332 Courses delivered Live Online

LOOKING FOR: MG, YA, ADULT FICTION, ADULT NON-FICTION, NON-FICTION FOR 7+ Megan Carroll is looking for writers in a variety of areas, and from a wide range of backgrounds – she is particularly keen to hear from Black, Asian, and LGBTQIA+ writers. Her main areas of focus this year are adult fiction and non-fiction, as well as non-fiction for 7+, and MG and YA fiction. In Fiction, Megan is keen to see high-concept love stories (think The Flat Share or The Lock In) for both commercial and reading group readers. She’d love to see those familiar romance tropes – enemies to lovers, friends to lovers, love triangles, forbidden love etc. – with underrepresented characters at the centre. She is also looking for historical fiction and gothic horror (think Laura Purcell, Stacey Halls and Silvia Moreno-Garcia) – anything that has a creepy, uneasy undertone is likely for Megan’s list. Megan is also actively looking for upmarket fiction and would love to see layered family drama, contemporary stories about life today and darkly comic novels that explore a specific time, place or experience. In Non-Fiction, Megan is keen to hear from experts in their field talking about topics relating to film, music, true crime, popular culture, history and issues from largely unrepresented perspectives. She is keen to see memoir, narrative non-fiction and essay collections. In Children’s and YA, she is keen to see contemporary YA with humour, and romance at the heart – fun and emotional stories that appeal to the interests and issues of the teenage readers. She’d also love to see thrillers and horror stories for this age group too. It’s unlikely that high fantasy novels for YA readers will be right for her, but she is keen to see stories with fantasy elements in a real world setting. On the younger end, Megan is looking for funny, contemporary middle grade – think Louise Rennison and Karen McCombie – and anything creepy and spooky for 8-12 year old readers too. She’d love to find something like Lemony Snicket’s A Series of Unfortunate Events and is keen to find original adventure stories in both fantasy and realistic settings. Megan would like you to submit a covering letter, 1 page synopsis and the first three chapters or 5,000 words of your manuscript in a single word document. (In addition to the paid sessions, Megan is kindly offering one free session for low income/under-represented writers. Please email agent121@iaminprint.co.uk to apply, outlining your case for this option which is offered at the discretion of I Am In Print).  By booking you understand you need to conduct an internet connection test with I Am In Print prior to the event. You also agree to email your material in one document to reach I Am In Print by the stated submission deadline and note that I Am In Print take no responsibility for the advice received during your agent meeting. The submission deadline is: Tuesday 26th August 2025 at 9am UK BST

Certificate in Business and Commercial Law (CBCL) - Virtual Learning Why Attend This course is designed for professionals with little or no prior legal background but who are required to make organizational decisions involving legal matters. It will provide participants with the fundamental principles of commercial law, including commercial contracts and negotiation, sale of goods, intellectual property rights and employee relations. It also covers all the legal aspects of setting up a business, running a business and closing a business Participants will gain an in-depth understanding of international commercial law with emphasis on the common law system. Participants will have the opportunity to learn and analyze key legal issues regarding contracts and the business as a whole which they are likely to encounter within their organization.  Course Methodology In this interactive training course participants will frequently work in pairs as well as in larger groups to complete exercises as well as regional and international case studies. Course Objectives By the end of the course, participants will be able to: Apply legal rules and principles to specific commercial situations through consideration of relevant case law Negotiate commercial contracts complying with commercial and legal requirements Increase profitability within their organization by selecting appropriate methods of distribution of goods Recognize and analyze how intellectual property rights affect their organization Evaluate and modify organizational employment practices complying with labor law requirements Target Audience This course is suitable for those with little or no formal training in commercial law yet would be required to understand the fundamentals of commercial law as it may directly impact their work. It will particularly benefit directors and executives who have direct responsibility for legal decisions within the organization. In-house council new to the region, and those working within a legal department, will also find this course highly beneficial. Target Competencies Drafting Contracts Contract Negotiation Understanding Commercial Terms Understanding Employment Law Implementing Organizational Employment Practices Understanding Intellectual Property Understanding corporate restructuring Understanding