Feature Ethnic diversit I think the health of the publishing indus-


Diversity in publishing is not just a nice liberal aspiration, but a necessity in order to keep our industry relevant


McCullers book. The misery must have impressed him, because my shorthand was rubbish and I still got the job.


Since then, I’ve always worked in publish- ing, with stints at Guinness, Reader’s Digest, Which?, Encarta and, for some years now, at Pavilion (on Batsford and The National Trust books). It has been the most rewarding job I could have imagined, and I have never regreted my choice. Moreover, I can safely say I never felt that my ethnic background held me back in any way.


try as a whole lies in producing real variet in our commissioning. That means ideas from people from a range of backgrounds, with a range of interests and different insights. Diversit in publishing is not just a nice liberal aspiration, but a necessit in order to keep our industry relevant. ×


Clarissa Pabi Ebury Press Senior marketing executive


A


When I was asked about writing some- thing on the subject of ethnic minorities in publishing, I wasn’t sure my story was partic- ularly illuminating. But it got me thinking about how and why I went into publishing, and why so few black and Asian graduates consider the profession or are able to make that first step into the industry.


Is it because so few black and Asian faces are seen in publishing that it isn’t considered a welcoming career? That might be part of the reason, but I am not convinced that tells the whole story. Today, publishing jobs are still sought aſter and competition is fierce. With dozens of applicants for entry-level positions in editorial, most applicants have some kind of work experience in a publishing house on their CV. Those with the most expe- rience and good degrees (and no spelling mistakes!) will stand out. While hardly notic- ing it, we are skewing the process towards those who have the financial background to work unpaid (probably in the capital) for weeks, if not months on end. The socioeco- nomic barriers to publishing are there for people from a range of backgrounds. I know the Publishers Association’s Spare Room Project [through which book-trade staff offer use of a spare room to a prospective publish- ing employee based outside of London, free of charge] is an atempt to address the prob- lem, and it’s much welcomed. But alone it won’t make enough of a difference.


10


S I WAS applying to study at Oxford Universit in 2008, I also applied to join a digital edito- rial board called Spinebreakers. Set up in partnership between youth marketing agency Livit and Penguin, Spinebreakers was an online book communit run by young people for young people. It was my first experience of the publishing world, a world that looked very much like my Oxford college—but it felt very different. Some time aſter graduating, I was fortu-


nate enough to secure a year-long intern- ship at Random House, with Ebury Publish- ing, through Creative Access. Aſter working at Ebury for almost four years, I am now the company’s senior marketing executive and have created award-winning campaigns. One of the most formative experiences for me was atending masterclasses across the creative industry, organised by Crea- tive Access. The masterclasses were given by highly accomplished and senior people, many of whom are/were from BAME back- grounds, and they provided an opportu- nit to hear what the speakers did as well as to meet other interns, enabling us to get a holistic understanding of the creative indus- try. In retrospect, I recall that the events Creative Access ran with people from the publishing industry were among the least


diverse [compared with events focusing on other industries, such as TV and music] but they were just as inspiring, with the likes of [HarperCollins’] Natalie Jerome and [Ebury deput m.d.] Jake Lingwood speaking. Since then, I think Creative Access has had a cata- lytic affect and inspired more young BAME people to go into publishing. For me, the experiences that came out of


the synergies created by external companies such as Livit and Creative Access partner- ing with publishers helped me to discover an interest in the publishing business—and, I think, to contribute something valuable to it. Since then, the guidance and inspiration from [Ebury marketing director] Di Riley (who has been a fantastic mentor) and the incredible marketing team she heads has enabled me to develop further. I work in an incredible marketing team, filled with people from diverse backgrounds who constantly encourage each other to think differently. Additionally, I recog- nise that learning from and meeting with pioneers and peers of varying backgrounds and ages (across the creative industry) has granted me a different kind of perspective and network of information. The multiplicit of experiences that the people I have learned from have had, and the way in which they have connected me to sources of informa- tion—combined with my own eclectic curi- osit—have enriched my contributions to the business. And that, at its heart, is what I think inclusion and diversit is about: cele- brating the mixing of difference.


Progress is always a long road, and I honestly think it is wonderful that various people in the publishing industry are taking steps to make sure we inspire future genera- tions and futureproof our business. And yet there is no one-size-fits-all solution, and the challenges around particular issues facing


Tina Persaud picks up the Editor of the Year award at the British Book Industry Awards in May


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44