Postgraduate Publishing studies at Edinburgh Napier University. INDUSTRY APPROVED Publishing degrees (accredited by the Professional Publishers Association and Creative Skillset). MSc Publishing was the first Publishing programme in the UK to be accredited by the Professional Publishers Association (PPA). It is now accredited by Creative Skillset (only one of two courses to hold this award). MSc Magazine Publishing is the only course of its kind in Scotland and is the only publishing course in the UK to be accredited by the PPA. The PPA is the lead body for best practice in training, development and people management for the magazine and business media industry.
Since day one of the Publishing course at Napier, it was mentioned that Twitter is a great tool to connect with others in the industry and keep an eye out for possible internship/job opportunities. Funny enough, it was through this very platform that my internship with Entangled started.
Entangled Publishing is an independent publisher of romantic fiction, in the adult and young adult markets. They’ve released more than 1,200 titles, including the YA novel Obsidian by Jennifer L. Armentrout which was signed for a major motion picture. They have 13 imprints which range from a variety of ages and topics and the novels are released in digital and printed form. Approximately 20 to 35 titles are published in digital form and 4 in print and e formats simultaneously each month. Furthermore, 57 of their books have made it to the USA Today Bestsellers list and 17 to the New York Bestsellers list.
The position being advertised was for readers to help with submissions. As well as reading a bunch of manuscripts, which sold it for me already, they were offering to give editorial workshops. Along with production, one of my areas of interest within publishing is editorial, so this was just what I needed.
As a reader, you are tasked with reading the manuscripts assigned to you and fill out a report regarding key editorial aspects and your reading experience. Afterward, you must decide whether they should take it on or decline it. During my first reports, I was very hesitant to straight out say no. But after a couple more reports, I started to get a sense of what works and what doesn’t for the publisher.
You have to get into a state of mind that is a bit more critical and aware, without forgetting to enjoy the read. No two stories are the same. Each author draws inspiration from different places, creates characters with various backgrounds, and arranges the plot in distinct manners.
As mentioned before, I was really looking forward to the editorial workshops and they have been beyond amazing. I’ve learned about the numerous aspects that make a good story and the work that goes into each of them.
Overall, my experience as an editorial intern for Entangled has been an incredible learning experience and I’m really looking forward to the upcoming submissions and workshops.
When you want to get your foot in the door of an industry, it’s often advised that you carry out a substantial period of work experience with an appropriate company; undertaking an internship not only allows you to experience first-hand, the environment you hope to someday work in, but it also looks great on your CV. However, the prospect of working unpaid for a length of time can be incredibly daunting and this is why it’s particularly important the company you’re working for recognises that and does everything they can to help you in other ways.
When I responded to Fledgling’s advert for Editorial work experience, I was not initially aware of what the working hours would be, I just knew that I wanted to apply and if successful, do everything I could to commit to the hours asked of me. I’d been aware of the publisher beforehand and admired their commitment to publishing debut authors as much as possible.
‘Fledgling Press are an independent publisher in Edinburgh, committed to publishing work by debut authors, emerging talent and new voices in the literary world.’
They also state on their website that they ‘have a healthy intern programme where [interns] don’t just have to make the tea.’ I in no way expected to be successful, having (I’ll admit) missed my initial interview slot because I went to the entirely wrong address. So, after the rescheduled interview and heading home annoyed at myself, I was shocked and delighted when Clare Cain emailed me to offer me the placement.
What I want to share the most about my experience so far is how completely and utterly accommodating and understanding Clare has been from the outset. When she emailed me offering me the position, she stated that it would be around six months long (February to September), but that the hours were one day a week on Wednesdays, 9:30am-3:30pm, 45-minute lunch break inclusive. That though the placement itself is unpaid, travel expenses would be taken care of and that come September, if I don’t want to leave or am looking for a job and feel it beneficial to stay, then I certainly can.
In addition to this flexibility, on a weekly basis Clare asks me how my course is going, what my workload is like and if I’d rather not come in the following week in order to focus on my studies. Though I have not yet felt the need to take any time off, it is incredibly comforting to know that I need only phone in, to let Clare know I won’t be able to make it, and that it would truly be okay.
Fledgling Press is run from Clare’s home in Portobello, by herself, husband Paul and designer Graham. Myself, Clare and a fellow intern spend our Wednesday’s sitting around the kitchen table, drinking copious amounts of tea (always offered to us by Clare) and trying our best not to get distracted by her beautiful dog, Charlie. Clare’s family are also often around, equally as welcoming as Clare, and with one daughter at university herself and another at the end of high school, it’s easy to relate and chat away about all our different career goals.
