The magazine for the Society of Young Publishers

Summer 2008

Editorial

GettingAheadinUKPublishingCamille Poiré

LBF:AFirst-Timer’sPerspectiveAshwin Khurana

MeettheOxfordSYPCommittee2008

ADayintheLifeofGrahamMarksSarah Jones

FreelanceGlanceCharlie Wilson

UKYoungPublishingEntrepreneur2008Darren Fuller

SebastianFaulksattheOxfordLiteraryFestivalJo Godfrey

BookReview:Copy-editingbyBarbaraHornAilah Ahmed

Competition!

AWhirlwindRomanceEmma Murray

ABriefHistoryofPublishingFaith McDonald

BookClubForum:Boy AbyJonathanTrigellSerena Alam

AskRos:CareersClinicRos Kindersley

DatesforYourDiaries

Chair’sColumn

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InPrint TeamEditor: Daniela Nava Deputy Editor: Toni Din

Designer/Production Manager: Rebecca FoxSub-Editors: Alec Dubber, Ashwin Khurana, Toni Din

Oxford InPrint Coordinator: Faith McDonald

Contents

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HelloeverybodyandwelcometoanotherissueofInPrint.Hopefully by now you’ll have all recovered from the

excitement of the London Book Fair which is now only adistant memory. I’m sure you’re all fondly looking back,rememberingtheaching feetandsore throat, so ifyoufeelupforabitofreminiscing, lookatpages4–9.Thereyou’llfindanarticlededicatedtothewonderfulSYPseminarplusageneraloverviewofthefair. Feelingthatspringisintheairandloveisallaround?Thenturntopage26toreadEmma’sarticleaboutaverypeculiarlovestory–unfortunatelyonewithoutahappyending. If you’re self-employed and struggling to come to termswith theBritish tax system,don’tworrybecausehelp is athand.Go topage16andCharlie’s articlewillprovideyouwithawealthofusefulinformationandadvice. Anddon’t forget tohaveagood lookatpage24 forourvery exciting competition. It’s going tobe really good funanswering the clues to the crossword and if you’re luckyyou’llbethewinnerofouramazingprize:averyusefulbookoncopy-editingwhichisreviewedonpage22. Finally, I’d like to thank Tori Hunt and the group offreelancersfortheirinvaluablehelpinputtingtogetherthisissue.Ihopeyou’llenjoyit!Daniela Nava is full-time freelance editor, proofreader and translator. For more information visit www.thenakededitor.co.uk

Editorial

O ne of the SYP’s biggest events this year, the ‘Getting Ahead in UKPublishing’seminar,washeldon15Apriltocrownabusydayatthe

LondonBookFair.Turnoutexceededexpectations,andtheMarlboroughRoomsprovedtoosmall tohouse themore than120studentsandyoungprofessionals–membersoftheSYPornotyet–whocametopickuptipsonhowtofindtheirfirstjobinpublishingorhowtoprogressintheircareers.ThethreespeakersheretosharetheirexperiencewereintroducedbyAlisonBaverstock,alectureronKingstonUniversity’sPublishingMAandauthorof several illuminating books on publishing. She asserted the importanceofthiskindofeventinanindustrywhichoffersvarietyandflexibility,butoftenlackscareerplanningandinternaltrainingschemes. IainStevenson,directoroftheMAinPublishingatUCL,openedthetalkbyemphasisingthebenefitsofembarkingonapublishing-relatedMAintheUK(notnecessarilytheUCLone!),whichprovidesnotonlycomprehensivetrainingbutalsoopportunities forbuildinganetwork,whichcanincludeprofessionalguestspeakersaswellasyourpeers.Inthisrespect,apublishingcourseisequallybeneficialforpeoplelookingtogetstartedandforthosealreadyintheindustrywhoareseekingtoevolveintheircareer.Stevensonthenmovedontoenumeratewhatheconsidersthethreestepstosuccess:firstly,beflexibleandconsideralloptions–noteveryonecanbeaneditorforFaber,althoughthismaybetheirambitionatfirst,buttherearemanydifferentpublishingareasandrolesanditisbecomingincreasinglypossibletomovebetweendepartmentsandtypesofpublishing.Thekeyistoremainopen-minded.Secondly,developasenseofprofessionalism–astheindustryisbecomingmoreandmoreprofessional, it iscrucialnowadaystopossess

London Book Fair seminar: ‘Getting Ahead in UK Publishing’Camille Poiré reports back from the inaugural SYP event at LBF

�pageasuiteofspecialisedskills.Knowingwhata13-digit

ISBNisfor,orbeingabletoreadaccountingsheets,helps. Finally, you must build a network, and thisstartswithjoiningtheSYPandattendingevents:asStevensonsaid,thepeoplearoundyouthereareyourfuturecolleaguesandemployers! Aftertellingusaboutherowncareeranddifficultbeginnings, Ros Kindersley, the managing directorof the recruitment agency JFL Search & Selection,wentontodispensesomeverypracticaltips.Asweallknow,degreesarenotenough(evenwitha1st),andithasbecomeanabsolutenecessitytodeveloprelevantwork experience alongside academic qualifications.Aspiring candidates should also seize any otheropportunity to demonstrate their motivation andenhance their CV: join a book club, take part in alocalliteraryfestival,visitbookshops(andevenworkin one for a while, as this is a good way to know‘whatsells’).Beawareofthemanydifferentjobsonofferanddonotforgetnewonlineanddigital-relatedpositions.Astotheapplicationprocessitself,apolishedandthoroughlyproofreadCViscrucial,butthereisnoneedtomakeitanartisticmasterpiece:asimple,clear layoutisbest.Bewareoffancyemailaddresses– get a sensible, sober one. During interviews, aninterested and well-prepared candidate who asksquestionsandanswerswellstandsout.Alwaysfollowupwitha‘ThankYou’email,whichwillhelpyoutoberemembered.Onceyougetthejob,beproactive:promotions are not handed to you on a plate, theycome to those who deserve them. Oh, and forgetabout money – although salaries are slowly gettingbetter,youaredoing this for the loveofbooksandof the job, to contribute to education, culture andsociety,nottobecomeamillionaire! Last but not least, Jeremy Trevathan, PublishingDirector at Pan Macmillan, reminded us thatpublishingisahighlycompetitive industryandthata passion for books is not sufficient: one must alsobe business-oriented. Even an editor is constantlymakingbusinessdecisionsand‘betting’themoneyof

it has become an absolute necessity to develop relevant work experience alongside academic qualifications

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thecompany.Trevathanillustratedtheimportanceofflexibilitywhenhesaidthathehadmovedfromproductiontorightstoeditorial,andheconcludedwithadescriptionoftheperfectpublishingprofessional:adaptable,curious,adventurous,patientandamulti-tasker. Baverstockaddedawordabouttheimportanceofcollaborationwithyourcolleagues before a number of questions were addressed to the speakers.StevensonexplainedthatheappliedthesamecriteriaasinajobinterviewtoselectstudentsontheMAatUCL:mainly,agoodCVandevidenceofa genuine interest in publishing. His advice was to take advantage of allthetrainingopportunitiesyourcompanymightofferyouandofappraisalsessions with your employers to express your aspirations. Alternatively,changingjobsquicklyifyouareunhappyisfineaslongasitdoesnotbecomeapattern.Finally,all speakersagreedthatawarenessofwhat ishappeningdigital-wiseisaplus,butthathavingtoomanyITskillscanbedangeroussinceyoumightbecataloguedasthedigitalpersonandstuckinthisrole. After a talkwhichmost found very helpful and inspiring, the eveningendedwithdrinksandthechancetodosomenetworking…AndgoodnewscamefromtheLBForganisers–theSYPwouldbeallocatedalargerroomforitsseminarnextyear!

