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Industry Spotlight: Production and Operations

Welcome to Atwood Tate’s industry spotlight series, where we go behind the scenes of each of our recruitment desks to give you the scoop on working with Atwood Tate. This week’s entry is with Clare Chan, who works on Science, Technical, Medical, Distribution, Operations and Production roles across London, the Home Counties and East Anglia. In this entry, Clare will be breaking down how to get into Production, Distribution and Operations in the publishing sector.

Production

production

What does ‘production’ mean in publishing?

There is a wide range of production roles in publishing, most commonly Production Assistant, Production Controller, Production Editor and Production Manager. Production itself can be varied– covering printed and digital books, printed and digital journals and more. The skill set of a Production Manager in trade books versus a professional publisher can be very different, so it is all down to the content of what is being published to determine what kind of production knowledge you should have or what duties you will be doing in the role. So a role in children’s books will probably be highly illustrated and need someone with a good eye for detail and 4 colour experience.

What will be the academic requirement?

There isn’t a specific requirement to get into production roles.  You will need to demonstrate substantial project and supplier management as well as excellent communication skills because the majority of the suppliers will be offshore.  You will also need to have good software skills, i.e. Excel spreadsheets, InDesign and Adobe CS, Biblio3 (especially for trade book publishers) or XML publishing (for digital publishing).

What background will the clients be looking for?

Your previous experience plays a significant role when it comes to applying for production jobs.  Production roles are not as fluid as one would think when it comes to switching roles.  For instance, if you wanted to become a Production Controller in a children’s book publisher, you should have novelty book production experience and also knowledge of European toy safety legislation.  And if you are to work for a journals publisher, you will be working as a Production Editor and dealing with external typesetters to get the journals published which often also requires copy-editing skills.  More details about Production Editor will be discussed in my next blog when I explore STM editorial roles – keep your eyes open for that!

Is there good progression in production?

There is a good progression and a clear career strucutre and you will also become a production specialist as you build up solid knowledge from previous experience. One thing to bear in mind is that production technology is ever changing so keeping up with new software and technology is essential.  The book industry is a great example: decades ago, it was all about off-set printing, but now we have digital printing as well as e-book and audiobook production.

What key skills do you need?

A good learning attitude is a must.  Good communication skills, project management, time management, account management as you will manage different suppliers (most often overseas) and there could be pressing deadlines from time to time so being organised is important too. Numerical skills are also important as you’ll could be working with Excel, calculating and negotiating costs for reprints and shipping etc.

Distribution and Operations

operations

What roles are there in the Distribution and Operations in publishing?

We deal with a range of distribution and operations roles. Examples of roles we recruit for include Inventory Assistant, Inventory Coordinator, Stock Controller, Supply Chain Manager, and Head of Operations. Distribution and Operations plays an essential part in a publishing house, monitoring the inventory and arrange reprint or stock movement when needed.

What skills or knowledge will the clients be looking for?

Analytical skills and excellent software knowledge. You will be using Excel spreadsheets a lot, including Excel formulas. Depending on the publishers, you might also need to have certain software knowledge.  Communication and organisation skills are also essential as you will be coordinating with in-house colleagues from Design, Editorial, Rights, Sales & Marketing as well as external suppliers.

Is there good progression?

Similar to Production roles, Distribution and Operations are also a specialist roles with good progression.  You may eventually lead the team and be promoted to Inventory Manager and Head of Operations.  Keeping up with the latest data management technology will also lead you a long way in the field.  Candidates with Production experience may move laterally into Distribution and Operations for a change in their career path. There are always new opportunities!

If you have any questions about Production, Distribution or Operations roles, feel free to get in touch with Clare at clarechan@atwoodtate.co.uk!

 

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What happens to my CV?

Introduction

If you’ve never worked with a recruitment agency, it might be difficult to know what the different stages actually mean. Does registering with us automatically mean you’ve applied for a job? How will I know what the details are? Lead Recruitment Consultant Karine Nicpon explains.

