Reinvention by Fire

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I’m more than halfway through Walter Isaacson’s biography of Steve Jobs on audio CD. My mom gave it to me for Christmas and I’m just now getting to it.

I always had a lot of respect for Steve, but I had no idea just how diverse, full, liberal, adventurous, ironic, and trial-bound his life truly was. Which makes me respect him all the more.

I’m sure many of my observations will come out here over the next few weeks, from spiritual remarks to business principles to family life. But the thing that’s struck me the most – the thing that’s actually had me saying “Wow” out loud – was the manner in which Steve Jobs embraced moments of blatant defeat, both personally and corporately, and found ways to reinvent himself unto success.

Some by choice, others through what my father called “the great sieve of life,” Steve confronted personal demons that caused him to implode as a twenty- and thirty-something, and allowed him to flourish as a forty-something and beyond.

The interesting thing is that career-wise, Jobs was a multi-millionaire by age 25. But he was far from being a successful person in life. To live life well is a very different venture than running businesses in the black (though arguably related). The embodiment of our expectations, our dreams, our perceived gifting, and the way in which we treat people can make or break us as people.

In the 80′s, Jobs was ornery, prickly, polarizing, a know-it-all, pushy, and brilliant. But through being fired from his own company, building another company that hemorrhaged cash every year (Next), love lost, love gained, marriage, children both in and out of wedlock, and the success of Pixar, he was slightly less prickly, slightly less polarizing, thinking through the need for moral high-ground, patient, and still brilliant.

The very things that tried to destroy him were refining him to tackle the issues he was born to resolve. And he couldn’t face them until he was resolved. Until he was reinvented.

We tend to look at our own lives in the scope of today, this week, and next month. It’s not often we think about who we’ll be in twenty years and the things we’ll need to walk through in order to become the person that our environments need. Most of us – myself included – tend to look back and notice change. But what incredible foresight it is to see change that needs to take place ahead of us, and then embrace it.

I believe the root of such vision is divine in origin. It comes from a connection to the Holy Spirit who sees the end from the beginning.

I’ll save my limited thoughts on Steve’s spirituality for another day. Whether he had foresight, or simply was a product of the pressures that assailed him remains to be seen. But it’s apparent that he was able to accept many of the maturing influences that life threw him and grow.

Don’t put off your future fortunes by failing to miss the point of your present pressures. ch:

Notes Worth Coming Home For

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Coming home is favorite.

Ironic that in order to have such an experience, however, an actual absence must be engaged in.

To receive a note like this while you’re gone is pretty emotional; even more emotional is embracing that same note-writing little girl when she runs out to greet you as you pull up.

Don’t leave if you can help it. If you have to, you’ll experience the joy of a sweet return. Then don’t leave again unless you have to. ch:

Flawed Sacred Heroes

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The world doesn’t hate marriage.

They don’t loathe fidelity.

Nor do they disdain love.

What they are is yearning for authentic displays of the divine. The souls of mankind crave the kiss of heaven, restless until they’ve touched something they recognize on the most intrinsic of levels, unable to articulate and likewise to deny.

Our hearts ever echo with the song of our origin, longing to be reunited even in our most base condition. That is why Jesus came, to summon the eternal score of his own composing to life, and hear the melodies that only he can conduct.

It’s genuine examples of marriage the world is looking for. Unashamed of cracks, undeterred by bruising, couples who smell like heaven despite being tainted by earth. Marriages that still reflect the glorious in spite of the mundane.

If you don’t show them today, there’s no guarantee they’ll see it tomorrow.
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She’s not perfect; though I’m ever inferior. My bride reveals more of the courageously encouraging beauty of the Father’s heart to me than any woman I have ever met.

Young women, endeavor to be this caliber of person in your support of those around you. Young men, walk in such ways that your hearts inspire others to rally to your causes. The world is in need of the flawed, sacred heroes that pen history with their covenants. ch:

Your Tricycle Is Calling

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All three of my boys are in very different places when it comes to recreational wheels.

Levi has the mobility (and fluid excretion ability) of a large slug. Adorable, yes. But still very slugesque.

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(I seriously just used the word slugesque in a post).

On the other extreme, Luik is riding his bike full-out, having ditched his training wheels last fall when he was four.

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Judah is the one that fascinates me right now. He dons his bike helmet like a pro, rolls his Red Flyer trike out of the barn, and looks down the road…

And starts running along side it as fast as he can.

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They way I figure it, he thinks he can run faster pushing his trike than he can riding and pushing the pedals. Plus, it’s way harder using those pedals on the road than it is in the loop around his house’s interior.

Many people treat their natural gifts the same way.

