I just got back from a great meeting with a new client. She's got a self-help workbook that is based on a program she developed which has had a great deal of success for people dealing with panic/anxiety.
It's an exciting project, and I'm honored to be part of it.
What we're doing is publishing her on Lulu, where she can have total control over her own content and create the workbook that meets her own standards. I'm making sure her book interior and cover art is properly formatted, her ISBN is properly used, the pricing is appropriate, and that the finished product is what she's looking for.
I'll be reporting in more as we proceed.
One of the really great things about Lulu, is that you can have total control over your book -- from layout to cover art. The main restrictions are around how much it all costs, in the end -- that is, how much it will cost to buy. No money changes hands, unless/until a book is purchased, so that gives you a lot of leeway with how to format you book.
Well, speaking of leeway, it's time for me to get going with uploading her materials to Lulu. Then we'll take a look at it and see if it's what she wants/needs. If so, she's all set with a published book on Lulu. Exciting!
Then, we focus on the website...
Saturday, February 12, 2011
Saturday, March 7, 2009
Palatino Classic - A template for 9x6 trade paperbacks on Lulu.com
Using a standard book template really helps!
I've recently updated my Lulu Storefront to focus on my book templates. I'm doing more book design and publishing, lately, and I can't even begin to say how much easier it is, when I use a standard template.
I actually came up with this template - the Palatino Classic for 9x6 trade paperback after a bunch of trials and errors in my own publishing, and realizing that re-designing each and every book I wrote was a huge pain. I knew what features I wanted to have in each one, and they were all very similar to each other, so why re-invent the wheel each time?
One of the things I've found most challenging is not so much the organization of the book, as the little details that go along with it. Like margin settings. Like font sizes. Like making sure paragraphs are properly indented and page numbers are set. The problem is, after I've gone through the arduous work of designing the cover and proofreading the words and sketching out press releases and promotional strategies, those interior design details -- as vital as they are -- tend to weigh me down at the last minute.
Right when I'm starting to run out of steam, is when I'm in need of the most fastidious attention to detail -- letter spacing, line spacing, page numbers, heading sizes, all that detail-rich stuff that is a "must" for a good book interior.
So, I worked out how I wanted a perfect book to look. I went around to a bunch of bookstores and scoured my own book collection, and I studied how the best-looking ones were laid out. I made notes. I make sketches. I even took pictures. I made a long and detailed study of how I wanted my book interior(s) to look -- based on what worked for me (and I'm a very demanding reader who has a lot of high-maintenance needs). And I sat down and came up with a template I could really work with.
It took me weeks of trial and error, and I applied what I'd learned from designing more than 5 books of my own -- what worked, what didn't, what felt right, what felt awful (and yes, books do have a distinct "feel" for me -- if it's not there, well, I'm not interested). I tweaked and experimented and practiced, and eventually I came up with a template that I could use. I'm very happy with it, and it's been one of my best-selling templates over at my Lulu storefront.
I hope others can get good use out of it, too.
I've recently updated my Lulu Storefront to focus on my book templates. I'm doing more book design and publishing, lately, and I can't even begin to say how much easier it is, when I use a standard template.
I actually came up with this template - the Palatino Classic for 9x6 trade paperback after a bunch of trials and errors in my own publishing, and realizing that re-designing each and every book I wrote was a huge pain. I knew what features I wanted to have in each one, and they were all very similar to each other, so why re-invent the wheel each time?One of the things I've found most challenging is not so much the organization of the book, as the little details that go along with it. Like margin settings. Like font sizes. Like making sure paragraphs are properly indented and page numbers are set. The problem is, after I've gone through the arduous work of designing the cover and proofreading the words and sketching out press releases and promotional strategies, those interior design details -- as vital as they are -- tend to weigh me down at the last minute.
Right when I'm starting to run out of steam, is when I'm in need of the most fastidious attention to detail -- letter spacing, line spacing, page numbers, heading sizes, all that detail-rich stuff that is a "must" for a good book interior.
So, I worked out how I wanted a perfect book to look. I went around to a bunch of bookstores and scoured my own book collection, and I studied how the best-looking ones were laid out. I made notes. I make sketches. I even took pictures. I made a long and detailed study of how I wanted my book interior(s) to look -- based on what worked for me (and I'm a very demanding reader who has a lot of high-maintenance needs). And I sat down and came up with a template I could really work with.
