Chicken Scratchings

Archive for November, 2009

A budding self-publisher said to me, “I can layout my pages on my computer, why would I hire designer to do that for me?” Everyone with graphic design software suddenly thinks they are an artist. Don’t kid yourself–it isn’t true. That would be akin to providing someone with a car and turning them into an instant Indy driver. Although, I have to say, that particular delusion runs rampant among the mostly younger members of the population. You can observe it on just about every street in America. Pedal to the metal driving is scary to us who find ourselves dodging the wild and crazy drivers out there–you know who you are.

An artist's touch can make the mundane beautiful.

GIGO

If I sit you in front of a canvas and hand you a brush and tubes of oil paint you would probably say something like, “Oh no, I’m no artist,” but if I sit you in front of a computer all of a sudden you think you are Rembrandt. What’s the difference? The computer isn’t a magic wand, it’s a tool. A tool wielded by the capable can produce excellent results. A tool in the hands of a neophyte or worse will produce poor results. Guaranteed. The old software programmer’s saying GIGO (garbage in/garbage out) is still true.

An amateurish book in hand is not worth two in the bush.

Why does it matter? Isn’t a page a page? It’s constructed of sentences and paragraphs, right? That’s the kind of thinking that gets a self-publisher in trouble. And it’s the kind of thinking that is supported by any number of Internet Publishing Companies whom I won’t name but are associated with POD, Subsidy Publishing, etc. who will help you get a book out as cheaply as possible and generally looks like it too.

Font selection is an art in itself.

Let me tell you a little story. My brother, Dan Ruesch, is a prominent graphic designer. I spend most of my time in the printing business and so we find ourselves working together on projects from time-to-time. I rushed over to his office one day to find out the status of a print job that had an extremely tight deadline. I was expecting to pick up the art, but Dan was still selecting fonts. Argh! I found him by his table with two samples of type–one in each hand. He was holding them up and describing each as a connoisseur would talk about wine. “This one has the flavor of…” This other has a bouquet of…” “The first one has an undercurrent of…” I swear I watched as the clock’s hands spun and my hopes of meeting the deadline were rapidly sliding away.  It turned out that I was being prematurely negative. We did meet the deadline after all.

It’s all about harmony–not discord.

What does all of this have to do with designing a book? Communication is more than the writing. We as human beings judge things by their appearance. If you see someone dressed nicely in fashionable clothing you will make a determination about them, probably favorable. Take that same person put them in their work-in-the garden jeans and your evaluation will be different, maybe less favorable. Book design is the same thing. Before someone will lay down money to buy your book they need to have a favorable impression of it.

What a book designer does that you probably don’t know:

Some of the things a good book designer will do are:

• Makes sure the front matter, copyright page, table of contents, title page, acknowledgments etc. are set up correctly and are complete.
• Lays out the document so that odd numbered pages are on the right hand side; if a chapter ends on a right hand page the next is blank.
• Makes sure the chapter treatments, and other graphic touches are consistent throughout the book.
• Watches the leading (pronounced Ledding) is the space between lines must be adequate for comfortable reading, too tight and the eye will skip line, too distant and it becomes tiresome.
• Keeps an eye on kerning, the space between letters needs to be comfortable, not too tight, and not too distant.
• Chooses a style of type for page numbers and position.
• Decides whether or not to have headers or footers and what style should be used?
• Decide between serif fonts (those with feet) or san-serif (no feet). It is generally accepted that serif fonts are easier to read.
• Selects font and font size. Decides what font best reflects the purpose and meaning of the book.
• Chooses the right paper. Does it need to be heavier or lighter weight? Should it have a texture or be smooth? What about color? Should it be white, cream, or some other color?

This is only a partial list, and I haven’t even gotten to cover design which employs yet another set of questions and decisions to be made. The point being, don’t try to layout a book by yourself. Use the skills you have and let the people with other talents help you do it right. Good artists are worth their hire. Find the best you can afford, and let them help you create visual communication that is worthy of your writing. After all, ugly isn’t a crime, it’s a sin.

What good is a book without a reader? A book is worthless until it is read. Selling, or marketing if you prefer, is as important as writing. You have to get the books into reader’s hands. How do you do that? I recommend TAP (The Author Platform). It is custom made to teach the self-publishing author how to use Social Networking, Blogging, Amazon, Book Parties, and other means of marketing. You need it. Just click here.

