Today we said a sad goodbye to Alice, who has been at CVP/MM for a year since starting as an intern last February. In this post Alice reflects on her year with us and reveals what the future has in store for her…
So, sadly my time at Channel View has come to an end. It’s been a great year, having continued working here for seven months after my initial six month internship. This has therefore been my first ‘proper’ job since university and has set the bar high for anything to come!
When I started, Flo guided me through a number of jobs that I could take on – dealing with incoming emails to the info box, keeping our online database up to date, setting up 6 month P&Ls and various other tasks. Since then I’ve been handed other jobs here and there and taken on more responsibility with things like putting books into production and drawing up contracts.
Being in such a small office means I’ve also been able to see how things work and undertaken tasks in most areas of publishing: production, marketing, permissions, editorial and other bits and pieces in between.
There have definitely been a few highlights outside of ‘normal’ work too. Some things that have stood out are: going on days out to two of our printers, Short Run Press and CPI, as well as to the massiveGardners Books wholesaler; eating lots of delicious biscuits and cake; experiencing a ‘Channel View Christmas’; and being introduced to the local Pippins doughnuts at the Friday food market. Most importantly it’s been great working with a group of people that get on so well and have fun while working hard.
Now I am flying off for five months for a bit of an adventure, starting in Colombia and working my way up to Central America before heading to Southeast Asia. Who knows what will come after that, but I want to thank Channel View for having me for the last year – it’s been a great experience!
Thanks Alice for all your hard work and good luck on your travels!
With the welcome return of Elinor Robertson to our office next month after spending a year on maternity leave, we have taken the time to have a reshuffle of some of the main responsibilities within the business, and have a look at our job titles to make sure they truly reflect the work of each team member here at Channel View Publications/Multilingual Matters. With a small business it is natural that we all wear many hats, and so it is nearly impossible to get a single job title to accurately cover all aspects of each person’s work. What is more important is that when we present ourselves to our contacts outside the company, our job titles reflect the level of responsibility that we carry, so that our contacts know who to talk to about any given issue.
Elinor Robertson will be returning to her job in charge of all matters relating to marketing. As the most senior person for marketing, her new job title will be Head of Marketing. Because she will be coming back part-time, she will be passing on her role as Commissioning Editor for our series Aspects of Tourism, Aspects of Tourism Texts and Tourism Essentials to Sarah Williams so that she is better able to dedicate her time to marketing all of our books globally.
Sarah Williams will take on all commissioning for the Channel View Publications imprint, and with her job as the most senior contact for all production-related issues, her job title will be changed to Head of Production. Sarah manages our freelance production contacts and liaises with all of our suppliers, as well as setting our production strategy and quality values, so carries the responsibility for ensuring that our books are always of high quality, whether they are print books or ebook resources.
Flo McClelland, Anna Roderick and Tommi Grover will keep their current job titles as their jobs are not changing so dramatically:
Flo McClelland is our Marketing and Publishing Coordinator and runs all our social media accounts. She also works with our designers and authors on book covers and with Elinor in the marketing department on all matters relating to marketing and publicity. Flo will be coordinating the work of our incoming Publishing Intern (more to follow later) and you will also come across Flo more often at conferences in the future, so please make sure you say hello if you see her!
Anna Roderick is our Editorial Director and is in charge of editorial strategy for the business. The subject areas we publish in, and the editorial tone of the business, are a constantly-evolving work; although we naturally stay true to our core beliefs, it is important for us to branch out into new fields and it is Anna who searches out these areas and discovers the inspiration for our future publications. She also commissions everything that isn’t commissioned by someone else, and attempts to make the rest of the editorial department do their admin. Together with Tommi she is half of our board of directors, and shares the legal responsibility for the business.
Tommi Grover is Managing Director, and has day-to-day responsibility for all matters relating to finance and the legal side of running the business. He oversees the running of all departments to make sure where possible that each of the heads of departments have adequate resources and skills. Tommi will continue to attend major conferences and book fairs and has commissioning responsibility for our Linguistic Diversity and Language Rights, and CAL Series on Language Education book series.
