Tag Archives: editorial

Commissioning in Book Publishing – How to build a successful list outside the 6-figure zone?

It was a lovely evening in the beautiful Century Club at the Bookmachine Talking Editorial! Truly enlightening to hear from 3 publishing professionals about how they build their very different lists. Valerie Brandes from Jacaranda Books, Keshini Naidoo from recently founded Hera books and Zara Anvari from White Lion (Quarto Group) were on the panel which was chaired by the brilliant Abbie Headon.

Valerie explained how Jacaranda books was founded in 2012 as a direct result of the lack of diversity discussion in the industry. There was a need for what they were doing and submissions came flowing. At the beginning no budget and no connection, however opportunity was always there because nobody was doing what they were doing. She says that you constantly have to reimagine your list and identify gaps in books published. For instance, they did notice that very few black British authors were published and in 2018 they decided that in 2020 they will publish 20 books written by black British authors.

Keshini is the co-founder of hera, a female-led, independent commercial fiction digital-first publisher (and now also publishing paperbacks). Their audience is the reader who cannot put a book down for 3 days. They publish books across genres such as romantic comedy or psychological thrillers. The story comes first and the commercial aspect is priority, although quality is necessary. The books they publish she admits might not make the Booker Prize list but will make many people happy! For Keshini, to commission you have to love what you commission and be able to push the title/the list.

Zara recently joined White Lion, an imprint of the Quarto Group publishing non-fiction books across pop culture and lifestyle. Business strategy is key for them: you have to have a direction and be profitable. Zara’s job differs from Valerie’s and Keshini’s as she comes up with concepts for books which she then has to sell to her colleagues and managers before finding the right authors for them. It a very collaborative environment and people have to buy into your idea. If you do not believe in it, nobody will. So you need to know what you want and go for it. As the imprint is quite new, they still consider what are their successes, what they do well, and this is a guiding principle across the whole.

How do they find their authors?

Valerie from Jacaranda looks at things she liked. She attends events, talks to agents and publishers, reads articles and blogs. Her advice: you just have to ask! Sometimes just asking if the rights of a book are available will work! For things that were not being published, she really focuses on what she likes, and obviously reads a lot and exposes herself to a lot of different influences.

Keshini from hera finds her authors through lots of different ways. It could be through submissions through their website or from authors and agents (ratio is 50/50 between the two). She was pleasantly surprised by the support she and her business partner received from agents from the start. She also mentioned something interesting about social media and Twitter in particular. Twitter is a way to commission, who would have thought?! There is a big community out there: authors put their pitch down with the hashtag #PitMad. This is very big in the USA, not as much in the UK but is this the way forward?

Zara from White Lion relies a lot on recommendations. Her concepts are born in-house and commissioning for her is more trying to find the right author for it (could be an influencer or an academic). In light of this, budget can be an element too. Zara’s advice is to stay open, and try to sell yourself to the author too as you will be working as a team, in a partnership.

What does success look like?

For Keshini, success is not focussing on prize but high chart positions. Online buzz and good exposure on social media is also very important. For Zara, as their books are very international, success is often measured by the attention they attract at book fairs. They need to make sure it gets international exposure and good conversion in terms of interest and sales. For Valerie, the notion of success has been evolving. At the very beginning, launching their publishing house was a success in itself. It has been an incredible learning curve for the founders of Jacaranda books as there is a massive difference between understanding what being a business is, compared to just being part of a business. It has been really hard and success was surviving as a business. This year what looks like success is very much visible for them as they won prizes and were long-listed for awards.

Commissioning and what makes a list successful are very different things depending on what books you publish and what business you are part of. But what the 3 speakers all agreed on is that to commission, you have to trust your gut and be passionate enough about the book to fight for it. To the question “what makes a book stand out from the lot” Keshini’s conclusion was hilarious but nonetheless very true as she quoted Marie Kondo: “If it doesn’t spark joy, get rid of it!”

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The Five Realities of Recruitment in Publishing

Back in January, I had a lovely chat with then-SYP Oxford Co-Chair Emma Williams about publishing employment myths, legends and unconventional career paths. The interview was originally posted on the SYP blog.

