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CONTENTS
CONFERENCE COORDINATORS COLUMN
p. 3

PUBLISHING SERVICES
p. 9

CLOSING DEBATE: CROSSING BOUNDARIES

p. 16-17

OPENING DISCUSSION: GAME CHANGERS

p. 4-5

LCC MAP
p. 10-11

CHAIRS COLUMN
p. 18

BEAUTIFUL BOOKS
p. 6

PRINT PRODUCTION WORKSHOP

p. 12-13

TIME TABLE
p. 19

BEYOND THE TEXTBOOK

p. 7

CAREERS CLINIC
p. 14

INTERACTIVE AND SOCIAL READING

p. 8

NOTES
p. 15

COMMISSIONING EDITORS
ROSY LOCKE LOTTIE CHASE

WITH SPECIAL THANKS TO:

EDITORS
DINA PATEL DAN BELL

DESIGN
BIM HJORTRONSTEEN

CONFERENCE COORDINATORS COLUMN

I was very pleased to get involved with this years SYP Conference, especially at such a pivotal time for anyone working in, or in association with, the publishing industry. This annual conference will be a great space for a wide range of people to come together and discuss and demonstrate where we are and where we are heading. This years theme, Beyond the Book, summarizes the current mood of the industry perfectly. No longer do the forward thinking publishing companies want to be trapped in the traditional book publishing corner, but keep experimenting with cross sector collaboration and technological innovation. For example, in Publishing Services, we will hear how publishing companies have ventured into areas such as education and events in order to access a wider audience. Furthermore they are also utilising their experience as publishers to provide a more unique version of these services. In the Print Production Workshop we want to highlight how the printing aspect of publishing is still vital and thriving thanks to new digital technologies, creating the most beautiful printed products we have ever seen. I hope you will leave this conference inspired and excited about being part of this evolving industry.

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In coming up with ideas for Beyond the Book, one of the key themes we wanted to pick up this year was the diversity of publishing ventures, which makes ours such an eclectic and exciting industry. It was important to me as well that we highlighted parts of the industry that are often underrepresented, as they can sometimes represent the most dynamic change. It says a lot about the publishing industry that we can have a seminar like Beyond the Textbook, which focuses on digital innovation in educational publishing, next door to a seminar on Beautiful Books and the art of print. I have definitely enjoyed and feel privileged to have been a part of this conference. As always, the SYP is indebted to the support we receive from those around us, with particular thanks to all our speakers who have given up so much of their time to contribute to our event.

GAME CHANGERS

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GROUND FLOOR (MAIN LECTURE THEATRE) MLT

JULIA KINGSFORD
WORLD BOOK NIGHT CHIEF EXECUTIVE

Julia Kingsford began her career in marketing at Random House before spending several years in the broader arts and media at both the BBC and Barbican. Returning to books she joined Foyles, eventually becoming Head of Marketing, and in 2010 she chaired the brainstorming session that the idea for World Book Night came out of and left Foyles in May 2011 to become World Book Nights Chief Executive.

LAURA AUSTIN
E-BOOK MANAGER AT YUDU MEDIA

Laura Austin works as E-book Manager at YUDU Media, and is always on the lookout for trade and education publishers looking to digitise illustrated content for the web, tablets and mobile. Prior to this, Laura worked in publishing for 5 years in editorial, sales and marketing roles before co-founding BookMachine, a fast-growing community for the publishing industry.

SARAH TAYLOR
MARKETING ASSISTANT AT MATADOR

Sarah Taylor has worked at Troubador Publishing for over two years as the Marketing Assistant at Matador, the UKs leading self-publishing imprint of Troubador Publishing. She is also the Book Review Editor of The Self Publishing Magazine. Sarah works with self-publishing authors daily and is ideally positioned to talk about the evolution of the author services industry.

TREVOR KLEIN
HEAD OF DEVELOPMENT AT SOMETHIN ELSE

Trevor Klein is the Head of Development at Somethin Else, an award-winning content design company. Trevor runs the companys digital development portfolio working with broadcasters, brands and publishers including Transworld, Faber & Faber, Kew Gardens and Canongate.

