The Bookseller - Nancy Adimora https://www.thebookseller.com/tags-bookseller/nancy-adimora en HarperCollins’ Adimora on acquiring new talent and ‘speeding up the process’ https://www.thebookseller.com/insight/harpercollins-adimora-acquiring-new-talent-and-speeding-process-1266396 <div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><img typeof="foaf:Image" src="https://www.thebookseller.com/sites/default/files/styles/large/public/field/image/Nancy.jpg?itok=x8wLM1zb" width="192" height="181" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p><span class="floatright"><img alt="" src="/sites/default/files/Nancy%20Adimora.jpg" style="width: 400px; height: 426px; margin: 10px; float:right;"></span><strong>Can you describe your role?</strong><br> The initial conversations were not about “this is your job”, but about designing a role that could address the overarching problem that we could all see. On the talent side, I am almost like an in-house scout. I spend time getting to know the editors, their tastes, and then I’ll go out and actively look for incredible stories from new writers. The idea is to approach talent, pair them with the perfect editor, then hand over to the editor and let them lead the project.&nbsp;</p> <p>The other half of my role is looking at the entire process and focusing specifically on how we amplify our books and reach new audiences through marketing and publicity. Here, I will partner with different teams across the business and bring my lived experience to the table. In designing this role, I was intentional about finding ways to seamlessly slot myself into an existing process, and I build on the expertise of my colleagues to give new authors the best publishing experience.</p> <p><strong>What was the aim?</strong><br> The term we used was “speeding up the process”. &nbsp;[HarperCollins] was already working on this, but we wanted to accelerate it. The aim is to catalyse, to be an extra pair of eyes, or to be that person that can take an idea forward. I have personal targets, and although numbers are important [in terms of acquisitions], I’m trying to look at it holistically. It is a long game and it’s all about demystifying the industry and opening things up.</p> <p><strong>What is your day-to-day like?</strong><br> My day’s a mess, right. I am fuelled by jumping from project to project, and I have made myself open for people to approach me. I am trying to be more intentional about setting time aside to think about new ideas. But my diary is also dictated by key meetings, such as the acquisitions meetings, which I make a point of attending. Then I do a lot of outward-focused stuff, like speaking at events, supporting community-based organisations, and working with potential new authors who might not have any experience of publishing.</p> <p><strong>What has surprised you so far?</strong><br> Acquisition meetings. When you pitch a book, you might as well be running a tech start-up because you’re effectively pitching for investment in the same way. It sounds obvious, but it has reshaped my thinking around publishing. Everyone loves the warm feeling you get when you read a good book, but there is also a numerical quality to these meetings, which I find fascinating, and it’s helped me think about how to pitch new ideas to teams in the most compelling way.</p> <p><strong>Can you give an example of how it is working?</strong><br> Toni Tone was the case study we all needed. She is an example of the kind of exceptional talent we can bring to the table because of this role. With her, I didn’t have to do any research, as she has been on my Twitter timeline for years. The fact she hadn’t been approached by anyone else in the publishing industry blew my mind, but proved the model. When we eventually announced the book deal, the post got over 20,000 likes on Twitter alone: these were the people waiting for this book, and the readers we need to do a better job of reaching. It was the perfect project to work on, and it really validated some of the ideas I had coming into this role.&nbsp;</p> <p>I’m also co-editing <em>Of This Our Country</em>, a collection of personal essays from acclaimed and award-winning Nigerian writers, with my colleague and fellow Nigerian Ore Agbaje-Williams. It showed me that being proactive can really work. There are endless opportunities to come up with new project ideas in-house, find a creative way to call for submissions within different communities, widen the pool of writers you approach, and introduce more people to publishing.&nbsp;</p> <p>On the audience development side, while a lot of my work is focused on individual books, we also announced a new marketing fund, where we are putting extra money aside to amplify four key titles across the business. The vision here is to learn as much as possible. We are using that extra resource to experiment and bring in external partners who have connections with different communities across the UK, and we’re sharing all our learnings with marketing and publicity teams across the business, too. We’re trying new things and we’re learning in the process.&nbsp;</p> <p><strong>Since re-joining HarperCollins in January 2020, there’s been the pandemic, and the murder of George Floyd. How did these two events change your role?</strong><br> I started my job a few weeks before we went into lockdown, and it completely shifted the way I saw my role. I had planned to be at comedy shows and cultural events, handing out my business card, inviting people out for lunch. Instead, I’ve spent the entire time at home using Twitter and Instagram DMs to reach out. It has been effective, but I see the limitations of social media, so I’m looking forward to eventually getting out and finding talent in the way I originally envisioned.&nbsp;</p> <p>From the George Floyd perspective, it was a very intense time, and the nature of my role meant that I thought I had a certain responsibility. The biggest shift was that my role became more internal and strategic, in the sense of asking what we were doing and saying as a business, and how we are keeping ourselves accountable.&nbsp;</p> <p><strong>You report to HarperCollins c.e.o. Charlie Redmayne—how do you get on?</strong><br> Charlie and I are very different but there’s a mutual respect. You need someone like Charlie who can believe in the possibility of this role, but also someone who can say “go off and do it”. I don’t need to be micro-managed but I feel like I have his full support, and if Charlie is backing you, you have the support from the business. The marketing fund, for example, that’s not my money, that’s the company’s money that Charlie has put forward to support an idea. One thing I love about this job is having the freedom to focus on the work, to present new ideas and get honest feedback. In that way, we work well together.&nbsp;</p> <p><strong>Your publishing journey has been a successful one, but how do you see it, and what would your advice be to others who are thinking of working in publishing?