This month we published Qualitative Methods in Tourism Research edited by Wendy Hillman and Kylie Radel. In this post the editors give us an insight into how the book came together, from the seed of an idea to publication!
Our book was imagined from an idea that there were no qualitative research books, or the juxtaposition between qualitative and quantitative methods, that is, mixed methods, in Channel View Publications’ Aspects of Tourism series. After much discussion with commissioning editors Sarah and Elinor, we finally put together a proposal for a book on qualitative research methods that are being used and adapted for tourism research. Putting together the original book proposal was relatively easy. However, the questions from the series editors were more difficult! While they liked the outline of the book, they asked us to provide a bit more information on what would be in each chapter; information about the author of each chapter; and, they asked us to include a chapter on mixed methods, as they felt that readers would want to know how the two diametrically opposed positions of qualitative and quantitative analysis could be brought together.
This was an exciting time for us as, although we had written book chapters before, we had never edited a book, or edited a book together. The commissioning editors had the patience of saints, as we took quite a long time to find others to write chapters, extract their details and bios (from some of them) and put this all into an acceptable format for the newly evolving and extended book proposal. We began by approaching some well-established researchers in tourism that we knew well, and asked them to participate in chapters. This way we were able to find authors for four chapters. We were to write the introduction, a chapter on grounded theory, and the conclusion ourselves. So, we were able to account for seven chapters of the book already – this was exciting!
At the next Council of Australasian Tourism and Hospitality Educators (CAUTHE) conference, we decided to approach early career researchers in tourism; those who had not long graduated with their PhDs, or were in the process of completing their PhDs. This worked really well, and gave the opportunity for up and coming researchers to get “a foot in the door”. We then had eleven chapters, plus the introduction and the conclusion. This meant that we had developed a book that would provide a valuable contribution to research methods in tourism; one that brings together traditional qualitative positioning with current applications in the field.
Along the way, at least one of the authors did nothing, wrote nothing and sent us nothing. This was very disappointing for us. And others also experienced life changes, work struggles, health issues and a new addition to their family. At the following CAUTHE conference, another researcher promised to write one of the (now) missing chapters for us. This went well until we asked for the draft and it transpired there had been a misunderstanding: the author said they thought we wanted a systematic literature review, when we had asked for a chapter on a specific qualitative research approach. We’re not sure what happened there! Anyway, we carried on, wrote the additional chapters ourselves, co-wrote a chapter with one of our research students, and finally got the book to completion. Again, the commissioning editors were very, very patient; and for all their help and extremely good dispositions, we truly thank you!!
While all this took a long time, we have ended up with an excellent product. We have produced a qualitative research book that is distinctive, informative, up-to-date and of value to researchers in any community, not just that of tourism and hospitality research. We hope you enjoy reading it as much as we enjoyed writing and editing it! Happy reading and researching!
This is the 500th post on our blog since it first began in 2011! We started the blog seven years ago, not long after our website was updated. In this post we reflect on the blog and share some special highlights and interesting facts with you.
Our very first blog post…
…was written by our Editorial Director, Anna, who wrote about the Mobility Language Literacy conference she attended in Cape Town in January of that year. Since then, we’ve published hundreds of blog posts: interviews with authors and staff alike, guest posts written by everyone from our sales rep to Tommi’s mum, blog series such as an A-Z of Publishing and Publishing FAQs, conference reports, authors introducing their new books, visits to suppliers, our thoughts on issues in the industry, such as Brexit and the pricing of ebooks…and much more!
The majority of people who read our blog are in the US and the UK, but we have readers all over the world, in 146 different countries!
In addition to this, Sarah and Anna, who joined the company within months of each other back in 2002, celebrated their 15 year anniversary working at CVP/MM. Of course, the occasion called for a blog post, and we published an interview with both Sarah and Anna looking back on their first days, biggest achievements and favourite memories.
