Publishing Resources

Publishing Career Development Resources

There is a wealth of information available for anyone interested in working in publishing. From YouTube channels and TikTok to blogs, podcasts, and career development programmes, these resources can help you stay informed, build your skills, and navigate the publishing world.
 
Ain Chiara TikTok
@ainchiara on TikTok - Accurately titled Life & Books, this TikTok channel provides insights into working in publishing, along with Ain’s own tips on how to break into the industry.
 
Arvon
www.arvon.org – A UK-based charity offering creative writing courses and retreats led by acclaimed authors. Grants are available for those who need financial assistance.

Author Academy by HarperCollins
https://corporate.harpercollins.co.uk/ – A free six-week training programme for un-agented writers from underrepresented ethnic backgrounds, offering insights into the publishing process and manuscript development.

BookMachine
www.bookmachine.org – A hub for publishing professionals at all career levels. Find job opportunities, industry blog posts, and CAMPUS training courses. Also, check out BookMachine Unplugged (live events) and BookMachine Briefings(online sessions).

Bookseller Newsletter
www.thebookseller.com – Considered the industry bible, The Bookseller provides the latest publishing news and deals. While a subscription is required for full access, you can sign up for the free daily newsletter to stay informed—essential for impressing at interviews.
 
Creative Access
www.creativeaccess.org.uk – Dedicated to supporting individuals from underrepresented backgrounds in creative industries. A great place to find publishing job opportunities, internships, and career advice.
 
Elles Belles Notebook
www.ellesbellesnotebook.co.uk – A popular blog run by , author, and publishing professional Ellie Pilcher. Keep an eye out for her free #MarketYourMarketing events and Zoom Questions &Answers.
 
Faber Academy
www.faberacademy.co.uk – Established by Faber & Faber, this academy offers various creative writing courses, including Writing a Novel and Getting Started: Beginners’ Fiction. Courses are often led by notable authors.

The Publishing Insight Podcast
Available on Spotify, Apple Podcasts, and more – Created by the Society of Young Publishers (SYP), this podcast features industry experts discussing careers, employability, and the challenges of breaking into publishing.

The Literary Consultancy (TLC)
www.literaryconsultancy.co.uk – A leading manuscript assessment service offering editorial advice, mentoring, and professional development opportunities for writers at all levels.
 
The Publishing Hopefuls Facebook Group
Publishing Hopefuls on Facebook – A supportive online community for aspiring publishing professionals. Connect with like-minded individuals, ask questions, and find encouragement from others navigating the industry.

The Publishing Insight Podcast
Available on Spotify, Apple Podcasts, and more – Hosted by Flavia Marcocci, this podcast features insightful interviews with publishing professionals across various roles. Ideal for commute listening.
 
The Publishing Post
www.thepublishingpost.com – A fortnightly digital magazine created by publishing hopefuls, for publishing hopefuls. Packed with industry news, advice, and features to help you break into the sector.
 
The Publishing Profile
www.thepublishingprofile.com – A blog featuring interviews with industry professionals, offering insights into their careers, book recommendations, and even a peek at their bookshelves.
 
Publishers Association
www.publishers.org.uk – The official trade body for the UK publishing industry. Their website is a goldmine of information on different publishing roles and includes resources for Work in Publishing Week, an annual event celebrating careers in the sector.

Society of Young Publishers (SYP)
www.thesyp.org.uk – Open to anyone, of any age, yes, you don't need to be 'young' interested in publishing. Run by volunteers, the SYP offers career advice, networking events, and job opportunities to help aspiring professionals break into the industry.

Writers’ & Artists’ Yearbook
www.writersandartists.co.uk – A must-have directory with essential advice on the publishing industry, including contact details for agents, publishers, and literary societies.
YouWriteOn
www.youwriteon.com – An online writing community where authors receive peer critiques and feedback. Highly rated submissions have the chance to be reviewed by professional editors from major publishing houses.

How NOT to Write a Publishing Biography

(A Perfectly Bland, Style Biography)
Paige Turner
Chief Commercial & Strategic Publishing Executive
 
Paige has worked in the commercial publishing sector for over 15 years, beginning her career in corporate finance before moving into operational strategy and acquisitions. Prior to joining Bigshot Publishing Co., Paige held senior roles in procurement and business development across multiple industries, including technology, financial services, and retail.
She joined Bigshot Publishing Co., in 2015 as a financial strategist, overseeing cross-functional efficiencies before stepping into her current leadership role in 2021. As Chief Commercial & Strategic Publishing Executive, Paige is responsible for aligning commercial growth with industry trends, optimising revenue streams, and ensuring sustainable publishing operations.
Outside of work, Paige enjoys traveling, skiing, and discovering new coffee blends.
 
Why This Does Not Work For Publishing
No mention of books, literature, or storytelling.
Packed with meaningless business jargon.
Sounds like it could belong to someone in any industry, not publishing.
Personal details are generic fillers.
​​
How to Write a Strong, Impactful Publishing Biography
Paige Turner
Editorial Director | Champion of Storytelling & Publishing Innovation
​
With over 15 years in publishing, Paige Turner has dedicated her career to shaping bold, imaginative storytelling. She has worked across editorial, acquisitions, and publishing strategy, developing books that have captivated millions of readers worldwide.
​
Paige began her career in literary scouting, helping to identify breakthrough authors before transitioning into commissioning and editorial leadership. She has collaborated with award-winning authors, expanded publishing programs into international markets, and spearheaded initiatives that connect books with new audiences.
​
As Editorial Director at Bigshot Publishing Co, Paige oversees a diverse portfolio of fiction and nonfiction imprints. Her approach blends creative vision with commercial expertise, ensuring that every book published under her leadership is both artistically compelling and widely accessible. Passionate about nurturing new talent, she has mentored emerging authors and editors, spoken at industry events, and championed diversity in publishing.
Paige lives in London, where she is forever attempting to read more books than she acquires. She believes that publishing is not just about producing books - it’s about building worlds, inspiring ideas, and leaving a legacy of stories that matter.
​​
Why This is Strong
Leads with passion for books and storytelling.
Clearly establishes publishing experience and achievements.
Shows creative leadership while balancing commercial success.
Includes a personal touch that enhances, rather than distracts.
 
