Author: Louise Newton

Sam Perkins is BookMachine's Content and Community Manager. She is also an Associate Editor at SAGE Publications.

Podcasts for book lovers to listen to over Christmas

Juggling lots of books at once can be overwhelming, so as we approach the end of 2017 sit back, relax, and open your ears to the following five podcast recommendations as well as their suggested reading companion. If you love reading the following titles, you’ll love listening to these podcasts…

Continue reading

The past, present and future of publicity: Interview with Georgina Moore

Georgina Moore is Communications Director at Headline and Tinder Press, and runs the Press Office. Her recent campaigns include Bryony Gordon’s Mad Girl and Sarah Schmidt’s See What I Have Done and she is currently working on Maggie O’Farrell’s memoir I Am, I Am, I Am. Sam Perkins interviews her here. 

Continue reading

8 writers receive the phone call of a lifetime: Windham-Cambell Prizes announced

The director of the Windham-Campbell Prizes at Yale University made the call of a lifetime to eight unsuspecting writers this week, and informed them that they will be recognized with a $165,000 individual prize to support their writing. This year’s recipients of one of the world’s richest literature prizes for the first time include poets, alongside writers of fiction, nonfiction, and drama. The awards will be conferred in September at an international literary festival at Yale, celebrating the honored writers and introducing them to new audiences.

Established in 2013 with a gift from the late Donald Windham in memory of his partner of forty years, Sandy M. Campbell, the Prizes are celebrating their fifth year of existence. English language writers from anywhere in the world are eligible. Prize recipients are nominated confidentially and judged anonymously. The call that Prize recipients receive from program director Michael Kelleher is the first time that they have learned of their consideration.

This year’s Windham-Campbell Prize recipients are: in fiction, André Alexis and Erna Brodber; in nonfiction, Maya Jasanoff and Ashleigh Young; in poetry, Ali Cobby Eckermann and Carolyn Forché; and in drama, Marina Carr and Ike Holter.

The Windham-Campbell Festival will take place from September 13-15, 2017 at Yale, and begins with an awards ceremony and an invited speaker who gives a talk entitled, “Why I Write.” This year’s keynote will be delivered by Karl Ove Knausgård. Yale’s campus is in New Haven, Connecticut, two hours by train from both New York and Boston, and all events are free and open to the public.

The Windham-Campbell Prizes are administered by the Beinecke Rare Book and Manuscript Library at Yale.

Many writers work other jobs in order to afford to write. The Windham-Campbell Literature Prizes are designed to give writers of all kinds the financial freedom to focus on the writing that matters the most to them. For more information about the prizes, read Norah Myers’ interview with founding director Michael Kelleher.

Jonny Geller wins BookMachine blogger award 2016

The BookMachine blogging awards are run annually using Google analytics to pick the most viewed blog posts of the year.  BookMachine readers then vote for their favourite of the selection.

The winning blogger of 2016 – as voted by you – is Jonny Geller. Jonny will be winning an annual BookMachine membership, a bottle of something tasty, and a selection of BookMachine blooks.

We will also be extending the award to Norah Myers, who (for the second time) interviewed our winning blogger on behalf of BookMachine. A huge thanks to Norah for making this all happen.

Last year Juliet Mushens grabbed the award with her interview (by Norah Myers) ‘Twitter Tips from a Literary Agent

If you think you have what it takes to write a winning blog for publishing professionals in 2017, email me with your idea.

As a reminder the blog posts from 2016 were:

1. Blogger: Jonny Geller (via Norah Myers)

This blog analyses what makes a bestseller in an age where print sales are up and self-publishing is becoming increasingly popular.

2. Blogger: Alison Jones

This blog essentially reminisces about all the things that used to be part of a publisher’s day and no longer are.

3. Blogger: Juliet Pickering (with Norah Myers)

Juliet is a successful agent, and in this blog post she shares how in her line of work, one deals with rejection.

4. Blogger: Sam Humphrys (via Norah Myers)

This blog covers the top 5 tips an editor needs to excellent in their field.

5. Blogger: Emma Smith

Emma is an editor and in this blog post explains how decisions are made, and what she wishes she could communicate more frequently.