Bite your Tongue.

Those who decide to self-publish can hold their heads high, because they are counted among some of greatest authors in history. Below is but a partial list of authors who have chosen to self-publish at sometime in their career.

• William Blake, Ken Blanchard, Robert Bly,Lord Byron, Willa Cather, Stephen Crane,
  
• e.e. cummings,  Alexander Dumas, T.S. Eliot,Lawrence Ferlinghetti, Benjamin Franklin,
  
• Zane Grey, Thomas Hardy, Nathaniel Hawthorne,Ernest Hemingway, Robinson Jeffers,
  
• Stephen King, Rudyard Kipling, Louis L’Amour, D.H. Lawrence, Anais Nin, Thomas Paine,
  
• Tom Peters, Edgar Allen Poe, Alexander Pope, Beatrix Potter, Ezra Pound, Marcel Proust,
  
• Carl Sandburg, Robert Service, George Bernard Shaw, Percy Bysshe Shelley, Upton Sinclair,
  
• Gertrude Stein, William Strunk, Alfred Lord Tennyson, Henry David Thoreau, Leo Tolstoi,
  
• Mark Twain, and Walt Whitman.

Note: The list was pulled from John Kremer’s Self-Publishing Hall of Fame

If you don’t find at least one of your heroes here I would be very surprised. Also you may have noticed that quite a few poets populate the list. Modern poets complain that publishers aren’t interested in their books. It’s said that poetry doesn’t sell. Compared to a fast paced pop-novel of sex, violence, and action they are probably right. I have to keep reminding myself that publishing isn’t primarily about getting the finest works into the public’s hands–it’s a profit generating business like a grocery store. If the stock isn’t turning it is costing money. I, like many others, tend to glamorize the traditional publishing houses and imbue them with a nobility they just don’t have. It’s a business. Poetry, on the other hand, is something else. Poetry is a work of passion, not business. Publishers probably weren’t any more anxious to publish poetry then than they are now and that is why so many poets had to resort to self-publishing.

The Old Man

One of my readers added this comment about self-publishers: “For me all I had to do was find out that Hemingway’s first book was “self-published,” to help me make my decision and after 32 years of “practice” I feel I did it just right. And then later this year when I found out about Mark Twain’s force of ten thousand book agents scattered across America selling his works and Ulysses S Grant’s Memoirs (also published by Twain’s company which was run by his young nephew Webster).” Miles Cobbett, Author the Alaskan book CHAMPION.

Miles followed up with this comment in another post: “One more tasty tidbit about Hemingway and his publisher, that I bet you already know is his lively discussions in letters between him and Charles Scribner about Royalty Payments. I was fascinated to read in copies of Hemingway’s “Letters” that CS only offered to pay Ernest Hemingway 10 % of the net. And Ernest wrote back in a lively letter that he wanted 15 % or a Minimum of 12.5 %…
This was fascinating to me, especially when I read in the other book I wrote to you about, (Birth of a Salesman), how Mark Twain offered and paid U. S. Grant and his widow, a whopping 70% of the profits from publishing Grant’s Memoirs.”

I have more sympathy for the traditional publishers than you might think from reading my posts. They have to have highly tuned crystal balls to foresee the future. If they choose to take a gamble on an author, and it tanks, what do they lose? Why the entire investment, of course. And what about credibility? What happens to the employee who stands behind a book bomb? Or two, or three? Can you say pink slip?

If you know your book will sell–you stand behind it. Raise the money to print and promote it. You might be like my friend Miles Corbbett whom I quoted above. His self-published book CHAMPION is selling well and he owes it all to word-of-mouth advertising. Miles has this to say about his success: “Getting the word out has been a fun & challenging journey, but it’s all been done so far without any help from a Madison Avenue super advertising blitz.”

If you are a self-publisher, considering self-publishing, or a supplier to self-publishers be sure to check out the manifesto for The Red Hen Association of Self-Publishing Authors, Inc. (click here).

Mark Twain had an army of ten-thousand salesmen peddling his books all over the country. He understood the principles of marketing as they applied to his time. Today’s marketing is different and requires an understanding of blogging, social networking, books on Amazon, etc. You can get that information from The Author Platform (TAP). It’s not free but almost click (here) for more information. If you can sell your book yourself you’ll earn 15 times more than if you traditionally publish.

