FRASER HUTCHINSON CREATIVE ACCESS F
raser Hutchinson has “always worked in publishing”, with stints at OUP Children’s, Pearson and Wiley, before moving into cross-indus- try roles, where he could “try to make a difference across the publish- ing sector”. He was initially head of partnerships at The Reading
Agency, building bridges between publishers and libraries, and more recently joined Creative Access as head of partnerships. He wants to focus on “develop- ing deeper and more bespoke partnerships” to help make the creative industry as diverse and inclusive as possible. He chaired the judging panel for LBF’s Inclusivity in Publishing Award this year and found it “really encouraging” to see progress being made in this area. He has also recently taken on a trustee role at Calibre Audio, which aims to provide free audiobooks to anyone strug- gling to access print. Hutchinson sees himself continuing to work for cross- industry organisations, and he promises further development for Creative Access, including a “brilliant rebrand” and “more training than ever before”.
We have established ourselves as a viable alternative for readers looking to support independent booksellers in a scalable way Kiri Inglis,
Bookshop.org
KIRI INGLIS
BOOKSHOP.ORG U
ndoubtedly, the most important retail launch in Britain last year was the UK arm of
Bookshop.org,
and if you were to hire the ideal staffer for the e-tailer, you would seek someone with digital nous and deep connections in the trade. Lucky for
Bookshop.org, Kiri Inglis—whose CV includes time at streaming service MUBI and in marketing at Faber—has been with the firm since launch. Inglis’ role includes overseeing the site’s homepage, replete with its exclusive content, while those connections have helped with events and partnerships, such as with Stylist on its upcoming festival and working with her old pals at Faber for
Bookshop.org’s first event, an interview with Kazuo Ishiguro, which led to 1,000 book/ticket sales. It has been an exciting year, Inglis says: “We were able to provide a plat- form for bookshops to sell online when their doors were closed. Since then we have established ourselves as a viable alternative for readers looking to support independent booksellers in a scalable way, in the shadow of a certain dominant online retailer.”
SOPHIA JACKSON SOCIETY OF AUTHORS A
s her fellow event programmers would, Sophia Jackson admits to “panic” and “insomnia that gripped my entire being” when the pandemic hit. But Jackson nimbly pivoted the SoA, with the April 2020 launch of its #SoAatHome virtual festival: its first iteration had
42 events with 5,100 attendees, “from Newcastle to Nairobi”. Jackson’s role has more complexity than many other events programmers, as in addition to that consumer-facing side, a lot of her work is aimed at a range of SoA members’ needs, from organising professional development seminars to hosting online meet-and-greets. A former journalist, Jackson also runs Afridiziak Theatre News, an outlet which celebrates the African-Caribbean theatre often over- looked by the mainstream press. Jackson is looking forward to some IRL events— including next year’s SoA Awards, held in Southwark Cathedral—but adds: “We’re also looking at how we can make our recorded events go further as there’s so much amazing content and we want to make the most of it.”
DREW JERRISON PROFILE A
ndrew Franklin says publicity manager Drew Jerrison “has a genius for feeling the pulse of a book and how it can connect to the media and the public”. That has undoubtedly been true for the eight years Jerrison has been at the business, but in the past 18 months he has
stepped up another level. He directed stellar campaigns, including for the launch of Profile’s crime imprint Viper Books; the apposite March 2020 release of Adam Kucharski’s The Rules of Contagion; and Viper’s 2021 breakout, Catriona Ward’s The Last House on Needless Street. But his handling of Destransition, Baby showed Jerrison at his best, showcasing Torrey Peters’ passion and ably dealing with the all-too-predictable fallout when she became the first trans woman on the Women’s Prize for Fiction longlist. Jerrison says: “Trans people get such a hard time even in best-case scenarios, so finding ways to celebrate her was such a mission of mine. When the ‘controversy’ happened, we didn’t change our strat- egy because so many people were engaging with her and with the book.”
TheBookseller.com
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