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Types of Sales Roles in B2B Publishing
There are many different types of sales roles within publishing. It is worth asking what type of sales role you are applying for, and highlighting which type you’ve done on your CV, when applying for a job.
Our Sales Consultant in the London office, Olivia, has put together a list of the key types of sales roles to explain further.
The key types are:
- Delegate – selling delegate spaces (i.e. tickets) to attend events and conferences
- Sponsorship – selling sponsorship opportunities for events. It can also refer to sponsored editorial content, which is when companies pay to publish an article in your publication as a way of promoting their own brand.
- Advertising – selling advertising space. Can be either print (e.g. a print publication or magazine) or online (eg. a website). It can also be classified (i.e. no graphics, inexpensive small messages) or display (these include graphics and colour and might take up half a page or more).
- Subscriptions – selling a subscription to a product. Can be print (e.g. a print publication or magazine) or digital (e.g. an online database or service).
- Conference production – this isn’t really classified as media sales. It’s basically a varied mix of sales, marketing, editorial and project management but for entry level conference production roles clients usually want someone with some sales experience, such as delegate sales.
A B2B Sales role, for example, could involve just one or several of these types of sales. It’s quite common to see delegate and sponsorship sales together or delegate and subscriptions.
Generally the skill set required for each type of sales role, and the types of clients they deal with, will be similar. But it’s always best to check with our consultants beforehand which ones the role involves just to avoid confusion.
For more information about Sales roles you can view our current vacancies page and select Sales in preferences.
New Year, New Job?
Why not use Atwood Tate to help you find your next job in publishing. To take the first step you need to register with us!
This is entirely free and can be done online on our website!
Click on the Login/Register button in the top right hand corner and then click on ‘Not Registered?’ This will take you to our registration page where you can fill out all of your personal details, your preferences and upload your CV.
You can choose up to three preferences, from a list, for three separate areas:
- Job Type: i.e. Editorial, Sales or Marketing
- Job Sector: i.e. STM, MedComms or B2B
- Job Location: i.e. London, Oxford or International
You can also choose whether or not to receive Job Alerts. Job Alerts are tailored to your preferences, so if your top preferences are Editorial in a B2B sector if a job becomes available you will be alerted via email.
**Please note that when you sign up for Job Alerts you may receive several immediately. This will stop after a few hours, as these will be our current jobs that suit your preferences.
Also, our Job Alerts are not tailored to salary so some roles may be too senior or too junior for you depending on your experience. Please note that you are able to search for jobs by salary on our website Job search though. If you are confused or interested in any of these roles but are unsure of whether they are suitable, each email comes with the contact details for the consultant covering that position. Feel free to phone or email them for more details.
In addition, when you register with us you set yourself a password which will allow you to login to your profile page and make edits, such as upload a new CV, turn on/off your job alerts etc. Please make a note of your password upon registering. Your username will be your email address.
Once you have filled in your details and uploaded your most recent CV, press Register.
The Next Step
Or, Ellie will respond herself to clarify any questions we may have, or to suggest that you gain more work experience. The majority of our clients require at least 3-6 months’ worth of in-house publishing experience before considering candidates for a role. Although our Temps desk may consider applicants with less experience who have admin skills, for temp roles.
Don’t be disheartened if we respond suggesting you need to gain more experience. We have resources we can point you to, to help you gain that experience! And we’re happy to answer any questions about Work Experience on our social media accounts. For more in-depth information please contact Ellie at: email@example.com.
Once a profile has been reviewed by Ellie and forwarded to one of the consultants, that consultant will then get in touch with you! They may invite you to register with us in person, at either our London or Oxford office depending on your immediate location. We can also do registrations via the phone and Skype.
When you have registered online you are registered with Atwood Tate. You do not need to meet us in person before you can apply for our roles, you may do so immediately.
When a consultant organises to meet with you in person it is to gather more information about your past experiences, your skills and where exactly you would like to work within publishing. You and the consultant will sort out a time and date suitable for you both and directions/information will be given before your registration.
It is an informal registration, but you can use the experience as a practice interview if you like. You will be asked to complete a couple of forms, including our Equal Opportunities form, and you’ll be required to bring along two forms of identification: a passport & your National Insurance number.
The meeting shouldn’t take more than 20-30 minutes, but it is your opportunity to ask us any questions you have, to highlight where you want to go within your career and to discuss any vacancies that we currently have.
Applying for a Job
Whilst registering with Atwood Tate you can apply for any of our current vacancies. However, if you require more information we can only forward further details, such as salary, location and the company name after you have registered with us, due to client confidentiality.
When you apply your information will be forwarded directly to the consultant handling the position. We recommend that you do not apply for more than three roles at a time, unless you are certain you have the required experience.
