February 16th, 2014 07:45pm
And just like … this … I began the transition to Apple’s latest Macintosh OS, the much-heralded Mavericks, yesterday. I resisted as long as I could, but bringing the iBooks reader to Macs ultimately makes Mavericks too great for me to pass up any longer. For sure, it is really terrific that iBooks Author has been on the Macintosh platform for some time now, but having the reader, too, really means the world, as there’s nothing as efficient as creating and viewing on the same machine.
As is my way, I decided to proceed fairly cautiously. Sudden software loss due to incompatibility with a new OS is the stuff my nightmares draw strength from. My biggest concern, of course, was not too lose Adobe Creative Studio 5.5—especially in the face of Adobe’s subscription plan-only for Creative Studio in The Cloud. (I have ranted about that for some time already and will not go into it again here and now.)
So yesterday afternoon—surprising, now that I thing of it, as it had not been on my radar, but was just an impulsive move on my part—I updated to Mavericks on my trusty laptop, a circa 2009 17-inch MacBook Pro. How great was that! I mean, Apple no longer makes a 17-inch laptop, so I am thrilled that my very own 17-inch MacBook Pro remains relevant.
And it bears repeating:
Sudden software loss due to incompatibility with a new OS is the stuff my nightmares draw strength from.
The big, most welcome news is that just one piece of the software on my MacBook Pro will not run under Mavericks, QuarkXPress. Admittedly, it is a drag that something I once used so much is dead—unless I upgrade, which remains a possibility. But at least I really don’t use it anymore, so the loss is ore sentimental than anything else.
I plan to give it until next weekend. If no craziness occurs on the laptop, I will upgrade the iMac to Mavericks. Fingers crossed.
January 17th, 2014 08:01am
I remember hearing, more years ago than I care to admit to, that “The power of the press belongs to those who own the press.” Or perhaps own a press.
I imagine the line referred more to journalism, rather than book publishing. And yet there was obviously a little something to it. Maybe not so much in physically owning a printing press, as it turns out, but in having the means to publish one’s own books. Self-publishing, I think it us safe to say, has caught on.
Of course, as with anything that becomes popular, there is always the possibility of a diluting of the talent pool and the resulting product, if you will. I saw it as a kid, watching Major League Baseball expand first from sixteen teams, to twenty, then twenty-four, and beyond.
Well, as traditional publishers struggle to stay alive, self-publishing authors, free of the yoke of corporate gatekeepers’ desire to publish only books that follow some formula that sells beaucoup copies and makes big money. The problem that results from all this freedom from the tyranny of traditional publishing is that too many people get into self-publishing not realizing they have gone into business as publishers. Even if just one time for their one book.
All the fine touches that traditional publishing companies provided—professional editing, design, typesetting, and pagemaking—often fall by the wayside, as this new breed of publishers make book publishing seem more like a do-it-yourself project taken on just to prove how inexpensively they can birth books. The professionals who heretofore made books no longer have quite the hand that they did in making books an art form, independent of what is inside the covers.
The other day I was contacted by another in a line of authors who plan to self-publish on a shoestring. This writer may not understand that his bankroll is nowhere near enough to create the enterprise that his book should be. And I am beginning to question how to answer the next design student who contacts me for advice about her prospects in the field of book design.
January 4th, 2014 01:45pm
Three new books, I reported, were arranged to start in January, 2013. Little did I know that these would—on the plus side—be big projects, but—on the down—that they would pretty much be it for me last year.
For all the throwaway comments I have made about my uneasiness with ebooks and the tendency to make them with no fixed design, I begin to seriously worry that print for books really is on the decline.
On the other hand, I learned some during the past year about making ebooks. My noodling with Book Creator was a limited success as far as I went with it. It is definitely something I would consider for making a children’s storybook with children for the iPad. As for bigger books, perhaps not so much, as Book Creator—to this point—does not flow text, but rather works one fixed page at a time.