the effect of breach of commercial contract terms Note The Dubai Government Legal Affairs Department has introduced a Continuing Legal Professional Development (CLPD) programme to legal consultants authorised to practise through a licensed firm in the Emirate of Dubai. We are proud to announce that the Dubai Government Legal Affairs Department has accredited EMG Associates as a CLPD provider. In addition, all our legal programmes have been approved. This PLUS Specialty Training Legal course qualifies for 4 elective CLPD points. Overview of commercial & business law Areas of commercial and business law Types of commercial contracts Commercial contracts in the civil law and common law systems Sources of English law Civil law v Common law Civil law in the GCC Formalities for a binding contract Elements required for an enforceable contract Rules for contract interpretation implied terms v express terms identifying risks and how to minimise risks Structure of a commercial contract Preliminary documents in international transactions Memorandum of Understanding/ Heads of Terms. Are they legally binding? Commercial implications Boilerplate/ miscellaneous provisions- the important but forgotten clauses- beware! Force majeure v Frustration Notices Set off No waiver Entire Agreement/ non- reliance clause Times is of the essence Assignment v Novation Governing law Common mistakes in choice of law Jurisdiction clause Exclusive v Non-exclusive Factors in deciding the jurisdiction clause International dispute resolution Litigation Importance of Alternative Dispute Resolution (ADR) Arbitration Mediations Conciliation Negotiation Remedies for breach of contract Damages Specific performance Injunctions Advantages and disadvantages of different business forms Types of business vehicles Sole trader Partnerships Limited Liability Partnerships Companies Cross Border Transactions Distributorship Agency Joint Venture Acquisitions Share purchase v Business purchase Apportioning risks and liabilities through warranties and indemnities Negotiating warranties and indemnities Corporate insolvency Tests identifying insolvency Consequence for directors who fail to react to insolvency Types of insolvency Administration Receivership Creditor Voluntary Liquidation Compulsory Liquidation Commercial Tort Tort of negligence Defamation Libel Slander Recent case law on defamation Managing risk Prevention is better than cure: Effective risk management Intellectual Property Rights management Types of Intellectual Property copyright trademark patent design rights confidential information Assignment v Granting a license The law of passing off Intellectual Property in the GCC Employment law issues in the common law systems and the GCC Types of employment contracts Grounds for dismissal Wrongful dismissal Redundancy Unfair dismissal Commercial real estate in the GCC Leasehold Freehold

LOOKING FOR: ADULT FICTION Francesca Riccardi is a literary agent at Kate Nash Literary Agency. She has previously worked in sales roles at HarperCollins, Constable & Robinson, Atlantic Books (where she was recognised as a 2017 Bookseller Rising Star), and most recently was sales and marketing director for Canelo. She has worked with authors including Holly Seddon, Rachel Lynch, Cesca Major, Robert Fabbri, Marion Todd, M C Beaton, Catherine Ryan Howard, and Phil Rickman. Francesca is looking for character-driven popular commercial adult fiction across all genres. She loves books with a strong voice and sense of place, and is particularly interested in stories that are high concept, appealing to a millennial audience, and showcase lesser known experiences and/or female and diverse narratives. Francesca would like you to submit the first 5000 words of your manuscript, a synopsis and your cover letter in that order in one single Word document. (In addition to the paid sessions, Francesca is kindly offering one free session for low income/under-represented writers. Please email agent121@iaminprint.co.uk to apply, outlining your case for this option which is offered at the discretion of I Am In Print).  By booking you understand you need to conduct an internet connection test with I Am In Print prior to the event. You also agree to email your material in one document to reach I Am In Print by the stated submission deadline and note that I Am In Print take no responsibility for the advice received during your agent meeting. The submission deadline is: Tuesday 26th August 2025

This five-day programme empowers participants with the skills and knowledge to understand and effectively apply best practice commercial and contracting principles and techniques, ensuring better contractor performance and greater value add. This is an assessed programme, leading to the International Association for Contracts & Commercial Management (IACCM)'s coveted Contract and Commercial Management Practitioner (CCMP) qualification. By the end of this comprehensive programme the participants will be able to: Develop robust contracting plans, including scopes of work and award strategies Undertake early market engagements to maximise competition Conduct effective contracting and commercial management activities, including ITT, RFP, negotiated outcomes Understand the legalities of contract and