Fun With Formatting: Emails and Text Messages in Ebooks

“An epistolary novel is a novel written as a series of documents. The usual form is letters, although diary entries, newspaper clippings and other documents are sometimes used. Recently, electronic “documents” such as recordings and radio, blogs, and e-mails have also come into use. The word epistolary is derived from Latin from the Greek word ἐπιστολή epistolē, meaning a letter” (from Wikipedia)

All well and good, but what do those look like in an ebook? Notes and letters have a fairly standard format: offset margins, extra space before and after, sometimes italicized. Visually, it is easy to clue the reader in that they are looking at a note or letter. But what about an email? Or a text message?

I recently completed a book where the writer used emails and text messages. One chapter consisted entirely of emails and another chapter was a text message conversation. This particular author writes funny, quirky, sexy, offbeat romances. She likes her ebooks to be pretty and to stand out from the crowd–she wants them to look fun. (Which is tons of fun for me.) She wanted the emails to look like emails and the text messages to look like text messages.

textemail1For text messages inside the body of the ebook I used a sans serif font, bolded, and offset.

Would readers be confused if the text message looked the same as everything else? I doubt it. I know, from my own reading (and I read a LOT!) that visually interesting ebooks stand out. I am delighted by small touches–ornaments, unusual formatting, pictures–that break up the solid chunks of text.

For the chapter that consisted entirely of text messages, I pulled out the stops, using color blocks and right and left text alignment:

textemail2This is a tad over the top, but it fits with the playful tone of this story. For a story with a more serious tone, I would probably not use color blocks. I could use deep right/left margins to make the text messages appear to be in centered blocks. I might give them a border, too, to keep them from running into one another. Or, left align the text and have extra space between the messages. The key would be, as in all things ebooks, consistency. Pick a look, stick with it, and readers will happily follow along.

On to emails. I’ve formatted emails before, but this was the first time that I had a long string of them. The headers had to be included (because they are an important part of the story). I considered (briefly) placing each on its own “page.” But no, that would have killed the sense of rapid back and forth. This is what I came up with:

textemail3I set off each header with two lines (horizontal rules) and sans serif font with the sender bolded. For the body of the email I used regular serif font and a block paragraph style. To my eyes there is no mistaking these as anything other than emails. It’s a style that would work for any story that has emails, whether in a string or as a stand-alone.

So there you go, one way to handle text messages and emails. What about the rest of you? Have you found a fun/interesting way to make emails and text messages stand out in your ebook? Inquiring minds want to know.


Samples are from Penny Watson’s Sweet Adventure. Sweet-Adventure-ebook-cover-blue2

Got Workflow? Step by Step to Better Books

Sloth is my deadly sin of choice. But you know what they say, If you want to figure out the fastest, most efficient means of getting a job done, find a lazy person. That’s me. I want to get my work done for the day so I can kick back with a can of Pringles and watch Gordon Ramsay on Hulu.

Producing books for public consumption is not nearly as difficult, complicated or time-consuming as writing them in the first place. Even so, it is a real job (as opposed to an afterthought) and it takes some skill and planning. To do the job right–produce a great product–requires a workflow that makes sense and doesn’t involve anybody’s head exploding. (And please, please don’t come in bragging how you one-step book production by using InDesign or Scrivener to compose your work, then create print and digital and pdf files in one fell swoop. One-size-fits-all might be fast, but it does NOT produce reader-pleasing products.)

I often work with a team–writer, cover artist, editor/s and proofreader. This must be coordinated and everybody has to be kept in the loop and on the same page. I have to make sure everyone has the same tools. (For instance, I do the majority of my work in a text editor and in InDesign, two programs not every writer or editor owns or is familiar with.) Almost everybody has Word–or a word processor that produces .doc files. Anyone with a computer can read a pdf. For that reason, working files used by multiple people are passed around as either .doc or .pdf files.

Taking into account that there will be changes to the text in every step along the way, I prefer starting with the ebook (easy to modify) then use the text that has been edited and proofread to create the print-on-design edition (not so easy to modify).

HOW IT WORKS

Step 1: The Original

workflow1The very first thing I do when I receive a manuscript is create a project folder and do a Save As of the original. Save As is important. There is no reason to NOT make multiple copies of the file. Your computer has plenty of room, and there will be cases when you NEED a previous version. I’ve come up with a file-naming system that helps me keep track of the files. I date the versions, too. My naming system might not make sense to anyone else, so I recommend you come up with something that makes sense to you. As long as it is easy to remember and searchable, it will work.

