alice tradewellhouse of books and friends, manchesterIn our latest Bookshop Spotlight, Opt Indie Books chats with Alice Tradewell, principal bookseller at house of books and friends, a hugely popular indie bookshop in central Manchester.
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JR: I know we saw you briefly a few weeks ago, but how’s your summer been? How’s the shop been? How have you been?
AT: Yeah, it’s good. We kind of expected it after last year. It’s nice going into the second year because you know more of what to expect. We have quieter summers and busy winters. I think that’s because we’re a very cosy shop with the coffee and everything. Before we had outdoor seating, it was very rustic, old, and authentic. People see us as a cosy place, which is nice, but in summer, it depends. On football days, for example, it’d be very quiet until the end of the day. When it was sunny and we didn’t have outdoor seating, people obviously preferred to be in gardens, which is fair. As soon as the weather changes, you can see everyone coming back. Students also return; Manchester’s a big student city. A few weeks ago, I came back from holiday, and it was the seventh of September or so. All the big hitters were publishing books, and it was a Saturday, and everyone was buying hardbacks. You can tell it’s started to change again.
JR: Yeah, it kind of shifts, you go up a gear, don’t you?
AT: Mm-hmm, yeah.
JR: So, what’s been selling particularly well over the summer?
AT: Mmm, that’s a hard one. Today I’d say it’s been Sally Rooney. We sold all our signed copies already.
JR: I’m not surprised.
AT: Yeah, we’re quite contemporary lit-focused. But we also sell a lot of cosy healing fiction, Japanese and Korean fiction. People really like that, so it sold well over the summer, real escapism. Kate Atkinson’s newer stuff also sold well. We do well with big names like Sally, but sometimes people come to us for more unique things. We’ve got a good relationship with Fitzcarraldo Editions too, which is really cool.
JR: That’s amazing. It’s funny how shops take on a certain identity. Have you been open for two years yet?
AT: In December, it’ll be two years.
JR: In December, yeah, so you’re still kind of finding your feet.
AT: Mm-hmm, absolutely.
JR: But because of where you are and how busy it is, you really have to hit the ground running.
AT: Oh, absolutely.
JR: Let’s talk about the shop first. For those who haven’t been to House of Books and Friends, can you give a short introduction to what you’re all about?
AT: Sure. We’re a community interest company and a not-for-profit based in central Manchester, with a mission to alleviate social isolation and loneliness. We’re a bookshop and café with a big event space. We aim to be a community hub. We don’t want people to feel like they need to spend money every time they visit. We’ve got pay-it-forward schemes for coffee and books. Our main goal is to provide the community that’s been lost, especially since the pandemic. Manchester doesn’t have too many independent generalist bookshops, especially in the centre, so that’s us in brief.
JR: It’s felt like you guys had been around longer. That first year, with all the social media and author visits, it seemed like you’d really hit the ground running. Now that I’m focusing on bookshops and what makes them stand out, you’re the only not-for-profit CIC bookshop I’ve spoken to. That’s what made you stand out to me, not just in Manchester, but in the UK generally. Independent bookshops often feel like they’re fighting to keep their place on the high street, finding a niche to get people through the door. But your approach is different—community first, book sales second. Is that fair?
AT: Yes, that’s fair. The reason we sell books is to connect people through the power of reading. That was Darryl Cooke, our founder’s mission. He saw how much people relied on art, media, and literature during the pandemic and wanted to make that accessible, especially for Manchester. You’re right, it’s about connection. We try to be overstaffed, so even though it costs more, it means we have more people to engage with customers. In nearly two years, I’ve built so many relationships here. We know people by name, their favourite books, their coffee orders—that’s what matters to us.
JR: Yeah, forging those relationships is important for any bookshop. I often say this, especially when talking to those who are doing really good work to build those connections. The longer you're open and the more regular customers become, they turn into friends, don’t they? I guess it starts to feel like you’re a bit of a support system.
AT: Yeah, definitely.
JR: It’s strange because on the surface we’re in retail, but it’s arts, and it’s almost like care work, providing safe spaces through bookshops. Do you feel like your role has become less about bookselling and more about supporting people?
AT: I think so, in a way. When we first started, you were a bookseller and a barista, splitting your time equally between both. There’s a lot to juggle, but customer service is always the main focus, no matter how much social media or other things there are to handle. I remember when we first opened, it was busy, with all the buzz and everything. We didn’t have a loyalty scheme until last September, so we didn’t know many people by name at first. But by January or February, we had those regulars. I remember my colleague and I being excited, saying, “Oh my God, he came in the other day!” One thing that stands out is the number of older people who come in. We know loneliness affects older people, and for those who visit every day, it’s the conversation they have with us—talking about their day or the weekend. There are also people who come in once a week, and that’s really important. In an age where you can buy a book from Amazon without speaking to anyone, it’s different. Yes, it’s cheaper and convenient, but it’s not the same as coming to an independent bookstore, having a chat, and supporting people.