The book publishing industry has been changing rapidly of late. A variety of game changers have left even the most extreme traditionalists pondering over the fate of the printed book. Readers have the option to pack over a 1000 books for their holiday with the help of a pocket sized device. Authors have the means to self-publish and bypass traditional publishing processes. Even videos and music are enhancing the reading experience. It seems self-publishing has become an overnight craze, with many authors now turning

their back on traditional publishing houses. Of course this method has its advantages and disadvantages, one of the biggest disadvantages being the lack of marketing material available. Could this change the way authors reach their target market? Now that e-books have allowed literature to become more accessible, the possibilities are endless for authors to reach out to their audience. Authors could publish short form e-books to bring in more revenue and publicise an upcoming longer piece of work. Writers may want to release teasers from their new book, perhaps

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snippets of information about the main characters. With so many books being converted and released in a digital format, what does the future hold for bookstores? Will the popularity of e-readers leave bookstores with more shelf space than theyd like? Of course the growing popularity of e-books doesnt necessarily have to mean the end of physical books. It could allow for print publishing to improve books in their physical form. Books could become more than another item on the shelf. The value of the illustrated book is in the visual presentation and for this reason alone many readers

will try before they buy in bookstores. Could illustrated and physical books hold the potential to revive bookstores? The industry has been evolving and with these changes developing quickly, it is difficult to predict what may be lurking in the future. Join us as we take a look at publishers, companies and individuals who have had a radical impact on the traditional publishing and bookselling landscape and attempt to answer some of the questions mentioned above.

BEAUTIFUL BOOKS
SIXTH FLOOR TOWER BLOCK: T601

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JOHANNA GEARY
SENIOR EDITOR AT THE FOLIO SOCIETY

Johanna Geary is the Senior Editor at The Folio Society, a publisher of fine, illustrated editions whose publishing list spans a range of fiction and non-fiction titles. Johanna works primarily on Folios childrens, poetry and myth titles.

UNKNOWN SPEAKER
TBC

As well as Johanna Geary, there will be another speaker, yet to be confirmed at the time of printing.

Physical books are quickly evolving to become artistic objects and items to be collected, as mass-market paperbacks become a thing of the past. With e-readers boasting the accessibility of a large quantity of books, it might be time for the physical book to flaunt its quality paper, striking illustrations, typography and high printing and binding standards. Now that e-books are becoming cheaper, it is highly likely that readers will expect a lot more for their money when they purchase physical copies. Books could potentially become aesthetic objects for the household and move in a different direction to the encroaching world of e-readers. This could be especially true as current e-readers are more suited for paperback titles and do not quite work for books that have been enhanced with illustrations. However, with various apps being developed and new e-readers emerging, books that currently do not work in a digital format may eventually find their online platform. Nonetheless, for the reader who enjoys the turn of a page and powerful illustrations that complement the text, printed books will continue to be the favourite over e-books.

readers will be looking for well made products, with added value and a long shelf life.
JOHANNA GEARY

BEYOND THE TEXTBOOK

SIXTH FLOOR TOWER BLOCK: T604

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ANDREA CARR
OWNER AND MANAGING DIRECTOR OF RISING STARS UK

With a catalogue and website boasting a wealth of award-winning books and software for primary and secondary schools - created with the aid of both teachers and learners - Rising Stars takes a direct approach to meeting the diverse needs of their market. Join Andrea to learn how to make content work as hard as possible for as long as possible, how educational publishers can maximise use of their assets through multiple channels and platforms, and how to avoid some of the pitfalls!

PEDRO MOURA
INTERNATIONAL SALES MANAGER FOR MACMILLAN PUBLISHERS

Having completed a Master of Arts in Publishing Studies, Pedro now travels the world promoting Macmillan English Campuss fantastic range of digital materials. Their blended learning course, for example, allows students the flexibility to study online within a controlled learning environment, as well as face-to-face with a tutor. Catch Pedro for an intriguing insight on the impact of the digital age in ELT publishing.

In the years preceding the rise of the tablet and the mass success of the e-reader, many of us would have had our first taste of digital publishing during education. Whether gathered around a CRT screen in primary school to marvel at the new Encarta 1997 CD, or downloading the latest academic journal from J-Store, technology played an important role in feeding our budding minds with knowledge. Given the need to make texts readily available to students alongside the constant need to keep pupils interested, it is perhaps not surprising that schools, colleges, universities and educational publishers were keen to embrace the possibilities of the digital age. With further developments such as blended learning, virtual learning environments, mobile learning and educational games, education has never before been more accessible. Beyond the Textbook is an intriguing focus on two educational publishers and how they are dealing with demands to produce content which can be customised and accessed online.