Step 2: Scan and tag

workflow2I scan through my version of the original .doc file and make styling notes (chapter heads, special formatting). I note hyperlinks and images placement. Then I use Find/Replace to tag italics, bolding and underlining.

Step 3: Clean Up

workflow3I Select All and Copy, then transfer the text into a text editor. Here I do a thorough cleanup which includes finding “illegal” characters, deleting extra spaces, tidying special formatting (italics etc.), and making sure the punctuation is “printer” punctuation and not “manuscript” punctuation. I also start a simple text file that is called “Notes_…” where I jot down the table of contents entries, any special formatting required, and other bits. (If you are doing your own ebook formatting I HIGHLY recommend you not skip the Clean Up step. No matter how good your Word file looks, it’s going to be full of hidden goobers and grabby formatting.)

Step 4: Create a Mark Up Document

workflow4I do a Select All and Copy the clean text and transfer it back into a new Word doc. I style it as a manuscript (Courier font, double-spaced), create a navigation guide (apply the Heading 1 and Heading 2 styles to chapters and sections), and restore special formatting (italics etc.). If I have made styling notes, I highlight those. (This sounds like a lot of work, but it only takes a few minutes.)

Step 5: Format the Proof Ebook

workflow5I do a Save As of my cleaned up text file as an html file. I always ask the writer/publisher what kind of device on which they read ebooks. This tells me whether they need a MOBI file or an EPUB file (they look the same, but the underpinnings are different), and I make that version first.

Step 6: Proofreading

workflow6Sometimes writers hire me to proofread the ebook, sometimes they do it themselves, sometimes they hire a third party. The process is essentially the same: The proofreader goes through the ebook word by word, finding errors, and uses the mark-up document to note changes. Even if I am the proofreader, I send the ebook AND the mark-up document to the writer. That way if they want adjustments to the styling, they can note it on the mark-up document. If there are multiple readers, Word’s Track Changes* is a handy feature. The important aspect is that all changes to the text are clearly noted.

Step 7: Complete the Ebook

workflow7I manually insert all changes/corrections into the html files and finish the ebook/s. I will make the necessary versions a writer needs, and make sure everything is validated and working properly. If by chance you are doing your own ebook and you are using Word, my recommendation is that you have TWO versions of your file: Mark Up and Ebook. Do all your markup and changes in the Mark Up version and transfer it into the Ebook version. That way you won’t “infect” your ebook with Word nasties and extraneous grabby styling.

Step 8: The Smashwords Word File

workflow8Some of my clients use Smashwords. To get the best results with SW, I recommend providing an EPUB file AND a Word file formatted to SW’s specs. What I do is copy the text from the finished ebook into a new file, and strip out the html. (With Find/Replace this takes only minutes) I Select All and Copy the clean, proofread text into a new Word doc. This file is named Final_…. I do a Save As and style the new doc for an ebook. Done.

Step 9: The Print-on-Demand file

workflow9For the Do-It-Yourselfer, you can create a perfectly serviceable and attractive POD book using Word. I happen to use InDesign (because of my innate masochistic tendencies). Either way, the key to a well-produced print version is well organized, squeaky clean text. If you followed my workflow step by step, you just happen to have exactly that on hand. :)

I always save the POD version for last. Production takes longer, not only in layout and design, but because it takes time for CreateSpace or Ingrams to approve the files, the cover has to be custom fit, then a proof edition ordered, mailed and gone over. It can take a few weeks. While this is being done, the writer/publisher can already have uploaded and started selling the ebook. If by chance an egregious error is discovered in the text (it happens, sigh…) then it is a relatively painless process to fix the ebook file and upload the new version to distributors. If it happens the other way–that the POD version is finished and distributed**, then an error is discovered during ebook production–well, that error is going to cost time AND money to fix in the POD edition.

The easiest way to pass editing/proofreading notes back and forth for a POD book in production is to use a pdf reader (I use Adobe Acrobat) and make use of the highlight/comment features. If you are using Word to create your POD edition, have your other-than-yourself proofreader read a pdf version and use a Markup document to note changes/corrections rather than having them work on your formatted .doc file. Trust me on this.


As with just about everything in my life, I have to try out many methods before I discover the process that works well for me. More importantly, something that others can use with minimal hassle and instruction. This workflow works. It works whether you are going solo or if you’re working with a team. Try it, you might find your productivity increases.

* A caution–A HUGE CAUTION–about Track Changes. It was designed with print in mind and it’s a brilliant tool. For digital productions it can be a nightmare. If you intend to use a file in which Track Changes was used, clean it thoroughly. As for me, TC never touches any text I intend to format for an ebook.