</strong><br> My experience in publishing has been unique. I joined as a trainee and was able to see a lot of the business, but then through an events role, I was able to learn how the business operates at a strategic level. My current role challenges the idea that everyone has to follow the same linear paths in publishing. That’s not true. You can take different steps, identify gaps and find interesting ways to create new opportunities. For new people coming into publishing, I often say that you need to believe in your sauce. What I mean is that ketchup doesn’t need to be told it is excellent, it knows it is excellent and it knows what it brings to the table. Publishing is an established industry and there’s so much to learn, but even if you are coming into publishing at a junior level, it’s key to be aware of what you are bringing to the table. I want more people to join this industry believing in their sauce from the get-go.&nbsp;</p> <p><strong>Publishing is much criticised, what should it do to evolve?</strong><br> For me it is not enough to just acquire writers from underrepresented backgrounds, if at the same time they are not given the space to write about what they want to write about. It is not just about bringing more writers through, but about acquiring great stories. When you make it more about the story, you can engage with more readers in an organic way. It is not about responding to a trend; publishing should always be about finding great stories from as many writers as possible, for as many readers as possible—that’s a fundamental part of our business model. It’s about the emphasis, and what we put the emphasis on when are doing the work.</p> <p><strong>And, how does your role evolve over the next few years?</strong><br> I am trying to make myself as irrelevant as possible. In a couple of years, I want people to wonder why I’m still here, because everyone has found ways to incorporate “talent and audience development” into their day-to-day work. We’re also starting to see new agents who are bringing new talent in: so the goal is absolutely to make myself irrelevant as quickly as possible. For now, is it is about responding to the need in the hope that one day there won’t be a need.</p> <p><em>Of This Our Country: Acclaimed Nigerian Writers on the Home, Identity and Culture They Know</em> will be published by The Borough Press on 30th September in hardback, priced £14.99 (9780008469269).&nbsp;</p> <p>Photograph of Adimora ©&nbsp;Jolade Olusanya.</p> <p>&nbsp;</p> <p>&nbsp;</p> </div></div></div> <span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2021-06-24T12:15:00+01:00">June 24, 2021</span><li class="item-inline"><a href="/article-type/insight">insight</a></li><li class="item-inline"><a href="/tags-bookseller/nancy-adimora">Nancy Adimora</a></li><li class="item-inline"><a href="/tags-bookseller/harpercollins-uk">HarperCollins UK</a></li><div class="field field-name-field-subscriber field-type-list-boolean field-label-above"><div class="field-label">Subscriber :&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-premium field-type-list-boolean field-label-above"><div class="field-label">premium:&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-sticky-to-category field-type-list-boolean field-label-above"><div class="field-label">Sticky at top of category lists:&nbsp;</div><div class="field-items"><div class="field-item even"></div></div></div> Thu, 24 Jun 2021 15:00:00 +0000 Philip Jones 1266396 at https://www.thebookseller.com https://www.thebookseller.com/insight/harpercollins-adimora-acquiring-new-talent-and-speeding-process-1266396#comments Of This Our Country to be narrated by Weruche Opia https://www.thebookseller.com/news/our-country-be-narrated-i-may-destroy-yous-weruche-opia-1278183 <div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><img typeof="foaf:Image" src="https://www.thebookseller.com/sites/default/files/styles/large/public/field/image/Weruche.jpg?itok=ztmkpRk9" width="192" height="181" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p>Weruche Opia, best known for her role in Michaela Coel’s BAFTA-winning series "I May Destroy You" will read the audiobook of&nbsp;the Nigerian essay collection <em>Of This Our Country </em>(The Borough Press) alongside&nbsp;fellow actor Oseloka Obi.</p> <p>The collection features essays from 24 acclaimed and award-winning Nigerian writers including Chimamanda Ngozi Adichie, Okey Ndibe, Bolu Babalola and Inua Ellams. It will be published in the UK and Nigeria on 30th September 2021, in hardback, e-book and audio.&nbsp;</p> <p>Ore Agbaje-Williams, editor at&nbsp;The Borough Press, and Nancy Adimora, talent and audience development manager at&nbsp;HarperCollins, who both edited the collection, said: "There was never any question that <em>Of This Our Country </em>would be narrated by Nigerians, and we can’t wait for people to listen to these exceptional Nigerian actors narrating such an important book, one that that speaks so powerfully to Nigeria."</p> <p>Obi added: "I am extremely honoured to be reading the words of these eminent Nigerian writers. Despite the challenges our countries face, Nigerians and the Nigerian diaspora continue to have a growing cultural influence around the world and this text testifies to that."</p> </div></div></div> <span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2021-08-25T11:45:00+01:00">August 25, 2021</span><li class="item-inline"><a href="/article-type/news">news</a></li><li class="item-inline"><a href="/tags-bookseller/weruche-opia">Weruche Opia</a></li><li class="item-inline"><a href="/tags-bookseller/oseloka-obi">Oseloka Obi</a></li><li class="item-inline"><a href="/tags-bookseller/chimamanda-ngozi-adichie">Chimamanda Ngozi Adichie</a></li><li class="item-inline"><a href="/tags-bookseller/okey-ndibe">Okey Ndibe</a></li><li class="item-inline"><a href="/tags-bookseller/bolu-babalola">Bolu Babalola</a></li><li class="item-inline"><a href="/tags-bookseller/inua-ellams">Inua Ellams</a></li><li class="item-inline"><a href="/tags-bookseller/ore-agbaje-williams">Ore Agbaje-Williams</a></li><li class="item-inline"><a href="/tag/borough-press-0">The Borough Press</a></li><li class="item-inline"><a href="/tags-bookseller/nancy-adimora">Nancy Adimora</a></li><li class="item-inline"><a href="/tag/harpercollins">HarperCollins</a></li><div class="field field-name-field-subscriber field-type-list-boolean field-label-above"><div class="field-label">Subscriber :&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-premium field-type-list-boolean field-label-above"><div class="field-label">premium:&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-sticky-to-category field-type-list-boolean field-label-above"><div class="field-label">Sticky at top of category lists:&nbsp;</div><div class="field-items"><div class="field-item even"></div></div></div> Fri, 27 Aug 2021 07:45:00 +0000 sian.bayley_551687 1278183 at https://www.thebookseller.com https://www.thebookseller.com/news/our-country-be-narrated-i-may-destroy-yous-weruche-opia-1278183#comments Mills & Boon scoops 'Love Island' winner Amber Rose Gill and launches competition https://www.thebookseller.com/news/mills-boon-scoop-debut-love-island-winner-amber-rose-gill-and-launch-writing-competition <div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><img typeof="foaf:Image" src="https://www.thebookseller.com/sites/default/files/styles/large/public/field/image/amber.jpg?itok=tRoirKHr" width="192" height="181" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p>Mills &amp; Boon has scooped the first novel from “Love Island”&nbsp;2019&nbsp;winner Amber Rose Gill, and launched a writing competition for unagented and unpublished romance writers from underrepresented ethnic backgrounds to bring more diverse characters and perspectives to the genre.