Monday, 18 June 2012

Hachette is launching a new commercial fiction imprint called Redhook

Hachette is launching a new commercial fiction imprint called Redhook within its Orbit unit. Redhook will release its first title, a historical epic by Robert Lyndon called Hawk Quest, in April 2013. Tim Holman, senior v-p and publisher of Orbit, said the new imprint will complement the existing categories at the division which, in addition to sci fi and fantasy, also include, under the Yen Press banner, manga and graphic fiction.

Holman elaborated, saying that Redhook will "help us grow the division and broaden our business and consumer relationships." HBG said that new hires will be made to staff up the imprint which, in the beginning, will be publishing only one or two titles a month. It will publish in all formats, including digital-only titles.

Friday, 15 June 2012

Pan Macmillan has restructured its senior management team

Pan Macmillan has restructured its senior management team, appointing Jeremy Trevathan to the new role of publisher for Macmillan Adult Books, across both fiction and non-fiction, and giving Geoff Duffield the post of creative director.

Trevathan, previously fiction publisher, will head up Pan Macmillan's entire adult publishing, with Picador publisher Paul Baggaley and non-fiction publisher Jon Butler both reporting into him. Mantle publisher Maria Rejt will continue to report to Forbes Watson.


Duffield, previously group sales and marketing director, will become creative director, with responsibility for author brand development internationally across Pan Macmillan's adult and children's publishing, to drive sales in all markets. He will add design to his brief, with art director James Annal reporting to him.
Duffield will retain responsibility for UK sales until UK sales director Anna Bond returns from maternity leave in September, when she report into Forbes Watson.

Meanwhile, Sara Lloyd has been appointed to the new role of digital and communications director, adding marketing, publicity and external communications to her present digital leadership role.

International development director Jonathan Atkins becomes international director, with responsibility for international sales and business development. Atkins will be the primary contact for Pan Macmillan's sales operations in India, Hong Kong and South Africa, while heading up its international sales operations and working with Pan Macmillan sister companies in Australia and the US.

Macmillan Children's Books publisher Belinda Rasmussen will take on added responsibility for Kingfisher and will integrate the MCB picture book design team into the illustrated publishing unit.

Lara Borlenghi will succeed Jane Carlin as finance director, moving from her role as finance director of BBC Worldwide's brands, consumers and new ventures division. She will join Pan Macmillan at the end of the summer, with Carlin to move to Macmillan Education.


New roles across senior team in Pan Mac restructure:

Thursday, 14 June 2012

Curtis Brown has restructured its top management

Curtis Brown has restructured its top management, with c.e.o. Jonathan Lloyd moving to the role of chairman of the agency, while Jonny Geller becomes joint chief executive officer alongside theatre, film and TV agent Ben Hall.

Geller and Hall will chair a management board of senior agents across the departments, with Colin Lewis joining as finance director. Geller, named Literary Agent of the Year at the 2012 Bookseller Industry Awards, will remain head of the agency's books department.

The agency, which covers books, translation rights, theatre, film and TV, actors and presenters, is also putting in place a new share ownership scheme, meaning that all agents will have "a shareholding of some degree", said Lloyd.

The agency is also planning to "broaden the scale" of Curtis Brown Creative, the agency's creative writing course, which is headed by Anna Davis. Lloyd said more details were to follow on that in the next month, though he said: "It's been hugely successful, and there is a lot of scope for us to expand that in all kinds of different directions."

The agency has also made further investment in its production company, CUBA.

Read full artice here: 'Next generation' steps up at Curtis Brown:

Tuesday, 12 June 2012

Hay Festival founder Peter Florence insisted that it was “what’s in the book” that was important, not the format

Speaking at the festival to The Bookseller’s sister publication We Love This Book, Florence also predicted the digital revolution would make publishers more relevant as a filter mechanism to help consumers choose the best works to read. “Publishers will become more valuable in a digital world because where there are no limits to who can publish, the idea of tastemakers—people whose imprimatur as publishers and supporters of a particular library of writers who can guarantee quality—will be absolutely vital,” he said.

