Jobs in Books - Career Advice & Tips - Tips and advice on careers in the publishing industry

My Job in 5: Gabby De Matteis – Brand Editorial Manager

Gabby De Matteis, Brand Editorial Manager of Doctor Who (this My Job in 5 was written in 2018) shares how she strengthens the publishing brand of BBC’s most famous Doctor.

Describe your role.

I work with the BBC’s licensees, looking after all the Doctor Who stories told in different media outside of the TV show itself. That involves things like approving books from Penguin Random House, comic books from Titan, audio dramas from Big Finish, as well as working with new partners in gaming, live events, other spaces…! I’ll look at concepts and outlines for each new story idea, then read first drafts, giving feedback at each stage. It’s my job to make sure everything feels like it ties in with the established Doctor Who brand, as well as fitting alongside the new series which starts on BBC One this month. I also oversee our editorial relationship with Doctor Who Magazine and approve bits and bobs of copy for things like toy packaging and TV listings. I spend part of my week working in London with the brand’s commercial team, and part with the production team who make the show at Roath Lock Studios in Cardiff.

What do you like best about being Brand Editorial Manager?

I’ve been a huge Doctor Who fan since I was a teenager, so working closely with the production team is honestly a dream come true. Getting to read scripts, seeing sets being built, watching filming…it never gets old! And books are my first love – I worked as an editor at Penguin Children’s before I started this role. So I feel incredibly lucky to do a job which involves
both books and my favourite TV show.

Which new projects or titles are you working on at the minute?

At the moment everyone working on Doctor Who is gearing up for
the start of Series 11, so my time is mostly taken up by all things Thirteenth Doctor related. We’ve got a lot of publishing featuring the new Doctor launching soon – a host of Thirteenth Doctor books from Penguin Random House by amazing authors like Juno Dawson and David Solomons, a new Thirteenth Doctor comic range from Titan – plus all sorts of new partnerships, like our Doctor Who escape rooms which open in December.

What skills do you need to be a Brand Editorial Manager?

Like any editorial role, it helps to be able to read fast, to have an eye for detail, to prioritise well – plus a good memory to store lots of Doctor Who knowledge…! A strong understanding of the source material is key – knowing the feel of the show, what characteristics have been at the heart of Doctor Who in the past, and what will they be going forward. My role is
sometimes like being a middle man, taking the vision of the production team and helping translate it into a different medium, whether
that’s a book or comic or the script for a game.

What advice would you give to those looking to work in the industry?

Probably the most basic advice going, but tailor every CV and
cover letter you send off – make it easy for the recipient to see why you’re perfect for the specific role in question. And don’t be afraid to show passion in applications and interviews – I used to worry about coming across as too keen, but if you can talk about a role with genuine enthusiasm, that’s a brilliant thing. Also I think it pays to be annoyingly persistent! If you’re the one person of ten who follows up after an interview asking for feedback, it’ll set you apart and you might be kept in mind in future.

Discover editorial roles, including Brand Editorial Manager with Jobs in Books.

My Job in 5: Richard Kilgarriff – Editorial Director

Bookomi founder Richard Kilgarriff takes the helm of My Job in 5 this week to explain how he and his team are successfully connecting authors to the world’s most influential clubs and companies.

Describe your role.
I’m the founder and editorial director of Bookomi, a community of leaders who are readers who discover and share original, memorable, insights (OMI) together. My overall role is to connect authors and their work to targeted, influential audiences in clubs and companies.
What do you like best about being an editorial director?
I get to work with a diverse range of brilliant minds in great company: Scientists, historians, novelists, tech pioneers, business leaders… and have produced and hosted over three hundred literary events. I want to learn for the rest of my life and Bookomi allows me to do that.
Which new projects or titles are you working on at the moment?
This June, our Most Wanted list (new non-fiction titles selected by and for our community of leaders who are readers) includes Life Lessons from a Brain Surgeon (Dr Rahul Jandial, Penguin Life) and Dressed; the Secret Life of Clothes (Shahidha Bari, Jonathan Cape) and I can’t wait to introduce the authors to our members in Annabel’s and Soho House.
What skills do you need to be an editorial director?
If I was hiring someone to do my job I’d be looking for someone who can make new connections between seemingly diverse subjects and people, plus bookselling, events, promotion, writing, presenting, marketing and speed-reading, that’s useful.
What advice would you give to those looking to work in the industry?
Read The Book About Books, An Anatomy of Bibliomania (Holbrook Jackson, Avenel Books) and Why Information Grows, The Evolution of Order, from Atoms to Economies (Cesar Hidalgo, Allen Lane). Then look for disruption and run towards it, fast.

