Preparing Your Book for Publication

by Moira Allen

An essential difference between self-publishing and subsidy publishing is the amount of control you have over the design (and content) of your book. The down-side of this, of course, is that you also bear all the costs associated with preparing your book for publication. The benefit of being able to get exactly what you want, however, makes it worth the expense.

Preparing your book can involve several stages:

Stage 1: Editing and proofreading

One of the reasons self-published and subsidy-published books have gained such a poor reputation is the fact that most are unedited (and many haven't even had the benefit of a good spell-checking). The hard truth is that most writers -- including very good writers -- can benefit from the assistance of a competent editor.

An editor sees things in your manuscript that you may be too "close" to see. As a writer, you see not only the words on the page, but the meanings those words hold in your mind. The reader, however, can't see what you're thinking -- and in some cases, the words themselves may not get your message across as clearly as you would like. Conversely, sometimes something seems so important to you that you say too much about it, overloading the reader with "too much information." Another common problem is knowing a technical subject so well that you don't remember to explain complicated concepts to the less-advanced reader. An editor can help you look at your manuscript through a reader's eyes -- and determine whether a section needs to be expanded, or trimmed, or clarified. In short, an editor can help you spot problems before those problems are spotted by the customer.

Some writers are obsessed with grammar; others are not. Some are flawless grammarians; others are not. Some are experts first and writers second -- which means that grammar may not have been as important a topic of study as, say, the topic of the book itself. Unless you're certain that you fall into the flawless/obsessed category, your book could almost certainly benefit from a review by a qualified copy-editor. If you're the sort of person who dismisses questions of punctuation with the off-hand statement, "that's what editors are for," then you should definitely USE an editor. A copy-editor's job is simply to catch (and fix) problems in grammar, sentence structure, punctuation, incorrect word usage, etc.

Finally, it never hurts to have another pair of eyes proofread your manuscript. Most writers come to learn that after they have read and reread and revised their words several times, they no longer "see" spelling and punctuation errors. The mind tends to see what it knows should be on the page, rather than what really IS on the page. Nor can you rely on a spellchecker to catch everything; it won't catch the use of the wrong word ("they're" vs. "their"), for example, and it won't catch most punctuation errors.

Often, you can find one editor who offers all three levels of service for a single fee. While editing does add to your costs, it can make a huge difference in the impression made by your book.

Stage 2: Interior Design

Trim Size: Before you make any other interior design decisions, you'll need to decide the "trim size"(page size) of your book. Even if you're producing an e-book, you'll need to decide how large the pages should be. If you're producing a print book, talk to your printer; the printer may offer a standard trim size that costs less than a custom size.

A nonfiction paperback will typically be either 5x7 or 6x9 inches. This is also a good size for an e-book; it creates a "readable" page. An 8.5x11 page looks less like a "book" and more like a manuscript page -- and produces long lines that can be less "comfortable" to read. (A note about e-books: Recently I purchased an e-book that was advertised as being over 300 pages. Each page, however, consisted of no more than two paragraphs of text -- annoying to read on screen, and a huge waste of paper to print. Worse, it seemed little more than a ploy to convince the purchaser that the book was longer than it actually was.)

Margins: Once you know the trim size, you can determine your page margins. An easy way to accomplish this is simply to measure the margins on comparable books. Ample margins are important; nothing says "self-published" like lines of text that run from page edge to page edge. Here's a typical set of margin widths:

• Outside margin: 1/2 inch
• Inside margin: 3/4 inch (allowing for binding)
• Top margin: 3/4 inch (usually 1/2 inch to the running header and 1/4 inch between the header and first line of text)
• Bottom margin: 3/4 inch (or 1/2 inch to the page number and 1/4 inch between page number and last line of text)

Font: Choose a font that is attractive and easy to read -- and that is not, in and of itself, "noticeable." You don't want your reader to notice the font; you want the reader to pay attention to the words. A fancy (or unusual) font distracts the reader; it can also make the book harder to read, as most readers' eyes are accustomed to certain font styles.

Typically, you'll want a "serif" font (such as Times or Century Schoolbook) for your main text. You can use a corresponding serif font for subheads, or a sans-serif font (like Helvetica or Arial). Keep in mind that a font that is easy to read on a computer screen is not always as easy to read on the printed page, and vice versa. If you're designing a print book, print off several font samples (in several sizes) and compare their readability; if you're designing an e-book, make sure that your font is easy to read at several different magnifications.