Like Levi, we’re all born with certain gifts and have zero say in the process. We’re at the mercy of whoever’s pushing us. We simply accept the free push forward and enjoy the ride.

Eventually we’re riding flat-out like Luik, doing exactly what we were born to do, moving efficiently and even showing off from time to time.

But it’s the middle part that often makes or breaks us. We’re better with our present means than we are with a new one. We’ve mastered what we know, while the new is awkward and inefficient.

But when our aptitude exceeds our capacity we stop growing.

The new is not the enemy; the hard work, suppression of pride to accept help and look ignorant (because we are), and discipline needed for mastery is. This is the learning process. This is seeing the trike as a cycle not a wagon. Yes, he actually can run faster pushing it than he can riding it, but the skill set he obtains with mastering the tricycle is precisely what he’ll need to employee when graduating to a bicycle.

No matter what stage you’re in right now, there’s an opportunity for growth. Recognizing that you’ll need to step down from your mastery of the present to embrace a seemingly infantile process for the new is almost always the key to avoiding plateaus and advancing to the next round.

I find it interesting that the process of feeling dumbed down to learn a new skill set feels very childlike for my adult brain. Yet how poignant that we are called to be childlike when laying claim to territory within the Kingdom.

Your tricycle is calling. ch:

Getting Bit By What You Want

I had people comment, write emails, a few in-person inquiries, and send text messages (you all know who you are) requesting that I compile last week’s posts in an ebook. While I argued it was already available for free on my blog, there seemed to be a consensus that an aggregated collection was an attractive option. It was even suggested that $.99 was a small price to pay for the work, especially if there was some bonus content.

While I couldn’t come up with a whole lot in the way of bonus content (thanks for the ideas Gabe), one thought was staring me in the face: the final, unwritten post.

So I’ve decided to hold off my last post on promotion and social media for the $.99 ebook.

Cruel, I know. But I suppose you all have yourselves to thank for it. Or at least some of yourselves. Perhaps your grand idea jumped up and bit you in the buttocks; I was quite content to leave it alone. But you have to admit, it is a good idea. (Thanks y’all).

Needless to say I’m trying to turn this small document around in record time. All my faithful readers will be the first to know when How To Self Publish Your Book: A Real Life Guide On How A Real Life Guy Self Published His Novels live. Thanks for the inspiration; you’re a true example of social media pressure changing the course of history. Or at least my mind.

For now, you socially-persuasive minions (and I mean that in the most affectionate of ways: think Despicable Me) can help me decide upon a byline. The cover above? Or the one below? ch:

Praise Him As If You Couldn’t

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Today I live in the United States of America.

Today is Sunday.

Today I was given the chance to freely worship God the Father, God the Son Jesus Christ, and God the Holy Spirit.

I often wonder what it would be like to have been born and raised deaf, only to hear for the first time as an adult, either through a divine miracle or modern technology. Or perhaps blind, only to see later in life. The fact is I don’t cherish my hearing or my vision like that person would.

Similarly I don’t think I cherish what I have at New Life the way a Christian from North Korea would.

Today, worship the Lord as if you couldn’t. Then take note of that person and the way they cry out, lift their hands, dance, celebrate and appreciate the presence of God. Because you’ll need reminding when you forget what you have. ch:

A Guide to Self-Publishing: Publishing eBooks

This one is the big kahuna. The full monty. The one that got away…

…but not this time.

This time you snagged it, reeled it in, and grilled it for dinner.

This is the future of book publishing, and we are living in it. It has never been easier for a writer to reach millions of people globally than it is right now. Amazon continues to push its prices lower on Kindles and get them into as many hands as possible. And contrary to recent statements by union-type elites loyal to the author and consumer gouging practices of the Big 6, successful companies that verge on monopolizing any field do not raise prices but lower them. Consumers and creators benefit. As J.A. Konrath so unabashedly pointed out, it’s cartels and unions that are suffering, and are therefore throwing a hissy fit.

What’s the point?

The fact that you’re missing out on free money as I type this should be at least one motivating factor in getting you to start, finish, or prepare your manuscript for sale as an ebook. Yes, I write because I believe words change culture; I also write because I am compelled to be obedient to what I sense the Holy Spirit is calling me to, and to steward the talent he’s given me; as a blood-bought Christian, I will receive a reward (or lack thereof) in proportion to how I stewarded my gifts here on planet Earth. But I also write because it’s added income for my family, and as a husband and father I care a great deal about being faithful to them. You may not share my spiritual beliefs, but you probably share some of my economic ones.

Selling ebooks is probably the simplest, fastest, and most expansive return on my writing investment I’ve seen yet.

