Take a behind-the-scenes look at how I created and designed bestselling children’s non-fiction books like the 'Timelines' series. From concept to publishing, every book tells a story of collaboration and creativity.
The Importance of Every Book
A Journey Back to the 1980s: An Overview
Sparking an Idea: The Genesis of a Non-Fiction Book
Incubating the Concept: From Idea to Outline
Crafting the Synopsis: Building the Backbone of the Book
Developing the Look: Visualising the Book’s Aesthetic
Designing the Layouts: Balancing Text and Images
Commissioning: Bringing in the Experts
The Stages of Final Paste-Up: Assembling the Book
Printing and Publishing: Bringing the Book to Life
Pre-Desktop Publishing: The Traditional Process Explained
Creating and Designing and Illustrated Non-Fiction Books for Children
I'm a book maker, designer and sometimes I write under the pen-name of David Stewart and also Max Marlborough. I have created and designed many non-fiction books series for children. Some of my better known series would be 'Inside Story,' 'Timelines,' 'The X Ray Picture Book,' and 'How Would You Survive, A Very Peculiar History and the 'You Wouldn’t Want To Be…!' series. These books were published globally in many languages and editions.
Every Book Matters
Every book matters and every stage in its creation is crucial along with all the many skilled people who are involved in making a non-fiction book. I’m going to travel back to the 1980’s to look at my approach to making non-fiction books for children aged 9 and up, from the spark of an idea to incubating the concept, through the writing of the synopsis to developing the look, and designing the layouts. Then the process of commisioning and all the stages to the final paste-up and printing, and publishing of the book, and how this process was done in the era before desktop publishing.
What does it mean to have the credit "Created and Designed" in book publishing?
The idea that a book is written by an 'author' is of course one way that a book is created. The author will still need different skilled people to bring the book from manuscript to finished and printed book. Books can be made in many different ways and the way I made books by conceiving ideas and designing the concept and then going on to at times write the text is the way I worked.
How to make children’s books
Creation of Books
Creating a book involves several key elements:
Concept Development: This is the initial stage where ideas for the book are generated. I conceptualises themes, narratives, and educational content that I felt would resonate with children of different age groups and interests working ideas into a flatplan.
Writing: As an author, I wrote text for books under different names: David Stewart, Max Marlborough and a couple of other names, ensuring that text would be engaging and suitable for the target audience. This included simplifying complex subjects into accessible language and incorporating humour if appropriate and of course storytelling in picture books and novelty books.
Learning to Read
Arguably, learning to read is the most challenging task a child will face. Deciphering the confusing shapes and marks (which can miraculously be transformed into sounds and words) can be overwhelming, so it's essential to apply all our design skills to simplify this process.
Designing Books
The design of a book is equally important and involves
leading the reader from one part of the page to the next with clear and simple fonts in the body text. However, I ensure the design does not appear overly simplistic, as this may deter fledgling readers who think the book is meant for a younger reader. Making the book visually appealing is the key to encouraging a young reader to keep turning the pages. Dividing the text into small paragraphs and short captions, incorporating maps, timelines, fact boxes, along with well-labeled illustrations, adds variety and makes the reading experience more engaging and dynamic. To enhance the feel and visual interest, I use more odd or ornate fonts in the headings and dropped caps. These can also serve as a guide to help uncertain readers know where to begin reading.
Illustration and Visual Aesthetics: I collaborated with illustrators or sometimes created illustrations myself to draft out ideas of how books would look.
Publishing for children
Layout and Typography: Designing the interior layout involves deciding on lenght of text and how images are integrated in a way that makes the book readable. This includes choosing fonts, thinking about spacing, margins, and ensuring that the text flows well with the illustrations
Cover Design: The cover is the first impression of the book. It must be eye-catching and reflect the book's content - as a designer you need to have a way of working out styles which will entice the reader and stand out in the bookshop, online or selling from catalogues, where you can be dealing with postage stamp size images.
Publishing Process
In addition to creation and design, my role extended into publishing:
Production Management: Overseeing the production process to ensure that the final product meets quality standards. This includes preparing print-ready files, collaborating with printers, and managing timelines for release
Marketing Considerations: Understanding market trends and how to position books effectively in bookstores and online is also part of a publishers responsibilities. This involves working closely with marketing teams to ensure that the book reaches its intended audience
Designing children’s books
Concept Development
Idea Generation:
Every book starts with a spark of inspiration and an idea to hatch. In 1986, I had been working as an freelance illustrator illustrating books for Reader's Digest, Kingfisher Books and had worked for Giovanni Caselli on the 'Everyday Lives' series, working out book synopsis and then commisioning artists and authors. I began creating and designing nonfiction series for children with the idea to make learning both engaging and visually exciting.
The first step was to come up with a strong, engaging concept that would appeal to children. I would think about themes, educational and entertainment value, and what the overall look of the book would be. I was of course interested in subjects children would want to know about: Egyptian Mummies, Dinosaurs, Sharks - always nature subjects, animals, and the favourites: pirates and knights. I was also thinking about the attention grabbing less pleasant more horrible aspects of life and history that children would adore, always the idea of education by stealth - if that doesn’t sound too sinister. Subjects tackled needed to be of international interest as producing heavily illustrated books in full colour was and is still expensive - so subjects needed to be of global interest too.
