April 2005Issue 105

InPrint
The Newsletter of the Society of Young Publishers
After the huge success of this year's first London Speaker Meeting, Mia Kilroy reports back on the truth behind one of the most important relationships in publishing. There is an obvious relationship between an author and his/her agent, and an author and his/her editor, but there is an equally important relationship between Agent and Editor. On 23 February, the SYP was joined by some excellent speakers, and discovered the answers to the questions: 'are they on the same side?' and 'do the two roles sometimes cross-over editorially?' Emma Tait is a commissioning editor at Headline, dealing with commercial non-fiction. She deals with agents at the commissioning stage, often approaching an agent with a proposal for a title, so that the agent can then supply an author (or a ghost writer for a celeb book). Emma says that trusting the agent to choose the right author for a book is vital, and this element of trust between Agent and Editor is brought up again and again throughout the meeting. If an agent haphazardly supplies an author for a book, and it all goes 'pear-shaped', a more conscientious agent will be approached next time! So are agents and editors on the same side, or are they rivals? Emma pointed out that they have the same ultimate goal to make money! Relationships are often open and friendly until the contract stage, which is usually dealt with less personally by email. The agent's role is often to act as an intermediary between author and publisher, as the agent understands the needs of both

SYP

Society of Young
Est. 1949

Publishers

AGENTS AND EDITO RS: A MATCH MADE IN HEAVEN?

the success of their title Eats, Shoots and Leaves). Lizzy deals with fiction, non-fiction and children's books and highlights the importance of the advance to the author, as royalties from sales are usually paltry (unless it's a bestseller) and take 18 - 24 months to reach the author. The question she is often asked is, 'why does

Gail Haslam, Lizzy Kremer and Emma Tait pose for the SYP parties. However, the Agent and Editor may have different outlooks on The Advance and The Profit. An agent wants a generous advance for his/her author, and the publisher wants massive sales. The best deal for an author may not be the one paying the highest advance, but rather the most suitable publisher, and a publisher will inevitably invest more into a book they have paid a lot for Lizzy Kremer is an agent, and was sandwiched between the two editors speaking at the meeting. She is with David Higham Associates (who are undoubtedly delighted with

an author need an agent?' In response, she points out that the benefits of an agent are: they help to develop material editorially, they have existing relationships with publishers, and they are in touch with the needs of the author. Overall, she thinks that the relationship between Agent and Editor is very positive, although it is important that the author does not feel alienated by such an alliance, as they also need to feel supported by both their agent and editor individually. The trust between Agent and Editor is very important, and alliances are formed so that the right projects go to the right publishers and they share success. Agents are also there to remind publishers that authors need to earn a living! Their respective ideal views of a publishing house may be quite different too, with a publisher wanting more money from fewer books, while an agent wants an extensive list. Lizzy does contribute editorially to books, but this is not discussed with the editor! An agent is often the first reader of a book, although a more established writer may send it to both an agent and editor simultaneously, and then they confer tentatively, with opinions often differing dramatically! Gail Haslam is in her first Commissioning Editor role at Transworld, after serving her time as an assistant. She presently has a small fiction/non-fiction list and enjoys the challenge of building up a new author, and some of her authors did not come via an agent. There is the constant dilemma of what to buy, what you are allowed to buy, and whom from you should buy it, as she has to get 'house consensus' at an acquisitions meeting before she can put a bid in for a book. Here, association with a reputable agent will make selling to the meeting much easier. Things are taken on trust, and a bad decision by an agent will affect the editor's reputation in-house. A good agent will make the editor's life easier, and the Agent and Editor together allow

Contents: London speaker meeting 1-2, London Libraries 3-4, Self-Help books 5, Northern Correspondent 6, Oxford Speaker Meeting 7 , Events 8 1

InPrint April 2005

the writer to get on with the business of writing books! When asked what their initial reactions are on receiving a proposal for a manuscript, the three speakers offered similar perspectives. Lizzy said that she looks for something timely and/or attractive and that money does not cross her mind at this point, as it is important to love what you are reading. Emma thinks of how she would be potentially 'showcasing' it at an