Granted, some authors will sell only a very little. Good books sell, and you should never fault consumers for poor sales performance. Other authors will sell gobs. The man I’ve mentioned above has hit $75,000-$100,000 USD/week multiple times in 2012. He’s fascinating to study, and to read. [Disclaimer to my younger readers: Konrath is brilliant, but at times he's very vulgar so please have a parent per-read a new post if you're unsure].

Me? I’m already making more per month than I ever have with my legacy publishers, and I expect my ebook sales to catch up with 6 months of combined print sales in less than 40 days.

As I’ll discuss tomorrow, I’m still experimenting with promotional tactics and trying to isolate what works and what doesn’t. Proper marketing is a fascinating and ever changing beast.

eBook Conversion

Probably the easiest part of self-publishing, and ironically the most cost-effective and lucrative, waits until the end of this whole process. That is unless you have no intention of providing print editions (which would go against the ideology of providing your books to as many people as possible across every available platform).

All the work you did to organize, edit and layout your manuscript, and to craft and refine a cover, now translates easily into creating an ebook. Essentially the conversion process takes the guts of your text and the front face of your cover and merges them together. If you’re skipping the print edition, then having a finished Word file and a front cover design are all you need.

As mentioned yesterday, I use Glendon & Tabatha Haddix of Streetlight Graphics for all my ebook conversions (and I plan to for a while to come). Here’s a little reasoning on why.

Knowing I’m a geek (nerds don’t make money; geeks do), I felt strongly I could attempt converting my own books. I read multiple tutorials on using MS Word and Adobe InDesign to convert manuscripts to ebooks. Given the amount of extraneous code that Word puts on the back end of a document, and the fact that I generally loathe even opening it (I prefer less clunky, more resource friendly and sleeker applications like TextEdit, Evernote and Scrivener) I decided to put most of my time into using InDesign.

I read tutorials, watched how-to guides, and even had some great dialogue with Adobe staff and one noted independent industry guru (all of whom were very helpful, by the way). But my final products never seemed to add up to something I felt represented my books, and I was sure they’d infuriate my readers. Knowing I had one chance to make my e-reading public happy, I needed a better option.

Kindle will help you convert a manuscript – at least to Kindle. When you create your free Kindle Direct Publishing account, they have options where you can have a KDP tech look at your PDF and give you a quote for converting it. Their base price says $69.00 USD. But my quote came back as $179.00 USD for each title of The White Lion Chronicles, as my PDFs had some “layering issues” they would not elaborate on. Ouch.

But having KDP convert for me was only a quarter of the problem. Since they only convert for Kindle – and holding to my “provide my books in as many formats as possible” mantra – I still had to find a way to convert for all the other formats, including Nook, Kobo, Adobe Digital Editions, Smashwords, Sony eReaders and Apple iBooks.

And people wonder where all my hair went.

By this point in the process I was tired and frustrated. I was emailing my fellow Spearhead authors looking for answers. One of their generous friends from a church in Seattle attempted to assist me; but even he, a former Amazon employee and conversion tech, was having trouble because things had changed since when he left a year ago. (Gulp).

That’s when Wayne Thomas Batson forwarded us all a link to Streetlight. At first none of us could believe their prices were legit. (Their cover prices as well as their package deals are amazing too!). So I wrote them to inquire.

Within a few hours I had a personal reply. What seemed too good to be true turned out to be better than too good. It was great. Not only would they format for Kindle for under $69.00 USD like KDP had quoted me, but they’d also convert to all the other formats I needed for under $69.00 USD per title!

I was beside myself.

Following the recommendation of friends I went and purchased a few randomly selected ebooks Streetlight had done, and the quality was above anything I could produce (and to date I’ve received zero negative feedback – a first for any reading format for me). Glendon & Tabatha are first class communicators and converters.

Distributing Online

Within one month I had The White Lion Chronicles ready to upload to all ebook distributing channels. Here’s what you’ll need to do the same.

1.) Open a free account with Kindle Direct Publishing. This will allow you to distribute your ebook to the largest seller in the world. And my own numbers prove it: more than 90% of my sales are on Kindle. You don’t need an ISBN; KDP has its own internal means of assigning yours books identification, though you can use your own ISBN if you have one.

2.) Open a free PubIt! account with Barnes & Noble which will allow you to distribute to the Nook. The Nook accounts for 2% of my sales to date. Like KDP, PubIt! doesn’t require an ISBN number and will track your ebook internally, but they’ll use your ISBN if you supply it.

