99 Problems, and Hachette Might Just Be the Best One

 

I’ve been meaning to write this for some time, and with Valentine’s Day just a few weeks away, now seems like the perfect opportunity.

Breaking into publishing almost always comes with one unspoken assumption, and one very inconsiderate expectation, that you’ll move to London. Spoiler alert: I will not. I cannot so therefore I shall not. And rather than pretending otherwise, I’ve chosen to be honest about where I can work, grow, and contribute meaningfully.

That same honesty and consideration is what led me to Hachette, both professionally and personally. It says a lot that Hachette UK is one of the few major publishing houses that combines scale, talent, ambition, and a genuine commitment to regional offices. September 2021 was a monumental day for me and many others. That was when Hachette expanded in the UK with the aim of inviting and accepting creative talent outside of London, deliberately recruiting diverse and local voices. With a strong presence not only in London but also in Sheffield, Hachette represents something rare in the industry: access without exclusion. I’m not going to name and shame, but it doesn’t take a genius to figure out which publishers could take a few tips.

I respect all publishing houses equally, and I truly believe each one has something valuable and meaningful to offer. At the same time, I have found it difficult to ignore how few people who look like me are represented in the industry. I also find it concerning that many books champion diversity and inclusion, while the publishing houses behind them often do not reflect those same values internally. There is a parallel that cannot be overlooked, as publishing stories rooted in diversity should also involve diverse voices within the institutions that bring those books to life.

More recently, I attended an interview at Harper Collins, and the lack of diversity was shockingly apparent. During our conversation, the interviewer herself acknowledged that there is significant room for improvement. This perspective does not come from opposition to any publishing house, but rather from an honest observation of an ongoing issue that deserves continued attention and care.

Moving on, if I address Hachette specifically, I could go on and on about why Hachette, but here’s the kicker: out of every publisher I’ve ever applied to, the one I want most has never invited me for an interview. Does that mean I’m giving up? Not a chance. Hachette is going to see me everywhere it possibly can.

I have a particular soft spot for the Little, Brown division and all its imprints. I read contemporary adult romance, so Hodder and Stoughton, Sphere, Piatkus and Bookouture practically define my bookshelf. In fact, these imprints make up ninety to ninety-five percent of my personal collection and inspired the imprint I would create if I could design my own publishing world. The consistency of their output is flawless, the number of books adapted for the big screen is impressive, and the sheer quality of their editorial vision is unbeatable. It is very rare to encounter a publishing house that truly excels across every area, from editorial elegance and intentional design to sharp public relations and meticulous subrights management. And this is not a matter of personal bias, as I have been openly critical of several books published by Hachette. What I am referring to is the overall standard maintained across their work.

Hachette’s publishing portfolio is bold, confident, culturally engaged and commercially sharp. Across its divisions, with Little, Brown alone housing thirteen distinct imprints, the company proves that commercial success and creative integrity do not have to be mutually exclusive. Other publishers, by contrast, have struggled precisely because they treat the two as competing priorities rather than complementary ones.

There are several ways to illustrate the differences in scale and structure across publishers. One More Chapter at HarperCollins is a newer digital first division that operates on a smaller scale than the company’s primary publishing lists. In contrast, Little, Brown is a well-established division within Hachette, overseeing multiple imprints and maintaining a wide and substantial catalogue. Evermore, meanwhile, is a romance focused imprint within Penguin Random House rather than an independent publishing house, and in practice functions much more like a specialised division such as One More Chapter than a large-scale operation like Little, Brown.

There are numerous arguments that could be explored, but that is not what this post is about. Regardless of the reasons previously discussed, Hachette continues to stand out as a strong and credible presence within the industry.

When I think about what truly draws me to Hachette, four things stand out: range, author-centred publishing, cultural relevance, and consistency. There are very few books from Hachette that I can say would not find an audience or justify their price tag. The company consistently invests in long-term author careers rather than chasing single-book wins. Hachette has never shied away from publishing books that respond to the moment we are in or from being the first to set a trend. This is not a publishing house that aims to play it safe, and that is exactly what matters to me and resonates the most.

I emailed the CEOs of Hachette and Little, Brown. Do you really think I want to play it safe? There is a difference between being logical and whatever on earth I am doing. The best part? It is kind of working.

Hachette houses all of my favourites, including Ana Huang, Elsie Silver, Freida McFadden, and Ali Hazelwood, to name just a few. I have yet to see another publisher so in tune with BookTok and Bookstagram as Hachette is. The success of the Little, Brown imprint speaks for itself, and CEO Charlie King has been sharing some truly impressive figures that back it up. The reality of this all comes down to two things: the good and the difficult, which are, of course, mutually exclusive. No major publisher, or any organization for that matter, is perfect, and pretending otherwise would not show respect for the industry or for myself.

