We spoke to Jemima Hunt, an editor & literary agent at The Writers’ Practice. She represents authors of fiction and non-fiction, including two Sunday Times bestsellers, and has three books in development for film and television. She is a visiting tutor in creative writing at Lady Margaret Hall, University of Oxford. Spring 2017 sees the launch of a new six-week novel writing course at Oxford’s Story Museum, which she has co-founded with writer & broadcaster, Charlie Lee-Potter. More details available here http://oxfordwritingtable.com
All posts by John Bond
David Shelley joined Little, Brown as Editorial Director in 2005, after five years running the publishing at independent publisher Allison & Busby. Initially commissioning mainly crime and thriller novels and overseeing the audio and ebook lists, he became Sphere Publisher in 2007, then Little, Brown Deputy Publisher in 2009, and Publisher in 2011. Authors he has worked with include Mitch Albom, Mark Billingham, Dennis Lehane, Val McDermid and J.K. Rowling/Robert Galbraith. He was appointed CEO of Little, Brown and Orion in July 2015.
We spoke to Kay Hutchison, founder of Belle Media, a London-based independent publisher and production company, which she runs with fellow Director Richard Dikstra. Kay has a talent for developing large-scale, cross-sector partnerships, bringing teams together to deliver results and has held a variety of senior roles in TV – BBC, Channel 5, Channel 4 and Disney. Kay is also a leading figure within Tech London Advocates. She was born and brought up in Scotland and is currently writing her first book, My Life in Thirty Therapies.
Will technology ever become ‘learned’ enough to replace human intelligence in the publishing industry?
The English language is incredibly complex. Throughout the ages it has been enriched and challenged by thousands of writers, thinkers and speakers, and as a result it boasts one of the largest vocabularies in the world. But its advanced morphology and syntax create significant obstacles when it comes to artificially replicating the linguistic abilities of the human mind.
We interviewed Nick Lloyd, an independent author living in London. Nick loves writing stories with moral uncertainty, where a reader could take the side of one (or more) protagonists in conflict. His first novel, Emergence, was published on Amazon Kindle and has sold over 10,000 copies to date.
So when is a start-up no longer classified as a start-up? I remember hearing one entrepreneur pose such a question on a conference platform a few years back somewhere in London. And their answer? “I’ll finally say I don’t run a start up when I stop getting asked to speak at events such as this.”
Andrew Holgate has worked in the book trade his whole career, in bookselling, publishing and literary journalism. He joined The Sunday Times as Deputy Literary Editor in 1999 and has been Literary Editor since 2008.We interviewed him about reviewing books, the future of self-published work in the pages of broad sheets and the prevalence of good book editors in the UK.
We spoke to Carole Tonkinson, Founder and Publisher of Pan Macmillan’s Bluebird: Books for Life imprint, which focuses on self-improvement books. Before this, Carole was Publisher for Harper Nonfiction. She gave us a little insight on what she wished she’d known when she started, the massive success of Joe Wicks’ Lean in 15, and how magazine publishing affected her approach to book publishing.
Interesting to read last week about the positive financial results posted by Clays within the St Ives Group, and the increasing importance of self-publishing as more and more writers are interested in ordering physical printed copies of their books.
Digital still gets the pulses of those who would disintermediate racing. E = KDP = DIY success. But we all know how much more complicated publishing and spreading the word can be. Whether for marketing and PR or for selling wherever you are able, lots and lots of indie writers still want to feel a physical, professionally printed manifestation of their endeavours.
It is a truth universally acknowledged that all manuscripts, however accomplished the writer may be, benefit from a professional edit. But editing itself is not one single template solution to a problem. whitefox recently reached out to the wonderful NY Book Editors and we shared our respective experiences of what we think really matters to writers. It is about trying to match writers and editors. It is about finding editors who really care about their craft and their reputation. It is about knowing when writers are ready for the right sort of intervention. Good editing isn’t something you just pick up from doing a course. In the end, you have to get stuck in, gain experience and learn the nuances you go along. And know that what you do really matters to the new books you are helping into the world.