This year’s longlist for the Walter Scott Prize for Historical Fiction has been revealed, the first time in the prize’s history that the longlist has been made public (though, admittedly, that history only stretches back five years, with the first prize awarded in 2010). The field of nominated titles has also been increased, from the usual twelve to fifteen.
This is a guest post from Emma Barnes. Emma is co-founder of General Products, and indie publisher Snowbooks. General Products is the company behind FutureBook-award-winning Bibli
Did you go into publishing so that you could spend your days copying and pasting ever-changing metadata from spreadsheets, emails and databases into InDesign? You did? Great. No need to read on.
This is a guest post by Simon Fairbanks. Simon’s first novel, The Sheriff, was released in March 2014. The following month, The Sheriff was chosen to participate in the One Big Book Launch organised by CompletelyNovel and Literally PR.
Simon was also one of ten writers who participated in the Ten To One project. Their collaborative efforts resulted in the novel Circ which was launched in November 2014.
Here is some good news for new novelists: the One Big Book Launch is being run for a second year!
The competition, coordinated by CompletelyNovel and powered by BookMachine, invites writers to submit their novels for consideration. Ten of the best will be chosen to participate in the collaborative One Big Book Launch event in London.
You there! What week is it? No, silly little Dickensian orphan, Christmas was two months ago, this is BookMachine week. Between Monday 23 and Friday 27 February, BookMachine is running a series of events across the world, with publishing folk gathering in Brighton, London, New York, Barcelona and Oxford to hear from a variety of industry speakers. Topics under discussion include the fate of illustrated books in the age of digital, the problems posed by shrinking retail space, the impact of self-publishing and the effect that social media is having on publishing.
In the latter instance, the medium is the message – on Friday afternoon, City University is sponsoring a BookMachine Twitter chat, ideal for those who can’t make it along to any of the real-world events or suddenly think of the perfect witty retort just as they’re leaving and want to seek retribution. The focus, as at the events, will largely be what digital means for images in publishing. The hashtag to use to take part is #BookMachine, which is where you’ll find the questions under discussion too. It kicks off at 3pm GMT/4pm CET/10am EST. The week’s discussions will then be rounded up here on the site for anyone who can’t even muster the energy to look at Twitter come Friday afternoon.
Norah Myers is known on BookMachine for her blog posts about being an Editorial Assistant. This week she is back with some advice on Reading for an Agency.
Norah studied publishing in London at City University and worked for Picador and Bloomsbury before returning to Canada. She worked for a boutique literary agency before moving to an independent publisher of fiction and nonfiction. She loves yoga, books, and endless cups of tea. @bookish_norah
Before I began my editorial job, I read manuscripts for a literary agency. I read literary fiction, historical fiction, memoir, women’s fiction, psychological thriller, young adult, and work that defied classification. I found it tremendously helpful in the work I do now as an editorial assistant (and a freelance editor). These are the top 5 things I learned when working for an agent:
1. Agents are editors, too
Agents work tirelessly with their authors to develop draft after draft of their manuscripts to make them the most polished they can be before they create book proposals and send them to publishers.
This is a guest interview with Deborah Emin. Deborah began Sullivan Street Press as a way to change the publishing paradigm. An advocate also for how we relate to this planet, the press publishes titles on veganism, animal rights as well as on the occupy movement. Follow @SullivanStPress.
1. If we could turn back time, how could the Amazon/publishing relationship have been established differently?
The Quarto Group is the leading global illustrated book publisher and distribution group and is listed on the London Stock Exchange. Quarto employs about 400 people across four distinct but complementary businesses.
SeeBook is a new publishing start-up that enables e-books to be sold in brick-and-mortar stores, given away as gifts or signed by the author. Rosa Sala co-founded the company after years of experiencing challenges within the publishing industry.
Maria: What is SeeBook? Where did the idea come from, and what exactly do you offer?
Rosa: In a nutshell: SeeBooks are physical cards which allow you to download ebooks in multiple formats. They are sold in bookshops.
This is a guest post from Jasmin Kirkbride. Jasmin is a regular blogger for BookMachine and Editorial Assistant at Periscope Books (part of Garnet Publishing). She is also a published author and you can find her on Twitter @jasminkirkbride
‘Content is king’ is a familiar adage in publishing circles, but as content marketing begins its apparent decline, that seems unlikely to remain the case.
Content Shock: reaching critical mass
Loosely, content marketing is marketing that involves the creation and sharing of content to acquire and retain customers. For example, a company or organisation might use a blog to answer customer’s question relating to one or more of their products, in order to draw them into a sale. So far, a solid marketing theory.
An award-winning, non-fiction trade publisher is looking for a Head of Publicity & Marketing to lead their in-house publicity team, and to create and deliver innovative PR campaigns. This is an exciting opportunity for a well-connected and experienced Publicity Manager looking to take the next step.