The real risk is of UK authors being drowned out by the generic and derivative outputs of the Society of Authors, which is constantly behind the times when it comes to publishing.
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By recognising and embracing the full potential of AI across the industry, publishers, authors and narrators alike can surf this new wave of possibilities, instead of being left behind.
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But these kids are attending school every day, where the joy of reading is being leached from their very souls by a broken system of teaching children to read.
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Why is there so little analysis out there of what the Trump years may bring for our industry? Love him or loathe him, no-one is ever going to accuse Trump of being a booklover and a friend of the publishing industry.
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Bookouture’s commitment to growth and adapting to market trends, vindicates my early impressions of Bookouture back before the 2017 buyout by Hachette UK, as a publisher to watch.
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Does anyone seriously expect a child to enjoy reading if they cannot read properly?
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Pearson is at the forefront of a fundamental shift in educational publishing that in time is going to bring into question the very viability of printed books in the education sector.
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AI not to blame? Hence the deafening silence from the industry sidelines.
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Do you have any idea how many secondary schools there are in the UK? How about 4,190, per BESA. So Penguin, two down, 4,188 to go! So far you are averaging two a year, so you could have a book-vending machine in every secondary school in the country by 2064!
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The SoA believes they have such a strong legal case that they have, after several months choosing the right words, written to the tech companies with a seven day ultimatum (one hundred and eleven days to write the letter, seven days to comply – hey, that’s fair!) to acknowledge receipt.
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And one has to wonder how it is that all these organisations have joined the Creatives’ Rights Alliance at the same time. Should we be reporting that to the competition authorities?
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British girls’ comics held a special fascination for me, and while the storylines all too often reflected twentieth century British class divisions, the art in many girls comics, and especially those from the DC Thomson camp, was a joy to behold.
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