Our blog was originally created as a place to share news, but it has become so much more than that. We hope that it gives readers an insight into what goes on behind the scenes and allows them to get to know us and the company a bit better. We look forward to the next 500 posts!
Every year in April and May there is a flurry of activity in the office as royalty processing season rolls around. It’s a very busy time for Tommi, as he makes at least 500 individual payments to authors and editors. In this post he answers some of the most common questions he’s asked regarding royalty payments.
How often will I get royalty statements?
Royalty statements are sent out once a year, and are calculated on sales to March 31st. Statements are usually sent at the beginning of May, once we have collated all the sales information.
How often will I receive royalty payments?
Royalty payments are made once per year. We start to make payments as soon as royalty statements have been sent, but with hundreds of authors to pay it takes us some time to work through all of these. We aim to have all payments made by the end of July, but this is not always possible.
What methods of payment are there?
We can pay by either bank transfer, PayPal or cheque. Bank transfer is the easiest for all concerned, although in some countries this can be expensive. We can normally arrange to make payment in your local currency – please contact Tommi if you would like to discuss this.
What information do I need to provide for a bank transfer royalty payment?
The information needed for bank transfers varies from country to country. If your bank is in the UK, we simply need your sort code and account number. For European bank accounts, the IBAN number. In most other countries, if you give us your account number, sort code (or routing code), BIC/SWIFT code where possible, and the name and branch address of your bank, we should have enough information to pay you. If in any doubt at all, contact Tommi.
I have received a cheque in pounds sterling, but my bank says they cannot cash it or it is very expensive to cash. What can I do about this?
We prefer to make payment by bank transfer, and will only pay by cheque in the event that you have either chosen to be paid by cheque, or you have not informed us of your payment preferences. If the amount is too small to cash, we can set your account to only pay once it accrues over a set amount. If you would prefer to be paid by bank transfer, please send us your bank details (see above). We will cancel the cheque that you have received and make a replacement payment by transfer. We do not like to have outstanding cheques on our account, so please do not simply throw the cheque away or ignore it. Instead, please contact Tommi to discuss your options.
Why didn’t I receive a royalty payment this year?
If you received a royalty statement, but have not received a payment, please check the following:
Is there a minimum payment on your account? This would be detailed on your summary statement as “minimum payment £XX”. We do not pay very small amounts, as bank fees and administration costs would be more than the payment is worth. On older contracts the minimum payment would be set at £25, but with newer contracts it is likely £50 or even £100. We can set this as high as you like, so if bank charges are particularly high in your country, please contact Tommi to discuss this.
Is the address correct on your royalty statement? If we do not have your correct address it is possible that your payment has been sent to an old address. Please make sure you update your contact details whenever these change.
Have you changed bank accounts since your last royalty payment? Please make sure you update us whenever you change bank accounts, so that we do not pay the wrong account. If our bank informs us that your account has closed, we will attempt to contact you, but with hundreds of authors to pay, this may take us a long time!
Have we mailed your office address? If we have sent a cheque to your office, it is possible that it has either got lost in the university internal mail, or if you work from home when students are off campus, you might find the cheque in your in-tray/pigeon hole when you return for the new semester.
If none of these answers fits, please contact Tommi and we can tell you whether or not we have made payment, and if so, what method we used.
Can my royalties be paid to someone else/a charity?
Yes. You can assign your royalties to another person or, should you wish to, you can assign your royalties to a charity. All you need to do is inform us who to pay, and how best to pay them. Our preferred method is payment by bank transfer.
What happens to my royalties if I die?
We normally pay your estate, if we are given details of how to do so. If we do not have any contact details and do not know how to pay your estate, we will set your account to accrue any unpaid royalties until such a time as we are contacted. Should you wish to plan ahead and assign your royalties to a charity in the event of your death, please contact Tommi and we will make a note on your account.
This year marks 35 years since we published our first book. Naturally, this has got us all feeling a bit reflective, and in this post we wanted to share how each of us ended up working at CVP/MM, from Tommi’s story that arguably began at the age of 6(!), to Alice who joined us at the beginning of this year.
