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Welcome to this week's #TuesdayTip. Three weeks ago, (TuesdayTips190) I announced my newest book, The Aftermath, which I am self-publishing - a first for me. I promised to take you with me on this new and exciting journey. Last week we looked at  covers. This week, we are discussing page setting - converting your manuscript to the correct layout for print and eBooks.
I'm not an expert - far from it - but I have learned a lot over the past few months. If you have any suggestions or thoughts though, please feel free to comment here or on social media.
Much of what I have learned came from the brilliant resources available through the Alliance of Independent Authors (ALLi). Joining them was well worth the relatively modest subscription fee (which is tax deductible in the UK) (https://www.allianceindependentauthors.org/). Many of the indie authors I've spoken to over the years swear by them.
First of all, what is page setting?
Pick up a paperback, hardback or eBook and look at the way the text is set out. It's a little more complicated than you might think.
Back in the early days of printing, laying out a book or newspaper, even a leaflet or flyer, was a time-consuming and highly skilled process. Individual letters and punctuation symbols made of raised metal would be placed in rows on a template, then fed into a printing press which would transfer ink onto rolls of paper. The process, known as moveable type, was invented by the German goldsmith Johannes Gutenberg in the mid-fifteenth century. The technique was refined over several centuries, but remained essentially the same until the latter part of the twentieth century when computers made setting the page and aligning everything quicker and more automated.
Fun fact: the terms Upper Case and Lower Case refer to the fact that page setters would keep the individual metal characters in cases - capital letters in the upper part of the case, the other letters in the lower case.
Nevertheless, a modern book, whether it be traditional print or electronic, still requires the text (and images) to be aligned on the page. The process is somewhat different for print and electronic, so I will split the two and describe the basics below. There are automated tools these days. Some are free, with little input from the user (many book printers supply their own), or you can use specialist software that will give you more control. I have opted to use Atticus (link). If you use a Mac, Vellum is very respected.
eBook conversion.
The simplest way to convert your manuscript for use on an eReader is to simply upload your Word document or similar file to the retail site that you are going to sell your books through. Automated software will (hopefully) convert the file, recognising chapter headings and page breaks, and convert it into a .epub file, the dominant file format for eReaders.
Using specialist software like Atticus or Vellum will give you more control, but will still produce an ePub file that you can upload or send to Beta Readers.
Unlike traditional print books, the text-size is set by the eReader device's user, so number of pages is a largely meaningless statistic. However, you can still have scene breaks and chapter breaks, and decorative flourishes such as drop caps (when the first letter of a paragraph is much larger than the rest of the text).
Print Book Conversion.
This is a little more involved. For the independent publisher, you will need to make some choices. Again, major printers will supply software that can take your manuscript and convert accordingly. This time, the file produced is a PDF, sized precisely to the requirements needed by the printer. The reason they use PDFs, is because they act a bit like image files. Once they are produced, there is no danger of text moving about on the page - MS Word is notorious for this. Word documents can look slightly different on different computers. PDFs are identical on all devices, so the file you send to the printer is identical to the one on your computer.
However, you will need to make some decisions to ensure that the book prints correctly.
First, trim size. This is the actual size of the book. There are a wide-range of trim sizes, reflecting the diversity of different book sizes. Look at your book case. You will notice that many books are slightly taller or wider than others - thickness is determined by the number of pages and the paper, which we will look at later. The best thing I found was to take a book you like the size of and measure it precisely. My DCI Warren Jones novels, printed by HarperCollins, are 198mmx127mm. I chose this trim size from the options in the software. Annoyingly, some US distributers use the subtly different 5"x8". It's only fractions of an inch, but it requires its own PDF.
Next there is the layout of the text on the page. You will see that there is a margin around the text area - this is to ensure  there is a safe buffer in case of errors in the printing process. If you open the book flat, you will see that the inside margins (ie the margins closest to the spine - the right-hand margin on the left page and vice versa) are wider. This is so you can easily read the book without having to lay it completely flat to stop the shadow from the opposite page obscuring the text.
You can then choose if and where you want page numbers, or if you want the book title/author name at the top of the page.
This will then determine the number of pages that your book will be (and how much paper is used). Along with the type of paper used, it will also determine the width of the spine, which is needed during cover design.
Most of these settings are pre-determined, but I tweaked them slightly to reduce the page margins. This actually reduced the page count, which is better for the environment and reduces the printing cost (paper is expensive!).
Fonts
One last thing to consider is the choice of font. eReaders have their own, inbuilt fonts that the user can adjust for reading comfort, so it isn't much of a consideration. But it is worth considering for print books. If you are just uploading a manuscript file and allowing the printer to do all the conversions, you can just follow their options.
If you are generating your own PDF however, you need to make a choice. First of all, many of the commonly used fonts in MS Word are not actually free to use for commercial products. Strictly speaking, you need a licence if you are going to be selling your books.
I looked inside the covers of several books on my book shelf, and found that Garamond with a text size of 11pt was commonly cited on the copyright page.
Garamond was developed in the sixteenth century and has serifs (the curly bits on the bottom of letters). It has italics, bold and some non-Roman characters. The problem is that the version installed on most computers is actually copyright (not by Garamond, obviously, but by the artists and graphic designers who spent time converting old paper manuscripts into a digital format).
However, in 2011, a team went back to the original source and made EB Garamond, releasing it under the open font licence. You can download and install this on your computer for free, and use it for print books (Link).
If all this seems scarily complicated, don't worry. You can have as much or as little input into the process as you wish. The retailers for your books (electronic or print) typically have simple-to-use interfaces. Just upload your manuscript and click the options. I decided that as a geek, I wanted a bit more control of the process.
So, what are your thoughts on page setting? Any advice you would like to share, or questions you'd like answered? As always, feel free to comment here or on social media.
Until next time,
Paul
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.