Applying for role via a job board (Guardian/Gorkana/Bookseller) or via our website

Applying through a job board or through our website doesn’t send your application directly to the client. Instead, it is reviewed for suitability by the consultant, based on a full client brief (required skills, experience and salary expectations.)

If we think you are suitable, we send full details: name and website of the client, job description, salary, and any other relevant information. This is when you can decide how interested you are.

If everything still looks rosy, great! It’s time to send us a tailored CV and cover letter for us to send to the client. The process to your shiny new job begins!

Unfortunately, if we don’t think your skills and experience match what the client is expecting, we won’t proceed with your application. The client hasn’t seen your CV, as we only send over a personalised application with your permission. If you haven’t heard from us, you are welcome to apply for other jobs that we may have available or request to be added to our database for future opportunities.

Registering with us via our website/E-mailing us your CV

When you send us your CV by e-mail, one of our administrators reviews it for relevant experience. If we can help, we invite you in for a registration meeting. If there isn’t enough relevant experience, we have a range of temp and freelance roles to build up your experience. Many temps move into permanent roles, so don’t be disheartened! If your CV is strong but not publishing focused, we send you a reply acknowledging your experience.

Registering your CV via our website is similar: fill in a form with your preferences, which is reviewed against current vacancies to see if we can help. If we can, we invite you in for a registration meeting to discuss your needs and start the job search process!

If we can’t help you, we will let you know so you aren’t left hanging.

Automatic job alerts

Once we have added you to our database, we activate your job alerts (unless you tell us not to!). These are instant alerts to our new vacancies so that you are always aware of the jobs we have. While these come up with a consultant’s email address, they are sent by our IT system based on your preferences, not by the consultants themselves. Receiving a job alert is not a guarantee that your application will be progressed!

If you don’t like the sound of a job you can delete it but, if you do, you can apply via our website for your CV to be reviewed by our consultants. One thing to remember: our alerts are not matched by salary, so please don’t be alarmed or offended if you receive something that seems too high or low for your experience! If you feel you are receiving too many alerts, you can ask to switch them off or edit your preferences directly by logging into your profile.

Contacting the team

Our team are always happy to hear from new and existing candidates. If you would like to get in touch, there are a few options:

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Industry Spotlight: Sales and Customer Service

 

Welcome to Atwood Tate’s industry spotlight series, where we go behind the scenes of each of our recruitment desks to give you the scoop on working with Atwood Tate. This week’s entry is with Olivia Constantinides, who works on Sales, Marketing, Publicity and Customer Service roles in London and East Anglia. She covers all sectors, except B2B.

In this spotlight Olivia will focus on Sales and Customer Service roles and will tell you more about what these jobs involve and the types of skills they require. At a later date she will cover Marketing and Publicity positions.

Types of roles

Sales roles in publishing are really diverse. Whether you’re an Account Manager looking after existing customers or a Business Development Manager focused on bringing in new business, your job is to build relationships with customers and persuade them to buy your company’s products or services.

One of the great things about working in sales is that you get to handle the finished product, whether that be a children’s book, a scientific journal or an online learning platform. You also get a real insight into the market and what the customer wants or needs. This knowledge is invaluable for the business as a whole and can be used to influence what is published in the future and how products are marketed to customers.

Some sales roles will include elements of customer service and if you’re selling digital products or software, you may train customers how to use it.

Customer service roles are closely linked to sales and involve dealing with the customer post-sales, usually over phone or email. Common responsibilities include answering order or stock related queries or resolving problems and complaints.

Do sales roles involve lots of cold calling?

A common misconception is that sales roles involve endless cold calling. It’s not usually like that in publishing. You might be selling books to bookshops or retailers, or software to universities, libraries and hospitals. Therefore you’ll need to meet customers face to face and adopt a softer and more consultative sales approach.

What is the pay like in sales?

