The Bookseller.com

8th September 2008

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Progress in production

26.06.08 Hannah Davies

With digitisation and increased ethical and environmentally friendly printing, production departments are expanding their roles. The Bookseller finds out how to pursue a career in this rapidly evolving area.

Traditionally, a production department transformed bundles of manuscripts, illustrations and photographs into high-quality books at the lowest cost to meet publication dates.

Yet times have changed and responsibilities are increasing. Pressure is on production departments to source environmentally and ethically sound paper from well-managed forests, and use printers and suppliers who have been accredited for their environmental management. Production workers have also been required to adapt to the introduction of the e-book, developing their technical knowledge to create and archive digital files.

Dr David Penfold, senior lecturer and deputy course director for the MA publishing course at London College of Communication, who specialises in teaching publishing production, says: “All the interesting developments in publishing are to do with production. It is becoming a very exciting area to work in.” Despite this, he says there is a shortage of good production candidates coming into the industry, giving aspiring production directors a good opportunity to get into the field.

So who can excel and how? Kim Kidd, senior account manager at recruitment agency Publishing Moves, says publishers are looking for efficient and organised people.

“It is one of the busiest departments in a publishing house, so you need to juggle many projects at once,” she says.

She adds that negotiation skills are crucial as the role involves liaising externally with printers and suppliers, and tying together the demands of the editorial and design departments inhouse.

As production jobs increasingly take on a digital slant, technical skills are becoming more desirable. Penfold says a publishing MA can give candidates a good digital grounding.

“At LCC, we provide an introduction to the technologies involved in both conventional and digital production, including HTML and XML. The university offers advanced publishing production resources, including colour offset and digital printing equipment, so students can see how a book is produced.”

Despite the advantages a publishing MA can bring, Kidd says that some of her clients have been placed in jobs without this qualification. First-jobbers can start in the role of production assistant role and learn everything on the job, she explains. “They need to show they are passionate and keen to learn,” she says.

 

POLLY COLLIER

Junior production controller, Random House

Top tip: Be happy to make endless lists

“My interest in publishing started in 2001 during a stint working at Grant and Cutler—the foreign-language bookshop—while I completed a postgraduate diploma in translation at the University of Westminster. The experience persuaded me to steer away from a career in translation and take a short evening course introducing me to publishing. It helped me secure my first job as a production and editorial assistant for a small periodical publisher, which produced Benefits and Compensation International. The experience was invaluable but for obvious reasons, the topic didn’t grip me.

I began scouring The Bookseller’s website and the Guardian for book publishing jobs. Initially, I experienced the frustrating “you haven’t got enough book publishing experience” response, but persevered until Random House’s production department gave me a break because I had a real interest and the right attitude. I’ve learnt everything about the job through hands-on practical experience.

I’ve just passed the one-year mark and am very happy in my role as junior production controller. I currently work for CCV on Vintage reprints and reissues, and on Pimlico new titles. The work is fast-paced as the backlist is huge. Recently, when Rose Tremain won the Orange Broadband Prize with The Road Home, I had to drop everything and turn around a reprint within five days.

Being a good planner is essential. You have to be able to prioritise, maintain a schedule and be happy to make endless lists. You can’t suddenly remember something you were supposed to have done. Having a good relationship with your printers certainly helps. I couldn’t do this job without knowing that I can rely on them.

The real satisfaction comes when you see the end product. Often I’m on a bus and see someone reading a book I put together and want to nudge them and say: ‘I made that.’ ”

 

SAM MAWSON

Project controller, Egmont

Top tip: Flexibility and a thick skin

“I didn’t really choose a career in publishing, it just worked out that way. Other than a love of books, I didn’t know anything about the industry. After graduating from Leicester University with a degree in media and politics, taking out a graduate loan and moving to London, I pretty much fell into my first job at Egmont as production coordinator and PA to the production director. But six years on, I’ve grown to love it.

Now as project controller, my daily tasks are varied, including conducting independent research, managing our Forest Stewardship Council process and being involved with corporate responsibility projects. Egmont publishes a range of children’s books from standard B format fiction to complex novelty products. We work with suppliers from across the globe, so issues like lead times, shipping and paper availability are more complex.
You have to have many strings to your bow in production—organisational, analytical and communication skills, not to mention flexibility and a thick skin. But you always learn new skills too.

My main aim at Egmont is to get more involved in the corporate responsibility area. Environmental concerns have been at the forefront of our thinking for some time, but keeping our ethical and environmental policies up to date during a difficult economic climate will be a challenge. Having forward-thinking and pro-active leadership is incredibly important to tackle these challenges, and thankfully, with Alison Kennedy as our director,
we have that.”
 

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