Did you enjoy the last speaker meeting? Or did you miss out, only to be left with gut-wrenching regret? Either way, log on to the SYP forums at www.thesyp.org.uk and join the speaker meeting discussion. Inform, Invite, Innovate! Also, join us and some great speakers for a comical meeting on 27 April and find out about the art of the graphic novel (see back page for details)

acquisitions meeting, so firstly she would have to love it, and then she may approach individuals with it before the meeting. Gail pointed out how little time editors have to read, so the book must grab your interest and keep it. Again she may show it to individuals within the company for an opinion before bringing it to a meeting. The speakers were also asked whether they could see a parallel between Venture Capitalists and their investments and publishers and their investments. Lizzy felt that agents don't look at it in the same terms as a venture capitalist. The ultimate aim is to make money, but the publisher has to achieve certain goals and the author has to be happy, so it's not that simple. An agent can get very different offers from various publishers, and there is a lot more to the decision-making process than who will pay the most, although she admits that she will invest more time if there is more money involved. The meeting was very informative and answered a lot of questions I had on the topic, and it was a great start to the SYP's year!

At final count, there were over 50 people at the meeting

Comments on this months newsletter? Write to us at INPRINT

Som e dates for yo ur d iary

SYP events in London in 2005
Mon da y 13th A pril Book Club Meeting We dne sd ay 29th A pril Speaker Meeting - Visual Mon da y 16th M ay Book Club Meeting We dne sd ay 25th Ma y Speaker Meeting Translation(s) Mon da y 13th J une Book Club Meeting We dne sd ay 29th Ju ne Speaker Meeting Publishing Yesterday and Today Mon da y 18th J uly Book Club Meeting We dne sd ay 27th Ju ly Speaker Meeting Childrens Publishing
if you can read this youre doing really well

Mond ay 15 th Aug ust Book Club Meeting Mond ay 1 9th S ept embe r Book Club Meeting Wed ne sda y 28t h Se pte mbe r Speaker Meeting Magazine Publishing Mond ay 1 7th Octo ber Book Club Meeting Wed ne sda y 26t h Octob er Speaker Meeting - Production Mond ay 2 nd Nove mbe r Book Club Meeting Wed ne sda y 30t h Nove mbe r Speaker Meeting Independent vs Conglomerate

Gur deeps CO LUMN

So what to say? Well, I must say the London Book Fair was both fun and exhausting. Walking round like a ADDafflicted pop star on speed, its easy to grab free stuff and have lots of random conversations with jaded publishers. Happy 40th birthday MBI, thanks for the cake. Also, cheers to Charlie Harris from Midas for the invite the Sanctuary Party. Thanks to other random publishers for chocolates, pens, and all that. But what did I get done? Trying to get anything done, that is, get a job, or maybe approach a company did indeed prove a little harder. The lady at the Hodder stand barked at me for not being a female as I picked up some free chicklit novel. Now that, said my colleague, was embarrasing, reproaching me for my intial line - Hey, are you giving away free stuff? Well, sure, but someone needs to ask these kind of things, dont they? Or was I misled?

CAPITALISING ON READING
InPrint April 2005
Fiona O' Brien, Development Manager at the London Libraries Development Agency, tells us about its promotions and its great website
The London Libraries Development Agency is a small organisation with just 2 permanent and one part-time staff members, which is based in the heart of London in Westminster Reference Library, just off Leicester Square. The Agency is dedicated to the promotion and innovation of the capital's library services in whatever organisation they are based, but most people's experience of a library, once they have left the education system, remains with the public library. In the four years since its inception, the LLDA has done some really exciting work in this sector in particular. Unlike other major cities, the public libraries in London are not provided by a single service but are run by each of the 32 boroughs and the Corporation of London. This has resulted in fragmentation and a certain 'invisibility' not present elsewhere, which was recognised in a Comedia Report: 'London - Library City' from whose recommendations the LLDA was founded. This article concentrates on one of the most important elements of the LLDA's work thus far - that of its pan-London reading promotions. EARLY DAYS In 2001 the LLDA was awarded 294,000 from the DCMS Wolfson Public Libraries Challenge Fund to develop Read Routes - a literature promotion that was to take place twice a year in every London public library. This was the first Lond on
Social Secretaries: Clair e S hanahan cshanahan@thesyp.org.uk Re becc a Fox rfox@thesyp.org.uk Job Database Coordinator/ M ariza O Kee ffe jobs@thesyp.org.uk Press Officer: Lou ise Biddle press@thesyp.org.uk Speaker Meeting Coordinators: T ej Sood tsood@thesyp.org.uk S uzanne Arnold sarnold@thesyp.org.uk Company Rep Co-ordinator Rac hel Land er rlander@thesyp.org.uk