In terms of my involvement with the work itself, I cannot commend Clare enough for the access and control she gave me right from the beginning. On the first day, I was given login details to submissions, encouraged to turn down those I felt were better suited to a different publisher’s list, and to request the full manuscript of those I was interested in. At first, I was trepidatious about turning people down, reading as much as I could, convinced I would decide they were suited to us. Clare laughed nostalgically at this and assured me she was the same when she first started out. But that to keep up with the volume of submissions, you had to have the heart to say no and move on.
As Fledgling are a small, independent publisher, typesetting is done in-house, and I’ve had the opportunity to put the skills I’ve been learning in class to the test, sometimes even surprising myself when I’ve been able to show Clare something about InDesign she didn’t know. Though the role is Editorial, it has become clear to me that the roles are widely shared in a small publishing house and it’s all the more enjoyable for that. In my interview, I asked Clare what it is that makes someone really stand out to her, someone she can see going far in the industry, and she replied that an awareness of the industry as a whole is essential. It bodes well for someone to have an understanding of the areas outside of their own.
Though I could write forever about how much I’m enjoying my time there, I will say one more thing. The first full manuscript I worked on, where I carried out the final proof, was a genre I would never usually intend to read. However, I treated the writing with immediate respect and sat down, ready to pay full attention and to try to understand the author’s vision and world they had worked so hard to create. To say I was pleasantly surprised would be an understatement and I spent a great deal of time after, gushing to Clare about how much I loved it and how wonderful it was that I was one of the first people to ever see the work before it becomes a book.
I can assure you that travelling that little bit farther (really only a 30-minute bus journey from the city centre) to a little seaside town every Wednesday has been, and I’m sure will continue to be incredibly worth my time. I am learning so much from a powerhouse of a woman who has truly made Fledgling Press what it is today, and I feel nothing less than valued for the help I am able to give, as a complete beginner in this exciting, supportive and passionate industry that is publishing.
It’s been 24 hours since the Publishing Scotland Conference left me equally overwhelmed and excited by my chosen career path so I hope this overview will give people who weren’t fortunate enough to attend a taste of what the day was like.
After a welcome from Publishing Scotland, the Booksellers Association and Jenny Brown of Jenny Brown Associates, the day started with a key note speech from Barry Cunningham . Not only do I hope to work in children’s/YA publishing one day, but I am a long-time fan of Chicken House. I was all ears on the necessity for fueling “book growth by providing a wider variety of book of all kinds” and how readers can discover these books. ‘Book huggers’ became an integral part of my vocabulary and Barry’s business card a coveted addition to my wallet.
Next came a statistical breakdown of 2015/16 retail market trends courtesy of Nielsen BookScan data, and while your eyes may have glazed over just reading that sentence, believe me it was one of the highlights of the day. Who would have thought there was a marriage to be made between David Bowie and bar charts? Steve Bohme for one (apparently it was Star Wars last year!)
Sam Eades, Editorial Director at Orion Books, shared her innovative ideas for creating debut novel buzz without the benefit of a big publicity and marketing budget. With materials even Blue Peter might struggle to craft together, she revealed the roles a dismembered mannequin and Portsmouth bus lane played in two successful campaigns. She also stressed the importance of spear-heading trends, from psychological thrillers to cosy crime; and of recognising the opportunity for partnerships – even if those opportunities come in the form of two ice sculptors. After all, “publicists are great blaggers.”
I gained a whole new appreciation of the art of the book cover from the Creative Director at Penguin Random House, Suzanne Dean, whose journey between the hardback and paperback editions of Paul Kalanithi’s, When Breath Becomes Air, was paved by 70 rejected covers. And I’ll never look at the negative space and allusions of Haruki Murakami’s covers the same way now that I know a little of the complicated effort masquerading as the effortlessly simple.
When it comes to working better with authors (and selling more books), Lucinda Byatt from the Society of Authors reminded us that, despite falling advances and royalties, “authors remain the only essential part in the creation of a book.” How must it make them feel to often earn less than their editor?
We heard from the front lines in sales and bookselling where the successful bookstores are the ones with “experiential content that’s not available on the internet”, Kevin Ramage, The Watermill: “booksellers that diversify … throw in a bit of coffee … offer as much as possible to the customers”, Sabrina Maguire, Bright Red Publishing.