**I had a client who had a professional design her POD edition, and then needed me to format the ebook. Unfortunately, the only version of edited, proofread text she had was locked up in a QuarkXpress file. It cost her extra for me to recover the text and clean out all the print formatting. A problem she wouldn’t have had if she’d followed my workflow. Save As, people, keep using Save As and maintain your markup files in formats anyone can use.


workflow10Examples are from The Metaphor Deception, by Birch Adams, now available in ebook and print wherever fine books are sold.

The Proof is in the Proofreading

quinnproofMy biggest gripe with ebooks is a lack of proofreading. (Trad pubs are the worst offenders–isn’t anybody at least giving the ebooks a quick scan before putting them up for sale? Judging by the multiple dumb errors and piss-poor formatting, I’d say the answer is no.)

When I produce an ebook I have two hard and fast rules, Number One: squeaky clean text going into production. Number Two: the ebook must be proofread post-production. I charge people to proofread their ebooks for them, and a lot of clients take me up on it, but I’m more than happy for the writer to do it him/herself or hire a third party. I even make it easy for them by providing a markup document and instructions (since they can’t make changes in the ebook itself).

Even though proofreading is essential, some would like to argue that they can skip it. They’ve already polished the manuscript to a high gloss, even had a professional editor have a crack at it, and, in some cases I’m sure, they are sick to death of that particular project and want to get on to something else. I get that. Been there. Even so, it’s part of being a publisher and it must be done.

Before I continue, let me explain what proofreading is NOT:

  • It’s not copy-editing
  • It’s not line-editing
  • It’s not editing at all

What proofreading IS:

  • Format checking
  • Typo searching
  • Error seeking

When I produce an ebook, I expect that the writer has edited, polished, tweaked and fine-tuned. They’ve made the text as clean as they are capable. They made their grammatical choices and established a style. When I proofread I’m just looking for goofs. I don’t change text unless it’s a patently obvious error. Double words (…he spelled the the word misspelled incorrectly…) or a mixed up homonym (…happy is the bear-foot boy…) or a missing word (…nothing finer than (a) sunny spring day…) and misspellings or incorrect contractions. For anything beyond that, I will make a note to the writer and they can decide how to fix it, or not. My main concerns are my own goofs in formatting, and little gremlins such as missing punctuation or words that aren’t fully italicized or spacing issues.

There is nothing particularly difficult about ebook proofing. That said, I recommend that writers NOT proofread their own work, but instead hire out the job or find a writer friend willing to barter or trade the chore. The reason is copy blindness. When you write something down, you know exactly what you MEAN to say. Your brain is more likely to “see” what you meant rather than what is actually on the page. It’s a very real phenomenon and it trips up the best.

What if it’s not in your budget to hire a proofreader? What if all your friends are busy? What if you HAVE to do it yourself? What if you WANT to do it yourself?

There is hope.

The Tools

  • An ereading device: Kindle, Nook, iPad, your computer, etc.
  • A style sheet
  • A style manual
  • A dictionary

The Device: Even though MOBI and EPUB are different platforms, the ebooks should look pretty much the same no matter what device the reader uses. So it doesn’t matter which version you proofread. If you do not have a dedicated ereader, then you need to use an online viewer. I recommend the Kindle Previewer, Calibre and Adobe Digital Editions. All three are free downloads. All three render well enough for proofreading purposes. All three allow you to double-check your ebook’s navigation.

A Style Sheet: This is basically a log of your preferred spellings, stylings and usages. I keep Notepad open when I proofread and jot down character names, unusual spellings, etc. to give me a quick reference. Consistency is the key to a good reading experience. The style sheet will keep you consistent. I also log product names and trademarked names, then double check to make sure they are spelled correctly and to see if there is any restriction on their use.

A Style Manual: Every publishing house and periodical publisher has an in-house style. Often it is based on a particular style manual such as the Chicago Manual of Style. Every indie publisher should do the same thing. Pick a style and stick with it. For fiction, a far simpler style reference will suffice. I recommend Strunk & White Elements of Style. Short, easy and friendly. Buy a copy (then buy extras for when your kids run off with them).

A Dictionary: Depending on spell check can lead to embarrassment. If you’re like me, you have dozens of dictionaries and thesauri on your bookshelves. Pick your main reference(s) and stick to it/them for consistency’s sake. Language changes and evolves, but it shouldn’t do so within one story. If you’d rather use an online source try the Merriam-Webster site or the Oxford Dictionaries site.

