Merry Christmas, Happy Hanukah, Happy Kwanzaa, and a Super Happy New Year to you all!
As many of our returning customers know, like Santa, early winter-to-Christmas Eve is our busiest time; some years, like this one, nobody gets a day off--not even Sundays--for many weeks, sometimes even months, heading into the last production day prior to Christmas day. Each year, we close over the holidays, to recharge our batteries, just like Santa and Dasher here.
We'll be closed, administratively, from 2/21 at noon, through the morning of January 6th. Yes, TWO WEEKS. On the morning of the 6th, Indy, our Queen o'Quotes, along with Jay, our Doyenne of Customer Delight (Production and Customer Service), and someone new to many of you, Judith, our Princess of Perfection (QA), will be covering for me from the 21st until I return on the 6th. Production will be full-tilt boogie while the office is closed, but in Admin, phones will not be answered and emails will only receive auto-replies until we're back on our regular schedule. Books that are in production will be shipped, fear not. But we won't be undertaking new work submitted during the Downtime, thank you. Please respect that we work very, very hard in the early winter, and we need this break, thank you.
Again, if you are an existing customer with a book in production, please don't panic. All is normal, but this old girl, she needs a BREAK.
Memorial Day, originally called "Decoration Day" was created to honor those who have been slain in defense of the US.
As many of our returning customers know, we close on the holidays to recharge our batteries, as we're normally open 6/days/week. As a former servicemember, I feel strongly that Memorial Day should be observed--and remembered.
We'll be closed, administratively, from 5:00 p.m, the night of May 24th 2019 through the morning of May 28th 2019. Production will be full-tilt boogie while the office is closed, but in Admin, phones will not be answered and emails will only receive auto-replies until we're back on our regular schedule. Books that are in production will be shipped, fear not.
Thanks, and have a happy and safe--and memorable--Memorial Day. (image courtesy of William Zhang, Unsplash)
One of the topics that drives me a bit nuts is the utter lack of preparedness of the typical self-publisher. Not all, of course--but many.
It's not just me--if you ask the owner of almost any layout house or conversion company, they'll tell you the same thing--that the typical writer comes to you with a manuscript, and pretty much nothing else. Many don't even own an eReader and don't even really understand what eReaders do, how they work, or what "line wrapping" or reflowable means. This makes the job of the formatter and layout person ten times as difficult--and more importantly, time-consuming--than it should be.
The "why" of this is obvious. These folks are writers, who are self-publishing not because it's a grand adventure, but because, for whatever reason, they aren't going to be trade-published. It's self-publishing through desperation. That's fine--I know that I for one don't care what someone's motivation is, it's none of my business--but the downside to that is, they want you to take ownership of their Knowledge Fail. They expect you to answer all their questions, tell them whether or not they need an ISBN, whether they should register their copyright, and so on. From our standpoint, here at Booknook.biz, the real problem is, they aren't interested in learning more, either. They won't read the Guides and other handouts that we've created, that help them understand what an eReader does, or how it will render their book--and that means that we waste a lot of time, answering questions or dealing with purported "conversion errors" that we shouldn't have to, because those things aren't mistakes or errors--they're how eBooks work. (Like, "why didn't you make the chapter title the running head?"--when eBook readers, by and large, don't have running heads, and those that do don't allow the bookmaker to dictate what that says; or "why did you stupidly put a caption on a different 'page' from the image?" without knowing to resize the font, play with it, to see how the image and caption flow--or don't.)
An Object Lesson--in Thousands of Dollars:
But a recent event was an object lesson in the "why" of why a publisher should do the research that any publisher should do, before embarking on their self-publishing journey. Why it's not enough to just assume that some formatter, some layout person is going to make sure that everything will happen the way it should.
A year ago, a woman began emailing me, asking me for the various and sundry specifications needed to create a fixed-layout children's eBook in ePUB and MOBI formats. (If you're curious about Fixed Layout, what it is and how it works, see this article on our website: Fixed-Format eBooks) I was impressed with her efforts and diligence. She'd had an idea for a children's book and she wanted to be sure that she had everything right, before she came to me. Wow! This was a rare treat for me, so I responded enthusiastically, and sent her all kinds of information about aspect ratios and the like. I even sent her information about print, as most kids' books end up in print, one way or the other.
She emailed me any number of times, and even though she wasn't yet a paying customer, I took the time needed to answer everything she asked. (n.b.: at this time, Createspace was still in business and going strong.)
Anyway, after about a year, she arrived at my office (by email) with her completed file, the one she wanted to be made into an eBook for kids. I freely admit that I was a bit surprised at the size and shape of the file, for an eBook--I had discussed aspect ratios with her, and emphasized how difficult it is to make an eBook (which by definition is read on a small device) from a physically-large file and still have it be viable. The file she sent was a PDF, in which the spreads were 20" x 9". Frankly, quite a bit larger than I'd expected, given our discussions.
