Strengths and weakness of of the primary “print-on-demand” (POD) printers for small indie publishers (including self-publishers): Amazon’s KDP versus Ingram’s IngramSpark. Read More
Book Design FAQ: Questions and Considerations
Answers to some of the most common questions I get. If you have additional inquiries, please reach out to me. I’m happy to help.
How does publishing work?
What are your goals for your book? Do you want to have your book prepared for the “trade”—that is, to sell in bookstores or online? Will you only directly sell your book? Or is this book for a special audience, in a limited distribution? This is the fundamental question when contemplating publishing your book.
Understand, you can create and print a book without publishing it. A printer takes your fully formatted and print-ready manuscript and cover files, prints them out, and binds them together. You can give these books to friends and family, sell them on your website, or distribute while giving presentations. I can help you with this, too.
But my point is that printing is not publishing. And (most) printers are not publishers (and most publishers are not printers).
“Publishing” refers to creating a book destined for bookstores and online sales. In addition to the writing, editing, and design, a published book must be marketed and promoted. It must then be distributed to bookstores or online booksellers. Finally, there must be some mechanism for fulfilling book orders.
The publishing industry exists to create, promote, and sell a particular kind of product—books. The big players have the advantage of economies of scale, while the smaller publishers are more nimble, specialized, and flexible in their processes. But this is a business, and as such, people will try all sorts of things to offer more value than their competitors.
Whatever your goals for your book, I can help guide you through the process.
When should I contact a book designer?
Whether it is me, or someone else, I recommend getting your designer involved early in the process—for example, when you begin working with an editor. An initial consultation at this stage helps to orient me to your plans, and we can talk about preliminary production, pricing, and schedules.
Typically, actual design work begins once the developmental edit is complete. The manuscript must be ready for others to begin reading it, and then we can begin developing the visual structure of the book.
Typesetting of the book takes place after the layout is created and approved, and then only once ALL edits are complete in the manuscript—after line edits and copyedits.
If the book will be sold through distributors, you will want at least the cover, if not a full advanced reader copy (or galley), to be completed months in advance of your planned publication date. This allows time for your promotional efforts, including book reviews.
What is your style?
One of the great debates in the world of graphic designers is whether the style of the designer should be apparent. On the one hand, we work to solve visual problems in a way that reflects the brand and identity of the client we are designing for—not ourselves. Nonetheless, designers are also artists and put their stamp on the message being delivered.
In my own work, I try to bridge that divide. I like to balance opposites. White space is a luxury of design I try to include, but I also relish in compact function and minuscule details. I like to inject some visual whimsy and delight while still following traditional layout rules. I favor photographic cover art but also enjoy using simple line illustrations on covers and interior elements. And I’m big on visual emotion, which is only possible with clean art and bold typography.
I am a thinker, a tinkerer, a ponderer, and a wanderer. Design is developed and created; it is never spontaneous. Design is inspired by the world around us and the world within. I encourage you to explore my portfolio for a glimpse at the possibilities.
What information should I gather before we talk?
In addition to your book’s synopsis, technical details are key, such as estimated word count and planned structural elements (including chapters, contents, tables, and image usage). It also helps me to know your plans for marketing and distribution.
I like to see samples of titles, covers, and other visual elements that you admire. Can you imagine how the book will look? Have you created any sketches? Can you describe it in words? Please share anything that might help me visualize your preferences.
Ultimately, I need to get inside your head, to learn to see this book the way you see it, and anything that helps that process is good. The more information, the better!
Can I save money by doing some design myself?
I understand the need to manage costs and the desire for creative control, not to mention the sense of accomplishment that comes with a DIY project. I’m the same way! So my answer will depend on what your hopes are for the book once it leaves your hands.
I believe anyone can learn to design a book, both the cover and the interior. These are very different types of design, with unique objectives. But like any professional skill, it will take time, training, and practice to learn how to do either right. Professional book designers have created many books and have had the opportunity to learn from their mistakes along the way.
Do you expect your book to be widely distributed, stocked in bookstores, and read by professional reviewers? Do you want your readers to feel that it is well made? Whether consciously or not, people know what a well-designed book looks like. To be considered a legitimate player, yours will need to look the part. Do you have the energy and time to learn what that means? Are you willing to be visually creative and get out of your own head to be able to see the book as others will? Can you learn the software it will take to create it? Do you understand the technical details of what printers, and print and e-book distributors, are looking for?