Camille Poiré is studying the Publishing MA at UCL

LBFspeakers:IainStevenson,RosKindersley,JeremyTrevathan

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Thelabyrinthofintersectinglanes,thehustleandbustleof

anxiouspublishersbumpingrudelyintotheheelsofmyfeetastheyhurrytotheirnextappointment,andlet’snotforgetthefashion…actually,onsecondthought,let’s.ThesearemyobservationsoftheLondonBookFairamerethreeminutesintoenteringthemassiveEarl’sCourtExhibitionCentre.Eventhepigeonsappearlost(howdotheygetinside?)astheyflaptheirwingsindrunkenunison,unabletofindawayout.Great,Imuttertomyself,nowIfacethechallengeofartfullydodgingrushingpublishersandbirdpoop. ThenIseeit,thelife-savingInformationPoint,andIknowallwillbefine.Armedwithaseminarscheduleandasenseofpurpose(towriteabouttheLBFinallitsglory)Ifeelequippedtotacklethisenormous‘rightsfair’head-on.Iamamanonamission,asIdancethroughthecorridorsofstylishstands,eachwiththeirownbrightlybeamingpersonalitiesencouraging

passers-bytostop,lookandchat…maybeeven‘doadeal’.Itaketheopportunitytobrowseandtochatwithsomeindustrytypeswhoworkinsalesandpublicityand,toalesserextent,editorial.Largecorporationsandindependentpublishersalike,allstandsarebuzzinginaflurryofactivityandintensenegotiations. TherearealsoanumberofstandsrepresentingArabpublishers,andtheyarethefocusofthisyear’sfair:2008recognisesthepotentialforArabauthors,classicandcontemporary,tofindareadershipinEnglish-languageterritories,andforEnglish-languageworkstobereadinArabregions. Awayfromthebusinessendof

The London Book Fair: A First Timer’s PerspectiveFrom 14-16 April, Ashwin Khurana is propelled into the world of the London Book Fair. Amidst the clamouring gaggle of publishers there is hope in the form of books and what they stand for: sharing knowledge and building partnerships worldwide

JeremyTrevathan

things,Iamequallyimpressedwiththevarietyoffascinatingpublishingseminars.Topicsincludedigitalmarketing,children’sclassicliteratureandsellingrights. Digitalmarketingisaboutharnessingthepowerofexistingtechnologiestopromoteandsellmorebooks,therebystrengtheningthepublishingbrandandincreasingaccessibilitytoaproduct.RosLawlerfromRandomHousediscusseshowMySpaceisusedtopromoteauthors’booksglobally.Asanauthorbuilds‘friendships’viathishugelypopularnetworkingsite,‘friends’canreadselectedexcerpts,inmuchthesamewayaswiththe‘SearchInside’facilityonAmazon.Thehopehasbeen,Lawlercontinues,thatthiswouldtranslateintobooksales,andithasindeed.Inasimilarfashion,FacebookandBeboareabletoacquireonlineuserdetailstopinpointpotentialbuyers.Theinteractivenatureofthesesocialnetworkingsites,wherebyyoucanshareinformationviawidgets,istransformingthewayonlinecommunitiesinteract.Personalrecommendations,starratingsystemsandblogshighlighttheimportanceWeb2.0usersplaceonnon-expertopinions.Myonegripe:nothingissaidabouttheprivacyimplicationsofsocialmedia(cynicsofFacebookunite),whichwouldfitneatlyintothescopeofthistalk. Otherwaysofusingnewdigitaltechnologiestoincreasesalesare

alsoconsidered.ElizabethMackeyfromMicrosoftspeaksaboutLiveSearchBooks,whichisabouttobelaunchedintheUK.Thisplatformgivespublishersanewmodel,sheexplains,forreachingcustomers.Aspublishers‘optin’toputbooksonthiswebsite,applyingrelevantandup-to-datemetadata(author,booktitle,ISBN,etc.),readerscanlocatewhateveritistheyarelookingforandbuyitdirectlyfromthepublisher,AmazonorWaterstone’s. Anotherseminarincludesabrilliantpaneldiscussionentitled‘RevivingGreatChildren’sLiterature:TheClassicsandBeyond’,whichillustratestheenduringpassionforclassicbooks,suchasTreasure IslandbyRobertLouisStevenson.JuliaEccleshare,children’seditorattheGuardianobserveshowabookcancreatealastingbondbetweenparentandchild.Yearslater,whenthatchildbecomesaparent,heorshemaysearchfortheirchildhoodfavouriteonlytofinditoutofprint.Withthisinmind,certainpublishinghouses,suchasPuffinandJaneNissenBooks,havebeguntorepublishbooksthatwereoncewellreceivedbuthavesincebeenoverlookedinthepushtomarketnewertitles. Anotherseminar,onthekeytopicofsellingrights,highlightssomeinterestingissues,includingtheagent’sneedforexcellentnegotiatingskillsandtoknowfrom

�pagetheoutsetexactlywhatmustbeachievedintermsofpaymentandcontract.

NicholasLom,amedialawyeratSimonsMuirheadandBurton,elaboratesuponthefineskillofdraftingacontractthatallowsforfurtherpaymentswhenthingsactuallygetdone,likepayingafilmproducermorewhenabookisadaptedsuccessfullyintoafilm.Inotherwords,payingtoomuchearlyoncannotguaranteeafilm.Adepressingthoughtforallbuddingagentsoutthere,butarealisticlessoninnegotiation. AttheendofthethreedaysIleavefeelingexcitedforthefutureofpublishingintheUK.WhenNujoomAlghanem,apoetandfilm-makerfromtheUAE,recitesherupliftingpoementitledAngelsofAbsence,allIcanthinkis:hereisavoicethatneedstobeheard,atalentthatcanshapethefutureofcontemporarypoetry.However,publishingisarisk-takingindustry–isthereapublisherintheUKthatcangivelifetoagreaterrangeofArabicliterature,andhelptheseauthorsfindaplaceamongstevermoresecond-rateautobiographiesbyC-listcelebrities?Well,Iliketothinkso.

Ashwin Khurana is studying the Publishing MA at UCL

Illustration‘Goingtothefair’byEddHorderwww.eddhorder.com

ChairJo Godfrey

JoischairingtheOxfordbranchin2008,havingjoinedtheCommitteelastyearasSocialSecretary.SheisaPublishingEditorworkingonHigher

EducationLaw textbooks atOxfordUniversityPress, andhopes toworkherwaytowardsbecomingaCommissioningEditor.Joenjoysthevarietyofhercurrentroleandhasmetsomeinterestingpeopleintheindustry.She’sparticularlylookingforwardtoDavidFicklingspeakingastheOxfordguestinJuneandtheannualpuntingtripinthesamemonth.AsChair,shehopestofacilitateacloserelationshipwithLondonandtoraisetheprofileoftheSYPinOxford.WhenJo’snotworkingsheplaysthecornetandflugelhorninalocalbrassband,aswellasfrequentlyvisitingfriendsinLondon.