The Process

  1. You must open the ebook on something. You cannot properly proofread the ebook by going back to the manuscript.
  2. Have a markup document ready. I use a Word doc in which I’ve created a navigation guide, but no other formatting. Here is where Track Changes* comes in handy. Do all your mark up and changes on this document (which you will then transfer to your actual ebook file after you are done).
  3. Work backward through the ebook. Truly, this is the number one best way to defeat copy blindness. It will help keep your mind out of the story and on task.
  4. If you get sleepy or hungry, take a break. Sleepiness makes you dull and inattentive; hunger makes you impatient.
  5. Periodically change the font, font size and line spacing. Just making the ebook look different goes a long way toward making you more efficient.
  6. Get in the habit of questioning everything. Homonyms can be the bane of many writers. It’s so darned easy to mix up words that sound alike. Here’s a fun reference: Alan Cooper’s Homonym list. Product names are another danger area. Google is a wonderful resource. BUT, sometimes it is not enough to just get the spelling right. Companies can be very aggressive about protecting their trademarks. If you are using a trademarked product name, double check proper usage here.
  7. Use Find/Replace wisely. I rarely use Replace All when proofreading–it can lead to strange occurrences. It is human nature to repeat errors, so if you find an oddball spelling, do a quick search to see if you’ve done it elsewhere.
  8. If a passage seems off to you, read it aloud. Read it aloud to someone else. This is an excellent way to figure out if you’ve misplaced a comma or skipped a word.

And a final word of wisdom: Don’t rewrite your book. Seriously. You’re proofing the final product, the final step before releasing it. If you cannot stop rewriting, tweaking, doing “just a little bit more”–procrastinating!–then find someone else to proofread for you.

If anybody has any other handy-dandy tips to make proofreading easier or more efficient, feel free to fill up the comments.

* Never, ever use Track Changes in a Word doc that you intend to convert into an ebook. Turn it off, keep it off, protect your ebook from the nastiness that Track Changes inserts.

C’mon, Book Marketing Isn’t That Hard

QuinnMarketingI see and hear about a lot of writers wanting to sign an agent and go for a traditional deal because, “The agent and publisher know how to market my book and I don’t. It’s too hard.”

Nuh-uh.

Here’s how it works: Agents know how to market to certain editors; Editors know how to market to their editorial heads and marketing departments; Marketing departments know how to market to retail distributors. What none of them know (or maybe they don’t bother with) is how to market to readers. That’s the writer’s job. Trad or indie, if you don’t know how to market, your books are sunk. In fact, if you don’t have a marketing base before you submit to either an agent or editor, your chances of even getting a second look are slim to none.

What’s a poor writer to do? Panic is not an option. Truly, marketing is NOT that hard. Basically, all marketing is: Being in the right place in front of the right people with the right product.

(Please note I am talking about marketing only and NOT about promotion. Marketing and promotion are two completely different animals. That’s why it’s called marketing AND promotion. You can market effectively without any promotion, but it is impossible to promote anything without an effective marketing base.)

There’s a lot of nattering going on about “discoverability.” Well, let’s get one thing absolutely straight: Readers have zero problems “discovering” something to read. What people are really moaning about is, how can I get people to discover me? That can drive otherwise perfectly nice people insane. So let’s take insanity out of the picture. The first thing we are going to do is forget all about promotion for now. Put it out of your heads. As noted above, you CANNOT effectively promote anything until your marketing is solidly in place.

No promotion? Jaye, you’re so crazy.

Am I? Then explain how it is I am booked solid through the next three months and I have to turn business away. Aside from this blog, I do zero promotion for my book production services. (And I’ve been informed this blog is pretty crappy promotion-wise and I could do so much better. Well, yeah, but then I’d need another 16 hours in each day and I don’t know squat about that kind of physics, plus I’d need minions, which are harder to find than you’d think.)  I do, however, quietly and consistently market my services, and it’s working out pretty well.

The two things you have to keep in mind at all times:

  1. Marketing is a long-term strategy that requires constant maintenance and awareness of what is going on in the marketplace.
  2. Your product has to deliver every single time.

You need a plan. Your plan should include figuring out:

  • Right Place
  • Right People
  • Right Product

Your marketing plan needs to be put in place long before you publish (or submit to an agent or editor). It should start as soon as you get the notion, “Hey, I can sell my writing to the world! Maybe I can even make a living from it.”

But, but, Jaye, how can I promote a book that’s not even written?

