Network Network Network

Before deciding to study publishing, speaking to people came naturally. I could approach a stranger at an event easily and spark a conversation because there was no ulterior motive for doing so, other than the sheer enjoyment of human interaction. Now, however, I do have an agenda: I want to be noticed. I want to be remembered. I want to make an impression so that someone, somewhere will one day think I’ll be an asset to their company.

When I began Napier’s course, I was encouraged to attend as many events as possible and to grab every opportunity by the horns. This had never been an issue for me before because I either decided to go to an event or I decided to stay at home. If I wasn’t feeling up to it, or had a rare day of feeling shy, I felt no guilt in curling up in my jammies and spending the evening binge watching Netflix instead. But now, I can’t afford to stay at home and miss out on meeting all the important people. The guilt is real. I know that if I don’t go, I’m only disadvantaging myself and my future career. That being said, whilst I do want to emphasise the importance of getting out there and interacting with people in the industry, because hey, they’re bloomin’ incredible folk, I have discovered an absolute saviour in the networking business: Twitter.

Twitter is definitely something I stayed away from pre-publishing degree. I didn’t understand how to use it properly, and again, I had no real agenda. Connecting with friends was far easier via other social media platforms, such as Facebook and Snapchat. But upon venturing into the publishing industry, Twitter has become my holy grail for when I need to network but am not particularly feeling up to it. I cannot stress the value of this incredibly, sometimes dauntingly, fast-paced-updated-by-the-second environment. There is no better way to stay in the loop and up-to-date with the publishing industry. I can refresh my feed every minute and someone will have a new opinion, there will be a new article to read or a new connection suggested. Even better, I can do it all in my pyjamas with Netflix on in the background.

One of the many major benefits of Twitter is the ability to participate in live conversations. The SYP are extremely well versed in this, and often host live chat Q&A evenings. These typically last an hour and allow people from all over the world to engage with people in the industry. You can voice your fears and receive comfort, share your experiences, teach others valuable lessons and learn anything and everything in the space of an hour. Above all, you can make those all important connections, whilst simultaneously cooking dinner.

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Various events I’ve attended have shown me that having a strong Twitter identity really pays off when meeting people face to face. If you’re active in the community and your profile is recognisable and memorable, then chances are someone will remember that conversation they had with you, where you helped them overcome a fear, or gave them advice they later followed.

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Finally, I suggest really getting to know how Twitter works. Use ALL the hashtags, even base your tweets around being able to hashtag as much as possible and include the publisher in your tweets when talking about a book.

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Show that you have an interest in the industry and that you appreciate someone’s work. The engagement these tweets can generate is unreal, and allows people in the industry to see that you’re an active member of their community.

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If you’re new to Twitter like I was, build an identity that you’d be happy to show a potential employer. Be someone that your mum would be proud of and that someone in the industry would want to meet. It’s also great when someone’s accusing you of not being productive because you’re on your phone, (I’m looking at you, boyfriend) and you can tell them they’re wrong: you’re networking.

Featured in this post:

@SYPScotland 

@SYP_UK

@KT_CHAR_ELL

My Twitter: @kiiimberellla

 

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Publishing Scotland Conference 2017: An Overview

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.

 

By Kellie Jones