Welcome to this week's #TuesdayTip. Two week ago (TuesdayTips190), I announced my newest book, The Aftermath, which I am self-publishing - a first for me. I promised to take you with me on this new and exciting journey. Last week we looked at why even self-published authors need professional feedback and editing. This week it's covers.
I'm not an expert - far from it - but I have learned a lot over the past few months. If you have any suggestions or thoughts though, please feel free to comment here or on social media.

First of all, much of what I have learned came from the brilliant resources available through the Alliance of Independent Authors (ALLi). Joining them was well worth the relatively modest subscription fee (which is tax deductible in the UK) (https://www.allianceindependentauthors.org/). Many of the indie authors I've spoken to over the years swear by them.

Never judge a book by its cover, is advice heard so often, you'd almost think people followed it.
Spoiler: they don't.
Like it or not, covers sell books. Traditional publishers know this and spend large sums studying industry trends, conducting focus groups, and preparing detailed briefs for the professional graphic designers who will realise their dreams. Sometimes they even consult the author, although whether they pay attention to the author's thoughts varies somewhat! There is a reason Amazon and every other online retailer shows covers on its search results, and having a book 'cover out' in a bookshop is a 'service' that many publishers will pay for.

Since I'm going it alone, I had to find myself a cover designer.
"Why didn't you just design it yourself and save a few quid?", I hear you ask.
Because, unless you happen to be a trained graphic designer specialising in book covers, it will look crap. There is a mysterious alchemy that professionals possess. A combination of skill gained through years of practise, an understanding of what works in that genre and reader expectations, an innate artistic flair, and access to state-of-the-art design software (and the expertise to use it properly). Even if you have a great idea, and assemble all the elements necessary for your cover, unless it's a plain background with little more than text then it probably won't look quite right (even then, graphic designers are likely to be more familiar with the many fonts out there than you are).