I am reposting it here (with a few small updates).

The Five Realities of Recruitment in Publishing

Reality One: You don’t have to do a Publishing/English/Humanities degree to go into Publishing.

Although there are a variety of fantastic qualifications out there which will certainly provide a good start to a career in publishing, having a degree, MA or other academic qualification is by no means the only way in. Real world experience is very valuable, and whether you are a Scientist, Financial Analyst, or a Language specialist, there are many opportunities for people with different skillsets to find satisfying work in Publishing. Claire Louise herself has worked in various roles previous to working at Atwood Tate, and we discussed the impact of how early employment in social work, rights administration and qualifications in computing have given her skills that she can now use daily to match up employers and employees successfully. Claire Louise says:

“Along with experience, employers look for people with passion and a willingness to go above and beyond. Look closely at everything you had done up till now, and make your transferable skills obvious in your application.”

~*~

Reality Two: An interest in literature is helpful, but you’ll need to look beyond a book to get ahead.

The importance of HTML, XML and other ‘techie’ skills shouldn’t be underrated by applicants in the current publishing environment. The explosion of blogging, social media, digital and other computer based skillsets are useful and relevant skills to develop, regardless of your job role (editorial, production, publicity and many other areas within a business may use the same skills for a variety of purposes), and will help to boost your own visibility and, of course, that of your future employer. For instructions on HTML, there’s a series of helpful articles here on the blog.

~*~

Reality Three: A role in Editorial is not your only option. There’s so much more to apply for!

The move to digital, e-books, e-readers, new platforms and social media have all encouraged new types of publishing companies to launch and develop, and within them, work in areas that are perhaps less obvious or familiar. Those interested in moving into the Industry might want to consider Licensing, IT, Digital Content, Database management, Publicity, Social Media/Communications or a number of other options, as well as the more typical publishing job roles. For more information check out the PressForward live blog of the SYP conference 2013 at or on Twitter at #SYPC13. A glossary to the world of publishing can be found on the Atwood Tate website.

~*~

Reality Four: When applying for a Job, the most important thing you will do is write a specific, appropriate and interesting covering letter.

So, when you need a job, it seems logical to approach the matter by statistics- the more you apply for, the greater your chance of getting one, right? However, if you rush through the application, without taking care to review the job specifications, weigh your own interests and skills, and evaluate the chance of a good match, it could all end in … well … rejection. The cover letter is your one and only chance to put this in written form, and stand out from a crowd of applicants. When done correctly, it should clearly show that you have both the skills and interest to do the job in question to a high standard.

Therefore spending time working through the points that the company are looking for and matching them to your own experience and skills will allow you to present a strong, clear and persuasive cover letter. This should be a real priority, and should be done carefully for every single application you send out! Have a look at our guide to the perfect cover letter.

~*~

Reality Five: Make friends, don’t alienate people!

Publishing is a very social industry, and so networking and people skills are important. Self-development, career development and an awareness of the larger industry trends as a whole can be worked on through talking to contacts, friends and colleagues that you make along your journey through the industry. Attending events, working on blogs, using twitter, joining groups and getting involved with things in your local publishing community are all free/low cost ways to get experience and make friends. It’s a lot of fun, and you never know when additional learning gained in this way might be helpful in a current or future role.

For example, Claire Louise has recently co-founded a book group which has coincidentally brought together people working in all areas, companies, non-profits and other areas of publishing through their love of books, and there are many other groups, courses and events held in the UK including SYP, OPuS, BookMachine and many more.

~*~

Have some thoughts of your own to share? Why not comment below, or get involved on Twitter (@AtwoodTate), or find us on FaceBook.

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Sarah Franklin

Not everyone in Publishing has a defined job title – there are a lot of freelancers and specialists who make an invaluable contribution to the industry. Sarah Franklin has kindly taken some time out of her hectic schedule to tell us a bit more.