commercial management Negotiate effectively with key stakeholders and clients, making use of the key skills of persuading and influencing to optimise outcomes Undertake effective Supplier Relationship Management Appreciate the implications of national and organisational culture on contracting and commercial activities Appreciate professional contract management standards Set up and maintain contract and commercial management governance systems Take a proactive, collaborative, and agile approach to managing commercial contracts Develop and monitor appropriate and robust KPIs and SLAs to manage the contractor and facilitate improved contractor performance Appreciate the cross-functional nature of contract management Collaborate with clients to deliver sustainable performance and to manage and exceed client expectations Understand the roles and responsibilities of contract and commercial managers Use effective contractor selection and award methods and models (including the 10Cs model) and use these models to prepare robust propositions to clients Make effective use of lessons learned to promote improvements from less than optimal outcomes, using appropriate templates Effectively manage the process of change, claims, variations, and dispute resolution Develop and present robust propositions Make appropriate use of best practice contract and commercial management tools, techniques, and templates DAY ONE 1 Introduction Aims Objectives KPIs Learning strategies Plan for the programme 2 The contracting context Key objectives of contract management Importance and impact on the business 3 Critical success factors Essential features of professional commercial and contract management and administration The 6-step model 4 Putting the 'management' into commercial and contract management Traditional v 'new age' models The need for a commercial approach The added value generated 5 Definitions 'Commercial management' 'Contract management' 'Contracting' ... and why have formal contracts? 6 Stakeholders Stakeholder mapping and analysis The 'shared vision' concept Engaging with key functions, eg, HSE, finance, operations 7 Roles and responsibilities Contract administrators Stakeholders 8 Strategy and planning Developing effective contracting plans and strategies DAY TWO 1 Contract control Tools and techniques, including CPA and Gantt charts A project management approach Developing effective contract programmes 2 The contracting context Key objectives of contract management Importance and impact on the business 3 Tendering Overview of the contracting cycle Requirement to tender Methods Rationale Exceptions Steps Gateways Controls One and two package bids 4 Tender assessment and contract award I - framework Tender board procedures Role of the tender board (including minor and major tender boards) Membership Administration Developing robust contract award strategies and presentations DAY THREE 1 Tender assessment and contract award II - processes Pre-qualification processes CRS Vendor registration rules and processes Creating bidder lists Disqualification criteria Short-listing Using the 10Cs model Contract award and contract execution processes 2 Minor works orders Process Need for competition Role and purpose Controls Risks 3 Contract strategy Types of contract Call-offs Framework agreements Price agreements Supply agreements 4 Contract terms I: Pricing structures Lump sum Unit price Cost plus Time and materials Alternative methods Target cost Gain share contracts Advance payments Price escalation clauses 5 Contract terms II: Other financial clauses Insurance Currencies Parent body guarantees Tender bonds Performance bonds Retentions Sub-contracting Termination Invoicing 6 Contract terms III: Risk and reward Incentive contracts Management and mitigation of contractual risk DAY FOUR 1 Contract terms IV: Jurisdiction and related matters Applicable laws and regulations Registration Commercial registry Commercial agencies 2 Managing the client-contractor relationship Types of relationship Driving forces Link between type of contract and style of relationships Motivation - use of incentives and remedies 3 Disputes Types of dispute Conflict resolution strategies Negotiation Mediation Arbitration DAY FIVE 1 Performance measurement KPIs Benchmarking Cost controls Validity of savings Balanced scorecards Using the KPI template 2 Personal qualities of the contract manager Negotiation Communication Persuasion and influencing Working in a matrix environment 3 Contract terms V: Drafting skills Drafting special terms 4 Variations Contract and works variation orders Causes of variations Risk management Controls Prevention Negotiation with contractors 5 Claims Claims management processes Controls Risk mitigation Schedules of rates 6 Close-out Contract close-out and acceptance / completion HSE Final payments Performance evaluation Capturing the learning 7 Close Review Final assessment Next steps

