The SYP Blog - news, feature articles and SYP event insights

The Art of Archiving

An archive can vary in substance and appearance from a beautifully bound set of books and documents to a few boxes of papers and hand-written notes. Some are digital, date-sorted and completely accessible, and can be held at The British Library or a university library. Others are still in people's homes sitting unsorted. At what point does an archive become a complete version of itself? And who uses them?

An archive is a collection of documents surrounding a person, place or institution. There will usually be written notes, meeting minutes pre-21st century, books, circulars, members details (if an association) and even bank details. It is up to the archivist to deem what should be made searchable and what parts of an archive should remain closed. They would then consult with the owner of the archive and draw up a list- this then forms the skeleton of the unsorted material. Some archives may be sorted chronologically. Some may not be dated, which would then need researching as to the ink and font used in any hand-written letters, or for really old material, who would have created it. This kind of work would be overseen by a specialist curator.

The most prolific archive users tend to be academic researchers, particularly in historical studies. They will have a thesis or dissertation question to answer, and that involves seeing the real primary sources. They will know that the archives exist usually from their peers or by reading books on their subject that have handy footnote references. The archival use of a research student is non-commercial and they will be using what they find as evidence to support their question or theory.

The next archive user will be the company or association that the archive is about. They may use it to illustrate their past, like the Penguin archive which is used to produce old artwork for classics or those lovely postcards. It could be turned into a booklet for an anniversary or a couple of paragraphs could feature online in the "About Us" section. However, an archive is very rarely just about a company, it is actually more about the people. This is why it is good to work out what should be public knowledge and what is private, especially if there are people involved not directly linked to the company/association. An archive should not be taken out of context, as tempting as it is to share it all over social media, otherwise it stops being an archive.

Other people may want to access an archive, such as journalists for example, and they want to embellish a story or angle for their publication's own commercial gain. For this purpose, archives are usually guarded by copyright and IP law. Research students operate under a code of ethics and have to provide information as to how they have access to archives if asked by their examiners. However, if they wish to publish their finish research as an author, they would need to ask the archive owner for permission.

Archives don't have to be dusty and boring. They can give their owners, companies and associations a back-story and a reason for being. Looking to the future is great but the past is why we have what exists. Always stay curious and use your archives responsibly!

By Maria Vassilopoulos

Huge thanks to Maria, who will be taking on the task of archiving the SYP's documents dating back over at least 50 years. Watch this space for more information!

New for 2017: SYP Skills Workshops

Writing a Marketing Plan

Here at the SYP, we’re always looking for new and exciting ways to help our members connect and progress. Earlier this year, the London Committee launched a series of monthly, skills-focussed evening workshops. Ranging from coding and SEO management to cover design, booktubing, and event planning, the idea is to provide initial practical training in key areas related to publishing that can be applied in the (future) workplace.

Our May workshop was hosted by the fantastic Claire Morrison (@novelmarketing), Senior Marketing Manager at DK, who shared valuable insights into how to create marketing campaigns that pack a punch. She talked us through the planning stages of a campaign, explained how to set objectives, highlighted the importance of clever budgeting and identifying a book’s target market, and provided tips on how to go about segmenting your audience. For the practical part of the session, participants were asked to team up and develop their own campaign ideas for a relaunch of George Orwell’s Animal Farm – each team on a different budget.

We caught up with Claire after the workshop for more tips and tricks on how to run a campaign that has everyone talking:

Do you prefer to have a budget as the first step of your plan, or to come up with an idea which you then need to make work within a specific budget?

That’s a hard one. I like to know the budget because I like details and it helps me plan. However, when I brainstorm I don’t allow a budget to be a constraint. I encourage my team to be creative and then we will try to find a way to make it happen – if they can!

What are the main challenges of allocating a marketing budget for a campaign?