We’ve told the reasons behind the founding of Multilingual Matters several times before, so I won’t go into those details. I have always done some work for the company, whether it was helping to stick labels onto envelopes aged 6, or processing subscription renewals and sales after school aged 15 to earn a bit of pocket money, so the family business was very familiar to me and I was always interested in how the business of publishing books actually worked. On finishing my literature degree at Essex University, I knew I wanted to work in the book trade. I also knew that I didn’t want to work for the family business as that might feel too much like pressure. My parents were also adamant that they did not want to employ their children, for much the same reasons, they did not want us to feel like we were being pressured into the business. As I was living in Colchester at the time, I would often meet Dad at the Independent Publishers Guild monthly seminars in London. It was a nice chance for us to catch up, and for me to learn a bit more about independent publishing. After one of these monthly meetings Dad and I went for a drink in the pub close to the meeting rooms. It was clear that they were looking to recruit someone, and I was still looking for work myself. We avoided the subject for the first few drinks, and after the third drink one of us floated the idea of me coming to work for the family business…we were both a little sceptical as to whether we could actually work together without constant argument or worse, but agreed to give it a go for 6 months and then have a family meeting to decide whether or not it was a good idea…we never got around to having that meeting!
Why it’s Useful to Know More than One Sarah Williams
I am actually a Multilingual Matters’ reject! On a snowy spring day in 2001 I arrived for what turned out to be my first interview with Marjukka, Ken and Mike. I felt I had made a good impression but was concerned that my lack of a coat (it was April and I had a suit jacket?? 😃) and bus timetable may have counted against me! I was disappointed to learn that I’d narrowly missed out on the job. This left me to carry on at my government office job. I also moved house and changed telephone number shortly afterwards.
In the summer of 2002 MM/CVP had another opening but no way of getting in contact with me. Around this time I bumped into the other Sarah Williams from the government office in the supermarket (she lived on the same road, had the same middle name and her sister was also called Catherine). She told me that some place ‘possibly beginning with M’ were trying to get hold of me about a job. I called the MM office, spoke to Marjukka and the rest is history! 😃
I have always loved books, so a career in publishing should have been an obvious choice. However, in idiotic early-20s fashion I thought it was a bit of a cliché for someone with an English degree and so I loftily avoided all the publishers at the university careers fair (I have no idea what else I imagined I might do!) I met my partner at University and as he was staying on do a PhD, my main concern was to find a job that allowed me to stay in Bristol. Being utterly unqualified for and uninterested in the main Bristol industries of finance and engineering, I applied for every job in the local paper that I thought might have me, including training as a librarian at UWE and setting the crosswords for the Bristol Evening Post. One of those jobs, and in fact the only one to even ask me for interview, was journal editorial assistant at Multilingual Matters. I made my way out to Clevedon on the bus, and the rest, as they say, is history.
Coming from a very rural area, options for graduate level work experience were severely limited, and I didn’t have a clue what I wanted to do when I left university. One day, I was sitting in the university library completing the references section on an essay, when the place Clevedon caught my eye. I had a feeling that Clevedon might be near Bristol, just about a commutable distance from my home. I looked up the company Multilingual Matters and promptly wrote to Tommi, asking if there were any work experience possibilities. I was immediately (and politely!) turned down flat – the company was too small and they didn’t need any extra help. A couple of months later, out of the blue came another email saying that they’d reconsidered and might be willing to have an intern. Naturally, I jumped at the chance and spent 2 months over the summer doing the work experience, as well as commuting 4 hours each day to get there and working evenings and weekends in a pub! I thoroughly enjoyed my time in the office, learnt a great deal and headed back to university with an interest in publishing and new skills, but also the knowledge that my placement wouldn’t lead to employment as the company was too small. The following February, as I was back in the library, another email from Tommi popped up. This one had the title “An Enquiry” which I thought sounded quite ominous and deduced that they were trying to sort out some mistake I’d made back in the summer! Luckily for me it contained a job offer, which I didn’t need to think long about accepting. I went down to the lobby to call my mum and stood next to the machine where users return books. On top of the stack of returned books was one of ours, Foundations of Bilingual Education and Bilingualism, which I’ve always thought as a very strange but good sign!