Sarah Franklin has worked in the United Kingdom, the United States and Ireland in all aspects of book publishing : and as in-house Marketing Director, with a literary agency, and as a freelance editor. She is an associate lecturer at the Oxford International Centre for Publishing Studies, where she teaches on the MA, Distance Learning and undergraduate programmes. Sarah hosts a weekly book review segment on BBC Radio Oxford and founded and hosts a monthly literary night in Oxford, Short Stories Aloud, which will be part of the Bath and Oxford literary festivals in 2014. Sarah’s writing has appeared in several anthologies and in the Seattle Times, the Guardian, Psychologies magazine and more.

Sarah Franklin headshot

Your twitter bio describes you as “Writer/editor/book evangelist. Publishing lecturer at #OICPS. Runs @StoriesAloud. Book reviewer on @BBCOxford Drivetime. Mum. Burbler. Tree-hugger.” Can you describe a “typical” day-in-the-life? (If there is such a thing!)
Ha! Some days you could just write ‘faffs around on Twitter’ and be done. There isn’t really a ‘typical’ day, which is part of the appeal, I suppose. If I’m teaching up at Oxford Brookes, then I head up there in the morning and go in to catch up with my colleagues, make sure I’m prepared and get ready for the teaching afternoon. Most weeks involve a day when I’m either in Oxford or London (we live between the two, on purpose) to catch up with people for whichever project is highest on the list at the time. The rest of the time, I work from home. I make a list, switch off the Internet, and try and focus. There’s a lot of reading involved (lucky me), so that tends to take place in the evenings or on the train to London.

What sort of role does social media play in your work?
Twitter in particular has been incredibly useful. It provides classic water-cooler company with kindred spirits when I’m working at home (hence the need to switch off the internet) and I’ve made some brilliant real-life friends and colleagues from it. It’s also been directly professional useful – some freelance editorial clients have come that way, and it’s a fabulous method for staying in touch with publishing colleagues from the UK and beyond (before Britain, I worked in publishing in the US and Ireland). Twitter (and, to a lesser degree, Facebook) have been invaluable in terms of communicating with an audience for Short Stories Aloud. We have a fabulously engaged audience (!) and Twitter has really been a great way of continuing the conversations that start at a show and of driving excitement about the next shows. It’s good for book reviewing that way, too; there’s a ready-made extra audience out there, in many ways.

The Man Booker is now open to a lot more authors than previously – can “British” literature really compete with “American”, and vice-versa?
Of course it can! I’m all for the prize being open to the best possible books in the English language, and it almost seems churlish, especially in this increasingly global market, to omit US authors from entry. And whilst the Man Booker is, obviously, a competition, I don’t think that we need to look at British/American audiences as being intrinsically in competition with each other. I’m an optimist; there’s room for all kinds of good writing.

What does the next year hold for Short Stories Aloud? Do you plan to head into other cities with the format?
This has been a fantastic year for Short Stories Aloud; we’ve really consolidated our audience and built a community in Oxford that I’m just ridiculously proud of. And we’ve welcomed some incredible authors, too. Our main aims are to continue to grow the Oxford show in size and strength, and to visit other cities too, even just on a guest basis. We have tentative plans to roll out the format to Bristol in conjunction with the Bristol Short Story Prize; and we’ll be guests in Stroud and at the Bath Literary Festival next March. Tons to be going on with!

What advice would you give someone looking to find work in Publishing?
I would say this because I’m biased, but the Publishing MA at Oxford Brookes gives a brilliantly wide grounding and stands our students in really good stead in terms of job vacancies. Beyond that, I’d say try and get some work experience even if it’s just a couple of weeks here and there, and apply for every single facet of publishing you think sounds even vaguely interesting. It’s such a brilliantly varied industry and there are jobs out there you didn’t even know existed until you’re doing them.

If you could travel five years back in time what advice would you give yourself?
Five years ago I was working in-house in Dublin and just starting to think about moving back to the UK after seven years overseas. I think I’d tell myself to go for it, that freelancing *would* work, even with an international move thrown in and that global borders are more porous than I knew. I’d also tell myself to remember that careers can be a long game and things will start to fall into place if you just have the confidence to keep at them.