Series Outline
Outline:
Writing a series idea and synopsis is the starting point. Determining key points helps ensure a good balance of information and visual elements. This stage lays the foundation for what the book series would be about.
The series outline for Timelines
Concept:
Designed for children aged 9 and up, the TIMELINES series is a collection of twelve information books that look at a single subject over time.
Each title will present a comprehensive and engaging survey of its theme from its beginnings to the present day and beyond into the future. Artwork will be reconstructions, cutaways, X-ray views, and exploded views. The series aims to provide young readers with visually rich information and clear easy to read main text, as well as captions with labelled leader lines.
Target Audience:
Children aged 9+, with a focus on nonfiction readers interested in history, technology, and culture. You could think of the books as part of a family library, as the subjects will be of general interest and not limited to the UK curriculum.
Format: Page size: 282 x 219 mm. Length: 48 pages
Special Features: Double-page spreads, integrated text with dynamic illustrations, visual timelines, glossary, index, endpapers, dust jacket, and a poster inside the jacket.
Illustration X-ray views reveal the internal workings of objects.Cutaways: Remove exterior parts to showcase interiors. Exploded Views: To illustrate assembly, show components spread out in space.
Series: Titles and Themes
Ships From ancient boats to modern ships, maritime vessels have evolved.
Planes Development of aviation, from early gliders to contemporary aircraft.
Inventions Explores key inventions and their impact on society.
Transport Transportation, from the wheel to high-speed trains.
Cities Urban areas and improving city infrastructure in the future.
Clothes Fashion and the evolution of clothing styles for work, play, and display.
Medicine Medical science and healthcare practices.
Sport Historical background of diverse sports and athletic accomplishments.
Food Culinary practices, and dietary change round the world and over times.
Entertainment Explores forms of entertainment, from ancient theatre to modern cinema.
Houses Evolution of human dwellings and architecture in cities around the world.
Explorers Explorers' journeys, from early expeditions to space missions.
Key Features:
Timeline: Provides a chronological overview of each subject.
Expert Contributors: Written by specialist children’s authors and reviewed by subject expert consultants to ensure accuracy and depth. The global perspective will appeal to an international market and incorporate information from a global perspective.
Unique Selling Points
The TIMELINES series of non-fiction books aimed to ignite curiosity and provide young readers with a visually engaging and informative journey through different historical subjects over time.
The Timelines series of twelve books aimed to foster a deeper understanding of world history, showing how progress and change happens. The young reader gained an understanding of how advancements in science, technology, transport, and political shifts impacted the lives of ordinary people and how change can be brought about by wars, political unrest or scientific changes and the books projected into the future.
Storyboarding:
I sketched rough layouts of each double-page spread, focusing on the flow of information, looking at the visual balance, and how text and illustrations would interact. Deciding where illustrations would be cutaway, or a small spot illustrations, or integrated with the text, variety was key to maintaining an engaging layout and building the double page spreads from one large central image which would be the focus of attention, always taking care to where the 'gutter' (the blank space down the centre of an open book where the pages are bound together) would be.
Writing the Manuscript
Text and Artwork Integration:
When planning where the text would be, I paid close attention to pacing and page turns. Each spread would usually have a large illustration with smaller illustrations. The text needed to be concise and age-appropriate, with clear, informative language suitable for children aged 9 and up. In these full-colour, highly illustrated pages, the text was shaped around the illustrations to create an immersive and visually appealing experience.
Illustration Development
Art Style:
Choosing an art style that complemented the educational content and appealed to the target audience was essential. Consistency in style throughout the book helped create a cohesive visual experience. The development of the rotring rapidograph in the 1970's with the ability to make a reliable pen with a chamber for mixing ink meant that brown ink could be used as the line, then Dr Martin's ink was used to heighten the colour of the watercolour paint. I specified that the paper was Schoellershammer 4G which meant that with the tight deadlines and with sometimes four to eight artists working on one book a consistency of style gave the book a cohesive look.These 48 page books were all completed in a time period of six months, so from the start of the book to the delivering of camera ready artwork took six months.
Book Design and Layout
Double-Page Spreads:
Ensuring each spread was visually balanced was crucial. The eye should flow naturally from left to right, following the information. Consideration of the gutter (the space between the two pages) was important to avoid placing important elements in this area. The text was shaped around the illustrations to use space and make the pages look exciting.
Typography: Choosing fonts which were legible and suitable for children's books was key to design decisions too. Display fonts for titles and headings, and simple, readable fonts for body text, were selected. Experimenting with font sizes, styles for headings and footers.
Book Design
I have always thought of book design in an interconnected way, or "in the round," considering how people interact with books. In a children's book, it’s not just about the illustrations or the text individually but how they work together to create a cohesive and engaging experience for the reader. This means taking different elements of a book (text, illustration, layout) interact, and plan how the book fits into the larger interests that children would have.