time that London's public libraries had worked simultaneously on their own reading promotions. Read Routes took on the theme of London as a backdrop and its first promotion, Unzip your Lips focussed on family reading, with a selection of books suitable for sharing. This was followed by Capital Offences, which took on a crime fiction theme with murder and mystery set in the capital, as well as a 3month programme of author events across London's libraries in the summer of 2002. In May 2003 the LLDA paired up with the London Comedy Festival for WitLit, a comic fiction promotion, again with stories set around the London Underground network. The WitLit promotion also included a writing competition for library readers young and old, and winners had their work performed in a show produced by author and standup comedian, Mark Blake, in the Soho Theatre in October. By autumn 2003, those funding LLDA reading activities included the Arts Council England and the London Museums Archives and Libraries Partnership, but funding was on a somewhat reduced scale. ians. LONDON LIBRARIES GOES LIVE ONLINE In September 2003, a groundbreaking online service for London's public libraries, funded by the New Opportunities Fund, What's in London's Libraries, allowed readers for the first time to search several London public library collections from a single web page. There currently remain three catalogues to be added to the service, but it has already proved to be extremely useful for the many people who care little for London's administrative boundaries because they live and work or study in different boroughs.By
Treasurer: Amelia Allsop treasurer@thesyp.org.uk

Chair: Vict or ia Nicholl chair@thesyp.org.uk Secretary: Ton ia M amai secretary@thesyp.org.uk Web Manager: Tob y Rhind- Tutt webmaster@thesyp.org.uk InPrint Editor: Re becca M ills inprint@thesyp.org.uk InPrint Production Manager: G urde ep M att u gmattu@thesyp.org.uk Membership Secretary: Doug Wallace membersec@thesyp.org.uk

Inprint Liasion: Clar e Tr ut er inprintliasion@thesyp.org.uk Events Amanda Lastor ia amandalastoria@alumni.sfu.ca Promotions Co-ordinator: Be cky S imms becky.simms@oup.com Event Co-ordinator: Deb S ander s youngpublishers@fsmail.net Web Editor: Jamie Shaw oxfordweb@thesyp.org.uk Brookes Liaison Re becca Dime ny 04037273@brookes.ac.uk

Oxfor d
Chair: Holly Mye r s hmyers@nelsonthornes.com Treasurer: Kim Hunt Kimberly_574@yahoo.co.uk Secretary: Katy Hawke r katehawker@hotmail.com Inprint Northern Correspondent Emilie Connes e.connes@lancaster.co.uk

October 2003 it was felt that the London location theme was no longer sustainable so the Departures promotion featured foreign novels in translation and, using the metaphor of air travel, the leaflets describing the 50 featured books was in the shape of an airline ticket. This promotion was the first done on the reduced budget, and although the production values of the materials were high (and booklets were requested by one independent bookshop), they were costly. As a result, Departures did not have a web presence, and we realised that we needed a new strategy to attract new audiences to libraries. The web was one way to do this, and press and PR was another. London Libraries Recommend In late spring 2004, the steering group which co-ordinates the reading promotions - hit on the idea of London Libraries Recommend as the summer promotion. Each of the 33 library authorities was asked to nominate up to five titles they felt to be good reads and which Londoners would enjoy. The Steering Group then excluded titles they felt to be 'overexposed' or which had recently been promoted locally or as part of earlier Read Routes. For the first time we also included information on the website as to whether books were available in large print, as talking books or in Braille through Revealweb (www.revealweb.org.uk) for visually impaired readers. In addition, the Read Routes website included some of the comments from librarians as to why they had chosen the books. In common with previous promotions we also invited readers to post details of their favourites with a short review. As a result, the Evening Standard picked up on the promotion and featured a short piece on summer reading ideas from the capital's librarians. Spurred on by this success we looked to other mediafriendly ideas, and in November launched Reel Fiction to coincide with the London Film Festival, who collaborated on a London Libraries website competition to win tickets

to the premiere of Vanity Fair, one of the featured titles. Not surprisingly, this attracted a much younger audience to the website than we were used to. Again, the Evening Standard ran the story 'Librarians pick top 50 books behind the movies' which was picked up on by other national media. The Reel Fiction selections were listed on the London Libraries website and for the first time we united a specific reading promotion with the wider library offer of the back catalogue, the older and out-of-print books that are not available on the high street. Needless to say, hits on the website soared in the days following the press coverage. In January 2005 we developed this further by launching the London Libraries Recommend section of the website, and have made some initial steps towards unifying features of the What's in London's Libraries service with the reading pages. As a result, you can now click on a link to find a library reading group, find your nearest library, search the catalogues, or browse one of the new or past reading promotions all from the same page and just in case you're interested it's www.londonlibraries.org.uk/read

