Tag: readers

Infrastructure of publishing business

The reinvention of storytelling

Thousands of years ago, we told stories to each other. The best stories were those that could be repeated over and over again, changing little, those that embodied tribal memory, with strong, often repetitive structure and big heroes and villains. There wasn’t much by way of interior monologue or intertextuality.

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Enjoying reading when you’re a professional reader

I love reading, it’s my favourite activity and has led directly to working in publishing and bookselling.  Like everyone else, though, real life has a nasty habit of getting in the way of all the books I’d like to read. Like everyone else in publishing, my ‘need to read’ pile is huge and I don’t even get to pile up my ‘want to read’ books.

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The quick and easy guide to using beta readers [FOR AUTHORS]

Oh, no … You didn’t just ask your spouse, your mom, or your best friend to read your book and tell you what they think, did you? Every author needs test readers—impartial, unbiased test readers. As much as your squad may want to help, beta reading is one area where friends and family don’t qualify.

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FutureBook … or FutureRead? Fostering the next generation of readers

Sheila Bounford has worked in service businesses connected to the publishing industry for thirty years. A former Executive Director of the IPG, Head of Business Development at NBNi, and mentor to independent publishers, she is currently teaching English to secondary school pupils as part of the Teach First Leadership Development Programme.

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Building the book in public

For most publishers, the finished book is not just the main unit of currency but the single external output from the publishing process. Galleys or ARCs might go out, tightly controlled, to reviewers, but the manuscript itself and early rounds of proofs are strictly between author and editor. The exception of course is academic publishing, where editors will routinely send out proposals and manuscripts, and often points in between, such as sample chapters, for peer review – checking, advice and input from experts in the relevant field of study.

Several publishers have experimented over the last few years with making books available before publication – Safari Rough Cuts, now O’Reilly’s ‘Early Release’ programme, was one of the first, allowing customers to buy access to books as they are being written and to provide feedback along the way. Leanpub is another good example, with authors using the Leanpub tools to write and publish in a single iterative process, taking on board comments along the way.

It takes a brave author to do this, one who is secure in their own expertise and who believes passionately in collaboration and the wisdom of the crowd. One such as Guy Kawasaki, author of 13 books include Art of the Start 2.0 and Enchantment and my guest in this week’s Extraordinary Business Book Club podcast, for example. Except that Guy doesn’t participate in an early access sales programme run by a publisher: he simply puts first his table of contents and then his full first draft up online.

‘I literally post my Word file and I turn on the comment thing and I say, “Okay, insert your comments.” The bottom line is here’s my manuscript, have at it.’

What results is not only a better book, but an incredibly strong network of relationships and a body of people invested in the success of the book. As he points out:

‘A lot of people have never interacted with an author this way, never had input into a book. They go to Amazon, buy it, and their input is inputting their credit card. There are people who can fundamentally change my book, and people have.’

For Guy, it was a logical extension of the value he saw from sending the draft to a hand-selected set of beta readers.

‘Even before I came up with this idea, there were 10, 15, 20 people who I respected in the world who I would send my manuscript to, and I noticed that they came back with very good comments. Then I figured out that, God, maybe you don’t know all the intelligent people in the world first-hand, so maybe you should broaden your net… When you think about it, you just have to assume that it’s the law of big numbers, and that’s what I do.’

This is a challenging concept for publishers. Not only does it disintermediate them to some extent (the author is building links directly with potential readers), but the idea of putting the content itself, the thing that our entire revenue stream depends on, up for free on the interweb is deeply worrying. What’s the point in investing in anti-piracy measures after publication if you’re going to plaster the world with the first draft for free?

The reality of course is that most books fail for lack of attention and awareness, not a lack of adequate anti-piracy measures. Guy is sanguine about any potential loss of sales.

‘If a thousand people get my manuscript and don’t buy it, the thousand isn’t going to be the difference between success and failure. I want hundreds of thousands. I want millions of people to buy my book. If a thousand don’t, but in fact that process that makes my book better, that enables hundreds of thousands or millions of people to buy it, so be it. I would gladly give away a thousand copies to get hundreds of thousands or millions sold.’

But even when the sales forecast for a book is in the hundreds rather than the hundreds of thousands of copies, I’d argue that those who engaged with the manuscript and the author directly are in fact the most likely of all potential readers to buy the finished book, and not only that, but to rave about it to anyone who’ll listen. This is partly their book too, after all.