It took me weeks of trial and error, and I applied what I'd learned from designing more than 5 books of my own -- what worked, what didn't, what felt right, what felt awful (and yes, books do have a distinct "feel" for me -- if it's not there, well, I'm not interested). I tweaked and experimented and practiced, and eventually I came up with a template that I could use. I'm very happy with it, and it's been one of my best-selling templates over at my Lulu storefront.
I hope others can get good use out of it, too.
Professional Book Design Makes A Difference
What's between the covers?
Not long ago, I got an email from a friend about her new book of poetry, which she published herself on Lulu.com. The group of friends she contacted were very supportive of her, and her poetry was quite moving. She'd used Lulu's awesome self-publishing service to realize her dream of seeing her words in print, and being able to share her work with others.
It was really great to see.
But one thing kind of troubled me -- the interior design of her work. It was pretty clear she'd used her Word document to lay it out, and it was also pretty clear that she's a poet, not a graphic designer or desktop publisher.
Her words were great. They were truly heartfelt and made an impact. And she used one of Lulu's great covers. But the interior layout of her book left a lot to be desired. It wasn't like she had a lot of typos or sloppy mistakes... there was just something missing in the visual presentation of her book, once you got past the front cover.
If any aspect of book design gets routinely overlooked, I believe it's interior layout and design. Folks pay a lot of attention to writing their book and designing their cover, but when it comes time to lay out the interior, details tend to get skipped, and a lot of opportunity to make a book the best it can be gets lost along the way.
Personally, one of the reasons I've always read, is for the "interior experience," so to speak. I have always found reading to be quite soothing and relaxing -- and I've realized that one of the big reasons is the rhythmic movement of my eyes back and forth across a page. There's actually a physical experience to reading that has always attracted me, ever since I was a young girl, and even more than a cover design, the interior design is what makes or breaks my reading experience.
Things like font family choices. Letter size. The horizontal spacing of the words, so that there aren't too many big gaps between the letters, but they also aren't too close together. One of my favorite books I own, I haven't even read the whole way through (yet) -- but I love to take it off the shelf and look through it, because it's so well designed on the inside. The font size is just right. The typeface is perfect for my tastes, and the layout of the text on the pages is so well balanced, it's barely noticeable.
That's probably what makes book interior design so vital -- and so easy to overlook. The better it's done, the less obtrusive it is. The more efficient and elegant the interior layout, the more invisible it is to the untrained eye. In fact, the best interior book design is pretty much hidden from view.
But when it's not working, you can surely tell.
Not long ago, I got an email from a friend about her new book of poetry, which she published herself on Lulu.com. The group of friends she contacted were very supportive of her, and her poetry was quite moving. She'd used Lulu's awesome self-publishing service to realize her dream of seeing her words in print, and being able to share her work with others.
It was really great to see.
But one thing kind of troubled me -- the interior design of her work. It was pretty clear she'd used her Word document to lay it out, and it was also pretty clear that she's a poet, not a graphic designer or desktop publisher.
Her words were great. They were truly heartfelt and made an impact. And she used one of Lulu's great covers. But the interior layout of her book left a lot to be desired. It wasn't like she had a lot of typos or sloppy mistakes... there was just something missing in the visual presentation of her book, once you got past the front cover.
If any aspect of book design gets routinely overlooked, I believe it's interior layout and design. Folks pay a lot of attention to writing their book and designing their cover, but when it comes time to lay out the interior, details tend to get skipped, and a lot of opportunity to make a book the best it can be gets lost along the way.
Personally, one of the reasons I've always read, is for the "interior experience," so to speak. I have always found reading to be quite soothing and relaxing -- and I've realized that one of the big reasons is the rhythmic movement of my eyes back and forth across a page. There's actually a physical experience to reading that has always attracted me, ever since I was a young girl, and even more than a cover design, the interior design is what makes or breaks my reading experience.
Things like font family choices. Letter size. The horizontal spacing of the words, so that there aren't too many big gaps between the letters, but they also aren't too close together. One of my favorite books I own, I haven't even read the whole way through (yet) -- but I love to take it off the shelf and look through it, because it's so well designed on the inside. The font size is just right. The typeface is perfect for my tastes, and the layout of the text on the pages is so well balanced, it's barely noticeable.
That's probably what makes book interior design so vital -- and so easy to overlook. The better it's done, the less obtrusive it is. The more efficient and elegant the interior layout, the more invisible it is to the untrained eye. In fact, the best interior book design is pretty much hidden from view.
But when it's not working, you can surely tell.
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