Thank you so much for giving us an insight into the life of a busy freelancer. Sarah can be found on twitter @SarahEFranklin and Short Stories Aloud is at @StoriesAloud. I personally can highly recommend SSA as a fantastic literary night out. With cake!

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So you want to be an Editor? Why?

so-you-want-to-be-an-editor

We see a lot of candidates looking for editorial roles. A lot. Many of them are bright-eyed, bushy-tailed graduates (if that’s you, you need to read this Open Letter), but we also see a lot of people who’ve already established a career, perhaps in a sector outside of publishing such as teaching, who are keen to switch things up and see their skills as easily transferable. Sometimes this is the case, sometimes not. However, one of the first questions we’re going to ask is what kind of editorial role are you looking for? Often we’ll see the cogs whirring and can almost hear the inner response. Erm… books?  This is a problem.

I worked in trade publishing for several years in editorial roles. On the best days I would be travelling to a Book Fair or working with an author or artist I really admired, or launching a project that I’d been worked on for over a year. Most days involved less exciting tasks: slogging through slushpiles and having to write rejection letters to twenty people in a row (uplifting!); dealing with last minute print problems; training staff and interns; reassuring an author who’s in tears because a publication date has been moved for the third time; writing reports and applications for funding. This was at small press where it was necessary to do a little bit of everything – larger companies will be likely to have more rigid structures. That editor role you’re looking at on the Guardian could involve anything – from being someone’s PA to running a company.

  • The word ‘Editor’ means a different thing to almost every person we speak to. This is why we like to meet candidates face to face, and why we talk to our clients about every vacancy we advertise. We need to find out exactly what an editorial (or any other) position involves before we can find the perfect candidate for the job. To some people, being an editor means simply proofreading or copyediting, to some it means they want to be involved in project or people management.
  • What does it mean to you?  Do you like the idea of working very closely with content? Can you negotiate a better deal than Delboy? Would you be more suited to a production editorial role? Do you see yourself as a ‘bigger picture’ editor? Would you give away your Grandma to be involved in commissioning? Do you have amazing networking skills? Prefer to work alone? Do you edit onscreen with InDesign or write all of your blog posts in HTML? Can you balance a P&L sheet with your eyes closed?
  • There’s also the question of content and format. It’s not so much about what you enjoy, as what you’re good at and what your professional background is – as Stephanie mentioned in last week’s post, a passion for ‘books’ is not enough. What subject knowledge do you have that makes you unique? Perhaps you know the Singapore educational system inside out, or you’ve written dissertations on the digital evolution of journals. Maybe you have a law or medicine degree, or have taught English in twelve different countries. Maybe be you’re an app addict and could win Mastermind with your knowledge of Moshi Monsters.

Before you go to an interview and tell someone you want to be an editor because you enjoy reading, please have a long, hard think about everything else that particular job entails (that four page job description IS your friend) because it’s likely that’s what you’re going to be doing for most of your time. Make sure you’re a really good fit for every role before you apply and you’ll be much more likely to convince someone else, and to come away with the result that you want.

———

If you’ve got the skills and experience to be a top editor, we’ve got loads of editorial vacancies in educational, STM, academic, and other sectors. If production editorial is your cup of tea then you should look at these. And to prove just how specific an editorial role can be: if you’re fluent French and Spanish, have a biomedical degree AND experience in STM, this might for you. If, however, after reading this post you’re still only interested in editing experimental poetry from the Ukraine, we wish you the best of luck – you never know, it could happen – but you might want to boost your CV (and your bank balance) with some publishing-based temp work while you’re job-hunting!

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Administrating at Atwood Tate

ME!

On August 15 2012, I began my contract role as administrator for Atwood Tate – the centre of publishing recruitment. I had read all the books, attended the events and completed those all-important internships, so gaining some solid administration experience would prepare my CV for editorial roles in the publishing world.

Gaining office experience is considered to be an essential skill to have on your CV, so I could not have placed myself in a better environment to learn about the various different publishing houses and how they operate. Therefore, I’m posting a blog today to… well, tell you my story.