 
​

Inside Knowledge

 
 
Understanding Publishing: Key Terms, Industry Jargon, and Insider Knowledge
Jargon is technical, occupation specific language used when communicating with other members in the same profession using words as a shorthand which those outside the profession would find difficult to understand.
 
Understanding publishing jargon
The publishing-related jargon removes the necessity for extensive explanations
When communicating with colleagues in the same industry, jargon can be useful. It is logical for a publishing team participating in a meeting to talk and write in technical terms when speaking with work colleagues, as they will all understand the terminology in a similar manner. The publishing-related jargon removes the necessity for extensive explanations.
 
Avoid using 'jargon' when speaking to a non-technical audience
When speaking to a non-technical audience, avoid using jargon. If technical terms are needed, explain each term and its context. Individual businesses will have their own version of 'jargon'.
 
Difficult for Others Outside a Business to Understand
Acronyms, jargon or coded words used by a profession or a group can be difficult for those outside a business or group to understand. Sometimes the words in use are used as barriers for only those in the know. The British class system for example is incomprehensible to foreigners and the British alike - and operates its own version of ‘jargon’, which constantly changes. Toilet, mirror, and lounge are examples of words classified as Non-U (Non-upper class) andlavatory, looking glass, and drawing room as U (upper class) by linguist Professor Alan Ross in 1954. This concept gained popularity through 1950's socialite and author Nancy Mitford, who used it as a way to distinguish between the upper class and those aspiring to join it. Social media has created slang, abbreviations and acronyms: Banny Hols – Bank Holiday, ICYMI – In Case You Missed It
TLDR – Too Long; Didn’t Read, GOAT – Greatest Of All Time. FLAE - Full List At End!
 
Linguistic Shortcuts
Specialised jargon and acronyms have become deeply embedded in business communication, evolving as industries and technologies advance. These linguistic shortcuts often serve to streamline conversations among experts, allowing for precise and efficient exchanges. However, they can also create barriers for those outside a particular field, turning everyday discussions into a kind of code only the initiated can decipher. This phenomenon isn't new; it has historical roots, with some acronyms and terms dating back centuries. An example is the term 'foolscap', which refers to a specific size of paper traditionally used in Britain, derived from the watermark of a jester's cap. Time has lost track of whether this mythology holds true or not.
 

 
Publishing Glossary: Decoding Industry Jargon
 
Acquisition Meeting: Colleagues from different departments in a publishing house who all give their input as to whether a book should be acquired or bought for publication. 
 
Assertion of Moral Rights: The UK's Copyright, Designs, and Patents Act 1988 allows creators to assert their moral rights, including the right to receive credit for their work and object to derogatory treatment, which must be asserted in writing for enforceable rights, unlike economic rights.
 
Advance: A pre-publication payment to an author, credited against future royalties.
 
AIs (Advance Information Sheets): A document containing key details about a book, including a brief bio, blurb, selling points, and ordering info.
 
ARC (Advance Reading Copy): A preliminary version of a book shared with press and influencers before the final copy is printed.
 
Auction: Numerous publishers place bids on a manuscript or concept, with the highest bid securing the publishing rights.
 
Backlist: A publisher's collection of previously published books.
 
Back Orders: Orders placed for books before they are published.
 
Biblio: A content management system containing essential information about each book.
 
Belles-lettres: A term originally used to describe beautiful or fine writing. In a more contemporary and specific context, it refers to literary works that do not fit into the traditional categories of fiction, poetry, or drama. At times, the term is used with a negative connotation to describe writing that prioritises the aesthetic aspects of language over its practical use. A belletrist is a writer of belles-lettres.
 
Blad (Book Layout and Design): A booklet showcasing a book's design and content, often used for pitching to booksellers.
 
Bound Proof: An almost-final version of a book used for early promotions or reviews.
 
Buy-In: The process of obtaining the rights and permissions from an international publisher to translate a book to publish it in a different region.
 
CIP data: Essential data to ensure libraries are ready to add the book to their collections as soon as it’s available.
 
Co-Agents: These are agents who possess in-depth knowledge of the local market and are responsible for selling translation rights on behalf of the rights team.
 
Co-Edition: Printing multiple language versions in one run to reduce costs.
 
Copy Editor: The professional responsible for checking a manuscript for grammar, style, and consistency.
 
Ebook: An electronic format of a book, usually accessed on e-readers or smartphones.
 
Electronic Rights: Rights pertaining to electronic or multimedia formats.
 
Elevator Pitch: A concise and compelling description of a book or screenplay, intended for a brief presentation.
 
Endcap: A specialized retail display positioned at the end of an aisle, commonly found in bookstores.
 
Evaluation Fees: Fees charged by an agent for writing a report on submitted material.
 
Exclusive: When an author grants an agent or publisher the exclusive right to review a submission without competition.
 
Fair Use: A copyright doctrine permitting limited use of copyrighted material without obtaining permission.
 
Feature: An article focusing on human interest rather than hard news.
 