3.) Open a free Smashwords account. Smashwords is great because it will allow you to reach all the other digital devices and formats out there, including Apple’s iBooks, and making your manuscript available as a viewable or printable PDF (I feel sorry for that printer!). Unlike KDP and PubIt!, Smashwords does require you to have an ISBN. It’s important to note that you can not use your physical book’s ISBN for your digital books. Your print book and you ebook are separate products (even though they have the same title), so they require different identification. Smashwords has their own batches of ISBNs that – like CreateSpace – list them as an associated entity with you, but does not infringe on your legal or moral rights or royalties. Until I feel like shelling out $1,000.00 USD for a block of 1,000 ISBNs from Bowker, this is the route I went. (Yes, you can buy less ISBNs from Bowker at a time, but the price is ridiculous).

One last note on Smashwords: in order for your book to be listed in something like Apple’s iBook Store, your book must meet their Premium status. Essentially, it needs to be a properly formatted, clean conversion that meets strict guidelines. Which Streetlight’s conversions do. It took almost 3 weeks (as your books wait in line), but eventually they were approved (something you see noted in your Smashwords dashboard).

Why not publish through Apple directly? You certainly can. But Apple tends to work faster with large representation companies (like Smashwords) that funnel huge quantities of titles and authors to them. Plus there’s no guarantee they’ll accept your application (they tend to be picky). There’s no real cost benefit either way, and it’s just one less account I have to monitor. I’m used to this already as my digital music is distributed through a San Francisco based company called IODA that supplies over 350 online retailers with my music, including Apple’s iTunes.

Streetlight provides a free step-by-step guide on how to upload your books and list them, and they alert you to any pitfalls in the process. It needs revising for 2012, but is a very simple and methodical overview of what to expect, and outlines just what you get when they convert your manuscript. (Astounding).

Pricing your ebooks can be a bit daunting. And the truth is you’ll never really know what works for you until you experiment. KDP has set the standard for the most part. At the time of my writing, they have two royalty brackets you can operate within: 30% for books set between $.99 and $2.98 USD, and 70% for books set at $2.99 USD and up. There are many articles and opinions on the best performing price points and why, but you risk getting so distracted you never end up setting a price point at all. All my books are set at $2.99 USD across all digital platforms at present; I may experiment later with dropping that further to $.99 USD.

There is a lot of discussion about the merits of selling ebooks for free in order to grow a fan base. While PubIt! and Smashwords allow this, Kindle does not, unless you’re a directly endorsed Amazon-published author (a whole other subject outside of this guide). KDP will only allow $.99 USD as their lowest price point. I’ll discuss the pros and cons of free in tomorrow’s subject of promotion.

The Future Is Calling

Publishing in the digital world is still in its infancy. But one thing is clear: it’s not going anywhere. Innovators will emerge, new companies will be birthed, and world literacy will grow – one of the best results I can think of.

I’ve heard it rumored that 10 is the magic number. Once an author has 10 titles to his or her name, their money-making abilities are firmly ensconced in the digital world. Call it an algorithm, a hunch, or a marketing ploy by Amazon to get more titles on their virtual shelves, the fact is that that premise will most likely mean little to you if you’re not writing.

So stop reading this and get back to writing. ch:

A Guide to Self-Publishing: Publishing Print Books

Publishing today is about making your book easily available to the widest possible audience. This means covering an expansive but ever narrowing range of formats and delivery systems. And while ebook sales are rising exponentially each quarter, having a print version is still needed.

At least for now.

The reality is there will be people who always love physical books. Like there are still people (like me) who like vinyl records. No one intends to get rich off them, but the manufacturer will at least make a few dollars and satisfy a small demographic. Meanwhile there’s kudos points for making a rudimentary collectors edition for those that want to place the work on display in their house.

Never before has it been so easy (for both author and consumer) and so cost-effective to turn your manuscript into print form.

Enter CreateSpace.com.

Essentially CreateSpace is a filing, ecommerce display, order fulfillment, printing, and delivery system.

The moment a consumer or retailer on any purchasing vehicle even remotely connected or affiliated with Amazon.com clicks “BUY” on your book, something magical happens.

The interior and exterior PDFs that you’ve painstakingly designed and uploaded to CreateSpace are called up into their printing presses in Charlotte, NC, and manufacture a specific book(s) to meet that order. Then that book is packaged and shipped, and collected monies are gathered and issued to you in check form at the end of every month.

It’s print-on-demand (POD) but with publisher-level quality, and without paying for huge runs and warehousing fees up front.

CreateSpace allows you as an author to buy your own books at cost and ship them anywhere you want. You can order 1 or 1,000 or 628. It doesn’t matter.

The best part is the book is permanently available and will never be blacklisted.

While you’re in the process of uploading your PDFs for a new title, you have a number of choices to make. Here’s a look at a title’s dashboard:

The first is what ISBN you’re going to use. You’re required to have one for each title, and there are a few options.

