Heffers in Cambridge. Heffers was another children’s bookshop, an experience Lindsey emphasizes invaluable for those wanting to work within the publishing world – learning the tricks of the trade from the other side, from the booksellers’ perspective and creating those ever-vital connections for your future networking. During her time at Heffers, Lindsey learned the value that was placed on who reads, what and how it is accessed. Lindsey warmly reminisced about how Heffers were diversified in this respect compared to all other booksellers before and at the time, and Lindsey got to hone her skills at readership development.

A career move eventually was inevitable, and so Lindsey came to work with the Book Trust Scotland, where she waved her magic wand until founding Fraser and Ross Associates in 2002. Slowly expanding, at the moment Fraser and Ross represent some fifty authors and illustrators, with the benefit of having two – slightly – different personalities with different tastes working together. Whereas Lindsey would be more squeamish and un-impressed on some titles, Kathryn sees the potential and pushes for it – or vice versa, and there comes the beauty of Fraser and Ross Associates diversification.

Knowing the editors within the publishing companies, and knowing the publishing companies’ aims in and out, is the key. A literary agent should not submit the same title to more than a couple of imprints at the same time, as that would be fishing for someone to catch on a title you are not backing one hundred per cent, but not offering it to more than one would also limit the chances of the title being picked. Whereas one publisher might have something similar already in process or is not particularly keen on the content of the novel, another publisher might see it as the gem it is.

Lindsey also remarks on how the publishing industry initially got terrified by the emergence of digital publishing, and how she sees it a near god send for convenience and actually a sensible way forward. And some publishers have even improved the quality of their print books, for noticing that e-sales have increased their print sales as readers who liked the book in e-format more often than not want to buy a hard copy. And ultimately, the eventual experience is the same; you read a book and you either hate it or love it. Only thing Lindsey truly criticises e-publishing for is the low royalties that come toward the author, which should in all senses be higher as e-publishing has not nearly as high costs as printing.

As parting wisdom Lindsey remarks on publishers who hold on to the rights of a title even if the title is not in print; the rights ought to be relinquished so the author can go on to find another channel for their book to keep out there. Generating income for a literary agent or the author is not always a straightforward line; a lot is to do with selling and maximizing rights – having one publisher in the UK and another one in US, but always trying to make sure it is the authors’ rights that are respected, as much meeting profit margin demands. The literary agent is responsible of much of the negotiations between author and potential publisher, as well as being the gatekeeper for first drafts, offering initial feedback. What this boils down to is not the individual likes and dislikes and quirks of personalities, but also being aware of the target audience and the market demand, for what has been a phenomenal success in UK does not mean it will also fare well in other countries. And here it is, the sad truth; best books are not necessarily the ones that sell.

The tweets from Lindsey Fraser’s Visiting Speaker session are Storified here.

Aija Oksman