As administrator, one task that is central to my routine is processing the dozens of registrations that come in every day. When you register at Atwood Tate or have already registered, it’s me who (usually) reviews your CV and passes it onto the relevant consultant. I come across 50 – 70 CVs a on a weekly basis, so if I was to give you any advice, I would say that if you have gained any publishing experience – whether it’s one week or one year, make it crystal clear on your CV. It’s also helpful if you elaborate on your experiences and highlight your area of interest (editorial, publicity, production etc.) The clearer you are, the clearer I am about who to send your CV to.

Trade, Educational, Distribution are all ‘publishing terms’ that have been introduced to me during my publishing journey. Having been an English teacher, ‘Educational’ has always been familiar to me however, there are many fields to publishing and these terms – Trade, B2B, Production, Production Editorial, Operation, Distribution etc, are the many identities publishing has tucked up its sleeve. So whether you’re coming to register with us or are starting an internship/job, please make yourself familiar with these key words and what they mean (and do not assume that B2B is the name of a boy band!)

Monday mornings are always filled with catching up and coming face-to-face with all the emails that accumulate over the weekend. With registrations complete, it’s onto temp work. As an agency, Atwood Tate also recruits candidates for temporary roles for companies such as Elsevier and Macmillan. With the market being remarkably tough at the moment, it’s always worth taking on a short-term contract with a publishing house (and getting paid!). So whether you’re considering registering with us or have already registered, don’t forget to tick the ‘temp’ box for up and coming temp opportunities.

Five months have passed and one of the greatest skills that I have acquired is that of knowledge.  From weekly meeting to eavesdropping consultant conversations, I have grasped a good understanding that the publishing world is an ever-changing environment. The words ‘digital’ ‘merging’ ‘e-books’ ‘bloginars’ ‘vlogs’ etc have never been so prominent. Yes, E. L. James’s 50 Shades of Grey may have stained the sheets a little, but to be honest, she too has made her mark and has arguably given life to the erotica genre. Publishing houses are continually developing and adapting and it’s absolutely essential that anyone wanting to go into publishing can identify these changes and recognise why they are occurring. As I used to say back in my teaching days, ‘you MUST do your homework’ before you even set foot onto the doors of the publishing world. The internet has become a good friend to us all, so do your research and note down any ideas/thoughts you may have and put them on the table to gain a few brownie points. Publishers are always looking for the next big idea, so don’t be shy.

Whilst on the road, I have had the opportunity to attend a few events with Atwood Tate. Recently I attended the Society of Young Publishers 2012 Conference in London which brought publishing enthusiasts face-to-face with their publishing gurus. The Folio Society, Macmillan, YUDU Media, Rising Stars, World Book Night, Jellybooks, Somethin’ Else and others came together to share their perspectives on publishing. Seminars were held to give members the opportunity to speak directly to individuals who live and breathe publishing. You’d be surprised just how many people are willing to tell you their story and establish a network for you to extend your connection. Following them on Twitter and interacting is always a good start.

A year ago I had graduated from my MA and decided I wanted to be on the other side of the classroom and work on educational books for secondary schools. I quickly applied, applied and applied again for as many internships as I could and found myself completing four wonderful internships with Ebury Publishing, John Blake Publishing, Intelligent Media Solutions and Sweet and Maxwell which has enabled me to taste the most exquisite flavours of publishing and acquire the greatest knowledge that I will ever know.

As my time as administrator slowly comes to an end, Atwood Tate has taught me many things as a colleague and as a candidate. While the publishing profession may be competitive and difficult to get into, it goes without saying that recruiters like Atwood Tate work their hardest to find the best people for the job. The one lesson I’ve learned is that the publishing world IS forever growing and moulding itself neatly to the emerging trends taking place today. It’s incredibly exciting and has become an appropriate time to make that move into the new dimension. We all know they’re looking for fresh faces and fresh minds and with plenty of perseverance and hard work, there WILL be just about enough room for all of us!

Make 2013 your year. For now, thank you for reading.