Your font size should be between 11 and 13 points. Anything smaller can be difficult to read; anything larger will look like "large print." Use a slightly larger font, in bold, for subheads. (Feel free to get fancy with chapter titles.)

Line Spacing: You can often improve the readability of your text by slightly increasing the spacing between lines. This will "open up" your page, and ensure that the text doesn't appear crammed together. Don't open it up too far, however, or the reader will have to make a "jump" from line to line.

Don't double-space between paragraphs; instead, use tabs. Usually, a 1/4-inch tab is sufficient. You should, however, leave extra space between the end of a section and a subhead.

Headers, Footers and Page Numbers: Some books have headers at the top and page numbers at the bottom. Some have running heads and page numbers at the top. Experiment with various options and determine what looks best to you.

If you put your page numbers at the bottom, they should usually be centered. If you place them at the top, they should be at the outer edge of each page. Your pages should also have "running headers" that list the title of the chapter and/or the title of the book. (If you have no chapter titles, simply use the book title as your running head.) Again, take a look at other books for examples and format; sometimes headers will be underlined, sometimes italic, sometimes in a smaller or slightly different font from the text. Headers, footers and page numbers should not appear on the first page of each chapter, on section dividers, or on any blank page.

Pagination: Books don't always start with "page one." You'll notice that many books have small Roman numerals for "front matter" pages; others don't number these pages at all. Still others start with "page one" as the very first page in the book (e.g., the title page), so that "Chapter One" may begin on page 8 or 9.

In a print book, it doesn't really matter how you choose to number "front matter" pages. If you're producing an electronic book, however -- and especially if it's in PDF format -- it's usually a good idea to have the first page of your book listed as "Page 1," so that the page numbers of the book correspond to the page numbers of the file. Otherwise, readers can be confused when trying to locate a chapter that begins on "Page 17" of the text -- but page 25 of the computer file.

Front Matter: Every book has "front matter" -- the "business" pages that precede the actual text. Some books start with a blank page or a "mini" title page, followed by the actual title page; others use the first page of the book to list reviews or a promotional excerpt from the book itself. Here's a typical listing of front-matter pages (note that in a printed book, odd-numbered pages will always be on the right, even on the left).

• Page 1 - blank, "mini" title page, or review/excerpt page
• Page 2 - blank
• Page 3 - title page, including author's name and publishing house
• Page 4 - copyright page, including copyright listing, information about the publishing house (e.g., contact information), Library of Congress Cataloging in Publication data (see ISBNs and Other Stuff for more information), edition number, and similar information.
• Page 5 - Dedication/Acknowledgements (optional)
• Page 6 - List of other titles by author (optional), or blank
• Page 7 - First page of table of contents (if there is no acknowledgement page, this would start on Page 5)
• Page 8 - Continuation of table of contents, or blank
• Page 9 - First page of text (Prologue, Introduction, or Chapter One)

If you are producing an e-book, right-hand and left-hand pages don't matter. In this case, you can eliminate any blank pages you would otherwise leave in a print book, as there is no use for them (and they can confuse the reader).

Chapter Headers and Sections: If your book is divided into sections, each section should begin with a section "divider" page (e.g., "Section One: The Beginning") on a right-hand (odd-numbered) page, followed by a blank page on the left. Chapters should begin on right-hand pages; if the previous chapter ends on a right-hand page, leave the next page blank (unless you're producing an e-book). Start each chapter at least 1/4 to 1/3 of the way down the page (or farther). Use a large font (36 points or more) for your chapter title and chapter number. If you wish, use a drop cap or raised cap for the first letter of the first paragraph; don't indent the first paragraph of the chapter. Again, do not include header/footer information on the first page of a chapter, or on section dividers.

End Matter: At the end of your book, you may have an index, or an appendix of resources, or something similar. This is also the place to put your author bio. The last page of your book (just inside the back cover) is a good place to advertise any other books that you have produced; include ordering information and an order form, if it will fit.

Artwork: If you have internal illustrations, you'll have to decide how these fit into the rest of your text. Line illustrations (black and white) should be placed as close as possible to relevant text. If you wish to print photos on glossy paper, however, you may wish to have these produced on "inserts" -- folios of glossy paper used just for photos. You can print black-and-white photos on your non-glossy paper (it's less expensive), but they won't come out quite as well. You should use glossy paper for any color photos.