AT: Yeah, it’s good. We kind of expected it after last year. It’s nice going into the second year because you know more of what to expect. We have quieter summers and busy winters. I think that’s because we’re a very cosy shop with the coffee and everything. Before we had outdoor seating, it was very rustic, old, and authentic. People see us as a cosy place, which is nice, but in summer, it depends. On football days, for example, it’d be very quiet until the end of the day. When it was sunny and we didn’t have outdoor seating, people obviously preferred to be in gardens, which is fair. As soon as the weather changes, you can see everyone coming back. Students also return; Manchester’s a big student city. A few weeks ago, I came back from holiday, and it was the seventh of September or so. All the big hitters were publishing books, and it was a Saturday, and everyone was buying hardbacks. You can tell it’s started to change again.
JR: Yeah, it kind of shifts, you go up a gear, don’t you?
AT: Mm-hmm, yeah.
JR: So, what’s been selling particularly well over the summer?
AT: Mmm, that’s a hard one. Today I’d say it’s been Sally Rooney. We sold all our signed copies already.
JR: I’m not surprised.
AT: Yeah, we’re quite contemporary lit-focused. But we also sell a lot of cosy healing fiction, Japanese and Korean fiction. People really like that, so it sold well over the summer, real escapism. Kate Atkinson’s newer stuff also sold well. We do well with big names like Sally, but sometimes people come to us for more unique things. We’ve got a good relationship with Fitzcarraldo Editions too, which is really cool.
JR: That’s amazing. It’s funny how shops take on a certain identity. Have you been open for two years yet?
AT: In December, it’ll be two years.
JR: In December, yeah, so you’re still kind of finding your feet.
AT: Mm-hmm, absolutely.
JR: But because of where you are and how busy it is, you really have to hit the ground running.
AT: Oh, absolutely.
JR: Let’s talk about the shop first. For those who haven’t been to House of Books and Friends, can you give a short introduction to what you’re all about?
AT: Sure. We’re a community interest company and a not-for-profit based in central Manchester, with a mission to alleviate social isolation and loneliness. We’re a bookshop and café with a big event space. We aim to be a community hub. We don’t want people to feel like they need to spend money every time they visit. We’ve got pay-it-forward schemes for coffee and books. Our main goal is to provide the community that’s been lost, especially since the pandemic. Manchester doesn’t have too many independent generalist bookshops, especially in the centre, so that’s us in brief.
JR: It’s felt like you guys had been around longer. That first year, with all the social media and author visits, it seemed like you’d really hit the ground running. Now that I’m focusing on bookshops and what makes them stand out, you’re the only not-for-profit CIC bookshop I’ve spoken to. That’s what made you stand out to me, not just in Manchester, but in the UK generally. Independent bookshops often feel like they’re fighting to keep their place on the high street, finding a niche to get people through the door. But your approach is different—community first, book sales second. Is that fair?
AT: Yes, that’s fair. The reason we sell books is to connect people through the power of reading. That was Darryl Cooke, our founder’s mission. He saw how much people relied on art, media, and literature during the pandemic and wanted to make that accessible, especially for Manchester. You’re right, it’s about connection. We try to be overstaffed, so even though it costs more, it means we have more people to engage with customers. In nearly two years, I’ve built so many relationships here. We know people by name, their favourite books, their coffee orders—that’s what matters to us.
JR: Yeah, forging those relationships is important for any bookshop. I often say this, especially when talking to those who are doing really good work to build those connections. The longer you're open and the more regular customers become, they turn into friends, don’t they? I guess it starts to feel like you’re a bit of a support system.
AT: Yeah, definitely.
JR: It’s strange because on the surface we’re in retail, but it’s arts, and it’s almost like care work, providing safe spaces through bookshops. Do you feel like your role has become less about bookselling and more about supporting people?
AT: I think so, in a way. When we first started, you were a bookseller and a barista, splitting your time equally between both. There’s a lot to juggle, but customer service is always the main focus, no matter how much social media or other things there are to handle. I remember when we first opened, it was busy, with all the buzz and everything. We didn’t have a loyalty scheme until last September, so we didn’t know many people by name at first. But by January or February, we had those regulars. I remember my colleague and I being excited, saying, “Oh my God, he came in the other day!” One thing that stands out is the number of older people who come in. We know loneliness affects older people, and for those who visit every day, it’s the conversation they have with us—talking about their day or the weekend. There are also people who come in once a week, and that’s really important. In an age where you can buy a book from Amazon without speaking to anyone, it’s different. Yes, it’s cheaper and convenient, but it’s not the same as coming to an independent bookstore, having a chat, and supporting people.
There’s one story I remember clearly. In the first six months, people would ask, “Who are you? What do you do? Is this a library?” One woman came in and I explained everything, and she said, “It’s great you’re thinking about loneliness. I’ve been really lonely since my husband passed away last year.” I just listened, letting her talk. She said, “I’m going to get a coffee; this is a nice place,” and while she was at the coffee bar, she saw a friend she hadn’t seen in years. They reconnected, sat together, had lunch, and it was such a moment where you realise—that’s what we’re here for.