‘I don’t see anyone else doing it my way,’ Guy notes. I think he’s right, and it surprises me. I’d love to hear from any other publishers who can prove us wrong.

membership economyAlison Jones (@bookstothesky) is a publishing partner for businesses and organizations writing world-changing books. She also provides executive coaching, consultancy and training services to publishers. www.alisonjones.com

Heffers bookshop: Nominate your most characterful bookseller or customer [winning blog idea November]

Each month BookMachine offers a community member, with great ideas, the chance to write on the site. This month, publisher and author of ‘This book is about Heffers’, Julie E Bounford, writes on bookshops and their unique sellers and customers.

The 140-year history of Heffers of Cambridge, demonstrates that bookselling is as much about people as it is about books. As Janette Cross says recently in The Author, bookshops have people who know their customers, who read books and who live in the real world. I couldn’t agree more. People are smarter than algorithms.

In researching, writing and publishing ‘This book is about Heffers’, I interviewed over sixty past and present staff, customers and authors. What stands out about this remarkable bookselling phenomenon of the twentieth century is the character and style of its people.

For example, bookseller, Duncan Littlechild, a pacifist, disapproved of Winston Churchill and would say to customers, “You don’t want to buy that old rogue.” Littlechild began his 54-year career at Heffers in 1903 and was a WW1 prisoner of war. Considered old school by the 1950s – he had a reputation for kowtowing to academics – his favourite customer was the English comedian and character actor, Cyril Fletcher.

It wasn’t just the booksellers who were characters. Author Julian Sedgwick, who worked at Heffers from 1991, fondly recalls the parade of “influential, cosmopolitan, charming, grumpy, famous, notorious, odd and downright weird” customers.  He shares his most memorable in the book.

At Heffers many idiosyncrasies were accommodated. In the 1970s the Children’s Bookshop had a big round red seat, on which one adult customer liked to curl up and go to sleep. Another would play the violin in the main bookshop, and yet another would always wear a lifejacket (in Cambridge?). Mr Doggett, who still comes in every week, would stand at the front of the shop yelling the cast names from the 1947 film production of Oliver Twist. Recalling the multitude of interesting and eccentric characters, bookseller David Wilkerson describes bookselling as being ‘edgy’.

It strikes me that characters inhabit all aspects of the book world. We know that a well-told story will feature convincing characters. Unsurprisingly, many authors are themselves notable characters. Indeed, publishing and bookselling is, and always has been, populated by characters. Even the letters that form the words in a book are termed, ‘characters’.

So, where can we find characters in an online world of algorithm dictated bookselling? In a bookshop environment, characters contribute to the essence of the tangible book-buying encounter. Intelligent conversation with a knowledgeable bookseller can lead to rewarding discoveries that no algorithm could discern (and why on earth do the algorithms think that once I’ve bought something, I’ll want to buy exactly the same thing again?).

The book about Heffers is inspired by my childhood memories of visiting Heffers Children’s bookshop every Saturday morning. There was always time during the family routine for choosing books. I wrote about choosing books, living life in 2014 – http://jebounford.net/choosing-books-living-life/

If we stop using bookshops, we’re in danger of losing our connection with bookish people that have real expertise and character.

Who is your most characterful bookseller or customer, and why?

Dr Julie E Bounford hails from a Cambridge ‘town’ stock of booksellers, bakers and college bedders, and lives with her husband, Trevor, in a Cambridgeshire village. Julie spends her time on research and writing, and on running Gottahavebooks, the Bounford’s small indie publishing operation. Julie is the author of ‘This book is about Heffers’, published 21st October 2016. She’s available for talks on the history of Heffers and commissions in social history research and writing. Julie regularly publishes a blog on her website at http://jebounford.net and can be contacted via julie@gottahavebooks.co.uk


5 fun ways to use Snapchat for writers

We all live in the digital age and for us writers, that’s mostly a good thing. After all, it gives us more opportunities to tell others about our stories. The internet has evolved in so many ways through the years and the popularity of social media channels have given us writers a lot of platforms to put our works out there. And that’s a good thing, right? There are numerous channels we can choose from: Facebook, Twitter, Instagram, YouTube, etc. And then there’s Snapchat. Numerous companies have been using Snapchat to promote their businesses and make a name for themselves. Don’t be under the impression that Snapchat is only for millennials or for the young ones, though.