Balancing text and illustrations can be a challenge. If you have a number of illustrations, you may wish to hire a designer to help you.

Page Count: Once you've formatted your book according to the template you've designed, you'll be able to determine the final page count. Keep in mind that offset-press (as opposed to POD) books are printed in folios (units of 8 or 16 pages). Thus, the actual printed page count of your book will be divisible by eight. Blank pages will be added to the end of your book, as needed, to complete the last folio.

You can save money by reducing the number of folios in your book. If, for example, you're just a few pages "over" a multiple of eight, take a look at your formatted manuscript for places where you might be able to "lose" a page. Do you have a chapter or two with just a single paragraph "hanging over" onto a right-hand page? By trimming each chapter so that it ends on a left-hand page, you can save not just one page but two.

You can reduce the number of pages by reducing your overall font size, but be cautious. Experiment with different fonts to find one that is readable in a smaller size. (For example, Century Schoolbook is more readable at 11 points than Times is at 12, and will save you a bit of space.) Don't arbitrarily reduce font sizes or tighten line spacing just to save pages, as you'll be doing so at the expense of readability.

If you still need blank pages at the end of your book, see if you can use them to promote another book (e.g., by including a brief excerpt). You might also consider swapping "ad space" with another self-published author who has related titles.

Stage 3: The Cover

If there is any part of your book that should be farmed out to a professional, it's your cover. Too many self-published books come out with low-quality cover art that is the "dead giveaway" of the do-it-yourselfer. Unless you are an experienced graphic artist, this is not something that you should attempt on your own. Fortunately, there are scores of inexpensive cover artists who can help you; you can either look for someone local, or search the web for a good candidate. Be sure to review the artist's work; does it look professional?

A two-color cover is less expensive to print than a four-color cover, and much can be accomplished with shading. A photo can often be used with interesting effect on a two-color cover. However, don't let price scare you away from having a cover made that matches your vision of your book. If that vision is four-color, use it! What you probably don't need, however, is embossing, gold print, etc. -- these extras can add up in a hurry.

If you're using a photo on your cover, you'll need to decide whether it should have a border around it, or whether it should "bleed" off the edge of the page. A "full bleed" cover is one in which the photo comes to the edges of the page; this is often slightly more expensive than a photo with a border.

Your cover artwork includes decisions on the font to use for your title and your name: Style, size, color, etc. Again, it's a very good idea to work with an artist on these issues.

A cover isn't limited to the front of the book, however. If you are producing a print book, you also have the back cover to worry about. Keep in mind that this must include your ISBN and EAN barcode. This is also a good place to (a) offer a brief, enticing description of your book (without blatant hype), and (b) quote from any good reviews you've been able to acquire.

Your cover also includes the spine, which will include the title of the book, your name, and at least the logo of your publishing house. Before the spine can be designed, however, you'll need to know how wide it has to be -- which means that you'll need to contact your printer and determine (a) the final page count and (b) the type of paper that will be used. From this information, your printer should be able to give you an accurate spine-width, which you can pass on to your designer.

If you are printing a hardcover book, your "cover" will be a dust-jacket, in which case you'll also have flaps. These are usually a good place for a description of the book, and (on the back flap) your photo and bio.

Desktop Publishing Software

One question you may have as you approach the task of designing your book is "what software should I use?" You have a choice of using ordinary wordprocessing software (such as Microsoft Word) or more advanced desktop publishing (DTP) software, such as Pagemaker or Quark.

As I use a MacIntosh, I can only speak from experience with Pagemaker (which, sadly, is no longer being produced); I have never used Quark. I understand, however, that they work in similar ways. Having used both Pagemaker and Word to design book interiors, I would say that Pagemaker is easier -- but Word also has advantages.

DTP software allows you to see exactly what you are doing each step of the way. It is much easier to tweak your layout so that a line moves to the next page without altering the entire layout of your book. You can also easily build a book in chapters, and link those chapters so that a change in pagination in one will automatically update the pagination in all. You can assign styles to your main text, subheads, chapter heads, etc., so that if you want to make a change to a style, it will automatically be made to the entire book.