INTERACTIVE AND SOCIAL READING

SIXTH FLOOR TOWER BLOCK: T608

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ANDREW RHOMBERG
FOUNDER AND MANAGING DIRECTOR OF JELLYBOOKS

Jellybooks aims to help people discover what to read next with the aid of engaging visuals, the opportunity to try 10% of a book before purchase, and the means to send these samples to friends as a sharable link via Twitter, Facebook , Pinterest or email.

Our focus is entirely on how readers will discover books in the future...

JON INGOLD
CREATIVE DIRECTOR AT INKLE

Jon Ingold is a writer, games designer and former Cambridge mathematician. He is the co-founder of inkle, a company specialising in interactive narrativedriven projects for web and mobile platforms. Their recent projects include the rave-reviewed Frankenstein app, written by Dave Morris and published by Profile Books.

Interactive fiction is no longer just a catchphrase - its here and its alive, and its being well-reviewed.

With the explosion of users on various social media sites ranging from Facebook to Twitter, to new emerging sites such as Goodreads, interactivity between readers, authors and publishers has never been more important. A far cry from discussing the latest bestseller with the book group, technology has enabled individuals to review and recommend their reads to large audiences instantaneously. Whether or not instant reviews have a positive impact on a books sales is another matter. From Richard and Judys seasonal book clubs to the Channel 4 Book Club, readers now have the power to make a book a hit - this is something that everyone involved in the publishing process needs to be aware of. Interactive and Social Reading will consider how technology has enabled different reading experiences to emerge by looking at two new companies who are using technology to cater for an unprecedented level of interactivity.

Have these companies succeeded in enhancing their readers overall reading experience, or is technology encroaching on a traditional pastime?

PUBLISHING SERVICES
SIXTH FLOOR TOWER BLOCK: T606

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IAN ELLARD
SALES MANAGER AT THE FABER ACADEMY

Ian Ellard is the sales manager at the Faber Academy, a creative writing school run by the Bloomsbury publisher Faber and Faber. He spends his time at work talking to writers and working out ways to use what Faber has learnt over 80 years to help people on Faber Academy courses.

Faber Academy can only aim to get people to write the best book they can, in a way theyre completely happy with. Thats what we want to do. We want people to come away from a course saying, Yes, that was helpful, I feel more confident in communicating my ideas in my own way.

LEILA DEWJI
EDITORIAL DIRECTOR AT ACORN INDEPENDENT PRESS LTD

Leila Dewji set up Acorn Independent Press Ltd. in 2010 with her brother, Ali. A testament to their quality is that they are now used and trusted not only by authors at all stages of their careers but also literary agents such as: Ed Victor Ltd., David Higham Assoc. Ltd., Aitken Alexander Assoc. Ltd. and many more. Leila will be talking at the seminar about how the emergence of self-publishing has put the publishing process firmly in the authors grasp and they have the power to hand select the team they want to supply various publishing services and also what this means for the industry.

Declining book sales has meant that some publishers are looking to diversify their business models. From author events to classes, selling services are seen as another way of capitalizing on book content. Joining a writing class at a large publishing house allows writers direct access to professionals with a vast combination of expertise. It also provides an environment that welcomes writers to share their work. Perhaps what is most important about these new services is the flexibility it provides to writers who can finally navigate through some of the obstacles affecting that next bestseller.

Self-publishing has also allowed authors more choices and a great deal of control over the publishing process. Its now becoming easier for new talent to be recognised. Though these services in no way confirm a route to success, they at least allow more options.