The biggest challenge I’ve come across at all publishers I’ve worked at (but I think it’s probably all companies!) is balancing the internal expectations with what budget is available. I worked at one publisher where nearly every time I presented a plan I was told to find more money and that meant taking it away from other books. It was a hard juggling act. It’s about communicating early on if the book is a lead or not and what that means for spend and marketing time spent on the book.

How closely do you work with the book's publicist when pulling together marketing plans?

Very. We are a team. A marketing campaign is not independent from the whole publishing plan. There is no marketing plan without the book, publicity and sales. It’s a team effort to drive sales and brand awareness together.

How long before the book’s publication date do you start planning your campaigns?

As far in advance as possible. However, as DK develops many of the books in-house (they don’t arrive as a manuscript), sometimes our books are still developing all the way up to going to print so we probably have less time than narrative fiction and non-fiction publishers. Sometimes books drop in last minute so you start as soon as you hear about it, which may be less than six months before publication.

Do you use any marketing tools when confirming your plans?

Tools are used throughout the campaign. For the planning part it’s about looking at Bookscan and any consumer data that’s available and learning from previous campaigns. Then, throughout the campaign, we use tools such as our email system reporting function, social media listening tools, Google Analytics and, again, Bookscan.

How much does the author of the book factor into your marketing plan?

A lot! It obviously depends on the author, where they are based, and what they are comfortable doing. Many of our authors work really hard for us. Two DK authors who I’ve been working closely with this year are Jemma Westing, author of Out of the Box, and Steve Mould, author of How to Be a Scientist. They have both been amazing. We produce videos with them, had them do huge hands-on events and support us on social media, and generally worked with them to get any ideas on the books as they wrote them and are experts. On the other hand, I don’t let not having an author hold me, or the campaign, back.

How much time do you spend creating marketing plans? And how do you balance this with other aspects of your role?

I was discussing this with my boss recently and I have to admit I’m rubbish at working this out. I think that the more senior you get the harder it becomes to make sure you are spending time on your marketing plans. I have three members of staff – one in India – plus I’m also working on internal projects and represent DK at events such as at the PA’s Children’s Book Group, so there is a lot to do. However marketing plans and implementing the campaign is why I’m at DK so I love it when I’ve got the time at my desk to plan and get things done. Also, a plan will depend on many things such as the budget and the sales expectations so it’s a hard one to answer.

Where do you gather inspiration from when creating a campaign?

Everywhere. The publishing team, the book itself, my colleagues, inspiration from seeing what I like (or don’t like) in other campaigns within publishing and outside of the industry, from my experience of speaking to our readers (kids, parents, librarians, booksellers), from looking at new technology, to going to events… it’s really no one particular place!

Can you name a marketing campaign you've spotted recently that really stood out?

The adverts I love at the moment are ones that are funny or quirky, such as the Three giraffamingo advert. The McDonald’s American menu adverts are brilliant as they really capture how a great lunch can make your day while you are at work (although it’s not going to make me eat at McDonald’s!). I’m also loving the Harry Potter 20 Years campaign by Bloomsbury. I love the creative and the copylines. The whole thing from the design of the books to the advertising has been so fantastically done.

Interview by Sonali Dutta.

Book Aid International begins supporting Rwanda

Book Aid International has announced that it is expanding its work to provide brand new books to communities in Rwanda. Yesterday, 19th June, the charity sent 31,801 books to support readers in libraries, schools and further education institutions across the country.

In recent years, Rwanda has experienced strong economic growth which has been accompanied by a substantial improvement in living standards. This has seen a two-thirds drop in child mortality and near-universal enrollment in primary education.[i] Despite this progress, 63% of the population in Rwanda still live on less $1.25 a day.[ii]

The lack of a national library service in Rwanda means that many communities are unable to access the life-changing opportunities books offer, such as developing skills, starting businesses and enabling lifelong learning.

The books they are sending will support some of Rwanda’s many volunteer-run community libraries. These are almost always managed by members of the local community who have often taken it upon themselves to create a library in their area. These libraries serve the whole community and particularly those who cannot access traditional learning opportunities.