JR: Yeah, those moments of realisation, when you’re working with real people. We call them customers, but they’re not—they have real stories. It’s not just the books, it’s the staff, the space, the sense of security and familiarity that forms over time. AT: Yeah, it’s really special. JR: You mentioned bookseller and barista roles. I noticed the title “principal bookseller” on the website. Could you explain what that means and give us an idea of the team size and who you work with? |
AT: Yes, so my colleague Leah and I are principal booksellers. We transitioned into those roles gradually from February as the team grew. Last year, there was some turnover, and we needed more staff, which was good because we were getting busier with events. As principal booksellers, I mainly organise events, which is a great responsibility—meeting authors and publishers. We also train new staff and handle day-to-day shop floor tasks that our manager isn’t always around for now that we’re in our second year. And, of course, the less glamorous side—things like invoicing and returns.
We’re a team of about 10 to 12 now. When we started, there were six of us, including our manager. We always say we can’t believe we ran the shop with so few people, but we did! We also started opening on Sundays last August, after not opening on Sundays for the first nine months. It’s been really popular. We have a café supervisor who runs the café and our afternoon tea, which has been very successful. The rest of the team does the dual bookseller-barista role—normal bookseller duties with the added fun of washing pots and making coffee.
JR: You know, it’s funny that you say you can’t believe you used to run the shop with just six people, but - obviously, the building itself is so gorgeous. It’s Grade II listed, quite historic, with loads of detail. But the book space itself, that main room, is actually smaller than you might imagine from the outside.
AT: Yeah, yeah, actually, I would agree. The book space is interesting because, when I think back to when we started, we had the café tables in the event space when there wasn't an event. For a few months, that wasn’t a thing, so we didn’t have to think about it. The actual book space isn’t massive; you can see most of it from wherever you're standing. It’s not bad until you have that influx of people on Saturdays and Sundays, and you're like, "Wow, there are so many of you!" But that's always a good thing. You want it to be bustling. On weekday mornings, it’s quieter. People get on with their work, and we can do the usual morning tasks like handling deliveries. The space was designed to be comfortable enough for people to relax in and stay a while, not just rush in and out.
JR: Absolutely. And I know you mentioned it, but you’ve got that gorgeous event space in the back of the building. It’s such a lovely thing to have on hand for afternoon teas, lunchtime events, signings, and more. You even hire it out for people to use. It’s such a quirky space, and I loved exploring it.
In terms of the size of the bookshop, do you have an idea of how many books you have? And do you think there's a particular leaning in terms of genre or focus? I know you’ve done the donated books and pay-it-forward schemes. You have lots of fiction and signed copies too. Is there any specific focus?
AT: Oh, that’s tough. I’d probably have to confirm with Naomi, but I’d say we’ve got about 6,000 books, maybe more. I remember when we first opened, our initial order was around 6,000 books. So, it's probably more now since we've got a bit more storage. In terms of genre, we’re very generalist. Naomi, the manager, has the final say, but since we opened, the booksellers have had a lot of input. If I’ve read something recently that I want to champion, even if it’s older, she’ll let us get it back in stock.
Mostly, we focus on contemporary fiction, accessible literary fiction. Crime is big too—Naomi really likes crime. We also have a strong Manchester section, leaning more towards Manchester’s culture—music, Tony Wilson, that sort of thing—rather than football. We’re not a big football shop. We also do well with serious nonfiction, like history and military history. We always aim to cater to a wide range of readers. We want to be accessible, so we avoid stocking too many niche subjects that might alienate people.
We love publishers like Fitzcarraldo Editions, and we do really well with them. But we also stock more commercial authors like Jojo Moyes, so there’s something for everyone.
JR: It’s about reading the room, right? You need to see who's coming in and what they’re looking for. You have to be willing to supply that. And since you're so busy and central, you’re going to get a bit of everything, right?
AT: Exactly. I don’t want anyone to feel alienated. One of my favourite things is when people come in and say, "I’ve just got back into reading. What do you recommend?" I often suggest Emily Henry, and they love it because she’s a good writer. My flatmate, who doesn’t read much, really enjoyed her books. I want people to read, so we sell all kinds of books—from A Court of Thorns and Roses to Sally Rooney. There’s no time for pretentiousness in that.
JR: Absolutely. And I guess it’s about knowing your demographic and who’s coming in. If people are asking for certain books, it’s fair to stock them.
But over the last couple of years, do you feel like your customer base has changed? Has the demographic shifted or maybe solidified?
AT: Yeah, a little bit. When we first opened, we looked at our Instagram demographics, especially before the shop opened, since we had no idea what to expect. Back then, it was mostly young women, which makes sense—they’re a big part of the bookish community on social media. Actually, I think our demographic has become a lot older as word has spread about us, which I think is really nice. As I’ve said before, a lot of people are often affected by loneliness. We also get many tourists, which I think has increased over the past year compared to when we first opened. That’s really nice; I always enjoy serving those customers and seeing where they’ve come from. I was surprised by that because you don’t always expect tourists in these kinds of bookshops. But I think we’re quite lucky to have a diverse mix of customers.