I had just graduated with a degree in French and Russian and not quite knowing what to do with myself, I decided to move to France. I found a job teaching English to adults, got a CELTA qualification and lived there for two years. But I missed Bristol and eventually started to think about coming home and what I could do once I got there. Although I had enjoyed it, teaching wasn’t quite the right fit for me, so I began to think of other options – casting around for ideas, publishing was something I kept coming back to. Once back in Bristol, I did some work experience with a literary agent, but I was doubtful that there would be many opportunities in publishing for me in my hometown, having heard that ‘all publishing was in London’. Then one day my mum, an avid Googler, came across Channel View’s website. I sent Tommi a speculative email, not knowing that there did actually happen to be a (rare!) vacancy for an internship at exactly that time. To my surprise and delight, I was invited to come in for an interview and a couple of days later I was in the supermarket when I got an email offering me the internship. That was over three years ago now – time has flown!
I graduated from the University of Bristol just over two years ago, with a degree in History. Following my graduation I decided that I couldn’t leave lovely Bristol so stuck around and considered what I’d like to do job-wise. I had publishing in mind but couldn’t find anything that suited, so for the first year I tried a few different odd jobs – working in a pet shop, as well as for The Green Register (a not-for-profit organisation who promote sustainable building) and volunteering for a number of charities, before finally moving to London to give marketing a try. After a 3 month internship I headed off to India and then came back to Bristol with a fresh head. This time I was lucky – in my search for academic publishing roles I came across Multilingual Matters… I applied and got the position! I was particularly drawn to the small size of the company and the topics of publication, as I’d just begun a TEFL course. First impressions told me I’d come to the right place, with lots of quirky questions, tea, biscuits and entertaining playlists.
The production stage is an exciting time in the publishing process, as a manuscript begins its journey from Word document to printed book. However, there is a lot of work to do before the book is ready for publication! In this post Sarah answers some of the most common questions she gets asked during the production process.
Will my manuscript be copy-edited and proofread?
Yes, we ensure that every manuscript we publish is copy-edited. We will ask authors to proofread their typeset proofs but I will also be checking them throughout the production process.
Will I get to choose my own cover design and image?
If your book is being published in one of our series (most will be) there will be a series design to adhere to. We are very happy to take on board authors’ preferences re a cover image (if the series design includes one) and background colour. Check out our blog post on book cover FAQs for more information.
How long does the production process take?
From sending the final manuscript for copy-editing and typesetting to the arrival of a printed book usually takes around 5-6 months. This can be done more quickly but for marketing purposes it is better to get advance information (ISBNs, prices, ToC) out 6 months ahead of publication. We also like to have enough time to ensure we are publishing a high-quality volume and not rush things out in a very short time.
Do I need to adhere to a specific style/layout in my manuscript?
We provide guidelines for authors but we are flexible in terms of manuscript layout and font. We are currently working on a requested stylesheet for book editors to send to their chapter authors.
Do you follow APA referencing guidelines?
No, our reference style most closely resembles the Harvard referencing style.
How should I send my figures/photographs?
If you have a lot of photographs to submit with your manuscript it’s best to submit these separately as tiff files (jpegs are also acceptable). If possible they should be minimum 300dpi.
Can I add/change things after my manuscript has been finalised and the production process has begun?
We would strongly discourage changing large parts of your manuscript once we have sent the final version to the copy-editor/typesetter. You will have a chance to proofread the typeset pdf and make changes (we would expect these to be mostly minor at this stage) at the initial proofing stage.
When can I expect initial proofs?
We ask our copy-editing/typesetting suppliers to return the pdf proofs to us 6 weeks from their receipt of the manuscript. This deadline can depend on how fast authors respond to any copy-editing queries which the suppliers send to them directly.
How should I return my proof corrections?