Want to work in editorial? Check out Jobs in Books for editorial roles including editorial director and editorial assistant jobs and more.

How to get into publishing from journalism

Phoebe Morgan talks about her career journey from journalism into publishing as commissioning editor at HarperCollins.

Describe your career before moving into publishing.

After I graduated from Leeds University with an English degree, I trained as a journalist in London on the NCTJ fast-track course. This was a super intense, four-month course during which I learned everything there is to know about media law, public affairs and news reporting, as well as reaching 100 words per minute in shorthand (something I’m still very proud of because it was HARD!). Following the course, I was lucky to secure a role as a news reporter at a local newspaper in Surrey, where I then worked for just under a year. During this time I covered a lot of court cases, some fairly harrowing attended lots of village fetes, local elections and public events, and crucially learned the importance of sticking to a deadline. Being a journalist was an incredibly eye-opening experience; it’s not an easy job by any means, and in the end, I made the decision that it wasn’t quite right for me and set my sights on publishing.

How did working in another industry help you into publishing?

Working in journalism teaches you a lot about persistence and tenacity – as a reporter I had doors slammed in my face and some very awkward conversations but you have to keep going and get the story, otherwise you’re nothing to fill your paper with! I was responsible for my own edition of the newspaper so it was quite pressurised, and that taught me a lot about the importance of never giving up – meaning that when the time came to apply for new jobs I was incredibly dogged and just kept going. Training as a journalist gave me quite a few transferable skills – I knew how to write to deadline, I was a fully paid-up member of the grammar police, and I had a good eye for detail which is essential in both journalism and publishing (especially on the editorial side).

What was your first role in publishing and how did you get the job?

My first role in publishing was as a Publishing Assistant at Octopus Books, part of Hachette UK. I couldn’t afford to leave my job in journalism until I had another job lined up to go to, so once I decided I was unhappy at the newspaper I began applying for assistant roles in publishing houses – the vast majority of which were in London. I was living in London but working in Guildford, so it was tricky to get back for interviews etc and looking back it was a very stressful time. I didn’t get the first role I applied for but I did get quite far down the line with a few roles, so often felt as though I was very nearly there. However, some of the final rejections were so soul-crushing and I had moments where I never thought I’d be able to make it into industry. Eventually though, Octopus offered me the role, and I was absolutely over the moon.

What would you say are the pros and cons of coming into publishing from another industry?

I think the pros are that I came to publishing with a different perspective because it wasn’t my first job out of university; this gave me lots to talk about in interviews and a fresh way of looking at things which I think employers liked. Coming from another industry means you already have a sense of the working world, and your place within it too. Publishing can be quite a sociable industry – everyone knows everyone – and coming from another industry can give you confidence to enter into that world without feeling too panicked. The cons are I guess having to ensure you convince an employer to take a chance on you, explain why you left your previous role and sometimes, join the ladder at a slightly later age – however I have found all these things are manageable and they haven’t huge been problems.

What skills do you use in your current role that you gained earlier in your career and that have helped you progress?

Journalism definitely taught me the importance of sticking to deadlines and this helps me stay on track with all my books, ensuring they meet the critical path and that they go to print on time. I was also taught about proofreading and writing concisely in journalism, both of which have helped me in publishing – I really enjoy writing back copy for my books and making it as tight as possible (it’s much easier than writing a six-word headline!) and having had to check facts again and again in journalism to ensure you get the story straight (and don’t get sued!) means that I pay attention to detail in my authors’ books.

Why is publishing a great place to be?