And herein lies the problem. Like it or not, there remains an inherent snobbery towards self-publishing. Many readers still equate traditional publishing with quality and remain suspicious of self-publishing. Despite the many advances in recent years, the field is still pretty young and it has yet to fully shake off the stigma from the early days when people would imply 'if you aren't good enough to get a proper publishing contract, you could always self-publish your little stories for family and friends.'
So, rightly or wrongly, a chunk of your potential readers won't even give your book a second glance if they think it is self-published. Or at the very least, they will take some persuading. What you want is for them to pause and click on the cover, or take the book off the shelf, to read the jacket blurb. Because, if the book sounds like a good read, then some of those doubters might just decide to take a chance on a title that isn't backed by a big publisher they recognise.
Therefore, you want your cover to standout because of its design, not because something about it looks not quite professional.

What should I be looking for?
Unless you happen to be on first name terms with someone who is a designer, you need to choose one. Which is tricky. There are a few options.

• If you want to save money, some designers actually have pre-designed covers that they customise to your needs. The obvious disadvantage is that your book may look very similar to others on the market. However, that doesn't always matter. For some books, a fairly generic background with a prominent and eye-catching title is fine.
• You can take a punt and hire someone on a gig site like Fiverr - needless to say, you will want to see their portfolio. You may get lucky and find a skilled new designer taking on commissions to build their portfolio. Or a respected freelance designer who works for the big publishing houses and takes on side-gigs to earn some extra cash. Or, you might get a chancer with a bootleg copy of Photoshop and access to ChatGPT.
• Go with someone you know does a good job. I don't mean know personally. Recommendations from people you trust are nice, but not everyone has access to that network. Fortunately, there is an easy way to find those with a proven track record. For many books, the cover artist is actually credited on the inside pages or the back cover. Since most cover artists are freelancers, you can often google them, find their webpage, and see if they are accepting private commissions.
• Finally don't forget your due diligence. As with anything internet-based, it's a wild west out there. You need to ensure that you aren't going to get ripped off. ALLi (https://www.allianceindependentauthors.org/) has a trusted professionals directory, and equally importantly, forums discussing who to avoid. A legit cover designer should have an online portfolio showcasing some of their work. Check out the books they claim to have designed, they should be easily accessible on Amazon.

What do I need, cover-wise?
Something I learned very quickly is that there are a plethora of things that you need to consider.
First the design. What do you want?
For The Aftermath I knew very early on that the cover should feature the dramatic inciting incident - quite literally a garden shed ablaze. But my designer immediately asked what sort of shed? Night or day? He also asked me to send him links to covers that I like and explain why.
Because The Aftermath is a domestic thriller, it needs to look different from my previous Warren Jones covers. This is both to stop reader confusion ("1 star, Warren Jones never appears.") and to attract the eye of fans of that genre who may not be familiar with my previous work. I found several examples from my 'peers' in this genre, not because they have a garden shed, but because they have the 'feel' of that genre. I also chose a couple based purely on the colour palette.
Your designer should send you a list of questions, otherwise how will they know what you want?
Next, what formats of cover do you want?
It stands to reason that the cover for a physical book is a bit different to an eBook. For a start, eBooks only have a front cover. Physical books have a rear and a spine. Should you be lucky enough to be stocked by a major retailer, chances are you will be sideways on the shelf, with your cover hidden. So don't ignore your spine.
eBook covers tend to be a standard size and your designer will just send you a Jpeg or possibly a PDF. However, Audiobooks have slightly different dimensions (they tend to be more square).
Print books are where the complications lie, and your designer is going to need some additional information from you. First of all the "trim size". There are several different, commonly used sizes of books - look at your bookcase, you'll see the differences. So, early on in the process, decide what trim size you are going to have your book printed. I measured one of my Warren Jones novels with a ruler, then went to Amazon and IngramSpark (the printing company that most authors and publishers use) and identified the trim size (198mm x 127mm in case you're wondering).
Next there is the spine width. This is determined by the number of pages and the type of paper used. So again, early on in the process I decided which paper I wanted (Groundwood, which is the stuff commonly used in mass-market paperbacks). The page count comes after you have typeset the manuscript. It is not the page count from your Word document. Typesetting is the process by which your words are laid out on the page. Don't forget to allow for the front matter (title page and copyright etc) and the backmatter (Acknowledgments, previous books in the series etc). I'll look at page-setting in a later TuesdayTip.
Hardcovers are different again.
It goes without saying that cover designers will charge you more if you want paperback and eBook, rather than just eBook. Many offer different "packages" to choose from.
How many revisions do you get?
This is something worth considering. Many designers put a limit on the number of free revisions an author can request. Which is fair enough. I can imagine how frustrating it must be if your client repeatedly emails you to 'just tweak the font my name is written in'.
My designers bespokebookcovers.com were a little more expensive than the cheapest on the market (although still very reasonable according to friends) but the package included as many revisions as I want. I won't be taking the mickey, but I have had two small tweaks (the shed window originally looked as though there was a light - we changed it to flames, and Patrick's extremely clever idea of a discarded shoe had to sadly be ditched because it doesn't feature in the book). I will be asking for one more revision before it is sent off for printing: a cover quote (we've already designed holding text that looks really good, so it is just a case of inserting the wording), a tiny tweak to the jacket blurb (the result of a vigorous debate at my writers' group about the placement of a comma) and the all-important barcode with the ISBN.
Do you own the correct licences?
Ugh - the legal stuff. One of the things that attracted me to bespokebookcovers was the fact that they promised to pay the licencing fees for any stock images or fonts used. Sorry to break it to you, but it is unlikely that your designer will be out and about with a camera hunting for that perfect shot to illustrate your cover. They will probably have licensed the photos from a stock photo site. Similarly the fonts that are used for the title and your name etc, might not be free to use. These fees are included within the standard package price  I paid for, so no nasty surprises!