The great part is that Hachette clearly invests in people and their training, maintains strong public values around diversity, access, and inclusion, and runs regional offices that genuinely broaden who gets to work in publishing. I have spoken with a number of Hachette professionals, ranging from junior to senior roles, to learn more about the industry, their day-to-day work, and tips for breaking in. Of course, the answers varied, but one thing was consistent: the significant amount of administrative work involved and how comprehensive the training is to handle it. Many new hires master it within weeks of starting and continue to grow from there.

The more challenging aspects, though by no means impossible, include intense competition due to limited roles, creativity at an all-time high, and the reality that working at scale can sometimes slow change. Like all publishers, there is a constant tension between creativity and commercial pressure. It is a lot of push and pull. I’ve spoken about this many times before, and I’ll say it again: it is becoming increasingly hard to stand out when there is so much creativity, talent, and exposure in the industry. At the same time, it is just as challenging for Hachette to identify the right person and provide them with the support and opportunities they need to succeed.

These challenges are not deal-breakers. They are simply the realities of working somewhere that truly matters in the industry. I’m not looking for an easy route but I am looking for a real one.

There are a couple of reasons why the Sheffield office matters so much to me and why it is not a compromise. It is more than a logical fit; it is part of why Hachette is the right place for me.

Publishing should not be limited to people who can afford luxury rents or relocate their entire lives. Regional offices do not dilute publishing culture, they strengthen it. They bring in different voices, dare I say better and fresher perspectives, and a different relationship to books and readers. That is the kind of publishing ecosystem that should be the goal, and it is exactly the one I want to be a part of.

In my open cover letter, on LinkedIn, and in every post between here and my sister blog, I’ve shared what I can bring to Hachette and how I could make the company even stronger. But there’s one thing I’ve never told anyone—something unique that sets my perspective apart.

For context, I got a reply to a cold email I never expected anyone to answer. It was from a Hachette veteran, someone with years of experience, and he told me to really think about what makes my perspective interesting and different. The answer became clear almost immediately.

A sense of certainty, and the skill to spot the worst in everything. Stay with me.

We all talk about a campaign when it’s great and when it’s bad, but why do we never talk about what’s hiding behind the perfect façade of the good one, or the imperfect curtain of the bad? We are fed exactly what PR wants us to see. You know that infamous line, “any PR is good PR”? I think publishing is the sneakiest of them all. Take, for example, a recent buzzed-about book launch: everywhere you looked, it was glowing coverage, glowing quotes, glowing sales predictions. But behind the headlines, there were last-minute edits, tense debates over cover design, and strategic decisions no one would ever see. It was a risk taken at a moment when logic took a back seat, with thousands of pounds on the line. That’s the side of publishing that fascinates me—the careful choreography behind every public story. Moving like a puppet, guided by its puppeteer.

I am going to build a career in publishing, no excuses, no waiting for permission, no CEO anywhere can tell me otherwise. I know where I belong, and I will get there. I am determined, resilient, and relentless.

That place, out of all the suns, stars, and moons, is Hachette.

Not because it is easy,
Not because it is convenient,
Not just because I adore their books,

But because it is one of the rare publishers where ambition, access, and honesty can exist in the same room, where bold ideas meet real opportunity, where you can chase creativity without losing integrity.

This is the ecosystem I want to live in, the one I will not settle for anything less than.

I see exactly where I will be. After shaping my path at Hachette, I will stand at an equally respected literary agency, and I will never leave Hachette’s side, remaining affiliated with them for the long term, guiding authors through publicity and subrights, turning my niche ideas into the new mainstream. I will reply to emails before they land, mentor the fresh faces sending me cold messages, and steer every career I touch with precision. This is the future I am building, and to get there, I will master every step along the way.

This is why Hachette is not just a choice, but a calling. It is a place where ambition, creativity, and integrity coexist, where I can contribute meaningfully while learning from the best, and where the work I do will ripple outward to authors, readers, and the wider industry. I see myself growing within Hachette, taking every lesson, every challenge, and every opportunity, and using it to shape a career that is both impactful and authentic. I will build, I will guide, and I will create, all while remaining deeply connected to the people, values, and vision that make Hachette extraordinary. This is the ecosystem I belong in, the one I will fight to be a part of, and the one where I will leave my mark.

And… scene. Bravo, me.

I wonder if Hachette will ever stumble across this. Time will tell, and I might get a very nice email this week, or absolutely nothing at all.

My next post will probably be on Bloom Books, unless another spontaneous idea sweeps me off my neatly planned list, and sends me careening elsewhere.

Swing by the Let’s Connect page on my blog, to catch me scattering my publishing dust across the universe, and I’ll see you between the pages.

Vivian.