It’s been a while since I’ve done a boast post. But this book is extra special. When Tom Pluck asked me if I’d help with PROTECTORS 2: Heroes, the second collection of stories to benefit PROTECT, of course I said yes. The organization PROTECT is devoted to helping kids. As a human being, I’m all for protecting kids from abusers and predators. On a more personal level, it’s the kind of organization that helps the children I’ve fostered and adopted in my efforts to disrupt the cycles of abuse.
PROTECTORS 2: Heroes is a hundred percent volunteer effort. 55 authors and artists contributed stories and illustrations. Many of those authors are my literary idols: Joyce Carol Oates, Andrew Vachss, David Morrell, Charles de Lint, Joe R. Lansdale, and Harlan Ellison, just to name a few. (I confess to a few fangirl squee moments, folks, so sue me…) Tom Pluck, head editor and story contributor, coordinated the effort. Suzanne Dell’Orto designed the cover and the print edition. I line-edited, formatted the ebook, and proofread. It was a massive undertaking. The book is almost 250,000 words and involved months of hard work. Every penny from the sales are going to PROTECT.
I could end this post by urging you to buy the book. (You really should. It’s fantastic and for a worthy cause.) But as with all challenging projects, I learned a few things. With so many indie writers doing box sets and collaborating on anthologies, some of you might benefit from what I’ve learned.
WORK FLOW. Big projects can easily spiral out of control. The best way to prevent that is to come up with a plan and stick to it. Because we were doing digital and print, it was easiest and most efficient to do the ebook first, then the print. Ebooks are easy to modify and update; print can be trickier. So by doing the ebook first we could get the text in tip-top shape, edited and proofread and in order. Then when I sent the final text (lifted from the ebook) to the print formatter, any minor issues found during the final proofread were easily fixed in the ebook. Our work flow looked like this:
Tom: Copy edit individual stories; create the table of contents
Jaye: Compile the individual files into one Word doc and line edit
Tom: Approve line edit, adjust the ToC, make final decision about front and back matter
Jaye: Format ebook. Send proof copy to Tom so he can make any further modifications to the layout. Meanwhile, proofread the ebook.
Tom: Approve ebook. Upload Pre-order to Amazon.
Jaye: Recover text from the ebook files, compile into a Word doc, and send that to the print designer.
Tom: Go over print proofs. Send Jaye final corrections.
Jaye: Produce final ebook.
This work flow ensured that we were not tripping over each other and, more importantly, we were all on the same page and working off the same text.
TREAT THE PROJECT AS A WHOLE: This might seem self-evident, but judging by some of the box sets and anthologies I’ve purchased, it’s a point that seems to escape many. As a reader it annoys me no end when a collection is a mish-mosh of styles–they can’t even match the paragraph indents. Tom dealt with the individual contributors, so he had to work with individual files. Once he gave me the green light, I compiled all those files into one document and from then on treated it as a whole. While line editing I standardized the punctuation and spelling. The formatting was done with the same CSS stylesheets.
MANAGE THE FILE SIZE: We knew going in that this was going to be a big ebook. Not only word count, but there were illustrations, too. Part of my job was to keep the finished ebook at a manageable size. I cannot emphasize this enough. Screen lag is always a problem in big ebooks. That must be minimized. Other problems are more serious. One is Amazon’s delivery fee, which is charged back against the publisher. $.15 per MB doesn’t sound like much, but it can add up and eat up the commissions. I’ve bought (and returned) box sets that failed to load. I had one that crashed my Kindle. (I had to reboot it and that did NOT make me happy in the least.) I manage file size by formatting in html which is very streamlined and allows me to break up the book into bite-sized chunks. I resized the images to make them as small as possible. I strongly advise anyone deciding to do a large anthology or box set to NOT format it in Word (or any word processor), Scrivener or InDesign. Those programs add sometimes fatal bloat.
NAVIGATION: I’m always obsessing about how to make navigating ebooks easier. In this case I did a two-tier table of contents. Click the story title and the reader is taken to the story. Click the author and they are sent to the author’s bio. In the bio section, clicking on the author name takes them to the story. I did it that way because when I buy anthologies, it’s usually because of the authors. I want to know who wrote what and don’t want to page through the ebook in order to find what I want. (And yes, I have bought ebooks that required me to do that because the ToC was useless or non-existent.)
[Box set tables of contents are trickier and I should do a post discussing the problems and solutions.]
FRONT AND BACK MATTER: Big books often have big tables of contents. This is good, since readers are interested in who the authors are, and I consider it a strong sell point. The downside is, it can eat up space in the sample and Amazon’s Look Inside feature. For that reason Tom and I decided to move all the legal notices and copyright information to the back of the book. I put a simple notice on the title page and added a link to the copyright information.