MAP
GROUND FLOOR
(Main Lecture Theatre)MLT = 191Opening Debate Game Changers Closing Debate - Crossing Boundaries

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LONDON COLLEGE OF COMMUNICATION

ELEPHANT & CASTLE LONDON SE1 6SB TEL. 020 7514 6000 WWW.LCC.ARTS.AC.UK

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SIXTH FLOOR: TOWER BLOCK

T601 - Beautiful Books T604 - Beyond The Textbook T605 - Careers Clinic T606 - Publishing Services T608 - Interactive and Social Reading

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PRINT PRODUCTION WORKSHOP

THE LCC ARE LUCKY ENOUGH TO HAVE THEIR OWN PRINTING PRESS - A HEIDELBERG KORD 64 (640MM X 450MM) LITHOGRAPHIC SHEET-FED OFFSET PRESS AND OFFER ALL STUDENTS PRACTICAL WORKSHOP SESSIONS WITH MACHINE INDUCTIONS. THE PRINTING FACILITY IS AN OPEN ACCESS AREA WHICH ALLOWS STUDENTS TO USE THE ROOM FOR PRODUCING LARGE FORMAT, HIGH QUALITY COLOUR PRINTING. THE AREA IS SUPPORTED WITH AN UP TO DATE PRE-PRESS ROOM AND A COMPREHENSIVE PRINT FINISHING AREA. WITH YEARS OF INDUSTRY EXPERIENCE AND RELEVANT QUALIFICATIONS, PRINT MEDIA TECHNICIANS SCOTT HOUSE - IN CHARGE OF THE FINISHING AREA - AND TONY YARD - WHO RUNS THE LITHOGRAPHIC DEPARTMENT - HAVE KINDLY OFFERED TO SHARE THEIR EXPERIENCE AND TEACH US A FEW TRICKS OF THE TRADE. WED LIKE TO INVITE YOU TO JOIN US AND GET YOUR HANDS DIRTY (OR SIMPLY WATCH IN AWE) IN AN INTERACTIVE WORKSHOP WITH FASCINATING TALKS ON THE RELEVANCE OF THE PRINTING PRESS IN THE DIGITAL AGE, AND A TANTALISING TASK THAT INVOLVES ROLLING UP YOUR SLEEVES, THIS IS BOUND TO BE AN EXCITING SEMINAR.

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Up there with the wheel, the printing press is without a doubt one of the most important inventions in the history of humanity; forget social media, the printing press with moveable type the first incarnation of which was invented by Johannes Gutenburg of Mainz, Germany in the mid 15th Century was the true advent of mass communication. No longer was the learning of mankind reserved only for the elite. The printing press enabled information to be copied swiftly and on mass, increasing the volume of books whilst reducing the price. With the growing availability of printed texts came the circulation of many new ideas of the time: science, geography (through daring explorations), philosophy, literature, industry, commerce, political thought and religion (the press was a vital tool of the Protestant Reformation in Europe). Perhaps more importantly, the growing availability of books steadily increased literacy rates, leading to

a more intelligent and culturally aware populace. As demand for texts grew and the technology of the press advanced, the scope of information widened from poetry to school books, newspapers to cookery books. In short the printing press made knowledge and culture accessible to every home and for that we owe it a great debt. As we young publishers witness, embrace and sculpt the second major advancement in the distribution of information, the digital age, its all too easy to discard the press as a thing of the past. Yet while the digital age is often viewed as a threat to traditional publishing (for every 100 printed book sales at Amazon, 114 e-books are downloaded), new software has allowed for some of the most beautiful and innovative printed books that have ever graced our bookshelves. Though the e-book is a handy tool for any commuter, eliminating the risk of neck injury caused by lugging your hardback bestseller to and from work, for many of us the printed book

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maintains an allure second to none. There is something romantic about print; the beauty of a good publication sitting on a shelf like a Faberg egg, the indescribable smell of a new book hot off the press (yes, we all bury our faces into a new book and inhale deeply... and old books for that matter. In fact, a new book scent has just been released as a perfume) and the crisp turn of a fresh page to the lusty crinkle of an antiquarian showpiece. Bibliophiles of the world, unite! The internet allows us to publish material as quickly as it can be typed, which is undoubtedly an amazing and endlessly useful tool. However, this haste allows for mistakes, and on occasion, the instant circulation of poorly conceived thought. The numbers of e-books which we read that have unforgivable errors and typos makes you wonder if some stages are being skipped and we are relying too heavily on technology to catch errors before we upload. For a concept to reach the press takes great

time and reflection, arguably leaving less room for error. The two technologies offer their own inherent benefits, and as such, we hope that both will continue to co-dominate the market.