What, exactly, is Snapchat? It’s an app that captures videos and photos, with its filters making it fun to do so. You can also send those photos and videos as messages to your friends. The only catch is this: whatever you upload in Snapchat is only available for 24 hours. Given its fun nature in terms of sharing, Snapchat has become a hit. As writers, I think we can use this app to help gain more audience and keep a stronger connection with existing readers.

As writers, here are the ways we can use Snapchat:

1) Give them behind-the-scenes glimpses

This will help your readers (both existing and potential) catch behind-the-scenes look. I think the rawness of this approach makes it more genuine and interesting. Think of capturing yourself while at a coffee shop, with your laptop or your tool of preference all ready to use and you talking about what it’s like to write there – your thoughts, your process, how the environment affects you, etc. Another interesting idea would be to talk about what tools you use when you write, like which software or what kind of pen and notebook. Letting your audience catch glimpses of these scenes help establish a deeper connection.

2) Connect with fellow writers

It’s already a fun app to use. Why not add fellow writers and see what they are up to within that day? This not only helps build friendship but it also encourages us to build each other up. We writers most certainly need each other, if not to keep sanity and loneliness at bay! Also, isn’t it more fun to send messages to each other with all those cute filters?

3) Allow account takeovers

Ellen DeGeneres’ Snapchat account is a perfect example of someone else taking over your Snapchat. It promotes establishing connections in a fun way with fellow writers or other similar brands / influencers. This captures attention of the readers of all the writers involved. Fresh faces and candid footage or videos are always interesting. This article here talks about the ways to get started with Snapchat takeovers.

4) Share, share, share

People are visual creatures. Let us writers leverage our Snapchat accounts by giving our audience some photos of a new book cover or maybe a snippet of that novel we’re working on. Or if you’ve been to a book fair or a book signing event, it’s a great idea to show them that. Sharing makes your audience feel like they can relate to you. Snapchat can bring you closer to others by simply sharing things about your novel and, sometimes, your life.

5) Ask your readers to participate

Don’t limit sharing to just yourself. Ask your readers to join in the fun. Like the aforementioned account takeovers, you can always ask your readers to share photos or their own videos. Encourage them to connect with you, be it via takeovers or Snapchat messages. Engaging them to participate and share with you helps create and foster familiarity and, hopefully, friendship.

Snapchat is really a fun way to grow your audience, expose your brand, and build connections. Why not give it a try and see how it goes for you? You can do just about anything with it while having a good time doing so. Got a story to share about what got you into writing in the first place? Or how about that time you got your first rejection and how that helped shape who you are as a writer? Perhaps you want to snap photos of that walk downtown as you clear your head when you’ve got writer’s block. Maybe you attended an open mic session and simply want to share that moment with your readers. The possibilities are endless! So go ahead. Use Snapchat for all it’s worth. Grow your audience and build your followers while staying true to who you are and what you’ve got.

anna-cunetaAnna loves stringing words together to tell stories, be it horror or conversations with friends. She also wanders and tends to get lost in the internet, always on the lookout for something new to read. Armed with her love for coffee and horror, she writes regularly to keep sanity at bay. Check out her blog, and follow her on Twitter or Instagram.

Self-employed in publishing

Observing the audience: how reader analytics are influencing the industry

Reader analytics are garnering huge attention at the moment and there are at least four major talks at this year’s Frankfurt Book Fair discussing how and why publishers and authors can collect data on their readers. But with reader analytics taking the spotlight in publishing, the debate over the ethics of data harvesting and its uses has been brought to our doorstep.

Consensual data is happy data

The big issues around data harvesting are not just what information businesses and official organisations are collecting about us, it’s whether or not they’re doing it with our consent. For once, however, publishing is ahead of the curve on getting this one right.

Although big boys like Amazon remain the mysterious bastions of data collection they’ve always been, smaller companies specialising in reader analytics are proving to be honest, open and respectful about harvesting data. For example, Jellybooks use “reading campaigns” for as-yet unreleased books to provide information to publishers, in a similar way that a screen test would for a film studio. Jellybooks gathers data from readers who have volunteered to be monitored and received a free digital copy of the campaign book, which is clearly marked, so that the reader remembers they’re being observed.