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This article was republished with permission from the author’s blog Talking Through My Hat.

Last Saturday I presented a workshop at the Toastmasters District 15 fall convention. I called it Every Speaker Needs a Book. It is the truth; every speaker does need a book. If someone is going to stand before you in the capacity of “expert,” don’t you have the right to know that they are qualified?

We are living in a new age of publishing. We are seeing the rapid rise of the self-publisher. I liken it to the changes in the music business during the 1960’s. It started with Rock and Roll. This new music hit the music industry so quickly and so hard that the entrenched establishment couldn’t wrap their minds around it. Then came the Beatles, and the British Invasion. Every album the Beatles cut redefined the genre. Music experienced an era of creativity pushing up from the grassroots (no pun intended for the band called Grassroots). Every high school in the country had at least two or three starry eyed groups practicing in their parent’s basements or garages.

60's World Shakers

I try to imagine myself in the position of a record executive. Music is flooding in from everywhere. Groups with strange names, strange sounds, and strange behaviors are climbing the charts. What do I do? I can get on-board or try to wait out the insanity. The problem is that I don’t have any point of reference. There isn’t a definition of Rock and Roll. Almost anything goes. So, what do I do? I shrug and open the studios to just about everyone, hoping to find something the boomer kids will buy.

Today the floodgates are open in publishing. Why? Big changes in book print production have created this new era. In the past traditional publishers held all the strings. The cost for an author to go it alone was prohibitive to anyone but the rich. If someone decided to self-publish, their efforts were tagged  with the derogatory title of vanity publishing.

The rise of computer’s word processors and the development of digital printing have made it so reasonably priced that almost anyone could get in the game. Furthermore, there are e-books, and audio books. Finally, the Boomer Generation has grown up and there are millions, upon millions of people that think it would be groovy to write a book. As a boomer myself, I can tell you that our generation loved the spotlight. We marched, we rallied, we protested. We got our pictures in the paper when we did something completely egregious. Boomer was probably the right name because we were loud, intrusive, and obnoxious.

The boomers are the right people to lead the publishing revolution. We have never been satisfied with status quo. We are self-reliant, and don’t really trust the establishment. We know how to organize. The tribe of boomers is enormous and powerful.

If you get the idea that I am in favor of this revolution, you are right. I am in awe of what is transpiring. The Internet, Computers, Alternative Publishing methods, have breached the dam and I’m sure this is just the beginning.

Creating a book is only the first half of the job. It’s like the Yin, the Yang comes with promoting and marketing. TAP (The Author Platform) is a relatively easy program to follow to learn Internet marketing, selling through Amazon, and other methods. Click here for more information.

I’m not just talking through my hat here. Yesterday I was asked by a librarian to tell her about book publishing in today’s world. I am not a publisher, but she thought my print production experience would give me an understanding.  One thing is very evident, everything that was once true before, is not true now.

The traditional book publishing business has changed dramatically. In the past a publisher bought the rights to an author’s book, they edited the book, typeset the book, promoted the book, they printed the book, and they distributed the book. In return the author received a royalty. Today publishers demand that the author do most of the promotion. The author has to set up their own book signings and public relations tours. And the biggest surprise of all is that if an author is over fifty or deceased you can forget about it. In the past the quality of the literature reigned supreme. Not anymore. By today’s publishing standards Emily Dickinson’s poems would have never seen the light of day.

What’s going on with publishing? In my opinion it is too focused on the almighty dollar and is losing its soul. Can you say profit motive?

Mountains of Books

It could be because the shear magnitude of manuscripts circulating is overwhelming. In fact, most traditional publishers will not accept a manuscript unless it comes to them first through a trusted literary agent. They’ve barricaded themselves in their towers and I believe, cutting off their noses to spite their faces. I know, I know, those are cliches and not a particularly good ones, but it makes my point. Traditional publishing has become a closed loop. If you are in the loop, you’ll get published, if not, good damn luck.

The tragedy is that the pressure is on the popular authors to keep knockin’ ‘em out at a speed that keeps the cash registers ringing, but floods the public with marginal work. It has the feel of an egg farm. Just keep the authors on the roost pushing out eggs as fast as they can.

