Posts Tagged Kindle
It’s here. The 19th. And the finale to My Memories of a Future Life. Find it here if you’re in the UK, here if you’re in most of the rest of the world and here if you’re in Germany. And thank you, Germany, for making my novel number 1 in reincarnation. I think that should go on a T-shirt.
If all this is double-dutch, you can start at episode 1, or listen to a free audio of the first 4 chapters over on the red blog.
Thank you, lovely readers and reincarnation time travellers. You can’t have episode 4 yet. Not for another week. But you can have episode 3.
How to prepare your Kindle text for a print edition – Part 2: chapter head styles and cleaning up the text
Fancy stuff like chapter heads
You can leave the chapter title in the same font as your body copy, or you might want something eye catching to draw the reader to the first line – maybe a motif or a drop capital. (Designing this deserves whole posts by itself; there are trillions of ways to do it, but the short answer is to find a book you like the look of in a similar genre and copy that). You might want a different font (not too fancy, please). I used Copperplate Goth BT.
Unless you have a fantastically good artistic reason, don’t use more than one heading font besides your body copy. Books look better if typefaces are inconspicuous and style is uniform. A little contrast is allowable in chapter headings, but if you have more than two typefaces it looks like it was made by someone under a responsible age.
Chapter titles don’t usually begin at the very top of the page. You’ll want to add line spaces, both above the chapter heading and afterwards, before the actual text starts. Experiment until you find an arrangement you like. Then write down exactly what it is – eg 3 carriage returns above and 2 below. You need to do it exactly the same in all the chapters. Properly typeset books are consistent about everything.
Similarly between sections that aren’t chapter breaks you’ll need a gap. How many lines do you want them to be? Do you want a little motif in the middle to delineate them? What about the paragraphs? Do you want them full out after a section break? Full out (ie not indented) is the usual option but I have seen indents work nicely as well. Make your decision, write it down – and do the same thing every time.
Then go through the manuscript and put them in.
If you formatted for Kindle you probably put page breaks in for chapter endings. If you formatted for other strains of epub you probably didn’t use page breaks. Go and put page breaks in for chapter endings now. If you try to split the book with carriage returns instead of page breaks, the next stage will do your head in. And make you resort to far more flabbergasted language.
Blank pages and front matter
Use page breaks to make blank pages too. And strip off the folio on blank pages if your program allows, or change the text colour to white so it doesn’t print.
Where do you want blank pages? Certain parts of your book must begin on right-hand pages, so you might have to put blanks in to achieve this – especially at the front.
Before you get to the text proper you need a few bits of set-up copy, known as front matter. Look in any published book and you’ll see. Usually these are:
- half title (right-hand page) – where you can put biographical info too
- copyright notice and ISBN etc (left-hand page)
- full title (right-hand)
- either blank or acknowledgements (left-hand page)
- start of book (right-hand page) or part 1/section 1 title page (right-hand page, then blank, then text proper on right-hand page)
Widows, orphans – the mysterious faffing I was leaving until last
Now you have the biggest, dreariest task of all. You have to look for bad breaks at the tops of pages – widows, orphans and stumps.
Widows and orphans are short lines in places you don’t want them – at the very bottom of a page or the very top. Stumps are words broken by a hyphen so that the first half of the word is on one page and the second half is on the next. All these can look ugly, although sometimes you can get away with one if there’s enough text on the rest of the page – it’s very much a matter of personal taste what’s acceptable and what isn’t.
You also have to look for section breaks in awkward places. If you have a section break, you want more than one line below it or it looks weird. And you don’t want a page with just 1 or 2 lines hanging in mid air and then the chapter end.
NB – most word processing programs have auto settings to get rid of these pesky widows and orphans. Turn it off. It results in short pages, which in a text-heavy book like a novel looks dreadful. Yes, you have to do this bit by hand.
NOT by squeezing the fonts together – that looks awful. NOT by sneakily changing the point size or the leading – it shows. You have to alter the text itself.
Remember when I said this isn’t about the text any more, it’s about how it looks? That’s what I mean.
Close up paragraphs, make new ones, cut out extraneous words to pull a line back, add a few to push one over. If you have sub-headings (weird in novels but de rigeur in non-fiction) put one in or take one out. If there’s no scope to edit on the page you’re on, go back a page and see if you can do it there. Sometimes you may have to go back a few. And keep checking the results.
This is the drudge. You have to do this for every single page. It’s fiddly. And this is why you want to have established all your other design decisions before you get here. Because you don’t want to have to do it all over again. And this is why you need to separate your chapters with page breaks, so that any change you make is confined to just a few pages. If you use carriage returns instead of page breaks, every change you make will affect the rest of the entire book.