&nbsp;</p> <p>Initiated by Nancy&nbsp;Adimora, talent and audience development manager at HarperCollins, world all language rights for&nbsp;<em>Until I Met You&nbsp;</em>were acquired by senior editor Rebecca&nbsp;Slorach&nbsp;from Leisa Maloney at Fire PR &amp; Management.&nbsp;The book will publish on 21st July 2022 in paperback, e-book and audio.&nbsp;</p> <p>Alongside her book, Gill is launching the Love to Write competition with Mills &amp; Boon. The winner&nbsp;will receive a one-book contract&nbsp;with the romance publisher,&nbsp;mentorship&nbsp;from an editor to develop their submission into a full novel&nbsp;and&nbsp;writing grant.&nbsp;Submissions open on 9th July and close at midnight on 19th September 2021. Full details of how to enter are available on Mills &amp; Boon’s <a href="https://www.millsandboon.co.uk/pages/mills-boon-love-to-write-competition">website</a>.</p> <p><em>Until I Met You</em>&nbsp;follows the journey of broken-hearted travel blogger Samantha, who catches the eye of hot-shot businessman&nbsp;Roman, on holiday in Tobago. Sparks fly, but when secrets put their romance in jeopardy, both must decide if they have the strength to fight for what they really want.&nbsp;</p> <p>Gill said:&nbsp;“For me this project is so much more than just a love story. It’s about bringing more representation and inclusivity to the romance genre. I know first-hand growing up that love stories were never about girls and boys who looked like me – the lead characters were never Black or mixed race. I want to create a narrative that changes this, that lets people see themselves in the heroine or hero. Given Mills &amp; Boon novels have been selling for over 100 years, it’s the perfect brand to join forces with to make positive changes and to inspire other writers to do the same.”&nbsp;</p> <p>Slorach&nbsp;added:&nbsp;“We are delighted to be working with Amber. Mills &amp; Boon prides itself on inclusivity in its publishing and we are delighted Amber is not only going to help us find new underrepresented authors but also publish her first book with us. In her work, Amber champions young people to believe in their ambitions and I can’t think of anyone more suited to work with on this project.”&nbsp;</p> <p>&nbsp;</p> </div></div></div> <span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2021-07-07T11:00:00+01:00">July 7, 2021</span><li class="item-inline"><a href="/article-type/news">news</a></li><li class="item-inline"><a href="/categories/rights">rights</a></li><li class="item-inline"><a href="/tag/mills-boon">Mills &amp; Boon</a></li><li class="item-inline"><a href="/tags-bookseller/amber-rose-gill">Amber Rose Gill</a></li><li class="item-inline"><a href="/tags-bookseller/love-write">Love to Write</a></li><li class="item-inline"><a href="/tags-bookseller/nancy-adimora">Nancy Adimora</a></li><li class="item-inline"><a href="/tag/harpercollins">HarperCollins</a></li><li class="item-inline"><a href="/tags-bookseller/rebecca-slorach">Rebecca Slorach</a></li><li class="item-inline"><a href="/tags-bookseller/leisa-maloney">Leisa Maloney</a></li><li class="item-inline"><a href="/tags-bookseller/fire-pr-management">Fire PR &amp; Management</a></li><div class="field field-name-field-subscriber field-type-list-boolean field-label-above"><div class="field-label">Subscriber :&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-premium field-type-list-boolean field-label-above"><div class="field-label">premium:&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-sticky-to-category field-type-list-boolean field-label-above"><div class="field-label">Sticky at top of category lists:&nbsp;</div><div class="field-items"><div class="field-item even"></div></div></div> Wed, 07 Jul 2021 10:01:32 +0000 sian.bayley_551687 1268165 at https://www.thebookseller.com https://www.thebookseller.com/news/mills-boon-scoop-debut-love-island-winner-amber-rose-gill-and-launch-writing-competition#comments Literary magazines 'reducing barriers' for diverse and debut authors https://www.thebookseller.com/news/literary-magazines-increasingly-focusing-diverse-and-debut-authors-1265115 <div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><img typeof="foaf:Image" src="https://www.thebookseller.com/sites/default/files/styles/large/public/field/image/bad%20form.jpg?itok=cIZP4Lzg" width="480" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p>Literary magazines are increasingly spotlighting diverse and debut authors, with many new publications focusing on their online offer and a more&nbsp;international outlook,&nbsp;say trade experts.&nbsp;&nbsp;</p> <p>The publications are providing more of an outlet for underrepresented authors who don't feel supported elsewhere in publishing, reducing barriers while also providing a source of new talent, they say.</p> <p>Hannah Chukwu, assistant editor at Penguin imprint Hamish Hamilton, works on the publisher’s literary magazine, <em>Five Dials,</em> which has recently pivoted to only&nbsp;publishing underrepresented authors.&nbsp;She told <em>The Bookseller</em>&nbsp;the team made the radical change after the success of its debut author issue just before lockdown, where many of the writers were from diverse&nbsp;socioeconomic groups.&nbsp;&nbsp;</p> <p>“As we were developing what that might mean for the magazine, how that could look, that’s where the more radical change came in where we were like, 'Actually, it makes a lot more sense for that to be the focus of the magazine.' If we’ve got this platform and we have a dedicated subscriber base and readership, actually it feels really valuable&nbsp;to be able to use that platform to elevate writers who aren’t getting the support they deserve elsewhere, and be able to shine a light on them through a platform that doesn’t feel so full of barriers in a way that mainstream publishing can be,” she said.&nbsp;</p> <p><span class="floatright"><img alt="" src="/sites/default/files/Hannah%20Chukwu%20%282%29.jpg" style="width: 200px; height: 267px; float:right;"></span>No-one who wants to write for<em> Five Dials&nbsp;</em>needs an agent, they simply need to submit work to the editors to be considered.&nbsp;&nbsp;</p> <p>Chukwu (<em>pictured, right</em>) said there has been a “brilliant” response from readers: “It’s&nbsp;really encouraging because I think that can be a myth that choosing to focus on underrepresented writers could affect the quality. We know that’s completely untrue and we found that in the response to that first launch,” she said.&nbsp;</p> <p>What <em>Five Dials</em>&nbsp;is doing isn’t new and recently a number of&nbsp;magazines&nbsp;have sprung up&nbsp;which&nbsp;also focus on particular groups of writers traditionally&nbsp;underrepresented&nbsp;on&nbsp;UK&nbsp;bookshelves.