I am grateful every day to work in the publishing industry, and so glad that I made the leap from journalism. At the time I was incredibly worried about failing – after all I had trained in journalism and thought that was it, but now I know that people leave that industry so quickly – but now I am 100% sure I made the right decision. Publishing is such a rewarding place to work – there’s nothing like the thrill of finding a book, seeing the manuscript or signing up a new author, and seeing the books you edited out into the shelves is wonderful. Some of the time, as an editor you really are getting paid to read which is amazing, and I also like how creative the industry is too. I think it’s a very friendly industry – almost everyone you meet is very nice and willing to help you and offer advice where necessary, something I really appreciate. Plus there are a LOT of prosecco moments.

How to get into publishing from music

Paul Baxter from Bonnier Publishing talks about his journey from the world of music into publishing as contracts and royalties manager.

Describe your career before moving into publishing.

Before moving into publishing, I’d been working full time in the music industry for around a decade, predominantly working with publishing (songwriter) rights. I’d worked in different areas across licensing, copyright and contracts, digital distribution, royalties and other project management. While studying for a music degree at Napier University in Edinburgh, I’d also held several music-related jobs, including running the relationship between a recording studio and the whole of my year, started a promotions company, interned with a promoter in Edinburgh and later interned with the Mechanical Copyright Protection Society in Glasgow, who licensed the Scottish Parliament as part of a cross-party group on the Scottish music industry.

When YouTube moved my move to London, I was part of the first team to license YouTube for music use, had the opportunity to work in South East Asia and look after digital licensing across numerous territories across Europe, administered large catalogues for a private investment fund and was lucky enough to work with many of my childhood idols.

But, as anyone working in copyright will tell you, doing all of the things it’s got to change and evolve, including being outsourced, centralised or altered as part of digital administration and moving to a more global-focus on rights management. I decided it was time for something new, and publishing caught my eye.

How did working in another industry help you into publishing?

There are many obvious differences between the two industries but also many similarities. For example, where a song contains copyright in the top line melody and lyrics, a book holds copyright in the text. Where an album cover holds illustrative copyright, so does a book cover. Both have digital download formats which are experiencing changes in their areas and both operate partly on trade and consumer deals. Working in music rights gave me a good grounding, but my knowledge and interest caught the eye of those working in publishing.

There are also many transferable skills like people management, Excel, understanding of finances and taxes, contractual terminology, trademark and extended reading abilities that cross over.

What was your first role in publishing and how did you get the job?

My first role in publishing was as contracts and royalties manager for Bonnier Publishing (covering two of their UK divisions, Kings Road Publishing and Bonnier Zaffre). I got the job because my experience covered lots of different areas in rights, rather than being overly-specialised in one far-reaching area. I was (and still am) extremely passionate about the work I do and an ‘across it all’ gain my I’m one of those that try to immerse myself every aspect of what they do. If I won the lottery, I wouldn’t leave my job, and I think this came across strongly during the interviews.

What would you say are the pros and cons of coming into publishing from another industry?

The pros are that it has taught me a lot of the base knowledge and given me the transferable skills I needed to build upon in book publishing. Additionally, having had ten years of experience and being able to bring that into a business which has established music links. This allows me to work closely with music managers and/or agents about how copyright works while their experience and understanding in the music industry. I am also able to understand different copyright ownership to see if any administration needs to be done with the authors’ estates.

The cons? There is a lot to take in! Understanding how music works to transition into book publishing background requires a lot of knowledge. However, my past allows me to find differences, but not necessarily similarities. I know about the music industry, and I can learn about publishing, yet I’m not always sure of the differences. As Bonnier Publishing is open to hiring people from outside the publishing world and more from those who work within and those like me, we’re able to share knowledge and expertise in order to collaborate and become stronger overall.

What skills do you use in your current role that you gained earlier in your career and that have helped you progress?

I manage author contracts, intellectual property in general, contract negotiation risks, financial accounting, Excel use, project management, and overall administration.

Why is publishing a great place to be?

I can’t say whether publishing is a great place to be other than it’s definitely as interesting as music, but what I can say is that Bonnier Publishing is a great place to be! They allow you to think outside the box and have a professional but fun atmosphere, supportive nature, lack of workplace snobbery and ways of making what I unique in my experience. I genuinely believe that being interested in your work, working in a engaging workplace that challenges you and feeling valued for something you know comfortable are all of balanced importance. I enjoy working in the environment, there’s much more to learn though and I look forward to continuing the development of my skills and experience alongside great people.