Book Aid International’s Chief Executive, Alison Tweed, talked about the charity’s work in Rwanda saying:

“Having visited Rwanda myself and met some of the volunteers who give up their time to run community libraries I am delighted that we are now working in partnership with the Kigali Public Library to provide brand new books for the users of the community libraries. Thanks to the generosity of our partners in the book trade, we can provide brand new books to libraries, schools and further education institutions throughout the country, books which will undoubtedly be a huge boost for readers across Rwanda.”

The charity’s initial shipment of 31,801 books was shipped on 19th June and included early learning and children’s books, higher education texts and medical and healthcare books as well as titles covering technical and vocational skills to support further education.

The charity’s initial work in Rwanda is funded by players of People’s Postcode Lottery. To find out more about Book Aid International and its expanding work to reach those who face the greatest barriers to accessing books and reading, visit www.bookaid.org.

i) World Bank Open Data, Rwanda

ii) World Economic Forum on Africa, 2016

 

#SYPontheRoad Bristol Edition: What happened next?

On Monday 12th June, a small crowd of members and non-members alike gathered in Bristol's Tobacco Factory for our inaugual SYP and the Bookseller on the Road event. This is the first in a series of events aiming to showcase publishing in cities all over the UK and celebrate wide-spread talent and opportunities. We were joined by four fantastic speakers from different roles and job levels across different genres. You can read a little more about the event series and our first panels bios on our previous post here. Here's a little of what we covered at the event:

Rebecca Tomlinson, Assistant Editor at Policy Press, told us about her journey into the industry following a journalism masters at Bristol UWE. She loved Bristol and was delighted to discover the healthy publishing industry in the city, finding her first role as Publishing Assistant at Policy on her university's website. She has now been there 5 years, working her way up to Assistant Editor. She also spoke about the work experience they offer at Policy Press which you can learn about here: http://policypress.co.uk/volunteering

Although work experience was discussed as a valuable way to learn about the industry and the roles available, it was also stressed that you shouldn't worry if this isn't an option for you. Marc Gillett, Associate Director at IOP Publishing, spoke about his journey into publishing which, despite his role at a Scientific publisher, began with a History degree. Marc made it clear that you don't have to work for free, if you can get work in an office for a few months you will pick up valuable, transferable skills. Marc moved to IOP in Bristol from a job in Oxford and spoke about how the atmosphere felt less competitive than the more well-known publishing landscapes of London and Oxford. There was much praise for IOP throughout the event so we would thoroughly recommend checking out their website (http://www.iop.org) and looking up our speakers on LinkedIn (see below).

LinkedIn featured heavily in the conversation, praised not only by Marc but also by Lyndsey Mayhew, Marketing and Publicity Manager at Crimson Publishing. She even commented that a member of the audience had connected with her in advance of the talk and she instantly recognised the woman at the event - and it provided an opening for a chat afterwards too. The platform is a great way to get your name known within the industry, and people will remember you, but it is also important to come out from behind the screen and go to any and all publishing events you can (like the SYP's!) When talking about applications, Lyndsey stressed that whilst blogs aren't everything, you must be able to demonstrate your writing and be visible. CVs can be cold - even if you've done 10 placements, it will be something unique or some demonstration of passion that will get her attention. She also recommended looking outside editorial, a sentiment echoed by the panel. It's so competitive to get into but there are plenty of other great opportunities to work with content.

Our fourth panellist of the night was Steve Mcnaught, director of Arkbound publishing and StarUp CIC. He is editor of several Bristol-based publications, including Boundless and Vocalise magazines, so has a background in both book and magazine publishing. Arkbound is a publishing social enterprise that aims to support people from disadvantaged backgrounds get published. The organisation also provides a Publishing Excellence Programme for people looking to get into the industry, along with a literary award and annual competition which you can read more about here: http://arkbound.com/about

We closed the event with questions from the audience which covered everything from advice for those looking to move across from another industry, to what publishing will look like in 10 years - according to our panel: digital isn't proving to be the take-over predicted (print sales actually on the rise), fake news will spur better research and editorial content, and there are big changes on the horizon for open access.