The need for key staff to have commercial skills is paramount, as the public sector is increasingly opened up as a commercial market, in which organisations compete against each other and the private sector for contracts. Generating additional income and being commercially aware is vital for this to be a success, and is what many public sector organisations are looking to do. This programme will help you: See commercial awareness as not just another skill-set, but as a different mind-set Use a variety of tried-and-tested commercial, analytical decision-making techniques and tools Define your commercial objectives Develop a strategic focus Start looking at service clients as market segments Analyse, in a competitive context, your service offering Plan a commercial strategy, prepare for its implementation and see it through to execution 1 What is commercial thinking? Understand what it means to be a commercial thinker Identifying commercial opportunities often involves not only a different skill set but also a different mindset; looking at the services that you provide 2 Defining strategic commercial objectives Defining your key commercial objectives Prioritising your strategic objectives Two key strategic planning tools:Resource and Competency MatrixPESTLE How to apply these tools to your particular situation 3 Developing a strategic focus Decision-making on how to compete in the markets identified by your strategic objectives requires a strategic focus Developing strategic focus A tool for helping you to make those decisions: using the Ansoff Matrix 4 Defining customer targets How to think more commercially by understanding who all your customers are and how they differ from each other how to apply the principles to your areas to identify the type of customers you have and their key characteristics - Customer segmentation Who are your customers? How do their needs vary? - Scenarios 5 The competitive market place Understanding the competitive forces at play Different types of competition Analysing your competitive environment using Porter's 5 Forces model 6 Meeting stakeholder expectations Two simple models to help you identify the key stakeholders who could influence your commercial environment How to use your stakeholders to help you achieve your commercial objectives 7 Implementation - systems, structures and processes Effective commercial activity involves working with others to implement ideas and strategies What do you need to have in place before you implement your commercial strategy? How to health-check your organisation prior to implementation using the McKinsey 7S framework 8 Implementation - people and culture A good commercial strategy only works if the people involved buy in to the ideas and if the culture of the organisation is conducive to the effective implementation How the latest thinking in behavioural economics can help you develop your culture and people to work commercially 9 Tools and checklists Be more commercial within your sphere of influence using a commercial checklist to help you Using the checklist as a benchmark against the most commercially aware organisations Using the checklist as a health check - both corporately and individually

LOOKING FOR: ADULT FICTION Kate Barker has worked in publishing for over twenty years as an agent, commissioning editor and ghostwriter. Before setting up her own company, Kate Barker Literary Agency, she spent ten years at Penguin, where she was an Editorial Director for Viking, acquiring fiction and non-fiction. She has also worked for Orion, Curtis Brown and for digital publisher Bookouture. She is looking for commercial and reading group fiction for adults and would love to find an unputdownable thriller like Rosamund Lupton's Three Hours, a funny, heartbreaking contemporary novel like Queenie by Candice Carty-Williams or a romantic comedy with a unique premise like The Flatshare by Beth O'Leary. She also loves historical fiction and series crime. Kate would like you to submit a covering letter, one page synopsis and the first three chapters (Max 5,000 words) of your completed manuscript in a single word document. (In addition to the paid sessions, Kate is kindly offering one free session for low income/under-represented writers. Please email agent121@iaminprint.co.uk to apply, outlining your case for this option which is offered at the discretion of I Am In Print).  By booking you understand you need to conduct an internet connection test with I Am In Print prior to the event. You also agree to email your material in one document to reach I Am In Print by the stated submission deadline and note that I Am In Print take no responsibility for the advice received during your agent meeting. The submission deadline is: Wednesday 27th August 2025

LOOKING FOR: ADULT FICTION, NON-FICTION Publisher / editor Scott Pack is now in his third decade working in the world of books. During that time he has been Head of Buying for Waterstones, worked for publishers big and small - including a lengthy spell at HarperCollins - and taught numerous workshops and classes on all aspects of writing. These days he splits his time between writing his own books, editing other people's, teaching the editors of tomorrow as part of the Oxford Brookes University MA in Publishing, and he is one of the question setters for BBC's Mastermind. His latest book, Tips From A Publisher, is out now.  