&nbsp;&nbsp;</p> <p>Nancy&nbsp;Adimora&nbsp;is the talent and audience development manager&nbsp;at HarperCollins and also runs <em>AFREADA,</em> an African literary magazine she founded in 2015, which focuses exclusively&nbsp;on&nbsp;original&nbsp;short stories&nbsp;from established and emerging writers across Africa and its diaspora.&nbsp;</p> <p>She told <em>The Bookseller</em>&nbsp;that creating her own magazine was “a no-brainer”. She said:&nbsp;“I knew there were so many sick writers who were writing on their personal blogs and that’s literally all they had. They had maybe 100 followers and nobody was really reading their stories except for their family members."</p> <p>She said&nbsp;she didn’t feel “pressured” to have poetry or reviews seen in more traditional literary magazines such as the <em>London Review of Books</em>&nbsp;or the <em>New Yorker,</em> and is interested to see how the form develops: “The more literary magazines that exist, it lowers the barrier of entry. What I mean by that is you can just enter with a good story, you don’t need to have all these connections, you don’t need to have done an MA in creative writing. But when you’re able to say that I have been published here, even if it’s somewhere like <em>AFREADA</em>&nbsp;or somewhere like<em> Bad Form,</em> I feel like it gives writers the confidence to go off and submit to other magazines as well.&nbsp;A lot of the time when it comes to creative expression or creative work, you hear a lot&nbsp;of ‘nos’ and I think it’s really validating to hear your first 'yes', and that will inevitably spur you on to go on and pursue a longer career in the industry.”&nbsp;</p> <p>Adimora&nbsp;says it’s “really&nbsp;heartwarming” when people she has published on <em>AFREADA</em>&nbsp;get agents and book deals, and cite the magazine in their biography. “A lot of the time we were the first people to accept their stories,” she said.&nbsp;The magazine is largely online to help with accessibility for its global audience, but it has also recently introduced&nbsp;a&nbsp;print offer at the end of the year.&nbsp;</p> <p>This focus on online can also be seen at <em>Bad Form</em>, which launched in autumn 2019 and really took off after the Black Lives Matter movement last spring, as the&nbsp;magazine platforms writers from Black, Asian and racialised community backgrounds.&nbsp;Founder and editor Amy Baxter told <em>The Bookseller&nbsp;</em>that she puts&nbsp;"bookstagrammers" and online reviewers on a similar level to literary reviewers, and she doesn’t think there should be such a great divide between them.&nbsp;&nbsp;</p> <p>“Often&nbsp;I’m only really sent quite literary titles to review on <em>Bad Form,&nbsp;</em>and it’s been a real active effort of ours to say actually we want the commercial titles too, the purpose of <em>Bad Form</em>&nbsp;is to platform all writers from Black, Asian and racialised community backgrounds for people who like to read them. And I don’t think the average reader really goes into a book knowing whether it’s super commercial or super literary unless you tell them it is either way.&nbsp;So&nbsp;I think there is perhaps an&nbsp;ancient hierarchy of which books&nbsp;get published in literary reviews and which books get published on 'bookstagram' online, and I think <em>Bad Form&nbsp;</em>is good in that we are trying to blur the lines between which are worthy of lengthy discussion rather than just a picture or&nbsp;a backgrounder.”&nbsp;</p> <p>Around 25 articles are published online each month, and there is also a quarterly magazine. The next edition focuses on&nbsp;Caribbean literature and is guest-edited by editor and author&nbsp;Mireille Harper.&nbsp;Harper said she contacted Baxter with her ideas for the issue after seeing there wasn’t really a place&nbsp;“celebrating the diversity of all kinds of Caribbean&nbsp;literature in all its forms”. She said: "I know there are Caribbean reading and writing communities, but I didn’t feel like maybe so much in the UK that there was&nbsp;a literary review celebrating that.”&nbsp;</p> <p>Speaking about the magazine's focus&nbsp;on debut authors, Baxter lamented: “As a platform that focuses on Black, Asian and racialised community writers, it is a necessity that we focus on debut authors. We would love to write on loads of established authors who have great sales records and would get us loads of interest like that. But&nbsp;unfortunately&nbsp;they don’t exist because the British publishing industry has not catered to those, it has not published those&nbsp;en&nbsp;masse enough that we can do that.”&nbsp;</p> <p>It also has an impact on those scouting new talent.&nbsp;Seren Adams, an agent at United Agents, said she “loves” looking at slightly less mainstream magazines to find new writers, and recently signed a writer who had done a piece on online activism for <em>It’s&nbsp;Freezing in LA&nbsp;</em>to work on a non-fiction proposal.&nbsp;“I find that very exciting, and I’m grateful to the magazine. If they hadn’t published&nbsp;her&nbsp;I wouldn’t have seen or known about her,” she said.&nbsp;</p> <p>“Obviously if it’s a bigger magazine like <em>the&nbsp;New Yorker</em>&nbsp;or the<em> Paris Review,&nbsp;</em>or even <em>Granta,&nbsp;</em>it’s unlikely that someone will be unrepresented&nbsp;by the time they have got published,” she said.&nbsp;</p> <p>However, she noted that finding writers this way can be “risky”. She told <em>The Bookseller</em>: “You are just seeing a snippet of their&nbsp;work,&nbsp;you just get a glimpse of their writing style.&nbsp;It’s a real long-game thing. I think the way to find people when you are a junior person in the industry is to find them very early in their career and take the risk on them and support them, and see their writing as it develops.&nbsp;So&nbsp;it might be years before something comes to fruition.”&nbsp;</p> <p>But with more literary magazines also creating awards, they are definitely seen by the industry as a good place to find innovative and emerging talent. The editors at the <em>White Review,</em>&nbsp;widely praised for their renowned short story competition, told <em>The Bookseller</em>&nbsp;they "definitely" think the literary magazine, in all its guises, is here to stay.</p> <p>They said: "Particularly during a time of content overload, where quantity often takes precedence over quality, there is a renewed appetite for thoughtful, long-form essay writing and short fiction. People tire of clickbait and the roller-coaster of hot takes. We offer something different: writing that is longer in the making, that goes through an involved and careful editorial process. We don't foresee the 'death' of print, although our online platform is wonderful for reaching a wide audience. A printed issue of the <em>White Review</em>&nbsp;offers a different kind of reading experience, away from the screen. The design suggests a specific pace, a different kind of attention. It's also a beautiful, tactile object.”