This is part of a series profiling professionals working in publishing who started their careers in different industries and diverse ways. Please contact Lara for more details on how to take part.

How to get into publishing from retail

Lisa Edwards from Templar Publishing talks about her journey from the world of retail into publishing and how the knowledge that she gained helped her become the commercial publishing director that she is today.

How to get into publishing from retail – Describe your career before moving into publishing.
After I left sixth form I honestly thought university wasn’t for me, never mind publishing. I loved ballet and went to a really good school in North Wales that is still going strong. I taught for them for four years (with a range of supporting jobs including chambermaiding, waitressing and retail) and then one day I had an epiphany. I felt my brain start whirring into gear, telling me I needed to go and study something. I really don’t know what prompted it, other than my brain’s own needs. I loved my ballet teaching, but I think I needed to see what life was like outside North Wales. Four years after leaving school I studied Dance and English at Roehampton University, and quickly realised I was much better at English so I majored in it. Then I started an Arts Review magazine with a group of friends and the idea of publishing sprang into my mind. After university, I tried sending out copies of the Arts Review with my CV and didn’t get a single interview. I’m not sure what I did wrong but I fell back into retail — and ended up as assistant buyer for the Liberty Bath House in Regent Street.

How did working in retail help you get into publishing?
I’m so glad that I did that retail buying job for three years. It taught me everything about finding new creative talent (that’s what Liberty did), consumers, and the commerciality of the product. Because I didn’t get an instant ‘in’ to publishing I think I quickly realised I wasn’t the be-all and end-all because I had a first in English and had made a magazine. I think my experience there worked positively on my CV when I finally did get into publishing because I knew about buying-in products that people wanted to buy and how mark-ups and profit margins worked. Lots of elements of retail buying are transferable to publishing.

What was your first role in publishing and how did you get the job?
I got my first job in publishing by walking in off the street and asking for it! I’d moved to Brighton to do an MA in English at Sussex University (my fall-back career after publishing was academia) but I hated it. I’d loved my busy, social, retail life and I couldn’t bear the thought of being stuck in a library on my own for years on end. After eight weeks of my MA I enrolled myself in a business college and learned how to use Microsoft Office and type. I’ll never forget living on the biscuits those college ladies provided me with — they were like my fairy godmothers! I went to a library (pre-internet) and looked up publishers in the area and the biggest one was Wayland in Hove. I walked in and asked them if they needed someone, and Steve White-Thomson, the then MD, offered me a job on the spot, for £5 an hour. They’d just bought MacDonald Young Books from Hemel Hempstead and needed someone to help unpack boxes. Hurrah! I was in and it wasn’t long before I became a project editor.

What would you say are the pros and cons of coming into publishing from another industry?
Pro: It gives you greater insight into the real world. Publishing can sometimes feel very rarified, where we make decisions based on instinct and virtually no commercial factors. At least back then, anyway. Nowadays everyone is expected to think more commercially so my stint in retail definitely gave me an advantage. Con: I don’t think there are any. My career hasn’t suffered because of it. Maybe the only downside was starting so late (28) so I had to move faster to get up the ladder. I had a helping hand when Hodder bought Wayland back in the ‘90s and I was catapulted to senior commissioning editor only a couple of years in the business.

What skills do you use in your current role that you gained earlier in your career and that have helped you progress?
Liberty helped me think about what customers want, customer service, how to deal with suppliers, how goods get shipped around the world, how pricing worked, and how special sales worked. I think this knowledge gave me a headstart and has definitely helped me become the commercial publishing director I am today.

Why is publishing a great place to be?
For me, children’s publishing is the best place to be. I had a brief stint in adult and came running back to children’s fairly swiftly. It’s partly because I love illustrating books and working with artists as well as authors, but also because the people in it have a shared passion for what they’re doing. It’s great to be in an industry where people are so committed to something they love.

My Job in 5: Lucy Pearson – Blogger

Lucy Pearson tells us all about her role as a Blogger at The Literary Edit.

Describe your role

The role of a book blogger is a many and varied thing—my day-to-day tasks can vary enormously. One day, I might be reading and reviewing a book and the next I might be taking and editing photos for a social media campaign. My blog covers everything from book reviews to city guides to beautiful bookshops, as well as a desert island book feature. I’m constantly trying to come up with new ideas for creative and innovative content.

