How Books Are Made

How Books Are Made is a podcast about the art and science of making books. It’s for book lovers who believe that details matter, on paper and on screen: from the feel of the paper to the shapes of the ligatures, from hyperlinks to accessibility. If you want more intriguing book-making nerdery, subscribe in your podcast player to get the next episode, and see what you think.

In this short trailer, Arthur Attwell describes some of his favourite books, not for their content but for the way they have been physically made: an enormous production from 1902, a marketing marvel, a Wonderland ebook, and the book that nearly injured his mother to get him married.

Links from the show:

• The Home Hand-Book of Domestic Hygiene and Rational Medicine by JH Kellogg
• Penguin 60s
• Alice for the iPad

Why are book clubs so transformative, and can they change the world?

When we read a book we love, no matter how outlandish or challenging it is, we recognise in it the way we believe the world works. And that is profoundly affirming. It reassures you that your life has a place, no matter what mangled shape it’s in. And if you can share that with others, and talk about what that book means for each of you, you step back into the real world a little renewed, a little stronger, and a little more equipped to change it.

Arthur’s guest in this episode has seen this often, first-hand, as bibliotherapy: Dr Anderson P. Smith works with book clubs and writers who are in or have been in prison, and has studied the profound effect that reading circles can have on people who are rebuilding their lives. And his insights on reading, reflection, and action extend to anyone in the business of making books or changing minds.

Good agents are the fairy grandparents of page and screen. They get writers; and they get writers paid.

Most jobs in publishing are done by humans flying solo – writers and freelancers working from home, running their own show. That can be lonely work. Especially as a writer, it's just not possible, on your own, to know everything and everyone you need to know to turn your talent into a viable business. For that, most writers need an agent. What does an agent do? And how do you get one?

Aoife Lennon-Ritchie is the founder of the Lennon-Ritchie Agency, which works in commercial book publishing, and the managing director of Torchwood, which represents writers in film and TV. She joins Arthur to talk about being and getting an agent, negotiating contracts, and writing for TV and film.

Links from the show:

• The Lennon-Ritchie Agency
• Torchwood Literary & Scouting Agency
• Screen Daily article about the launch of Torchwood.
• Publisher’s Weekly article on the 2022 Sharjah Book Fair, quoting Aoife.
• Sharjah International Book Fair
• ‘Behind the Scenes: African Filmmakers and Writers on Interplay and Adaptation’ – a panel discussion including Aoife.

We take for granted that books contain no mistakes, but the absence of mistakes is no small achievement. It takes care, commitment, and very, very good processes.

In publishing, even a small mistake can spell disaster. Luckily, there are people who spend careers helping us avoid those disasters, by giving us the words and the tools to care about the details. Their work is not glamorous, but it is fascinating. Much of that work is about metadata: the information about books that makes up the circulatory system of the book industry.

In this episode, Arthur talks to one of the smartest people in the field: Emma Barnes, the founder of the publishing-management system Consonance, and the managing director of indie publisher Snowbooks. She’s also a university lecturer, and the creator of the online platform Make Our Book, which schools use for their kids to make beautiful books from their own stories.

Links from the show:

• Consonance
• Snowbooks
• Make Our Book
• A video of Emma Barnes speaking about publishing a thousand children’s stories on Make Our Book, innovation in the publishing industry, and the future of publishing.
• Book Machine’s interview with Emma Barnes, where she speaks about ‘not working for the man’.
• Article on Publishing Perspectives about Emma’s journey in coding and publishing.
• Electric Book Works

Open-access publishing models are so ubiquitous today that we forget they had to be invented first – by bold, generous publishers.

In this episode, Arthur talks to one of those inventors: Frances Pinter has been pioneering for decades, running her own academic publishing company for over twenty years, and then leading publishing programmes in Eastern Europe for the Open Society Institute. She’s been the founding publisher at Bloomsbury Academic, the CEO of Manchester University Press, a fellow at the LSE and the University of London, and founded the groundbreaking organisation Knowledge Unlatched. Today, she’s the Executive Chair of the Central European University Press.

Frances and Arthur talk about Knowledge Unlatched, her work in Eastern Europe, maintaining quality in publishing, the impact of open-access publishing on COVID research, and what it takes to start a new publishing business today.

Links from the show:

• TOC 2010: Frances Pinter, "Rethinking the Role and Funding of Academic Book Publishing"
• Knowledge Unlatched
• Open Society Foundations
• Central European University Press
• Open Climate Campaign
• Paperight