Most authors email a list of corrections which I will transfer to the proofs while I am checking them. Increasing numbers of authors are supplying corrections made directly to the pdf. We are also happy to accept hard copy corrections through the post!
When should I start my index?
It is best to start the index at revised proof stage (i.e. once the initial corrections have been made) so pagination is unlikely to change.
How long does a book take to be printed?
We ask our printers to send the printed book to us 3 weeks after they’ve received the final proofs/cover from us. We do not announce publication until the printed books have been checked in-house and delivered and booked in at our UK distributor.
Will my book also be available as an ebook?
Yes! We publish all our titles as library pdfs, and in Epub and Kindle formats. Please see the Ebooks page on our website for more information on where they can be purchased.
Will I receive complimentary copies of my book?
Yes, authors and editors of books will receive printed copies of their books (if you’re in doubt about how many, please consult your contract or contact your commissioning editor). For edited books, each contributor will receive either an e-version of the book or a printed copy.
Once a manuscript has undergone external peer review, been suitably revised by the author and is approved for publication by the series editors (where relevant), it is accepted for publication. We then ask the author to complete an author questionnaire and checklist and start to get the manuscript moving towards production. But what are we doing exactly? In this post, Laura outlines the small but vital stages between editorial and production.
The first thing a Commissioning Editor does is book a slot on our production schedule. Each month we publish a certain number of books, typically between 4 and 6, so there are a limited number of places available. The Commissioning Editor will most likely have already provisionally pencilled in the manuscript well in advance of it being accepted, using their knowledge about the extent of the revisions required and how busy the author and series editors’ schedules are. But it is only now that a publication date is set and finalised. At this point it is therefore extremely helpful to us if authors keep to deadlines they have promised!
Once the Commissioning Editor has received all the final files and supporting documents, they will check through the manuscript one last time. They ensure that the author has submitted all the documents (table of contents, each chapter, references, appendices etc) and confirm that permission has been cleared for all material from external sources. They will then update the book’s proposal P&L with the latest word count, as we use this to estimate the pagination and price.
The book is then ready for the Commissioning Editor to schedule for discussion at the next in-house editorial meeting, usually held weekly. For those of us not involved in the book until this stage, this might be the first we’ve heard of it since the proposal was accepted, often some years previously! At the meeting we discuss and approve the title; make a final decision about the format (whether it will be published in paperback and hardback simultaneously) and approximate the print run.
With all of the above finalised, the Commissioning Editor is now ready to hand the book over for production and marketing. In order to make the handover process a smooth one and to help impart as much of their knowledge about the work to the rest of us as possible, they complete a handover sheet. The handover sheet splits naturally into three sections: key details about the work, then a production section, followed by marketing information.
The key details section is where we store absolute final information about the book, mainly what we decided on at the editorial meeting. It is where we look if we cannot remember whether we did decide to remove a comma from a title or exactly which subtitle we eventually chose! It is therefore like gold dust as it is vital that we are consistent, once we have made a decision: as soon as data starts to leave our database, it is sometime hard to find where it has gone and overwrite it.
Next comes the production section where the Commissioning Editor will tell Sarah, our Production Manager, and Flo, who does the covers, information about the book. Sections include whether there is a preference for British or another variety of English; if the author already has a particular idea for the cover and if we have agreed anything special with the author, perhaps with regard to the layout or format. We also tell Sarah about what she might expect when working with the author. This includes things such as if one is taking the lead (in the case of multiple authors) or whether we know the author is about to go on leave. This is important as production runs to deadlines which are much firmer than those in editorial often are.
Finally comes the marketing parts of the handover. The Commissioning Editor writes the blurbs, suggests subject categories and says who to approach for cover endorsements. They will also advise the marketing department on the book’s highlights; note any geographical contexts featured in the book (which might be helpful for our local sales reps); list which of our other books it links with and state any other key selling points of the work. They will also let us know any bright ideas they have for any special, out-of-the-ordinary marketing!
We find that handing a manuscript over in this way works really well. Ultimately, the Commissioning Editor is the person in the office who knows most about the book and the more of their knowledge they can share with the rest of us, the more likely we are to have a smooth, enjoyable and successful publication.