Microsoft Word is a little more complicated to use, as you have to format your document with various hidden commands. You'll need to master the art of using continuous and non-continuous sections to divide chapters and ensure that each chapter starts a new running header. While Word theoretically offers a way to link separate files (i.e., chapters) into a single document, I have never been able to make this work effectively, and have never found anyone else who could make it work -- so you must generally format the entire book as a single document.

As with DTP software, you can assign styles to text and subheads, so that any change will be carried out throughout the document. (Be sure that you want it carried out through the entire document, however!) Placing graphics in Word tends to be more difficult than in DTP software. I've also found that whenever a change is made within the text, one must scan through the entire document to make sure that it hasn't made unintended changes somewhere else (i.e., altered pagination, layout, etc.)

The advantage of Word is that you can use it to easily create a table of contents and index that is linked to the document. This is not so simple in a DTP program, so if you expect your layout to change frequently, Word can be the better choice. Also, if you convert a Word document to a PDF file, you can automatically convert URLs to hyperlinks with Adobe -- but you cannot do so from a Pagemaker file.

The bottom line is that you should use a program that you are comfortable with, or feel that you can learn easily. Otherwise, you can spend more time trying to figure out the program than in preparing your book for publication.

Working with a Printer

If you are publishing a print book, sooner or later you're going to have to choose, and work with, a printer. This can be one of the most important decisions you make; if your book is printed badly, it will reflect badly on you (even though it isn't your fault), and can hurt sales.

Choosing a Printer

The first question you may wish to ask is whether you wish to work with a local printer, or a printer in another state. One advantage of working with a local printer is that you can meet directly with your sales representative, who can sit down with you and go through all the necessary paperwork, answer questions, and be available in case of problems. This is no small advantage; a host of problems can arise in the journey from electrons to print, and having someone that you can call or even ask to drop by is very helpful. Printer sales reps are usually more than willing to come to you, so you can handle this aspect of the job from your home office. Another advantage is that most local printers will deliver your books within a certain local radius at no extra charge. (If, however, you want your books delivered to a fulfillment house in some other state, this won't help.)

You won't always be able to find the best possible price locally, however, so you should also be open to looking at printers in other areas. A non-local printer may actually be able to give you a better quality product, so don't be nervous about working with someone who is not "in town."

Choosing a printer involves the following steps:

1) Ask for estimates. To do this, you'll need to have a rough idea of the final trim size and page count of your book, plus the number of illustrations (if any) and any other unusual factors that should be considered. To solicit estimates, you must provide each printer with exactly the same requirements, so that you know that each is bidding on the same job. (Don't worry if those requirements change later; what you want to know first is how different printers compare on price.)

For example, you might simply ask a dozen printers how much they would charge for the following:

• Trim size: 6x9
• Page count: 200
• Interior illustrations: (provide a flat estimate if you have illustrations or photos)
• Cover: 2-color or 4 color (ask for an estimate on each)
• Print quantity: Ask for estimates of several different quantities, e.g., 500, 1000, 2000, 3000, 5000.

If you wish to print fewer than 1000 copies, you'll need to find a short-run printer. For most printers, such a small quantity is not economical -- which means it will not be economical for you, either. Even short-run printers charge fairly high prices for small quantities. (The best prices I've found so far are from Morris Publishing, which offers pricing information on their website and an excellent selection of templates for covers and other features.)

2) Ask for samples. Request two or three book samples from each printer you contact. Review them carefully to determine whether they look sufficiently high-quality for your purposes. Do the covers feel "solid" or do they feel weak and easily bent or curved? Do you like the colors on the covers? Is the print crisp or blurry? Is the text positioned properly on the pages, or is it too far toward one margin or another? Don't consider a printer (regardless of price) if you don't like the look of their books.

3) Pay attention to the customer service provided. When you call to ask for an estimate, what kind of service do you get? Are you transferred immediately to a sales representative? Or do you have to wait for a call-back? If you have to wait, how long do you wait? Do you have to call a second time to get help? How helpful is the sales representative? Does he or she immediately start trying to sell you "options" -- or does the representative listen to what you have to say? Do you get the feeling that you can ask for what you want, or that you'll be pressured into paying for options you don't want? Does the representative record your information accurately? (Ask him to read the request back to you to make sure.) Do you feel that the person is willing to help you, or just interested in your money -- or not even interested in dealing with a small-business person like you at all? Once you've asked for an estimate, how long does it take for the person to contact you with a quote? Do you have to keep calling back to get that quote? The service you receive when requesting price information is going to reflect the type of service you'll receive when you actually submit your job -- so if it isn't adequate, responsive, or helpful, look somewhere else.

