Jane Harris is to join the Bonnier Publishing Fiction division as executive director for children’s fiction.
Harris will report to recently appointed Bonnier Publishing Fiction c.e.o. Mark Smith, and will be responsible for all the company’s children’s fiction output, including imprints Hot Key Books and Piccadilly Press.
Harris and Smith previously worked together at Quercus, where Smith was founder and c.e.o. and Harris was executive director of sales and marketing, after a previous role in children’s publishing as sales and trade marketing director for Walker Books. Harris left Quercus last July following its acquisition by Hodder, and subsequently took up a role as interim m.d. at Inpress.
Her appointment at Bonnier in the children’s fiction role follows on from the surprise announcement late last year that Sarah Odedina, who launched Hot Key in 2012, was stepping down from the position with immediate effect.
Bookseller Indsutry Awards
Blackwell’s – Book Retailer of the Year
Little, Brown – Publisher of the Year
Pan Macmillan was also recognized with The Bookseller Special Award for its work with Julia Donaldson and Axel Scheffler.
Dame Gail Rebuck, chair of Penguin Random House UK, was given the Booksellers Association’s award for Outstanding Contribution to the Book Trade for her devotion to the Books Are My Bag campaign.
The inaugural Imprint of the Year title was bestowed upon Jonathan Cape for its “supreme fusion of the commercial and literary”.
Meanwhile Penguin Press’s Helen Conford was crowned Editor of the Year for her handling of Morrissey’s Autobiography among other titles.
Literary Agent of the Year was awarded to Caroline Dawnay of United Agents who was described as a “canny exploiter of traditional publishing deals and new opportunities”.
Meanwhile, the vote was so close between Rights Professionals Andrea Joyce of Canongate and Penguin’s Zosia Knopp that judges decided to award both women the title.
Dulwich Books, a London regional finalist, won in the especially hard-fought category of Independent Bookshop of the Year.
In Children’s, HarperCollins Children’s Books won Children’s Publisher of the Year category after turning David Walliams into the “king” of the children’s fiction market.
Meanwhile, The Edinburgh Bookshop won the Children’s Bookseller of the Year for its “passionate commitment” to reading for young people and Rachael Wing from the Wallingford Bookshop won the Young Retailer of the Year award in honour of Sue Butterworth.
Independent Publisher of the Year went to Canongate.
In digital, eBooks by Sainsbury’s was crowned E-book Retailer of the Year for its “varied and stimulating” e-book promotions both online and in stores, and its collaboration with publishers, while Faber & Faber scooped the prize for Digital Strategy of The Year for its sharp digital marketing, use of different models including apps and subscriptions.
In Academic, Bloomsbury scooped the top spot in the Academic, Educational and Professional Publisher of the Year category.
Orion’s Gone Girl claimed the Marketing Strategy of the Year prize, commended for its “hugely successful steering of word of mouth” for the biggest paperback fiction seller of the year. Meanwhile Headline’s Ben Willis scooped Publicity Campaign of the Year award for The Silent Wife, which the judges said stood out for its “energy and ingenuity”.
Library of the Year went to Midlothian, for its strong children’s service and “hugely impressive” programme of events among other virtues.
Meanwhile the proof-distribution platform giving publishers control in proof distribution and access to feedback NetGalley won the Supply Chain Innovation Award.
Blackwell’s Manchester Paul Thornton was awarded Manager of the Year after “transforming” sales, profits and morale of a flagging store.
Academic, Educational & Professional Publisher of the Year, sponsored by Bertrams
- Bloomsbury academic & professional
- Collins Learning – Harpercollins
- Oxford University Press
- Palgrave Macmillan
Book Retailer of the Year
Children’s Bookseller of the Year, sponsored by Macmillan Children’s Books
- Barefoot Books
- The Edinburgh Bookshop
- Storytellers, Inc.
