Exploring the role of AI in publishing: balancing innovation, creativity, and transparency
Both publishers and authors agree that the AI cannot and should not replace creativity, and that the author’s IP must be protected and preserved. Emma House speaks to two female founders of AI companies who are aiming to support the publishing industry and have found complementary uses with their services.
The use of Artificial Intelligence in publishing is a controversial topic. Publishers have a wide range of policies relating to how AI is used in their company and for what purpose. Most publishers are however experimenting at the very minimum with ChatGPT. Common consensus does seem to have been reached about the need for transparency in the use of AI, with authors and with readers. Authors too are experimenting with AI, again with a need for transparency. Both publishers and authors agree that the AI cannot and should not replace creativity, and that the author’s IP must be protected and preserved.
Emma House speaks to two female founders of AI companies who are aiming to support the publishing industry and have found complementary uses with their services. Meru Gokhale is the former publisher of Penguin Press India, and having worked as an editor for over 20 years has founded Editrix.ai aimed at both supporting and training editors. Following a career in business coaching, Georgia Kirke created publishing support service, Write Business Results, in 2015. Write Business Results helps entrepreneurs write, publish and promote business books to grow their businesses in a convenient and efficient way. She founded ClioBooks.ai as an additional service, offering non-fiction authors an AI tool that helps them bring their book to reality.
Emma: Why did you set up your AI companies?
Meru: I started Editrix because I wanted to make good, solid editorial support accessible to writers, publishers, and editors no matter where they’re based. It’s easy, in big publishing hubs like London, New York, or New Delhi, to take quality editorial talent for granted. But that kind of resource isn’t always within reach when you step outside those circles, and I wanted to do something about that.
The editing profession is in the midst of a significant shift that doesn’t always get enough attention. Fewer people are entering the field, which can be put down to several factors. One is that the pay rarely justifies the extensive education and skill required unless a person already has independent financial support. At the same time, there are almost no formal pathways to train as an editor, so the old apprenticeship model—where aspiring editors learned at the elbow of a senior professional—has become the default. Those positions usually exist in expensive publishing hubs like London or New York, so there’s a natural barrier to entry for those who can’t afford to relocate or take on low-paying roles.
These challenges have been compounded by remote work, which reduces everyday interaction between junior and senior editors. Apprenticeship thrives on close contact, watching someone more experienced tackle manuscripts and talking through decisions. That system doesn’t function well when teams are scattered across different locations, and it’s nearly impossible to replicate that in-person learning through virtual means alone. Editing also calls for an unusual temperament, because it demands being invisible—an editor often invests hours and hours into refining someone else’s words, all without drawing attention to themselves. In a world where people are bombarded with the pressure to promote their own achievements, that kind of behind-the-scenes dedication holds less appeal than it used to.At the same time, the number of people who want to write has grown dramatically, while the number of people who choose to specialize in editing keeps dropping
Georgia: I have always been passionate about books and opening up access to the written word to others who don’t write, which led me to move from business coaching to publishing in 2015. A big challenge the publishing industry wants to solve is that a large number of potential authors are neurodivergent or have other accessibility concerns, and a lot of people are also very busy, which means that they can struggle to focus for long periods of time and actually write their book and formulate their ideas in a long-form format.
This inspired me to create my award-winning speak-your-book process, which, later, would be used to formulate the tech behind ClioBooks.ai.
I always knew that with the take-off of AI, new ideas would come about in the book production space. So, I set myself the task of considering how I can leverage technology to make nonfiction authoring accessible to those who have a valuable message to share, no matter their literacy level. Speaking your book with Cliobooks.ai is the solution.
Emma: How is AI changing the way editors can work with books using AI?
Meru: When I first created Editrix, my main goal was to make editing enjoyable again. Most of us get into this field because we love reading, love working with authors, and love immersing ourselves in the text. But much of what editors do can be draining: painstaking proofreading, applying style sheets, cleaning up clunky copy—tasks that AI can handle with remarkable efficiency. That drudgery has often discouraged people from becoming editors, especially since not everyone lands that once-in-a-lifetime manuscript bound for the Nobel or Booker.
By automating the more mechanical parts of the job, Editrix lets editors focus on what humans do best—exercising personal taste and instinct. AI even surprises me with its strength as a developmental partner. It acts like a smart colleague who can brainstorm and talk through ideas in ways that time-strapped editors often can’t manage, given the heavy workload across the industry.
When it’s used thoughtfully, AI becomes a powerful ally for editors and authors alike. It takes over the chores like checking grammar, spotting repetitive phrases, and ensuring consistency in formatting. That frees the human editor to concentrate on character arcs, narrative flow, and the creative heart of a manuscript. The true value of AI lies in sparking fresh thinking and discovering new voices that might otherwise be overlooked.
Still, the foundations matter. We can’t lose sight of the basics—well-crafted characters, a strong plot, and that layer of careful, meaningful editing that lifts a good piece of writing into something memorable. As AI takes on a more central role, writers remain firmly in control. There’s been some industry skepticism, but a surprising number of people have welcomed these tools for making their workflows more efficient and opening the door to innovative storytelling.
Emma: How do you believe authors can benefit from using AI?
Georgia: AI assistance (not generative AI) poses so many benefits to nonfiction authors. Three core benefits are:
Boosting efficiencies:
- Cost saving – it’s less expensive than traditional support.
- Time efficiencies – with tools like Cliobooks.ai you can speak your book in a weekend vs writing it over 18 months.
- Productivity from access to proven workflows and processes – ClioBooks.ai leads you through the process of building your book from start to finish.