&nbsp;</p> </div></div></div> <span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2021-06-17T12:30:00+01:00">June 17, 2021</span><li class="item-inline"><a href="/article-type/news">news</a></li><li class="item-inline"><a href="/tags-bookseller/literary-magazines">literary magazines</a></li><li class="item-inline"><a href="/tags-bookseller/hannah-chukwu">Hannah Chukwu</a></li><li class="item-inline"><a href="/tags-bookseller/five-dials">Five Dials</a></li><li class="item-inline"><a href="/tag/hamish-hamilton">Hamish Hamilton</a></li><li class="item-inline"><a href="/tags-bookseller/nancy-adimora">Nancy Adimora</a></li><li class="item-inline"><a href="/tags-bookseller/afreada">AFREADA</a></li><li class="item-inline"><a href="/tags-bookseller/amy-baxter">Amy Baxter</a></li><li class="item-inline"><a href="/tags-bookseller/mireille-harper">Mireille Harper</a></li><li class="item-inline"><a href="/tags-bookseller/bad-form">Bad Form</a></li><li class="item-inline"><a href="/tags-bookseller/white-review">The White Review</a></li><li class="item-inline"><a href="/tags-bookseller/seren-adams">Seren Adams</a></li><li class="item-inline"><a href="/tags-bookseller/harriet-moore">Harriet Moore</a></li><div class="field field-name-field-subscriber field-type-list-boolean field-label-above"><div class="field-label">Subscriber :&nbsp;</div><div class="field-items"><div class="field-item even">1</div></div></div><div class="field field-name-field-premium field-type-list-boolean field-label-above"><div class="field-label">premium:&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-sticky-to-category field-type-list-boolean field-label-above"><div class="field-label">Sticky at top of category lists:&nbsp;</div><div class="field-items"><div class="field-item even"></div></div></div> Mon, 21 Jun 2021 07:45:00 +0000 sian.bayley_551687 1265115 at https://www.thebookseller.com https://www.thebookseller.com/news/literary-magazines-increasingly-focusing-diverse-and-debut-authors-1265115#comments Adichie, Adebayo and Habila contribute to Borough Press Nigeria title https://www.thebookseller.com/news/borough-press-commissions-star-names-and-unknowns-nigeria-collection-1232511 <div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><img typeof="foaf:Image" src="https://www.thebookseller.com/sites/default/files/styles/large/public/field/image/Borough.png?itok=yXUd66BV" width="192" height="181" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p>The Borough Press has commissioned a collection of non-fiction exploring Nigeria, including contributions from Ayọ̀bámi Adébáyọ̀, Helon Habila, Chimamanda Ngozi Adichie, Bolu Babalola, Nels Abbey, Caleb Femi and Chigozie Obioma.</p> <p>Editor Ore Agbaje-Williams (pictured) and Nancy Adimora, HarperCollins talent and audience development manager, commissioned <em>Of This Our Country</em>. It will be published in hardback in the UK and Nigeria on 30th September 2021, the day before Nigerian Independence Day and the eve of Black History Month in the UK.</p> <p>Through short memoirs and essays, it will see feature&nbsp;Nigerian writers around the world sharing personal stories of the Nigeria they know, and the Nigeria they hope for.</p> <p>Alongside existing contributors, The Borough Press is also looking for an unpublished and un-agented Nigerian writer of any age, based anywhere in the world, to submit a personal essay about the Nigeria they know and have experienced, whether that be the people, the culture or the place itself.</p> <p>The paid commission “is an opportunity for talented Nigerian writers to showcase their skill, explore their heritage and potentially be published alongside some of the most highly regarded writers in the world”. Full terms and conditions are on the publisher's website,&nbsp;boroughpress.co.uk.</p> <p>Also on the list of contributors&nbsp;are Yomi Adegoke, Ike Anya, Sefi Atta, J K Chukwu, Abi Daré, Inua Ellams, Chịkọdịlị Emelụmadụ,&nbsp;Helon Habila, Abubakar Adam Ibrahim, Anietie Isong, Okey Ndibe, Irenosen Okojie, Lola Shoneyin, Umar Turaki, Chika Unigwe and Hafsa Zayyan.</p> <p>Agbaje-Williams said: “It’s not possible to capture everything about Nigeria in one book, but seeing it through the eyes of some of the phenomenal writers it has produced brings us close. As a reader I have long admired and read the authors in this collection; and as a Nigerian I’m incredibly proud to work with Nancy, a fellow Nigerian, and publish a book about our home country. To be able to bring those two things together in <em>Of This Our Country </em>is more than a dream come true, it’s extraordinary, and I’m incredibly excited for readers the world over to read it."</p> <p>Adimora added: "I remember the moment Ore and I started talking about this idea, and it’s been a joy to watch it grow and take on a life of its own. <em>Of This Our Country </em>not only features authors I truly admire, but it is a vital contribution to national conversations and attests to the centrality of storytellers in any society. Working with Ore and the wider team has been an opportunity to explore what’s possible in publishing. I’m proud to be working on a collection that is so close to home and, as a reader and as a Nigerian, I can’t wait for it to hit bookshelves everywhere.”</p> </div></div></div> <span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2021-01-08T13:30:00+00:00">January 8, 2021</span><li class="item-inline"><a href="/article-type/news">news</a></li><li class="item-inline"><a href="/categories/rights">rights</a></li><li class="item-inline"><a href="/tag/borough-press-0">The Borough Press</a></li><li class="item-inline"><a href="/tags-bookseller/ore-agbaje-williams">Ore Agbaje-Williams</a></li><li class="item-inline"><a href="/tags-bookseller/nancy-adimora">Nancy Adimora</a></li><div class="field field-name-field-subscriber field-type-list-boolean field-label-above"><div class="field-label">Subscriber :&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-premium field-type-list-boolean field-label-above"><div class="field-label">premium:&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-sticky-to-category field-type-list-boolean field-label-above"><div class="field-label">Sticky at top of category lists:&nbsp;</div><div class="field-items"><div class="field-item even"></div></div></div> Mon, 11 Jan 2021 08:45:00 +0000 mark.chandler_475941 1232511 at https://www.thebookseller.com https://www.thebookseller.com/news/borough-press-commissions-star-names-and-unknowns-nigeria-collection-1232511#comments Adimora returns to HarperCollins in new diversity role https://www.thebookseller.com/news/adimora-returns-harpercollins-new-diversity-role-1165516 <div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><img typeof="foaf:Image" src="https://www.thebookseller.com/sites/default/files/styles/large/public/field/image/Adimora.png?itok=okxBkRkf" width="192" height="181" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p>Nancy Adimora is returning to HarperCollins in a newly&nbsp;created diversity-focused role, helping to attract authors and reach new or currently underserved audiences.</p> <p>Adimora, who has been named&nbsp;audience development manager, diversity &amp; inclusion,&nbsp;starts on 10th February.