Sales salaries often exceed those of other roles. In addition to your basic annual salary you will likely receive a bonus or commission based on the amount you sell and revenue that you bring in for the company. This might be paid out monthly, quarterly or annually. It is sometimes uncapped so your earning capacity is limitless.

Is there good room for progression?

There is really good room for progression in sales. You could start out in a sales support or administrative role and gradually progress to managing your own accounts and then eventually overseeing a team of sales people.

One of the advantages of sales roles is that the skills you develop are really transferable so you could find yourself working for a variety of publishers and selling to a variety of customers. Skilled sales people will always be in demand.

Whilst there aren’t nearly as many customer service roles out there, there is still good room for progression and you could end up managing a team of Customer Service advisors and overseeing the strategy for the department. Like sales, the skills you develop are very transferable and customer service people often find themselves working for a range of organisations.

Do you get to travel?

Sales roles will usually involve some element of travel but the amount will depend largely on the role. You might look after a specific territory, which could be as big as London or the whole of the UK. Some roles can cover regions as large as Europe, the Middle East, Latin America or Asia. International sales people may find they are travelling at least 50% of their time. If you like being out and about, a field based or international sales role would suit you.

On the other hand, some roles are more office based, with most sales being conducted over the phone or via email and only occasional visits to customers being needed. You may find the opportunities to travel increase as you progress into more senior positions.

Customer service roles are usually office based but depending on the company you work for, you may take occasional trips to visit colleagues in other offices, which could be in the UK or overseas.

 

What key skills do you need to succeed?

To succeed in sales you need excellent communication and presentation skills. You need to be results and target driven with a good head for numbers and a knack for negotiating. You also need to be driven, determined and ambitious.

For customer service roles, excellent communication skills are also vital along with the ability to problem solve and empathise with customers.

If you’re considering a sales or customer service role in publishing or already work in the industry and are looking for your next opportunity, contact Olivia at olivia@atwoodtate.co.uk.

 

Atwood Tate recruits across all levels and all functions so if you are looking for a new role in publishing please get in touch with us at info@atwoodtate.co.uk. We also have a very active temps and freelance desk, so if you are open to short term contracts or are looking to boost your freelance career, you can reach Alison at alisonredfearn@atwoodtate.co.uk.

 

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Industry Spotlight: E-learning, Educational and Academic

 

Welcome to Atwood Tate’s industry spotlight series, where we go behind the scenes of each of our recruitment desks to give you the scoop on working with Atwood Tate. Our next entry is with our  fantastic editorial desk, manned by Christina Dimitriadi and Charlotte Tope.

Introduction

Welcome to the busy Editorial Desk where Christina, our Senior Recruitment Consultant and recent addition Charlotte, man the editorial fort. We look after all of the editorial roles that come in, for the Educational, E-learning, Assessment & Testing, Academic, Professional and Trade sectors in London and East Anglia. Pretty much all sectors minus STM, which our lovely consultant Clare Chan takes care off, and B2B which you read about in our last desk spotlight blog (if you missed it you can check it out here).

Today, we are going to focus on the Educational, E-learning and Academic sectors, tell you more about what they are, how they differ and what roles we cover. In a future post we will cover trade and the professional sectors.

Educational Publishing

Educational Publishing is one of the largest sectors of publishing in the UK and it covers the whole spectrum, from curriculum publishers for primary and secondary schools to higher education publishers for university level. Educational publishing is dedicated to the creation and publication of textbooks and curriculum material for schools and higher education institutions. This includes the development of any additional content needed to support the course; such as workbooks, digital software, interactive websites and teacher’s guides. We work with candidates from their first roles up to the latest stages of their career development and positions you will be seeing advertised will range including Editorial Assistants, Project Editors, Commissioning Editors, Managing Editors, Product Managers, Heads of Editorial Content and Publishers.