What do you like best about being a blogger?

I like that I’m my own boss—I set my working schedule and my deadlines. I also love engaging with the book-loving community, which is a huge part of my role. And, of course, I spend a lot of time reading and discovering great new books, which is one of my favourite things to do.

Which new projects are you working on at the moment?

I recently won London Book Fair’s Book Blogger of the Year award, so there are a few exciting partnerships in the pipeline, and I’m looking to incorporate more literary-themed travel into my blogs. I’m currently reading A Place for Us by Fatima Farheen Mirza. It’s the first book published by Sarah Jessica Parker for Hogarth and will definitely be a big hit this summer. I’ll also be supporting Independent Bookshop Week by featuring seven different bookshops across the week on my blog.

What skills do you need to be a blogger?

Being your own boss requires passion, drive and determination—and a lot of hard work. There are lots of technical things I’ve learned along the way, everything from coding to the importance of search engine optimisation. I am currently getting to grips with Photoshop and photography to ensure a high standard of content on The Literary Edit. Experience in website or graphic design would be an advantage for aspiring book bloggers but, as with many things, the skills can be self-taught—albeit with a lot of trial and error.

What advice would you give to those looking to work in the industry?

You need to be comfortable networking and putting yourself out there—something I’ve only recently got to grips with. You also need to build your profile and make yourself known in the industry. It’s also important to stay on top of trends and who’s reading what. But, most of all, you need a real thirst and love for books.

Start your career into the book trade industry here.

My Job in 5: Louise Dickie – Publicity Assistant

Louise Dickie tells us about her role as Penguin Random House UK Children’s publicity assistant.

Describe your role.

My role involves supporting the publicity team with general administration, providing support on large campaigns, and looking after some campaigns of my own. Part of my job is also to ensure that the office space is neat and tidy, and well stocked with all the stationary and books that publicists need.

What do you like best about your role as publicity assistant?

I love the variety of my role. My day can involve anything from mailing out books to journalists, writing a press release, or preparing for an event. I also like seeing some of the fan mail that gets sent in to us, it’s so great to see that children still enjoy taking the time to write a note to their favourite authors.

Which new projects or titles are you working on at the moment?

I’m currently working on a fantastic picture book called The Spectacular City by Teresa Heapy and illustrated by David Litchfield. It has this gorgeous dark blue cityscape cover and is a touching story about the power of friendship.

What skills do you need to be a publicity assistant?

I think it definitely pays to be organised! The more organised I am, the easier it is to prioritise tasks and make the most of my work day. Work experience is always great of course, but it doesn’t have to be in publishing necessarily, I think any office experience gives you great transferrable skills.

What advice would you give to those looking to work in the industry?

It’s always handy to have a bit of an idea of what’s going on currently in the publishing industry. Not only is this handy for interviews, because you can talk about specific books or campaigns you have admired, it also gives you an awareness of any particular trends or brands. I’d advise either taking out a subscription to The Bookseller or even just looking at the book review coverage in most newspapers.

Discover roles in publicity with Jobs in Books.

My Job in 5: Wayne Brookes – Associate Publisher

Wayne Brookes tells us about his role as Associate publisher—Fiction at Pan Macmillan.

Describe your role.

I’m the associate publisher in the fiction department which means I manage my own list of authors but also help oversee the fiction list as a whole. The other editors in fiction now report into me which means my role is a mix of editorial and management.

What do you like best about your role?

The diversity. As associate publisher I can be editing, signing off print runs, writing copy and then getting ready to do someone’s appraisal all in the same day. Then, on the way home, I could be reading a great new manuscript. Every day is different and it seldom follows a schedule I may have made myself.

Which new projects or titles are you working on at the moment?

At the moment, I’m getting ready to publish the mass market edition of The Wife Between Us. This is one of the most exciting thrillers I’ve ever acquired. I’m also publishing Peter James’ biggest standalone thriller to date, Absolute Proof, this autumn. I’ve been working with Peter on this project for over a year, and it’s such a thrill to see it all coming together.

What skills do you need for your role?

Not necessarily in this order, but you need diplomacy, a sense of humour, a keen eye for detail and commercial acumen. As my role is now split between editorial and management it’s not always easy to strike the right balance. I came into publishing as an acquiring editor, and that is still a huge part of my job. I love finding new authors and still get the biggest kick seeing Pan Macmillan’s books on the shelves and even better in the top ten.