The easiest and the one I used is the free option: CreateSpace uses their ISBN numbers and gives you one. The pro is it’s free; the con is CreateSpace is listed as a cooperating entity under you as author/publisher should anyone dive into the details of the ISBN search results. This is only detrimental if a particular retailer doesn’t like CreateSpace. It doesn’t not affect your legal right to the book, its distribution, or its ownership.

You can opt to pay for a premium ISBN that’s registered to you.

And further still you can use your own if you’ve bought one (or a block) from Bowker. This is the most expensive but the most proprietary way.

Next you’ll need to decided where you want your books sold and for how much. This is listed under Sales Channels.

First up is selecting where people can buy them.

They give you a free CreateSpace page for each title. A book sold here will get the best royalty rate (almost 50%); the second highest is on Amazon (roughly 25%); the lowest is through secondary channels (retailers/wholesalers). You get to chose exactly where the books can be sold here. I recommend keeping all options selected for widest distribution and availability. Even at the lowest rate I make more per copy than my best legacy publisher rate.

Secondly, you’ll be promoted to set a sales price.

CreateSpace has a very convenient calculator that calculates the cost of manufacturing your book based on page count and materials, and then shows you the minimum prices you can charge without going in the red (and still make a profit yourself). For The White Lion Chronicles, the magic number where I was making positive income across all sales channels was at $16 USD. It was a little more than I wanted to charge, but allowed me to set competitive prices for books being sold to schools, institutions, and libraries.

Many people ask me about copyrighting their manuscripts. Legally, as soon as you’ve created a work, it’s yours, and by virtue of the fact that you made it, it’s therefore copyrighted. Proving that you made it (and own that copyright) is another story.

Some people feel very strongly about filing all their works of art with the IS Copyright Office in Washington, DC. But the reality is that if you’re printing (and therefore publishing) your own book through CreateSpace, and assigning an ISBN to it (listed with your name referenced to it), a court will see that alone as ample evidence that you’re the copyright holder. Putting “(c) date, your name” in the front matter of your book is just fine. And should you ever want to get the US Copyright Office in on validating it, fill out their form and send two copies of your book and a check for $35 USD to their office.

One operations note with editing details on a title listed with CreateSpace: while you’re extremely free to edit information – from the author bio to sales channels selections – any changes take a few days to go through and effectively remove the title from access temporarily. This may have even changed since I read about it last fall, but I’m too skittish to even try. Do your best to ensure that what you post the first time is the proper information; the same goes for Kindle Direct Publishing.

Turn around time for initial approval of your book is about 48-hours. Then you can order a proof (highly recommended); that will arrive in about 7 business days. Make sure you account for that time, and then review of that proof with any changes you need to make when considering a release date. I’d build a solid month into your timeline as it always takes longer than you think. Once you’ve reviewed the proof and made necessary changes, you can order a new proof (another 7 days!), or you can hit the magic “accept” button that essentially publishes the book. It’s a super cool feeling. And seeing your first book sales pop up on your sales reporting dashboard is pretty exciting.

Here’s what The White Lion Chronicles look like:

There are a few other POD style companies out there, but the authors I follow recommended CreateSpace, so I tend to follow. It’s been a fantastic experience so far, and I have hundreds of happy customers. My wife is happy too as the checks keep rolling in each month.

Tomorrow I’ll cover all-too-cool publishing of ebooks, by far the forefront of publishing in 2012 and beyond. ch:

A Guide to Self-Publishing: Cover Design

Looks don’t matter.

If that were true, God would have made sunsets various shades of brown, restricted us from any lofty vista viewing, and ensured woman were completely unattractive to the male species.

It’s a total lie. Looks do matter, have always mattered, and will continue to matter.

How your book appears – whether on a physical bookshelf or a digital one – could be the difference between selling and not selling it.

But when hasn’t that been the case? I think the only exception might be the Bible. Although some people really dig all-suede covers with gold embossed crosses.

The point is, your book cover needs to look good.

Here are a few important points to consider when thinking about the functions of your own cover:

1.) A cover needs to highlight the book’s title. It might seem like a given, but you’d be amazed at the amount of amateur book covers I see that make the title almost impossible to read. The designer got carried away with their favorite new typeface, and never once stood 15-feet away to try and read the title.

2.) The author’s name is probably the second most critical piece of information. Resist the urge to be ultra artsy here. People instinctively connect last names to reputations; don’t make them have to hunt for it.

3.) The general graphic and artistic elements that make up the visual concepts need to reflect a key “hook” of your story.

One tip here is to keep it simple. A lot of people feel they need to highlight every character’s face, or show the family’s prairie house, along with all their livestock, farm hands, and a bolt of lighting that started the fire that killed Uncle Ned, and the warrant the unjust Sheriff put out for innocent Jim Bob’s arrest, and maybe the waterfall where Jim Bob fell in love with sweet Martha May. And don’t forget the oil pump that made the family rich at the end.

