As part of Work in Publishing Week, which celebrates the people and ideas that make publishing thrive, Bristol University Press former intern and now Editorial Assistant Kitty Russell reflects on how apprenticeships can open doors to a more inclusive and dynamic publishing industry. Writing from her own experience, Kitty makes a compelling case for why publishing needs to broaden its entry routes – and why apprenticeships could hold the key to a more diverse future.
There is a common misconception that apprenticeships are either a) only for school leavers or b) for jobs that require manual work. Maybe it’s just me, but until a year and a half ago I didn’t know you could do an apprenticeship in publishing.
Now look at me, with a Publishing Professional Level 4 qualification and a completely unexpected career path.
I’d like to make the case that the industry can be more accessible and that apprenticeships are central to creating access.
Rethinking the route into publishing
The traditional route into publishing includes an undergraduate degree in an academic subject, as well as taking on other opportunities like editing a university magazine or voluntary experiences.
It might not be surprising then to learn that the publishing industry faces a lack of diversity across the board. According to data from the 2024 Publishers Association Workforce report, 16 per cent of respondents to the survey attended private education, far higher than the proportion of privately educated individuals in the UK (7 per cent).
It’s also true that the majority of the publishing workforce is educated to degree level, although this has dropped in the last few years from 82 per cent to 79 per cent.
Who gets to work in publishing?
Being able to study at university, doing unpaid work and knowing people who work in the publishing industry are all privileges that are not available to all.
But that’s just one option. It’s more important to employers that applicants know what is expected and valued in a role, particularly in entry-level positions.
It is of value to you, and rightfully so, that you wrote a thorough dissertation on Tolkien’s use of allegory in The Silmarillion. And while it may show dedication and critical thinking (and be of personal interest to me) it might be of less use in your day-to-day role which, even if it does specialise in fantasy fiction in the early 20th century, is likely to value other traits first.
Colleagues will love your fun facts, but facts won’t help you with deadlines. While others were clear about what they wanted to do, I always struggled to define a career path. I enjoyed sociology, history and philosophy but could never give up the creative expression of art, design and textiles. I came away from education unsure about my skill set and found work in industrial jobs in my home town. I found it difficult to imagine a career when I’d been taught to prioritise getting ‘a job’, and education was seen as separate from the world of work – a ‘nice to have’ but not necessary.
But there are some skills that are transferable from a range of backgrounds.
Essential publishing skills (even if you have no professional experience)
- Remaining calm under pressure, multitasking and prioritising
Have you ever organised an event and had to manage multiple elements? Ever found yourself in a stressful environment and had to keep calm and deliver on time? Great – publishing is busy and stressful!
- Learning quickly and adapting, being flexible
Flexibility is especially helpful in publishing where things are constantly changing. Failure to adapt or learn new things might leave you stagnating and struggling.
- Dedication
I’m not saying you have to work only on what you’d read. You may not work with what you love, but consider whether you see merit in its publication. You have to care about what you’re publishing to some level. If you are completely disconnected from the content, it will show in your work and ultimately drain you of energy.
- Enthusiasm
Finding elements of the job to get enthusiastic about are key, particularly if you have to compromise on what kind of publishing role you get. Look for things you’re interested in. I am part of the EDI (equity, diversity and inclusion) and charity working groups, and they help me to feel engaged in the team and to contribute creatively.
- Confidence
Finally, accept that you already have a lot of skills you might overlook. Be confident in those things you do know. Confidence and enthusiasm will take you further than just knowledge because they will propel you to learn more.
When I applied for the apprenticeship, I had very little office experience and knew nothing about books and journals publishing (aside from the obligatory “I love books” vibe). However, I was confident that I had the core skills that Bristol University Press wanted of me and just needed the opportunity to use them.
What publishing gains from wider voices
But why does it matter? If publishers can hire people with necessary skills perhaps the demographics aren’t important. But by making the industry more accessible to a wider selection of people, we make publishing stronger. Those who have joined publishing from non-traditional routes bring with them previous knowledge and experience. They may have been shaped by different cultures, work environments and life experiences and those can be extremely beneficial internally to work environments. This is especially important if publishing hopes to reflect audiences and appeal to markets authentically. If everyone has similar career paths or backgrounds publishing risks becoming an echo chamber, only bouncing around the same sorts of ideas.
Creating an industry for everyone
Having said all that, this all relies on there being openings in the industry. What if you have all the above, but jobs filter out those without degrees?
Indeed, I acknowledge that without my apprenticeship experience I would still be stuck applying for creative jobs and struggling to stand apart from the crowd.
But these diversity initiatives are more than a box-ticking exercise, they are what will regenerate publishing and keep it relevant, reflecting the 21st century audience it heavily relies on.
Publishing needs more apprenticeships to open up the industry to new voices, new ideas and unexpected work backgrounds.
Kitty Russell is Editorial Assistant at Bristol University Press.
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