Book Club Coordinator Emily McLeod

EmilyhascoordinatedtheOxfordSYPBookClubsinceautumn2005.Hercurrentrole is inalumnirelationsatTheQueen’sCollegeat the

UniversityofOxford.Emilyhopestobringsomeinterestingbooks,thought-provokingdiscussionandmaybeoneortwoauthorsalongtotheSYPBookClubinOxfordoverthecourseoftheyear.Butlefttoherowndevicesshetendstochooseobscure,lengthynovelsintranslation,socomealongtotheBookClubandfeelfreetohelpherpicksometitles!

Meet the Oxford SYP Committee 2008Introducing the hard-working team members that run the Ox ford branch of the SYP

11pageCo-Events/Social Secretary

Alan Crompton

Alan works as the Co-Events/Social Secretary with Amy Jacksonorganising themonthlySYP speakermeetings and social gatherings,

havingbeenamemberofSYPforsixmonthspreviously.HeisanEditorialCoordinator at Wiley-Blackwell in Oxford, working on Life ScienceJournals.InthelongtermAlanwouldliketomoveintoaproductionandcontentmanagementrole,workingontypesettingandlayoutsforacademictitles.Helovesthepeoplehemeetsinpublishing–consistentlyfriendlyandforeverpassionateaboutliteratureandpublishinginallitsforms–buthatesthemoney(don’tweall?!).Alanislookingforwardto‘TheReturnoftheComicBook’inJune,andhopestoorganisemanymorefascinatingspeakermeetingsfortheSYP.Heisalsoanaspiringmasterchefwithakeeninterestinworldaffairsandmovies.

Co-Events/Social SecretaryAmy Jackson

Amy is the Co-Events and Social Coordinator with Alan, and is anAssistantEditorfortheEnglishLanguageTeachingdivisionatOxford

University Press, working on coursebooks for Spanish primary schools.Amyhasworked inpublishing for less than ayear and she lovesher job,aswellasthecreativityinvolvedinpublishingandthefactthatit’ssuchavariedindustry.Organisingspeakermeetingsmadeherrealisethattherearesomanyareastotouchonthatthere’sprettymuchaplaceforanyonewithinthe industry. Amy hopes to make everything bigger in Oxford for SYPevents,andcanoftenbefoundprancingaroundinasillycostumeonstage!

InPrint Liaison Officer Faith McDonald

Faith has been a member since July 2007, and started working asProductionEditoratTaylorandFrancisintheautumnofthatyear.Faith

wantstolearnasmuchasshecanaboutallaspectsofthebookindustry,andreally enjoys her present roleworking on books on a variety of subjects.

Herfavouritepartofthejobisdealingwithwordsalldayandlearningnewthingsabout language,butshe loathescommutingtoworkfromOxford.She’slookingforwardtosomeofthespeakermeetingsAmyandAlanarecookingup,andsheherselfhopestobringinterestingcoverageandfeaturepiecestoInPrintthisyear.Shealsodoesn’tlikebeingupside-down.

Oxford Brookes Liaison Officer Claire Williams

Claireis thepointofcontact forBrookesstudentswhowanttoknowmore about the SYP, and she decided to join the committee after

attending the Careers Conference in November. Currently studying foran MA in Publishing at the Oxford International Centre for PublishingStudies atOxfordBrookes,hermaingoal for the future is tofinda job!Shewantstoworkinpublishingasshelovesbooks,butisnotsokeenonthislowpaythateveryonekeepstalkingabout.ShereallyenjoystheSYPspeakermeetings as they are a greatopportunity to learn aboutdifferentareasofpublishing.ClairehopestopublicisetheSYPnotjusttostudentsofpublishingatBrookes,butalsotostudentsofotherdisciplineswhomaybewonderingwhattodowiththeirdegree.ClaireisoriginallyfromthenortheastofEngland,andveryproudofit!

Publicity OfficerSophia Blackwell

Sophia gained her publicity experience by organising and promotingpoetry, cabaret and fundraising events. She hasworked in publishing

foralmostfouryearsandiscurrentlyaMarketingExecutiveatRoutledge.SheaimstobeafabulousHeadofEditorialorPR.Sophialovesthatpeoplein publishing are intelligent and genuinely passionate about their work,and loathescynicismabout the industryandthe fact shewillneverdrivea Porsche. She’s looking forward to the Careers Conference as it alwaysreaffirmsher faith inthe industry,and,asPublicityOfficer, shehopes topack out Oxford events and put more people in touch with each other.Sophiaisaperformancepoet,lovestodressupandreadsanythingshecangetherhandson.

13pageTreasurer

Kate Hind KatefirstmettheCommitteeatoneoftheinfamouspubcrawl/treasurehunts,procuringhercurrentroleafterafewdrinks.Despitethisshedoesaverygoodjobmakingsurewehaveenoughmoneytokeepdoingwhatwearedoing!SheworksatOxfordUniversityPressasProductionEditorfortheHistorylist,andhergoalforthefutureistobecomeaBluePeterpresenter.Kateloveshowsociablepublishingisasanindustry,andtheconstantopportunitiestonetwork,butloathesdoingindexes,andquestions‘aretheyreallynecessary?!’.Kateisreallylookingforwardtothepuntingparty,assheplanstodresslikeapirate,swigrumandshout‘yarr’atunsuspectingpassers-by.Herfavouritepastimesarereading,listeningtorockmusicandplayingboardgames,SingstarandGuitarHero.

Webmaster for Oxford SYPMichelle Brister

Michelle met the London Committee at the London Book Fair lastyearanddecidedtojoinupinOxford.Michelleisastudentstudying

Theology at university, and is interested in the publishing industry andbooks.She’snotyetsurewhethershe’llendupinpublishingandwhatsectorshewouldjoin,buthavingjustbeenacceptedonaone-yearMasterscourseshewillremainastudentforthetimebeing.DuringherworkexperienceatRandomHouse,sheenjoyedthechancetopreviewbooksandalsolikedthefriendlyofficeatmosphere.MichelleisparticularlylookingforwardtotheSYPConferencethisyear.ShehopestobringaslightlydifferentperspectivetotheOxfordCommitteeasastudentandsomeoneoutsidethepublishingindustry.

A Day in the Life of a Children’s Editor by Sarah JonesGraham Marks has spent his whole career working in Children’s Publishing and now writes young adult novels alongside being Children’s Editor for Publishing News

What is the best and worst thing about your job?Ihavetwojobs:thebestthingaboutbeingChildren’sEditoratPublishing NewsisthatIamtotallyanduniquelypluggedintothebusiness;theworstthingisthatittakesmeawayfrommyownwriting.Asawriter,thebestthingissellinganewidea;theworstisthenrealisingyouhavetowriteit.Thenthenextverybestthingiswriting‘TheEnd’,followedbygettingthefirstcopyofyourlatestbookinthepost.

What is the best piece of advice you can give to a budding Children’s Book Editor?Don’t be bullied by writers - never forget that there isn’t one alive whodoesn’tneedediting–butdon’tbullythemeither.Andifyoucangetthemtothinkthatthechangesyouwantweretheiridea,somuchthebetter.

What do you think are the biggest challenges to be faced by a Children’s Book Editor?Probablytheirauthors,followedswiftlybytheirMD–theformerwantingtoknowwhytheiradvancesweren’thigher,thelatterwhytheyarepayingsomuchforbooks.