What’s more, while Jellybooks have said that “though in principle [non-anonymised] data could be provided to the author or publisher” they do not give it. Despite some rumours, Jellybooks also does not gather data by measuring eye-movement, but by observing how the reader interacts with their app as they read. Jellybooks, and most reader analytics collectors, are more interested in the time of day consumers read, how long they read for, when they highlight or perform searches on text, and the operating system, device or browser being used. These are added to information the reader voluntarily provides, such as gender and age.

When working with companies like Jellybooks, publishers don’t need to feel compromised about using this data: it’s not an invasion, it’s a gift!

Data driven decisions

But why is data such hot property in the first place? Some have wondered – both in horror and hope – that reader analytics might effect the editorial process, but Jellybooks has said that this misunderstands how people read and the kind of data reader analytics can collect: “Readers judge a book as a whole based on storyline, language, characters, plot, etc. and not on individual chapters.” Though the data can be utilised in this way, knowing that “x” number of people dropped off at page 57 is not necessarily helpful to an author or a publisher.

Excitingly, what reader analytics can provide are evidence-based assessments of how a book is likely to perform in the market. Data on completion rates and recommendations gathered during the commissioning stage, for example, can help reduce the risk inherent in signing new books by indicating whether or not a book might be popular.

Later in the publishing process, analytics can also help marketing departments figure out how much budget to assign to their titles, what their audience looks like and how to find them – are they young or old, male or female? Do they binge-read on beach holidays, meaning you should get WHSmith Travel on board, or do they dip in on their on their commute to work, meaning you can grab them with a poster on the tube?

Best of all, this data is available via third-party companies like Jellybooks, meaning that although publishers have to pay fees for their data, they don’t need to make the huge investments in building platforms and software that was previously required. This information is more easily available to publishers than ever before.

Scratching the surface

Reader analytics still clearly has its limits and they may never become a magic wand for book sales, but the truth is that the possibilities for using this data are only just starting to be explored. Moreover, the software for collecting this data are still in its – albeit impressive – infancy. Looking ahead there is talk of Jellybooks developing some kind of “FitBit for books,” which will take retail copies of books into account as well as the pre-sales titles currently available. Others claim that one day soon we will be able to use data to predict the next big bestseller.

There can be no arguing that data harvesting is here to stay. The only, opportunity-filled question remains: how else are we going to use it?


Why small publishers sell more books with Nielsen Book2Look

ralph-moellersSmall independent publishers and self-published authors need to maximize the impact of their books and ensure they are easily found on the Internet. Ralph Möllers, the founder of a children’s publisher based in German decided to develop his own book widget, Book2Look, that would enable book buyers, both trade and consumer, to look inside the book before they purchase. The Internet makes content readily available for free. Ralph felt by offering easily digestible free content as a hook would encourage readers to want to read on and most importantly to click ‘buy’. Making the point of discovery the point of purchase.

As a starting point before any book campaign, publishers should think about whom their current readers are and what is happening in the marketplace. Here are some of Ralph Möllers’ latest observations, together with how this led to the development and continuing enhancement of the Book2Look widget.

Your Readers are web savvy

According to BBC research, young people now spend an average of three hours online a day. This seems quite a conservative estimate really, and professionals must spend more than double this amount. Tech savvy millenials are wise to advertising and many use ad blockers to protect them from the ‘lure’ of online shopping ads, which are becoming increasingly sophisticated. According to eMarketer, about a quarter of all U.S. internet users, nearly 70 million people will use technology to block online ads in 2016. Publishers therefore need to develop respectful ways of promoting to these readers, as a result of this.  Nielsen Book2Look is therefore an ideal option that lets you share sample content, video, audio clips and other promotional material via the internet on social media sites, on your own site, author site or with retailers, bloggers and reviewers.  Each version can be tailored to meet your audience needs.

Shelf space is decreasing

Despite books such as the Cursed Child by JK Rowling, Jack Thorne and John Tiffany, which achieve huge sales, shelf space for the average book in traditional book stores has been decreasing and this makes discoverability of new books extremely difficult for publishers. Author James Patterson launched an admirable initiative to help indie bookshops survive and thrive – however, in the UK in 2014, almost twice as many bookshops closed down as new ones opened. Between 2009 and 2016*, the number of independent booksellers in the UK and Ireland, has fallen by 25%. With fewer options to browse books in-stores, publishers need to replicate the ability to browse books online, and that’s where Nielsen Book2Look can help you reach a wider audience for your books.