InPrint April 2005

InPrint April 2005

SE LF HE LP B OO KS - DO THEY WOR K, O R ARE PU BLISHE RS HELP ING THEMSE LVES TO A P IE CE OF YOU R MIND?
Rebecca Mills seeks help and finds more than she bargained for
Looking at Amazon's Hot 100 Books, I am not entirely surprised to discover that 25 of them are Self Help books, or 'Mind, Body and Spirit' books, as Amazon likes to categorise them. From diet books (how to eat as much as you want and stay thin forever) and fashion tips (the perennial Trinny and Susannah who know you better than you know yourself) to books on how to keep your baby happy (supposed essential reading for all good parents) and guides for survival (never hit a jellyfish with a spade? Good thing they warned me, because I was considering it), it seems like the publishing industry is increasingly preying on our insecurities. The New Year brings many New Year's Resolutions, and publishers are well aware of this. Many people feel compelled to improve something about themselves, and if you're stuck for ideas, all you need do is walk into a bookshop and you are bombarded with hundreds of ways in which you can let an author 'help you help yourself'. It's not only the comfort of knowing that someone else understands how you feel that encourages us to buy these books, but the thought that someone may have found a magic solution to make your goals a whole lot more achievable. Even Paul McKenna has jumped on the bandwagon with his new book I CAN MAKE YOU THIN on the cover of which he is depicted in an Anne Robinson-like stance (albeit with a smile). In a society that is more and more obsessed with image, publishers have found that guilt is lucrative, and the synopsis of Paul McKenna's book, like many others, states that it will 'make you feel happier about yourself' (ooh, and it comes with a free CD!) Perhaps this is a natural accompaniment to the spate of reality TV we've had in the past few years. Self Help TV programmes (e.g. What Not to Wear) point out everything that needs improving in our lives in the best possible way - by examining other people's lives. These of course lead to TV tie-ins (e.g. What You Wear Can Change Your Life) where the viewer can test these theories in the privacy of their own home. It's almost formulaic: celebrity / psychologist + common insecurity + supposedly revolutionary methods + dramatic title = I decided this year that I'd test out a self help book of sorts, so I picked 'This Diary Will Change Your Life 2005' simply because it made me laugh. Packed with a new challenge for each day of the year, it makes you think about all those things you could be out there doing without making you feel guilty that you should be doing them. I have so far failed to 'emigrate to New Zealand' (7 January) or 'buy a stranger flowers' (10 January) but I have suggestions such as 'stalk an animal' (15 April) and 'spend this weekend up a tree' (2-3 July) to look forward to. It's a book that lets you change your life if you want to, and alleviates boredom if you don't, and I can't help thinking that it must have been fantastic fun to think up. As for self help, I'm feeling much more satisfied now that I've completed my challenge for today 'Review this diary' (19 January).

CAL DER BOO KSH OP EVENTS - EVERY T HU RSDAY @ 6 . 45P M Calder Bookshop, 51 The Cut, London SE1 8LF Discounted Entry for SYP members - 3 (usually 5) Please visit the SYP website for a list of forthcoming events. R EVER SE B OOK CL UB Book Aid International runs a 'reverse book club' where you pay 5 a month and they then send 4 books each month to readers of all ages in Africa and beyond. It's a great way to donate books whilst ensuring that they select the right books for people who really need them. Titles range from educational books and 'The AIDS Handbook' to vocational training books and world atlases. To support this cause, or for more details, go to: http://www.bookaid.org/cms.cgi/site/donate/boo kclub.htm