One big goal that I had had for a couple of years running was to work my first cookbook. That goal was met with The Marriage of Mushrooms and Garlic, published by Zumaya Publications. The next step is to work it into an ebook. Toward that end, I was fortunate enough to be give a heads-up by the publisher at Zumaya Publications, Liz Burton, about a tool she has used successfully for converting to ebooks, Jutoh. I got hold of Jutoh Plus and have started familiarizing myself with it and making the conversion. I plan to write about it in the blog shortly.
Aside from that, I am hard-pressed to list specific goals for 2014. As at the beginning of each year, I hope to make it my busiest year, with my largest earnings, ever. I want to continue working with self-publishers, as they generally offer the greatest chance of success when thinking out of the box. My continuing hope, however, is to meet more self-publishers determined to treat their books as more than do-it-yourself efforts that can be done on a shoestring instead of opportunities to produce books that at least cannot be distinguished from—except if they are better than—traditionally published books.
Time to make the new year what it can be.
December 31st, 2013 03:58pm
2013 was an odd year. I felt very busy a good part of it, but looking back, it was really just a pair of long, long projects and the tiniest, last snippet of finishing one leftover from 2012.
Speaking of 2012 … Now there was a busy year. And 2011, even more so. This year felt like a lot of wheel spinning. I believe I discussed more big book projects than ever before. But for one reason or another—mostly the confusion many self-publishers have about the need to budget beyond nickel-and-dime, DIY values—most of them fell through.
I always feel great disappointment when a book design-and-layout I put a bid in on does not go my way. Years ago, when I knew it was because the potential client simply was unwilling to meet my price, I always considered lowering what I would accept. And then when I decided not, too, I had great angst, fearing I might never work again.
Needless to say, I grew out of the feeling angst over rejection. If I had not, I don’t see how I could have survived in this business.
But things have changed for me one again. Ebooks, epubs, Kindle versions—all that—change everything. I can see very clearly that a new pricing paradigm is shaping up. At least insofar as e-versions are concerned. Oddly. The fact that ebooks are—or will be, once I am totally comfortable with the new workflow—much quicker to knock out is no comfort.
The stems mostly from the unavoidable fact that design, in the aesthetic sense, is not so important with ebooks. It turns out that the ability for the human reader to adjust how ebooks look on their e-readers, while certainly great for the human reader (taking into account typefaces and sizes that are easiest on his or her eyes), takes the art out of making ebooks. And fixed layout ebooks sound good in theory, but the small devices they can be read on, don’t necessarily lend themselves to the viewing of books as an artform.
Be interesting to see how this continues to play out in 2014. Stay tuned.
August 5th, 2013 09:37pm
- Using one of the typefaces that come resident on most every computer … like Times New Roman. It’s intellectually lazy to not explore what typefaces are out there for best taking an author’s words to his or her readers.
- Using type at a size that’s more conducive to squeezing more words on the printed page than making for comfortable reading.
- Margins and/or leading that is stingy, leading to less than optimal white space and too many characters per line, something that can tax readers’ eyes and their ability to stay focused on what they are reading.
- Tables of Contents for novel whose chapters do not have titles, only numbers. The word “Chapter,” a number, and then a page number are unnecessary and rather silly looking. Present such a table of contents in a two-column format (when everything else in the book, aside, perhaps for an Index, which a novel wouldn’t have, is single-column) and we have a book that, right at the start, looks ridiculous. The Table of Contents appears to be squeezed in to use the least amount of space. If it’s necessary, it deserves the proper amount of room.
- Opening paragraphs of a chapter that have the first line indented. They should be flush left and, while we’re at it, a conservative initial drop cap (or even a raised initial cap) often presents very nicely.
- Sending art embedded in Microsoft Word—or worse PowerPoint—files. And for the best chance at successful placing of photos, they should be in TIFF format, a lossless filetype (unlike JPEG, which is lossy).
Bonus Choice: Not checking spelling. You don’t have to be a design or editorial pro to get this right. And one that always stands out and drives me crazy is “loose” when an author means “lose.” If I spot one of those in a book when I’m considering it, I will set it down in a New York second.
