WYSIWYG

Imaginative Space: The role of the faceless model on fiction book covers

There is a growing tradition in book publishing to use faceless models on book covers. Tried and tested, models whose faces are hidden are good at selling books. But what’s the psychological process behind this trend? What are the consequences of this marketing method for the reader and should we be keeping an eye on them?

Faceless models in advertising

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Creating Value in an Age of Disruption

In the run up to the Oxfordshire Publishing Group’s Annual conference on ‘Creating Value in an Age of Disruption’, here are some thoughts about recent changes to publishing models.

The Internet has transformed the way the industry handles its relationship with consumers. Over the next decade, consumers will have unprecedented access to vast amounts of user-generated information and knowledge.

Here are some of the issues which are likely to be discussed at the conference:

Paying for content

Readers have more choices than ever before. The greatest challenge today isn’t how to create great books, or even how to get them into readers hands; in an age when there is something to read in every corner of the web, the question is how to develop content that people will actually pay for.

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Philip Pullman

Oxfordshire Publishing Group [CONFERENCE]

Put 23rd June in your diaries! That is the day that the Oxfordshire Publishing Group will be holding the first of what it hopes will be an annual conference. The conference is open to publishers from around the UK and with a star-studded line-up is sure to appeal to a wide range of BookMachine fans.

The theme of the conference is the highly topical ‘Creating Value in an Age of Disruption’ and the keynote speakers will be coming to this subject from a range of perspectives.

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reviewing books

A Belgian perspective on reviewing books

Mieke Bijns is a book blogger and reviewer who writes for both English and Belgian audiences. Here Stephanie Cox interviews Mieke about book reviews, and platforms and also asks about differences in cultures in publishing between different countries.

1. Please introduce yourself and give us a background of yourself and your career.

Hiya! My name’s Mieke, I’m 25 years young, I live in the Northern part of Belgium together with my boyfriend and two cats and during the daytime office hours I’m a full time Data Entry Coordinator at a company that creates and distributes thermal imaging and infrared cameras. In the evenings and in the weekends, I’m a book blogger and reading addict.

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Jeremy Trevathan

5 Questions for Jeremy Trevathan, Publisher, Pan MacMillan

Jeremy Trevathan, Publisher, is responsible for the shape, direction and profitability of the adult publishing lists at Pan Macmillan in the UK. This includes Macmillan, Pan, Picador, Mantle, Sidgwick & Jackson, Boxtree, Bello and the recently launched Bluebird. His authors have included bestsellers including Ken Follett, Jeffrey Archer, Max Hastings, James Herbert, Wilbur Smith, Peter Hamilton, China Mieville and Roy Jenkins to name a few. He began his career working in the Production Departments of Oxford Univeristy Press and Penguin Books, before transferring to the Subsidiary Rights Department at Penguin. Stints at Time-Life Books and Reader’s Digest Books in editorial roles preceded his arrival at Pan Macmillan in the mid-1990s as Subsidiary Rights Director. In 2000 he became Publisher of Macmillan.

1. Since starting at Pan Macmillan in 2000, what market change would you say has had the biggest influence on publishing plans?

The biggest change in the market since I became a publisher at Pan Macmillan has been the ebook. Amazon’s emergence in the late 1990s led to the growth of this format in publishing in the UK. During the 1990s Amazon quickly made all physical books available to all readers, which was pretty transformational in itself. There was no more need to wait 2 weeks for the arrival of a backlist title from a retailer.

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