Keep up with the panellists:
Steve Mcnaught, Arkbound - LinkedIn
Rebecca TomlinsonPolicy Press - LinkedIn
Lyndsey MayhewCrimson - LinkedIn
Marc GillettIOP Publishing - LinkedIn

Interview with Alice Curry, founder of Lantana Press and winner of the 2017 Kim Scott Walwyn Prize

Alice Curry is the founder of Lantana Publishing, a London-based independent publishing company and this year’s UK nomination for the Bologna Prize for Best Children’s Publisher of the Year. In her role as Publisher at Lantana, Alice has commissioned award-winning picture books that celebrate diverse and multicultural voices, working with authors and illustrators from almost twenty countries. Following a degree in English Literature from Oxford University and a PhD in Children’s Literature from Macquarie University in Sydney, Alice has published a monograph, Environmental Crisis in Young Adult Fiction, and several articles in leading international journals. She is an active member of IBBY UK, a frequent keynote speaker at international symposiums, and has edited a range of children’s anthologies for various international education organisations. In May, she was as winner of the 2017 Kim Scott Walwyn Prize. We spoke to her about what's in store for Lantana and the Children's book industry as a whole.

What inspired you to pursue a career in children's publishing and to launch Lantana specifically?

I started life as an academic lecturer in children’s literature but became frustrated by the inaccessibility of most academic work and the prohibitive cost of journal access, meaning that articles written by me or my colleagues weren’t being shared with many people who might otherwise find them useful, including teachers, librarians and other literacy professionals working with children’s books on a daily basis. Children’s publishing seemed to offer a more practical way to explore the issues I was passionate about – namely the importance of diverse and representative literature – and thus I decided to set up Lantana.

You founded Lantana in 2014 with your good friend Caroline Godfrey, whom you met at Oxford University while studying English Literature. Can you talk a bit about your respective backgrounds and your roles in the daily running of Lantana?

Caroline and I met on our first day of Freshers’ Week and immediately became firm friends. In the decade or so since finishing university, Caroline had become a teacher, experiencing the lack of diverse books in classrooms first hand, and I had developed an academic and freelance editorial career. When I decided to set up Lantana, Caroline took a year out from teaching to work with me in the start-up phase, and her support was invaluable. She has now returned to teaching but remains a non-executive director of the company while I continue to run Lantana on a day-to-day basis ably supported by another university friend, Katrina Gutierrez, who manages our marketing and social media, and a small part-time team.

What does the name Lantana stand for?

The Lantana flower is part of the Verbena family and is one of the few plants that have petals of different colours on one stem. This for me is a lovely metaphor for diversity and a great way to reflect the multiculturalism of our populations.

Despite a growing awareness of the need for more inclusive publishing, books written by BAME authors or featuring BAME protagonists are still frequently pigeonholed and treated as separate from "mainstream" literature. What can publishers, and the industry in general, do to achieve a genuine sea change?

This is a good question. It’s vitally important that authors of BAME backgrounds aren’t pigeonholed into writing only a particular type of book that ‘represents’ their race or that reflects a majority-defined idea of what that culture looks like. Ideally we are working towards a time of far greater representation when there will be no need to segregate a book on account of its cultural origins. If a book by a BAME author or with BAME protagonists is simply a great book, I believe it should, and will, hold its own against the mainstream.

You're operating in a highly competitive and crowded market. Do you see yourself, as an independent and perhaps more nimble publisher, at an advantage when it comes to promoting diverse voices and raising awareness for diversity?

As you suggest, being small and nimble has enormous benefits – we aren’t weighed down by the lumbering bureaucratic machinery of larger houses and can make decisions quickly and efficiently. We can also offer something that competes with or compliments the mainstream, and can therefore look to fill gaps where larger houses might struggle, as well as make personal, long-lasting connections with book buyers.