Filler: A short piece used by editors to occupy space in a publication.
 
Film Rights: The rights sold to allow a book to be adapted into a film.
 
Foreign Rights: Rights sold to publish a book in other countries or languages.
 
FTP (Files to Print): The process of sending final files to the printer to produce the book.
 
FOB: (Free on Board or Freight on Board) This indicates that the buyer pays shipping costs and takes responsibility for the goods as soon as they leave the seller's premises.
 
Galley Proof: A preliminary version of a book used to check for errors before mass printing.
 
Galleys: The first typeset version of a manuscript, without page divisions.
 
Genre: A category of writing, such as fiction or nonfiction, or subcategories like horror or romance.
 
Ghostwriter: A writer who produces work that is officially credited to another person.
 
Graphic Novel: A book-length story presented in comic-strip format.
 
Hi-Lo: Fiction for readers with low reading skills but high interest.
 
High Concept: A story that can be summarised in a quick, compelling sentence.
 
Honorarium: A small payment for services, often in a ceremonial context.
 
Hook: The element that makes a story unique and draws in the reader.
 
Imprint: Imprints play an important role by allowing publishing houses to cater to niche markets and specific genres. Each imprint typically has its own editorial direction, branding, and target audience, which helps differentiate the various types of books published by a single company. For example, The Salariya Book Company had three imprints: Book House, Scribblers and Scribo each imprint specialised in different types of books for different age groups.
 
Indies: Independent bookstores.
 
IP (Intellectual Property): Creative works and ideas owned by individuals or companies.
 
ISBN (International Standard Book Number): An exclusive code assigned to books, usually located in close proximity to the barcode.
 
Joint Contract: A publishing agreement involving multiple authors and illustrators, specifying how royalties are divided.
 
Kill Fee: Compensation paid to a writer if a commissioned article is not published.
 
Key Words: The words that descibe the contents of a book
 
Lead Time: The period between acquiring a manuscript and its publication.
 
List: The selection of titles a publisher plans to release within a specific timeframe.
 
Logline: A brief, enticing summary of a book, film, or TV show.
 
Marketing Fee: Costs charged by an agent to cover marketing expenses for a manuscript.
 
Mass Market: Books designed for a broad audience, typically with wide appeal.
 
Masthead: A section in a magazine or publication listing key staff and contact information.
 
Memoir: A narrative based on the personal or family history of the author.
 
MG (Middle Grade): Books targeted at readers aged 9-11.
 
Midlist: Books expected to have moderate sales, not bestsellers.
 
Metadata: Data that provides information about other data, aiding in organization and searchability.
 
Model Release: A document signed by a subject, granting permission to use their photograph.
 
Moral Rights (Assertion of): Unlike economic rights, moral rights cannot be sold or otherwise transferred. However, the rights holder can choose to waive these rights.
There are four moral rights recognised in the UK: https://www.gov.uk/guidance/the-rights-granted-by-copyright
 
The right to attribution
This is the right to be recognised as the author of a work. This right needs to be asserted before it applies. For example, in a contract with a publisher, an author may state that they assert their right to be identified as the author of their work.
 
The right to object to derogatory treatment of a work
Derogatory treatment is defined as any addition, deletion, alteration to or adaptation of a work that amounts to a distortion or mutilation of the work, or is otherwise prejudicial to the honour or reputation of the author.
 
The right to object to false attribution
This is the right not to be named as the author of a work you did not create. This would prevent, for example, a well-known author being named as the author of a story they did not write.
 
The right to privacy of certain photographs and films
This right enables someone who has commissioned a photograph or film for private and domestic purposes to prevent it from being made available or exhibited to the public. For example, this would allow you to prevent a photographer from putting your wedding photographs on their website without your permission.
 
(MS) Manuscript: The author's draft of a book before it is published.
 
Multiple Contract: A publishing deal covering more than one book.
 
Multiple Submissions: Sending multiple works to different publishers simultaneously.
 
Narrative Nonfiction: Nonfiction presented in a storytelling format.
 
Net Royalty: Royalties calculated after deductions like discounts and returns.
 
NetGalley: An industry-standard service that delivers secure digital files to approved readers and coordinates closely with publishers on targeted promotions
 
Novella: A concise book, around 60 to 120 page.
 
On Spec: A manuscript submitted without a prior commitment from the publisher.
 
One-Time Rights: The right to publish a work only once, allowing the author to sell it elsewhere later.
 
Option: A writer would need to offer their next book to the publisher as a contractual clause that grants a particular party, typically a publisher or a production company, the opportunity to consider and potentially acquire the author's subsequent piece of work before it is offered to others. Option Clause: A contract provision granting a publisher the right to publish an author's next book.
 
Packager: A company that creates books, often from concept to finished product, for publishers. I started 'Editorial Packaging' first for Giunti Marzocco in Florence, then Franklin Watts and Simon Schuster in the UK. Editorial Packaging was supplying the concept and the finished, edited text, illustrations as a 'paste-up' to the publisher who would print and sell rights in the book. Later I controlled the printing as well, supplying finished bound copies to publishers in the UK and the USA.
 
Packaging: The design and presentation of a book.
 
Payment on Acceptance: Payment issued to a writer once their work is accepted for publication.
 
Payment on Publication: Payment made to a writer when their work is published.
 
Pen Name: A pseudonym or nom de plume used by an author instead of their real name. I use David Stewart, Max Marlborough, and another, best not mentioned.
 
PI (Print Instructions): Orders for books to printers.
 
Photo Feature: A feature in a publication that emphasises photographs over text.
 
Picture Book: A book for young children that combines illustrations with text, or uses only illustrations.
 