For my elective breakout session I was glad to have chosen to learn from Eleanor Collins, Senior Commissioning Editor at Floris Books, about editing narrative openings (but sad to miss out on the three other workshops that sounded equally fascinating). With the “artifice of the narrative most evident in the beginning” and a tendency for authors to begin the story before the action, editors can choose to alter the structure, chronology and/or voice. In other words (Eleanor’s words): start with the Ballroom instead of the Country Walk; or reference it and the Conversation during the preparation for the ball.
One of the most inspiring parts of the day, however, was an introduction to OWN IT!, London from founder, Crystal Mahey-Morgan. Crystal’s goal is to tell stories using books, music, fashion and film, starting with the multimedia book, Don’t Be Alien. Above all I respected her recognition that we have to see the commercial viability of diverse authors instead of just the moral necessity.
With people and pioneers like these, I’m happy to say that the future of the book does not look as bleak as it is often believed to be. Many thanks to Publishing Scotland for making the MSc Publishing students of Edinburgh Napier Universirty so welcome.
In conclusion, prep your calendars for 2018 and place your bets on who/what Steve Bohme will use to front his market data next time.
Nestled in a cosy corner of Edinburgh’s lively Royal Mile and sharing the same stretch of road as the Scottish Storytelling Centre and Deacon Brodie’s Tavern – a pub honouring the chap said to have inspired Stevenson’s Dr Jekyll and Mr Hyde – Luath Press seems to be the most happily situated publishing house in its vast UNESCO City of Literature. It is to Luath that I’m winding my way on an unusually fine spring morning in search of publishing experience – I’ve already practically floated through The Meadows, with its dreamy avenue of cherry blossoms just beginning to bloom, and as I cross George IV Bridge, gazing around me with all the awe its impressive architecture is owed, I begin to understand why writer Alexander McCall Smith calls Edinburgh ‘a city so beautiful it breaks the heart again and again’. As a publisher who take their name from Robert Burns’ wee collie dog and were set up in answer to a need for good-quality travel guides on picturesque Scotland, I venture towards my placement with high hopes that in Luath I’ll find the heart and soul of the Edinburgh literary sphere; a company that provide a platform for authors who are so inspired by bonny Scotland and its cultural heritage they can do nothing but write of it.
As my destination lies at a stone’s throw from the castle, I battle through gaggles of tourists to reach the door, my plight underscored by the ditties of a long-suffering bagpipe player standing a few yards up the road. I reach a rather plain and unassuming door and begin to second-guess my orienteering skills (and my Google Maps smartphone app). Thankfully I spot Luath’s familiar collie dog logo perched next to one of the buzzers, and tentatively ring for entry. I’m greeted moments later by Rosie, Luath’s brilliant Sales, Marketing, and Digital Projects Coordinator, and she leads me up several flights of stairs that twist towards the top floor where the Luath office resides. Its windows reveal gorgeous views of the Old Town to one side and the New Town to the other, and suddenly I feel I’ve been let in on Edinburgh’s best-kept secret. I sit at the desk I’ll be poring over during my placement, quietly taking in the boxes of freshly-printed books, the newly submitted or marked up manuscripts, and the launch event posters that lie around me, and I can’t help but think I’m going to like it here.
Over the next four days, I enjoy a whistle-stop tour of the inner workings of the Scottish publishing sector, beginning with a wonderful overview of Luath’s history and a summary of how it operates today from Director Gavin MacDougall, who is also kind enough to offer hints and tips on getting started in a publishing career. He emphasises the importance of finding your niche within the publishing workflow, whether it be in editorial, marketing, or production, for example, and suggests honing your skills in that area to reach the top of your chosen field. Later, I take calls from keen readers who enjoyed a Luath title so much they want to order additional copies for their relatives, from writers eager to know if their prized manuscript has arrived at Luath HQ, and from Luath’s distributor, HarperCollins, calling to check on an order detail with Gavin. Throughout the week I also meet Jennie Renton from nearby Main Point Books who assists with Luath’s marketing one day a week, and I revel in the achingly well-informed bookish conversations that take place between her and Gavin. I am also introduced to a freelance designer, and a BBC journalist, and later I meet the talented Editorial and Production Manager, Chris, just returned from holiday, who I discover is a fellow alum of the University of Dundee’s Humanities department. I beseech my brain to adopt “sponge mode”, as I’m acutely aware of how valuable it is to be in an environment like Luath and absorb as much as possible of what is playing out around me.