How do you think children's publishing will change over the next five years?

When it comes to diversity, I think the landscape will look different in five years’ time. More of the larger houses will be tackling this issue – both institutionally and editorially – although I doubt this will make a company like Lantana redundant. Instead, it will enable us to develop a more nuanced understanding of diversity – whose voices are really being heard and whose are marginalised – and adapt to meet new needs as well as existing ones.

You will be celebrating Lantana's third birthday this August. What have your biggest challenges and milestones been so far?

Our challenges are the same as those many other independents face - tiny margins, minimal budgets for advertising, and long production schedules being a few. However, three milestones really stand out for me that make all the difficult bits worth it: the first was winning the Children’s Africana Best Book Award for the first book I signed, Nnedi Okorafor’s Chicken in the Kitchen; the second was being shortlisted for the Bologna Prize for Best Children’s Publisher this year; and the third was winning the Kim Scott Walwyn Prize for women in publishing. These wonderful accolades inspire me and my team to keep on pushing forwards and remain passionate and optimistic, even when times are tough. But wonderful as these milestones are, nothing can compare to the excitement of unboxing each new book and seeing children’s reactions to the titles we’ve been working on for many months; these are still my best and only real yardsticks for measuring success in this business.

What’s in store for Lantana in the future? Where would you like to see the company in another 3 years?

This Autumn sees our first big launch into an export market and we hope that this move into the US will greatly expand our reach. In three years’ time, then, I hope that we will have developed the business into a thriving, sustainable company with a presence both here and in the US and possibly also in export markets further afield.

Currently Lantana's list features an amazingly ethnically diverse range of authors and illustrators. Are you considering expanding the list to include books on gender, disability, sexual orientation, etc.?

These are all hugely important facets of diversity and we would like to expand into these areas, however we have begun – while still young and small – with diversity in the cultural sense since this plays well to the experience of our team which has overwhelmingly been in world literatures for children.

Your books tell vibrant stories about children's lives and experiences from all corners of the earth. How do you bridge the gap between telling highly localised stories and making sure they appeal to a global audience?

This is an interesting question and one we are still finding answers to. Our experience tells us that some level of authentic cultural detail – even if unfamiliar – is often appreciated by a global audience to really ignite that story in the cultural imagination, but of course we need to be careful not to alienate young readers by providing too many unfamiliar references. At the same time, we are enormously careful not to include inauthentic details that exoticise other parts of the world based on our own mistaken stereotypes, which is one reason we were keen to include cultural advisers in Lantana’s company makeup. We have also begun exploring ideas of migration, displacement and second-generation belonging – what it means to be from one culture but be living in another – such as is the experience of Anika in Looking for Lord Ganesh and Nimesh in our upcoming Spring 2018 title Nimesh the Adventurer: ideas that resonate strongly in a globalised culture.

Before setting up Lantana, you worked overseas for a time lecturing in Australia and New Zealand. Has your exposure to these international markets influenced your work back here in the UK?

My time lecturing in Australia and then working on freelance editorial projects in New Zealand gave me a wealth of contacts in the literary field – ranging from authors and illustrators to teachers, librarians, literacy professionals and other academics. I developed my passion for international literature at this time and read widely across the spectrum of children’s publishing – from paranormal romances in Samoa to zombie comedies in South Africa! I’ve definitely taken this love of world literature and embedded it in the foundations of Lantana. It was during this time that I also realised just how much of a disparity there is between publishing opportunities across different cultures and countries and this doubled my determination to level the playing field when I returned to the UK and set up Lantana.

As part of your Wisp of Wisdom Outreach Project you have collected folk tales from the Korup region of Cameroon and published them as a book last year. You are also aiming to give 2,000 copies back to local children in the region. Can tell us more about the project and what inspired you to establish it?