ELT

A growing division of educational publishing is ELT which stands for English Language Teaching and focuses on the development of print and digital resources for students learning English as a second language. This can be primary school students up to adults learning English for professional or academic purposes. For positions in the ELT editorial sector we will be usually looking for candidates with an excellent command of the English language, very strong editorial skills, and some ELT teaching experience. People coming from a teaching background have a very valuable insight of knowing first-hand which products do or don’t work in the classroom. Any relevant ELT qualification can also be an advantage, such as CELTA (Certificate in Teaching English to Speakers of Other Languages) or DELTA (Diploma in Teaching English to Speakers of Other Languages).

E-Learning, Assessment and Testing

We also work with a range of publishers and providers of online courses for teaching, research, studying and assessment. This is an exciting aspect of educational publishing that has been rapidly expanding in the digital age and we are seeing more products moving away from the traditional text heavy books or paper products to new and innovative forms of online learning content, interactive courses, modules and assessments. The jobs we cover here would range from traditional editorial roles to Digital Content Developers, Instructional Designers and Product Managers. Our candidates will usually have a solid print or digital publishing or ed-tech background and they would focus on the technical development of the product/course, for example its usability and performance as an educational resource.

Academic Publishing

Academic publishing is intended to communicate the latest research and developments to the academic community. We work with a rage of smaller and larger publishers and societies who publish scholarly journals, books, eBooks, text books and reference works for researchers, students and academic libraries. It is common for universities and museums to publish academic books, aimed particularly at academics and we also work with academic associations, who share information with their members or the public. Depending on the discipline, academic publishing can be split into two sectors, humanities and social sciences (HSS) and scientific, technical and medical (STM). A common term you will hear when applying for academic journals roles is the peer review process, which is a procedure of reviewing and evaluating the quality and validity of articles prior to publication. You can read more about the process here and on the websites of the majority of academic publishers. Common roles you will see us looking for are Editorial Assistants, Publications Editors, Commissioning Editors and Publishers.

 

We hope this blog gives you a good idea of the sectors we work within and what roles we cover. More desk spotlights are scheduled to come so do keep an eye on our website. For more information on editorial roles in educational, e-learning and academic publishing feel free to contact Christina at christina@atwoodtate.co.uk or Charlotte and charlottetope@atwoodtate.co.uk.

Atwood Tate recruits across all levels and all functions so if you are looking for a new role in publishing please get in touch with us at info@atwoodtate.co.uk. We also have a very active temps and freelance desk so of you are open to short term contracts or are looking to boost your freelance career, you can reach Alison at alisonredfearn@atwoodtate.co.uk.

 

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Industry Spotlight: B2B

Welcome to Atwood Tate’s industry spotlight series, where we go behind the scenes of each of our recruitment desks to give you the scoop on working with Atwood Tate. Our next entry is with our  fantastic B2B desk, manned by Karine Nicpon and Julie Irigaray.  Karine and Julie help match B2B clients and candidates across the country, with a variety of roles across a range of business sectors.

What is B2B publishing?

B2B or business-to-business publications are industry focussed and aimed at people in work. They are also called ‘professional’ or ‘trade’ journals (which are different from academic journals, don’t get confused!). An example would be The Bookseller or InPublishing: both are B2B magazines aimed at the publishing industry. There are as many B2B publishing sectors as there are job industries. You will find business publications for lawyers and finance professionals, but also construction workers, nurses, farmers, the list goes on. B2B readerships can be ‘vertical’ (publication is aimed at a specific industry, such as lawyers) or ‘horizontal’ (the audience is spread over many industries, such as PAs). These titles can be weekly, fortnightly, monthly, quarterly etc. in print and/or digital. A lot of B2B publishers also run conferences and events aimed at the industries they cover. Some publishing groups publish both B2B and B2C magazines.

What is the difference between a B2B and a B2C publication?

B2B is aimed at people in a professional capacity whilst B2C publications are consumer magazines made to entertain/inform in a more general capacity (such as fashion magazines or TV listings) or consumer specialist titles about a special interest/hobby (e.g. music, cookery, photography). We need to differentiate these two sectors from customer publishers/content marketing agencies who produce content aimed at customers on behalf of a specific company. Examples include free inflight magazines or supermarket magazines. Some customer publishers have become more specialised and produce print and digital content on behalf of businesses, charities, educational or professional bodies, who might not have an in-house publishing team.