So, what are your thoughts on cover design? Any advice you would like to share, or questions you'd like answered? As always, feel free to comment here or on social media.
Until next time,
Paul
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.

Welcome to this week's #TuesdayTip. Last week (TuesdayTips 190) I announced my newest book, The Aftermath, which I am self-publishing - a first for me. I promised to take you with me on this new and exciting journey.
I'm not an expert - far from it - but I have learned a lot over the past few months. If you have any suggestions or thoughts though, please feel free to comment here or on social media.
First of all, much of what I have learned came from the brilliant resources available through the Alliance of Independent Authors (ALLi). Joining them was well worth the relatively modest subscription fee (which is tax deductible in the UK) (https://www.allianceindependentauthors.org/). Many of the indie authors I've spoken to over the years swear by them.

"A person who represents himself has a fool for a client."
This common admonishment, attributed to either Abraham Lincoln or Henry Kett, also stands true for those editing their own work. The human brain is a wonderfully complex machine, but it is also a trickster and sometimes too clever by half. Oftentimes, you read what you think should be there, not what actually is. And sometimes an outside perspective tells you what you need to hear, not what you want to hear.
Of course, we all edit our work to some degree. I review the previous day's work before starting typing, and perhaps pick up typos or inconsistencies. My completed draft will go through several rounds of red-pen, but eventually, it is time to relinquish my manuscript to other eyes.
My first stage is to give it to my beta readers. I am lucky enough to have close relatives who are eagle-eyed and have good instincts, and this valuable first read-through is extremely useful. I have not only corrected typos and inconsistencies, I have also changed parts of the story based on what they suggest.

But ultimately, a pair of impartial, professional eyes is needed.
For The Aftermath, I was lucky enough to have some early input from an industry professional. Their advice, though hard to hear initially, convinced me to do a major rewrite and it was much better for it.
However, by the time I had completed this job, circumstances had changed and I had decided to self-publish.
With a traditional publisher, much of the editing is organised by the publisher at their expense (authors should never be asked to contribute to this). As a self-published author, it is up to me to find these editors and pay them for their services. Unfortunately, you have to speculate to accumulate, so you need a budget. The hope, of course, is that without the publisher taking their chunk of the royalties, this is paid for by the hopefully increased take-home from sales.