</p> <p>She will initially report direct to chief executive officer&nbsp;Charlie Redmayne, identifying authors and titles to be published by existing HarperCollins divisions and imprints.&nbsp;</p> <p>Adimora said: "I am incredibly excited to be returning to HarperCollins, and I’m particularly delighted to be re-joining in a role that’s centred around diversity and inclusion.&nbsp;</p> <p>"HarperCollins has already shown real commitment to building inclusivity across the business, and I valued the opportunity to learn from some of the best people in the industry through its traineeship. It’s a privilege to now be in a position to support the company’s efforts to grow new audiences and attract more talent from diverse communities across the UK."</p> <p>Adimora first joined HarperCollins through its BAME training scheme in 2017. She went on to work for Twitter as a content curator and on her own projects and is also founder and editor of online African literary magazine&nbsp;<em>AFREADA</em>,&nbsp;which features emerging writers from across the continent.&nbsp;</p> <p>Redmayne added: "Nancy impressed us all when she first joined HarperCollins, and I am delighted she is returning to the business. Nancy will be helping us to find emerging talent from diverse communities and at the same time helping our marketing teams to reach those audiences more effectively. I am very much looking forward to working with Nancy in this important area."</p> </div></div></div> <span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2020-01-17T14:45:00+00:00">January 17, 2020</span><li class="item-inline"><a href="/article-type/news">news</a></li><li class="item-inline"><a href="/categories/books">books</a></li><li class="item-inline"><a href="/tags-bookseller/nancy-adimora">Nancy Adimora</a></li><li class="item-inline"><a href="/tag/harpercollins">HarperCollins</a></li><li class="item-inline"><a href="/tags-bookseller/charlie-redmayne">Charlie Redmayne</a></li><div class="field field-name-field-subscriber field-type-list-boolean field-label-above"><div class="field-label">Subscriber :&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-premium field-type-list-boolean field-label-above"><div class="field-label">premium:&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-sticky-to-category field-type-list-boolean field-label-above"><div class="field-label">Sticky at top of category lists:&nbsp;</div><div class="field-items"><div class="field-item even"></div></div></div> Fri, 17 Jan 2020 09:00:00 +0000 mark.chandler_475941 1165516 at https://www.thebookseller.com https://www.thebookseller.com/news/adimora-returns-harpercollins-new-diversity-role-1165516#comments Building for the future: trade staff on diversity https://www.thebookseller.com/insight/building-future-five-trade-staff-diversity-669391 <div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even"><img typeof="foaf:Image" src="https://www.thebookseller.com/sites/default/files/styles/large/public/field/image/2017/11/06/diverse%20workforce_0.png?itok=BvJXJBjm" width="192" height="181" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p><strong>Ahead of the ‘<a href="https://www.thebookseller.com/news/building-inclusivity-publishing-conference-return-november-638831">Building Inclusivity in Publishing Conference</a>’ on 13th November, <em>The Bookseller </em>spoke to seven panelists about their experiences of inclusivity in the sector, and what steps can be taken to accelerate change.</strong></p> <p><u>Nancy Adimora, events manager, corporate communications, at HarperCollins</u></p> <p><strong><span class="floatright"><img alt="" src="/sites/default/files/advagg_css/advagg_css/Nancy-Adimora.jpg" style="width: 300px; height: 400px; margin: 5px; float:right;"></span>What in your view is the single biggest impediment to improving levels of inclusivity across the sector?</strong></p> <p>I think it’s still widely believed that an English Literature degree and a profound love for storytelling is a prerequisite for a career in publishing. This continues to pose as an impediment to inclusivity on the basis that opportunities that arise within the sector are sought out by a more limited selection of individuals. Editorial is just one side of publishing; we’re essentially a commercial business, so the more we continue to highlight the range of roles and careers available within the industry, the more we can attract individuals who represent the wider consumer market.</p> <p><strong>Name one area or initiative where you have seen a material difference in the past year?</strong></p> <p>Earlier this year, I joined the HarperCollins BAME Traineeship, which was the first of its kind in the publishing industry when it launched. As well as gaining invaluable experience from across the business, I’ve had the opportunity to join the HarperCollins Diversity Forum, HC All In, and work collaboratively on a range of projects that we hope will continue to make a material difference in our business and shape our approach to publishing.</p> <p>The positive implications of the HarperCollins BAME Traineeship, and initiatives like it, are varied and countless. Diversity not only enables publishers to feel the pulse of different communities of readers, but it allows for better understanding around the nuance of language, and encourages more active engagement in tailored sales strategies and marketing campaigns to reach new audiences.</p> <p><strong>What else could the sector do to improve levels of inclusivity?</strong></p> <p>From a recruitment perspective, there seems to be a lot of emphasis in improving representation through entry-level schemes and roles. While this is an effective strategy, which has proved to be invaluable in my case, we also need to account for the impact of role models within the industry. In light of this, I’d say that the sector could potentially improve by making a more concerted effort to ensure representation is visible at both entry and senior levels.</p> <p><u>￼￼Heidi Mulvey, head of community engagement at Cambridge University Press</u></p> <p><strong><span class="floatleft"><img alt="" src="/sites/default/files/advagg_css/advagg_css/heidi%20mulvey%20photo_5.9.17_cropped.jpg" style="width: 250px; height: 250px; margin: 5px; float:left;"></span>What in your view is the single biggest impediment to improving levels of inclusivity across the sector?</strong></p> <p>Our greatest challenge is breaking away from preconceptions of what is needed in academic publishing. We’ve struggled to appeal to candidates from diverse backgrounds, as it is often assumed that you need an English Literature degree. This really isn’t the case any longer. We have an incredibly diverse range of roles requiring different skill-sets, and we need to find ways to appeal to candidates from all backgrounds who haven’t considered publishing.</p> <p><strong>Name one area or initiative where you have seen a material difference in the past year?