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CAREERS CLINIC
SIXTH FLOOR TOWER BLOCK: T605

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ESME RICHARDSON
PUBLISHING RECRUITMENT CONSULTANT AT INSPIRED SELECTION

Esme Richardson has been with Inspired Selection since July 2011 and deals with entry to mid-level vacancies across all areas of publishing, with a particular focus on STM and academic roles. Before joining Inspired Selection Esme completed a degree in Physical Geography with Science Communication and gained valuable experience at the BBC and the Science Museum in editorial and production positions.

LISA GILLS
PUBLISHING RECRUITMENT CONSULTANT AT INSPIRED SELECTION

Lisa Gills is Inspired Selections newest member of the team joining January this year. She is responsible for working with a range of junior and mid-level roles across trade publishing. Lisas background is in sales and account management, she was previously with Weldon Owen, part of the Bonnier Group, and has previously worked for Guinness World Records, HarperCollins and Random House.

SAMUEL COLEMAN
PUBLISHING RECRUITMENT CONSULTANT AT ATWOOD TATE

Samuel Coleman has an excellent track record of placing highly skilled, high calibre individuals into the publishing industry. He is passionate about investing time in understanding people to help them achieve their goals and evolve their abilities. Samuel strives for a personal, long term working relationship and works to promote a deeper understanding of the needs of both candidates and clients alike.

VICTORIA FLETCHER
GROUP TRAINING & DEVELOPMENT MANAGER AT HACHETTE

Victoria Fletcher works as part of the HR team and is the lead person on all things trainingrelated. Her role is a mix of project management, procurement of training solutions, facilitation and training, management development and coaching of junior staff, whilst looking after a strong internship and work experience offering. She has worked on Graduate Programmes, CV clinics within businesses and training managers on their interview techniques.

A demanding job market means that it is not enough just to have a good CV, as interviews are often one of the biggest stumbling blocks for those entering the publishing industry. Interviewing well is a difficult skill to achieve. It requires the ability to answer questions effortlessly, to avoid awkward pauses, to put your interviewer at ease, to seem confident and not arrogant. The list goes on.

Practice, however, is essential to a successful interview and thus SYP has invited HR professionals and recruitment consultants to provide attendees with mock interview sessions to help improve presentation skills. There will be a list of entry-level publishing jobs you can apply for and the chance to convince our expert panel to hire you. Come prepared and armed with confidence to perfect your interviewing skills.

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NOTES

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CROSSING BOUNDARIES
GROUND FLOOR: (MAIN LECTURE THEATRE)MLT

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ERICA WOLFEMURRAY
FOUNDER AND MANAGING DIRECTOR OF LOLA MEDIA LTD

A self-confessed ideas junkie, Erica identifies growth potential, spots unused intellectual assets ripe for exploitation, and recognises digital earning opportunities. With a career encompassing advertising, graphic/product design, licensing, TV and digital production, Ericas clients at Lola include UK Parliament, Harvey Nichols, a Technology Strategy Board consortium as well as many small businesses.

BOBBY NAYYAR
MANAGING DIRECTOR AND CEO OF LIMEHOUSE BOOKS

Bobby trained in publishing at Faber and Faber. He went on to join the marketing department at Little, Brown Book Group. In 2009, he founded his own publishing house, Limehouse Books. Since 2011, he has also been managing Equality in Publishing (Equip), which continues the project work of Dipnet.

GEORGE WALKLEY
HEAD OF DIGITAL AT HACHETTE UK

George is Head of Digital for the Hachette UK Group, where he is responsible for enabling and driving digital initiatives. He is a regular speaker at industry events, educational institutions and conferences around the world. George also sits on the operating board of BIC, and is an advisor to the REACT Creative Economy Hub.

WILLIAM HIGHAM
MANAGING DIRECTOR AT THE NEXT BIG THING

William is the Managing Director of The Next Big Thing - a strategic insight consultancy that helps clients predict future consumer behaviour - and is considered an authority on future trends. Williams clients range from BBC to Budweiser, HSBC to Hachett. His book, The Next Big Thing, explains how to get ahead of the social curve, and how to capitalise on that knowledge.

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Publish: From the Latin publicare, make public.