The social media frenzy continues

Trends in Social Media usage are changing. Many Facebook users have migrated to Instagram or Twitter away from parental observation. Groups of friends prefer to communicate via closed groups on Path or What’s App. Professional networks such as Yammer give work colleagues a valid reason to chat online. Nothing remains constant but the one thing all forms of social media have in common is that they give their users the opportunity to share. Nielsen Book2Look lets your readers share sample content. It gives them a valid reason to communicate on their preferred social channels, and you can add a link to your preferred retailer, ensuring that you achieve sales.

Nielsen Book2Look is a tool that encourages readers to share and spread the word about the books they like. A tool that supports your local retailer by offering customised sample content. And lastly but not least, it’s a tool that gives you great analytical data about the performance of your book content that can be connected to your existing Google analytics account.


Today Nielsen Book2Look is helping thousands of publishers of all sizes worldwide to promote and sell their books. Nielsen Book2Look has achieved millions of book views, last year the figure was 20m, and we expect that to increase this year.  Ralph Möllers says: “As a developer and as a publisher I am really proud of this contribution to our industry and I am delighted that so many publishers around the world can take advantage of this remarkable book widget. Even better news is that Nielsen Book has launched its new ISBN Store which enables publishers not only to purchase their ISBNs online but the Book2Look widget too – what could be simpler than that?”

*2016 is seeing a number of new independent bookshops starting up, which might lead to a resurgence of high street retailing, but this is still a hugely competitive market with customers being offered a huge of point of purchase.



book discovery

iAuthor launches book sampling tool

iAuthor, the book discovery platform, launches LitSampler 2.0 today. Here iAuthor’s founder, Adam Kolczynski, tells us more.

What is LitSampler 2.0?

LitSampler 2.0 is iAuthor’s book sampling tool. An industry-first, it allows authors and publishers to upload an enticing excerpt of their book, controlled from their iAuthor dashboard. Readers can try before they buy, decreasing their inbuilt risk aversion to a new book by an unknown author.

Wendy Corsi Staub, a New York Times bestseller with more than 4 million book sales worldwide, has a created a sample here: https://www.iauthor.uk.com/chapter/the-perfect-stranger:5758

For a more image-centric sample, dive into https://www.iauthor.uk.com/chapter/the-secret-life-of-scones:8660

How is LitSampler 2.0 unique?

LitSampler 2.0 brings the point of book discovery nearer the point of purchase. For authors? An ultra-intuitive typographical tool to showcase their books. For readers? An immersive e-reader. We asked ourselves what the ideal sampling tool should do. It should be responsive, allowing effortless sampling on all screen-sizes. It should be formattable, giving authors and publishers the power to lay out their books exactly as they wish, complete with indents, drop-caps, section breaks, images, tables and more. It should be shareable, so readers can harness their global network to maximise author discoverability. It should be embeddable, so book samples can travel to any site or blog with just one line of HTML. It should be browser-centric, so the sampling process won’t require downloading software or files. We believe that iAuthor’s reimagined sampling tool covers all of the above, and elegantly completes the “Browse-Sample-Buy” discovery funnel.

From a UX/UI perspective, we felt that many existing book samplers were decidedly awkward. An over-reliance on skeuomorphic elements rooted the design in the pre-iPad era, page navigation was unintuitive, and reader-centric features such as in-line search, bookmarking and contrast control weren’t optimised for mobile. At iAuthor, we believe that design should be invisible to the user. Book excerpts should take centre-stage, not toolbars, bloated menus or banner adverts. Ideally: all signal, no noise. By minimising visual clutter, LitSampler 2.0 not only increases reader dwell-time, but enhances the quality of that engagement.

iauthorFeatured in The Bookseller, Digital Book World and GalleyCat, Adam Kolczynski is best known for iAuthor, the London-based startup. In tackling the perennial problem of book discoverability, Kolczynski has straddled both ends of the publishing spectrum: first as an author, then as a publisher with Polybius Books.

How crowdfunding is changing publishing: Mathew Clayton interview

Mathew Clayton is as an editor, events organiser and writer. Currently, he works as the Head of Publishing at the innovative crowdfunding publisher Unbound and runs a literary tent at Glastonbury Festival. Here Sarah Ann Juckes, co-host of the free BookMachine Brighton event (How crowdfunding is changing publishing, 8th June). interviews him.