If you would like to contact us for more information regarding a job please have the reference number and Job Title to hand. They will be on the job alert or our website.
We will let you know within a few days whether or not you are suitable for the role. Although, if you have not heard from us after two weeks it is unlikely we can consider you for that position.
And there we have it! That is how you register with Atwood Tate!
If you have any further questions about registering with us please contact our administrator via telephone or email. And if you’ve registered with us before but have forgotten your details, or are struggling to access your profile, also contact our administrator.
We hope that you will register with us soon!
Our pledge to help publishing to build inclusivity
Last month The London Book Fair, in partnership with The Publishers Association, held a conference on Building Inclusivity. I attended the event for Atwood Tate, because in our role as a publishing recruitment agency we have a responsibility to ensure recruitment processes are inclusive and offer all suitable candidates an equal opportunity to be considered for a role.
As members of the Recruitment and Employment Confederation, we adhere to its Code of Professional Practice. A respect for diversity is one of the main guiding principles of this code. We adhere to all applicable legislation, encourage equal opportunities in recruitment and establish working practices to safeguard against prejudice.
Over the past few weeks, I have been reflecting on the thoughts and insights that were shared at the Building Inclusivity event. To start with, in using the word “inclusivity” rather than “diversity” the organisers of the event were clearly trying to drive on the tired conversation which has been stalling for a long time in the publishing industry. Semantics can have a strong effect and I did feel that there was renewed energy and determination shown by speakers and delegates at the conference. There was a focus openness and accessibility rather than a defining of differences and analysis of the norm versus the “other” in the publishing industry as things stand.
In her keynote speech, Crystal Mahey-Morgan, founder of OWN IT!, reminded us that books lead to readers developing empathy, and empathy leads to humanity. I only learned about this proven link between reading and the development of empathy and morals when reading Maryanne Wolf’s wonderful Proust and the Squid (which incidentally I would recommend to anyone interested in literacy, reading, neurology and sociology), so whilst a lot of people in the book industry may know about the importance of reading for society, Mahey-Morgan’s words were a powerful reminder.
Charities like Beanstalk do important work in getting into schools to promote reading to all, but I know from observing my own children learning to read, that in order for a person to want to read, the content needs to be engaging and interesting. None of us expect our friends and family to necessarily share all of our interests or preferences, so we already accept a variety of genres and content, but the consensus at the Building Inclusivity conference was that the books published in the UK are not wholly representative of our society or meeting its needs.
Recruitment & Inclusivity
It was clearly felt that there is a correlation between what is published and who is working in publishing and that’s where the recruitment side of things comes into play. The industry needs to be more than just “open” to recruiting from outside of the traditional profile of publishing people but needs to make an effort to demonstrate the desire to be inclusive and take measure to increase accessibility to a wider pool of prospective employees.
At the conference, employers were encouraged to make a pledge as what measures they would aim to take after the conference in order to play an active part in creating a publishing industry that is inclusive and representative of our society as a whole.
My pledge on the day to do more at the grass roots level with Beanstalk was inspired by looking at what we could do personally at Atwood Tate to help bring a love of reading to a wider range of children. Crystal Mahey-Morgan’s words about humanity and the story of author Robyn Travis struck a chord with me, as a governor at a primary school in a deprived area, where a lot of children a brought up in homes without books.
However, we at Atwood Tate also want to make it our pledge to ensure that we are providing as much advice and support to our publisher clients, as possible to help them to promote equal opportunities in recruitment and share ideas as to how to establish working practices to safeguard against prejudice and promote inclusivity and equality.
We are not HR consultants or expert advisors, but we can offer the following:
- As trained members of the REC, we all have a solid understanding of all applicable legislation and Atwood Tate embraces diversity and seeks to promote the benefits of diversity in all of our business activities and to develop a business culture that reflects that belief.
- Through our daily work and attending industry events and REC round table meetings we keep up to date with new trends and initiatives. We can share the knowledge and insight we have about what is being done in publishing and other industries to improve inclusivity in recruitment processes.
- We are expert at writing engaging and non-discriminatory job advertisements and we are able to advertise widely and reach out to candidates outside of the publishers traditional networks.
It’s that time of the year again. The first dates of the advent calendar have been pried open, the decorations have gone up, the streets of London are lit like a chandelier and, of course, Die Hard is on TV. But what does it mean work-wise?
Well, for a lot of offices, it means a short month as everyone closes up for the holidays. And where there are brief intervals, there are temporary contracts!
Already, the temps desk has had several short-term roles in that start immediately and run up to Christmas Eve. These vary from junior roles to more senior ones, with some contracts extending into the new year, depending on workload and performance.