</strong></p> <p>The Apprenticeship Levy is already making a difference. We started hiring apprentices in 2012 to bring in more diverse candidates. There are more apprenticeships available now including areas like digital marketing, and the levy is encouraging us to make the most of funding to train new and existing colleagues. Ten publishers are working with the PA to develop a publishing apprenticeship, creating opportunities for more publishing- specific careers at entry level, and we are working with schools and careers services to promote this.</p> <p><strong>What else could the sector do to improve levels of inclusivity?</strong></p> <p>It’s great we’re seeing increased activity around inclusivity and we want to see more. Initiatives like Creative Access’ internships and the “Get Into Book Publishing” vocational summer course, organised by Bluebird Consulting, do much to open up publishing to people from ethnic minorities. As part of the University of Cambridge, our colleagues are also able to access support from groups such as the university’s LGBT+ network. We also want to do more to support parents (with flexible hours and job sharing at a senior level) and we have a variety of initiatives around improving the representation of women at senior levels. We need to build on these.</p> <p><u>Mónica Parle, executive director at First Story</u></p> <p><strong><span class="floatright"><img alt="" src="/sites/default/files/advagg_css/advagg_css/mo%20photo.jpg" style="width: 300px; height: 449px; margin: 5px; float:right;"></span>What in your view is the single biggest impediment to improving levels of inclusivity across the sector?</strong></p> <p>I work with young people in state secondary schools serving low- income communities, and I think the greatest barrier is that these students don’t see themselves reflected in the literature they’re consuming. This barrier is complex because it is both about publishing more diverse voices, but also ensuring those books get into young people’s hands, which is influenced by which books are on the National Curriculum.</p> <p>The disappointing thing is that most initiatives I’ve seen in publishing focus on the late stages of the process, by looking to find talent among aspiring writers (i.e. post-secondary or university stage), but that’s still a fairly limited pool if most young people from underrepresented communities don’t even dream that [entering the industry] might be a possibility.</p> <p><strong>Name one area or initiative where you have seen a material difference in the past year?</strong></p> <p>I see this every day with First Story. We place writers in secondary schools serving low-income communities, and they work with the same group of young people across a full academic year. When they first arrive, students often tell them they thought all writers were old—or dead. And here’s a living, breathing professional writer, bringing a fresh perspective into their school.</p> <p>Across the year, the students develop their unique voices and see that their voices and their stories matter. This has a critical impact on their confidence. The young people we work with become more confident, write more, read more and are more engaged in their school communities. Many of the young people did not have books on their shelves before the project, or had never been to a museum, but through the intervention they are more likely to engage in cultural activities. This will have a huge impact on their lives and, I hope, will lead to more young people considering both writing and publishing as a career.</p> <p><strong>What are the positive implications to come from diversity initiatives?</strong></p> <p>Inclusivity has its roots in the school system. Most of the initiatives I’ve seen are far too late. If we want more diversity of voices, we have to intervene at the secondary school stage, when young people are actively making choices about their futures.</p> <p><u>Siena Parker, head of creative responsibility at Penguin Random House</u></p> <p><strong><span class="floatleft"><img alt="" src="/sites/default/files/advagg_css/advagg_css/Siena%20Smaller.jpg" style="width: 300px; height: 337px; margin: 5px; float:left;"></span>What in your view is the single biggest impediment to improving levels of inclusivity across the sector?</strong></p> <p>Inclusivity needs to be seen as a commercial opportunity as well as a moral imperative. Until it sits at the heart of publishers’ growth strategies, we’re not going to see the level of change required.</p> <p><strong>Why do you think publishing, along with other creative/media sectors, has struggled thus far to improve representation?</strong></p> <p>Ninety-two per cent of jobs in the creative economy are done by people from more advantaged socioeconomic groups, compared to 66% in the wider economy. It’s hard to pin this down to one issue: it’s a culmination of a number of factors, including [the trade] being London-centric.</p> <p>Partly it becomes chicken and egg: how many times do careers advisers in schools, for example, tell you that the media is “really hard to get into”? I grew up in Newcastle and this was the message I heard loud and clear. This underlines the need for us to work collectively across the creative sector. We can’t solve this problem alone.</p> <p><strong>Name one area or initiative where you have seen a material difference in the past year?</strong></p> <p>Our flagship programme WriteNow is starting to make a real difference. To date, 300 writers from underrepresented communities have taken part in publishing insight events in five different cities, from Birmingham to Bristol, and by the end of the year we will have over 20 writers on our year-long mentoring programme. We can’t wait to announce the first publishing deals from these writers. I also hugely admire the work Nikesh Shukla and Julia Kingsford have done through <em>The Good Immigrant</em> (Unbound).</p> <p><u>Emma Paterson, agent at Rogers, Coleridge &amp; White</u></p> <p><strong><span class="floatright"><img alt="" src="/sites/default/files/advagg_css/advagg_css/6B.jpg" style="width: 300px; height: 300px; margin: 5px; float:right;"></span>Why do you think publishing, along with other creative/media sectors, has struggled so far to improve representation?</strong></p> <p>It’s hard to identify a single impediment when there are several intersecting problems, but the homogeneity of the industry’s workforce is certainly one, particularly when thinking about those in gatekeeper positions. I would like to see a proactive commitment to hiring inclusively at the top of the tree, or to fast-tracking people there, partly because that’s where the real influence and autonomy lies, but also because it’s vital we signal to younger, more junior staff that the journey from bottom to top is actually possible.</p> <p><strong>Name one area or initiative where you have seen a material difference in the past year?</strong></p> <p>Sharmaine Lovegrove’s new Little, Brown imprint, Dialogue Books, represents, to me, a huge leap forward. In a matter of months, Sharmaine’s acquisitions have demonstrated what it means to have an inclusive publisher championing underrepresented voices in a truly passionate way.</p> <p><strong>What else could the sector do to improve levels of inclusivity?