The success of your overall project requires mastery of the subtlety and nuance of design. In addition, you must understand the complexity of the print production and publication world. It just isn’t possible to become an expert at it all unless you are a full-time designer.
It is up to you. But my clients understand that it is better to spend their energy on the writing and spend their money on a creative partner for design. Someone who will bridge the divide between author and reader. Someone who can connect their text with the look and feel of the cover and interior.
How should I format my manuscript for my designer?
The number-one rule of manuscript formatting is this: whatever you do, do it consistently!
Once your manuscript is finished, fully edited, and ready for typesetting, I will take your file and convert it into the page layout software—usually InDesign.
Ideally, a manuscript is as clean as possible. Other than using italics for text that must be italicized, and bold if your writing style requires that, leave all other formatting to me. Don’t worry about fonts, margins, justification, line spacing, or other visual aspects of the book—that is all determined by the layout and design of the book’s interior and will be applied after the manuscript is imported. Things like double spaces after a period, tabs to indent paragraphs, and any typographic no-nos will all be cleaned up later. Don’t waste time worrying about these details. Nor do you need to worry about the table of contents, tables of figures, or index.
If your book contains images—photographs, illustrations, or other elements that break out of the normal flow of the text—I will need to know where these should be placed. We’ll develop a convention for identifying suggested placement and captions, typically using square brackets or some other distinctive treatment.
If you want to apply formatting in your manuscript, I suggest using the paragraph and character style panels of your word processor. Just be sure to use them uniformly and consistently.
What will this cost? How long does book design take?
Pricing depends upon the details and requirements of the cover and interior, production demands, timelines, and project objectives. As you might imagine, each project is unique. I can only determine pricing and schedules after we discuss your book, your goals for it, and your budget.
Let’s find a time to talk, and I’ll be happy to give you some ballpark ideas. In general, I can work with you to find options that meet your budget and time constraints. But remember: your book will live forever. You will never regret the investment you make in getting it right.
What is your process?
The first step is for us to talk. I’d love to hear about you and your book. I need to understand your goals, which will shape the design and production process. I want you to succeed, in whatever way you define success.
From there, I’ll provide you with a written proposal outlining the scope of work. I’ll start the process of research and information gathering once I receive your deposit—typically 50% of the estimated total. We’ll have more conversations together and look at the preliminary materials.
Throughout the process, we’ll continue to communicate. I will tell you exactly what is going on, share my perspective, and help you resolve any problems. We’ll discuss the design of the cover, with several concepts and a couple of rounds of review. Next comes the layout of the interior, flowing the final manuscript into the layout, plus manual adjustments, and usually one round of proofreading. Finally, I prepare the print-ready files and deliver them to you.
Blog: Articles, Insights & Expertise
I believe the world is better when we share ideas. I never stop learning, growing, or seeking new inspiration, and I take joy in sharing my knowledge with others.
I invite you to join me as I delve into technical topics, design considerations, industry trends, recommended resources, and other arcane subjects. I also share my artistic explorations in printmaking, photography, book arts, collage, and other fascinating endeavors.
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A wrap-up list of the useful podcasts on the publishing ecosphere I’ve listened to lately: business, promotion, and production. Read More
“The paradox of Paul Nylander is that I’m proudly enigmatic myself, but I’m driven to understand how the world works, and share that knowledge with others.” Read More
A simple example to introduce the idea of publishing economics. Read More
One of the more perplexing questions to answer in preparing a book for production is what paper to use. Here I walk through the numbers, and explain my recommendations. Read More
For the curious among you … An interview with Paul Nylander about life, curiosity, how quantum chromodynamics is tied into design, and other other crazy ideas. Read More
The hallmark of good book typography is an even “color,” or broad tonality, across the page. Here is a before and after example of book typesetting. Read More
Did you know there is more than one type of perfect binding glue? And that you should care which is used? Read More
Understanding the limitations to font licenses can save headaches down the road, for publishers and designers alike. Read More
What color black do you want? Understanding rich blacks in a real world comparison. Read More