JR: Yeah, and I think that’s partly due to the choices available in Manchester. You have some fantastic specialist art shops, and of course, you have Queer Lit just up the road. Those shops have chosen their niche and audience with a particular purpose in mind. Serving that community. You know, I’ve done a couple of bookshop tours through Manchester, and each time I return, I discover even more bookshops because there’s never enough time to see them all.
We’re a team of about 10 to 12 now. When we started, there were six of us, including our manager. We always say we can’t believe we ran the shop with so few people, but we did! We also started opening on Sundays last August, after not opening on Sundays for the first nine months. It’s been really popular. We have a café supervisor who runs the café and our afternoon tea, which has been very successful. The rest of the team does the dual bookseller-barista role—normal bookseller duties with the added fun of washing pots and making coffee.
JR: You know, it’s funny that you say you can’t believe you used to run the shop with just six people, but - obviously, the building itself is so gorgeous. It’s Grade II listed, quite historic, with loads of detail. But the book space itself, that main room, is actually smaller than you might imagine from the outside.
AT: Yeah, yeah, actually, I would agree. The book space is interesting because, when I think back to when we started, we had the café tables in the event space when there wasn't an event. For a few months, that wasn’t a thing, so we didn’t have to think about it. The actual book space isn’t massive; you can see most of it from wherever you're standing. It’s not bad until you have that influx of people on Saturdays and Sundays, and you're like, "Wow, there are so many of you!" But that's always a good thing. You want it to be bustling. On weekday mornings, it’s quieter. People get on with their work, and we can do the usual morning tasks like handling deliveries. The space was designed to be comfortable enough for people to relax in and stay a while, not just rush in and out.
JR: Absolutely. And I know you mentioned it, but you’ve got that gorgeous event space in the back of the building. It’s such a lovely thing to have on hand for afternoon teas, lunchtime events, signings, and more. You even hire it out for people to use. It’s such a quirky space, and I loved exploring it.
In terms of the size of the bookshop, do you have an idea of how many books you have? And do you think there's a particular leaning in terms of genre or focus? I know you’ve done the donated books and pay-it-forward schemes. You have lots of fiction and signed copies too. Is there any specific focus?
AT: Oh, that’s tough. I’d probably have to confirm with Naomi, but I’d say we’ve got about 6,000 books, maybe more. I remember when we first opened, our initial order was around 6,000 books. So, it's probably more now since we've got a bit more storage. In terms of genre, we’re very generalist. Naomi, the manager, has the final say, but since we opened, the booksellers have had a lot of input. If I’ve read something recently that I want to champion, even if it’s older, she’ll let us get it back in stock.
Mostly, we focus on contemporary fiction, accessible literary fiction. Crime is big too—Naomi really likes crime. We also have a strong Manchester section, leaning more towards Manchester’s culture—music, Tony Wilson, that sort of thing—rather than football. We’re not a big football shop. We also do well with serious nonfiction, like history and military history. We always aim to cater to a wide range of readers. We want to be accessible, so we avoid stocking too many niche subjects that might alienate people.
We love publishers like Fitzcarraldo Editions, and we do really well with them. But we also stock more commercial authors like Jojo Moyes, so there’s something for everyone.
JR: It’s about reading the room, right? You need to see who's coming in and what they’re looking for. You have to be willing to supply that. And since you're so busy and central, you’re going to get a bit of everything, right?
AT: Exactly. I don’t want anyone to feel alienated. One of my favourite things is when people come in and say, "I’ve just got back into reading. What do you recommend?" I often suggest Emily Henry, and they love it because she’s a good writer. My flatmate, who doesn’t read much, really enjoyed her books. I want people to read, so we sell all kinds of books—from A Court of Thorns and Roses to Sally Rooney. There’s no time for pretentiousness in that.
JR: Absolutely. And I guess it’s about knowing your demographic and who’s coming in. If people are asking for certain books, it’s fair to stock them.
But over the last couple of years, do you feel like your customer base has changed? Has the demographic shifted or maybe solidified?
AT: Yeah, a little bit. When we first opened, we looked at our Instagram demographics, especially before the shop opened, since we had no idea what to expect. Back then, it was mostly young women, which makes sense—they’re a big part of the bookish community on social media. Actually, I think our demographic has become a lot older as word has spread about us, which I think is really nice. As I’ve said before, a lot of people are often affected by loneliness. We also get many tourists, which I think has increased over the past year compared to when we first opened. That’s really nice; I always enjoy serving those customers and seeing where they’ve come from. I was surprised by that because you don’t always expect tourists in these kinds of bookshops. But I think we’re quite lucky to have a diverse mix of customers.
JR: Yeah, and I think that’s partly due to the choices available in Manchester. You have some fantastic specialist art shops, and of course, you have Queer Lit just up the road. Those shops have chosen their niche and audience with a particular purpose in mind. Serving that community. You know, I’ve done a couple of bookshop tours through Manchester, and each time I return, I discover even more bookshops because there’s never enough time to see them all.