Do you see the age-ranging of children’s books being introduced in the near future? Will it be a good thing?It looksverymuch like theChildren’sBookGroupof thePAwillget itswayandbringintheage-rangingplansthisautumn;althoughIdon’tthinkit’sagoodideaatalltoputanagerangeonabook’scover,Ihavenoproblems

1�pagewith ranging within the retail environment, which already happens in

someshops.

To what extent do you think the loss of the Nestlé Prize will lower the sales of children’s books?TheNestlé,orSmartiesPrizeasIstillthinkofit,wasthemosthighprofilenational awardANDitwasvoted forbykids. Itgarnered lotsofcolumninchesinthepressandgavetheindustrymuch-neededpublicity;Ialsothinkitwillbemissedbytheschoolswhichwereinvolvedinthejudging.Idon’tknowaboutlosingsales,butitwillcertainlybemissedandit’sagreatshamethatBooktrustdoesn’tseemtohavebeenabletogetanewsponsor.

How far do you think publishers tailor children’s books towards parents rather than children? Is it a positive thing?Attheyoungerages(pre-schoolandpicturebooks,etc.)youhavetotakethe parentsmuchmore into consideration because the intended audiencecan’tyetbuyforthemselves;abovethatage,whenkidsaremakingtheirownchoices,Idon’tthinkpublishersthinktoomuchaboutparents’views.

Do celebrity children’s book authors (e.g. Katie Price & Co.) thrill you or chill you?Neither.Theyarejustapartofthemix(ahigh-profilepart,butthat’sthewholepoint), andhavebeen around forever; some are better thanothers–Madonna’seffortsofmarkedlyhigherqualitythanKylie’s–andalmostallofthemhaveanextremelylimitedshelflife.

Essentially, what do you think makes a children’s book sell well?Thepackage:originalityofvoiceandidea,combinedwithsizeofmarketingbudgetandthenousofthePR/Publicity/Marketingguys.

Tell us an amusing anecdote about your job!Thisisn’tananecdote,moreofacomment,butIamconstantlyamusedbythedigitalpicturesIamsentatPublishing News:outoffocus,badlyframed,astonishinglydullandfeaturingtrulyvampiricred-eye–howcouldanyoneeverhavelookedatthemandhonestlythought‘thatwouldlookgreatinthetradepress!?’

Sarah Jones is studying towards an MA in Publishing at University College London

Freelance GlanceCharlie Wilson shows how tax doesn’t have to be taxing

Oneof themostcommonquestionsnewbieandaspiring freelancesaskis‘Howdoestaxwork?’.Thesubjecthasbeenonmymindthisweek

–notonlyhaveIjustcompletedworkonTax For Dummies,butI’vebeenmarkingtheendofmyfinancialyearbyspendingseveralhoursknee-deepinreceipts,invoicesandspreadsheets. BenjaminFranklinhitthenailontheheadwhenhesaidthereareonlytwocertaintiesinlife:deathandtaxes.Asmuchasyoumaydetestrecord-keeping,calculationsandhandingoverasinglepennytoHMRC,it’safactoflifeforafreelance.Thus,I’vedecidedtosharesomeoftheusefulthingsI’velearnedalongtheroadfromtaxduncetotaxdoer.

Get organisedIhave to confess, I’mabitof aMonicawhen it comes toorganisingmypaperwork. On rainy Friday afternoons, when I’m cross-eyed fromproofreading or wrestling with writer’s block, you’ll find me indulgingin Admin Hour, amid Excel docs, piles of paper and vibrantly colouredstationery. Creatingalogicalaccountssystem(andstickingtoit)makeslifealoteasier.Ifyourbookkeepingmethodisofthefile-invoices-and-receipts-down-the-back-of-the-sofa variety, beware. You’ll struggle to keep a grip on howmuchyou’reearningandspending,andonwhoowesyouwhat.Cometaxreturntimeyou’relikelytogointomeltdown,andifyou’reunluckyenoughtofaceanHMRCinquiry,thetaxmanwilldefinitelynothaveasenseofhumouraboutthechaosthatisyouraccounts.Failuretokeepadequateandaccuraterecordsleadstofines;it’sthatsimple.

Don’t get carried awayWhen you first go freelance, the freedom to offset business expensesagainst your income (thereby reducing your tax liability) can begiddily intoxicating. It’s easy to get carried away thinking aboutwhat you can ram through your books to bring down the tax bill. Thereality,however,isthatbusinessexpensesare’tthecushydealtheymay appear to be at first glance.HMRChas strict rules governingwhatexpensesyoucanclaim,and towhat levels.Forexample,because Iwork

1�pagefromhomeIcanclaimaproportionofmyhouseholdbills.Theoperative

wordhereisproportion–Icanclaimexpensesforaproportionofaroom,usedaproportionofthetime.Inreality,thisworksouttobeateeny,tinyexpense,andsavesverylittleintax.Mylastelectricitybillwas£50;Iwasabletodeductjust£1.33.Notexactlyataxsavingtogetexcitedabout!

Prepare for tax bills For me, one of the hardest things about freelancing is getting paid butknowingImustn’t touchsomeof themoney.Lifewas far simplerwhenIreceivedafter-taxpayeachmonth!Now,Imusthavetheself-restraintandsensetoputasideawadgeofmyincomereadyforthenexttaxbill. WhenIstartedout,Iwaswoefullynaiveaboutsuchtaxplanning.Formostofmyfirstyear,IspentwhatIreceivedfromclients.Then,towardstheendoftheyear,itbegantodawnonmethatI’dbeenspendingmoneythatdidn’tbelongtomeatall.Between20to30percentbelongedtoHMRC(andtheStudentLoansCompanyhaddibsonafurtherslice).

To top it off, I’d completely misunderstood HMRC’s ‘payment onaccount’system.ItwasarudeshocktodiscoverthatmyfirsttaxbillwouldcomprisenotonlythetaxIowedforthelastfinancialyear,buthalfasmuchagainasapaymentonaccountforthecurrentfinancialyear.

Sincethatfirstyear,I’veensuredthatIplaceaproportionofmyincomeintoahigh-interestsavingsaccount,readyforthenexttaxbill.Thatway,Idon’twakeupinacoldsweatintherunuptoataxbillbecauseIknowthemoneyisreadyandwaiting.Evenbetter,Imakeatidyprofitininterest.

Don’t think twice about getting adviceNooneexpectsyoutograsptheintricaciesoftheUKtaxsystemeasilyorovernight.However,gettingitrightisessential,especiallyif,likeme,youdoyourownaccountsanddon’thireanaccountant.Soyouneedtolearnhowself-assessmentworks,andgethelpwherenecessary.Thereareawealthofbooksandwebsitesonthesubject,andorganisationssuchasBusinessLinkcanhelp.HMRChaveplentyofhelplinesandonlinesupport,butdobeware:first,their‘help’materialsareoftenimpossibletocomprehend(theyspectacularlyfailtoembraceplainEnglish);second,whenyouaskHMRCforadvice,theywillalwaysgiveyouananswerthatleadstoyoupaying themaximumamountof tax that’s legal.Thegovernmentlaydowntaxlaw,andothersinterpretit.Therefore,yourbestportofcallifyou’restuckmaybeanindependenttaxadviser.If you have any questions about freelancing, you can email me atinfo@perfectlywrite.co.uk.