InPrint April 2005

IS SM AL L BEAUTIFUL?
Our Northern Correspondent, Emily Connes, examines a debate she has been considering for some time
I am more than halfway through my last university year; it's time to think about important things like graduation robes, graduation parties oh yes, and jobs! One has to start looking, signing up to the major recruitment agencies, and ringing up long-lost relatives with a small printing business in Newcastle-upon-Tyne. But when interviews are lined up and you are called upon to consider your options, there will be some final, crucial choices that you will be asked to make. Changing or finding a new job is the second most stressful life experience for a human being, after moving home. You will be spending a minimum of six months to several years with a company. It is not a decision to take lightly. At some point during this decisionmaking process, you will have to decide if you want to aim for the large, multinational publishing conglomerates that are Orion, Hachette, Random House (for trade publishing) and The National Magazines Company, Emap (for magazines), or for the small gems of modern publishing houses like Canongate, Picador and Faber that have only recently come into the limelight by publishing bestsellers. Similarly, the education publishing market is dominated by the Oxford, Cambridge and Edinburgh University Presses as well as dictionary imprints, obscuring small educational publishers like the Lancashire ones I cited in my last Northern Correspondent article. A publishing course graduate has many options. There are the Penguin, HarperCollins and Macmillan graduate training schemes that usually last two years. Amazing as these opportunities seem, there are thousands of applicants, the selection progress is rigorous and the placements themselves demanding. There are, of course, the perks of a slightly higher starting salary for first time publishers, structured training in all departments of the publishing houses and the social benefits of working within a large company. I mean, who wouldn't want to work somewhere with its own squash court? I have, however, repeatedly been told over the past few years that, even though the competition for placements is a fierce as with multinational publishing houses, posts within small companies are more rewarding, providing better career opportunities, multi-faceted training and increased responsibilities. One must ultimately ask: is small beautiful? Would you be willing to work harder, perhaps for less pay, for a smaller publishing house where, in addition to knowing the names of everyone on the office, you might get more job satisfaction? Perhaps not. Perhaps the promise of a big name to put on your CV is a bigger lure. Tell us what you think on the SYP website through a forum discussion that is open now! Some useful big-company websites: www.tastelifegetpaid.co.uk www.penguin.co.uk/static/cs/uk/0/about us/graduaterec.html www.macmillan.com/grad.asp www.harpercollins.co.uk/stars/

How Publishing Saved My Life Lou Clemenson

I am one of those individuals who get overly worked up about the apostrophe. Despite being a pleasant, law-abiding citizen, it is physically impossible for me not to deface a library book if by some oversight an instance of 'its' has been deformed to a totally unrelated 'it's'. I tried teaching, thinking it would be the most rewarding of careers: nurturing the grammatical understanding and development of enthusiastic youngsters - as the 'Use Your Head' adverts would have us believe and consolidating their appreciation of the semi-colon. Alas, I was sadly mistaken (not to mention downright horrified) week after week, as I collected and marked homework from first years and strapping sixth form pupils alike. I single-handedly created a market for WHS red biros in my attempt to heal the gaping wounds left by missing quotation marks, and to make sense of the page-long unpunctuated sentences. In despair - and fear of causing criminal damage with my marker pen - I quit. Some months later I find myself in my dream job as an editor here in London. It is interesting and difficult: working for a foreign bank I often have to re-write whole documents rather than simply adding the odd comma. But most pleasingly of all, other fun-loving individuals, who like nothing better than to discuss the merits of the hyphen during our coffee break, now surround me. I have arrived.

ENGLISH LANGUAGE TEACHING

InPrint April 2005
Clare Truter tells us about February's Oxford Speaker Meeting
going ahead. There is then a pilot stage in which a section of the potential book is made into a booklet and real teachers (with a financial incentive) then teach from this sample section to see if the material is successful in a working classroom. If these trials are successful, the author writes a draft manuscript that is sent to teachers to look at, and also to the Sales Office for approval. Feedback is given on the draft and if it is approved, a final manuscript is written. This final manuscript then lands on the Desk Editor's desk where it is looked at closely for content and copyediting, such as grammar and consistency. Once corrected, this is transformed into Quark and sent to the designer. The manuscript is then proof-read and artwork and photos are added. If needs be, photo-shoots are arranged. The first proofs with the artwork roughs are then produced and, if all is ok, the final proofs are sent through. Finally, a recording is done either in London or New York to accompany the text and voil, an ELT textbook is born! At Macmillan, there are different levels of editors, ranging from an 'Editor' who may have no teaching experience but a TEFL qualification (which is a pre-requisite) through to the Managing Editor who overseas all of the other editors and the project as a whole. Each project has not only one book, but can be comprised of a student's book, a workbook, a CD-ROM, a video or DVD, a video activity book, magazine, teacher's pack, resource pack and answer booklet. Things have certainly changed since my days at school when there was only one textbook with no accompanying texts! Thanks again to Sandra for her enthusiasm, for