Determining the "Economic Order Quantity" for Your Book

The first thing you'll notice when you start reviewing estimates is that the fewer books you print, the higher the per-book cost will be. On the other hand, by the time you reach a nice, low per-book cost, the total cost is probably higher than you can afford. In book publishing, you usually have to "spend more to save more," but you also don't want to spend too much, or you end up with an overall investment that can be hard to recover.

The key is to determine the "economic order quantity" for your book. This is an economics term, simply meaning that you have to strike a balance between the best possible per-unit cost, and the total overall cost that you can afford.

Consider the following example:

Your book is 200 pages. A publisher gives you the following estimates:

An economist would probably look at this and tell you that your best "economic order quantity" would be 2000 copies. While your initial investment is higher ($3980 vs. $1415), you save nearly a dollar a book, which greatly increases your potential profit margin. Going to higher quantities doesn't really give you much additional savings; the difference between 2000 and 5000 copies is only about 35 cents per book.

Another factor is the "fixed costs" in producing your book: cover design, illustrations, editing, the cost of ISBNs and copyright registration, etc. Since you only pay for these services once, you can divide your total by the number of books published. If, for example, these services cost you a total of $1000, that adds $2 to each book if you print 500 copies, but only $.50 to each book if you print 2000 copies. Thus, your per-book cost would be $3.83 for 500 copies, but only $2.49 for 2000 copies -- a per-book savings of $1.34.

As you try to determine the best quantity to order, you should also be thinking about the retail price you want to set for your book, what that will mean in terms of discounts, and the number of books you'll have to sell to break even (before you see a penny of profit, and NOT counting other expenses such as advertising, sending books to reviewers, etc.).

Let's assume that you price your book at $14.95. This table shows how many books you'll have to sell at full price ($14.95), at a 40% discount ($8.97) and at a 60% discount ($5.98) to break even, based on cost estimates of $3.83 vs. $2.49 per book (PBC=per book cost). It also shows how many books you'll have left over after you've recouped your production expenses; these "leftover" books represent your potential profit margin.

Thus, if you print 500 books and sell 128 at full price, you have 372 books left to sell to make a profit. If, however, you print 2000 books and sell 333 at full price, you have 1667 books left over from which to make a profit.

Before you crank the numbers and see glowing profit signs, however, keep in mind that self-publishing involves lots of other expenses that can gobble up your profit margin very quickly. The bottom line in making this decision is not simply "how much you hope to make," but a balance between how many books you think you can sell (and thus the amount of profit you hope to earn), and how much you can afford to invest. If you simply cannot afford to invest nearly $5000 in producing your book, the question is academic: You'll be able to pay only what you can afford to pay. And that's OK -- another way to approach the whole question is "incrementally," selling off your first print run to pay for your second, and so forth.

Working with a Printer

Working with a printer requires careful preparation, numerous precautions, and constant vigilance. Your goal here is to ensure that YOU have done absolutely everything right, and backed up every portion of your order with documentation, so that you don't end up having to accept, or pay for, printer errors.

Here are some of the decisions you'll need to discuss with your printer:

1) Trim size -- the finished size of your book. Ask if the printer has a standard "house size" that might be less expensive than a custom size.

2) Paper weight and quality. The most common paper weight is 60 lbs. Ask your printer if they have a "house" paper that will be cheaper than other options, without sacrificing quality. (Make sure the paper isn't too thin, or print will show through; if it's too thick, it will increase the weight of your book and make it more expensive to ship.)

3) Total page count. (You'll determine this in the process of formatting your book; see Preparing Your Book for Publication for more details. Remember, books are printed in "folios" of 8 or 16 pages, so your total page count must be divisible by eight (even if this means adding blank pages to the end to "round it out").

4) Binding style. Most books are perfect-bound. If you are producing a very slim volume (50 pages or less), you may be able to save money by having it stapled or saddle-stitched. If you are creating a workbook or cookbook, consider having it comb- or spiral-bound.