Can we add some doves?

Um, no. Just no.

Pick one solid idea that provokes people and execute it well. Making any design too busy with colors, images or typefaces screams “lack of professionalism.”

Recognize that the cohesiveness and integrity of your design will build instant credibility with readers. Most people can’t articulate why they like something, but our modern eye has been conditioned to know good design when we see it.

Likewise, bad design can and absolutely will be detrimental to a story. I have books that sat on my shelf for years that I simply couldn’t bring myself to read because the covers were so atrocious. Turned out a few of the stories were quite good. Pity.

Make sure that you get good critical reviews from professionals or art teachers, or higher a cover designer to do it for you. After all the work you’ve put into your manuscript, the worst thing would be to brand it with a poor cover just because you think you can design, or you really wanted to use that painting you did 10-years ago that probably shouldn’t been seen in public.

If you have a good eye, iStockPhoto.com and ShutterStock.com have thousands of incredible images you can purchase with rights to duplicate. Combine the right image(s) with solid title and author typefaces, and you could be well on your way to crafting your own covers. While I’ve seen stuff done using text boxes in MS Word (the Lord knows I was a master text-boxer before I got better software), you really need something on the level of Photoshop or InDesign for true control and output integrity.

If you’re formatting for a print book, you will need to consider bleeds (like the interior), as well as how colors are going to print. One reason I love CreateSpace so much is that you can buy proofs to review before you finalize the files in their system. This is great for checking your interior and exterior designs.

Print books also demand a spine (as well as “back matter,” or what’s on the back of the book). While the spine may seem small and insignificant, pay attention to it. Both in stores and on peoples’ bookshelves, the spine will get the most long-term traffic of a book. Clear title and author texts need to be featured. CreateSpace can automatically assign and place a UPC bar code for you if you use their templates for layout. (Obtaining a template during your title upload phase with CreateSpace is exactly like obtaining a template for the interior design portion covered yesterday).

As for typefaces, any good designer will tell you that one typeface, maybe two, is what you should stick with. If you’re using a third typeface in a composition you better have a darn good reason. Beyond that your book will scream inferior and second rate (if not worse).

I would highly suggest employing the services of good graphic designers, if not for the entire cover at least for consultation. StreetlightsGraphics.com does amazing covers for dirt cheap with a fast turnaround. And The Miller Brothers and Jason Clement of New Life Media helped craft covers for the 2011 Editions of The White Lion Chronicles.

Here’s a look at some unseen cover concepts for Athera’s Dawn that I developed early on:

Eventually we decided on a Dairneag for the cover of Rise of the Dibor, a taken warrior for The Lion Vrie, and the statue-plaque of the White Lion’s face for Athera’s Dawn.

Here is the final cover, front, spine and back:

This cover printed the darkest of all three books, but the purple is still very striking.

Tomorrow we’ll start in on the technical, financial and legal processes of publishing through CreateSpace. ch:

A Guide to Self-Publishing: Interior Design

Growing up I never gave a second thought to how a book looked on the inside. Wasn’t the expression about judging a book related to its cover?

While the cover certainly plays a large roll on catching someone’s eye, which we’ll discuss tomorrow, people spend all their time with the book and its interior. So how the book looks, reads and “feels” should be of immense importance to you as a creator.

Granted, a large portion of your layout construction will be for your print edition; your ebook edition is much simpler. And rightly so: by virtue of a digital book’s nature, page numbers are automatically assigned because scaling text size by the user makes them obsolete. And since e-readers at present emphasize “text only and limited pictures,” there’s no place for elaborate layouts – they just don’t translate well.

At least not yet.

We are quickly approaching the time of fully-immersive and feature-rich ebooks. Novels that could have mini-movies attached to particular paragraphs, picture galleries, bonus downloads, and music are all on the horizon; some of it is available as we speak.

But for now we’ll stick with basic novel formatting.

It’s interesting to note that I spend 10-times the amount of time formatting my print books which account for a fraction of my sales, and almost no time formatting my ebooks which account for almost all of my sales. But for those that are willing to pay the extra money for the “novelty” of having a print edition, you need to spend the time making the physical book look sharp. Happy customers will be return customers. And as print books increasingly become collectors editions and not general market commodities, the look and feel of them will likewise become more important than ever before. If there was ever any doubt that printing will become an extremely limited format (though never fully extinct I believe), this morning’s headline of Encyclopedia Britannica’s end of their 200-year-long print editions should wake you up.