This time of year is always a busy period for conferences and 2017 has been no different, with Flo at BAAL, Sarah at the Visitor Economy conference and me at EuroSLA last week. Along with selling the books, conferences are a great opportunity for us to speak with delegates. Of course, most conversations centre around the content of the books and vary depending on what we have with us. But you’d probably be surprised at how frequently we are asked some particular questions, and sometimes we are surprised that people even ask them! Here are a selection of our favourites:
How do you choose which conferences you attend?
Firstly, we look at the theme of a conference, the size of it (big isn’t always better) and who has recommended it or told us they’ll be attending. We then look at whether it is affordable and decide whether to attend in person or send a display. Finally, we check our travel schedule and agree who will go where. As conferences often fall at roughly the same time and sometimes, to our frustration, even clash with each other, they take a considerable amount of logistical planning. Funny as it sounds, as well as coordinating ourselves, we also have to make sure that things such as tablecloths are in the right places with the right people!
How do you decide which books to bring?
Once we have decided to be involved in a conference, as Marketing Manager, it is my job to sort out all the details. I look at the programme and decide which of our recent books are relevant and which of our authors are attending. It is often a real challenge to cut a list of perhaps 100 books down to a reasonable number that will fit on a single table! But having to cut down a long list of books that we’re keen to show off is not a bad position to be in.
How many copies do you bring of each book?
This is another source of much umming and ahhing! I come up with a figure by combining information about how popular a book has been at previous conferences and its sales in general, with how relevant it is to the themes of a conference and whether the author will be there to promote their book. It is not the most scientific of processes but, having been to many conferences, I have a good feeling for what is about right. I’ll then check the list with whoever is attending the conference and they’ll make further suggestions or amendments.
Did you bring the books here in your suitcase?
No! This always makes us laugh because the books are really heavy and usually fill several big boxes! Except in exceptional circumstances, such as when we are going by car, the books are delivered straight from our warehouse to the conference.
Why is my book not here?
We do our best to bring authors’ books to conferences if they have forewarned us that they’ll be there. If we haven’t got your book, it might be because it is slightly older and we have to give preference on the stand to newer books. My favourite response to this question is that if it’s too old to have made the cut, it might be time for you to think about writing us a new one to bring!
Can you ship the book to me for free?
If we have sold out and there is no copy for you to take, then yes, we will gladly send you a copy with free shipping. This is a sign that I didn’t get the numbers quite right and should have brought more so that you can take one. But if there is a copy on the table and you want it shipped, we do ask that you pay the shipping. It makes sense really: we will have paid to have the book shipped to the conference, will then pay to have the booked shipped back to the warehouse and then pay again to ship the book to your home. If we did all that shipping, the costs would soon add up to way more than the price at which we sell the book. So, in order to continue to offer the books at a special conference discount, we cannot also offer free shipping.
Why are your books so much cheaper here?
You’re buying directly from us, so we don’t have to give a cut to any booksellers or wholesalers who might otherwise be involved in the book selling chain. We don’t expect to make a profit through book sales at a conference; conferences have an immeasurable value for us in terms of meeting people; showing our books to a new audience and keeping up with trends in the field. The price we charge is therefore as cheap as we can afford to sell it at, with a small contribution to the cost of attending conferences.
Do you get to go to the sessions?
Yes, sometimes, especially if there are two of us and one can man the stand while the other goes to a talk. We are also usually able to attend the plenaries as most other delegates will do so too and thus these are quiet periods at the stand. At other times, delegates may make the most of a session when there is no paper of interest to them to browse the books and chat with us. This is often much easier done when we are quiet than during the rush of the coffee or lunch break and we’re usually glad of the company!
What do you do when it’s quiet?
If we’ve just had a busy coffee break then we’re usually glad to have a moment to sit down! If there’s no-one browsing books and no session we want to attend, then we might tidy the stand, check emails and social media or catch up with the other publishers. And of course, if it’s really quiet, we have plenty of reading material in front of us!