What advice would you give to those looking to work in the industry?

I would say one of the best places to start is in a bookshop. That’s exactly what I did. You learn so much on the shop floor, and to this day I can still remember how certain books performed saleswise. I ended up running the fiction department before leaving to go to university. If you are coming into this business, you need to know the market, so read all you can, when you can.

Discover more publishing roles on Jobs in Books.

My Job in 5: Ruth Miller – Publishing Journal Development Manager

Frontiers In Publishing Journal Development Manager takes over this week’s My Job in 5. She tells us what it’s like to develop a portfolio of journals for one of the world’s most prolific online Journal producers!

Describe your role
The Journal Manager role at Frontiers is versatile and diverse, and no day is the same! It offers numerous activities, including analysing and researching the subject area to find new and exciting opportunities for exploration, attending international conferences, developing a portfolio of journals and participating in Editorial Board strategy meetings. As the point of contact for top researchers in the academic community, you will work with a great internal team to support the advancement of cutting-edge science.
What do you like best about your role?
The people! Working with a diverse and skilled team from a range of backgrounds provides many opportunities for professional growth through cross-departmental projects and innovations. We have a very international and hybrid working environment and encourage input from everyone, regardless of your role or department. Working at Frontiers – a pioneer of Open Access publishing – you will have a tangible impact on the accessibility and reach of scientific knowledge, education and research.
Which new projects or titles are you working on at the moment?
In collaboration with the team, we have recently developed and launched the first Open Access journal on Blockchain research from a mainstream scientific publisher. We were given ownership of the project to drive it forward from an initial idea to a new and unique outlet for research. From its conception, Frontiers has encouraged and facilitated creativity and innovation from its team members.
What skills do you need for your role?
The Journal Development Manager role requires strong communication and analytical skills, as well as motivation to empower a team and to work independently. Time management, fostering relationships and providing a clear vision and strategy are important skills to develop projects to fruition and inspire your team.
What advice would you give to those looking to work in the industry
Do not be afraid to reach out and network with industry members to ask questions and find ways to gain experience. There are many societies and organisations which provide useful information on the academic (and wider) publishing community.

My Job in 5: Sue Mayes – Project Editor

Sue Mayer tells us all about her role as project editor at Imagine That.

Describe your role

I’m project editor at Willow Tree, an imprint of [Woodbridge-based independent] Imagine That. I’m responsible for developing our picture story books and chapter fiction which means I’m always on the lookout for new writing and illustrating talent, as well as new design and illustration trends. I commission, edit and proofread, working alongside our in-house designers, freelance designers and agencies to complete each book from concept to the production of bound copies.

What do you like best about being a project editor?

I’m lucky to be working across a range of children’s fiction. The challenge of creating “again, again” illustrated picture story books for the very young, through to chapter fiction that may launch a child’s first ever solo-reading adventure, is exciting. I’m passionate about children’s literacy. I love working with established authors and finding new voices, too. I get a real buzz from creative teamwork—making something completely new and engaging together.

Which new titles are you working on at the moment?

The new title in our pulse-pounding animal fantasy series, Survivors, is on my desk. Aimed at children aged eight and up, Darkness Falls is the next canine-themed instalment about dog packs that learn to survive and thrive in a world without human masters. Willow Tree is a new imprint which launched this year to coincide with the company’s 20th anniversary, so it’s exciting to be publishing these books by New York Times bestselling author Erin Hunter.

What skills do you need to be a project editor?

As project editor, I need to be a creative thinker who is able to help turn a good idea into a great book. I also need to be flexible because, in true creative fashion, ideas and plans always develop along the way. Excellent teamwork is must, and an eye for detail is essential for the nitty-gritty of editing and proofreading.

What advice would you give to those looking to work in the industry?

If you’re looking to get into children’s publishing, immerse yourself in children’s books no matter what role you’re looking for. There’s nothing like living and breathing the product you’re going to be involved in making. If you’re hoping to work in a creative department, practise your creative skills every day: writing and drawing will be at the heart of your professional life.

Discover your next role in publishing with Jobs in Books here.