There are two primary ways – and subsequently, applications – to format your book’s interior design: Microsoft Word and Adobe InDesign. Yes, any text editor capable of generating a print-ready PDF can be used, but these are the two formats that are most widely available and supported.

Obviously Word is cheaper (probably already on your computer), has a small learning curve, and gives you limited control while still producing a solid finished product. InDesign is far more expensive but is a professional layout application giving you limitless control. If you’re not familiar with it, you’ll need to watch some tutorials, take a class, or ask your graphic design friends for help. But it produces the highest quality product.

While I use InDesign, I’ll demonstrate both for this tutorial.

My writing workflow starts in Scrivener, a fabulous text-editor-meets-epic-layout generator. It’s a writer’s best friend, and for Mac users you should just buy it today.

Once my book is complete, I assemble the chapters in Word and send to my editor with Track Changes enable as discussed yesterday. Once Sue has signed off on it, I dive into InDesign. If you’re staying in Word, your life just got a little easier as you’re very close to generating a finalized PDF from there.

The core decisions you need to make as an interior layout designer are:

1.) Deciding your book’s final dimensions and meeting the printer’s tolerances (or guidelines for how they accept print-ready files).

2.) What typeface and font size to use.

3.) The order of content (front matter, story, post-matter).

4.) Any branding or bells and whistles that set the book apart.

I’m going to recommend you use CreateSpace.com as your printer. Interestingly enough, they will also act as your order fulfillment processor (including returns), your ecommerce creator and manager, and your distributor. They will also help promote your titles in a foundational way. This all makes sense when you understand that CreateSpace is a subsidiary of Amazon. It’s in their best interest to make things as easy as possible for you; the more titles they can sell, the more money they make. And you make.

If you haven’t signed up for a CreateSpace account, do so now. It’s free, and it will make this tutorial much easier.

When you add a title (a book that you’re working and and want to get printed), you’ll be prompted to select a format size. Each has their own pros and cons, but one of the standard formats is 6×9″. This is what I use for my fiction works. Beefy, robust, striking and easy to hold, allowing for ample font size.

CreateSpace has free templates of all their formats as downloadable Word files. Here’s a sample you can download from me. They even have suggestions on step two, which is your content order. Again, they’re trying to help you get your books out there as it’s a mutually beneficial endeavor.

If you’re using a professional layout application like InDesign, they clearly tell you what bleeds you need to use. You can also add multiple layers of graphical content, specific page headers and footers, page numbering formats and positions, and virtually any other facet you want. This would also include my 4th point as listed above, which are branding emblems, icons and intricate details, codes, or riddles that you can lace throughout the manuscript. The possibilities are endless.

Here’s a screen shot of chapter 1 in Rise of the Dibor as seen in InDesign:

A huge note on bleeds for designers: CreateSpace suggests a 0.125″ bleed around outside edges. This is fairly standard in the print world. However, despite my multiple dialogues with them, it’s not a true 0.125″ bleed. With the grunge background on every page of The White Lion Chronicles, I was getting unprinted bars on the tops and bottoms of pages. While they refuse to change their values, you need to use a 0.250″ bleed, especially if you’re using images or backgrounds that go off the page.

Once your dimensions are set, you’re ready to start importing text and laying your books out.

For typefaces, I suggest experimenting. To the common eye, all typefaces are created equal. This is a gross error. Typefaces have a lot of power to communicate emotion and intensity (or lack thereof). Typefaces are picked deliberately and intentionally. Don’t make yours an accident. Here’s a great piece on the top 10 most beloved novel typefaces. I used Garamond for The White Lion Chronicles because it was contemporary enough that it wouldn’t be a distraction, but still had an old-world feel to it that fit with a fantasy theme. Too fancy and your reader will get annoyed without even knowing why; too plain and you might miss a great chance to add credibility to the essence of your story.

While you can lay your manuscript out any way you want – we’re self-publishing here – there are some standard rules of thumb that you should take into consideration. They’re proven, and the average reader is very used to them. Roughly, the most common order for interior layout is: book titles, author name, copyright page (including credits and the ISBN number), dedication, table of contents, forward (if any), main body, afterward, acknowledgements, author bio, advertising.

I’ve taken the liberty of showing you exactly what the first part of Rise of the Dibor looks like as a print ready PDF both as a Word.doc using CreateSpaces offset page setup (to account for left and right pages set in a glue binding), and as an InDesign file. While both are clean, print-ready versions of the same exact content, right away you’ll see a dramatic difference in InDesign’s ability to customize everything about the layout (which inherently demands a higher learning curve). Picking the right application will depend on your budget, time availability and capacity.