On Monday 28 February, Sandra Frith, Editorial Manager (Asia) at Macmillan Education, came to talk to the Oxford SYP on the fascinating topic of English Language Teaching and TESOL publishing. Educational publishing is a subject we can all relate to, having spent many an hour studying unimaginative textbooks. It amazed us all just how far school textbooks have come. To introduce us to the topic, Sandra elaborated on how she came to be where she is today. After studying English at University, Sandra qualified as a teacher and then went to live abroad as an English Language Teacher in Greece, after teaching in England for a few years. On her return to the UK, Sandra took an editorial course and then began her career in publishing, firstly with an Accountancy textbook publisher and then with Macmillan where she remains today. Macmillan Education is an educational publisher and its main purpose is ELT publishing. Macmillan divides its staff into regions; these regions focus on their own markets and a Commissioning Editor's job can involve a certain amount of travel between the office in Oxford and the market for which they are working.

such an interesting talk and also for starting off the Oxford SYP Speaker Meeting year on such a high.

To put the ELT book into context, Sandra then described the editorial process that turns an idea into a published paper. The ideas initially come from the Marketing Department, a Commissioning Editor finds an author, the author writes a sample, the Marketing Department decides how successful the end product would be on the basis of that sample, and then says 'yes' or 'no' to the project

Cartoon by Simwebb

InPrint April 2005

SYP even ts in L ond on and O xfo rd

J oin us for the next Lon don Speaker Meeting: Fr om Pulp to Pu litzer : How the Under gr ound Com ic found its way into th e Mainstream.
The panel of speakers will include S am Le it h from the Daily Telegraph and P a ul G rav et t, international comic curator (author of Manga and currently completing a major guide and history of graphic novels for Aurum Press), along with Senior Editor Ni ck Jones from Titan Books. They will be revealing what exactly a graphic novel is in contrast to a comic book, how comics have entered the mainstream in the last couple of decades, how they compare to more traditional works, how they are put together, and just who reads them. Don't miss this fantastic opportunity to get a real insight into a unique area of publishing. Well also have FREE COMICS.

Winning Words, Booty- ful Books

Join us for the next Oxford Speaker Meeting and find out how prize-nominated novels get there and what happens next. Reaching the shortlist for a book prize can launch a novel - discover the fruits that winners and runners-up enjoy! Speakers to be confirmed. Wednesday 13 April 2005, 6:30p.m. drinks and nibbles, 7p.m. talk Gallery Room, Oxford University Press, Walton Street, Oxford Ox for d Bo ok Cl ub Thanks to everyone who came along to the last Book Club - it was really enjoyable! The book that we have chosen for this month is Alias Grace by Margaret Atwood. We are meeting in the Bookbinders pub at 7p.m. on Thursday 31 March.

The Speaker Meeting: Wednesday 30 April, 6:30 for 6:45 in the third floor meeting room (or Gallery ... yet TBC) of Foyles, Charing Cross Road Afterwards, for drinks, you can come along to the Pitcher and Piano on Dean Street @ approximately 8.15pm. Come along and introduce yourself, even if you can't make it to the meeting. If lost or you dont want to turn up by yourself, send the SYP a text:

London Book Club

M on day 11t h Apri l Book Club Meeting Discussing - This Sceptered Isle: 55BC to 1901 from the Roman Invasion to the death of Queen Victoria 7pm in the basement caf of Waterstones Piccadilly

07910946486

Forums: Do you have an issue that you would like to discuss further with SYP members or with the committee? Do you need advice on the publishing industry, careers or even which book to read next? Do you want to share ideas and have a good debate? Then join the SYP Forum where members exchange ideas and discuss 'hot' topics. Register at http://www.thesyp.org.uk/misc/forum.html and get more from your SYP membership!

Society of Young Publishers

c/o The Bookseller Endeavour House 189 Shaftesbury Avenue London WC2H 8TJ E-mail : mail@thesyp.org.uk Website: www.thesyp.org.uk

Ed itor s Rebecca Mills Gurdeep Mattu Contr ibut ors

Rebecca Mills Gurdeep Mattu Claire Truter Mia Kilroy Emily Connes Fiona OBrien

Printed by: Abbey Green, Old Woking, Surrey

SYP

Society of Young
Est. 1949

Publishers

Disclaimer: The Society of Young Publishers would like readers to note that any views expressed herein do not represent the opinions of the society as a whole and only reflect the opinions of the individuals who have submitted material.