You might wonder how you spot all these things. I do it automatically because I’ve done it for years. I can read the text and see all these things at the same time. (Hell, I scan for them when I’m reading other people’s books.) I can adjust the text so that it’s true to what I want to say and also looks typographically acceptable. In fact, because I knew I’d have to do this, I made my last major edits of My Memories of a Future Life in PagePlus so that the text would be identical to the Kindle version.
If you’re not practised at this it’s best to do several passes through the book, looking for one problem each time, until you get your eye in. And this exhaustive level of nit-picking might be one of the reasons you decide to hand this part of the project over to someone who can do it much faster than you can, and more thoroughly.
Once each of your pages looks typographically beautiful, proof-read it one last time, remembering to check that your chapter breaks are consistent – and your text is ready to go.
If you have a Kindle book you’ll have a front cover but you won’t yet have a back one. And you’ve probably got quite enough to do for now – so I’ll tell you how I designed mine in a future post.
Have you released one of your books in print form? Did you do the production yourself? If you have any tips to add or nightmares to share, I’d love to hear them!
HELP IS AT HAND… If reading all this has given you an intolerable migraine, I can format your book for you! Email me on RozMorrisWriter at gmail dotcom.
While making an ebook is pretty straightforward, putting it into print is a pain. In traditional publishing houses, it’s an entire department’s job – because there’s a lot of invisible fiddling you need to do. (It used to be my job too, which is why I know.)
But it is possible to do it well, given the right instructions. I’ll walk you through what I did to get the text of My Memories of a Future Life ready for print. Be prepared – this will get pathologically nitpicky. And this stage is not about how the text reads – it’s about how it looks. Yes, to writers that’s the tail wagging the dog. Get over it now.
It’s quite a big job so I’ll split it in two posts. Today: choosing the size of the book and the typeface.
What size do you want the book to be?
Choose this first, because that governs how much you get on a page. Nail Your Novel is a short book at 40,000 words, and the first time I put it out was at 6×9. That made it look flimsy, so when I redesigned the interior I sized it down to 5×8 where the thickness and size feel just right.
My Memories of a Future Life, on the other hand, is a whopping 103,000 words. It would be rather chunky at 5×8 and expensive to produce because of the weight – which means I would have had to charge a lot more and everyone would think I was being greedy. Many literary novels are now being produced in 6×9 size, or even bigger – so it fits nicely with the genre.
If you use CreateSpace you can download a Word template for the interior. It sets up page sizes and margins so that everything looks right and you can do your fiddling in Word. Catherine Ryan Howard’s book Self-Printed has a detailed section on how to do this. There are other POD companies besides CreateSpace, but they’re not as easy to use. I used CreateSpace but with a design program, PagePlus, because it’s what I do my covers in and because my version of Word doesn’t make PDFs. (For CreateSpace and Lulu you submit your book on a PDF.)
PagePlus sets automatic margins as well, but the default ones are too narrow so I customise them. If you’re using anything other than CreateSpace’s template I suggest you check your margins too. They may have been set up for leaflets, not paperback books.
Before you finalise your margins, whack some dummy text onto the page, print it out and put it over an existing book of the same size to check it looks okay.
Important: get your margins right now. If you change them later you’ll have to redo a lot of tedious checking.
When you formatted the Kindle or ebook edition you probably established a style for the book…. didn’t you? You’re consistent about when you use single or double quotes, proper em dashes and so on? You checked you had curly quotes and not ticks, including on the apostrophes? You’ve never thought about it? Go and fix them now. They’ll make your book look a lot more professional.
Choose this next. And make your decision final. Every typeface is a slightly different width, even if it’s the same height.
Don’t use Times, it makes a book page look like a business proposal.
Obviously don’t use any of the fancy curly things that seem to have been supplied to design party invitations.
Get down a few novels in your genre (tastes in typefaces may vary between genres) and choose typefaces that look like them. I used Century Schoolbook BT for My Memories of a Future Life.
Check what the font’s italics look like. A lot of computers come with the Roman version of fonts but not the italics, and when you hit the little I icon it slants them. True italics have curled serifs (the little feet), and slanted feet look wrong. If you haven’t got the italic version of your font there are free places to download it – I found my itals here. Do this now too, for the mysterious tedium-avoidance reason I will explain.
Typesize and spacing
Most books are set in 12pt, or 11.5pt. Again, compare with other published books in your genre (for instance, literary can afford to go slightly smaller than YA).