What publishing sectors does Atwood Tate cover?

Atwood Tate is a specialist publishing recruitment agency. We work with publishers across a number of sectors from consumer books (fiction/non-fiction), educational and academic publishing to STM (scientific, technical and medical) publishing.

On the magazine side of things, we mainly focus on B2B publishing and events and also work with information providers. We sometimes do have vacancies across customer/contract publishing as some of our clients do both B2B and custom publishing. But we rarely represent consumer-only publishers, unless their publications are niche/specialist magazines, which we find have a lot of similarities with B2B publishing in terms of skills required to fit a role.

Does B2B publishing automatically mean finance or legal publishing?

Not at all! As mentioned above, B2B publishing can cover any industry. We very often do have roles in financial publishing but we also partner with clients producing content for retail or marketing professionals, GPs, lawyers, optometrists, etc. If you chose to work in B2B publishing, you could end up covering any subject; the possibilities are endless!

What roles can Atwood Tate help with in B2B publishing?

We recruit across all publishing functions from content creation (reporter, features writer, news editor, copy-editor/sub-editor, managing editor, etc.) to production (designer, production editor, production manager) and sales, events or marketing roles. We also have more specialised roles such as market/price reporters or data journalists. And we can even help with IT roles as we have an IT consultant! We recruit for permanent and contract or temp/freelance roles.

For more information about B2B publishing, feel free to contact Karine  at karinenicpon@atwoodtate.co.uk or Julie at JulieIrigaray@atwoodtate.co.uk. For B2B temp/freelance roles, please contact Kellie Millar  at kelliemillar@atwoodtate,co.uk

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Industry Spotlight: Temping

 

 

Welcome to Atwood Tate’s industry spotlight series, where we go behind the scenes of each of our recruitment desks to give you the scoop on working with Atwood Tate. Our first entry is with our wonderful temps and freelancers desk, manned by Kellie Millar and Alison Redfearn. Kellie and Alison help clients not just in London but nationwide, and they work with temps and freelancers at all levels, in all publishing sectors from trade and education to Scientific and academic as well as professional and B2B. They also proudly help and support many interns gain their first paid assignments in publishing. The temps desk is supported by Anna Slevin, who helps with on-boarding new temps, administering holiday pay and dealing with all time sheet or payroll issues.

How can temping benefit my career?

Companies can’t always predict when they’ll need someone. The requirements can come fast and without notice and are urgent. If you’ve been struggling to get a job, through temping, you could actually start working tomorrow.

Due to the urgency of the requirement, sometimes, there isn’t even time for an interview. At most, the client may ask for just a quick, informal phone call so they can ask some relevant questions and gauge a candidate’s answers and then hire. That’s how quick it can be sometimes – you might hear from us on Monday and start working on Tuesday. Sometimes, our temps move directly from one role to another, developing new skills and using the temping experience to further their publishing careers step by step, or even get made permanent! Temps can be booked to cover sick leave, holiday, special projects or to take the pressure off a team whilst they are recruiting for a permanent role – they may even hire you!

What type of job sectors do you cover?

We cover temp and freelance roles across the book, journal and B2B magazine sector as well as  the ever evolving digital publishing and IT technology sectors within Editorial, Marketing, Sales and Production, Product Development, E-Learning as well as Admin and Customer Support.

What type of roles can I get as a temp?

Here is a small sample of roles we have placed!

  • Social Media and Marketing Assistant, Trade Publisher
  • Customer Support Administrator, Magazine Publisher
  • Editorial Assistant (Exams), Educational Publisher
  • Brand and Marketing Executive, Children’s Publisher
  • Production Controller, Arts Publisher
  • Part time Publicity Assistant, Non Fiction
  • Publicity Manager, Fiction Publisher
  • Marketing Executive, Scientific Publisher
  • Legislation Editor, Legal publisher
  • Freelance Sub Editor, B2B publisher

How would I get paid?