My tasks during the week are wonderfully varied, and I begin with laying the foundations for a Twitter campaign surrounding David Torrance’s culturally-pertinent title, General Election 2015: A Guide for Voters in Scotland. I set up a list of relevant Tweeters to follow, including the accounts of all the major political parties and their leaders, to be utilised as a marketing tool as the election draws near. I come to know Torrance’s title quite well during my time at Luath, and also compose a blog post to market the product on Luath’s blog, BookBanter.
I likewise get acquainted with Stuart McHardy’s Scotland’s Future History, and draft an example blurb, an advanced information sheet (which includes creating an ISBN barcode), and a press release around this title, all intended as an exercise in good marketing practice. Keen to gain editorial experience, I am given the opportunity to proofread Rosie’s monthly digital newsletter and suggest changes. Perhaps my most important task, however, is to work on the design and production of a Luath catalogue intended for circulation at the upcoming London Book Fair, and I devote much of my time during the placement to this assignment, aiming to create a publication that represents the values and objectives of Luath, while showcasing their diverse backlist and frontlist titles.
I alight again onto the Royal Mile on Friday evening, lamenting the rapid speed at which my time at Luath passed over, yet triumphing in the great wealth of experience I amassed during that same short spell. Passing once more through the grandeur of George IV Bridge and onto the long cherry-tree lane that skirts through the Meadows, I think again of Edinburgh’s great literary heritage, and I feel privileged to have been amongst people who devote their time to both preserving and growing this beautiful tradition.
When initially it came to choosing my placement company, my focus was a little different from the majority of my fellow publishing students. My experiences to date include a number of group projects I have been involved in at Edinburgh Napier, as well as my existing experience producing my own blogs. I have been exposed to many marketing opportunities, and interest in this area of publishing encouraged me to delve further into the sector to gain more experience.
Upon my discovery of Oh Really as a placement option I felt that it would be perfect. As it is a combination of companies – Oh Really Creative Solutions, a PR and Marketing company and Word of Mouth Travels Publishing – run solely by Mr Owen O’Leary, it represented the perfect environment to gain as much experience as possible, not only of the publishing industry but the extended creative industries. Word of Mouth Travels to date have produced two books The Locals Guide to Edinburgh and The Locals Guide to Glasgow. These travel guides have taken an entirely new approach to the traditional tour guide. They have also taken advantage of a niche in the travel market which has been in decline in recent years due to the growth of tablets and portable internet devices. … Continue reading “My Placement at Oh Really / Word of Mouth Publishers”
Following all the madness of last week, posters have been printed, presentation slides have been created and converted for the show. However the biggest task in preparing for our degree show last week had to have been our initial set up of our room for the show. This involved a little volunteer work on Wednesday and some very fashionable choices…
This lovely looking group was joined by a couple of stragglers who you can see throughout the slideshow. Following a later than average start, we had a day full of painting display boards – which turned out to be quite the challenge but fun because we were rewarded with Cake!
But today is finally the day where we will get to show everyone what we have achieved and the magnitude of the projects that we took on this year!
We really do hope that you can come along and visit sometime as the Degree Show is on until June, so loads of time. Our displays will be in The Glassroom in Edinburgh Napier’s Merchiston Campus, 10 Colinton Road near Morningside.
Take a little look at what we have on show, plus there will be some goodies available from both groups’ displays… not that we are trying to bribe you 😉
As we mentioned in our previous post – today is our final submission day for all the details and business plan for both of our book proposals, Ah Dinnae Ken and The Day Boy and The Night Girl. To say that we have been getting happier as the day has progressed would be a bit of an understatement. We can practically smell our freedom… or that could be the sugar? Cupcakes were therefore decided to be a celebratory requirement. 🙂
However, the longer I spend with this group of crazy publishing students, the more I wonder, ‘How did we ever manage to get anything done?’ 😀
We love Joanna our Editorial Manager but sometimes we get a little worried that she works too hard… It’s clear that she is also having an effect on the rest of the editorial team. That today represents the end of the module seems to have gone to their heads a little! Meanwhile, Kate is busily finishing up our final submission. “We don’t finish until 5 o’clock girls!”
Joanna has also been spontaneously breaking out in song and dance – she is our very own Maria! Now why I didn’t have my camera out I don’t know but it went something like:
“We have new covers!! We have newww coverrrrssss!
For Day Boy Night Girl!”
It doesn’t come across quite as magically as it did in real life. But we hope you are having as good a day as us. Cupcakes all round!!!