The UK’s Publishers Association lays out demands to the government that it says are necessary for UK publishers to be successful post-Brexit.
As a case of ‘pop-up publishing’ takes hold in the newspaper sector, what can book publishers learn from this consumer-first approach to print and digital publishing?
In its newly released 2016 supplement on research collaborations, Springer’s Nature Index finds rising research collaborations between the EU and UK imperiled by Brexit concerns.
At San Francisco’s Books in Browsers VII, a presentation from the UK offers a Brexit example of the power of storytelling and what ‘data-driven lies’ can do.
With investments from China’s Qtone and Oxford University Press, ed-tech accelerator Emerge Education is engaging with ‘the old school together with the new school.’
‘UK publishing will embrace the opportunities presented by leaving the EU,’ according to a Brexit manifesto on the Publishers Association’s lobbying points.
When readers are wooed by ‘global entertainment,’ an independent press like Saraband, home to a Man Booker longlisted novel, can use ‘a little bit more traction.’
‘We will have to strengthen our voice,’ says a panelist from the UK’s Publishers Association on the implications of Brexit for the book industry there.
Ashton Applewhite and Bob Stein list 37 vendors and counting, in producing Applewhite’s ‘This Chair Rocks.’ That’s how you roll, they say, when you take the indie route—and mean to get it right.
On a wrenching day, we learned that UK voted to leave the European Union. Despite Brexit, the book publishing industry remains internationally engaged.