PLR (Public Lending Rights) The amount paid to authors and illustrators fro books being borrowed from libraries.
 
POD (Print on Demand): Printing small editions of a a book as required.
 
POS (Point of Sale): Marketing materials used to promote a book at the point of purchase.
 
Pre-Empt: An early offer made to secure a book before it goes to auction.
 
Production: The stages a book will go through at the prionters.
 
Proposal: A book proposal is a document to outline a book idea to show a publisher that your concept is a well constructed idea and financially feasible for their publishing house.
 
Proof: A sample copy of a book for final checks before printing.
 
Roman à clef: Novel with a Key: A novel where actual individuals, locations, or occurrences are depicted under false names or altered details, creating a blend of fiction and reality.
 
Royalties: Payments made to an author based on book sales.
 
Royalty Deal: Selling rights to an overseas publishing company, who then prints and sells the book, paying royalties to the original publisher.
 
Scouts: Professionals who search for book ideas or manuscripts for publishers or film or TV studios.
 
Serial Rights: Publishing an excerpt from a book in a magazine or newspaper, either before or after the book’s release.
 
SKU (Stock Keeping Unit): A unique identifier for tracking books in inventory.
 
Slush Pile: Unsolicited manuscripts submitted to a publisher, often without an agent. Publishers will often have an internee going through a 'slush pile' who probably has no experience.
 
Social Media: Covers a variety of content creation in different formats to be used online.
 
Specs (Specifications): In design, specifications are detailed documents that outline essential requirements, constraints, and specifications for book production to adhere to. They act as fundamental blueprints in product development, guiding teams from concept to completion.
 
Sub-Rights: Rights beyond primary publication, such as translation or serialization rights.
 
TCM (Total Consumer Market): Data from Nielsen BookScan tracking book sales across various outlets.
 
TPB (Trade Paperback): A larger paperback, usually less expensive than a hardcover.
 
Typesetter: The person responsible for arranging the text layout of a book working to specifications from a designer..
 
Wholesale: Buying books in bulk at a highly discounted price.
 
WIP (Work in Progress): A project currently being developed and worked on by an editorial team, author or illustrator.

From the Spark of an Idea to a Bookshelf: The Journey of a Book's Creation

Every book you’ve ever held in your hands started as just an idea - an inkling in a author’s mind or perhaps someone like me who develops ideas and designs the projects. But what happens between that spark of inspiration and the moment you lift that book off the book shelf, open it and crack the spine or order it online? 
 
A Blend of Creativity and Business Acumen
The journey is a mix of creativity, business acumen, some magic with a lot of hard work by differently talented people. Let's go through the process, step by step, from concept to publication, using the insider jargon (above) of the publishing world. By the end, you'll understand not only the creation of books, but also the business of publishing. Remember that this is in theory how things might work - in reality you will be dealing with the wide ranging elements of human behaviour in all it's different forms: unpredictable managment, internal sqabling, editorial rivalry and perhaps rejection...but just keep at it.
 
The Birth of an Idea
 
Every book begins with a spark - a high concept idea that promises to capture readers' imaginations. Once the idea is worked into a more concrete plan, the author or the creator and designer might draft a proposal (especially for non-fiction) or outline the plot for fiction. The project officially begins when the creator or author sends out a proposal and letter to agents or publishing teams, having followed submission instructions carefully, hoping that their project catches the eye of a person who believes in their vision.
If the idea is strong enough, an agent may agree to represent the author, and together they prepare to acquire a contractwith a publisher. This stage is where the rights negotiations begin. Authors often assert their moral rights, ensuring their name is always associated with the work and no changes occur without their consent. 

The Contract and Advance
 
Once a publisher is on board, they will offer a contract that outlines the terms, their is no such thing as a standard contract or as it can be referred to as a ‘boilerplate’ contract including the advance - an upfront payment made to the author, which is essentially a stake on the book’s future success. The contract also covers subsidiary rights, world rights, and the less glamorous kill fee (a payment made if the book never reaches publication).
 
Crafting the Manuscript
 
With a deal in place, the author or packager starts the work of designing or writing the project or manuscript. The process begins with research, writing, design, developmental editing, which entails making major structural changes, and continues with line editing and copyediting to refine the text. The type of the book's genre, such as literary fiction, narrative nonfiction, or young adult, each with its unique set of expectations.
 
Preparing for Production
 
After working on the design and the manuscript, the book moves into the production phase. A lot happens here—cover design, choosing the trim size, and assigning an ISBN (International Standard Book Number). Before the final product is printed, galleys are sent out to proofreaders, reviewers, and influencers as ARCs (Advance Reader Copies), creating interest ahead of publication.
During this phase, publishers also gather CIP (Cataloguing in Publication) data, which helps libraries catalogue the book. CIP data incorporates essential details such as the book's title, author, publisher, and subject classification, facilitating readers' access to the book upon publication.
 
Marketing and Distribution
 
As the publication date approaches, the publisher's marketing plan kicks into high gear. The publicist finalises the book's blurb, gathers endorsements, and organises interviews, blog tours, and social media campaigns. The goal? To get the book in front of as many eyes as possible.
The distribution channels to ensure the book is available at every major point of sale (POS), whether it's online or in brick-and-mortar stores, on release day. Meanwhile, CIP data is essential for ensuring libraries across the country are ready to add the book to their collections as soon as it’s available.
 
The Launch and Beyond
 
Finally, the day is here for publication! Readers can now find the book on book shop shelves, whether it’s in hardcover, paperback, or on ebook readers in e-book format. But the work doesn’t stop here. Royalties start coming in, calculated as a percentage of each sale, with the advance recouped first.
Post-launch, the book becomes part of the publisher’s backlist - those reliable older titles which continue to sell steadily. Authors can focus on their next project while their previous work remains available to readers.
 