I look forward to receiving your CV!

Pardy

(Follow Atwood Tate on Twitter @AtwoodTate)

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Jobs in a changing world: what is a “Multimedia Producer”

One of the things people were talking about at FutureBook 2012 was the need for different skills and new job titles, and we are already finding that the type of jobs coming up in the publishing industry are evolving as companies embrace digital in various different ways. When you are looking for a new job it can sometimes be hard to understand what, exactly, these strange new job titles are, let alone what sort of skills a hiring manager might really be looking for. It’s happened to us all – you look at a job advert and go “Well, I think I have the sort of skills they’re looking for…” but do you really? Or conversely, do you ignore job adverts because you don’t understand them, but actually you might be perfect for it?

Once again, Atwood Tate to the rescue! As and when we get a particularly interesting/confusing/exciting digitally focused role come in, we are going to do a break down here on the blog and try and translate it into plain English.

Today I want to talk about Multimedia Producers.

First, look at this job advert. Pretty fuzzy, right? The job description isn’t vastly more illuminating.

Simply put, a multimedia producer is a coordinator, supervisor, and strategist for projects involving the creation of digital media. The role might also be called a digital producer, web producer, or online producer, but the job is essentially the same. The producer serves as the primary coordinator and communicator of any digitally-based project. In publishing, this role most often works very closely with the Editorial department, producing digital counterparts to more traditional print products.

This position collaborates with multiple people across a range of departments including editorial, production, sales, marketing, and IT. The producer provides oversight and perspective to maintain a common goal while increasing knowledge, communication, and awareness between team members. The most successful digital producer is an effective communicator and organizer who can eliminate obstacles, maintain a realistic view of complex digital initiatives, and manage the entire process. (Source)

Hopefully, this is all starting to sound a little bit familiar, especially to those of you with an editorial/production editorial/project management background.

Breaking it down, to do this role you will need:

  1. Experience in Editorial Project Management. Do note, this is a different skill set from IT Project Management. Not all companies will specify this, but you will need at least an understanding of traditional publishing workflows so you can appreciate how digital might be different.
  2. To be an excellent, and diplomatic communicator. Everyone will want slightly different things at different times, and will want to change their mind. It will be your job to keep the project moving forward, resembling the product asked for, to time and to budget, whilst keeping everyone involved informed and happy.
  3. Be able to able to explain digital ideas to less technically minded people. What works in a book might not work on a website or app. The editor might ask for something impossible. It will be your job, again, to explain the difference (for example) between an app or a widget and the pros/cons of each.
  4. Understand digital and be excited the possibilities of multimedia and new technologies. What can be done changes on an almost daily basis and you will need to keep up. When an editor goes “it would be nice if we could do this” , you will need to know if it might be possible.
  5. To have ideas. Editors like things they know and trust. It is often easier to reuse or adapt a previous product idea than it is to create something from scratch. But there are times it will be your job to go “why don’t we try this” and then explain it.
  6. Be organized. You will need to be able to keep track of what freelancers are doing and when their work is due in, production deadlines, when content is coming from editorial, when sales teams need material, what IT is doing, approval dates, budgets, schedules… A multitude of things. When someone asks you “where are we with X?”, you need to have the answer at your fingertips.

Does all of this sound like you? Or something you might be excited by? Congratulations, you could be a Multimedia Producer.
(We currently have one active Multimedia Producer vacancy so make sure you get in touch if you want to apply).

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Oxford Diary: David Fickling at the SYP

David Fickling from David Fickling Books gave a talk to the SYP last night in Oxford about the relationship between the publisher and the author, and he was really rather inspiring.

Below is a summary of the various tweets from the event – my favourite quote of the evening is still “It’s a physi-digi world and it’s kind of groovy“. Because it is.

