In 2017 I stepped into the Directorship at The Literary Consultancy, a company with 21 years of history preceding me. I felt it was important to honour the legacy of our founder, the late great Rebecca Swift, and also to move the company forwards.
We worked with the Audience Agency in 2018, looking at what our core value proposition is, what our writer-clients, and writers who haven’t used our services, think of us, and where we could focus our efforts in order to ensure we stay relevant and are continuing to serve the writing community we have been supporting for over two decades, through editorial services, mentoring and events.
I was expecting some data-driven results, perhaps some charts and a list of things to think about, but what really impressed me was the way the team worked with me and my team to really understand that TLC’s approach has always been holistic, and that it was important this extended into the brand consultancy work. As a result, the report produced was extremely comprehensive, the questions set for interviews were inspired and very ‘TLC’, and the findings were clearly delineated in key areas including current and prospective customer journey mapping, and a full set of recommendations. Even those recommendations we didn’t end up ‘actioning’ were extremely useful in helping us to articulate more clearly TLC’s vision, ethos and mission.
As a result, I felt confident in implementing a website refresh and introducing a temporary 12-month role at TLC to help us re-vision for the next 10 years and beyond, looking again at what we offer, and introducing a number of new services and procedures that have already seen significant success. I feel hopeful and optimistic going into the future now, and leading our brilliant writing community into it with us.
Learn more about The Literary Consultancy's work supporting writers at all levels.
While anxiety about attending events remains high amongst disabled people, the Covid online content boom has given rise to revolutionary opportunities that could improve access for good.
While audiences are most comfortable returning to outdoor events, organising a festival that can flex around ever-changing restrictions is still no mean feat. Penny Mills and Jonathan Goodacre have been looking at what’s working.