BookMachine Blogging Award: Votes needed

Diverge! How thinking differently could boost your career

In an industry that outsources most of its physical tasks and processes, what’s the one thing that can set you and your organisation apart from your competitors? The way you think…

Anna Faherty, publishing professional with over 25 years’ experience, spoke at Tuesday’s The Galley Club event on divergent thinking in publishing. Anna’s provocative session encouraged us to employ new ways of thinking in order to embrace uncertainty, make sense of complex situations and – ultimately – innovate beyond the development of new products.

Here are our seven takeaway points, and a list of Anna’s top tips.

1) Diversity

Referencing a recent US survey, which highlighted that the vast majority of publishing staff identify as white (79%), female (78%), straight (88%) and non-disabled (92%), Anna stated that publishers need to be more diverse in order to make products for a wide range of audiences.

2) Backgrounds

Publishers also need to come from more diverse backgrounds (not just English graduates who ‘love books’). The industry thinks too similarly, but we need to think differently in order to develop innovative ideas, products, platforms and business models.

3) What does the future look like?

Publishers (who are uncomfortable with uncertainty) ask closed questions about the future of publishing, but this doesn’t tackle the reality that there’s no answer to these questions. The future of the industry isn’t a puzzle with a solution, but a story with many possible versions of the future – one which we can influence.

4) Give yourself permission and time to think creatively

The first ideas you come up with probably won’t be all that original, but give yourself enough time and you’ll get past common thinking.

5) Use your environment

Look around and draw links between your surroundings and the problem.

6) Focus on the process, not the output

Lots can be learnt from the creative process, so don’t be too focused on the output and miss important opportunities to acquire knowledge along the way. Anna’s own research into book discovery is a good example of this. While she visualised a number of customer journey maps, the true value in this research is the insight gained about book discovery during that process, rather than the maps themselves.

7) Don’t let words limit you

Words are precise and convergent: the minute you name something, you close down what it means. Try drawing or using imagery to think divergently.

Top Tips

To round off the evening, Anna left us with her top tips:

  • Do thinks differently – Walk a different route, talk to different people, and watch TV or go to restaurants you wouldn’t usually
  • Give yourself the freedom to incubate ideas – Get plenty of sleep, go for walks, or play the piano (or a similar hobby)
  • Be prepared to write (or draw) it down – Keep a notepad or your phone with you at all times
  • Talk about your ideas – Sharing your thoughts (however stupid) will spark more ideas
  • Set aside time to be creative at work – Make time to think, come up with new ideas, and then test them out. Keep testing each idea – drop the ones that don’t work and pursue the ones that have potential until the seem worthy of investment.

anna fahertyAnna Faherty is an award-winning researcher, writer and teacher. Anna now collaborates with publishers and museums on a diverse range of print, exhibition and digital projects. She also holds academic posts at Kingston University, Oxford Brookes University and UCL.

Marketing vs Design: Photo/Twitter blog

If you work in book marketing, your focus is on running campaigns to sell more books. If you are a designer you know that no one will read a blurb, or download a sample without eye-catching covers and advertising material. So which matters more?

BookMachine teamed up with emc design for our event on Wednesday to pose this very question. Kate Roden (publishing, marketing and content strategist, and co-founder of design consultancy Fixabook), Matt Haslum (Marketing Director at Faber & Faber) and Mark Ecob (Creative Director of cover design company Mecob Design) took to the stage to battle it out. Here’s a photo/twitter blog to sum up the night.


Barr takes over as President of The Publishers Association

Stephen Barr, President of SAGE International, has been elected as the new President of The Publishers Association. Stephen succeeds Joanna Prior, Managing Director of Penguin General Books, who remains as an officer on PA Council.

Commenting, Stephen said:

“The Publishers Association plays an essential role as the collective voice for the publishing community in the UK, at a time when that voice is needed more than ever before. During my term as President of The PA, I hope to support the association’s skilled and expert team in continuing to make the case for publishing as an innovative and dynamically changing industry which makes a vital contribution to the UK’s culture, society and economy.

“The UK publishing industry, as reported by The PA last week, is in good health with growing revenues of £4.4bn, 42% coming from exports. Publishing is a longstanding UK success story, and UK authors and publishers have a global reach. Publishing has changed dramatically over the last decade to become a dynamic space in which traditional business models are combined with ebooks, websites, online communities and new digital publishing models in a diverse and rapidly changing environment.

“There remain important challenges to address: defending copyright as the key to building a sustainable infrastructure to support quality publishing; telling the story of publishing to a wider audience; and supporting the publishing industry in working to broaden the range of applicants to publishing careers and enhance the diversity of the publishing workforce. I look forward to working with the PA executive team and colleagues in the industry in pursuing these goals.”