DOWNLOAD: Word – Rise of the Dibor FORMATTED 6 x 9 pgs1-2.pdf

DOWNLOAD: InDesign – Rise of the Dibor FORMATTED 6 x 9 pgs1-29.pdf

By the way, once everything is laid out – a process that usually takes me a few weeks – I send this PDF to my Proofies. It’s important that I make the manuscript as complete as I can possibly make it before it goes to them as I don’t want a lot happening to the book after their eyes have seen it. A lack of discipline here to follow a strict no-touch policy can lead to either a sloppy end product or an indefinite passing of PDFs to your Proofies; eventually they’ll get mad and stop reading. The point is, make sure you only send them something once.

From here you upload your PDF to CreateSpace into your respective project title. You still need to upload your finished cover design and fill out admin information, but you’re essentially halfway to seeing your first book in print.

The main reason I haven’t covered layout for ebooks is because formatting your Word or InDesign files for all the various e-formatting is merely repurposing your original files. We call it converting. And while there are whole mess of tutorials on how to format for ebooks, you won’t find it here. I spent the better part of a month researching it and finally decided I didn’t have the time or capacity. That’s when Wayne Thomas Batson found StreetlightGraphics.com and I fell in love with Gelndon and Tabatha Haddix. They were able to take my InDesign files and convert them to all the various e-formats that support Kindle, Nook, Kobo, Sony eReaders, iBooks, and PDFs. For less than $60/title (a fraction of the cost that Kindle Direct Publishing wanted for just Kindle conversion), I was able to publish to every format currently available. You want my advice? Don’t mess with it. Email Streetlight.

We’ll talk about the legalities and nuances of publishing through CreateSpace in two days, followed by publishing your digital books; tomorrow I’ll go over cover design. ch:

Jesus Served Espresso

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[Photo by Jennifer Hopper]

I love serving my wife.

She works tirelessly for our family, puts in more hours than I do, and doesn’t get nearly as many accolades as she deserves.

She also loves real espresso.

As a result I love serving my wife espresso, knowing it’s a small gesture, surprising her each morning with a little cup and saucer of yummy rocket fuel.

Sure, we could’ve gotten an insert-packet-push-button-machine, but something about seeing her face light up makes the added work all worth it. Plus, I very much like the process myself.

But what if her face didn’t light up?

What if she didn’t do anything for our family?

What if she wasn’t beautiful, didn’t love me back, and had no interest in ever getting to know me? Would I still be as dedicated and excited to serve her espresso just knowing she had value as a human being at large? Would I still be as faithful?

Would you?

It’s easy to serve my wife. She’s remarkably fantastic. I benefit simply by thinking about her.

The real test comes when I ask myself how willing I’d be to serve espresso to strangers.

Non-paying ones.

That want to get me fired.

And then find out where I live.

And crucify me.

It’s our behavior toward people whom we get nothing from that reveals what kind of leader we truly are.

It’s amazing to think that Jesus forfeit his life to serve a Bride that he knew may never recognize his efforts. And he felt just as strongly about serving the soldiers that executed him.

My espresso may be good, but my motives have a long way to go. ch:

Dreaming with Dream Makers

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Yesterday New Life had the privilege of hosting Pierre & Marlize du Plessis and Eric & Kim Rowland of The Father’s House in Rochester, NY. Pierre spoke for both Saturday sessions of our spring Momentum Leadership Advance, and he couldn’t have been more on point.

It’s one thing to listen to someone forecast what they think an upcoming experience is going to be like; it’s another thing to listen to someone who’s already walked it, and has a gift to articulate it back to you.

But what struck me more was the renewed importance of spending even brief moments with people who live to dream big – and aren’t afraid to work hard to see those same dreams become realities.

I’ve seen my share of one or the other: either people who are so negative not even an addition equation has a chance of summing to a positive integer, or dreamers who have no idea what a 90-hour work week feels like.

Or even a 15-hour work week.

After I looked at this photograph of us in Sprig Studio (snapped by none other than Marlize herself), I realized every person pictured around me is a monster dream maker. They’ve dreamed big in God and paid a price to work the dream to fruition.

When someone of that caliber that is around you, they are thrilled with who you are, what you’re attempting, and understand the cost involved. It provokes you to want to keep going. And keep dreaming.

Such a level of intense expectation and devotion is contagious.

Inspiring.

And the value of your story, and your dreams – when married with unyielding devotion – will be just as significant.

You may only get brief moments to hang with dream makers like these – I know I do – but that’s all you need.

Savor it, then inspire someone else with encouragement.

I’m so proud to call all of these people my friends, heroes, and those who humble me with their various expertise in advancing the Kingdom in ways I can’t even fathom.

“…The kingdom of heaven has been forcefully advancing, and forceful men lay hold of it.” • Matthew 11:12

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