Note: Although it is tempting to say that readers are responsible for whether they remain focused on what they are reading, those of us involved in making books—publishing companies, self-publishing authors, and book designers alike—should do all we can to help readers stay involved with the books they read.
June 8th, 2013 11:13am
One of the hazards of loving to do book design as much as I do is that I can sometimes be so eager to start a book design and layout project that ideas begin to percolate before an agreement has been reached with a client and a contract signed. This almost inevitably leads to trying out some of these ideas on the page. The obvious drawback, of course, is that I might start working and never actually win the bid and the job.
Nearly as much of a mistake is to begin work before the materials, text or illustrations, are finalized. Sometimes this is unavoidable, as when an author does not realize changes will become necessary. This occurred recently I one project where a self-publishing author quoted from a number of reference works on his subject. After the writing was completed and his book shepherd gave him the word about seeking permission for the quotes, he was shocked to see what all the permissions would cost him.
So he went about paraphrasing the quotes, referencing the source texts in his bibliography but saving the expense of obtaining permissions. He also did painstaking work to make each of the paraphrases occupy pretty much the same space as the quotes he edited out. Without his thorough attention to every word, substituting the new text for the quotes could have been a much more time-intensive task for me than it turned out to be. But I cannot underscore heavily enough the importance of making sure one’s contracts either take into account early work that ends up redone or that you restrain the urge to begin work before there is general agreement that the materials you begin working with have final approval.
May 26th, 2013 09:20pm
I go on a lot about how much I love making books. But there are not-so-happy moments, too. I’ve made enough, the past couple of days, about how badly I think of Adobe’s decision to no longer sell Creative Studio and its components (InDesign, Photoshop, and Illustrator being the main pieces, or at least the ones that affect me). So I’ll not bore you anymore about that.
But there is the dark magic that computers occasionally bring forth. Happened again yesterday. Or at least I heard about it yesterday. Recently I received a list of a whole batch of corrections and edits for the novel on which I’m working, the one with transliterated Lakota. I assure you I made them all before burning a CD and sending it to my client. This morning my self-publishing author emailed me to say that “[t]he first such fix right out of the box” appeared not to have been done. Now, I know I did that first one, because I had a question about it right at the start and h and I had an exchange of emails to clarify. But, sure enough, the PDF that I copied and sent to him on the CD was missing that correction.
So I went back to my latest InDesign file for the book, the one from which I distilled the PDF. Again, no first correction. But the next twenty or so were done. Then, mysteriously, the a chunk of remaining edits appeared not to be done before they were picked up again until the last one. I have no explanation as to what happened or why. It is, however, making me a little crazy trying to see what the issue is. The simplest explanation is that I sent an older PDF—or, rather, distilled a PDF from an older InDesign file. Except that does not explain why the corrections picked up again after a certain point.
Oh, the joy of freelancing!
May 24th, 2013 09:54pm
A number of years back, working in QuarkXPress 6.5, I created the cover and interior page design and laid out my first children’s book, Mishka: An Adoption Tale. In the process, of course, there were any number of back-and-forths between my client, the author-publisher, and myself. Once the final layout was approved, the PDFs would go to a printer in China.
I don’t remember at what point trouble developed, only that, at one point, the placed art—a full-color illustration on practically every page—no longer showed up in the Quark file after I placed it. Frantic, I called Quark—the company—explained my situation, and just hoped they would be of some help so I could meet the print date.
I wound up speaking to a young woman in Customer Service who apologized from the start that I was having any difficulty working with her product. This was before she even knew what the problem was. Somewhere along the way she discovered that XPress had somehow corrupted the artfiles and sent new XPress docs back to me that were clean.
She also enclosed a gift, a disk of “Extras” that normally went out with the newest version of Xpress. That would have been version 7 at the time; I was still using 6.5 and the “Extras” could not be used with that older version. So I again contacted my new friend in Customer Service and asked if, under the circumstances, she would like me to return the “Extras” disk. She said “no” and to watch my snail mail again.
A few days later I received a copy of version 7. For free. I was pretty amazed, called her, and thanked her. I still remember her answer, “That’s one of the great things about my job in Customer Service: I get to choose to do nice things like that now and again.”