The PA’s AGM, which took place today (Wednesday 18th May 2016) at the Institute for Contemporary Arts, also saw Lis Tribe, Managing Director Hodder Education, elected as Vice President.

In addition, the following changes to the chairmanship of PA boards were announced:

· Alicia Wise of Elsevier has been appointed Chair of the newly renamed Academic, Professional and Learning Publishers Council.

· William Bowes of Cambridge University Press has been appointed Chair of the International Board.


Bloomsbury sales up 11%

Bloomsbury today announces unaudited results for the year ended 29 February 2016.

Financial highlights

  • Revenue grew by 11% to £123.7 million (2015: £111.1 million)
  • Profit before taxation and highlighted items increased by 8% to £13.0 million (2015: £12.1 million)
  • Both revenue and profit benefited from the successful integration of Osprey Publishing acquired in December 2014
  • Final dividend per share of 5.34 pence (2015: 5.08 pence) making a total dividend of 6.4 pence for the year (2015: 6.1 pence)
  • Diluted earnings per share, excluding highlighted items, were 15.24 pence (2015: 14.73 pence)

Strategic developments

Bloomsbury 2020 launched today, moving Bloomsbury further in to the area of B2B digital publishing; a significant growth plan for Bloomsbury Digital Resources Publishing, a new range of scholarly digital resources aimed at academic libraries worldwide whose collective budgets are approximately $5 billion

Announcement today of reorganisation of Bloomsbury from four to two divisions: Consumer and Non-Consumer, to reflect the increasing emphasis on our Non-Consumer businesses.

Operating Highlights

Children’s & Educational

  • Revenue for the year increased by 57% to £41.8m (2015: £26.6m)
  • Sales of Harry Potter in the year grew by 133%, including Harry Potter and the Philosopher’s Stone Illustrated Edition by J. K. Rowling and Jim Kay being published to great acclaim
  • A Court of Mist and Fury by Sarah J. Maas has just hit number one on the New York Times bestseller list. Sales of Sarah J. Maas titles, which included A Court of Thorns and Roses, grew by 184%.

Adult division

  • Revenue increased by 3% year on year to £46.0 million (2015: £44.7 million)
  • Osprey Publishing, which was acquired in December 2014, generated revenue of £7.2 million (2015: £1.5 million)
  • Focus on special interest niches paying off, representing 14% of total Bloomsbury sales (2015: 10%)

Academic & Professional

  • Revenue for the year was £32.7 million (2015: £36.0 million), slightly lower as expected due to a strong rights and services comparator last year
  • Digital revenues grew by 24% year on year to £5.3 million, more than treble the industry growth rate (Source: Publishing Association: Digital Sales Monitor)
  • Digital now represents 16% of total revenues in the division (2015: 12%)
  • Acquisition of the definitive family law list for net consideration of £0.5m

Bloomsbury Information

  • Revenue for the year was £3.2 million (2015: £3.9 million)
  • Operating profit before highlighted items was up 9% to £1.2 million (2015: £1.1 million)
  • From 2016, Bloomsbury is providing publishing services to the Arcadian Library, one of the finest collections of books about relations between the West and the Arab and Islamic worlds

Strong list for the year ahead

  • Harry Potter and the Chamber of Secrets Illustrated Edition by J. K. Rowling and Jim Kay
  • Two front list Sarah J. Maas titles
  • New cookery titles from Tom Kerridge and Hugh Fearnley-Whittingstall
  • New content from J. K. Rowling for the new edition of Fantastic Beasts & Where to Find Them

Commenting on the results, Nigel Newton, Chief Executive, said:

“Bloomsbury has had a very good year with strong revenue and book sales growth, including a significant increase in digital sales. In particular, our Children’s & Educational division delivered an exceptional performance, with its third year of double digit revenue growth.

Bloomsbury continues its strategy of growing academic, professional, special interest and educational revenues. There are significant market opportunities to accelerate the growth of our digital revenues and today we have set out the Bloomsbury 2020 strategy. This focuses on growing revenues from academic and professional digital resources for academic libraries worldwide, whose budget is estimated to be $5 billion. This will lead our repositioning in the market from a primarily consumer publisher to a digital B2B publisher, whilst continuing our long track record of huge bestsellers in the adult and children’s markets which remain a very important part of Bloomsbury’s mission.