1) You’ve had a varied career in literature as an editor, festival programmer and publisher at Unbound. What drew you to working with books initially?

When I left college, I set up a second hand bookstall. Every Saturday I went round jumble sales and bought all the half decent books I could find, then I sold them to students at Sussex University. I really enjoyed doing this, but I wanted to move to London, and managed to get a job working for the Guardian in their PR department. My boss was also involved in the Guardian’s book publishing – they had an imprint with Fourth Estate and I started helping her with that. Fourth Estate were then a small, exciting and fast growing independent publisher. I was hooked.

2) Has any of these roles changed your view of the industry and/or books?

Festivals are really interesting, as they are part of a new emerging literary culture that includes book groups, creative writing courses, independent bookshops and crowdfunding. None of these thriving sectors have emerged from within the traditional industry, they have all been developed independently by writers and readers.

And everyone involved in publishing should, at some point, sell books. You gain a real understanding of how difficult it is to get people to try something new.

3) As Head of Publishing at Unbound, do you think there is a certain type of literature that lends itself particularly well to crowdfunding?

I think non-fiction is easier to fund than fiction and it really helps if you have an established network of people that are interested in your work. But underpinning that is the need to be the kind of person that wants to establish a network of people that are interested in your work, rather than simply hoping that someone else will do it for you.

4) What are the biggest mistakes you feel other publishers are making today?

Not building direct relationships with readers. In three years of programming literary events at the Brighton Festival, no publisher ever asked if it would be possible to get email addresses of the people that paid to see their authors. Publishers don’t own bookshops, they don’t run festivals, they don’t organise book clubs. I realise I am generalising here a little, but their whole way of operating is to sell via shops – they are used to keeping readers at a distance. This is very short-sighted.

5) What do you think the future holds for crowdfunding books?

At its heart, our model of publishing is selling books direct to readers in advance of publication. More and more people will do this – any new publisher that doesn’t try and do this is mad. I don’t think many traditional publishers will try crowdfunding, as they will not be able to culturally get their head around the idea that a book might fail before it is even published. From a personal perspective, I love commissioning books in this way – I have far more freedom than I ever had when working for Random House, Octopus or Michael O’Mara.

Grab your free ticket to hear more from Mathew at our Snapshots III book launch event here. BookMachine Brighton is hosted by Sarah Ann Juckes and Isheeta Mustafi.

We are also hosting events for the launch of Snapshots III in London and Oxford on the 8th June, and Cambridge on the 13th. Join us.

Self-employed in publishing

Balancing Act: Keeping publishing’s polarities in check

Publishing is an industry that operates between polarities, constantly engaging a series of balancing acts that define the kinds of books we sell and the profit margins we make. But are there canaries in the cage that tell us when we’re veering too far one way or the other? Is it possible to tell when the balance is out of sync before we reach the tipping point? And has the digital revolution of the past few years changed that?

Walking the tightrope

“We need writers who know the difference between production of a market commodity and the practice of an art,” said Ursula K. le Guin in July’s Portland Monthly. “Developing written material to suit sales strategies in order to maximize corporate profit… is not quite the same thing as responsible book publishing or authorship.”

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Mills and Boon

Romancing the Reader – Relationship advice from the Mills & Boon archive

This is a guest post from Judith Watts. Judith lectures on the Publishing Masters at Kingston University where she is Co-Director of Kingston University Press. She is researching for her PhD [The Limits of Desire: the Mills & Boon Romance Market] in The Archive of British Publishing and Printing at the University of Reading. She has worked in the industry for many years and has recently started two new reading, writing and publishing  businesses. She took a publishing career break to do an MFA in Creative Writing and is a published poet and author of Hodder’s Teach Yourself Erotic Fiction. 

At a recent Galley Club talk I confessed my passion for publishing archives. The past has much to teach us about relationship management. The thousands of intimate letters between publishers, authors and readers are a tale of the ultimate ménage à trois. While a partnership of two can be tricky enough the publisher can always tie the contractual knot with the author. But how can readers be wooed and kept close?

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5 Tips for creating your own literary night

There’s something really inspiring about watching a group of people come together to create a whole new literary experience.

This time we’ve stumbled upon Letters You Never Sent.

Zakia Uddin is part of the ‘crew’ who have put it together:  “We wanted to make our event interactive. We wanted to revive the letter as a dying form of story-telling, while also reconciling our love of pop culture and great literature”.

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