Temps are added to Atwood Tate’s payroll and get paid on a weekly basis, on an hourly rate. We use online timesheets for you to record your hours, which your manager approves. Temps also accrue holiday pay and can also opt into pensions too. Payments are paid directly into your bank account each Friday, just in time for the weekend!

What if I want to go permanent?

Temping can be an excellent route to finding a permanent role in publishing. You can treat the temporary assignment like a working interview and network with your team and various departments to learn about roles that may be coming up. There is the possibility while you are temping to be offered a permanent role. You can also apply for any internal roles you see being advertised. The beauty of temping is the variety, the opportunity to explore. More senior candidates also enjoy the flexibility that temping or freelancing offers. For those of you starting out, you can build up your admin and publishing experience and even if you don’t go temp to perm through your temp assignment, the experience gained and added to your growing CV, will put you in good stead for applying for future permanent roles.

For more information about temping or freelancing do feel free to contact us via Atwood Tate’s “Meet the team” page or to apply for temp and freelancer roles visit our job pages 

 

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The Spare Room Project: Helen’s Experience Hosting Publishing Interns

What is the Spare Room Project and how does it work?

Let’s be honest, opportunities in the publishing industry are mainly in London and this can be a real obstacle for anyone looking to enter the industry from outside of the capital. This is where the Spare Room Project comes in.  In 2016, James Spackman (publisher and consultant) with the support of the Publishers Association, set up this project, which provides aspiring publishers with the opportunity to stay in the city for free and take up work experience placements.

So how does it work?  It’s simple really: interns are matched with hosts who are willing to offer their spare room for a week.  If you sign up to the Spare Room Project, you’ll be added to a mailing list and alerted when there are new lodgers to host.  There’s no immediate obligation to host and you only need reply when you see dates that will work for you.  I would urge anyone with a spare room to sign up and see whether you can help now or in the future.

Helen’s experience hosting interns

I’m excited to be hosting my third Spare Room Project intern in June.  Not being a Londoner by upbringing, I am sympathetic to the challenges facing anyone looking to enter the industry from outside of the publishing hubs of London, Oxford and Cambridge, so it’s been great to be involved in this scheme.  It’s not only good to be doing something practical to enable those without existing contacts to gain an insight into publishing and hopefully get a foot in the door, but it’s also been an enjoyable and enriching experience from my point of view.  We’ve had two quite different guests so far, one who was a huge fan of musical theatre and managed to get cheap tickets for shows most evenings, so we hardly saw her and our second guest, who quickly became part of the family and was a huge hit with (and incredibly tolerant of) my children.  Quite different experiences, but both were perfect lodgers and no problem at all to host.

You can find out more here https://thespareroomproject.co.uk/ or on their Twitter, @SpareRoomProj, and don’t just take my word for it, read some of the testimonials on the PA’s website and check out their FAQs https://www.publishers.org.uk/activities/inclusivity/spare-room-project/.

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London Book Fair 2018 Round-Up

 

We’ve had an amazing (if exhausting!) three days at the London Book Fair 2018 this week. We’ve had really productive meetings with clients new and established, met some brilliant new candidates, been to fascinating seminars and walked far too many steps (I wish I’d had a pedometer to keep count)!

Our Highlights from the London Book Fair 2018

We had a comfortable booth in the Club at the Ivy, which acted as our base and a venue for meetings on all three days of the fair.

The excitement of the fair was contagious, and it was really fun to walk around soaking up the atmosphere and looking at the stands. It was great to see what new releases are coming out soon as well as new developments in the industry as a whole, including a big focus on technology and audio.

The big talking point this year was the recreation of the Oval Office, built to publicise the release of Bill Clinton and James Patterson’s new novel, The President is Missing. My other favourite was the Usborne stand, which looked like a treehouse! The children’s section was as fun and colourful as ever.