Up to that point, I had been fighting the urge to switch to InDesign. I had never bought into InDy’s pre-release hype, that it would be the Quark-killer. In fact, the first version of InDesign that I worked with, 2, handled type—in my estimation—rather clumsily and I did not care for it. But I had knocked out a book on managing finances for members of the military on InDesign 2 as more of a learning project and saw its potential.
A month or two after receiving version 7, I tried to contact my friend in Customer Service to tell her how great the children’s book had turned out and to get an address to send her a copy. I found that she had left Quark (the company). At that point I decided that since Adobe always seemed to make it easier and less expensive than Quark to upgrade—I know, I know, except for the freebie—it was impossible to ignore how well Illustrator and Photoshop integrate with InDesign in Adobe’s Creative Studio. And so version 7, the gift, is the last version of QuarkXPress that I’ve installed.
I should interrupt here and veer off to say that I briefly investigated open-source possibilities TeX and LaTeX. The samples of such typesetting I saw, however, while I suppose they were technically adequate, didn’t look special. But things appear to have changed some. I’ve been looking at Scribus—essentially a flavor of TeX with a graphical interface over it—and it seems a lot more like the page layout software I’m used to. The other thing is that I seem to remember the TeX/LaTeX installations didn’t use the all the Postscript fonts I had. Now they quickly load into Scribus.
So Scribus is definitely going to get a try. And perhaps something like GIMP or GIMPshop is worth a look-see as perhaps a replacement for Photoshop. Acorn and Pixelmator, though not quite free, are other possible Photoshop replacements.
That all said, I would prefer to stick with Adobe’s InDesign and Photoshop in Creative Studio, f I could only buy the package one time and upgrade when I feel like it. I’m rather angry that Adobe is trying to hold me up, trap me into paying up in perpetuity for the rental of their software. This infuriates me no end. And I’ll look good and hard for the right combination of replacements. I fully expect to find them and switch.
May 16th, 2013 06:34pm
As much as I am having a really good time designing books for self-publishers, I hear entirely too many of them talk about needing only a cover designer and someone to format their text. It is true that ebooks don’t take as much design as print—unless they are fixed layout ebooks, any design and layout choices can be changed by the reader. (Hence my extremely mixed feeling about ebooks, despite my listing toward being something of a technology junkie.)
That said, and taking ebooks out of the equation, too many self-publishers want the benefit of cutting out a third party as publisher and at the same time want readers to pay for the privilege of owning, essentially, do-it-yourself projects done for nickels and dimes. For the life of me, I do not understand why it is so hard to understand that readers must be given something for his or her hard-earned cash that looks like a book they want to own.
That’s where professional book design enters the frame. Throwing words together artlessly, either on the page or on a screen, misses the opportunity to make a book that is an object of art befitting the writing that makes up the content of that book. And that, like it or not, suggests the writing isn’t worth the investment of time and money to make it look like an object of art.
March 25th, 2013 08:48pm
Something new is happening on this latest job. I am getting paid on a monthly basis before beginning the “meat” of the book project. In other words, like some other professionals, I am on a retainer.
This came up in a fairly uncomplicated way. The client—a small, independent publisher—made it clear from when we first spoke that, although her company is of modest means, she definitely believes in paying freelancers fairly for the work they do. So she proposed paying in monthly installments, starting when we signed our agreement to work together.
It takes a bit of getting used to, receiving checks without doing any real work yet. But it is also very nice to have a regular income. Up until the other day I had hoped the textfiles would be ready and in my possession sooner rather than later. I found out, however, that is could be September or so before editing was completed.
I was told just over the weekend that I am free to begin work with the complete, though yet-to-be-edited textfiles right now if I choose. The expectation is that any editing will not result in large additions or deletions of copy. So there should not be major shifting of text.
On the one hand, I am as leery of working with files that are not final as I have always been. Despite that, I remain eager to plunge into this one, a combination travel book/cookbook. The design was approved some time ago. It’s bright and straightforward.
I cannot wait to start. And since I already receive payment, I may take the early plunge.