5) Interior color. Most likely, your interior will be black and white only. Including color pages in your book will greatly increase your cost!

6) Interior artwork. If you have interior artwork, you may need to discuss with the printer how to provide that artwork for printing. While it is easy today to include electronic art files within your formatted manuscript file, such files may not provide the quality that you would get if your art or photos are "stripped" into the document separately.

7) Cover. You'll need to decide several things about the cover, including whether the art will be two-color or four-color (something you'll probably need to decide with your cover artist in advance), the weight of the cover stock, the type of coating you want (glossy, UV, etc.), and whether you want any "extras" such as embossed print, gold type, etc.

8) Packaging and delivery options. Your book will most likely be packaged in cartons (of between 30 and 50 books, depending on size and weight), and shipped to you or to some other destination. If you have decided to use a fulfillment service to warehouse and ship your books (see Fulfillment), you should arrange to have the books shipped directly to that service. (You can usually arrange to have a box or two sent to you, and the rest to the fulfillment house.) Otherwise, you may have to pay for double-shipping. If, however, your printer is local and offers free shipping within a particular delivery area, you may find that it is cheaper to have the books delivered to you, and then ship them to your fulfillment service via media mail.

Preparing Your Book for Printing

Most printers now prefer to receive books as camera-ready electronic files. While books are still typically printed from film negatives, printers can create those negatives directly from your file. This doesn't mean that you can simply e-mail your Word or Pagemaker document to the printer, however; your printer should give you precise, written instructions on the type of files required and how to create them from your existing documents. In most cases these days, you'll need to provide a PDF file; in some cases, however, you may have to provide an EPS file. Make sure that you know exactly what your printer wants from you and how it must be formatted.

For example, some printers prefer that you use "dedicated fonts" instead of "styles" to indicate bold, italics, etc. Thus, instead of just selecting a word and hitting "bold" to create bold-face text within your formatted book, you'd need to use (for example) "Century Schoolbook" for regular text, "Century Schoolbook Bold" for boldface and "Century Schoolbook Italic" for italics. (Yes, there is a "Century Schoolbook Bold Italic.") Make sure that your printer has these fonts, or the book won't print correctly. (Also, once you've converted your document to a PDF file, do not make changes or corrections within that file with Adobe Acrobat; such changes may not print correctly. If you need to make a change, go back to your original file, make the correction, and convert it to PDF again from scratch.)

Ask your printer whether you should "offset" your page margins (with a wider "inside" margin and a narrower "outside" margin), or center them. Some print programs will automatically offset margins, so the printer will ask you to center your pages. Be sure that your printer is specific about this (get it in writing!). You don't want to get your page proofs back and find out that your margins are still centered (it happened to me!) -- and if you do, you want to be able to go back to the printer and show them their written instructions, so that you don't have to pay for a correction.

Make sure that your printer has a color "proof" of your cover, and that you and your artist have provided any necessary information about color "codes." You should be able to provide your printer with a specific "Pantone" color number to define the color of ink you want both for the background of your cover and for the type/text on that cover (if it isn't black). If you're not familiar with Pantone numbers, don't worry; your printer can provide a color chart, and your artist should be able to do so as well.

Put it in Writing

Spell out every instruction you can think of, no matter how mundane, for your printer -- and put it in writing. Otherwise, if your printer makes a mistake, you may have to pay for it -- even if it's the printer's fault. For example, I once saved $500 on a print job because I had written down the exact page margin measurements (and provided a dummy page with the measurements drawn in). When the printer came back with proofs that had incorrect margins, I was able to prove that the printer had received accurate instructions and failed to follow them, and was therefore responsible for making corrections. Write down the fonts used, the dimensions of the page, the paper weight, the trim size, the page count, and everything else you can think of, and make sure that your sales representative has a copy of this information. If something goes wrong, you'll need the help of your sales rep to resolve it with the production department. (The sales rep doesn't want to lose your future business, so will tend to be very helpful in persuading the production department to fix errors.)

When your page proofs come back, check them carefully. Measure the margins. Make sure there are no blotches or smears on the pages. Make sure all the pages are actually present. Check your cover proof against the actual cover artwork. If something doesn't look right, speak up. Never sit back and silently accept shoddy work; hold your printer accountable for any mistakes. This is your book, and you want it to be perfect.

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