It used to be so simple. Months before publication, in retail chain head offices up and down the land, publishers and booksellers between them would decide on the range of books that constituted the Christmas bestsellers. Some negotiating, horse trading and promotional spend later, from early October through to 24th December, the books you would see front of store tended to be a permanent fixture. Whether they were selling particularly well or not.
Category Archives: Insight
Paul Sellars is a freelance copywriter specialising in cover copy in the publishing industry. He works with clients including HarperCollins, Penguin and whitefox.
Emily Labram is product manager at Bibliocloud, the next-generation publishing management system, and a Bookseller Rising Star of 2016. In her previous roles at HarperCollins, she created the Game of Thrones app that won FutureBook’s Digital Book of the Year. Her mission at Bibliocloud is to liberate publishers through automation so they can focus on the work that matters. Here she shares some valuable tips on automating your workflow.
We are pleased to reproduce this brilliant essay on typography’s evolving significance in a digital landscape by UX designer and typography enthusiast Matej Latin. Read on for an abridged history of typography and its changing relationship with humanity. This article was originally published on Matej’s blog A Day in the Life of a Designer. Among Matej’s other ventures is Gutenberg, a web typography starter kit that brings meaning and craftsmanship to web typography. Matej is originally from Slovenia.
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 asked longtime whitefox freelancer Jill Sawyer for some practical typesetting tips. Read on for advice from an industry veteran with a sturdy knowledge of the editorial and design aspects of publishing – a reliable resource for anyone who wants to begin a freelance typesetting career.
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.”
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.
Last month, we profiled a series of publishing freelancers and literary scenes thriving outside the pre-established centres of London and New York. London’s publishing industry, as evidenced by Stephen Page’s call to action at Derby University last month, is becoming increasingly aware of the need for an industry less concentrated in certain locations and on a certain demographic of people.
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.