Special Considerations and Legalities
 
But what about all those behind-the-scenes legalities? Terms like asserting moral rights, ISBN, and CIP data may sound dry, but they’re crucial. Moral rights ensure the author's name remains associated with the work and protect against unauthorised alterations. ISBNs are like a book's fingerprint, essential for tracking and sales. CIP data, provided before publication, streamlines the cataloguing process in libraries, aiding discoverability.
From the first spark of an idea to the final book in a reader's hands, the journey of a book is as layered as any of the book's contents within. Along the way, every term, acronym, and process plays a critical role in turning an idea into something solid, something real. So the next time you pick up a book, take a moment to appreciate the  creativity, business, and work that has made it possible. Behind every cover, there’s not just a writer and an illustrator, but a whole world of effort that has brought these pages to life.

How Do I Protect My Intellectual Property as a Children's Book Author?

 
 
​
If you are an unpublished author or illustrator based in the UK and you have created books that are going to spark inspiration and learning in your young readers, you need to know about your intellectual rights long before your work is in print.
 
How do you ensure that your intellectual property (IP) is properly protected? Intellectual property is essential for authors and illustrators because it provides legal rights over their creations, ensuring that their work cannot be copied or used without permission. Work which has been commisioned can fall into a different category. It is best to seek advice on all commissions before signing any contract.
 
In my latest blog, we’ll explore together the different types of intellectual property protection available to you, the steps you can take to safeguard your work, and how to enforce your rights if someone infringes them...however this can be difficult and expensive.
 
Intellectual Property
 
So let’s hit the mini answer first before heading in deeper.
 
To protect your intellectual property as a UK children's book author or illustrator, secure automatic copyright for your work, trademark titles or characters, use licensing agreements for adaptations, register with the UK Copyright Service, negotiate publishing contracts extremely carefully, and enforce your rights against infringements. All easier said than done - I can assure you!
 
Understanding Copyright
Your First Line of Defense
In the UK, copyright is the primary form of protection for authors and illustrators. As soon as you put your ideas into a tangible form—whether it's written text, illustrations, or digital content—your work is automatically protected by copyright.
 
You do not need to register your copyright in the UK, but it’s crucial to understand what it covers.
 
What does copyright protect?

• Text and Illustrations: Your written work and any accompanying illustrations (if you also illustrated the book) are protected under copyright law.

• Adaptations and Translations: If you create adaptations of your work, such as turning a book into an animated series or translating it into another language, copyright extends to these versions.

• Digital and Print Formats: Copyright covers both digital and print formats, ensuring that your e-books and physical books are equally protected.

 
One of the most well-known examples of the power of copyright is J.K. Rowling’s Harry Potter series. Though not a children's author in the picture book sense, Rowling’s work is protected by copyright, ensuring that her characters, plots, and even world-building elements cannot be copied by others without permission.
 
How to prove ownership of your work?
Even though copyright is automatic, proving that you were the original creator of the content can be challenging in cases of dispute. To strengthen your claim, it’s a good idea to:
 
Keep copies of your drafts, with timestamps: Email yourself a copy of the finished manuscript before sharing it with anyone else, as email timestamps can serve as evidence of the creation date.
 
Register your work with a copyright registration service such as the UK Copyright Service: https://copyrightservice.co.uk Even though this is not required. This provides an extra layer of documentation.
 
Trademarking Your Book Title or Characters
While copyright protects your written content, it does not protect your book title or character names. For example, if your book features a character with a unique name, you may want to trademark it to prevent others from using the same name in other media or merchandise. If you are creating a character - for example a 'Teddy Bear' character - it woud be pertinent to try and work out what makes your character different - think of how Paddington Bear is identifable:
 
Distinctive Clothing and Accessories
 
Duffle Coat: Paddington is almost always seen wearing a bright blue duffle coat, which is a signature element of his look. This coat, complete with toggles, adds to his anthropomorphic charm and makes him instantly recognisable.
 
Hat: He wears a classic shaped brown felt hat, which is often described as old and battered. This accessory not only adds character but also reflects his adventurous spirit.
 
Battered Suitcase: Paddington carries a small, worn suitcase, symbolising his journey from Peru and his status as an immigrant. The suitcase often contains marmalade sandwiches, emphasizing his love for this treat.
 
What can you trademark?
 
Book Titles: If you have a series of books with a consistent title (like The Gruffalo or Winnie the Pooh), it might be worth considering trademark protection.
 
Character Names: If you’ve created a character that you plan to use across multiple platforms: toys or other products, trademarking the name can protect it from unauthorised use.
 
In the UK, trademarks must be registered with the Intellectual Property Office (IPO). The process includes an application and a fee, this can be a valuable investment if you’re building a brand around your book or character.
 
An example of effective trademark protection is Beatrix Potter’s Peter Rabbit—a character that’s now synonymous with both children’s books and an entire range of merchandise. Trademarking Peter Rabbit ensured that the character could be used in different products without risking infringement.
 
Licensing Your Work
If your children’s book becomes popular, you might have opportunities to license your characters, stories, or illustrations for use in other products like toys, clothing, or television shows.
 
Licensing allows others to use your work in exchange for payment or royalties, but it’s crucial to have solid contracts in place to protect your rights. The https://societyofauthors.org has a service for members to advise on contracts. It is wise to take professional advice before signing any contract.
 
What should be included in a licensing agreement?
 
