The art of publishing - who has form?

Fawcett Gold Medal

In Robert Calasso's The Art of the Publisher, the author distills to art of publishing to form - the "capacity to give form to a plurality of books as though they were the chapters of a single book".

This is a fascinating concept, particularly applicable in a world where branding is both understood as an art... and almost entirely ignored in the publishing industry. The most overt demonstration of form is, of course, the art and design of covers - and Calasso dedicates many thoughtful pages to the role of cover(s) across a publisher's list. 

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Confessions of a lifelong collector

Photo by SA Partridge

As a child, I was an avid collector of My Little Pony and Care Bears, despite the fact that my only regular source of income was the occasional envelope on birthdays and Christmas. Even then I couldn't just have one. I needed them all. It fell to my parents to bankroll this craze. I remember my father driving from one toy store to another to find the elusive Birthday Bear (a mustardy-coloured Care Bear with a cupcake on its chest). It was the only one I didn't have. If the Internet had been around we would have found one instantly, but my father’s dedication to the task was admirable. Father of the Decade, I say.

Advertising played a part.

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Small Press Shakedown: Cherry Potts of Arachne Press

9781909208100The UK has a fantastic small press scene. To celebrate the people behind the imprints, and help out the writers that are looking to them for publication, we've asked a number of editors to share what they're working on - and what they're looking for. This week our featured publisher is Arachne Press.

Could you tell us a bit about who you are and what you're doing?

Arachne Press was born out of frustration as a writer with my existing publisher, and an opportune redundancy, which meant the mortgage got paid off and possible poverty wasn’t going to mean homelessness, so I decided to take a risk and do what I had always wanted – yes, 1970’s careers advisor, I did it in spite of you – be a publisher.

It’s ended up being a much wider remit than that – I also run The Story Sessions an irregular live lit event in South London and an annual festival Solstice Shorts which mixes time-themed words and music, on the shortest day of the year on the Prime Meridian in Greenwich; I video as much of the live stuff as I can, and when we get funded, we have BSL interpreters as well to make our work as accessible as possible.

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Small Press Shakedown: Dave de Burgh of Tickety Boo Press

Tickety Boo

The UK has a fantastic small press scene. To celebrate the people behind the imprints, and help out the writers that are looking to them for publication, we've asked a number of editors to share what they're working on - and what they're looking for. This week our featured publisher is Tickety Boo Press.

Could you tell us a bit about who you are and what you're doing?

Tickety Boo Press was started at the end of January, 2014 by Gary Compton, who remains our driving force and managing director. We're a small, independent publisher, and we publish Science Fiction (through our Space Dock imprint), Fantasy (through our Phantasia imprint), edgy, crazy, not-your-usual SpecFic thrillers (through our Critical Mass imprint), and Horror (through our Spectral Press imprint). We follow the traditional model of publishing, submissions, etc.

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