As a publisher, Scott has published across most genres in fiction and a wide range of non-fiction and is happy to read any style of writing. He will assess your sample and provide feedback on any issues he identifies, the manuscript's commercial potential and what steps he would advise before you submit to agents or publishers. Scott is very direct with his feedback, so expect robust, but always constructive, comments! Scott would like you to submit your fiction as a covering letter, 1-2 page synopsis and the first 5,000 words of your manuscript in a single word document.  For non-fiction, he would like to see:- 1-page synopsis – to give an overview of what the book will offer the reader and how it's different from other books out there on this topic A detailed proposed contents list, including proposed sub-section headings as well as chapter headings – to give a sense of the overall reader journey 1000-1500 words of intro text - to showcase context, tone etc 1000-1500 words from later in the book - to showcase the progression of the book (In addition to the paid sessions, Scott is kindly offering one free session for low income/underrepresented writers. Please email agent121@iaminprint.co.uk to apply, outlining your case for this option which is offered at the discretion of I Am In Print).  By booking you understand you need to conduct an internet connection test with I Am In Print prior to the event. You also agree to email your material in one document to reach I Am In Print by the stated submission deadline and note that I Am In Print take no responsibility for the advice received during your agent meeting. The submission deadline is: Tuesday 26th August 2025

LOOKING FOR: ADULT FICTION, NON-FICTION Amanda Preston has been a literary agent for over 20 years and co-founded LBA in 2005. She won the RNA Literary Agent of the Year award in 2018.  She represents commercial and reading group fiction, as well as a range of narrative non-fiction and memoir. She loves working with authors, championing them every step of the way, and works with them and their publishing teams to build them into brand names and award winning and bestselling authors in the UK and internationally. Whether commercial or reading-group, she loves innovative and well-written stories that hook her in from the start and whose voice stays with her. She is looking for novels that demand to be talked about and shared, whatever their genre, and that she is still thinking about days after finishing.  She is on the hunt for a high-concept thriller which is character and plot driven, but also has a discussable issue at its heart i.e Elizabeth is Missing by Emma Healey and Girl A by Abigail Dean. She loves thrillers where the location is as integral to the plot as the crime i.e The Dry by Jane Harper and The Sanatorium by Sarah Pearse, and would love a good locked-room thriller but is only looking for fresh and unique ideas in this area.  She is also on the hunt for a glorious book club love story that is doing something a bit different and special i.e Lessons in Chemistry by Bonnie Garmus or anything by Taylor Jenkins Reid or Liane Moriarty! Or smart, contemporary, observant romcoms with a very strong emphasis on diverse / own voices.  Finally, she would love a historical that vividly brings that period to life as well as having a stunning plot i.e, The Familiars by Stacey Halls and The Doll Factory by Elizabeth MacNeal. Amanda would like you to submit a covering letter, 1 page synopsis and the opening three chapters (max 5,000 words). (In addition to the paid sessions, Amanda is kindly offering one free session for low income/under-represented writers. Please email agent121@iaminprint.co.uk to apply, outlining your case for this option which is offered at the discretion of I Am In Print).  By booking you understand you need to conduct an internet connection test with I Am In Print prior to the event. You also agree to email your material in one document to reach I Am In Print by the stated submission deadline and note that I Am In Print take no responsibility for the advice received during your agent meeting. The submission deadline is: Monday 1st September 2025 by 12 noon UK BST

LOOKING FOR: ADULT FICTION, NON-FICTION Florence has been at A M Heath for five years and represents a range of commercial fiction and non-fiction. For fiction, comforting, funny and warm reads, as well as gripping page-turners, will always be Florence's cup of tea. Her favourite thing is to escape with a story she can’t put down. If you think your book fits that, then do send it to her.  Books in this vein that really left her wanting one more chapter include Marian Keyes’s character, Rachel, from Rachel’s Holiday that left Florence with a compassion for addiction that only the most skilled of writers can conjure. Florence finds Catherine Newman to be a genius for making hospice care so funny in We All Want Impossible Things. Smart page turners such as Anatomy of a Scandal, Such a Fun Age, and Tomorrow, and Tomorrow, and Tomorrow, wowed her with clever, gripping prose and complicated, flawed characters she hadn't met before. She also loves older classics like the Cazalet Chronicles and Georgette Heyer’s Regency novels. Florence is actively looking for writers who are under-represented in the publishing world, through non-traditional channels, as well as her submissions. She’s keen to find non-fiction and fiction writers who speak to a millennial and younger audience, be that a journalist who is looking to expand an idea, a screenwriter who is looking to try their hand at fiction or perhaps an activist with a social media platform.  