The Bookcareers Clinic

Christina and Alison had a great time at the Bookcareers.com clinic supported by The Publishers Association. They met enthusiastic future publishers and gave them our best tips as well as explaining a little more about what we do, including our temps service, which is a great way for aspiring publishers to gain (paid!) work experience. If you missed it, you might want to have a look at our Work Experience and Entry Level Resources page on our blog.

Networking

Helen particularly enjoyed meeting interesting people in academic and professional publishing at the ALPSP (Association of Learned and Professional Society Publishers) drinks on Tuesday. She would like to thank them for organising such a good networking opportunity!

Seminars

There were too many excellent seminars to name all of them, but here are some of our highlights:

Anna went along to the Society of Young Publishers seminars on Getting Into and Getting Ahead in Publishing. These seminars were broadcast live on Facebook and if you missed them, you can still watch them here. They simultaneously launched their new mentoring scheme, SYPinto – find more information here and get your applications in quickly! The main take-aways from the seminars were: tell the recruiter why they should hire you, don’t include irrelevant or negative things and the cover letter is as important, if not more important than the CV. Networking and making contacts is the thing and that’s partly what LBF is about!

Helen went to the seminar ‘Academic Research: How Free Should it Be?’ It was very interesting and opened her eyes to the complex drivers behind Open Access (OA) publishing and the complexity of the issues surrounding it, including the differing perceptions of OA in different markets. For example, Indian researchers are generally suspicious of OA but China tends to have less of a problem with it and will be happy to go OA with a prestigious brand.  It’s a complex global picture and the lines of communication between publishers and researchers are not always clear, which leads to difficulties.  Researchers often take a narrow view and are focussed on how publishing affects their funding but publishers have an overarching view of the complex issues and other drivers of the change to OA, so they aren’t always “on the same page” and that is a challenge that needs to be addressed.

From Academic to Children’s publishing: Ellie was particularly excited to see one of her childhood heroes, Jacqueline Wilson. She went to listen to her give a great question and answer session, where she spoke about the challenges and rewards of writing about children from disadvantaged backgrounds who experience very difficult situations. She also talked about returning to old characters (as in her new book, My Mum Tracy Beaker) and the new challenges facing children growing up today compared to when she first started writing. Apparently she finds it much more difficult to write a text-message conversation than an in-person one!

On a more serious note, Claire went to the talk on ‘A Bookish Brexit’, which covered ideas on what the international publishing community might expect from a post-Brexit UK publishing industry and what policy positions the UK will need to adopt. The Publisher’s Association released their Blueprint for UK Publishing which you can see here.

Claim to fame…

Our very own Senior Recruitment Consultant Claire Carrington-Smith was featured in the Bookseller Daily on the Wednesday for ‘My Job in Five’! If you missed it you can see it again here.

 

Let us know what your favourite part of the London Book Fair in the comments below. Or contact us on any of our social media: TwitterFacebook, LinkedInYouTube or Instagram.

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How to Have a Successful London Book Fair

With less than a week to go until the start of the London Book Fair 2018, here’s a collection of our top tips so you have a fun and successful time. These suggestions are aimed at first-timers, whether you’re coming as a student, job-seeker, intern or first-jobber, but it’s good to keep them in mind no matter where you are in your career.

  • Wear flat shoes

    You might be tempted to wear heels, but trust me, you will regret this decision. The Olympia is huge, and you are likely to be on your feet all day. Dress code varies according to the sector you’re in, but you can’t go wrong with business casual. Your old gym trainers are probably a no-no, but a clean pair of flat shoes or boots will be fine.

  • Plan your time in advance

    You might have meetings booked or be required to be on your company’s stand at certain times. Check the list of seminars in the programme so you have a rough idea of the things you don’t want to miss. There’s so much on and it’s such a big venue that you’re bound to miss things otherwise.

