Postgraduate Publishing studies at Edinburgh Napier University. INDUSTRY APPROVED Publishing courses (accredited by the Professional Publishers Association and Creative Skillset). MSc Publishing was the first Publishing programme in the UK to be approved by the Professional Publishers Association. It is one of only two UK courses to be accredited by Creative Skillset. MSc Magazine Publishing is the only course of its kind in Scotland.
When I found out that part of our MSc Publishing course involved undertaking a professional placement I was excited and absolutely terrified in equal measures. Although I had completed an Editorial Internship in Paris in 2016, I was really nervous at the prospect of completing a work placement in Edinburgh – the city where I wanted to settle and start my publishing career. I was desperate to make a good first impression and get a foot on the extremely competitive publishing ladder.
Since arriving in Edinburgh in September to start the course I had been researching the Scottish industry and was thrilled to see all the amazing work being done by independent publishers. When I was asked to complete a Case Study as part of a module in semester 1 I knew I wanted to focus my research on Canongate who is a force of nature in the publishing industry. I had already read (and loved) a number of Canongate’s books and admired their determination to seek out and publish ‘the most vital, exciting voices’. Soon after starting my Case Study I heard about the opportunity to join Canongate’s Campaigns and Sales department for a 3-month internship. I couldn’t believe the timing and jumped at the chance! I sent in my application as quickly as possible and was thrilled to be invited for a telephone interview. Continue reading “Sales and Campaigns at the Award-Winning Canongate”
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.
First of all, it is not possible to sum up all the differences and similarities between the UK and German publishing industries in just one article, so this article will just touch on the topic. I will mention the VAT regularities for books in both countries, the netbook agreement, and finally an overview of different network bodies and associations in each country.
First of all, it is not possible to sum up all the differences and similarities between the UK and German publishing industries in just one article, so this article will just touch on the topic. I hope that I can still give you a good summary of the most important key points from my point of view (as a student of Book Studies in Germany who has studied Publishing for a while). I will mention the VAT regularities for books in both countries, the netbook agreement, and finally an overview of different network bodies and associations in each country (hopefully this might also be useful for research questions).
The book market in both countries is protected by different regularities by each government, because of the cultural status of the book. To do so, there are special VAT requirements for books in both countries. In the UK, books are included in the zero-rated goods which means that they are still VAT-taxable but the charged rate for the customer is 0%. A similar law applies in Germany: Instead of the general VAT of 19%, customers who are buying books only have to pay 7% VAT (reduzierter Mehrwertssteuersatz).
Another specific law for books in Germany is the so-called netbook agreement (Buchpreisbindung). This means that the publisher fixes a specific price for a book and everyone who wants to sell this book has to sell it for this fixed price. It is not allowed to sell it for a higher price nor for a lower price (and yes, this includes Amazon!). Some exceptions exist for specific editions of a book or for remaindered books, in this case the fixed price is superseded. But in general, every book has a specific price and it costs the same in every shop in Germany. Like I said before, this even applies to Amazon which means people in Germany who buy a book on Amazon have to pay the same price as they would in a bookshop. I do not go further into the consequences of a valid netbook agreement, but I would love to see a discussion in the comments and to hear about different opinions and possible advantages and disadvantages on a book market which is protected by a netbook agreement.
There are some network bodies and associations in the UK publishing industry who have a similar counterpart in Germany. Hopefully the list below is useful for research (unfortunately not all is available in English, but there may be English summaries).
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.
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.
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.
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.
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.