She is also interested in environmental and social issues. The authors she represents include Jaspreet Kaur, Salma El-Wardany, Rachel Thompson, Annie Lord, Angelica Malin and Phil Ellis. Their books range from the heart-breaking and profound to the inspirational, funny and wise, with almost everything in between. Florence does not wish to receive, YA, Fantasy or Sci-fi.  Florence would like you to submit a covering letter, 1 page synopsis and the first 5,000 words of your manuscript in a single word document.  (In addition to the paid sessions, Florence is kindly offering one free session for low income/under-represented writers. Please email agent121@iaminprint.co.uk to apply, outlining your case for this option which is offered at the discretion of I Am In Print).  By booking you understand you need to conduct an internet connection test with I Am In Print prior to the event. You also agree to email your material in one document to reach I Am In Print by the stated submission deadline and note that I Am In Print take no responsibility for the advice received during your agent meeting. The submission deadline is: Wednesday 27th August 2025

LOOKING FOR: ADULT FICTION Marilia Savvides founded The Plot Agency in 2024. She began her career in publishing at Peters Fraser and Dunlop, where she spent eight years, first as International Rights Agent, and later as Literary Agent, building her own list of authors. In 2019, she joined 42MP, where she worked as Literary Agent for four years, helping to launch and set up the Book Division. She is particularly interested in fiction that is beautifully written and cleverly constructed, but still accessible to a wide readership. She is often drawn to darker tales that weave together excellent characters and an impossible-to-put-down story, from immersive book club novels with a splash of suspense, crime and thrillers, accessible horror, and speculative, genre-bending or dystopian stories. She also adores smart, witty contemporary rom-com in the style of Emily Henry. In the thriller, crime and mystery space she is interested in most areas, except military thrillers and organised crime/ mafia / mob stories. Big hooks and clever set ups are a big bonus! She adores Karin Slaughter (especially her standalone novels) and Gillian Flynn. In the book club / reading group space, she’s particularly drawn to fiction in the vein of Jodi Picoult, Liane Moriarty and Celeste Ng, and absolutely fell in love with Bright Young Women by Jessica Knoll, both for the incredible voice, and the exquisite use of structure and time. Complicated family dynamics, empathetic and smart approaches to controversial issues, stand out protagonists (like Elizabeth Zott in Lessons in Chemistry or Bernadette in Where D’You Go Bernadette), long buried secrets, complicity, the road to justice, and impossible decisions, are all themes she finds herself drawn to. In the horror space, she’s a sucker for amazing female-centric stories in the vein of Yellowjackets, and the kind of contemporary, accessible horror that Stephen King always nails. She wants to get lost in a world that feels within reach of ours. In the speculative and dystopian spaces, she’s interested in genius ideas that set up big questions or reflect the most broken (and sometimes hidden) parts of society. She loves Octavia Butler, Margaret Atwood, George Orwell, and also adored The Leftovers, Station Eleven, Wanderers, and The Power. The what-ifs of life and fiction fascinate her. In the grounded sci-fi space, she’d love to find a smart, immersive, and accessible story like The Martian. She doesn’t represent fantasy or romantasy. In regards to sci-fi, unless it’s very grounded and has crossover potential to a mainstream audience, it’s not for her. In the romance space, she’s particularly drawn to smart, complex and witty characters, where the chemistry is jumping off the page. She loves contemporary settings and all the tropes, though the voice and characters must come first to make the reading experience fully immersive. She wants to be cackling, and rooting for the characters with all her heart. She is very hands-on editorially, and loves working with her authors to shape their manuscripts, and brainstorm ideas. The best part of the job is discovering debut authors, and helping them find a home for their books. Marilia would like you to submit a covering letter, 1 - 2 page synopsis and the first 5,000 words of your manuscript in a single Word document.  (In addition to the paid sessions, Marilia is kindly offering one free session for low income/underrepresented writers. Please email agent121@iaminprint.co.uk to apply, outlining your case for this option which is offered at the discretion of I Am In Print).  By booking you understand you need to conduct an internet connection test with I Am In Print prior to the event. You also agree to email your material in one document to reach I Am In Print by the stated submission deadline and note that I Am In Print take no responsibility for the advice received during your agent meeting. The submission deadline is: Wednesday 13th August 2025