Lemony Snicket’s popular series of macabre books for young people, A Series of Unfortunate Events, has already seen at least some of its titles adapted into a film (which, if not great, is at least a significant step up from most of Jim Carrey’s other raids on the canon of children’s literature). Whilst said film didn’t quite prove a big enough hit to warrant adaptations of further titles in the series, a decade later Snicket’s work has found a home perhaps better suited to its episodic nature: Netflix.
This is a guest post from Rebecca Swift, Director of Creative Planning at iStock (speaker at BookMachine London this Thursday)
Last year Facebook revealed that users uploaded 350 million images every day. The 2014 Internet Trends report from analyst Mary Meeker published in May states that internet users are sharing 1.8 billion images every day (thanks to the visually based apps such as Instagram, Snapchat and WhatsApp as well as Facebook.)
These numbers were unfathomable even 5 years ago and it was only 15 years ago that digitization of imagery was really starting to take off.
Grab your tickets for BookMachine NYC here.
1. Can you give us a bit of background – who are you and how you came to join the R29 family?
After receiving my computer science degree in 2006, I was attracted to the world of internet-based startups to have an outsized impact in a small company. I have worked as a full-stack software engineer for a variety (from 2 to 200 employees) of New York based companies across many different business verticals. In 2013, I transitioned to management; I now direct multiple teams, focusing on technology strategy and defensibility.
A copy of Action Comics #1 – arguably the single most sought after issue in the history of the medium – recently sold at (eBay) auction for $3,207,852, the most money ever paid for a single comic book by a margin of about a million dollars. Its nearest competitor? Another, less pristine copy of Action Comics #1, sold in 2011 for $2,161,000. Only 50 or so unrestored first run copies remain extant, and at those rates, anyone who wants to read the first appearances of Sticky-Mitt Stimson, Scoop Scanlon the Five Star Reporter (perfect name for a reporter between the wars, A+) and some dude named Superman in their original form needs to have some serious capital behind them.
This is a guest post from Carl Pappenheim, owner of Spineless Classics about Working in Publishing (sponsor of BookMachine Oxford on November 6).
Publishing is comfortably the most glamorous and educational industry going (well, after tech support of course) but working with text can be a trial. Whether it’s a poorly formatted lengthy terms-of-business from a bureaucratic behemoth who want to give you a license, or just a poorly transcribed manuscript that was typed up by somebody’s myopic aunty on a Wordstar electric typewriter, at some point you’re going to be tearing at your elegantly coiffed hair with frustration at all the time you’re wasting filling in missing full-stops instead of getting into an event early enough to complain about the free wine. I personally find such misuses of my time very trying, so in a generous attempt to lessen the misery for others I present to you three things that have greatly reduced my stress of working in publishing over the past few years.
Let’s try a little experiment here: I’m going to start off a sentence, then keep adding words to it, and see how you react to those words as we go. Ready? Okay.
Everyone loves Tom Hanks, right? Fine actor, seemingly lovely guy, someone who I bet engenders warm feelings of affection in you just from reading his name. With me so far? Alright, let’s keep going.
‘Tom Hanks is writing a book of short stories.’
That might be good, right? I mean, Hanks might have had mixed success with his screenwriting work but he seems like a pretty smart, sensitive guy, and literate too, and he just had a story printed in The New Yorker, so that has to count for something.
“If you want to make a human being into a monster, deny them, at the cultural level, any reflection of themselves.” Junot Diaz
Diversity, gender, equality, and inclusion in publishing are topics close to our hearts at Atwood Tate and we have talked about them often on our blog. Diversity in content and diversity in the workforce are inextricably linked.
It is a positive step that we have seen public outcry from authors and publishers recently regarding the lack of diversity in content and we need to keep the momentum and pressure on in order to challenge what is unfortunately the norm in many publishing and media environments. Publishers are taking steps to try to develop a diverse workforce, for example Cat Crossley, Operations Manager at HarperCollins has recently set up a diversity focus group, and Inclusive Minds, in partnership with publishers, the PA, IPG and EQUIP, will be holding an event in early 2015 with the aim “to turn discussions about diversity and inclusion into real action”.
Amazon has launched what it describes as ‘reader powered publishing’ in the form of Kindle Scout, a crowdsourcing initiative to find unpublished authors and, uh, publish them. The hypermegaomnicompany outlines the venture as ‘a place where readers help decide if a book gets published. Selected books will be published by Kindle Press and receive 5-year renewable terms, a $1,500 advance, 50% eBook royalty rate, easy rights reversions and featured Amazon marketing. ‘
BookMachine Oxford host Charly Salvesen-Ford talks to Beth Cox, freelance editor and consultant specialising in children’s books, and the star of our event on 6th November.
Grab your tickets for BookMachine Oxford here.
1) What is the best part of your job?
The variety. I love the fact that every day is different – one day I can be copy-editing a manuscript, the next delivering training, the next working on a book layout, the next planning an event, the next plotting how to change the face of children’s books with Inclusive Minds co-founder, Alexandra Strick! And that’s a minor snapshot of the range of things my job involves.
This is a guest post from Tahira Rahemtulla, a senior editor at Unambiguous Edit. Tahira graduated from City University London in 2012, with a Masters in International Publishing. She is now hosting a writing contest, That’s Write!, as a lead of Unambiguous Edit, in collaboration with TLAC Printing and Publishing, BookMachine, and Wildfire Studio.
Writers: you have 102 days!
What’s at the end of 102 days?
The close of the first That’s Write! contest submission!
What is That’s Write!?
That’s Write! is a fiction writing contest organized by four different collaborating groups from the publishing industry.