In other words, the individual pages were 10" wide, and 9" tall. Each page had the narrative in gold-toned boxes containing the text, found along the bottom of each page. These dialogue boxes were .09" from the bottom of the page.
We were going to be hired to make the eBooks only, so I sat down to make out the quote. Suddenly, something bugged me, and I went back and read her most-recent email to me. In it, she said,
"I was unsure if you needed to format anymore [sic] of what the illustrator has done (layout-wise) to prep for Createspace printing of the soft cover [sic] book."
I sat there for a moment. I sent her an email, asking her "you're planning on printing this at Createspace? Is that what you're saying?" and to my horror, she responded that yes, that's exactly what she was planning to do.
I literally didn't even know what to say. Createspace most certainly did not have any trim size remotely close to 10" wide by 9" tall, and of equal-if-not-greater importance, Createspace did not (and does not) have side-binding, for landscape books. You could only print top-bound (like a calendar) for landscape books, at Createspace. Didn't she notice that, when she read the print guidelines I'd sent her?
I asked her "what trim size were you planning on using, at Createspace?" And she responded with an answer that nearly left me gasping. She said:
"If we used an 8.25x8.25 trim size on Createspace....how do we know if the file size of our current pdf can accommodate that? This is where it gets fuzzy for me."
What? Now she was suggesting a square trim size, a square book, for a book that was clearly and obviously a rectangle. This was almost literally the ubiquitous "square peg in a round hole" scenario. What the hell?
Her next email was, to my mind, even worse:
"I think I'm feeling stuck. Is it the illustators [sic] responsibility to somehow 'set' the trim size to be a certain trim size on their end?"
To which I replied, as politely as I could, "No. I'm not saying that. I'm saying it's the publisher's responsibility to get this all set, and it's the publisher's job to tell the illustrator what trim size to draw the illos (illustrations) to, what bleed, what interior margins, if any, etc. It's not her job to know the layout specifications of a particular print shop or distributor--it's yours."
She then proceeded to tell me that the Illustrator was going to "fix it." I told her that I didn't see how it could be done. If you've read my previous article on full-bleed, not only were these images completely and utterly the wrong size, the wrong aspect ratio, (and certainly not square!), but they didn't have bleed, which they required, and they didn't have the interior Live Element Margin that full-bleed pages (and covers) require, either. In short, the dialogue boxes would have to be MOVED, from where they were, further into the page. Both upward, into the page, and away from the side-margins, too.
The pages would have to be redrawn or cropped, somehow, to fit the Createspace trim sizes, (the closest being 8" x10"); the narrative boxes would all have to be moved, and, of course, she'd have to be happy with top-binding.
In short...none of the 50 pages of illustrations for which she'd already paid, could be used. NONE. For all intents and purposes, she might as well have taken the thousand dollars she'd paid, for illustrations, crumpled up the bills, tossed them into her fireplace and set them on fire.
Oh, sure...she could have asked them for a custom print size, which would take the book out of all normal distribution channels--but that wouldn't solve the top-binding issue. She could have gone to Ingram, which would solve the top-bind issue, and request a custom size--but that wouldn't solve the lack of bleed or the the interior margin issues.
Quite simply--you can't get there from here. The pages couldn't be reused.
Yeah, I know--nobody who wants to self-publish wants to read or hear this story. They're not interested. After all--it won't happen to them, right? That stuff only happens to other people!
But this is exactly the type of thing that we deal with here, every single day. Fixing covers made without bleed, without adequate interior margins, fixing kids' books made without either. Trying to fix a cover that some Fiverr made--without knowing the final page count, so it won't fit the actual print book. Why does this happen? Because nobody wants to take the time to actually read instructions or research what they need before they jump headfirst into publishing.
For your own sake, not ours, try not to crack your skull open on your dive into the pool of self-publishing, You don't want to burn up a thousand bucks, in your fireplace, right? Then remember this story--it's true, and it really happened.
What is Full Bleed, and How Does it Affect Self-Publishers?
Hearing that word "bleed" and starting to wonder if your nose is doing something it shouldn't? Fear not--we'll get you sorted!
One of the things that we are seeing a lot lately are self-publishers running afoul of a term known as "full-bleed." Publishers with graphic, comic, and coffee-table books; publishers trying to create print books with wraparound covers. All are forging ahead, having survived the perils of publishing, only to fall at that last fence--the Fence of Full Bleed.