Florence also used the interview, in the 25th year of the event he founded with his father Norman Florence, to dismiss literary journalism as a craft of the past. “All sort of other arbiters will also come into play. The people that nobody trusts is the journalists. Literary journalism is so devalued that it's been replaced by—and I think this is rather a good thing —it's been replaced by people who love books and who want to share books that they love. Nobody wants to read about somebody bitching about somebody they’re not as talented as,” he said.

The full interview with Peter Florence including other features and analysis from Hay can be viewed at www.welovethisbook.com.

Thursday, 7 June 2012

Majority of self-publishing authors don't make enough to live off earnings

Self-published writers who have an agent, or who use the DIY route to get a traditional deal, earn much more than the average self-published writer, according to a survey of more than 1,000 self-published writers. But only a minority (less than 10%) make enough to live off their earnings.

The survey, conducted by the Australian publisher and authors’ services business Taleist, found that just 97 of the 1,007 respondents indicated they could live exclusively off their royalties. In fact, half the respondents failed to reach $500 in royalties in 2011, with a quarter of the books facing the prospect that they will not cover their production costs.

On average, the respondents earned just over US $10,000 from their self-published books in the year. However, the survey also found that a “two-track economy” existed, whereby a small group of self-publishing authors were earning about 75% of the reported revenue. Two-thirds of these “top earners” were women, and though they are roughly the same age as the average self-published writer (roughly 40), the data showed that they had been taking writing seriously for slightly longer than the rest of the group.

Nearly three times as many top earners had an agent (29% as compared to 10%), but most did not. While having an agent was not a necessity for the majority of self-published writers—even those who earned the most money—the survey found that having an agent was associated with earnings more than three times higher than unrepresented peers.

Other keys to success included making a book trailer, investing in proofreading, editing and cover design, and being over 40. Romance writers also did better than science-fiction, fantasy or literary fiction writers.

Authors who had once been traditionally published, or who had never been rejected by a publisher, also tended to fare better, lending support for the argument that traditional publishers are decent arbiters of quality after all. Those who were rejected by traditional publishers were the lowest earning of the respondents.

Read more:.Self-publishing: 'under 10% of authors earn living':

Tuesday, 5 June 2012

Granta Magazine in search for Best of Young British Novelists

 Granta Magazine has opened submissions for the fourth edition of the Best of Young British Novelists list, which will be announced at the London Book Fair on 15th April 2013.


To be eligible for the 2013 list, candidates must be under 40 as of 18th April 2013, when the issue will be published. They must either have a book contract for a work of fiction, or already have a book-length work published. They must also have a British passport.

Granta editor John Freeman said: "There's never been a crystal ball about the literary future quite like this list—but there's more to it than literary gambling. I think the novel as a form has always told us as much about society as it does about art. What's next isn't just news, it brings us the news about how we live."

Agents and publishers are able to submit as many authors as they like, with each submission to include seven sets of the author's work to date, as well as an unpublished text to be considered for the issue itself. Submissions close on 15th September 2013.

In November 2010, Granta launched Best of Young Spanish-language Novelists, its first Best of Young . . . edition to publish works in translation. In November this year, it will launch the Best of Young Brazilian Novelists.

Friday, 1 June 2012

Amazon clamps down on junk content and poorly formatted books

Amazon is clamping down on the types of content that can be sold on its Kindle platform by authors and publishers.

In a note posted on its Kindle Direct Publishing forum, Amazon said it that it would no longer "accept content that is freely available on the web unless you are the copyright owner of that content".

Amazon said it would continue to accept public domain content, but said it may not allow it to be sold if "its content is undifferentiated or barely differentiated from one or more other books".

The moves may reduce the amount of so-called junk content self-published on the Kindle platform, much of its derived from public sources with no obvious copyright owner. But it could also hit those publishers who legitimately publish public domain, or out of copyright texts. It is not clear how Amazon defines "undifferentiated or barely differentiated" works.

Amazon also said that it would not accept books that provide "a poor customer experience", adding: "Examples include poorly formatted books and books with misleading titles, cover art or product descriptions."