Clear Definition of Rights: Specify exactly what the licensee is allowed to use (e.g., character likeness, storyline, illustrations) and for what purpose (e.g., toys, TV shows, etc.).
 
Duration and Territory: Define how long the license is valid and in which geographical areas it applies.
 
Royalties: Ensure that you are compensated fairly for the use of your work. Royalties can be based on a percentage of sales or a flat fee.
 
Reversion of Rights: Include a clause that allows the rights to revert to you after the contract ends.
 
One well-known case of licensing success is that of Roald Dahl. His stories and characters, such as Charlie and the Chocolate Factory, have been licensed for films, theatre productions, and merchandise.
 
With proper licensing agreements, Dahl’s estate continues to earn royalties while maintaining control over how his work is used.
 
Contracts with Publishers
If you’re working with a publisher, your publishing contract is critical to protecting your intellectual property.
 
Make sure that you understand what rights you are granting to the publisher and what rights you retain.
 
Key elements to look for in a publishing contract:
 
Copyright Ownership: In most cases, you should retain the copyright to your work. Be cautious of contracts that transfer copyright to the publisher.
 
Rights Granted: Specify whether the publisher has exclusive rights to distribute your work in certain formats or regions.
 
Revenue and Royalties: Ensure that the contract outlines how you will be paid for book sales, including digital, print, and any additional formats.
 
Adaptation Rights: If you want to retain the rights to adapt your work into films or television, make sure these rights are not automatically transferred to the publisher.
 
One famous example of an author maintaining control of their intellectual property through contracts is Enid Blyton, author of the Famous Five series.
 
By retaining control over the adaptation rights, her estate has been able to negotiate multiple deals for television series and film adaptations and new editions.
 
Enforcing Your Rights
Once you’ve taken the necessary steps to protect your intellectual property, you may need to enforce your rights if someone infringes upon them.
 
What sets copyright apart from a trade mark?
A trade mark safeguards brand names, logos, and slogans by requiring registration through an application process. On the other hand, copyright protects various works like extended text, graphic works, illustrations, photographs, software code, music, sculptures, and film. In the UK and EU, copyright is not a registered right but automatically exists upon the creation of an original work.
 
This can include:
 
Unauthorised Use: If someone uses your story, illustrations, or characters without your permission, you have the right to take legal action.
 
Copyright Infringement: This occurs when someone copies or reproduces your work without your consent. In the UK, you can seek damages through the courts or negotiate a settlement.
 
Trademark Infringement: If someone uses a trademarked character or trademarked book title without permission, you can take legal action to stop them and claim compensation for damages. Remember legal action is expensive.
 
 
Intellectual Property
 
How Do I Protect My Intellectual Property as a Children's Book Author? - To Finish On…
As a children’s author or illustrator in the UK, protecting your intellectual property is essential for ensuring that your hard work and creativity are not exploited!
 
From copyright protection to trademarking key elements of your story, there are multiple steps you can take to safeguard your creations.
 
Working with publishers and licensors requires careful negotiation to retain control over your work, and if someone infringes on your rights, the UK legal system provides avenues for enforcement - at a cost.
 
Moral Rights
Works often mean more than just the economic value they can generate from their exploitation they can be very special to the person who creates them as they have invested a lot in the work, emotionally and/or intellectually. As a result, copyright works need to be protected in ways that are different to traditional forms of property. Moral rights protect those non-economic interests.
 
Moral rights are only available for literary, dramatic, musical and artistic works and film, as well as some performances.
 
Unlike economic rights, moral rights cannot be sold or otherwise transferred.
However, the rights holder can choose to waive these rights.
There are four moral rights recognised in the UK:
 
The right to attribution
This is the right to be recognised as the author of a work. This right needs to be asserted before it applies. For example, in a contract with a publisher, an author may state that they assert their right to be identified as the author of their work.
 
The right to object to derogatory treatment of a work
Derogatory treatment is defined as any addition, deletion, alteration to or adaptation of a work that amounts to a distortion or mutilation of the work, or is otherwise prejudicial to the honour or reputation of the author.
 
The right to object to false attribution
This is the right not to be named as the author of a work you did not create. This would prevent, for example, a well-known author being named as the author of a story they did not write.
 
The right to privacy of certain photographs and films
This right enables someone who has commissioned a photograph or film for private and domestic purposes to prevent it from being made available or exhibited to the public. For example, this would allow you to prevent a photographer from putting your wedding photographs on their website without your permission.
 
https://www.gov.uk/guidance/the-rights-granted-by-copyright
 
 
By understanding your intellectual property rights and taking proactive steps to protect them, you can focus on what you do best, creating wonderful stories for children to enjoy, and crucially make sure that your rights as an author are respected and upheld!
 
General information regarding copyright law in the UK. While every effort is made to ensure accuracy, this content should not be construed as legal advice. For any specific legal concerns or questions, readers are encouraged to consult with a qualified legal professional.

Publishing for Children

Publishing for Young Minds: A Guide to Navigating the UK Children's Book Market
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Constant revisions and checking is necessary in preparing a book for publication
 
Publishing a book for children can be exciting and rewarding, however taking that step towards publication can be a giant leap which needs careful planning and preparation to ensure that your book reaches the right audience.
 
In the UK, the publishing landscape is rich and varied, with opportunities for both traditional publishing and self-publishing.
 
UK Children's Book Revenue and Access Factors
• In 2023, UK children's book revenue was 412 million British pounds.
• Growth in revenue from 2017 to 2021 was steady, but small gains between 2019 and 2021.
• Possible reasons for 2023 drop include cost-of-living, larger authors' publication cycles, and publication categories.
 