Charlie Wilson is a full-time freelance and her company is called Perfectly Write

After three days of intensive meetings, long walks around the vastexhibition spaceofEarlsCourtand intermittent stand-browsing, the

presentation for the British Council and London Book Fair’s second UKYoungPublishingEntrepreneur(UKYPE)award,heldonthelastafternoonofthefair,offeredrefugeandintroducedafinalburstofexcitementtothecollectedaudience. Thepresentationceremonyof thisprestigious awardwaspresidedoverbyAndrewSenior,HeadofCreativeEconomyattheBritishCouncil,whoexplained how the Young Creative Entrepreneur awards are designed tosupport anddrive growth in creative sectors,with theYoungPublishingEntrepreneurAwardacknowledgingpublishingadvocateswithexceptionalentrepreneurialskillsandtalent.EachshortlistedcandidatethisyearistobeawardedwithaguidedtriptoArgentinawheretheywilltouritspublishingindustryandattendtheBuenosAiresBookFair. The winner of the British Council/London Book Fair UK YoungPublishingEntrepreneur2008award(aBBIA/Nibbieaward)wasannouncedandEmmaHayley,PublisheratSelfMadeHero,tooktothestagetoreceiveherawardfromguestpresenterCherieBlair.London-basedSelfMadeHeropublishesgraphicnovels,includingaseriesofMangaShakespeareadaptationsandgraphicnovelversionsoftheclassicssuchasBulgakov’s The Master and MargaritaandKafka’sThe Trial. Thisyear’sentrantstotheUKYPEawardhadprovedstrongcompetitionforHayley,andsheexplainedaftertheceremonyhowdelightedshewasto

UK Young Publishing Entrepreneur Award 2008

Darren Fuller reports from the award ceremony at the London Book Fair

UKYPEwinnerEmmaHayley(right)withrunner-upTomChalmers

1�pagehavewon:‘Itisagreathonourtowintheawardandtogainrecognitionasa

smallindependentinthebookindustry.WeworkveryhardatSelfMadeHeroandtoreceiveanawardisahugeboosttoourmorale.Morethanthat, itwillmeanthatmorebigplayersintheindustrywilltakeusandourworkseriously. I think that it is also a boost to the graphic novel and mangacommunityhereintheUK,andtoalltheartists,writersandeditorsthatIworkwith.’ ThepublishingindustrytriptoArgentinaisalsogoingtoprovideHayleyandSelfMadeHerowithatimelyopportunitytoforgenewlinksinamarketwith which they are looking to work more closely. ‘SelfMadeHero hasnotdistributed its books inSouthAmerica, so I amverykeen to talk toArgentinepublisherstosellforeignrightstoourseries,’Hayleyexplained.‘Iwillalsobeinterestedtoseeinwhatway,ifany,mangahashitArgentina.And,ifasIsuspect,itisinitsinfancy,IthinkourMangaShakespeareserieswillproveattractiveforpublisherswantingtobranchoutintomanga.Iamalsokeentoseehowwemaybeabletoencouragetheuseofourbooksintheclassroom,andwhethertheuseofInteractiveWhiteboardtechnologyhastakenoffinschoolsthere.’ WinningtheUKYPEawardhasprovidedHayleyandSelfMadeHerowithbothprestigiousindustryrecognitionfortheirachievementstodateandauniqueopportunitytoinvestigateanewforeignmarket.Whenlookingtothefuture,Hayleyiskeentobuildonhercurrentsuccessandispreparingtoengagewithanissuethatiscurrentlyattheforefrontofeverypublisher’smind – the digital transition: ‘I plan to continue the production of ourprintedbooks–wehaveaprettyrigorousproductionschedule–butIalsowanttodevelopoureducationalresourcesforteachersandouronlinedigitalcontent.Thesewill be our twomain focuses outside of traditional bookpublishing.’

BritishCouncil&LondonBookFairUKYoungPublisheroftheYear08:FullShortlistTomChalmers(LegendPress)HelenConford(PenguinPress)EdFaulkner(VirginBooks)EleFountain(Bloomsbury)PoppyHampson(Chatto&Windus)EmmaHayley(SelfMadeHero)

Darren Fuller is studying the Publishing MA at UCL

Theopeningnightof the2008OxfordLiteraryFestival sawSebastianFaulks interviewedbySunday Times literary columnist, PeterKemp.

In a surprisinglyopen interview,Faulks spoke candidly about the secretsofwritingagoodnovelandabouthisauthorshipoftheforthcomingnewJamesBondnovel,Devil May Care.Althoughprimarilytheretopromotehisnewbook,Engleby,whichwasreleasedinmass-marketpaperbackjustdaysbefore,Faulkswashappy todiscusshisotherworks, includingbestsellersBirdsong andCharlotte Grayandtookavarietyofquestionsfromthepackedaudience in themarquee in thegroundsofoneofOxford’smost literarycolleges,ChristChurch. Engleby, a novel set in the present day, is somethingof a departure forFaulks, who is best known for his sweeping historical novels, usually setinFranceandgenerally inaperiodofwar.Askedwhyhehadpreviouslychosen to write about the past, Faulks noted the difficulty of writingsuccessfulnovelssetincontemporaryEngland–describingEnglishcultureas somewhat self-parodying. Faulks also noted that the secret of writingsuccessfully ina somewhatcrowdedsubjectarea, suchasWorldWarOneandWorldWarTwo,wastoaddanewpieceofinformation–somethingthatthereaderdidn’tknowbefore.Heillustratedthiswithexamplesofthebuilding of underground tunnels in Birdsong and French complicity withthe Holocaust in Charlotte Gray. When asked about the planning process

Sebastian Faulks at the Oxford Literary Festival

Jo Godfrey was present at an interview with the bestselling author

21pagefor a bignovel, such asBirdsong, Faulks likened the

processtothatofbuildingabridgeacrossalargeriver–atthestarthemakessurehehasestablishedatleastfive corepillarsof theplot, andduring thewritingprocesshefills in thegapsbetween them. Indoingso,hecanleavespaceforthecharacterstogrowanddevelopwiththestoryandallowtheplottodevelopmore spontaneously and less rigidly. Engleby was adeparturefromthismethodaltogetherasFaulksnotesthatthecharacterofMikeEnglebyessentiallywrotethebookhimselfandtheplotwasnotplannedfromthebeginning. TheliteraryworldwassomewhatsurprisedatthedecisiontomakeFaulkstheauthoroftheforthcomingnewJamesBondnovel,publishedtomarkthe100thanniversary of Ian Fleming’s birth. Somewhatcynically,Faulksnotedthatthebookwouldnothavegot such media coverage or public interest had theauthor been a more predictable thriller writer. InanotherdeparturefromFaulks’usualwritingstyle,hecompletedDevil May Careinjustsixweeksandnotedrather pointedly that, in a profession where manystruggletomakealiving,authorsareoftenforcedtodistinguishbetweenwhattheydoforloveandwhattheydoformoney. ThetalkconcludedwithquestionsandFaulkswasthenfreetosignbooksinthetemporaryBlackwellssetupatChristChurchforthedurationofthefestival.AsIleftInotedthatthevastpileofFaulks’booksthathadbeen thereat the startwas reduced tovirtuallynothing–a sure signof theenduringpopularityofoneofBritain’sbestsellingauthors.