You’re not promoting anything. What you are doing is marketing yourself, because you know as well as I do that writers are part of the package. People are much more willing to take a chance (spend the bucks, spend the time) on a book if they “know” the author.

The first–most important!–thing you need to do is: Define yourself as a writer. You can’t effectively market anything–even yourself–unless you know exactly what it is you are trying to sell. This is the part that trips many writers up. They have stories, they write them down, but they don’t think about what defines their work. They don’t ponder what it is they are offering to the world. Take me, for instance. I produce books. So do a zillion other people. What defines me? Passion. It says it right in my tagline: Ebooks = Real Books. That’s been my driving force all along. That’s why I have clients who call me the “production goddess” and why I get emails that say, “So and so referred me, they say you are the best.” It’s how I get away with constantly haranguing publishers to DO IT BETTER, DAMN IT.

You don’t have to come up with a tagline–but you have to KNOW who you are.

  • “I’m the writer who makes their panties wet.”
  • “I’m the writer who will force the world to acknowledge poverty.”
  • “I’m the writer who makes people think about technology.”
  • “I’m the writer who brings history to life.”
  • “I’m the writer who makes them check under the bed and leave a light on at night.”
  • “I’m the weirdo writer and nobody knows what outrageous thing I will say or do next.”
  • “I’m the writer who….”

Are you getting the picture? Put some thought into this. You don’t have to pigeonhole yourself or lock yourself into just one genre. You do need to ponder whatever it is about your writing that is consistent and passionate and a driving force. THAT’S what you will be marketing. And yes, it is perfectly okay to come up with an “Author Persona.” Many writers are shy and retiring and live very private lives. They are not comfortable putting themselves out there, bare naked for all the world to see. You don’t have to. Once you define what it is you DO, it’s not a big step to come up with a persona that fits comfortably. Set your boundaries. (Discomfort is an off-putting emotion.)

Next step is figuring out who the right people are–i.e., who are your potential readers. (If you say, “Every reader between 2 and 92 will love my books!” you are doomed. Seriously. Don’t even say that in jest to me.) Let me share a little chart I made:

Marketing1If you write in a specific, well-defined genre, then figuring out who your readers are/will be is easy. Romance, Crime, Mystery, History, Horror, Fantasy, Science Fiction–all of those have One Genre Power Readers and that’s who you target your marketing to. Popularity (best sellers) tends to trickle up. First they appeal to the OGPR, then as they catch on, others higher up on the pyramid discover them. With that in mind, for those who write across genres or who don’t fit exactly into a well-defined genre, is to figure out the aspect of their writing that DOES FIT. Let’s say you write historical novels, and fantasy novels, and an occasional mystery. Trust me, there is something within all those books that is a common thread. Maybe it’s the history. You research extensively–even your most fantastic fantasies are rooted solidly in some historical era or aspect. In that case, you target your marketing at the history readers. If instead, all your stories tend to have a strong love interest and the romance is essential to your plots, then target the romance market. See how that works?

Once you know WHO to market to, then you have to figure out WHERE they are. The nice thing about OGPRs is that they tend to make their presence known. They are nuts about their genre and love to talk about it and tend to gather in communities all over the internet. I suggest creative lurking in the beginning. Give yourself time to figure out what they like and dislike, what they are reading and why, and how and where they discover books. Keep your mouth shut and your ears open. (You might even discover an underserved niche that your not-quite-fits-in-the-genre stories will fill perfectly.)

Now you’re ready for the Big Question: HOW? Here, again, is where many writers fail. They sign up for Twitter, Facebook, Tumbler, Google+, and every other social media site they can think of; they create a website; they start a blog; they… They don’t have a plan. So everything fizzles and dies and they are back to thinking, Marketing is too hard!

You cannot forget that marketing is LONG-TERM. With few (very rare) exceptions, nobody bursts onto the scene full-blown and well-known. Markets must be built and nurtured and gained. It is not about tweeting “Here I am!” and expecting the world to pay attention. (It’s like I tell my husband, “If you want me to pay attention to you, do something interesting. And no, rapid-remote clicking is NOT interesting and neither is whining about dinner.”) Nobody owes you attention–you have to earn it.