We have started the year in line with our expectations and look forward to publishing our strong list in the year ahead.”


Translation Fund for Scottish writers – open for applications

The fund, administered by Publishing Scotland, is designed to encourage international publishers to translate works by Scottish writers.

The new round for 2016/17 is now open. There will be 2 rounds, with the first deadline being Friday 12 August 2016.

A second round will be announced prior to the Frankfurt Book Fair in October 2016.

The Translation Fund was launched on 25 August 2015 at the Edinburgh International Book Festival. Its purpose is to support publishers based outside the UK to buy rights from Scottish and UK publishers and agents by offering assistance with the cost of translation of Scottish writers. The funding will be received in the form of a grant.

Priority will be given to the translation of contemporary literature, including fiction, non-fiction, poetry, writing for children and graphic novels. Assessment criteria will also include the merit of the work to be translated, financial need of the publisher, track record of publisher and translator, and the proposed marketing plan. An expert panel will meet twice a year to assess applications

For an application form and the terms and conditions, visit the Publishing Scotland website – deadline for applications Friday 12 August 2016.


Strong year for UK publishing industry as it grows to £4.4bn

New figures released on Friday by the Publishers Association shows that the UK publishing industry is in good health with total sales of book and journal publishing up to £4.4bn in 2015. The figures also revealed that the UK’s love affair with the printed book is far from over as for the first time since the invention of the ebook, overall physical book sales increased while digital sales decreased.

Top stats from the research include:

  • Sales of physical books from publishers increased for the first time in four years while digital sales fell for the first time since The PA started collecting figures
  • Export revenues dropped slightly by 3% to £1.42bn with education, academic and ELT (English Language Teaching) accounting for two thirds of this
  • There was particularly strong growth in sales of physical non-fiction/reference books which saw sales increase by 9% to £759m
  • Academic journal publishing also continued strongly up by 5% to £1.1bn with digital revenues accounting for 95% of this
  • School books sales were up overall by 9% to £319m with growth in physical and digital both home and abroad.
  • Audiobook downloads had another good year with 29% growth in 2015.

Commenting, The Publishers Association Chief Executive, Stephen Lotinga, said:

“These figures show that the UK publishing industry continues to go from strength to strength and the UK’s love for print is far from over.

“Digital continues to be an incredibly important part of the industry, but it would appear there remains a special place in the consumer’s heart for the aesthetic pleasure that printed books can bring.

“UK publishing leads the world in terms of exports, but the small drop last year is a reminder of the importance of having certainty in the relationships with our most important markets.

“2015 was a great year for learned journals sales and demonstrates the strength of academic publishers in driving new innovative business models that contribute towards maintaining the UK’s position as a hub of global research excellence.

“The performance of educational publishers, who saw increased sales across all formats, both at home and overseas, is testament to the outstanding learning resources the UK continues to create.

“Whether it be the latest fiction bestseller, our world renowned scientific journals or textbooks for the classroom, the UK publishing industry continues to punch well above its weight. At a time when the Government is looking for world leading sectors to drive growth in the UK economy, they could do a lot worse than look to the success of our publishing industry.”

Ed Vaizey MP, Minister of State for Culture and the Digital Economy, said:

“The UK’s publishing industry is a huge success story, and I’m delighted the sector is continuing to flourish. The publishing industry contributes £10.2bn a year to the UK economy, and these latest figures are welcome news, particularly in a year when we’re celebrating one of the UK’s most famous literary exports, William Shakespeare.”

publishers green network

Publishers Green Network Open Meeting and Relaunch [EVENT]

Thursday 26th May 2016

Pearson, 80 Strand, London, WC2R 0RL

16.00 – 17.00 Open Meeting

17.30 – 19.00 Keynote from David Nussbaum, WWF UK, followed by a drinks reception

The Publishers Green Network will relaunch on Thursday 26th May with an open meeting followed by a keynote presentation from David Nussbaum, CEO of WWF UK.

The Publishers Green Network aims to help those in the book industry increase sustainability and reduce their overall environmental impact. The PGN looks at the complete process / supply chain for physical and ebooks by providing a networking / information sharing forum to facilitate this.

The meeting, from 16.00 – 17.00, is open to any interested parties. To reserve a place, please email

Following a short networking break, there will then be a keynote presentation from David Nussbaum. To book tickets, register here.