Children’s Publisher of the Year, sponsored by Booktrust
- Dorling Kindersley
- HarperCollins Children’s Books
- Nosy Crow
- Penguin Children’s
- Simon & Schuster Children’s Books
- Usborne Publishing
- Walker Books
Digital Strategy of the Year
- Caffeine Nights Publishing
- Faber & Faber
- Hachette UK
- Head of Zeus
- Teach Yourself – Hodder & Stoughton
- Pan Macmillan
E-book Retailer of the Year
- eBooks by Sainsbury’s
- RM Books
- Totally Bound
Editor of the Year
- Suzanne Baboneau, Simon & Schuster
- Roddy Bloomfield, Hodder & Stoughton
- Helen Conford, Penguin Press
- Kirsty Dunseath, Weidenfeld & Nicolson
- Vineeta Gupta, Oxford University Press
- Mary Mount, Viking
- Rebecca Saunders, Sphere Fiction
HarperCollins Young Retailer of the Year in honour of Sue Butterworth, sponsored by HarperCollins
- Melissa Cox, Waterstones
- Kate Double, Mr B’s Emporium of Reading Delights
- Rory Hill, The Book Hive
- Charlotte Staffer, Blackwell’s
- Rachael Wing, The Wallingford Bookshop
- Edward Woods, Foyles
Independent Bookshop of the Year, sponsored by Gardners
- The Blessington Bookshop
- The Edinburgh Bookshop
- White Rose Bookcafe
- Booka Bookshop
- Chorleywood Bookshop
- Dulwich Books
Imprint of the Year
- Big Picture Press, Templar Publishing
- Capstone Publishing, Wiley
- Century, Random House
- Jonathan Cape, Random House
- Picador, Pan Macmillan
- Sphere, Little, Brown Book Group
- Weidenfeld & Nicolson, Orion Publishing Group
Independent Academic, Educational & Professional Publisher of the Year, sponsored by Bertrams
- Bright Red Publishing
- Crown House
- Edward Elgar Publishing
- John Catt Educational
- Jordan Publishing
- Liverpool University Press
Independent Publisher of the Year, sponsored by The Great British Bookshop
- Constable & Robinson
- Granta Publications
- Hesperus Press
- Nosy Crow
- Top That! Publishing
Library of the Year
- The Library of Birmingham
- Dudley Libraries
- The Hive
- Midlothian Library Service
- Sandwell Library AND Information Service
- Surrey Libraries
Literary Agent of the Year, sponsored by Orion
- Jenny Brown, Jenny Brown Associates
- Caroline Dawnay, United Agents
- Andrew Lownie, Andrew Lownie Literary Agency
- Juliet Mushens, The Agency Group
- Peter Robinson, Rogers, Coleridge & White
- Sarah Such, Sarah Such Literary Agency
- Karolina Sutton, Curtis Brown
Manager of the Year
- Vivian Bannerman, The Mainstreet Trading Company
- Neil Crockett, Waterstones
- Janette Cross, Foyles
- David Dawkins, Pages of Hackney
- Paul Thornton, Blackwell’s Bookshops
Marketing Strategy of the Year, sponsored by Nielsen in association with the Book Marketing Society
- Books Are My Bag, The Booksellers Association
- Caboodle, National Book Tokens
- Dead Good, Penguin Random House
- Faber & Faber Consumer Marketing Strategy, Faber & Faber
- Gone Girl, Orion Publishing Group
- The Happy Foodie, Penguin Random House
- Minecraft Marketing Campaign, Egmont UK
- Paper Dolls World Record Attempt, Macmillan Children’s Books
- S., Canongate
Publicity Campaign of the Year, sponsored by the PPC
- Lauren Ace, Macmillan Children’s – The Paper Dolls by Julia Donaldson
- Sue Amaradivakara, Chatto & Windus – The Examined Life by Stephen Grosz
- Sam Eades, Headline – The Ocean at the End of the Lane by Neil Gaiman
- Karen Geary & Rebecca Mundy, Hodder & Stoughton – My Autobiography by Sir Alex Ferguson
- Clara Nelson, Vintage – Stoner by John Williams
- Ben Willis, Headline – The Silent Wife by A S A Harrison
Publisher of the Year
- Faber & Faber
- Hodder & Stoughton
- Little, Brown
- Pan Macmillan
Rights Professional of the Year, sponsored by Frankfurt Book Fair
- Kate Hibbert, Little, Brown
- Andrea Joyce, Canongate Books
- Zosia Knopp, Penguin
- Rachel Mills, Peters, Fraser & Dunlop
- Andrew Sharp, Hachette Children’s
- Mary Thompson, HarperCollins
Supply Chain Innovation, sponsored by BIC
Smashwords’ CEO, Mark Coker, gives us 14 New Year Predictions for the publishing industry. Here are his predictions #8 through to #11. For the full piece follow the link below…
- It’s all about the writing – It’s back to basics time. In a world where readers face an unlimited quantity of high-quality low-cost works, the writers who achieve the most success will be those who take their readers to the most emotionally satisfying extremes. Books are pleasure-delivery devices. It doesn’t matter if you’re publishing a cookbook, romance novel, gardening how-to, memoir or political treatise. Your job as the indie author is to write that super-fabulous book. That involves great writing and professional-quality editing. It also means avoiding all the mistakes that create unnecessary friction that prevent readers from discovering, desiring and enjoying the book. To understand these points of friction, and how to avoid them, check out my discussion of Viral Catalysts in The Secrets to Ebook Publishing Success, or in my Youtube video on best practices.
- All authors become indie authors – Back in the dark ages of publishing, you were either traditionally published or weren’t published. Writers who couldn’t get a publishing deal were seen as failures, because without the access to the publisher’s printing press, distribution and professional know-how, it was virtually impossible to reach readers. Today, failure is not an option. The next generation of writers can begin writing their book with the full confidence that one way or another, it will get published. Traditionally published authors now realize they have desirable publishing alternatives they never had before. Once a writer – any writer – comes to the realization that the power in the publishing industry has transfered from publishers to writers, it opens up a new world of possibilities. Publishing no longer becomes an either/or question. The best writers will have the option to publish independently AND traditionally, or do one or the other. It’s their choice. Both options are worthy of consideration by all writers, and can be mutually complementary. Even if you’re a traditionally published author today, you’re an indie author because you decide what happens with your next project.