But what’s it like sharing the city with other great booksellers? You’ve also got one of the biggest Waterstones in the North right on your doorstep. I can’t imagine there’s much competition, but do you know any other booksellers in the area? Do you all get along?
AT: To be fair, personally, I don’t know too many. I know a few people down at Waterstones, and they’re all lovely. I think we’re really lucky because there isn’t really a lot of competition. No one is vying for attention; they’re just promoting their own bookshops. I’ll always send people to Queer Lit. Many people come in looking for bookshops in Manchester, and I always recommend Queer Lit. It’s exciting because they expanded as well, so now they’re a coffee shop and a bar, which is incredible. To be honest, I wish there were more independent bookshops. For how big Manchester is, you look at places like Bristol. I remember going to Bristol for the first time this year and stumbling upon bookshops without even looking for them. They just kept appearing, which I thought was so cool. In terms of independence here, you have your two Waterstones—Deansgate and Arndale—which is great, and there’s a lot of choice for book buyers. But I think I would love it if there were more independents in the city. I think customers would appreciate it too. But, yeah, I wouldn’t say there’s any real competition; it’s a really nice scene to be part of because everyone is very lovely, as they often are in the book industry. I think Manchester has a real identity. We’re part of the Northern Fiction Alliance, which is based here, and we have a good relationship with all those northern publishers. It’s a lovely community to be a part of because everyone really champions northern writers. |
JR: I definitely wanted to mention the Northern Fiction Alliance. I wanted to talk about some of these northern outposts of bigger publishers as well and how they work with your event programme. I know you host quite a few evening events, signings, visits, and talks, along with lunchtime lectures, on top of everything else you do, like afternoon tea. Are you in direct contact with some of these publishers? Do you go through the Northern Fiction Alliance separately? Are there any local favourites, like Fly on the Wall Press, for instance?
AT: Absolutely. We’ve done a lot with Fly on the Wall, and I think they’re incredible. They recently did a lunchtime lecture for us, which was really cool. She [Isabelle Kenyon] did one last year, or maybe it was at the start of this year as well. We’ve also hosted an author event for one of their authors. I find her very impressive with all the work she does. We actually hosted the Northern Fiction Alliance indie book fair last November, which was amazing. All of them came in. Kevin from Blue Moose is great; he sent us copies of Leonard and Hungry Paul when we first opened and asked if we could donate them for our pay-it-forward charity meal. As for other favorites, Sara from Saraband is also amazing. I think all of them work really hard to get their books into shops. We’re directly in contact with quite a few of them. We’ve done the publishers’ fair before, so it’s nice to support them. It’s mutually beneficial—indies supporting indies—which makes for really diverse and interesting shelves. I think that’s the most important thing.
JR: Yeah, absolutely. I guess, because I'm based a bit further north than you, I often feel that the publishing industry has its limitations. The larger companies seem to think Manchester is pretty much as far north as they can go. I was wondering, as a busy bookshop in Manchester, if you get any kickback from publishers about bringing authors to you or if you find it easier being based in Manchester. In your experience, how have you found that over the last couple of years?
AT: That's an interesting question. I think we are lucky because, since we opened, when authors want to do something in Manchester, they often consider indie bookshops. Especially if they're based in London, they can now say, "Oh, there’s this indie bookshop in Manchester that's really central, just ten minutes from Piccadilly." That has really helped us. They’re not just going to Waterstones or Blackwell's—no offense to them, as they’re amazing—but we can promote ourselves as part of an indie bookshop tour.
I think that has really helped us because, while Manchester seems to be the cultural capital of the north, there are many cities that publishers overlook. I agree, Newcastle is incredible, and I'm from Hull. There's not much happening there either.
JR: Yeah, exactly. It's interesting because we spend a lot of time chasing the authors we want, only to be told that they’re not really coming up north or that we’ll have to wait until the Edinburgh Book Festival for a chance to catch them.
AT: Yeah, it can be really deiniculy.
JR: It's tricky, but I guess once you build good relationships with publishers, it feels less like a gamble for them to send authors your way.
AT: Absolutely. And I think authors who want to visit will come, even if they’re from places like Spain. It also depends on the publicists and the publishers’ budgets. We know that for smaller authors who are likely to come to an indie bookshop, the budget is probably very small. Do you know Galley Beggar Press? They often post threads on Twitter about how expensive it is to run a press, and someone recently shared how costly it is to run a book tour. That’s where the problem lies; the money isn't going in the right places, and it just stays concentrated down south.
JR: It's costly. It’s not just transport, but accommodation and fees—everything adds up.
AT: Mm-hmm, exactly.
JR: Typically, it’s not just the author events that bring in significant revenue for you; you’re mainly hoping for book sales from those events. Most of the time, you’re lucky to break even.
AT: Yeah, exactly. I love all types of events, and I think we're fortunate to have a room that can accommodate 50 people, which is a great audience size. It doesn’t always sell out, but we can arrange the seating so it looks quite full, which is nice for both authors and attendees. We also try to host events that focus on community. We keep the ticket prices accessible—around £5 or the price of the book—and we always have free tickets available for anyone who needs them, no questions asked.