  1. eleanorkatesh
    The incredible David Fickling talking about the relationship between the publisher and the author. #sypoxford http://pic.twitter.com/6Bq2rALb
  2. charlieinabook
    @DFB_storyhouse so inspired by Mr Fickling’s wonderful talk today! Especially loved the book blocking dance #SYPoxford
  3. emmyappleby
    Spend as little time worrying about the economics; spend as much time as possible finding a really good story #SYPOxford #publishing
  4. emmyappleby
    Todays publishing is physi-igital #DavidFickling #SYPOxford
  5. falldownlachute
    David Fickling talking at OUP tonight; ‘there will always be a shaper and there will always be a storyteller’ #SYPoxford
  6. Charly_Ford
    RT @WException: #sypoxford @DFB_storyhouse “Trust your own views and have the courage to make decisions based on them.” #editing
  7. WException
    #sypoxford @DFB_storyhouse “Trust your own views and have the courage to make decisions based on them.” #editing
  8. WException
    #sypoxford @DFB_storyhouse David’s 3 principles of publishing: Legacy; Sharing; Autonomy #publishing #editing
  9. northernmoores
    RT @AtwoodTate: Fundamental rule of editing is that it is not your book. At the core, there is always the storyteller #sypoxford
  10. smbateman87
    Thank you to David Fickling for thoroughly reinvigorating my love for children’s publishing and the publishing world in general! #sypoxford
  11. tehkelsey
    3 principles of publishing: legacy, share and autonomy #SYPOxford
  12. AtwoodTate
    Legacy, Share, Autonomy = core rules of publishing #sypoxford
  13. EmilyWhyy
    RT @Zazimarki: Digital is like an adolescent pullman daemon, it hasn’t yet taken its proper state #sypoxford
  14. Zazimarki
    Have you ever read a book which changes you@david fickling #sypoxford
  15. AtwoodTate
    Fundamental rule of editing is that it is not your book. At the core, there is always the storyteller #sypoxford
  16. AtwoodTate
    Reading of comics is vital to gets kids enjoying reading #sypoxford
  17. Zazimarki
    Digital is like an adolescent pullman daemon, it hasn’t yet taken its proper state #sypoxford
  18. eleanorkatesh
    David Fickling: the kindle is the equivalent of the talkies, more is still to come. #sypoxford
  19. AtwoodTate
    Digital is like an adolescent Pulman daemon – still taking it’s form. It’s exciting. No one knows what shape it will be. #sypoxford
  20. eleanorkatesh
    Remember, in the author-editor relationship, who is the other person and can they hear what you are saying? #sypoxford
  21. Zazimarki
    Rely on your sense of what works #sypoxford
  22. AtwoodTate
    There are many different ways of editing. You need to find the right one for the book and the particular author. #sypoxford
  23. ZaraPreston
    David Fickling books speaking for the SYP at Oxford University Press #sypoxford http://twitpic.com/b4rh45
  24. Zazimarki
    Making a publishing decision is fantastically energising @ David tickling #sypoxford
  25. WException
    #sypoxford @DFB_storyhouse “Our main concern is stories.” David Fickling
  26. AtwoodTate
    Narrative and story are key and the centre to everything David and @DFB_storyhouse does #sypoxford
  27. BIC1UK
    RT @AtwoodTate: The job of the publisher is to add energy and recognise good stuff @DFB_storyhouse #sypoxford
  28. AtwoodTate
    You need to have courage of your convictions – YES or NO quickly! Even though David hates saying no and taking time is also good #sypoxford
  29. AtwoodTate
    Stability is great – recognise an author and stay with them. The author makes the editor, not the other way round! #sypoxford
  30. AtwoodTate
    It’s a physi-digi world and it is kind of groovy #sypoxford
  31. helenawaldron
    RT @AtwoodTate: The job of the publisher is to add energy and recognise good stuff @DFB_storyhouse #sypoxford
  32. AtwoodTate
    The job of the publisher is to add energy and recognise good stuff @DFB_storyhouse #sypoxford
  33. WException
    David Fickling ‘We need a culture of stories for children’ #sypoxford @DFB_storyhouse @SYP_UK
  34. ZaraPreston
    Excited about David Fickling at OUP tonight! Only a few hours to go @DFB_storyhouse #sypoxford http://www.facebook.com/events/334479879980871/

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