Jo Godfrey is Publishing Editor on Higher Education Law textbooks at Oxford University Press

The literary world was somewhat surprised at the decision to make Faulks the author of the forthcoming new James Bond novel

“

”

Book Review: Copy-editing by Barbara HornAilah Ahmed

BarbaraHorn’sbookistailoredtowardstheaspiringcopy-

editor,proofreaderorstudentwhowouldliketofurthertheirunderstandingoftheeditorialprocess.AfamiliaritywithBSIsymbols(thesymbolsusedforcorrectingproofs)isrequired,butasidefromthis,asHornsays,‘nootherpriorknowledgeofpublishingisnecessary’. ThisbookhasdevelopedfromoneofthePublishingTrainingCentre’sprofessionalcourses–Copy-EditingbyDistanceLearning.Thisexplainswhyitismoreofa‘manual’thansomeoftheothercopy-editingbooksonthemarketthataredesignedforexperiencededitorstouseashandbooksorstyleguides.

Thoroughexercisesfolloweachchapterandthereare100pluspagesofmodelanswersthatcanbefoundattheback. Anintroductorychapterentitled‘TheCopy-editor’sWorld’explainsacopy-editor’sroleandtheirrelationshiptotheauthor,commissioningeditor,deskeditor,pictureresearcherordesigner.Whileproofreadersandeditorswithsomeexperiencecanskipthis,itisvaluableforanyonenewtoeditorial.Hornguidesthereaderthroughanoverviewofthepublishingprocess,fromassessingandacceptingatexttothecopy-editing,typesetting,proofreading,collationandindexingofproofs.Chapteroneisaboutmarkinguptextandcoversthehierarchyof

(Horn Editorial Books and the Publishing Training Centre, 2008)Paperback (435 pages) ISBN: 978 0 9553404 1 3 £45

23pageheadings,numbering,listsandsome

otherstructuressuchasquotations,poetryandepigraphs.Therearenumerousdiagramsandexercisesthatfolloweachexplanationandtheyareclearandfairlyeasytofollow.Thisisagoodstartingpointforsomeonelookingtobuilduptheirknowledgeandexperience. Theexplanationsandexercisesareallbasedonmarkinguponhard-copy.Horndoesnotgointodetailabouton-screeneditingtechniques.IfthisissomethingyouareinterestedinthenIwouldrecommendlookingatsomeoftheestablishedhandbooksorstyleguidespreviouslymentioned.Copy-editing isalsoforreference,withfurtherchaptersthatprovideinformationaboutcoversandbinding,whichisquitebasic,andtheninmoredetailaboutprelims–titlepage,imprintpageandgoodexamplesofcopyrightnoticeandmoralrights.Hornmovesontoendmatter–appendices,glossaryandnotesandreference.Asectionthatinformsonlegalissuesisagoodbasicintroductiontothetopicofcopyright,ownership,permissions,andinfringementandplagiarism.Again,thisisagoodstartingpointfromwhichtoresearchfurtheranddevelopyourunderstandingifyouwishtodoso. I’vebeenonanintensivethree-daycopy-editingcourseatthePTCwhichhelpedtoclearupsomeofthefuzzyareasinmyunderstanding.Icanrecalllearning

toeditarangeoftext–frompoetrytographsandtables.Itcanbequitechallenging,butisagreatwaytopractise.Hornhasdedicatedachaptertospecialisttextwhichshowshowtomarkup–indetail–plays,manualsandthetextincookerybooks,etc.Therearealsobriefparagraphsontheeditingofblurbsandjacketorcovercopy.Aseparateandlengthychapterisdedicatedtotables,technicalfiguresandcopy-fittingforeditingacademictext. At£45itisquiteanexpensivebooktobuy,especiallyifyou’reconsideringeditorialorpublishingasacareerpath.InthiscaseitmaybeworthlookingintothePublishingTrainingCentre’slistofcoursesorseekingitoutinalibrary.Ifyouarecurrentlyworkinginpublishingthenyoumaywanttorecommendittoyourcompany.Copy-editingisnodoubtausefultextifyouarelookingforagoodoverviewoftheeditorialprocessandaccessibleinformationaboutthetechnicalskillsandtheoreticalgroundingrequiredforcopy-editingorproofreading.

Copy-editingisavailablefromBookPublishingBookspriced£45.www.train4publishing.co.uk

Ailah Ahmed is Editorial Assistant at Tindal Street Press

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2�pageWin a copy of a new guide to editing

The Publishing Training Centre and Horn Editorial Books have justpublished a newguide for aspiring copy-editors. Copy-editing is normally£45,butwe’regivingawayacopyfreetotheluckywinnerofourcrosswordcompetition.Justsolvethecrosswordpuzzle(left)andyou’llfindthatthelettersintheshadedsquaresspelloutthetitleoftheOfficialMagazineofThe2008LondonBookFair.Emailthattitletoinprint@thesyp.org.uktobeinwithachanceofreceivingacopyofthisusefulbook.Thewinnerwillbedrawnatrandomfromallthecorrectentries.

Both a manual for aspiring copy-editors and a useful reference for thosewith more experience, Copy-editing offers guidance on how to hear thetext,checktechnicalfigures,suggestchangesandapplyappropriatestyles,impose consistency, and communicatewith authors andother colleagues.Thereisinformationonworkingonpaperandelectronicfiles,dealingwithcopyright and, of course, resolving troublesome grammatical problems.Each chapter includes exercises that let youpractisewhat you’re learningonmaterialdrawnfromdifferentkindsofpublicationsaimedatavarietyofreaders,fromchildrentoacademics.

Ihavejustcomeoutofawhirlwindrelationship. We met about

three months ago and it was loveat first sight. At first, everythingwas fantastic. I was flattered,complimented at every turn andgenerallymadetofeellikeaqueen.I told all my friends about thisnew relationship and they agreedthatIwasontoagoodthing.Inmyheart, I knew that it would workout;itjusthadto.

The courtship I am describingtook place between me and a fewmajorpublishers,andIcanhonestlysay itwas oneof themost excitingperiods of my life. So how did Iend up with the attentions of suchsophisticatedsuitors? Sixmonthsago,IgotacallfromLAfromawell-spokenchapaskingforhelpwritinghisautobiography.Iwasabitsuspicious–onlytheotherdayItookacallfromThailandfroma man in his seventies claiming hehad a bestseller on his hands – hewasanexpertinS&Mandwitcheryapparently.However,thisguyfrom

LAseemedperfectlygenuine.WhenI googled him, I found 1,420,000entries – news articles, interviewclips, documentary footage, theworks.Withmyexcellentpowersofdeduction,Igatheredhewasquiteawell-knownmediafigure;Ihadjustneverheardofhimbefore.

Over the courseof thenext fewweeks, I interviewed him twice.On some level, everyone thinkstheyhave led a fascinating life,butthis man had stories that made myjawdrop.IwasconfidenttherewasnothinglikethisonthemarketandIjustknewitwouldsell.Ihadtofindusanagent.

Thanks to the internet, TheBookseller and various SYP talks,I managed to put a half-decentproposal together and, tentatively,sentitofftothreeagents.Withinaweek,allthreecameback,wantingto take the book on. We werenow in the very fortunate positionofhavingtochoosebetweenagents.Eventually, we made our choiceand never had any doubt

A Whirlwind RomanceEmma Murray reflects on the highs of a fling and the heartache of rejection

2�pagethatitwastherightone.