The first thing I did was pay for a manuscript critique. I had taken on board the suggestions of the industry professional, but since then, nobody had looked at the book. For a critique, a specialist in the genre you are writing for reads through the story and checks that it works, makes suggestions for improvements and acts as an impartial, critical friend. You can find lists of these professionals in Alli's trusted professionals directories, or go through professional organisations such as the Crime Writers' Association. Costs vary, but are often done based on length. Expect to pay a few hundred pounds. This essentially fulfils the role of your agent or editor in the traditional publishing process.

I was fortunate in that my story was essentially sound, and the suggestions made weren't too arduous.

Next is the copy edit. Often combined with proof reading, this is where the editor goes through the manuscript with a fine-toothed comb. Spelling, punctuation and grammar are checked/corrected, small inconsistencies highlighted (such as dates), small errors noted (eg attributing dialogue to the wrong character) and minor questions (eg wouldn't it be better if the character did this first). For a traditional publisher, this is almost invariably out-sourced to freelancers, which is great because you can often hire these people directly. Again, the fee is based on length and will cost more than the critique. Perhaps as much as a thousand pounds or so for a long novel, several hundred for something shorter.

I can't stress enough how valuable and necessary this is. Thanks to my beta-readers, my manuscripts are usually in pretty good condition. Yet the editors that my publisher have assigned me over the years invariably improve the story immeasurably. Just because I am self-publishing doesn't mean I can skip these steps. The last thing I want is for a reader to be able to tell the difference between my traditionally-published Warren Jones novels and my independent efforts.

Join me next week for a discussion about covers.
Best wishes,
Paul
​
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.

Hi folks, I'm back! And I have exciting news!
The last Tuesday Tip, #189 Going it (Stand)alone, was something of a tease.
Yup, my latest project is a standalone domestic thriller. Even better, I have decided to throw my (straw) hat into the self-publishing arena for the first time. There will be more on that later and in follow-up posts, where I share my journey and what I've learned along the way.
The Aftermath is a self-contained novel that opens with Seamus Monaghan coming home to find his garden shed on fire … and his wife is inside it.
Over the course of the book we see the build-up to this tragic event, the fallout from the suspicious circumstances surrounding the fire and the aftermath three years later as he tries to rebuild his life with his new, very pregnant, fiancée, Andrea.

I very deliberately decided to make this book different to my Warren Jones police procedural series, because I really wanted to write a domestic thriller. As a reader, I absolutely love stories where nice people in nice houses have horrible things happen to them - you know the type of book I mean, and I have amassed loads of ideas for these types of thrillers.
To do so, I have cut right back on the police procedure - instead of telling the story from the perspective of the detectives, I've focused on those involved in this tragic event.

As a standalone, I've also enjoyed developing a whole new cast of characters.
We have Seamus, whose vibrant but troubled wife, Carole, so shockingly takes her own life.
Then there is Dominic, Seamus' older brother, who has looked out for him since they were orphaned as young children.
Three years on from the fire, Seamus is engaged to Andrea and looking forward to becoming a father twice-over.
Along the way, we gain an insight into Carole and Seamus' marriage and the tragedies that culminated in her unexpected death. We see how the fire threatens to bring secrets into the open that Seamus would rather keep private. And we see how even years on, a dreadful storm brings everything back up and threatens Seamus and Andrea's future.

Dipping my toes in the water of self-publishing
Anyone who has ever published a book knows that it can be a long and frustrating process. I completed The Aftermath after finishing the last Warren Jones, and I did it in secret, without a contract. As I looked for a new publisher, it soon became apparent that even if I signed on the dotted line today, it could be many months before my book was available. So why not cut out that step and take it direct to my readers? The complete draft was finished, so let's just get it done! I have friends who have been very successful publishing their own books, and I love a good project, so what was I waiting for?

The Aftermath is scheduled for publication on October 10th, and is available to preorder now in eBook and paperback from Amazon and a steadily increasing number of other retailers. But there still remains some work to be done.
Over the next few Tuesday Tips, I am going to breakdown the different stages of self-publishing that I have completed and keep you posted on what I still have to do. I'm no expert, and am always willing to learn, so join me in my journey and as always, please feel free to comment here or on social media.


Paul