  • Plan some chill-out time

    It will get exhausting walking around all day, so plan some time to yourself so you can sit down and have a cup of tea or some lunch. If you are nervous in crowds, plan somewhere you can go to escape for a while if you get overwhelmed. This is close to impossible in the venue itself, as the bathrooms and cafés are packed all day, so plan in advance somewhere you can go nearby. This is a tough event for anyone prone to anxiety in crowds, so be prepared and look out for friends and colleagues who might be struggling a bit.

  • Bring a portable phone charger

    It goes without saying – you don’t want your phone to die halfway through the day. Download the Book Fair app for a convenient map and timetable of the event, and stay up to date on Twitter by following the #LBF18 hashtag. Take photos! Take pictures of stands you like as a reminder to yourself, or share them on social media.

  • Come to the Careers Clinic on Thursday

    Remember to bring your CV if you’re coming to this event. Two of our consultants, Alison and Christina, will be at the clinic along with other publishing HR and recruitment professionals, ready to answer your questions and offer advice. This is the place to go if you are job-seeking. Other people around the fair and on stands are not there for recruitment purposes so it’s best not to go around handing out your CV outside of this event.

  • Remember to stay hydrated!

    Bring a bottle of water (and maybe a snack if you’re super organised). It’s very easy to get hot and dehydrated, and queues are long and prices high at the cafes.

We look forward to meeting you there! Keep in contact via our Twitter or come along to the Careers Clinic. Also see our previous blog post about What to Expect at the London Book Fair.

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Kayleigh Pullinger: Interview with a Book Designer

This is an interview with Kayleigh Pullinger, Designer at emc design. emc design is the largest design agency dedicated to book publishing in the UK. Kayleigh joined emc in 2017 after earning her designer’s stripes in the big city. Although new to book design, she is excited to learn new skills and over the moon that she can now spend more time with her lopsided pet rabbit (Bobbity) instead of commuting.

1) How did you start your career? And do you have any tips for people wanting to cross over from graphic to book design?

My first job was working as an in-house designer for a charity, followed by two jobs working for design agencies with clients varying from independent start-ups to big FTSE100 corporates.

My tips to those who’d like to cross over from graphic design to book design would be to familiarise yourself with inDesign as much as possible, and brush up on your basic Photoshop skills. Knowing the software that you’ll use day in day out will speed you up and free some headspace for getting creative with the realia (realia is the term used for images on the page, used to illustrate a language learning point). Start looking at the world around you, which, as designers, you probably do anyway. Take notice of how websites work, what makes an online article look different to one in a magazine? Study the pizza menu next time you’re out and about and make a mental note of how the menu is designed. All these little things help in really unexpected places.

2) What are your favourite and least favourite parts of your job?

My favourite part of my job is definitely styling realia, closely followed by a good stint of text formatting. I love how quickly you can go from a completely unstyled page of text to something visually engaging. I have to say that my least favourite part of my job is checking my own proofs, as I’m terrified of missing a big blunder.

3) If you could travel five years back in time, what advice would you give yourself?

Don’t panic if what you’re doing feels unfulfilling at the time, it’s all a learning curve, and eventually you’ll end up doing something that engages you properly. Take your time over every job, no matter how small. Get off the internet and go out into the world more, to museums and galleries and concerts and even just down the road.

4) Who do you admire and why?

Jessica Hische is my hero. She’s a lettering artist and illustrator, which is a far cry from what I do, but her career path and drive inspire me. She also keeps a lot of personal projects on the boil, which I think really helps keeps your creative cogs oiled. Oh, and she can code too!

5) Will you be at London Book Fair and if so, what are you most looking forward to? 

I won’t be personally this year, but some of my emc design colleagues are going down, so feel free to say hello to John and Ben.

Bonus Q: What book characters would you invite to your fantasy literary dinner party?

Being a child of the Harry Potter generation, I’m definitely inviting Albus Dumbledore, Luna Lovegood and Dobby. Let’s also throw in Anne Elliot, Lyra and  Marvin the Paranoid Android to mix it up a bit.

Thanks Kayleigh for taking the time to answer our questions! You’ve made me want to try my hand at book design now…

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