Here are my suggestions for developing a plan:

  1. How much time can you COMMIT every week? Effective marketing requires commitment. Commitment will ensure consistency.
  2. Where are MY potential readers most likely to discover me? Blogs, Facebook, Twitter, Wattpad? Just remember, you want READERS to find you. It might be more comfortable to hang out with other writers, but they aren’t your market (unless you write books on writing).
  3. What do I have to offer? (Aside from your books.) Marketing is about selling, but in developing a market base, the last thing you want to do is to make potential readers think the only thing you care about is their credit card. Instead, come up with a hook based on your definition of your writing and who you are as a writer. Develop a theme that draws attention. Keep it focused. Your ultimate goal is to build a solid fan base who looks forward to your writing. This takes time. Don’t be impatient.
  4. Who can help you? In every reader community/hang out, there are people others admire and look up to, and most importantly, value their recommendations. If they blog or are active on Twitter or Facebook, get to know them. Let them get to know you. DO NOT SPAM THEM. Do NOT BEG them to read your book or review it or do anything at all. If you earn their respect and their attention, you will by association earn the respect and attention of their wide circle of followers and friends. If you cannot do this without being 100% genuine, then don’t do it at all.
  5. Deliver. Your books are your PRODUCT. It is your job to make sure you deliver them to the right people in the right place and that the right people know it is the right product. That means packaging your books to target your market, using the right keywords, and distributing them effectively. And never forget that YOU are a product, too. Like it or not, you will be judged. It’s a risk you take in your bid for attention. Put your best self forward.

There you have it. Marketing. No tricks, no gimmicks, no short cuts. Define your product, make a plan, commit to it, and build your base.

If anyone wants to discuss promotion, feel free to have at it in the comments.

 

 

 

Should You Go Digital (Ebooks) With Your Nonfiction Title?

A comprehensive Table of Contents linked to all entries.

A comprehensive Table of Contents linked to all entries.

Is there a big market for nonfiction ebooks? I truly do not know. As an observer (as opposed to actually publishing nonfiction), it appears to me that nonfiction readers have been slower to adopt and adapt to reading ebooks. I’ve read very few “success” stories from the publishers (trad or indie) about nonfiction titles. This might be partly due to the ereading devices themselves. Older (pre-Kindle) devices and eink readers are best suited for straight text, few bells and whistles–i.e. fiction. Or it might be due to the mindset of the readers themselves. Who knows? Even I, hardcore ebook reader that I am, tend to look to print when I’m in the market for nonfiction.

With the rising popularity of tablets and with so many readers using their smartphones as reading devices, I believe we’ll see a slow, but steady increase in the number of people who read certain types of nonfiction ebooks.

Using hanging indents for a Q&A section.

Using hanging indents for a Q&A section.

There is a real problem in regards to format. For narrative nonfiction–biography, memoir, inspiration, political books, essays–an ebook is a terrific medium. When you start getting into more complicated works–how-to books, art books, reference books, cookbooks, project books–any type of book that readers don’t necessarily read from cover to cover, but instead go to the sections they are interested in at any given moment–ebook limitations become abundantly clear. (I have been disappointed over and over by buying an ebook filled with how-to tips, illustrations, etc. only to find its PITA score is too high for my comfort–so then I have to run out and buy the print edition.) Those types of books might have to go in a completely different direction altogether in order to find a strong market. Apps, perhaps, geared specifically for tablets, online reading and smartphones, eschewing dedicated ereading devices altogether.

Nonfic3

A simple table style that renders well across devices.

In my opinion, even though the market for nonfiction appears small right now, I believe that it is growing and that eventually it will be strong enough and steady enough to make nonfiction ebooks profitable for self-publishers. It seems only smart to me that writers with certain types of nonfiction books should go ahead and go digital. The more nonfiction there is on the open market, the more visible it is, the more readers will notice and start buying.

So what types of nonfiction are suitable for ebooks? Considering the limitations of the devices themselves–right now–narrative types with illustrations such as photographs, maps, and “fill the page” type graphics. For example:

  • Histories
  • Biographies
  • Memoirs
  • True Crime
  • Essays
  • Religion
  • Inspirational
  • Political

Books with a high PITA (pain in the ass) factor include:

  • How to
  • Reference
  • Workbooks
  • Cookbooks
  • Project books

When deciding whether or not your project is suitable for an ebook, check the following items:

WHAT ALL EREADING DEVICES HANDLE VERY WELL

  • Narrative text
  • Photographs (color and black/white)
  • Illustrations (color and black/white)
  • Simple maps
  • Lists (ordered and unordered, and nested, too)
  • Simple tables
  • Hyperlinks (internal and external)
  • Extensive tables of content
  • Indexes
  • Appendices
  • Endnotes