A lot of people think Christmas is an unstable time to go job-hunting but here at Atwood Tate, we can attest to the fact that the search never stops. Some people like to wait it out, go into professional hibernation, so to speak, and check what the lay of the land is in the new year. How is anyone supposed to think about a new job when there’s Christmas shopping to do, family and friends to see, Star Wars films to watch in the cinema?
But we know from experience that some companies are looking to fill roles right up to the holidays and the industry is ripe with opportunities for the brave and the bold.
This very minute, we are reading applications, arranging interviews, sending congratulations, playing matchmaker between client and candidate like we always do. Christmas doesn’t need to be a quiet period, it can be the ladder to a very different year for you! So, if you’re looking for a change, drop us a line. John McClane was in the wrong place at the wrong time but if you’re smart, you could be in the right place at the right time!
To get in touch with the temps desk about possible temp work over Christmas call Kellie Millar on 02070347897 or Alison Redfearn on 02070347922!
Be sure to enter our Christmas Giveaway for a chance to win a Stocking of Christmas Goodies!
Common Symptom #2: Networking
Speak Softly and Carry a Big Book
You’re at a fancy venue. You have a glass of wine in your hand, maybe some food or maybe only the fond memory of food at this point, you’ve been standing here so long, watching, waiting, trying to find an in, an opening, a shot – that’s right, you’re networking.
Networking in publishing can be a fairly daunting prospect, especially for young graduates. It’s difficult to be assertive when you don’t claim to be an expert on anything this early in your career. And if you’re quiet and retiring, you’re not exactly going to make a lasting impression. But it’s a worthwhile endeavour so it’s important to try.
As we’ve previously covered in our work experience blog, publishing is a saturated market so you will always have to run a little faster, climb a little higher, work just that little bit harder, to make any headway. It can be bitter pill to swallow but it comes back to how badly you want it.
The important thing to remember is that, believe it or not, networking in the publishing world can actually be quite fun! It’s a chance to mingle with like-minded people who know your struggle and are usually quite helpful in offering advice or tips. A memorable conversation can go a long way. What starts as an observation about the venue or your journey there can lead to suggestions and introductions you could not have come across in any online search you might try. Take a business card, take two! Take as many as you can until you have a winning hand. And if you have your own cards, even better.
There are great events happening all the time, from Christmas parties to pub quizzes, hosted by a variety of societies and institutes, all of them masters at bringing people together for a night of fun and games while also creating an ideal space for networking.
And don’t worry, if networking doesn’t come naturally to you, remember that, like everything it gets easier the more you do it. You don’t need to own the room, you can be yourself and let your passion show through. Think of talking points in advance to help break the ice, familiarise yourself with publishers and who their authors are so you can show you know their company and what they’re about.
Next step? Sign up to newsletters, check out websites like the SYP, Bookseller, BookMachine, then pencil in some dates – who knows, it’s possible you could bump into one of our staff making the rounds and we might be just the person who can help you!
Last Thursday, OPuS held an event to discuss Museum and Cultural Publishing. The speakers were Declan McCarthy (Ashmolean Museum), Samuel Fanous (The Bodleian Library) and Katie Bond (National Trust). John Hudson (Historic England) was the Chair.
The publishing and retail scene in museums, galleries and the heritage sector has been resilient during the recent unsettled years in publishing, and is a significant component of the wider cultural sector which is one of our national success stories. Within the sector, books are published on a variety of models – on a fully commercial basis or one of cost recovery, or in some cases conscious subsidy as part of a wider agenda. In this session, publishers from the National Trust, The Bodleian Library and the Ashmolean Museum, all based locally, describe their business and the particular characteristics of the cultural publishing sector.
- Lots of cultural publishers are members of ACE: The Association of Cultural Enterprises
- The Ashmolean publishing programme focuses on event catalogs, tied to the 3-5 exhibitions the museum holds each year. These differ from general trade books in that the sales are tied very strongly to the actual exhibition, and any sales beyond a show are a bonus.
- For the Ashmolean, business is still very focused around producing beautiful, physical books. E-books, apps, and other digital forms do exist and are continually looked into, but at the moment they are not viable revenue generators.
- Whilst the Bodleian has always published, the current publishing programme is still very new and has been grown gradually and carefully.
- Public engagement is fundamental to the continued survival of cultural institution, and a publishing programme is a useful tool for this.
- The Bodleian has several different approaches it takes when publishing titles: 1) doing a direct facsimile edition of an out-of-print book, 2) repackaging material in a new format, 3) publishing newly authored titles (that often use illustrations and source material from the collections), 4) gift-books to bring in a new audience of non-scholars.