After a day full of beautiful books, interactive reading and mock interviews, we would like to invite you to round the day off with our debate on the hot topic of cross-sector partnerships. What we mean is collaboration between publishers and other industries, such as television and the music industry. Publishing could of course be seen as an umbrella term incorporating all creative media where content is prepared, packaged and presented to the public. There are those however that probably still see publishing in its traditional book and print manifestation. What does it mean for the publishing industry to see itself as print media translating into other media or is this definition becoming obsolete with the introduction of concepts such as content publishing? Does this mean that publishing companies should rebrand or just let the concept of what the publishing industry offers evolve naturally? How should publishing companies respond to these changes? Can different threads of publishing such as music, film and games, come together along with book publishing to create an improved picture for the reader? Are the various modes of publishing at risk of being victims of industry cannibalism or are they actually cogs of the same machine that can work together to create inter-media presence for some of our most loved titles? How often have you been asked which industry you would like to work in and your answer is the sweeping term publishing? Isnt it odd how we dont feel the need to specify that it is books/journals/digital publishing that we would like to work in? Is there a sense that book and journal publishing assumes a superior

stake in the term publishing when really there are many other modes of publishing available and we just assume that people will immediately relate the term to that of producing books? Perhaps thats just us being traditional, but it wouldnt hurt us to think of the industry as part of a broader picture, one that can be harnessed to target wider audiences and tap into new fan-bases. For some of you, music, film and gaming publishing might be more up your street and this debate will be a fantastic opportunity for all of us to find out how we, as young publishers, fit into the wider picture. As the phrase digital is moving publishing forward is repeated daily, it is hard to ignore that the various modes of publishing are starting to merge and the lines that used to be so definite between the sectors are becoming more blurred. We would be foolish to ignore the opportunities that are arising and we should all consider the intriguing and innovative avenues that are cropping up alongside our own fledgling career paths. There are so many questions to ask, and we do hope that you will have some that you would like to ask the panel. Either way it will be very interesting to see how this debate develops and which conclusions we come to. We are excited to hear what our speakers have to say about these and other related questions.

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CHAIRS COLUMN
The Beyond the Book theme gave us a lot of scope when planning our 2012 Conference. There was so much that came to mind when we delved into the theme, which will hopefully be further explored at todays conference. One area in particular that caught my eye was Crossing Boundaries, focusing on crosssector partnerships, which we are exploring in the closing debate. The length and diversity of the discussion it caused amongst us got me really excited for this debate, including whether cross sector partnerships are good, when theyre appropriate and how they should be conducted. What eventually became clear to me was that the issue wasnt about if cross-sector partnerships were a good idea, but rather what role a publisher should have in them. For instance, if you want music to accompany your title, what role does a book publisher have in publishing that? For me, a publisher should be as involved as possible, even to producing and publishing the work themselves. I view that the industrys aim is to find great content and make it available to a wide audience in the best format possible. My view that every project needs to be created in the best format possible for the content has strengthened during my time working for an e-learning company. Never is this more evident than when someone has taken content and applied it to a format in the presumption it will work than in the world of e-learning. You cant just take a video of a seminar, place it on YouTube and think thats good enough. In this case the content doesnt match the delivery method and so it needs to be altered to use the means of delivery best. And this is true in all sectors of publishing and with all formats available, both now and in the future. Working in the industry, we need to be able to realise how to deliver content through different formats effectively. This means preserving the message and integrity of the work and optimising the potential of the delivery method. My final message is one of thanks to Lucia and Julie for organising the 2012 Conference, and also to the InPrint team, who have worked hard to bring you this wonderful special edition. Enjoy your day!

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CONFERENCE TIMETABLE
10AM
DOORS OPEN

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1.45 2.30
SEMINAR 2

10.00 10.45
REGISTRATION & COFFEE

2.30 2.45
BREAK

10.45 11.45
OPENING DEBATE: GAME CHANGERS MAIN LECTURE THEATRE

2.45 3.30
SEMINAR 3

11.45 12.00
BREAK

3.30 4.00
AFTERNOON COFFEE LCC FOOD COURT

12.00 12.45
SEMINAR 1

4.00 5.00
CLOSING DEBATE: CROSSING BOUNDARIES MAIN LECTURE THEATRE

12.45 1.45
BUFFET LUNCH FOR ALL DELEGATES AND SPEAKERS

5.00 7.00
POST CONFERENCE DRINKS LCC BAR

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