When designing a children’s book, you consider not only the individual illustrations and text but also how the book feels in the hands of a child, the readability, the emotional journey, and even how the book might be used in educational settings or bedtime routines.
Aiming to deliver a seamless and enjoyable reading experience that integrated all these factors, this would be, high-quality illustrations, readable typography, and a well-thought-out layouts that guided the reader naturally through the content.
Front Cover, Spine, Back Cover, Flaps
Observing people in bookshops, they will often pick up a book and immediately turn it over to read the back cover blurb. This blurb provides crucial information about the book, and inside opposite the title page details about the book makers were printed— about the writer, editor, and their backgrounds, information which lends authority and credibility to the non-fiction content and help decision makers: teachers or librarians or parents to be able to judge whether material would be of a standard they would wish to spend income on. Thus, the front cover, spine, back cover, along with flaps (in the case of a dust jacket) were all carefully designed elements. Endpapers were also designed to give a complete look to an information book, I also used the back cover of the dust jacket to create posters. Franklin Watts, my early publisher back in the early 1990's, were very supportive of this comprehensive approach, with publisher Chester Fisher and CEO Marlene Johnston both enthusiastic about these ideas.
Research
Once a writer was commissioned to write the text, they would research the subject in the British Library and other specialist libraries, gathering photocopies and bundles of references together.
Grids and layouts
I drew the layouts on grids printed on tracing paper in non-reproducing blue lines, which the camera didn't photograph. These grids were also printed on thin shiny cardboard on which the layout would be done. The 'paste-up' process involved pasting text with glue or using wax onto a board, and tracing paper layers were used for different editions, including Americanised versions, library editions, and paperbacks. This complex method ensured that the final layout was precise and the text and images were where they were supposed to be..
Historical Context and Technological Integration
Desktop Publishing:
In the 1980s, desktop publishing revolutionised the design of children's books, especially non-fiction design which could become highly integrated in design text sweeping round illustrations. Desktop publishing software (like the early versions of Adobe PageMaker and QuarkXPress) allowed editors and designers to typeset, edit, and design books digitally, greatly speeding up the production process.
Modern Tools:
Today, software like Adobe InDesign, Photoshop, and Illustrator are industry standards for book design. These tools provide extensive control over text and image placement, colour management, and print-ready file preparation.
Proofing: Once the layout was complete, high-quality proofs were created and reviewed for colour accuracy, text readability, and overall design consistency. Feedback from peers or a focus group of children was invaluable at this stage.
Printing Specifications: Choosing appropriate paper quality, binding style, and printing techniques affected the book’s durability and overall aesthetic. Working closely with the printer ensured the final product matched my vision.
over and blurb was crucial to attract readers.
Reflecting on the Journey
Looking back at how non-fiction books were created in the1980 and 90's was hugely labour intensive - I look at these books now which were produced over forty years ago - the children who would have read these books will now be approaching their 40’s. or 50's?
The way the books were produced is of a completely different age, now researching reference can be gathered with a couple of clicks of a mouse instead of long visits to museums and libraries with pages being photocopied.
Every book matters, and every stage in its creation is a testament to the dedication and passion of all those involved.
Desktop publishing revolutionised book design in the 1980s—read more about it here https://www.dtplabs.com/how-has-desktop-publishing-evolved-over-the-time/
Checklist for Creating Non- Fiction Children's Books
Steps in Creating and Designing a Nonfiction Book for Children
1. Concept Development
Generate ideas that appeal to the target audience (e.g., educational, entertaining, and globally relevant topics like dinosaurs or explorers).
Define the age group and educational goals.
Sketch a flat plan to organize themes and content.
2. Writing
Develop a synopsis that outlines the book’s purpose, structure, and key points.
Write engaging, age-appropriate text that simplifies complex topics and incorporates humour or storytelling.
3. Visual Design
Illustrations: Collaborate with illustrators or create visuals that complement the text (e.g., cutaways, X-ray views, and reconstructions).
Layout: Design page layouts to balance text and images, ensuring readability and visual interest.
Typography: Select fonts that are legible for children, with distinct styles for headings, captions, and body text.
Cover Design: Create an eye-catching cover that reflects the book’s theme and appeals to both children and decision-makers (e.g., teachers, librarians).
4. Commissioning
Work with writers, illustrators, and subject experts to ensure accuracy and high-quality content.
5. Production and Proofing
Prepare print-ready files using tools like Adobe InDesign or QuarkXPress.
Review high-quality proofs for color accuracy, layout consistency, and readability.
Incorporate feedback from editors, peers, or focus groups.
6. Publishing
Choose paper quality, binding styles, and printing techniques that enhance durability and aesthetics.
Collaborate with printers to ensure the final product meets design and quality standards.
7. Marketing and Distribution
Develop a strong back cover blurb and promotional materials.
Position the book effectively in bookstores, online platforms, and educational markets.
Consider international appeal to maximize sales potential.
8. Final Touches
Design endpapers, dust jackets, and bonus features (e.g., posters on the jacket’s reverse side).
Ensure all elements, including front matter and back matter, contribute to a cohesive reader experience.
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