The project began when I was approached by children’s author Tom Moorhouse, also ecology lecturer at Oxford University, to publish a collection of animal tales collected by local chiefs and elders from the Korup region of Cameroon – extraordinary tales about blue-bottomed drill monkeys and pangolins and red river hogs. These had been delivered to a local conservation team and passed to researchers at Oxford in the hope that they could somehow preserve them for future generations. I was honoured to join the project and work with eleven fantastic UK authors and a brilliant illustrator to retell these tales, design and print a book in which to showcase them, and most importantly help arrange for the donation of 2000 copies to local children in Cameroon – the first book many of them will ever own. We have also just translated the book into French so the project continues...

Can you give us a sneak peek at some of the books you have coming out soon?

I’m really excited about developing our list over the next few years. Kaya’s Heart Song is out this the Autumn: a joyful story by a Malaysian author about mindfulness, in which a little girl searches for her heart song – the song that happy hearts sing. We also have two real gems coming out in Spring, both of which have been created by BAME authors and illustrators living in and around London: Nimesh the Adventurer, about a little boy with a BIG imagination, and You’re Safe With Me, a story set in India during a spectacular jungle storm. These books give us a wonderful opportunity to work with schools, libraries and bookshops here in the UK to bring truly special stories to new readers. Do look out for them!

A big thank you to Alice for taking the time to give such thoughtful answers to our questions, and congratulations from us all at the SYP for your KSW win and Lantana's nomination for Bologna Best Children's Publisher of the Year.

Kat Krusch and Sophie Waddy

Book Aid International increases support for South Sudan

Today, 3,470 books left Book Aid International’s warehouse in Camberwell, London, bound for South Sudan. The books will reach destinations such as University of Juba and Ibba Girls’ School. The charity is proud to be reaching out to students facing some of the most challenging circumstances found anywhere in the world today.

South Sudan is the world’s youngest nation. At just six years old, the country has already experienced war and famine. For students seeking to succeed in education, complete a degree and be a part of building a better future for their young country, the barriers they face are enormous. These include a lack of books without which completing a degree is impossible. Few South Sudanese students can afford to buy books and after years of war the country’s information infrastructure is weak.

The books currently on their way to universities and schools across the country include medical texts, higher education titles, teacher training materials and children’s books. They will provide a significant boost for students who have previously been struggling to work with few or even no books. Book Aid International’s Chief Executive, Alison Tweed, explained why the charity has chosen to increase its support for South Sudan:

“At Book Aid International, we believe that everyone should have access to books that will enrich, improve and change their lives whatever their circumstances. We are committed to reaching out to those who face the greatest barriers to accessing books – such as the students who are beating the odds and completing degrees in South Sudan. We will be working hard to reach out to more conflict-affected communities as we realise our Vision for 2020 and we hope that these books are the first of many that will reach students and school pupils across South Sudan.”

The books which departed London today are at the start of a long journey as access to South Sudan can be challenging. The books will first be shipped to Uganda and then driven overland to South Sudan. The charity expects this process to take several months and looks forward to providing updates on the books’ arrival on its blog and on social media. To stay up to date visit www.bookaid.org/latest or @Book_Aid.

NOTES TO EDITORS

For further information and comment please contact Jenny Hayes, Communications Executive at Book Aid International.

e: jenny.hayes@bookaid.org
t: 020 7326 5801

Society of Young Publishers on the Road with The Bookseller Jobs

We've teamed up with The Bookseller Jobs to bring you a series events that will shine a spotlight on publishing talent around the UK, highlight roles and routes into the industry less talked about, and disrupt the idea that you must move to London to work in publishing.

The debut event will be held at Bristol’s Tobacco Factory on 12th June, with a range of speakers including Steve Mcnaught, Director at Arkbound; Rebecca Tomlinson, Assistant Editor at Policy Press; Lyndsey Mayhew, Marketing and Publicity Manager at Crimson Publishing; and Marc Gillett, Associate Director at IOP Publishing. With additional speakers yet to be announced, the panel will explore everything from founding start-ups and freelancing, to an overall look at the publishing landscape in Bristol and Bath.