For example, we hosted a talk with Evie Muir, who wrote a book called Radical Rest, focusing on healing and the power of nature. It was about how we need to rest more. It was lovely because she’s from Sheffield, and the chair is from Manchester. It was wonderful to have two impressive women speaking about such a hopeful topic. Not all books are like that; sometimes it's about crime or an intriguing crime series, but even so, it can be hard to break even. I don’t always know the numbers, but I find them really enjoyable. Even when only 15 people show up, I’ve had a great time, and I know customers have as well.
AT: Absolutely. We’ve done a lot with Fly on the Wall, and I think they’re incredible. They recently did a lunchtime lecture for us, which was really cool. She [Isabelle Kenyon] did one last year, or maybe it was at the start of this year as well. We’ve also hosted an author event for one of their authors. I find her very impressive with all the work she does. We actually hosted the Northern Fiction Alliance indie book fair last November, which was amazing. All of them came in. Kevin from Blue Moose is great; he sent us copies of Leonard and Hungry Paul when we first opened and asked if we could donate them for our pay-it-forward charity meal. As for other favorites, Sara from Saraband is also amazing. I think all of them work really hard to get their books into shops. We’re directly in contact with quite a few of them. We’ve done the publishers’ fair before, so it’s nice to support them. It’s mutually beneficial—indies supporting indies—which makes for really diverse and interesting shelves. I think that’s the most important thing.
JR: Yeah, absolutely. I guess, because I'm based a bit further north than you, I often feel that the publishing industry has its limitations. The larger companies seem to think Manchester is pretty much as far north as they can go. I was wondering, as a busy bookshop in Manchester, if you get any kickback from publishers about bringing authors to you or if you find it easier being based in Manchester. In your experience, how have you found that over the last couple of years?
AT: That's an interesting question. I think we are lucky because, since we opened, when authors want to do something in Manchester, they often consider indie bookshops. Especially if they're based in London, they can now say, "Oh, there’s this indie bookshop in Manchester that's really central, just ten minutes from Piccadilly." That has really helped us. They’re not just going to Waterstones or Blackwell's—no offense to them, as they’re amazing—but we can promote ourselves as part of an indie bookshop tour.
I think that has really helped us because, while Manchester seems to be the cultural capital of the north, there are many cities that publishers overlook. I agree, Newcastle is incredible, and I'm from Hull. There's not much happening there either.
JR: Yeah, exactly. It's interesting because we spend a lot of time chasing the authors we want, only to be told that they’re not really coming up north or that we’ll have to wait until the Edinburgh Book Festival for a chance to catch them.
AT: Yeah, it can be really deiniculy.
JR: It's tricky, but I guess once you build good relationships with publishers, it feels less like a gamble for them to send authors your way.
AT: Absolutely. And I think authors who want to visit will come, even if they’re from places like Spain. It also depends on the publicists and the publishers’ budgets. We know that for smaller authors who are likely to come to an indie bookshop, the budget is probably very small. Do you know Galley Beggar Press? They often post threads on Twitter about how expensive it is to run a press, and someone recently shared how costly it is to run a book tour. That’s where the problem lies; the money isn't going in the right places, and it just stays concentrated down south.
JR: It's costly. It’s not just transport, but accommodation and fees—everything adds up.
AT: Mm-hmm, exactly.
JR: Typically, it’s not just the author events that bring in significant revenue for you; you’re mainly hoping for book sales from those events. Most of the time, you’re lucky to break even.
AT: Yeah, exactly. I love all types of events, and I think we're fortunate to have a room that can accommodate 50 people, which is a great audience size. It doesn’t always sell out, but we can arrange the seating so it looks quite full, which is nice for both authors and attendees. We also try to host events that focus on community. We keep the ticket prices accessible—around £5 or the price of the book—and we always have free tickets available for anyone who needs them, no questions asked.
For example, we hosted a talk with Evie Muir, who wrote a book called Radical Rest, focusing on healing and the power of nature. It was about how we need to rest more. It was lovely because she’s from Sheffield, and the chair is from Manchester. It was wonderful to have two impressive women speaking about such a hopeful topic. Not all books are like that; sometimes it's about crime or an intriguing crime series, but even so, it can be hard to break even. I don’t always know the numbers, but I find them really enjoyable. Even when only 15 people show up, I’ve had a great time, and I know customers have as well.
JR: Yeah. Yeah. And I mean, you know, you don't need a hundred people to have a great time, do you? I mean, it's about the quality of the conversation and whatever they're able to take from it, I suppose. But I guess it kind of just comes back to the ethos of the shop, right?