</strong></p> <p>I think the sector could spend less time talking and more time putting concrete initiatives into practice. There is sometimes a troubling circularity to the conversations we have about improving diversity in publishing when, in fact, the problems are clear and the solutions even clearer. As Chris Jackson (vice-president, publisher and editor-in-chief of PRH US’ One World imprint) wrote recently: “We keep talking about this abstraction [diversity in publishing] as if it could be conjured through the power of lectures and panel discussions.”</p> <p><u>Simon Dowson-Collins, general counsel and company secretary at HarperCollins</u></p> <p><strong><span class="floatleft"><img alt="" src="/sites/default/files/advagg_css/2015/11/27/32.jpg" style="width: 300px; height: 289px; margin: 5px; float:left;"></span>What in your view is the single biggest impediment to improving levels of inclusivity across the sector?</strong></p> <p>It’s no secret that publishing has traditionally been seen as a white and middle-class occupation – but things are changing. The industry has recognised the problem and steps have been taken to change things – not least at HarperCollins – and we are seeing BAME employee numbers rise. But we also need to see more BAME people actively considering publishing as a career, and the lack of senior role models in the industry is an impediment to obtaining applications from a diverse group. If candidates don’t recognise people like themselves in an organisation, that must discourage some from applying.</p> <p><strong>What else could the sector do to improve levels of inclusivity?</strong></p> <p>Reach out to experts and others in the diversity space to learn how to get better. For example, we work closely with the Business in the Community (BITC) race equality campaign, among others. We benefit from learning from the expertise of BITC and contribute towards its mission of increasing race equality in the wider business community. As a whole, companies in the sector should talk openly and fearlessly and put into place a strategy that is embraced by the senior team and that will be supported by the heart and soul of the company – its people.</p> <p><strong>What ultimately are the positive implications to come from such initiatives?</strong></p> <p>All credible analysis, including from McKinsey and others, indicate that more diverse teams lead to better problem solving, greater innovation and ultimately, competitive advantage. There is a striking connection between strong commercial performance and cognitive diversity. It’s the right thing to do ethically, but also it's the right thing commercially as well.</p> <p><u>Kiren Shoman, editorial director at SAGE</u></p> <p><strong><span class="floatright"><img alt="" src="/sites/default/files/advagg_css/advagg_css/Kiren%20Shoman%20headshot%202017.jpg" style="width: 300px; height: 450px; margin: 5px; float:right;"></span>What in your view is the single biggest impediment to improving levels of inclusivity across the sector?</strong></p> <p>I would say the biggest impediment has been a lack of meaningful engagement across the sector, though I’m pleased to see this changing, with more organisations becoming more involved with this concern in recent years. It’s vital that inclusivity is an issue that is tackled at senior levels within the workplace, as well as collectively across the sector, if we want to see effective change.</p> <p><strong>Name one area or initiative where you have seen a material difference in the past year?</strong></p> <p>I think Creative Access has been a great example of an organisation that has done much to further awareness of recruitment bias and of the existence of a strong diverse talent pool. Their work with BAME candidates keen to enter the creative industries has been impressive, from their support and training of candidates through to work with the many organisations in to which they place them. They have placed under 800 interns across 300 organisations, with 82% of interns going on to achieve a full-time employment offer&nbsp;– an impressive amount of good work.<br> &nbsp;<br> <strong>What else could the sector do to improve levels of inclusivity?</strong></p> <p>The Publishers Association recently introduced a diversity target and 10-point plan for its members; if every publisher responds to this, we should see more practices that foster inclusivity (e.g. anonymisation of applications, senior two-way mentoring), and feel we can hold each other accountable. I also think it’s important not to limit ourselves to solutions coming from within the sector, but to look elsewhere and be part of the wider societal conversation.</p> </div></div></div> <span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2017-11-06T14:15:00+00:00">November 6, 2017</span><div class="field field-name-field-written-by field-type-text field-label-above"><div class="field-label">Written By:&nbsp;</div><div class="field-items"><div class="field-item even">Natasha Onwuemezi</div></div></div><li class="item-inline"><a href="/article-type/insight">insight</a></li><li class="item-inline"><a href="/tags-bookseller/building-inclusivity-publishing-conference">Building Inclusivity in Publishing conference</a></li><li class="item-inline"><a href="/tags-bookseller/nancy-adimora">Nancy Adimora</a></li><li class="item-inline"><a href="/tags-bookseller/heidi-mulvey">￼￼Heidi Mulvey</a></li><li class="item-inline"><a href="/tags-bookseller/mo-nica-parle">Mónica Parle</a></li><li class="item-inline"><a href="/tags-bookseller/siena-parker">Siena Parker</a></li><li class="item-inline"><a href="/tags-bookseller/emma-paterson">Emma Paterson</a></li><li class="item-inline"><a href="/tags-bookseller/kiren-shoman">Kiren Shoman</a></li><li class="item-inline"><a href="/tags-bookseller/simon-dowson-collins">Simon Dowson-Collins</a></li><li class="item-inline"><a href="/tag/diversity">diversity</a></li><li class="item-inline"><a href="/tags-bookseller/inclusivity">inclusivity</a></li><div class="field field-name-field-subscriber field-type-list-boolean field-label-above"><div class="field-label">Subscriber :&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-premium field-type-list-boolean field-label-above"><div class="field-label">premium:&nbsp;</div><div class="field-items"><div class="field-item even">0</div></div></div><div class="field field-name-field-sticky-to-category field-type-list-boolean field-label-above"><div class="field-label">Sticky at top of category lists:&nbsp;</div><div class="field-items"><div class="field-item even"></div></div></div> Mon, 06 Nov 2017 14:21:10 +0000 caroline.carpenter@thebookseller.com 669391 at https://www.thebookseller.com https://www.thebookseller.com/insight/building-future-five-trade-staff-diversity-669391#comments
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publisher: Common Crawl
description: Wide crawl of the web for October 2021
operator: Common Crawl Admin (info@commoncrawl.org)
hostname: ip-10-67-67-190
software: Apache Nutch 1.18 (modified, https://github.com/commoncrawl/nutch/)
robots: checked via crawler-commons 1.2-SNAPSHOT (https://github.com/crawler-commons/crawler-commons)
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