Alice Geary, SYP UK Chair said:We constantly hear from members and non-members alike, asking whether they should move to London to get a job in publishing, and whilst the capital is a vibrant creative hub, it’s not for everyone and it’s certainly not the only place to see exciting and dynamic publishing. The SYP already have 5 branches around the UK – but we want to reach further and provide insight and inspiration to young and aspiring publishers everywhere.’

Lara Pace, The Bookseller Jobs said: ‘We’re looking to raise awareness of the publishing landscape throughout the UK, and explore the opportunities and talent found both in and outside of London.  The Bookseller Jobs in Books receives jobs from all over the UK- and we want to provide further insight so that everyone has the chance to be a part of this wonderful industry.’

To book tickets to SYP and The Bookseller on the Road: Bristol Edition, please head to:
www.syp-booksellerjobs-bristol.eventbrite.co.uk

About the Speakers

Steve Mcnaught is a director of Arkbound publishing and StarUp CIC. He is editor of several Bristol-based publications, including Boundless and Vocalise magazines, and helps to manage the book publishing operations of Arkbound both in the UK and internationally.
Arkbound is a publishing social enterprise that aims to support people from disadvantaged backgrounds get published. The organisation also provides a Publishing Excellence Programme for people looking to get into the industry, along with a literary award and annual competition.
Rebecca Tomlinson, Assistant Editor at Policy Press joined the team after completing a Masters in Journalism at UWE. Starting as a publishing assistant, Rebecca has held a number of roles in her 5 years at the company where she is now Assistant Editor. Until recently she also managed the Policy and Politics journal and currently works on their criminology list and trade titles alongside their Managing Director.
Policy Press is a non-profit university press committed to influencing social change through international research and scholarship and winner of the 2016 IPG Frankfurt Book Fair Academic & Professional Publisher award.
Lyndsey Mayhew, Marketing and Publicity Manager at Crimson Publishing, is a publicist and marketing consultant who has worked in the publishing industry for 18 years. With a background in local newspapers, magazines and public relations she is passionate about working with the media and managing brands and reputation. Lyndsey is also involved with Bath Festival and is obsessed with podcasts.
Crimson is an independent publisher based in Bath. Publishing high-quality books designed to improve the way people live and work, their imprints include Trotman (careers and university guides), White Ladder (pregnancy and parenting) and Time Out Guides.
Marc Gillett, Associate Director at IOP Publishing, is responsible for ensuring that the peer review of over 70 academic journals meets the requirements of authors, editors and referees. He also manages the publisher's Rights & Permissions and Data Science functions.
IOP Publishing is a wholly owned subsidiary of the Institute of Physics, a leading scientific society promoting physics and bringing physicists together for the benefit of all. IOP Publishing provides a range of journals, ebooks, magazines, conference proceedings and websites for the scientific community.

Applications Open for the Young Stationers’ Prize 2017

the stationers company new logo(0)

Now in its fourth year, the Young Stationers' Prize recognises a high-achiever under the age of 40 in the communications and content industries - including but not limited to, printing, packaging, publishing, media, digital and social media, marketing and public relations, journalism, libraries, archives, and copyright.

The judges will be looking for demonstrable achievements in the nominees’ careers so far, an outstanding contribution to the sector in which they are working or success outside their immediate world of work in interesting ways which are relevant to the ethos and trades of the Stationers’ Company.

The prize, a trophy kindly donated by The Worshipful Company of Pewterers, will be presented at the Young Stationers’ Annual Dinner in Stationers' Hall, on Monday, 24 July 2017, with guest speaker journalist, political commentator and author Dr Simon Heffer.

Past winners of the Young Stationers’ Prize are:  Ella Kahn and Bryony Woods, founders of Diamond Kahn & Woods Literary Agency; Angela Clarke, novelist, playwright, and columnist; and Katie Glass, of the Sunday Times.