WHAT SOME EREADING DEVICES HANDLE OKAY

  • Text heavy graphics–including some maps and charts
  • Boxed tables
  • Faux-scalable images (have to use some formatting tricks, but with great care and understanding of the limitations)
  • Worksheets
  • Fixed format
  • Footnotes

WHAT EREADING DEVICES DON’T DO

  • Text wrapping around images
  • Truly scalable images such as vector graphics
  • Printable material (While capturing screenshots is possible, very few readers will have the knowledge to capture, rescale, sharpen and print material off their Kindles or Nooks or smartphones, so it’s reasonable to say that what they see on the device is what they get and will go no further. A more reasonable option for writers with worksheets, recipes or other material you WANT readers to print, is to include links to a printable pdf.)
Nonfic4

Lists, ordered and unordered, and even nested, render well across devices.

Another thing nonfiction writers need to consider is file size. Most distributors have a limit as to the size of the file you can upload to their site. Amazon also charges a delivery fee of $.15 per MB against your cut. A 10MB ebook will cost you $1.50 per sale. A 50MB file will cost $7.50. You could end up owing them money for every ebook you sell. Images add considerably to file size. Extensive formatting adds to file size.

If you, as a self-publisher, are considering producing your nonfiction project as an ebook, here are some things to take into consideration:

  • Cost analysis. The more images you have, the more complicated the formatting, the bigger the file, the more you will have to charge. Consider, too, how much the book costs to write. Get an idea about how you will price the book and be reasonable. If you have to charge $30 for your ebook just to break even, you need to research the market and figure out if anyone is willing to pay $30 for your ebook.
  • Take the PITA factor into consideration. (For example, I laid out $15 for an ebook about InDesign. The information is worth every penny, but even on my Kindle Fire most of the illustrations are too small to read. So I had to buy the print version which does have illustrations I can actually use. What a pain in the ass–and the publisher is getting no more ebook sales from me.)
  • Forget about making it LOOK like print. Ebooks are not print, and trying to force your digital edition to look exactly like the print edition will probably result in a broken ebook.
  • Exploit the features that ebooks do well. Hyperlinks, internal and external, for instance, giving readers enhanced navigation.
  • Unless you’re an accomplished ebook formatter, add professional help to your cost analysis. Narrative nonfiction with few images can be a good DIY project. For anything more complicated, programs such as MS Word or Scrivener will work against you and produce a poor-quality ebook. You will need to format in html or use an EPUB editor such as Sigil or Vellum.

My conclusion is, if you have a nonfiction project suitable for ebook (in format and price), then don’t let the current market deter you. Get it produced and distributed and let the market catch up to you.

 

 

Restore Your Back List Books: Step 2: Part 2: Create a Workable Document

All righty then. You have scanned and converted your printed book. You have cleaned out the very worst boogers and formatting. You now have pure text you can turn into a document you can actually read and edit. You are this close to having a manuscript that is no more difficult to work with than any other WIP.

Before we get into specifics, let me explain up front why I use the style and font that I’m going to use in my examples. I’m an old-school writer and for years and years I worked in standard manuscript format for submission to editors. 12 pt Courier, double-spaced, wide margins, underlining for italics. Nothing awakens my inner editor faster than 12 pt Courier, et al. That’s me. You need to use whatever style, font, etc. that works best for you. If Candara 11pt, 1.5 line spacing or Garamond 13pt, triple spaced lets you work efficiently, then use it. It doesn’t make a whit of difference what your working document LOOKS like as long you are comfortable and you can work.

First, let’s do a little prep work with our original material–the print book. No matter how careful you are, no matter how good the equipment, shit happens. Text gets garbled, a page is missed, a wrinkled page is turned into abstract art. So go through your original pages and mark sections and chapter starts with a paper clip or sticky note. If you suspect your italics or other special formatting is messed up or missing, scan through the printed pages and highlight the italics (you’d be surprised how well italics “leap” off the printed page–you can scan very quickly)

Ready? Open Word (or whatever word processor you prefer) to a blank document. Apply the style “Normal.” Open up your text editor file. Do a Ctrl-a (Select All), Ctrl-c (Copy), then go to Word and do Ctrl-v (Paste). Your text is now a document file. Looks a whole lot different from what you started with, right? Now modify the “Normal” style to make it look the way YOU want it to look. (font, line spacing, paragraph indents, etc.)

RestoreBlog10Not only does it look different, it’s a whole lot smaller, too. This sample file went from over 7MB to its current 472KB. No columns, tables, tabs, changing fonts, or any of the other bloat or nonsense that make your job so hard. Despite still needing some work, it’s readable. If you wanted to start right now from page one, word one to begin the final cleaning, you could do so without ripping out your hair or giving up in frustration.