Assisting with creativity:
- Leverage your creativity with help formulating and structuring your ideas.
- Connecting your content to your primary reader to ensure all content included in your book is commercially relevant.
- Coupled with human guidance, AI is a powerful creative support.
Enhancing marketing and revenue:
- A high-quality and original book in your name creates new revenue opportunities by monetising your stories and expertise.
- The process of book drafting gives way to validation and further commercial ideation.
- Books generate leads, build brands and open new conversations.
Emma: What response have you had from the publishing industry?
Meru: I’ve been genuinely thrilled by how people in publishing have responded so far, which is more that what I was hoping for! It’s been heartening to see real openness to new ways of working. While it’s normal to get varied reactions, the overall mood is one of growing interest and willingness to explore possibilities. There’s a sense that AI can help us speed up editorial steps without losing sight of quality, and there’s real curiosity about what else it can do to strengthen the process.
I was braced for a backlash, given so many articles focus on the negative side of AI. That coverage isn’t necessarily wrong, but it often skips over the genuinely positive aspects, which can be transformative. I expected some to think I was the villain for launching Editrix, yet to my surprise, nearly everyone who has tried it has loved using it. I frequently receive screenshots of quirky but honest suggestions Editrix has made. One author mentioned that Editrix tactfully pointed out her writing sounded mean-spirited in spots, sparing her from a potential misstep. Another described it as wonderfully addictive to be able to engage with her manuscript at any moment, rather than relying on the limited time usually allotted with an editor.
My favorite comment was from a writer I deeply respect who said Editrix gave her a fresh burst of energy when she was feeling worn out by the usual slog. All in all, the reaction has been overwhelmingly positive, though some folks do approach AI with caution. My advice is to give it a try and see for yourself—it might pleasantly surprise you.
Georgia: The response has been so positive. Publishers see the benefits that ClioBooks.ai offers. They want excellent manuscripts submitted on time, and authors that aren’t getting stuck at certain stages of the book writing process. Clio presents significant time and cost savings to publishers. With high-quality, original manuscripts submitted in as little as a week, publishers can send far more to print and have happier authors with more time, money and energy for the marketing.
Emma: What reassurances do you give to authors and editors about their IP?
Meru: Intellectual property belongs to the people who create it, nothing can change how vital that is for authors. Editrix exists to help them improve their work—not to capture it, exploit it, or use it for any other purpose. We don’t store manuscripts, nor do we train our models on authors’ content. Authors and editors stay in full control of their data at every step, with clear mechanisms to prevent anyone from accessing or using it without their say-so. It’s simply a tool, and the words will always remain your own.
Georgia: Clio does not generate content for the author, it does not use its authors’ content to train LLMs, and the author retains the copyright to their work. Clio is completely ethical and secure.
Emma: How do you see AI being embedded into the publishing industry in 2025?
Meru: By 2025, I expect AI to be woven more closely into every stage of publishing. That doesn’t mean human editors will lose out. Instead, we’ll see a more collaborative process, where AI tools work in tandem with people who bring taste and discernment. The emphasis will be on accessible, intuitive technology that supports, rather than overshadows, the creative process.
I’ll say this plainly: publishers who avoid exploring AI now risk being overtaken by those who do. Some may rely on their brand recognition for a while, but that won’t hold forever. The reality is that embracing AI responsibly—bringing authors, agents, editors, and tech providers into candid discussions—is the sensible way forward. Turning away from the conversation won’t stop it from happening elsewhere, and organizations that don’t adapt could find themselves sitting on the sidelines.
Consider the traditionally long lead times that many publishers face. If they don’t streamline those timelines, authors might seek other avenues, especially those writing on current topics that need to reach the market quickly. Publishers outside major hubs like London or New York also stand to benefit by offering cutting-edge editorial support they might not otherwise have. My point isn’t to scare anyone. It’s simply that we’re at a moment where sitting idle is not advisable. Engage with AI now—experiment, evaluate, and then make an informed choice.
Georgia: Book drafting is one of the few areas that AI isn’t fully “in” yet. I see Cliobooks.ai being the go-to software for publishers, editors and authors to expedite book drafting.
Emma: What advice would you give to any publishers and authors who haven’t yet experimented with AI?
Meru: My main advice is straightforward: don’t just watch AI from a distance—give it a genuine trial. If you decide it’s not for you, nothing stops you from stepping away. But if you never try, you risk being left behind by those who do. Even the simplest AI tools can give you a real sense of how this technology might fit your workflow. It isn’t about whether AI is inherently “good” or “bad,” but how it can complement your strengths and goals. A little hands-on experience will reveal both the perks and the limitations, and that’s the key to making an informed decision. Keep an open mind, experiment, and see how AI might push your work forward.
Georgia: Do some research based on challenges you have and need to solve. Specialist AI is not as scary as it seems. It can be used easily and safely.
Emma: How can Editrix and ClioBooks work together?
Meru & Georgia: ClioBooks brings a fresh approach to business professionals who have expertise to share but not enough time to craft a full manuscript. They speak their insights, and ClioBooks shapes those spoken ideas into a coherent draft. Editrix, in turn, refines and polishes text for everything from fiction to academic manuscripts, offering strong editorial support and collaboration features. When an author or editor uses both, the process flows even more smoothly: ClioBooks takes the raw spoken knowledge and fashions it into a structured manuscript, then Editrix steps in to sharpen the language, handle version control, spot errors, and fine-tune the final product. The result is a seamless way to move from concept to finished book, while maintaining quality at each stage.