No wonder everyone thinks they can be a writer, when the bar is set so low. Much of the material that gets through to the bookshelves is not worth reading. I can’t believe that those authors are proud of their work. How could they be? Today’s system turns potentially good authors into hacks. Is that too strong? I’m sorry, but if anyone has laid down good money to buy a book, knowing it is light beach reading, and found it falling short of that expectation, then there is something really wrong with the system. Publishers, especially well-known publishing houses should guard their honor with their lives. Maybe is is just me, but if their stamp is on a book, the public should be able to trust that it has real intrinsic value.

What about authors who haven’t found a place in the closed loop? Self-publishing is their only hope. What do I mean by that? If you have a manuscript that in your opinion, must be published you can do it yourself. The traditionalists haven’t thought very highly of what they call vanity publishing. Vanity publishers have been mocked and derided. If you had to resort to self-publishing you were considered to be a second rate author. That belief is disappearing. Some excellent writers are self-publishing now to earn more profit on the book sales, or are using the book sales as a bargaining point to secure a better publishing contract. Numbers talk.

Today, since the publishers have pulled back into their shells, authors have no choice but to do all the work themselves. It’s like the old Golden Books story of The Little Red Hen.  After all of the work is done and the book is selling well, then, and only then will the publishers get interested.  I tell you it is the profit motive.

Richard Paul Evans wrote and promoted his little book called the Christmas Box Story. He was so successful in selling it that the publisher paid over $4 million dollars for the rights. He proved that his book was a viable piece of property and the publisher who now wanted in, paid dearly for it.  That’s where publishing is going. You self-publish, you self-promote, you keep a bigger slice of the pie, and if you get a good enough offer, you sell it, if you want to. Some publisher-authors may never want to get in that game at all.

Most of us would-be-published-authors are best expressing ourselves through the written word. That’s why we write. Unfortunately in today’s publishing environment whether you self or traditionally publish you will be required to market/sell your book. What do you do? Where do you start? You can follow the steps outlined in the author platform. I can personally vouch for it because I’ve done it and still refer to it even now. Follow this link to learn how you can participate for a nominal cost.

This article Reprinted with permission from Talking Through My Hat, originally posted Jan 27, 2009

breathe in the ancient wisdom

I stirred up a lot of conversation with my blog post titled, “How Can You Call an eBook a Real Book?” Most of the chatter was on LinkedIn through the writing and publishing groups I belong to. I was very surprised to read comments from  self-confessed, dyed-in-the-wool printed book advocates who are becoming wobbly on the issue. Don’t throw in the towel yet.

eBooks have already seized our minds and our imaginations. The possibilities are incredible, all except one. Yesterday I tried to pull up a document on my computer. A dialogue box popped up that said the file had become corrupted. It suggested some ways to fix the file–none of them worked–so, I’m left with reconstructing the document. If I can.

What was here one moment is, whoosh, gone the next. I’m sure if I call my service tech at the Bomb Squad he could find it by going through the mysterious back doors. These are the places us mere mortals dare not tread. To go in there, even for a peek, could set up a chain reaction that might destroy the entire planet. It is not worth the risk. I have to weigh my options carefully, do I bring in the Bomb Squad and spend money I don’t have, or try to reconstruct the document, or let it go, like a loose kite floating endlessly and aimlessly through cyberspace?

Do you understand where I am going with this? Permanence is the question. Books whether written on stone tablets, sheepskin, papyrus, cotton paper, or wood pulp stock have passed the test of time. Doggone it–they last. They may not stay in tip-top condition, but they have longevity.

How long will your computer hold files intact until they start getting iffy, weeks, months, or years?  I expect to see eBooks purchased by the average buyer as having a comparable short shelf life. If the computer gremlins don’t get them, technology changes will. I have a book of poetry by Ralph Waldo Emerson in my library which must be at least 125 years old. The paper is brittle, and the binding is weak, but I can pick it up and read it anytime I want. No dialogue box will appear in my hand saying sorry the file is corrupt. Many of my other books are older than 40 years, even the cheap paperbacks. In a world where the average computer is ancient in five years, the possibility of a file hanging around for even 20 years is ludicrous.

The bottom line is electronic books are risky. You will have to replace them regularly if you want to keep them viable, or just get used to losing much of your collection each and every year. Now you see it–now you don’t. Paper to the people!