Ouragentsentoffmyrevisedproposal totwelvepublishers; a mixture of majors and independents.Theyhadthreeweekstorespond.Within48hours,my worst fears were realised when four publishersturned it down. A week later, we heard back fromtwo more publishers; it wasn’t good news. Thewaitingwasunbearable.Inthefinalweek,weheardthat fourmajor publisherswanted tomeet us.Thiswaswherethecourtshipbegan:‘Welovethebook,’theytoldus.‘It’sfabulous,’theysaid.‘Thewritingisexcellent.’Andthemostimportantwordsofall:‘Weknowitwillsell.’

Welefteachinterviewecstatic,justaboutdaringtowhisper thosemagicwords to each other: ‘biddingwar’.Wereallybelievedthattheywouldbephysicallyshovingeachotheroutofthewayinthescrambletopublishthebook. Iwas in lovewith thewhole process.Already, Icouldvisualisethecover,seeitonthebookshelvesinWaterstone’sandsensehowitwouldfeelinmyhands.Nowallwehadtodowastowaitfortheverdict.

Afewdayslater,itwasallover.Notoneofthembidforthebook.Inshort,weweredumped.Idon’tthinkwordscandescribetheshockanddevastationofit.Forafewdays,agianttuboficecreamandmountainsofchocolateweremyonlysourcesofcomfort.

However,asIemergedfromtheblackfog,Ididseeabrightside.Myagentisgreatandweareworkingon a number of projects together. I also met somelovelypeopleinthepublishingworldwho,althoughtheydidn’tcommittothisbook,mightjustsayyestothenextone.

Relationships arehard,but I amconfident that Iwillfindtherightone,fallinlovewiththepublishingprocess all over again and, hopefully, next time, Iwon’tgetmyheartbroken.

Emma Murray is a freelance copy-editor, proofreader and ghostwriter. Her website is www.editingandbeyond.com

Already, I could visualise the cover, see it on the bookshelves

“

”

TheSYPwasdelightedtoseethereturnofClaireSquires

atOxford’sspeakermeeting.ThistimeClaireoptedforanenjoyablylight-heartedapproachtowardsabriefhistoryofpublishing,focusingonthedifferencesandsimilaritiesoveraroughly130-yearspan.Theaudiencewasshownaseriesofimagessidebysideandaskedtospotthedifference,andmanycuriouscomparisonsweremadebetweenthelateVictorianperiodandthepresentday.

ThefirstphotoswereofthetwoheadsofHarperCollins,pastandpresent:WilliamCollins,thesonofthefounderofCollinsthepublishers(whichlatermergedtoformHarperCollins)and

VictoriaBarnsley,theCEOofHarperCollinstoday.Claireusedthisexampletoillustratethegeneralshiftinpublishingfromdynasticfamilypublishingfirmstohugemultimediaconglomerates(HarperCollins,sheadded,isownedbyRupertMurdoch).Thistrendfromsmalltobiginpublishingisarguablythemostsignificantchangeofthepastcenturyorso.

ThenextpairupfordiscussionwasCharlesDickensandPhilipPullman.Someclearsimilarities–CharlesDickenswrotemanyofhisbooksinserialform,asdoesPhilipPullmannowadays.Iwouldhavethoughtthecommercialisation,adaptationforthescreen,andall

Oxford Speaker Meeting: A Brief History of Publishing

Faith McDonald reviews a talk from Claire Squires, head of the Ox ford International Centre for Publishing Studies

ClaireSquires

2�pagetherestofPullman’sworkmayhave

beenuniquetotoday’smarket,butevidentlyCharlesDickenswasahardworkingself-promoter.ClairediscussedhowmuchofDickens’workwasmerchandisedandadaptedforthestage,andexplainedhowheoftentravelledaroundthecountry,andeveninternationally,foradecentfee.TheexcitementsurroundingeachnewDickensnovelwasnotdissimilartothehubbubsurroundingthelatestJKRowling.Modern-daymarketingandpromotionofauthors,Claireconcluded,owesmuchtotheVictorianperiod.

AfterdiscussingtheestablishmentoftheSocietyofAuthorsinthe1880s,whichwentsomewaytoestablishingwritingasaprofessionaloccupation,andthebeginningsoftheliteraryagent’srole,Clairelookedatseveralexamplesofchangingtrendsinbookselling.WiththefoundingoftheBooksellersAssociation,andthepublicationofthetradejournalTheBookseller,thisbranchoftheindustrybegantoorganiseitself.ClairelookedathowbookstoreshavechangedoverthedecadessinceWHSmithfirstmadeanappearanceintrainstationsacrossthecountryinthelate1800s. Thelayingdownoftherailwayalsosawtheinventionofthe‘railwaynovel’.OneofClaire’sfinalslidesconsideredthesimilaritiesbetweentherailwaynovelandtheairportnovel.Serialisedandwith

eye-catchingcovers,thesebooksweredesignedspecificallywiththetravellerinmind.Theproductionofrailwayreadsisagoodexampleofhowthepublishingindustryrespondstochangesinsocietyandnewtechnologies.

ClaireconcludedwithasingleslideofRichardandJudy,offeringnocorrespondingslidebecause,really,thereisnothingtheycouldbecomparedto!Whilemodern-daypublishingowesmuchtoitsVictorianpredecessors,therearestillunprecedentedchangeshappeningtodayinpublishingandbookselling,suchasRichardandJudy’sBookClub.Ican’thelpbutimaginethefutureofpublishing,withalloftheexcitinginnovationshappeningatpresentintheworldofthewebandhand-heldreaders.Claire’stalkmadeitclearthatpublishersandindividual‘stars’withinpublishinghavemanagedtocreatealastinglegacywithintheindustrybyunderstandingitsplaceinsociety,andknowinghowtorespondtotheever-changingworldwithitsever-evolvingtechnologies.

Ifyouwanttofindoutmoreaboutthehistoryofpublishing,ClairerecommendsHistory of British PublishingbyJohnFatherandtheupcomingA Companion to the History of the Book,publishedbyBlackwellPublishing.

Faith McDonald is Production Editor at Taylor and Francis Books

Boy A,publishedbySerpent’sTail,isJonathanTrigell’s

debutnovel,andwaswrittenwhentheauthorwasonlythirty.ThebookhaswonboththeJohnLlewellynRhysPrizeandtheWavertonAward. Beforewehadevenstartedreading,wewerelikeningBoy A totwobookspreviouslyreadbytheLondonBookClub:We Need to Talk about Kevinand A Million Little Pieces.Havingbeenimpressedbythosebooks,welookedforwardtoTrigell’snovel. Aninitialthoughtwasthatthestorylineoftenseemedunrealistic.However,wewereveryimpressedbytheauthor’schoiceoflanguage,andfeltthathewasn’tshyinusingappropriatelanguageinconversationsinvolvingthebook’syoungercharacters.Ontheotherhand,Angela(thegolden-hairedvictim)cameacrossasbeingalittletooarticulateforsomeonewhowassupposedtobeonlytenyearsold. Oddlyenough,wewerequiteenthralledbytheminutiaeofthecrimethattheboyshadcommitted.Weneededtoknowwhattypeofknifehadbeenused.Wasitphysicallypossibleforsomeoneto

bekilledinthatparticularway?Perhapsthiswasourgroup’swayofdealingwiththetraumaassociatedwithsuchanabominablecrime. OnepersonsuggestedthatthestorywasreminiscentoftheJamieBulgercase,whichdisturbedthem.Itwasthenarguedthatthiscouldbeconsideredastrengthofthebook–itraisedissuesrarelydiscussedinsocietyandremindedusofpastnewsstoriesthatareindangerofbeingforgotten.TheambiguityofJack’sinnocence/guiltoffersconflictinganglesfromwhichtoviewthestory,withthepsychologist’sinterviewseeminglycontradictingtheimpressiongivenbymuchoftherestofthebook.SomeofusalsoconsideredBoyB(BoyA’s‘partnerincrime’)moreinterestingthanBoyA. Theauthor’sdecisiontomakeitunclearwhetherornotJackdiesattheendofthebookprovokedmixedresponses.Somewantedalltoberevealed,whileotherspreferredtheopen-endedness,whichleftthereadertodecidetheconclusionforthemselves.Allinall,thenovelwaswellwritten,withacompellingstoryline.