To enter, the nominator or applicant should include: a brief CV; a short statement by the nominator (or a personal statement); and at least one additional letter of reference. Candidates or nominators can submit any supporting materials or specimens of work which they believe will strengthen their application.

Applications may be sent by email to ys@stationers.org, or by post to Young Stationers’ Prize, c/o Stationers' Hall, Ave Maria Lane, London EC4M 7DD. If sending by post, please consider also sending us and email with your contact details.

The deadline for applications is Thursday, 22 June 2017.

Tickets to the Dinner can be purchased online: https://stationers.org/events/event/0/53-events/144-young-stationers-annual-dinner.html

 

Join Book Aid International Publisher Ambassadors Programme

Do you love books and want to use your passion to help others? Are you in the early stages of your career and want to raise your profile within your company? Join Book Aid International’s Publisher Ambassador scheme and help hundreds of thousands of people access the books and information they need to change their lives and shape their own futures.

BAI logo

Book Aid International is the UK’s leading library development charity working in sub-Saharan Africa and Occupied Palestinian Territories, working to develop libraries in cities, slums, rural areas, schools, colleges and universities, prisons, hospitals and refugee camps. They understand the value and pleasure that reading can bring, and recognise that through reading, people can change their own lives for the better and shape their own futures.  Book Aid International currently provide access to books for around 35 million people each year but to do this they need the help of UK publishers. This is where Publisher Ambassors are needed!

About Book Aid International’s Publisher Ambassadors programme

Book Aid International has been supported by the UK publishing industry for many years. Over 94% of the brand new books they send to their partners in Africa are donated by publishing houses. It is thanks to the generosity of these publishers that they are able to send up to one million new, relevant and high-quality books each year.

Publisher Ambassadors help cultivate these relationships and the support they provide is highly valued.
Here are a ways in which Publisher Ambassadors can support their work:

  • Promote the work of Book Aid International to their organisation through newsletters, social media, intranets, staff presentations
  • Promote the work of Book Aid International to trade contacts
  • Organise fundraising activities to tie in with World Book Day
  • Give talks or share presentations about the charity's work
  • Seek out opportunities for fundraising within your own organisations through organising activities, promoting Give as you Earn schemes etc which engage other staff in supporting the work of Book Aid International
  • Promote Book Aid International events to staff and encourage people to attend
  • In addition, if your organisation supports Book Aid International with book donations:
    • Coordinate book donations (if appropriate) and seek opportunities for donations from other parts of the organisation not currently donating
    • Promote your company’s involvement in the charity's work to staff
    • Work with Book Aid International to publicise the work you do together (to the trade)
    • Keep Book Aid International apprised of any changes in the company’s way of working (in particular warehouse moves and digital developments) .

Benefits of being a Publisher Ambassador:

  • Take a leading role in your organisation as you help shape and develop its Corporate Social Responsibility
  • Get to know staff at all levels through CSR and fundraising initiatives
  • Enhance your CV and LinkedIn profile with details of your volunteering work with Book Aid International.
  • Gain extensive insight into the operations of an international NGO
  • The chance to gain experience in fundraising and event organisation and implementation
  • Support our work in sub-Saharan Africa. How we’ll support you as a Publisher Ambassador
  • Book Aid International will keep Publisher Ambassadors updated on news, opportunities and activities through a Publisher Ambassador newsletter (quarterly)
  • Book Aid International will provide each Publisher Ambassador with a handbook, highlighting key messages, hints, tips and case studies from Community Ambassadors to help them plan activities
  • Book Aid International will host an event once a year for Publisher Ambassadors to introduce them to the scheme (initially), update them on our work and opportunities and provide a chance to network with other Publisher Ambassadors
  • Provide support for fundraising events and planning
  • Book Aid International will provide Publisher Ambassadors with key messages, presentation templates, leaflets, T-shirts and other promotional items as required

Want to get involved? Contact jenny.hayes@bookaid.org for an application form.

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