David Nussbaum, CEO of WWF UK, will speak on recent developments in the international and national sphere, setting a framework for the global Climate agenda, and current priorities for WWF. Focusing on what this might mean for the publishing industry, Nussbaum will look at the need for partnerships with environmental charities.

Stephen Lotinga, CEO of The Publishers Association will then lead an ‘in conversation with’ David Nussbaum, taking questions from the floor.

The afternoon will close with a drinks reception.

PGN Chairman, Ashley Lodge, says; “I am really delighted to be relaunching our group with David Nussbaum, the CEO of WWF UK. I passionately believe the PGN’s information sharing forum has an important role to play in ensuring that the publishing industry continues to minimise its environmental impacts.”

Note for editors

The Publishers Association and BIC are co-supporters of the Publishers Green Network.

The Publishers Association is the leading trade organisation serving book, journal, audio and electronic publishers in the UK. Membership comprises over 100 companies from across the trade, academic and education sectors.

With over 120 organisations in membership, BIC is the UK book industry’s independent supply chain organisation, committed to improving the efficiency of the trade and library supply chains.

BIC is committed to creating an efficient supply chain for both physical and digital products across the entire book industry, working with all relevant stakeholders to eliminate wasteful and time consuming practices and implement solutions acceptable to all. Being in a unique position of trust with all parties in the supply chain makes it possible for BIC to reach agreement on dependable standards and ways of working. Training is also at the heart of BIC’s activities.

The Publishers Green Network is a voluntary group designed to help the publishing industry increase sustainability and reduce its overall environmental impact. The PGN looks at the complete process/supply chain for physical and ebooks by providing an environmental networking/information sharing forum to facilitate this.

Contact: Seonaid MacLeod, 020 7691 9191,

Women in Comics: are we failing to recognise female creators?

One of the world’s biggest comic-book festivals, Angoulême, made the headlines earlier this year when it failed to include any women in their 30-strong shortlist for the lifetime achievement award. The Women in Comics Collective Against Sexism called for a boycott of the prize and many prominent nominees demanded their names be removed from the list.

In a statement, the festival attributed this shortcoming to a lack of female artists in comic-book history. At The London Book Fair this week, Hannah Berry (graphic novelist, writer and illustrator), Audrey Niffenegger (visual artist and writer), Corinne Pearlman (Creative Director, Myriad Editions) and Sophie Castille (International Rights Director, Mediation) formed the panel to question, in this ‘golden era for comics and graphic novels’, if this is even true, and examine the state of women in comics today. Here are our top 10 takeaway points.

Have things changed over the last 20 years?

1) Comics were previously created by men, managed by men and read mainly by men. So it has changed. There are now many more genres and markets for this form, and both women and men are creators and readers.

2) You have to consider the American style, Marvel and DC, comics separate to the rest. Indie published comics and graphic novels have increased in popularity over recent years, and there seem to be an equal number of female and male creators in this area, with plenty of women editors.

3) While indie publishers of comics and graphic novels are thriving, bigger publishers often fail to enter the market successfully. Many tried and failed during the big 1980s boom, and they’ve seen little success since the continued increase in popularity since the late 90s.

4) It’s the bigger publishers that seem to employ mainly male editors, publishing the work of male creators.

Are events and exhibitions important?

5) People who are working in comics know that there are women in comics. But exhibitions and industry conferences are important in communicating this to the public and across the industry.

6) All-female events and exhibitions are important for women’s visibility and recognition, but they also risk the creation a women’s sub-genre within the sector. We should be banging the drum for women creators, but with caution – women shouldn’t become the other.

What can be done for women in comics?

7) Help each other. Bring other women up with you, and make the lesser know a bit more known – don’t just go back to the same people when looking for exhibitors and speakers.

8) ‘Spread the love’ – mentor and nurture any talent and excellence you come across.

9) Be purposeful in your approach to women in comics, but be wary of introducing positive discrimination and quotas as this risks overshadowing the achievement of creators and publishers.

10) The comics sector is still very white. It’s not just women that aren’t being represented fairly, there’s a lack of diversity across the sector as a whole. Engage with creators at grass-roots levels, smaller festivals and indie publishers, and change will follow.