Children's Book Access
• Children and teens with free school meals are less likely to read.
• Boys are less likely to read than girls, regardless of family income.
• Only 18% of boys reported friends helping them find books, compared to 30% of girls.
• Boys of five to eight years old own the least books.
 
Encouraging Reading
• Early encouragement from parents, carers, and teachers can engage children with reading materials.
• Diverse and relatable book selections in key areas can help.
• Reduced screen time could encourage engagement with books and reading material.
 
Amy Watson https://www.statista.com/statistics/305663/book-sales-revenue-from-children-s-books-in-the-uk/#:~:text=In%202023%2C%20the%20revenue%20generated,two%20percent%20year%20over%20year.
 
This guide will walk you through the essential steps to prepare your children's book for publication.
 
First, we will get the mini answer before taking in a little more of the details.
 
To prepare your children's book for publishing, edit thoroughly, seek feedback from beta readers, and hire a professional editor. Format your manuscript to professional standards, If you are looking for a traditional publisher, research potential publishers and agents, following submission instructions carefully.
 
Understanding the Children's Book Market
So before you dive into the publishing process, it's crucial to understand the UK children's book market.
 
The UK has a robust publishing industry, with children's books represent a significant segment.
 
According to the Publishers Association, children's books accounted for 32% of total book sales in the UK in 2022.
 
This clearly shows a healthy demand but also shows how competitive children’s writing can be.
 
it's crucial to understand the children's book market.
 
1. Research Current Trends
To position your book effectively, research current trends and some of the big bestselling titles in your genre - but beware coming late to the party - better to start a trend - rather than follow.
 
Visit bookstores, browse online retailers, and read industry publications like The Bookseller to identify what themes, styles, and formats are currently resonating with young readers.
 
2. Polishing Your Manuscript
Once you've completed your manuscript, the next step is to refine it to a professional standard.
 
Be Prepared For Several (and more) Rounds Of Editing:
 
Self-Editing (Not to be Advissed)
Start by reviewing your manuscript, if it's a novel, look at structure, pacing, and consistency.
 
Look for plot holes, and character development issues, and ensure your language is age-appropriate.
 
Reading your manuscript aloud can help identify awkward sentences and improve the flow of your narrative.
 
Professional Editing
Hiring a professional editor is highly recommended.
 
The Society of Authors, advises a professional editor can provide valuable feedback on both the content and technical aspects of your manuscript. I wouldn't advise publishing a book without working with a professional editor. or designer.
 
An editor can help you refine your story, improve clarity, and correct grammatical errors.
 
Beta Readers
Engage with beta readers – individuals who read your manuscript and provide feedback from a reader's perspective.
 
Choose a diverse group of readers, including teachers, parents, and children within your target age group.
 
Their insights can highlight areas that may need further revision.
 
Read more in A Writer's Guide On How to Handle Revisions And Feedback From Young Beta Readers On Your Children's Book Manuscript
 
Illustration and design.
 
3. Illustrations and Design
Children's books often rely heavily on illustrations to engage young readers. If your novel includes illustrations, consider the following steps:
 
Finding an Illustrator
If you're not an illustrator yourself, you'll need to collaborate with one.
 
The Association of Illustrators (AOI) offers a directory of professional illustrators. When selecting an illustrator, review portfolios to ensure their style matches the tone and audience that you would feel right for your book.
 
Illustrations Brief
Create a detailed brief for your illustrator, including descriptions of characters, settings, and any specific scenes you want depicted.
 
The Association Of Illustrators (AOI) advise that clear communication and a detailed contract outlining deadlines, payment terms, and rights are essential for a successful collaboration. The Society of Authors (SOA) can advise on publishing contracts Society of Authors,
 
Book Design
A professionally, well-designed book enhances legibility and appeal. Consider hiring a professional book designer who can format your text and illustrations into a cohesive layout.
 
The cover of the book is particularly important as it's the first impression potential readers will see. An eye-catching cover design can significantly impact the success of your book.
 
Read more in Do Children's Picture Book Publishers Provide Illustrators? : A Guide for Aspiring Children's Book Authors. 
 
The Route To Publishing Your Book
 
4. Choosing Your Route To Publishing
You have two main publishing options: traditional publishing and self-publishing. Each route has its pros and cons.
 
Traditional Publishing
Traditional publishing involves submitting your manuscript to publishers or literary agents. If accepted, the publisher will handle editing, design, marketing, and distribution and of course pay an advance.
 
Submitting to Publishers
 
Research publishers who accept children's books and adhere to their submission guidelines.
 
Resources like The Writers' & Artists' Yearbook provide comprehensive listings of UK publishers and agents.
 
Prepare a query letter, a synopsis of your novel, and sample chapters as per agents or publisher's requirements.
 
Self-Publishing
 
Self-publishing offers more control over the publishing process but requires you to manage all aspects yourself, including editing, design, and marketing.
 
Platforms like Amazon Kindle Direct Publishing (KDP), IngramSpark, and Lulu are popular choices for self-publishing in the UK.
 
Flat plan for a 40 page picture book
 
Self-Publishing Checklist
 

• ISBN: Obtain an International Standard Book Number (ISBN) for your book. In the UK, ISBNs can be purchased from Nielsen ISBN Agency.

• Formatting: Ensure your manuscript is properly formatted for both print and e-book versions. Tools like Scrivener or professional formatting services can assist with this.

• Proof Copies: Order proof copies to review the final product and make any necessary adjustments before the official launch.

 
Marketing Your Book
 
5. Marketing and Promotion
Regardless of your publishing route, marketing is crucial to your book's success.
 
Effective promotion helps your book stand out and reach your target audience.
Building an Online Presence
Create a website and social media profiles to promote your book and connect with readers.
 