But wait! I have some tips and tricks you can use to make the job go even faster.

BUILD A NAVIGATION GUIDE

Word has its strengths–navigation is one of them. You’re going to make it very easy to move around in your manuscript by using styles. Heading styles, to be exact. Scroll through your document and apply a heading style to your chapter heads.

RestoreBlog12If you’re using Word 2010, it has a nifty navigation panel that allows you to see where you are in your document at all times. It has plenty of levels, too. So if you have a very long, complex document, you can do something like apply Heading 1 to chapter heads; apply Heading 2 to sections; apply Heading 3 to the first paragraph after a scene break, and so on. Taking ten or twenty minutes to do this now will save you tons of time later when you, for instance, run into a patch of garbled text and need to find it in the original. It’s a whole lot easier to search a known section than it is to scroll around in the document to figure out where you are then have to paw through the original. You can modify the heading styles to look any way you want them to look. It doesn’t matter, this is for your eyes only.

QUICK TIP: If you are using an older version of Word that does not have a navigation pane, click and hold down your mouse on the right hand scroll bar. It will tell you where you are in the document.

RESTORE YOUR SPECIAL FORMATTING

Now you can restore your italics (and other special formatting). As noted before, I like to use underlining when I’m cleaning up a restored document. Underlining is more visible than italics, and it’s very easy to change the underlining to italics later if necessary. Do whatever is comfortable for you. Open up the Find/Replace box and make it look exactly like this:

RestoreBlog13Do a Replace All and done. Use Find/Replace to get rid of the tags. (Make sure you uncheck “use wildcards” and select No Formatting for the Replace field.) If by chance your italics didn’t make it through conversion, I recommend you wait until after you have proofread the text and run the final spell check before you put the italics back in. It will make searching for the text you want easier.

RESTORE CURLY QUOTES

Word also does a nifty little trick for you. In Find/Replace if you type ” in the Find field and ” in the Replace field, then do a Replace All it will turn your quote marks in the right direction (mostly). Type ‘ in the Find field and ‘ in the Replace field, do a Replace All, and it will turn your your apostrophes and single quotes, too (mostly). I say “mostly” because a few will still be turned wrong, but you can find those easily enough when you’re proofreading.

PRELIMINARY SPELL CHECK

You will make life much easier for yourself if you run a spell check BEFORE you start proofreading. By this point Word has already warned you that “there are too many spelling and grammar errors…” Wimpy. At this point you will run into a lot of joined words, mis-hyphenated words and gibberish. This is your opportunity to clean those up. In most cases, it will take a while, so put on a movie or queue up some music, make a fresh pot of coffee and make yourself comfortable.

QUICK TIP: If you open the Find/Replace box in Word 2010 you will see down at the bottom left a box for “Options”–open it.

RestoreBlog14Go through the menu and customize it to suit your document’s needs. It will make life much easier on you. Also, on the Find/Replace box (scroll up to see it) you will notice a button that says “Special.” Click that and it will open a menu that contains such special characters as em dashes and paragraphs. You can search for those.

A WARNING: Be very cautious about how you use “Change All.” Remember, OCR has interpreted images into characters, and like any interpreter, it can be sort of stupid. It’ll trip you up. At this stage, you are far better off correcting one word at a time, even if it takes some extra time.

SPECIAL FORMATTING FOR PARAGRAPHS

As you go through the document, you might find such things as letters, notes, text messages, poetry, song lyrics, lists–instances that will require special handling when the document is turned into a book. DO NOT FORMAT THESE. This is your source document. If you want to turn it into a book or an ARC, you will do so with a copy of the file. Instead, make a note (for yourself or for the person you hire to format your books) and highlight it. A few examples:

  • [NUMBERED LIST]
  • [POETRY, OFFSET AND ITALICIZED]
  • [LETTER, SIGNATURE RIGHT ALIGN]

It will make your (and possibly my) life easier. If you hire out the formatting, let your formatter know about the notes and they’ll handle it from there.

CONGRATULATIONS

Your text is now clean enough for you to go through it and treat it like any other proofreading job. It won’t leave you curled in a fetal ball, weeping about the immenseness of it all; it won’t leave you with bald patches from tearing your hair out. After your proofread (which will NOT take months) you’ll have clean, error-free text ready to be formatted into an ebook or print on demand book or both, and your readers will thank you.

So no more excuses. Get that back list back into circulation.