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INDEPENDENT PUBLISHER OF THE YEAR
OVERVIEW Indie publishers may have been disproportionately affected by big challenges, including soaring costs and supply chain chaos, but what they lack in resources they more than compensate for in adaptability and agility. These eight came out of Covid-19 in better shape than ever and carried their momentum through 2022, producing some of the boldest and most critically acclaimed publishing of the year, all backed up by superb marketing and a can-do spirit. This shortlist will also include the winner of the Small Press of the Year (p45).
CANONGATE BOOKS Canongate’s strategy of publishing fewer books better paid off in spades in 2022. Alan Rickman, Nick Cave, the ever- green Matt Haig and The Fire People anthology were among the standout successes while rights, exports and special sales excelled. There were 40 prize shortlist places and wins, including the Women’s Prize for Fiction for Ruth Ozeki’s The Book of Form and Emptiness.
FABER Faber scored its highest ever Total Consumer Market sales and 12 Sunday Times bestsell- ers last year, led by fiction heavyweights Kazuo Ishiguro and Sally Rooney (above) and the usual crop of prize nomina- tions. Non-fiction, direct- to-consumer sales and the Faber Editions, Members and Academy brands were strong, and the Faber-led Independent Alliance had a record year.
HARRIMAN HOUSE In 2022, business and finance specialist Harriman House had its best results in more than 20 years of publishing. There were several successful new releases but most of the growth came from the exten- sive back catalogue, especially Morgan Housel’s seven-figure seller The Psychology of Money. Income from rights, licensing and audiobooks all rose sharply as well.
NOSY CROW The 2020 winner—and two- time Children’s Publisher of the Year—had yet another stellar 12 months, and can now claim to be the UK’s sixth- biggest indie in TCM terms—not bad after just 12 years in business. It made substantial investments to secure more growth, including launching a US business and a move to new London digs. Sustainability was a key focus.
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ONEWORLD Oneworld’s record year was reward for sustained investment in diverse voices and bold acquisitions. There were important books from Will MacAskill, Peter App and Narges Mohammadi, while Tess Gunty won the Waterstones Début Fiction Prize. Yet Imprint of the Year contender Rock the Boat deliv- ered its bestseller: Kathleen Glasgow’s Girl in Pieces.
THE FOLIO SOCIETY The Folio Society turned 75 last year, and its model of publishing beautifully crafted, exclusive editions is timeless. But this is also a very modern business, with excellent digital marketing and forward- thinking diversity and sustain- ability policies. Its books won a stack of design and production awards and it launched the Folio Book Illustration Awards to encourage new talent.
HARDIE GRANT PUBLISHING Hardie Grant had several UK bestsellers in the illustrated sector, notably from the Quadrille cookery imprint, though its real strengths lie in its deep backlist and inter- national markets. The books stand out for their high design and production values and it excelled in marketing and publicity, including through brand partnerships.
JOFFE BOOKS Joffe Books generated record revenue from around 300 new books in 2022, nearly half of which hit the Kindle Top 100—the result of outstanding data-driven digital marketing. It also acquired classic crime publisher Ostara and paired up with fellow indie publishers on digital rights. Authors are intensely loyal; “Joffe Books stand out from the crowd in every respect,” said one.
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