The National Literacy Trust, advises that engaging with readers online can significantly boost your book's visibility and sales.
 
Book Launch and Events
Plan a book launch event to generate buzz and excitement. Partner with local bookstores, libraries, and schools to host readings and signings.
 
Participating in literary festivals and events like the Hay Festival can also increase your book's exposure.
 
Reviews and Media Coverage
Seek reviews from book bloggers, influencers, and publications. Positive reviews can enhance your book's credibility and attract more readers.
 
Consider sending press releases to local media to garner additional coverage.
 
6. Distribution
Getting your book into the hands of readers involves effective distribution.
 
If your book is being traditionally published, your publisher will handle this side of the business. For self-published authors, consider the following:
 
Online Retailers
List your book on major online retailers like Amazon, Waterstones, and WHSmith.
 
These platforms have a wide reach and offer convenient purchasing options for readers.
 
Bookshops and Libraries
Contact independent bookshops and library suppliers to stock your book.
 
Building relationships with local booksellers can help you gain shelf space and increase visibility.
 
Educational Market
Consider the educational market as a valuable distribution channel.
 
The BookTrust sates that schools and educational institutions frequently purchase children’s books for their libraries. Budgets will be pinched - but worth trying.
 
Offering discounts or teacher’s guides can make your book more appealing to your market.
 
How Do I Prepare My Children's Novel for Publishing?
- To End On…
Preparing your children's novel for publishing involves meticulous planning, from understanding the market and editing your manuscript to choosing the right publishing route and marketing your book effectively.
 
 
Publishing a children's book is not just about achieving personal success; it's about inspiring and entertaining the next generation.
 
With dedication and careful preparation, your book can make a lasting impact in the world of children's literature and help make a reader.
 
A blank book
 
Publishing or Self-Publishing Guide: Essential Elements and Steps
If you're thinking about publishing or self-publishing, understanding the various stages and requirements is crucial. The format and type of your book will influence the necessary elements. This guide provides a general overview, specific types of books will have additional requirements.
 
The Parts of a Book: A Book Checklist
Front Matter
 
Half-Title Page (Optional but Recommended):
Title and subtitle of the book
Title type same as the cover fonts
 
Title Page:
Title and subtitle of the book
Author/editor names
Illustrator name (if applicable)
Publisher's name, logo, and location
Title type same as the cover fonts and styling
Optional design elements to tie into the cover design
 
Copyright Page:
Copyright date and holder (e.g., “© [Author Name], 2024”)
Copyright notice
Edition information
British Library CIP Data (applied for via British Library Cataloguing-in-Publication Programme)
Printing history, if applicable
Country of printing
Publisher’s name and contact information
Author name and book title
13-digit ISBN (for both print and e-book, clearly identified)
Credits for design, illustration, editing, and cover artwork
Assertion of Moral Rights
Applicable waivers or disclaimers
 
Dedication Page (Optional):
Separate recto page following the copyright page
 
Table of Contents (Optional):
Follows the dedication or copyright page
Concise, listing chapter titles and subtitles
Accurate page numbers
Typeset style matching the rest of the book
 
Content Quality
Grammar and Copyediting:
British English spelling and grammar, if writing in British English
Correct punctuation rules (single vs. double quotation marks, serial comma use, etc.)
Consistent grammatical style (e.g., The Oxford Guide to Style or The Times Style Guide)
Free of grammatical and typographical errors
Advance Reader Copies (ARCs) marked as “Uncorrected Proof” or “Advance Reader Copy”
 
Quality of Writing:
Well-written content, appropriate to the genre, age, and topic (if for children)
Inviting, direct, well-phrased, cliché-free
Consistent and accurate facts, names, dates, and timelines
 
Acknowledgments Page (Optional):
Credit sources, essential in nonfiction
Photo credits included consistently
Plagiarism-free content
 
About the Author:
Brief, informative biography
Author’s credentials for specialized topics
Optional URL and social media links
 
Production and Design
Interior Design:
Design with appropriate font, leading, kerning, margins, and trim size
Consistent running heads or footer
Proper treatment of special characters
Front Cover:
Legibility of text in print and digital formats
Colours which translate well to both print and digital formats
Spine:
Title, subtitle (optional), author name, publisher name/logo
Back Cover:
Good quality cover copy to act as a 'hook'
Price as with books in similar category
Clear readable BISAC subject heading
Publisher name/logo
Relevant, real, and properly credited endorsements/blurbs
Industry-standard EAN bar code with price and 13-digit ISBN embedded
 
Additional Considerations
Library of Congress and British Library:
Apply for PCNs and display LCCNs for all books in the US.
In the UK, register the book with the British Library.
Paper:
Ensure paper is of good enough quality to avoid text see-through which affects the reading experience.
Proofs:
Order proofs of the book before printing to check for errors, legibility, design, and colour.
SEO (Search Engine Optimisation):
Use keywords from the book title, subtitle, and description to ensure discoverability.
Include meta data descriptions and alt text for photographs and illustrations in digital versions as computers cannot read images.
Utilise author websites, blogs, and social media for backlinks to improve search rankings.
 
Common Publishing Abbreviations
ARC: Advance Reader Copy
BISAC: Book Industry Standards and Communications
CIP: Cataloguing-in-Publication
EAN: European Article Number
ISBN: International Standard Book Number
LCCN: Library of Congress Control Number
PCN: Preassigned Control Number
 
Use this checklist as the basis to create your own checklist and criteria.
 
By following these guidelines, you can start to ensure your published or self-published book meets professional publishing standards and will be well-received by your readers.
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