Book Club Forum

Serena Alam and the London Book Club discussed Boy A by Jonathan Trigell

Serena Alam is Assistant Content Coordinator at SAM Learning

31pageveritead

Ask Ros: Careers ClinicAdvice from the SYP’s favourite agony aunt

Dear Ros,I have been a Production Assistant with an academic publisher for a year now, but I am very keen on eventually doing editorial work in trade publishing. How common is it for people to move sideways in the industry in this way? I have a good degree, freelance writing and copy-editing experience, and I am a volunteer writer for a number of websites. I have also done some marketing work. I accepted the job in production because of a scarcity of editorial roles, but the subject matter interested me and I needed to start earning. My fixed-term contract is due to end soon and I would like to know what I can do to boost my chances of getting an interesting editorial role once I relocate to London.

Helle, Oxford

Dear Helle,

It is possible tomove fromonediscipline to another in publishing, but Isuggestyoupausehereandconsiderwhetherithastobeamovetoeditorial.Thereareavarietyofrolesinpublishingthatofferintellectualchallenges,creativityandtheopportunitytoshapeanddevelopabook.Thinkofrights,publicity,internationalsalesandco-editionsaswellaseditorial–whichcanrangefromproofreadinganddesk-editingtocommissioningandnegotiatingdeals. Iaminterestedinyourwritingskills,andwonderifyouhaveconsideredmovingintopublicationsorwebwritingandediting?Thisisafast-growingsector. Most large companies need talented writers and editors for theirwebsites, their internal communications, magazines and promotionalmaterial(onlineandprint).ThesecompaniesrangefromMarks&SpencerandUnilevertocharitiessuchasMacmillanCancerReliefandtheNSPCCandorganisations such as theBritishMuseum.These roles are oftenwell

33pagepaidandofferexcellentcareerpaths.

However,ifyouareconvincedthattradepublishingisyourvocation,IsuggestyoumovetoLondonandstartworkingforthepublisheryoumostadmire.Anddon’tworryifitisinproduction–ifyouuseyourinitiativeyoushouldbeabletobuildarewardingcareerinthedisciplineofyourchoice.

Dear Ros,I’ve done three work experience placements and I’ve just been offered a fourth. I’m not sure I should accept it, as I’m worried that too much unpaid work won’t look good on my CV. What is your advice?

Jane, London

Dear Jane,

Iassumethatyouarealsoapplyingforpermanent,salariedroleswitharangeofpublisherswhilegainingyourunpaidworkexperience.Myadvicetoyouistomakethisquiteclear,inatactfulanddiplomaticmannerofcourse,tothecompaniesofferingyouunpaidwork.Accepttheworkbutensurethatyouwillhavetheopportunitytoapplyforjobsandattendinterviewswithinthecompanyandelsewhere. In the meantime, use your initiative, be proactive, and make yourselfindispensable.Youwill gain confidence, skills and a networkof contactsaswellasexperienceandwillfinditmucheasiertofinda‘proper’salariedjob.Andyoumaywellfindthatthepublishergivingyouworkexperiencewantstoofferyouaroleasafullypaidemployee.Workexperienceisalwaysagoodidea,aslongasyouuseittoyouradvantage.

Ros Kindersley is MD of JFL Recruit Search & Select

34page

Dates for

your Diaries

For regular news on forthcoming events, please

ensure you are subscribed to our press emails. All the

events are regularly updated with the latest details on

www.thesyp.org.ukandtheSYPFacebookgrouppage.

Wednesday 25 June,

6.30pm

Londonspeakermeeting:Sales-HowtoKeepUpWiththeMarket

Monday 28 July, 6.

30pm

Londonspeakermeeting:TheAuthor’sPerspective-

First-timersandBig-timers

Saturday 2 August,

1pm

SYPSummerPicnic

Monday 1 September

, 6.30pm

Londonspeakermeeting:MarketingintheDigitalAge

Wednesday 17 Septe

mber, 6.30pm

Londonspeakermeeting:AlltheFunoftheFair:APracticalGuideto

Frankfurt

Wednesday 8 Octobe

r

StudyTour:LightningSource

Monday 29 October,

6.30pm Londonspeakermeeting:

Publicity-StayinginthePublicEye

Saturday 1 Novembe

r, all day event

SYPAnnualConference:Publishing2.0-TheReaderRevolution

Chair’s Column

What does it mean to be a Young Publisher these days? One thingI noticed at the London Book Fair was that everything was

digitisation-this and e-marketing-that, with certain doomsayers declaring‘thedeathof thebook asweknow it’ inQ&A sessions at every seminar.Itonlytakesacursoryglanceatthewaymusicmogulsclingmanicallytotheiroldwaysofsellingmusic,attheirveryliteralexpense,toknowthatthepublisherswholettheirreadersdeterminehowthey’llbuytheirbooks,oraccesscontent,willbethewinnersintheyearstocome.Butisthekindofthinkingneededtoembracethe‘digitalage’,astheywouldcallit,impossibleunlessyouarebornwithyourumbilicalcordpluggedfirmlyintoaniPod? Of course the answer is no. But it does bring to mind the recurringquestion I’m asked regarding the SYP:when do you stop being aYoungPublisher?Averyfinequestion,gladyouasked.Andtheanswershouldbenever.Ifyou’vebeeninpublishingforyears,decadesorsincethebeginningoftime,yourexperiencewillhaveshownthevalueoffreshapproachestoworking,includingthoseofferedbynewerrecruits.Sowhilethereisplentytheoldschoolcanteachuslessexperiencedpublishersabouthowtoedit/produce/publicise/sell a book, the self-styled ‘older’ publishers (the onesbraveenoughtoturnuptoourmeetings)seemtoappreciatethateventsrunbyyoungpublisherscouldwellbesomethingworthcheckingout.

How about a wholesome speaker meeting like the one we enjoyedthis month, on Production Ethics, i.e. how does our treatment of theenvironmentandworkersintheFarEast(andbeyond)stackup?Orperhaps,atourCanonTalesevent,you’re tempted towonderwhytheSYPwouldgiveoverastageforanightinJulytoadozenauthors,artistsanddesignerstomakethepointthat,despitetheongoingthirstforsalesfigures,publishingisstillacreativeindustry.InSeptemberwe’regettingdownwiththeMyFaceandBookTubecrowd,learninghownottosocial-marketisetimeandcashdowntheproverbialclicker.Andlookingahead…Staytuned;there’salotmoretocome.

Whatever strikes your fancy, andwhether you are a ‘YoungPublisher’orjustfeeltheurgetobeinspiredbyone,there’salwaysanotherchair(andwineglass)readytowelcomeyoualong.

Jon Slack is working in Sales and Publicity at Taschen UK