If your book is 6×9 the page is quite wide, so you might want a bigger typeface or wider leading (space between the lines) to make it more readable. You can fine-tune this by editing the paragraph style – I set the leading as a percentage of the pointsize. So I had 11.5pt type on a leading that was a niftily precise 14.375pt – or 125% of the point size.
And each typeface has different properties. Some have tall ascenders and descenders (vertical strokes). So if you change from one font at 11.5pt it might look much smaller and less readable than another, so you might need to use it bigger. Before you finalise, print a page out and fold it around a book of the same size to see how it looks in the flesh.
When you’ve decided, run your text in and typeset it.
Part 2 tomorrow: chapter heads… and the really nitpicky stage
Have you released one of your books in print form? Did you do the production yourself? If you have any tips to add for this stage, I’d love to hear them!
HELP IS AT HAND… If reading all this has given you an intolerable migraine, I can format your book for you! Email me on RozMorrisWriter at gmail dotcom.
‘Spellbinding… hypnotic… groundbreaking…’ My Memories of a Future Life is getting rather fab reviews on Amazon – thank you! If you’re curious what all the fuss is about, you can listen to the first four chapters right now!
Download now – this link will take you to a google Docs page and you can download the MP3. file size is 12MB.
If that file is too big, there’s a more compressed version here, but the sound quality isn’t as good. Try the other one first!
You can also stream it here at Soundcloud:
Special thanks to Barry Brimer at BeOriginal.com for masterful file compression and for bringing the text alive with footsteps, thunderstorms, passing trains and a soupcon of piano. If you need a sound file sweetened (as they call it in the trade), he’s your guy.
If you are not a US citizen or resident in the US and you want to publish on Smashwords, Amazon Kindle or CreateSpace, your earnings will be taxed unless you have an Individual Taxpayer Identification Number (ITIN). This means that 30% of your money is kept before you ever see it – and then when you get the payment you have to pay your own country’s tax rate all over again.
Not good, huh? But Amazon will pay you gross (without tax) if you provide an ITIN. So an ITIN I would have.
Boy was it difficult. I had three goes. Yes, three – about as many as my driving test. Then I had another two with the form you then have to send Amazon. And I regard myself as pretty good at following instructions, so this seriously annoyed me.
The problem is, the IRS is incredibly pedantic and doesn’t tell you half the things you need to know. So to protect your blood pressure and stop you spending unnecessary money, I’m going to tell you how to do it.
No. Just don’t. If you look on the IRS website they talk about acceptance agents in the UK. Do not touch with a bargepole. I phoned one and they wanted to charge me £500 to handle the application. However, they sounded so ashamed that I persuaded them to tell me the tricky bits I needed to know, like treaty numbers.
Filling in the form
Get a form w-7. You need to know treaty numbers but I’ve outlined them in red in the picture above. I’m in the UK so this is the treaty number I need, but if you’re outside the UK you can find the right number here on the detailed notes for the W-7 form. In the IRS notes it wasn’t clear that two boxes had to be ticked in this question, not one.
UPDATE The forms have now been updated and the treaty number is now different. New info on tax treaty numbers is here.
You need to supply a letter explaining why you need the number, that you’ve published a book etc etc. (This wasn’t clear in the IRS notes when I originally applied, just so you know how helpful they are.)
This was also a royal pain. At first Amazon told me all I needed was to print out their terms and conditions and my listing. That was rubbish.You need a proper letter addressed to you.
Here, Smashwords led the way. You can ask for the letter after you’ve sold USD$10. Fortunately, Amazon now provide one too. Send this note to CreateSpace Member Services, which you can find on your Createspace dashboard (there is probably a Kindle version of this too, I just chose CreateSpace because they seemed better at replying)
Hi – because I live in the UK I understand you will take US tax off my revenues from selling via Createspace. I want to apply to the IRS for the exemption so that you can pay me gross. I understand I need some documentation from you to support this.
Please could you email me a letter on official Createspace paper which shows:
my member ID number
my name (full name is ;lkjl;kj;lkj, publishing as lkj;lkj;lkj)
a statement that I am publishing through you and that I am a taxpayer in the UK, which is why I need the ITIN
Copying your passport
You need to prove who you are with a notarised copy of your passport, of course. There is only one type of copy the IRS will accept. Not, as they imply on the form, any notarised copy – the kind you can get from the post office or your doctor, even though they are accepted just about everywhere else and you have to pay for them (which is what I wasted money and blood pressure on). You need your passport notarised by an officer of the IRS.