- The National Trust has over 200 shops – that is more nationally than Waterstones – and around 50% of their book revenues come from sales in those shops. The other 50% is primarily from sales in the UK trade. Like the Ashmolean, most of their sales are print, with digital and ebooks having more presence overseas.
- Along with the annual Handbook that goes to all National Trust members, and the individual property guidebooks which are done in-house, they also publishing specialist books, illustrated narrative non-fiction, and children’s books. These are published in partnership with Nosy Crows, Pavilion, and Faber & Faber.
- A book that sells well in the Trade does not (always) sell well in the gift-shops, and vice versa. Katie has learnt that the more a book is embedded in the organisation and ties back to their core message, the better it does.
- The Children’s market is challenging, nostalgic, brand driven, infuriating, hard to break in to, but with massive talent, potential, and hugely rewarding.
- As an editor you may come across challenges from elsewhere in your organisation about why you commissioned a particular title from a particular author. You need to know what you are publishing and why, and don’t be afraid to stick to your guns if it is important. That is the editors job!
All in all, it was a fascinating evening learning about a sector of the industry many of us are not aware of. The main lesson I learned was that publishing in the heritage sector requires a thorough understanding of the requirements of your market, a deep appreciation for the uniqueness of your source material (be that a museum, a library collection, or several hundred distinct properties around the country), a creative mind to see the new potential, and the willingness to take a risk on something that hasn’t been done before.
It is universally acknowledged that within the first 30 seconds of meeting a potential new employee the interviewer will judge them. First impressions, unfortunately, mostly come down to what we look like.
That is why dressing appropriately for an interview is so important.
Don’t be fooled into thinking that this means you should go out and buy a suit as a simple go-to interview outfit. Publishing is a creative industry; whilst looking smart is paramount at an interview, dressing like you is also key.
As a general tip, don’t dress up for an interview. Dress like you would if you got the job and were going into work at the office every day. Smart, but not overly so.
- Stick to the guidelines given. If they say “smart casual” do not go above ‘smart’ by wearing a two-piece power suit, but definitely don’t go below the guidelines by wearing denim jeans and trainers.
- If you’re unsure as to what to wear just ask us when you come to a pre-interview meeting. You can even use the meeting as a practice-dress, if you like.
For example, a generic high street suit will not express your personality or originality and in a creative industry, could be judged as unimaginative or overly conservative. Just small tweaks like adding accessories or having a well-fitting but less conventional jacket can make all the difference in helping you to stand out and express yourself and your character. You also need to feel comfortable and confident and none of us feel at our best when wearing an ill-fitting outfit that we would never otherwise consider putting on for the office or a meeting.
- For an interview most women could wear a dress/blouse with a jacket that looks good, but isn’t necessarily a matching suit. You can accessorise with a scarf or jewellery or statement shoes.
- Men don’t need to be left out and can still look sharply dressed and add touches of coordinating colour through a tie, cuff links, glasses, watch etc. Pick a shirt that fits you well, is comfortable and is ironed. You don’t want to appear to be wearing a baggy school uniform shirt or a collar that’s so tight you can barely breathe.
It’s important to be memorable but you probably don’t want to be remembered for a terrible comedy tie or a too loud shirt. Try your outfit on well in advance if possible and get your housemates or partner to give you honest feedback if you’re feeling worried.
Dressing for an interview is always a tricky balance, but I think it’s important to feel comfortable and confident, whilst looking your best and feeling your best. Erring on the side of smart usually is safer, but there are always ways of being smart without being an uncomfortable dark suited clone.
Three weeks ago Claire and I attended the annual ALPSP conference, which brings together a large number of scholarly and professional publishing professionals from across the UK and overseas. The conference was hosted over three days (14-16th September) and delegates were treated to a packed schedule of presentations, panel discussions and networking opportunities.
The key discussion points at the conference were:
- The disruption caused by digital developments, which affect the publishing industry as a whole, and how companies can future proof their brands and products. We should let technology lead, not disrupt.
- Metrics and the ever-expanding range available. How can Metrics be used to measure publication performance as well as other research outputs and activities. What is the future of research evaluation?
- The evolution of peer review and its relevance today. How can peer review be used effectively in different communities, if at all. How is peer review used outside of scientific publications and what specifics should it address.
- The data revolution and the implications this has. Publishers can’t solely be content businesses. They need to be innovative and become technology companies to stay relevant.
On the second night of the conference the ALPSP Awards were hosted. The Award for Contribution to Scholarly Publishing was given to Alice Meadows, Director of Community Engagement and Support at ORCID. Awards for Innovation were given to Cartoon Abstracts by Taylor & Francis and Wiley ChemPlanner.
Next year’s conference is being hosted in the Netherlands. We’ll see you there!