How Books Are Made: a podcast

My new podcast, How Books Are Made, is about the art and science of making books. It’s for book lovers curious about what happens behind the scenes, and for decision makers who need to get books into the world.

Just search for How Books Are Made in any podcast player. Or listen at howbooksaremade.com.

In episode one, I talk to best-selling author Sam Beckbessinger about marketing and creative freedom.

In episode two, one of SA’s most widely distributed book illustrators, Jess Jardim-Wedepohl, and I talk about her process, and making books under pressure.

And in episode three, Klara Skinner and I take a whirlwind tour through the entire book-production process.

In episode four, I’ll be talking to John Pettigrew, founder of Futureproofs, about innovation in publishing.

Plus, listen to the trailer for a quick intro, and a funny story about my engagement, my mother, and flammable book-making.

Lessons I’ve learned from dysfunctional book projects

Over at Electric Book Works, my team and I distilled six key questions we ask when we want to diagnose problems with a project. Each question represents a lesson we’ve learned, over and over, when working on book- and web-publishing projects.

  1. Is there one leader and champion?
  2. Is there a single source of truth?
  3. Is there a reliable system for version control?
  4. Is content separated from design?
  5. Can everyone on the team open the files?
  6. Can we effortlessly export a finished publication?

Read more about why we ask those questions on the full post.

 

Book-production experts offering epub conversions

Right now, the coronavirus is forcing publishers to convert more books to epubs quickly. I’m receiving lots of requests for this kind of work, and we can’t take them all on at Electric Book Works. I’d like to point publishers to experienced, freelance book-production pros. In particular, I’d like to support solo freelancers at this difficult time.

Below, I’ll list the pros I hear about with their details. Please contact them directly if you need epub conversions. (Note that epub conversions are essentially also Amazon Kindle conversions, since you can upload epub files to Amazon.)

Here’s how my list works:

1. There are good conversions and bad ones. Unless I say otherwise, I cannot vouch for anyone listed here, nor the quality of their work. If you’re a publisher who wants independent quality assurance, contact me at Electric Book Works.
2. For now, I am only listing individuals who do these conversions themselves. I’m interested in recording which individuals have the necessary skills. If I’m told that they do their work at or as a company, I’ll mention that.
3. If you have worked with someone listed here, you can leave a review about them in the comments. I moderate all comments on my site, so I will publish positive ones that seem credible to me. And I may choose to hide negative or unhelpful reviews. If I get a credible, negative review, I may choose to remove someone from the list. I can’t and won’t enter into any correspondence about my decisions. Unfortunately I don’t have any capacity for that.
4. I won’t be able to maintain this list often. It may get out of date, sorry!
5. If you’d like to be listed, send me your details. I need your full name, your email address, your city, and a short (one paragraph) description of your epub-conversion skills and experience. If you have a website or online resume (e.g. LinkedIn), please include its URL. Publishers are far more likely to contact you if they can read more about you online first. And I will list your website rather than your email so that you control how people contact you. If you’d like to be removed, just let me know.
6. If you are a company that does epub conversions, I won’t list your company, but you can put your details in a short, professional note in the comments below. All we need is your company name, website URL, country, and a one-line company description. If you don’t include this, and only this, I probably won’t publish your post. Sorry. I won’t be editing anything, so I’ll only approve comments that are already clear, concise and helpful.

Thanks, everyone. Here’s the list so far in reverse-alphabetical order.

 

New publishing: how big ideas, strong leaders, and new tech are changing textbooks

For the last three years I’ve been part of a remarkable project: perhaps the biggest free-to-access university textbook in the world. The Economy is an undergraduate economics textbook that is sweeping through university classes around the world at a rate that brings tears to the eyes of publishers.

In a world of established textbooks that have had decades to build loyal followings, new and unusual textbooks rarely make an impression. But in a few short years this upstart textbook has been adopted at over 300 universities worldwide. It’s already been published in French and Italian, and half a dozen translations are underway. An adaptation for social sciences is taking off, too, even being read aloud, in full, on NPR.

What makes The Economy a different sort of textbook? For a start, it’s simply readable and engaging – from the first page it speaks to real-world issues, something traditional economics textbooks have largely managed to avoid. And importantly, it’s free: you can read it online or download the app. The 1200-page, full-colour printed edition is far cheaper than its competitors. So it’s easy for lecturers to adopt: they know that no student will go without a textbook.

How is this even possible? After all, books are expensive, complex projects. This one comprises half a million words, 1500 images, and two dozen videos. What publisher would give it away for free? A new kind of publisher: one for whom a book’s strategic value outweighs its financial cost. The kind of public-interest publisher that bewilders traditional publishing companies, and should.

The organisation behind The Economy is CORE, a non-profit in the UK founded by Wendy Carlin and Sam Bowles, both world-renowned economists at major institutions. They’re funded by foundations that recognise that CORE’s mission is among the world’s most pressing: to create a generation of economists who can tackle inequality.

As they’ve visited universities – and even central banks – around the world, Carlin and Bowles have asked their audience the same question: what is the most pressing problem for economists to solve today? And the answer is almost always the same: inequality.

The effects of inequality are expressed in every major threat we face today: from climate change, which is driven by rapacious corporations, to the crises of misogyny and xenophobia, which are fueled by cultures of power and exploitation. The work of reinventing economics is no less than helping to save humankind from itself.

Free textbooks have been around for a long time. The open-educational-resources movement is resilient. But precious few open-access textbooks have challenged the dominance of commercial ones. To achieve this, several factors had to come together for The Economy in just the right way.

A strong leader with a smart team

Every great publishing project needs a strong leader to curate its content, rally others to the cause, and build and manage a team. In a publishing company, that’s a publisher’s job. For The Economy, that person is Wendy Carlin, backed by a hand-picked team of co-authors, project managers, editors, designers and software developers. A big book project is dizzyingly complex and constantly shifting, and the only way to manage that is to have one person holding the centre, surrounded by world-class people that get things done.

Up-front funding

Publishing companies spend millions of dollars on the biggest commercial textbooks. The costs of research, writing, promotion, product design, production and logistics add up quickly, and most are incurred long before customers start paying for anything.

Free textbooks are no cheaper to produce than commercial ones. The money just flows through different channels. Instead of having customers buy a textbook at the end, funders buy the impact that that textbook might have.

Technology

Just a few years ago, it was impossible to produce truly high-quality books without expensive, proprietary software, and without recreating each format – print, ebook, web, app – as a separate project.

Today, my team maintains a single database of all of CORE’s textbook content, and we instantly generate the print, web, ebook and app versions as needed. The Android app has 4.7 stars and over ten thousand downloads. And the quality of the print edition is proven by the fact that Oxford University Press and Eyrolles put their brands on it, in print-distribution deals with CORE.

What comes next?

As this new kind of textbook takes market share from commercial incumbents, what questions get asked at universities, funders, and publishing companies? Until the economics of new publishing become clear, the questions themselves are interesting.

When students don’t have to spend a hundred dollars on a textbook, what else becomes possible? When lecturers know for sure that their students can access the textbook they’ve prescribed, how does that change teaching and learning? When their textbooks are driven by important, new ideas, rather than historical market expectations, do graduates think differently?

I’m looking forward to asking more questions, and to finding out the answers.

Podcast on serial adventures in publishing and technology

I had a fun conversation with John Pettigrew on his ‘Talking Through My Hat‘ publishing podcast recently. If you’re in book publishing, his series is worth subscribing to. He has regular conversations with wonderful publishing entrepreneurs, including Michael Bhaskar of Canelo, Kate Wilson of Nosy Crow, and Emma Barnes of Consonance.