AT: Yeah. JR: If it is not for profit, but it's also for your community. I mean, community-focused spaces are so important. And I guess for that reason, it's so difficult in the retail sector to quantify these sorts of outputs. It’s saying, well, we had a great conversation. It’s really hard to put in a spreadsheet or to record in your end-of-month finances or whatever. It’s really difficult to work that out. I guess this is why I think a lot of community-focused spaces tend to be in the arts, you know? I feel like the vocabulary of those conversations is just slightly different. I feel like bookshops generally, or at least we’re beginning to see a change or shift where bookshops are starting to use that vocabulary and get used to describing themselves in a slightly more art-based, community-focused way. AT: Yeah, no, I agree. And I think it's obviously that thing with libraries as well, where libraries are now seen as multi-purpose community centres. I think bookshops are not going to move to that as well. Because obviously, a lot of them are for profit. But it is that thing of trying, like, all these independent bookshops are attempting to be one giant conglomerate. That’s the thing. You think about Amazon, you think about how much money they make, and how easy it is for people to buy books from there. I think everyone, even if they’re for profit or not, is just trying to provide something more in the way of community. |
JR: And I spotted you've recently won the Third Sector Awards for Corporate Partnership of the Year. Can you tell us a little bit about that?
AT: Yeah, because of our partnership, because Gunnercooke founded and funded the bookshop, the partnership we have with them is kind of what won the award. Also, our partnership with the Gunnercooke Foundation, which is the law firm’s charitable arm, does really amazing work. A lot of the time when we have our pay-it-forward donations, we go with them. We always do charity shout-outs, and we collaborate with the charities they work with. They’re really good at that third-sector stuff, and they’ve brought a lot of people to us, which is amazing. We’ve supported a lot of the charities they work with, and I think without the law firm, obviously, we couldn’t have opened. It was, you know, that whole thing. What they’re trying to do, I think, is very different from a lot of other places. So yeah, we have workshops with charities like Greater Manchester Bereavement Service and that kind of thing, and that’s also down to the fact they’ve helped us with that partnership. It’s an amazing initiative for combating loneliness in the community, helping people who are going through grief and stuff like that. It’s something really good that we wouldn’t be able to do.
JR: Yeah, that’s great. I want to talk a little bit more about yourself now, if that’s okay. I want to talk about how you got into bookselling and how you ended up joining House of Books and Friends.
AT: Basically, I finished uni in 2022. Throughout my last years at uni and the pandemic, I really got back into reading and discovered adult literature as I got older, and how powerful it is and how much I enjoyed it again. You know, I was thinking, where am I going to go? What am I going to do? I loved uni. I was at Leeds and had the best time there. I was like, what am I actually going to do after getting a German degree? There’s not a lot you can do.
I thought, oh, I could do that. I remember going into Waterstones once and thinking, oh, it would be really nice to work in a bookshop. You know, that romanticised view of bookshops that everyone has. I had that. I looked into publishing, that kind of thing. I was awarded the Felicity Bryan Mentorship for 2022, which was amazing. I got to work at their agency office in Oxford, and they were fantastic because it was a funded initiative helping people from underrepresented backgrounds in the industry. They paid your rent in Oxford, which was obviously incredible and something I wouldn’t have been able to do without that support.
I got to see what the book industry was like, how nice and lovely everyone was, and then I went on placements with publishers and that kind of thing. Then I moved to Manchester at the end of that, and I rember seeing House of Books and Friends advertising, and I thought, hang on, I’m moving to Manchester, let’s go there. I applied straight away. It was amazing because it was brand new. I helped them set up, as did the rest of the opening team of booksellers. For three or four weeks, we just worked so hard to get it ready, and we opened on the 19th of December, six days before Christmas. It was incredible. It was all the work we’d done. I’m so attached to it in that sense because I saw it without a floor. Do you know what I mean? I remember there was no floor in this building. Yes, that’s how I got into it. I love books. Bookselling is incredible. You get to chat to so many people and speak to anyone you can think of. The best thing about this job has been that everyone surprises you because all the people you thought might be a bit rude or not very chatty end up being the nicest people in the world and people you really learn from.
JR: The reason I ask is because, obviously, when we spoke in person, you mentioned that you’re actually going to be leaving soon. You’re going to be heading to, was it Liverpool University Press? Yeah. Can you tell us a little bit about what your role is going to be and when you’re leaving?
AT: Yeah, so I am going to be a Books Marketing Assistant for the books branch, because it’s an academic press, so they do journals as well. I’ll be doing the marketing for that, which is really, really exciting. It’ll involve a lot of social media and newsletters. Next week is my last week, so it’s nice to have this conversation because I’m reflecting a lot.
JR: It’s exciting; it’s something really to look forward to as well.
AT: Mm, exactly. It’s come to a very natural end, and everyone is really excited.
JR: Yeah, that is really exciting. I guess my last question is usually very much about what you’re looking forward to, and I guess that’s probably eclipsing everything at the minute. But are there any books that you’re particularly looking forward to reading towards the end of the year?
AT: Yeah, I’m really looking forward to Ali Smith’s new novel. I love her so much. I started reading her a couple of years ago when it was that really hot summer, and I was down in London and Oxford. It was so hot, and I picked up Summer, and it just changed my life. Then I read the rest of the seasonal quartet, so I’m looking forward to Glyph. There are quite a few new Fitzcarraldo ones. I think Guadalupe Nettel has a new one coming next year, which is really exciting. I really like her. Oh, let me think... I don’t know what else is good; so many books have just come out, you know what I mean?