What makes a good conference?
We’ve had fun reminiscing about previous conferences and come up with the following that may combine to make a really good conference from a publishing perspective: excellent speakers whose presentations spark interesting conversations and discussions; a well-organised committee and host venue; being close to the refreshments (not only because we enjoy them, but because this is where delegates tend to congregate); a location that will attract many attendees and is easy to get to; a well-thought-out schedule that isn’t overcrowded and runs to time; plenty of table space so we can spread out our books; double-sided name tags with large print and, even though it’s out of everyone’s control, rain! A wet conference means that delegates are more likely to spend the time between sessions browsing books than out enjoying the host city!
Do you have a book on x-y-z?
We can’t promise to know all our books inside out but we’ll do our best to help you find what you’re looking for. And if neither you nor we can find it, then that’s probably a good sign that you have pointed out a gap in the market! Why not talk to us about writing for us?
Where are the toilets? Is this the registration desk? Can I put my coat under your table? Can I leave my child with you? Do you have a USB stick I can borrow? Can I check a reference in a book?
These and many others are frequently asked and we’re always willing to answer and help out where we can, even if it’s just sending someone in the right direction. Sometimes it’s from the small interactions that the greater conversations begin.
We’re busy making plans for 2018 and hope to see you at a conference somewhere soon!
Every month Laura and I sit down together to have a marketing meeting where we discuss books that are currently in production, are about to be published or have just been published. This is a chance for us to outline a bespoke marketing plan for each book and check up on its progress at key points throughout the publication process.
Shortly after a book goes into production, we have an initial meeting about it, in which we take a look at the documents filled out by the author and the commissioning editor (this is when the Author Questionnaire comes into its own!) and devise a personalised marketing plan for it. The commissioning editor will have pointed out the book’s unique features and flagged up anything else that might help us to market the book (does its publication coincide with a relevant day, e.g. World Heritage Day or is there a particular news story that ties in with the book’s content?)
The AQ is another source of valuable information to us at this point, as it contains details of relevant conferences, journals, blogs, newspapers, magazines and organisations that we can contact to spread news of the book’s publication. If you have any specific contacts, like a journalist for example, make sure you include this on your AQ, as it can be a challenge to successfully make contact with newspapers or magazines without one. In the past, the books which have had the most exposure have been the ones whose authors have given us plenty of ideas for publicising the book and have put us in touch with relevant people who will help to spread the word. When it comes to the media, local contacts should not be underestimated. It’s often local papers and magazines that will be most receptive to being contacted and – particularly if your book is of local interest – more likely to want to feature a piece about it. If you’re able to establish contact prior to the publication of your book, it will be easier for us to go back and notify them once the book comes out.
At the end of the initial meeting, we outline a plan for the book and assign tasks to each of us. I deal with all the social media promotion (including arranging blog posts, publicising the book on Twitter and Facebook, posting any accompanying videos on our YouTube channel etc.), as well as contacting any media and organisations we think might be interested. This could be anything from print newspapers and magazines to blogs and online publications, as well as specific organisations with mailing lists who may be able to share publication news with their members. Meanwhile Laura takes care of areas such as conferences, book prizes and production of marketing materials like flyers.
Shortly before publication, we meet to discuss our progress. This interim meeting is more of a check-up meeting than an action one as we make sure that we have everything prepared ready to launch on publication. The timing of marketing can be key so it is important that we are all set in time for the book’s release. We might do things such as make sure that we have asked the author to write a piece for our blog, written a press release ready to send out on publication or made a list of suitable journals to offer the book to for review.
Finally, once a book is published we meet to discuss what we have done, what was successful and what was less so. We record all our efforts and eventually present an individual marketing report for each book to the rest of the team. This is done six months after publication when we also look at the early sales of the title. We are always interested to see if there is any correlation between ours and the author’s marketing efforts and the early reception a book gets.
If you have any ideas for marketing your book that aren’t here, make sure you get in touch as we’ll always do our best to make them happen!