You can find an office of the IRS at the US embassy. If you’re near London, visit them in person. I went there with my form and my CreateSpace letter and a charming chap there filled in everything for me, copied my passport and sent it off. Plus we had a lovely conversation about the time he was a spy working undercover in Hungary. He’s going to write a novel.
Before you wonder if that’s worth the faff let me tell you this – it’s FREE.
If you can’t get to the embassy in person, phone them. Other people I spoke to on Facebook said they did this and hung on for a while and eventually someone answered. They’ll then tell you what to do – though you’ll have to trust the postal service with your passport. But honestly, even if you have to try several times before you get through, it’s much better than spending £500.
Eight weeks later, I had my ITIN.
The final stage – you’re not out of the woods yet
Then I had to send another form to Amazon, a W-8BEN (you can download this from the IRS website) .
Two things to remember:
1 use blue ink
2 do not abbreviate the country name, even though the space for it on the form is tiny. Believe it or not, my first go was rejected because I did this and I had to post another one to the US. The neighbours all heard as I leaped about, spluttering ‘do you mean to tell me these people can’t tell that UK means United Kingdom? And they have jobs?’ But the IRS is looking for reasons to reject. And not following these footling rules will get you rejected.
Find an example of exactly how to fill in W-8BEN here.
Residents of some countries can now bypass the initial form-filling and call the nearest US consulate for an EIN. Tell them you are a ‘sole proprietor’ and you are an author selling ebooks in their country. Tell them it is for compliance with tax withholding – and you get the number there and then. Wow. After that you’ll still need the W8-BEN – but that’s one stage of faffing and waiting dispensed with!
The rules have recently been updated, and WilderSoul was kind enough to send me this link of FAQs, including the requirements for support documentation.
Now available: My Memories of a Future Life (The Complete Novel)… ‘Classy, stylish, gripping… profound’
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A year of change in publishing puts writers in the driving seat – guest post at Catherine, Caffeinated
Catherine Ryan Howard was one of the first bloggers I found when I started flinging words into the ether. She was writing about her deep love of caffeine and outer space, and of course her books – among them a memoir.
That memoir was Mousetrapped: A Year and A Bit in Orlando, Florida – which became a self-publishing phenomenon. Catherine put it out in 2010 after agents and editors told her that while it was a fab read, there was no market for it. Using only free promotional tools like her blog, Twitter and Facebook, Catherine has managed to shift over 7,000 copies. Not only that, she’s written a brilliant book on self-publishing, which I keep by my side when I venture into unfamiliar self-publishing waters. When I put Nail Your Novel on Kindle, it was Catherine’s blog I used to guide me.
We’ve both had very positive experiences self-publishing, but we both also swore we would never self-publish our own fiction. But a few months ago I started to think again. And then I happened by Catherine’s blog to find she was entertaining the same plan…
She asked me over to her blog to explain what changed my mind and made me publish My Memories of a Future Life (which is out today)… and why, as a bestselling ghostwriter, I even had to self-publish in the first place.
‘In this intriguing reversal on reincarnation, best-selling ghostwriter Roz Morris turns the tables on all of us who have ever dabbled in past-life regression (and other New Age aspects of metaphysics). Don’t expect just another fable of “who I was.” Expect a complex, intelligent journey into the heart of Western understanding of reincarnation: what it is, what it could be, what it perhaps is not.
‘Morris is a pleasure to read, an accomplished writer with a clear, polished voice and vivid insight into character and place. Is her novel fantasy? Is it sci-fi? Is it a new, groundbreaking mix of fiction genres? What’s the truth behind the story of an injured concert pianist taken further into a dark–even surreal–future than she can handle?
‘Expect the unexpected.‘
Episode 1 – The Red Season is now live in the Kindle store. Right here. Episode 2 will follow on Monday September 5th.
I’m having a gosh moment. After eleven novels written in secret for other authors, here’s one with my name on it. And a review of its very own. I feel a bit like those songwriters who compose for other people and finally get to claim a song for themselves – a bit scared, and a bit like singing…
Thank you, everyone who has cheered me on. To the lovely people who requested ARCs and emailed me with their progress behind the scenes and to everyone who has told me how much they’re looking forward to reading it. Just one more thing – if you like it, would you do me a quick review on Amazon? Reviews make a huge difference if casual browsers pitch up on a page, wondering whether to take a chance.
Now I think I’ll get off the podium before I say something ridiculous. If you feel so inclined, you can find episode 1 here.