On crowdsourcing and crowdfunding: 10 things we learned from #LBF16

Jan Kasprzycki-Rosikon (Managing Director, MillionYou), John Mitchinson (Co-founder, Unbound) and Enrique Parrilla (Chief Executive, Pentian) spoke on crowdfunding and crowdsourcing at this year’s The London Book Fair. Here are our top 10 takeaway points on publishing and the collective wisdom of crowds.


1) Crowdsourcing is the generation of ideas, content, materials and collections. You simply create a community of people and give them challenges to solve. They then generate ideas which you can analyse, refine and implement.

2) You can crowdsource employees by implementing the same process and selecting the people whose ideas and solutions you like best. You can get feedback on a new product by asking your target market to feedback on design, quality, reflection of the company brand, etc. Crowdsource your marketing material by asking for submissions of ideas, designs or videos. Select, pay for and use the best ones. You can even crowdsource your content by asking the public to submit information and research on a certain topic.

3) Crowdsourcing creates a pool of talented people, motivates employees, encourages news ideas and fresh approaches, and ultimately leaves you will a community of engaged consumers with brand awareness and customer loyalty.


4) Crowdfunding offers authors more control over their content and better deals. By putting authors in control of their own marketing, creativity is encouraged and rewarded.

5) Authors are being given more access to social media and sales data, allowing them to inform and improve their own marketing strategies.

6) Unbound launch 15-20 projects a month. Many reach their targets within several months and over 70% get funding within 18 months. They implement a degree of quality control but creativity and difference is encouraged, which will be beneficial to the industry as whole.

7) Crowdfunding has also disrupted, and experiments with, traditional royalty models. For example, Pentian give 50% of the profits to the backers, 40% goes to the author and they receive 10%.

8) After being driven to the site to pledge following a recommendation or seeing online material for a particular book, many backers tend to stay on the site to browse and then pledge on other products.

9) Pentian report that a majority of their successes have been with authors in emerging markets e.g. Chile, Ecuador and Cuba, These markets have not had access to the traditional publishing channels, funding and distribution, but these authors now have the tools that they need to reach their audiences.

10) With data available on every aspect of the process, crowdfunding companies can amass enough over time to inform their strategies and even predict what’s likely to be a success based on previous data.

10 things we learned about omnichannel selling at #Quantum16

Matthew Walsh (Retail Membership Manager, IMRG), Kieron Smith (Digital Director, Blackwells) and Matt Haslum (Consumer Marketing Director, Faber and Faber) formed the panel discussing omnichannel selling at the Quantum conference on Monday. Here are our top 10 takeaway points from the talk.

How consumers spend

1) 27% of retail spending goes online.

2) Tracking a single customer’s path to purchase is the holy grail. E.g. being able to track when they browse on their phone or tablet and then make a purchase in store, or vice versa.

3) 32% of online sales are coming from smart phones and 19% from tablets, and sales from tablets are increasing. Beacons in stores register your smart phone, know what you’ve previously searched for, and send you a voucher based on that search when you walk into the shop. Though, this is not something booksellers are currently adopting for their customers.


4) Each channel has its own strengths and weaknesses, and different customers need different experiences. Better customer service is available in store, but it’s easier to search for products and there are more options online.

5) Because of complex supply chain, the challenge for booksellers is delivery. All channels are currently too slow to meet customer demands.

6) Email is a vital channel for online retailers, accounting for 12% of the revenue. This has doubled over the last four years (from 6% in 2011), which is largely down to smartphones. But effective campaigns rely on having amassed are large number of subscribers from which you can segment and target appropriately.

Social Media

7) Social media contributes less than 1% (0.3%) of a retailer’s revenue. It should be viewed as an additional marketing method, not a revenue stream. Social media is the modern day equivalent of a shop window: just because the consumer may not buy immediately, it doesn’t mean that they won’t return or buy the product elsewhere.

8) Consumers use social media to raise problems and ask questions – it’s a customer service channel and should be viewed as an extension of the bookselling service.

9)Think about your market and the channels they use. For example, students don’t tend to use email anymore and are instead on  Yik Yak, Facebook and WhatsApp.

10) These channels are constantly shifting and you need to be there to reach them. Pinterest is soon to have transaction facilities and Instagram is an increasingly important tool for retailers. While direct revenue is currently minimal, social media is likely to become an effective last click tool.

Get the latest news and event info straight to your inbox


+44 207 183 2399

Incubation at Ravensbourne | 6 Penrose Way | Greenwich Peninsula | SE10 0EW

© 2019 BookMachine We love your books