- Subscription ebook services will change the game – If the ebook subscription services – the most notable of which are Scribd and Oyster – can make their business models work, then they’ll drive a game changing shift in how readers value and consume books. I examined the potential implications of this in my two-part blog post on this model (read part one | read part two) . For ebook subscription service users, reading will become an abundant resource that feels free. It’ll become a utility service in the same way that water and electricity are utilities. When we flip the switch to turn on a light, or when we turn the knob on the faucet to brush our teeth, we’re not thinking about how our next 60 seconds of that service will cost us one or two cents. We pay our monthly service fee, and for the most part we use the utility as much as we want. With ebook subscription services, the reader will pay $9 or $10 a month and enjoy virtually limitless reading. Readers will be relieved of the cognitive load of having to decide if a given book is worth the purchase price. Instead, they’ll surf and sample books with minimal friction, as if every book is free. The reader’s attention, and the book’s ability to hold the reader’s attention, will become the new factor in determining a writer’s success. Even if these subscription services fail, they’ll change the future of publishing by giving readers a taste of friction-free reading-as-a-service. It’s a taste readers are unlikely to forget.
- Traditional publishers will reevaluate their approach to self-publishing – The vanity approach to self-publishing, as witnessed by Pearson/Penguin’s acquisition of Author Solutions (operates AuthorHouse, iUniverse, BookTango, Trafford, Xlibris, Palibrio, others…), has shown itself to be a boondoggle that harmed the brands of all traditional publishers. I predicted this last year. The Author Solutions business model is wholly dependent upon making money by selling overpriced services to unwitting authors. Their business model is expensive at best, and unethical at worst. It’s about selling $15,000 publishing packages to authors who will never earn the money back. The model represents the antithesis of what the best and proudest publishers have always represented. Great publishers invest in their authors. The money flows from reader to retailer to publisher to author, not from author to publisher. At the same time Author Solutions has tarnished the reputation of all traditional publishers – even those not engaged in such practices – the indie author revolution has continued in full swing. Indies are stealing market share. Indies have learned to publish like professionals. Many indies no longer shop their books to agents and publishers, and instead choose to publish their books directly to readers using self-serve publishing and distribution platforms such as Smashwords, or KDP, Nook Press, and others. Publishers are losing access to the critical deal flow that is their lifeblood. I talked about this in my discussion of black swans in last year’s predictions. If they lack an effective service offering for indie authors, the big publishers risk finding themselves on the wrong side of history as authors move on without them. The stigma once associated with self-publishing is melting away as the stigma of traditional publishing grows. How can publishers stem the bloodletting and recapture relationships with authors? The answer will come by publishers reevaluating their attitude toward authors. They must recognize that publishing is a service, and that they serve at the pleasure of authors. Now that authors have choices, the publishing game can no longer be about, “What can the author do for the publisher?” Authors no longer need to bow subservient to publishers, so business models based on this old practice and attitude will be rejected. The new publisher mantra must be, “What can the publisher do for the author that the author cannot or will not do on their own?” Publishers need to broaden their author services menu by creating an inclusive business model that allows them to take a risk on every author, to be able to say “Yes” to every author when the prior attitude was to say “No.” Authors want a spectrum of options, from self-serve to full-serve, and they shouldn’t have to shell out cash to their publisher for any option. Publishers must abandon the culture of “No,” because authors no longer have the patience or tolerance to hear “No.” Authors have choices, and they’ve gained a taste for the joys of self-publishing. What’s this new model, where the publisher can say yes to every author, yet still earn a profit? The answer: they need to build or acquire their own self-serve publishing platform. A self-serve platform would allow them to take a risk on every author, and to form a relationship with every author. By operating a free publishing platform, the publishers would have the ability to serve the diverse needs of all authors. DIY authors would select the self-serve option. Authors with proven commercial potential who don’t want to hassle with the responsibilities of being one’s own publisher might opt for a path somewhere along the spectrum between DIY and full-serve (what has been heretofore been known as traditional publishing), assuming both the author and publisher desire that. The compensation models and level of publisher investment could vary based on the level of publisher service. Such a full-spectrum approach to publishing, where authors pay nothing, is 100% aligned with the author’s interests, and 100% aligned with the best practices of the best publishers. A good self-serve platform doesn’t employ sales people. It doesn’t take money from authors. And that’s how it should be. So the question is, can publishers introduce their own free self-serve platforms to broaden their services offerings? Time is running out.
WRITERS in the Highlands and Islands have a unique opportunity to gain vital insights and information on the latest trends in children’s publishing and what publishers are currently looking for, at two events in Inverness hosted by two of the industry’s leading figures.
Kate Wilson, managing director of highly innovative and original children’s publisher Nosy Crow, and Kathryn Ross of Scotland’s leading literary agency for children’s authors Fraser Ross Associates, will lead the sessions on Wednesday 5th June at the Mercure Hotel, Inverness.