JR: Oh I know! The next few weeks are just mad, aren’t they?
AT: Yeah, it is crazy. I’ll say Ali Smith because I know I’m really looking forward to that.
JR: Cool, that’s a really nice place to end. Alice, thank you so much for your time; I really appreciate it. And good luck with your next exciting chapter!
AT: Yeah, because of our partnership, because Gunnercooke founded and funded the bookshop, the partnership we have with them is kind of what won the award. Also, our partnership with the Gunnercooke Foundation, which is the law firm’s charitable arm, does really amazing work. A lot of the time when we have our pay-it-forward donations, we go with them. We always do charity shout-outs, and we collaborate with the charities they work with. They’re really good at that third-sector stuff, and they’ve brought a lot of people to us, which is amazing. We’ve supported a lot of the charities they work with, and I think without the law firm, obviously, we couldn’t have opened. It was, you know, that whole thing. What they’re trying to do, I think, is very different from a lot of other places. So yeah, we have workshops with charities like Greater Manchester Bereavement Service and that kind of thing, and that’s also down to the fact they’ve helped us with that partnership. It’s an amazing initiative for combating loneliness in the community, helping people who are going through grief and stuff like that. It’s something really good that we wouldn’t be able to do.
JR: Yeah, that’s great. I want to talk a little bit more about yourself now, if that’s okay. I want to talk about how you got into bookselling and how you ended up joining House of Books and Friends.
AT: Basically, I finished uni in 2022. Throughout my last years at uni and the pandemic, I really got back into reading and discovered adult literature as I got older, and how powerful it is and how much I enjoyed it again. You know, I was thinking, where am I going to go? What am I going to do? I loved uni. I was at Leeds and had the best time there. I was like, what am I actually going to do after getting a German degree? There’s not a lot you can do.
I thought, oh, I could do that. I remember going into Waterstones once and thinking, oh, it would be really nice to work in a bookshop. You know, that romanticised view of bookshops that everyone has. I had that. I looked into publishing, that kind of thing. I was awarded the Felicity Bryan Mentorship for 2022, which was amazing. I got to work at their agency office in Oxford, and they were fantastic because it was a funded initiative helping people from underrepresented backgrounds in the industry. They paid your rent in Oxford, which was obviously incredible and something I wouldn’t have been able to do without that support.
I got to see what the book industry was like, how nice and lovely everyone was, and then I went on placements with publishers and that kind of thing. Then I moved to Manchester at the end of that, and I rember seeing House of Books and Friends advertising, and I thought, hang on, I’m moving to Manchester, let’s go there. I applied straight away. It was amazing because it was brand new. I helped them set up, as did the rest of the opening team of booksellers. For three or four weeks, we just worked so hard to get it ready, and we opened on the 19th of December, six days before Christmas. It was incredible. It was all the work we’d done. I’m so attached to it in that sense because I saw it without a floor. Do you know what I mean? I remember there was no floor in this building. Yes, that’s how I got into it. I love books. Bookselling is incredible. You get to chat to so many people and speak to anyone you can think of. The best thing about this job has been that everyone surprises you because all the people you thought might be a bit rude or not very chatty end up being the nicest people in the world and people you really learn from.
JR: The reason I ask is because, obviously, when we spoke in person, you mentioned that you’re actually going to be leaving soon. You’re going to be heading to, was it Liverpool University Press? Yeah. Can you tell us a little bit about what your role is going to be and when you’re leaving?
AT: Yeah, so I am going to be a Books Marketing Assistant for the books branch, because it’s an academic press, so they do journals as well. I’ll be doing the marketing for that, which is really, really exciting. It’ll involve a lot of social media and newsletters. Next week is my last week, so it’s nice to have this conversation because I’m reflecting a lot.
JR: It’s exciting; it’s something really to look forward to as well.
AT: Mm, exactly. It’s come to a very natural end, and everyone is really excited.
JR: Yeah, that is really exciting. I guess my last question is usually very much about what you’re looking forward to, and I guess that’s probably eclipsing everything at the minute. But are there any books that you’re particularly looking forward to reading towards the end of the year?
AT: Yeah, I’m really looking forward to Ali Smith’s new novel. I love her so much. I started reading her a couple of years ago when it was that really hot summer, and I was down in London and Oxford. It was so hot, and I picked up Summer, and it just changed my life. Then I read the rest of the seasonal quartet, so I’m looking forward to Glyph. There are quite a few new Fitzcarraldo ones. I think Guadalupe Nettel has a new one coming next year, which is really exciting. I really like her. Oh, let me think... I don’t know what else is good; so many books have just come out, you know what I mean?
JR: Oh I know! The next few weeks are just mad, aren’t they?
AT: Yeah, it is crazy. I’ll say Ali Smith because I know I’m really looking forward to that.
JR: Cool, that’s a really nice place to end. Alice, thank you so much for your time; I really appreciate it. And good luck with your next exciting chapter!
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