Basically, full-bleed is a printer's term. It means to make something a small bit larger than it is--let's say, instead of a 6x9" trim sized book page, a 6.125 x 9.250" page. A book like that has images that "bleed" off the edge--in other words, the image goes right to the edge of the page, not inside the page with a margin around it. This image, below, is a full-bleed page in a book:
This spread of pages from Jeremiah Tower's Flavors of Taste demonstrates a "full bleed image" on the left. (Used with permission from Jeremiah Tower and Kit Wohl).
As you see, there's no margin around the picture of Jeremiah, himself--his image goes to the very edge of the page, on three sides. To ensure that the cropping of the printed pages looks nice, come printing, cropping and binding time, the printers want you to make both the image a bit larger as well as the layout page too, typically 0.125" on each side (other than the gutter side, of course). That gives them a bit of "slush," so that if they make a teeny-weeny mistake when cropping (cutting) the printed page, it won't mean that hundreds or even thousands of sheets have been wasted. That's all that full-bleed means, and is, but if you do not use it, your print book cover designs might be useless.
We've had a lot of customers lately show up with interiors for kids books or with covers that are already made, for print. Aside from the obvious problem that they can't know, in advance, what size spine they're going to need for these finished covers (spines are designed in width based on final page count and paper type used for printing), a bigger, more difficult issue is that the cover or book interior is laid out for the final trim size--not for the final trim size, plus bleed. So, suddenly, they have a file that they can't use, at the KDP Print, for their book. Not for the interior, or in the case of the covers, the exterior. No bleed, no printing, no kidding.
What this means is simply that, when you tell a Fiverr or some other inexperienced designer that you need XXX for print, remember--if it's a book interior, where the images or illustrations or images go all the way to the edge, like a typical kids' book, or a book cover for any print book--you must have full-bleed settings. Each and every distributor like Ingram, KDP, Lightning Source has their own full-bleed settings, so you need to look them up and make sure that your "finished" products have bleed--or you might as well take your hard-earned dollars, crumble them up, toss 'em in the fireplace or BBQ Grill, and set them alight.
Yes, that's what I said--if you spend money to make a full-sized print cover, and neglect bleed, there's a chance that you won't be able to salvage that cover and use it. Unless you're a billionaire, and don't care about wasting money (for what it's worth, I'm pretty sure wasting money isn't how billionaires get to be billionaires in the first place...), then keep your powder dry and make sure that your cover is done right, in the first place--with full-bleed.
As many of you know, we've been open 6/days/week since 2010, both in production and in Admin. This has primarily been due to the reality that many authors work on their books on the weekends, which results in a pretty heavy email day on Mondays. Years ago, the load on Mondays was so incredibly heavy that we decided that it was better to work on Saturdays to make Mondays survivable.
But it's been 8+ years, and the truth is, after that many years of 6-day workweeks, I'm pretty burned out. I just don't feel that I can personally work in Admin that many days/week from this point forward. Yes, we'll be open in production, of course, and if books have to be shipped (sent) to you on a weekend, that will be done--but the Admin offices are going to be closed on Saturday-Sunday from this point forward. Naturally, exceptions will always exist, and if you need help on a weekend, we can arrange something, but I will no longer be in the office answering calls and emails on Saturdays. I'm pretty sure that even Wonder Woman takes days off--and thus, so shall I.
Due to the COVID-19 onslaught, we currently cannot take incoming phone calls.
And since nobody reads anything, I've simply removed the phone number from the site.
A notification about phone calls:due to the COVID-19 plague, we've significantly increased our incoming inquiries--nearly double our usual volume--and the number of incoming inquiries by phone has been literally overwhelming. Although most writers will say that their call "will only take 15 minutes," the truth is, that after 10 years of doing this, most author inquiry calls take an hour. 45 minutes at best. I'm currently receiving 7-10 calls/day, and due to that, I've had to stop accepting incoming phone calls, which my voicemail will tell you. You can leave a message--I can't call you back without one--and if a call is needed, I will of course call you. But we have very complete and extensive email replies, handouts and our website is very informative. Almost all the questions that I receive during a call are actually already answered on our site, or are, in fact, publishing questions, not questions about our services, what we do, what we offer, or the like. I already handle between 90-130 emails/day, as it is. I can't handle that many emails and take 7-10 hours of calls each day. I can't. So, in order to be able to answer this huge email volume, to help the greatest number of people, with my time, I've had to stop accepting calls. I'm sorry, but that's just how it is. I'm in the process of setting up a call-appointment function, for free 15-minute calls to answer questions from new prospective customers and longer paid sessions for folks who generally want consulting on "publishing," generally (and for prospective kids' book publishers, as a special category of paid consulting). But that functionality isn't yet set up. I hope to get that working the 3rd week of July, sometime.