S L Flynn

An author's blog

Tag: KDP

Raether’s Kindle Countdown

August 16, 2021 /

Having run a series of experimental Facebook ads and enrolled Raether’s Enzyme in KDP Select, my next step was to turn up the voltage and lower the resistance. The voltage took the form of Facebook ads targeted at my three most promising audiences with a much higher daily budget than the previous experiments. To lower the resistance, I ran a Kindle Countdown Deal that discounted the e-book to $0.99. For the price of a very cheap cup of coffee (vs. a fancy coffee drink), a reader could explore the world of Raether’s Enzyme. Such. A. Deal. Or, for the price of a bottomless cup of Kindle Unlimited, they could read as many pages as they liked. The big fantasy was that lots of readers would see the ad, buy the book, and cost of the ad campaign would be recouped in sales. The little fantasy was that some small fraction of the readers would love the book and tell their friends. This is not a fantasy story, but the results were interesting. To me. YMMV.

The Audiences

The most promising ad audiences in my stable were: fans of Gillian Flynn, readers of Hard Science Fiction, and readers of Speculative Fiction. If you dig deep into Facebook’s Ads Manager, it will happily estimate the overlap of your audiences for you.

Speculative Fiction covers the majority of the Hard Science Fiction audience. I kept HardSF in the mix because it brings a few more guys into a combined audience that otherwise leans female.

The Voltage

I increased the ad spending by an order of magnitude. For the previous experiments, I set the spending limit to $5.00/day. During the Countdown Deal, I upped the total to $100/day. That big (by my puny standards) chunk of change was not distributed evenly. I bet $50 on the Gillian Flynn fans, $25 on the HardSF crowd, and the remaining $25 on the Speculative Fiction aficionados.

The Resistance

A Countdown Deal can have multiple stages where the price changes (goes up) over the course of the promotion. It adds a bit of urgency/excitement to the deal. Hurry! Only 12 hours and 41 minutes until the price goes up to $1.99! I debated whether to use those stages to try and determine a better price for my e-book. If sales (books sold X price) peaked at $2.99, then I should consider lowering the price from $4.99 once the sale was over. The counterargument was that if the price was changing, I couldn’t include it in the Facebook ad. There is no way to synchronize a change in the ad copy with the Countdown Deal’s pricing stages. In the interest of keeping it simple, I set the price to $0.99 for the duration of the deal and called that out in the Facebook ad.

The Countdown Begins

If you’re looking for ways to avoid the hard work of editing your next book, it’s hard to beat running ads and monitoring the resulting sales. Facebook and Amazon provide all sorts of numbers and charts. Refreshing the various dashboards and reports can be addictive. It was for me.

The Results (Ads)

Short version: The ads did not perform as well as the experimental approach to the same audiences.

Long version:

Outbound clicks are what take you from the ad to the Amazon product page. The Click-Through-Rate (CTR) dropped by more than a percent for each audience relative to the experiment. And it took more impressions per viewer to inspire a click. Since Facebook sells ads based on impressions, that means that the cost-per-click was much higher than in the experiments.

The Results (Sales)

Short version: 155 books sold during the countdown. That’s five times as many in August as the rest of the year combined. An estimated $162 of royalties for August ($0.99 e-books sales and Kindle Unlimited page reads) vs. $152 in royalties before August suggests that the value of the Countdown might not be measured in dollars.

Long version:

By commercial publishing standards, this is nothing to brag about. But if sales in the ones and twos have brought a smile to your face, seeing days with twenty-something books sold makes you happy indeed. In the first half of August 2021, the number of people who have a copy of Raether’s Enzyme quadrupled. The number of pages read via Kindle Unlimited more than doubled. The royalties earned increased by more than 50%. The numbers are still small, but they’re bigger small numbers. In some ways, it was a good week.

The Results (Visibility)

Ads on Facebook make your book visible to readers on Facebook. Readers on Facebook buying your book on Amazon make your book (more) visible to the algorithms on Amazon. Attracting the attention of the algorithms nudges them to make your book more visible to readers shopping for books on Amazon. The strength of that nudge depends on the number of sales. As a KDP author, your insight into that strength comes through changes in your book’s sales rank.

The formula for the sales rank is part of Amazon’s secret sauce. It’s not simply the number of books sold. That would result in a best-sellers list dominated by a few established titles. To keep things fresh and interesting, Amazon takes other factors into account. Outside observers have deduced that the value of a given sale (for the purpose of sales rank) decays over time. Sure, you sold a million copies five years ago. What have you sold in the last sixty days? Are your sales ramping up or dropping off? We may never know how Amazon calculates its sales ranks, but it does so fairly regularly. So, if you’re running a promotion and an ad campaign, you can include refreshing your product page every hour or two to your list of things to do instead of editing your next book. I did.

Books that aren’t selling float in the deep abyss of sales ranks greater than one million. Books that sell a couple of dozen copies a day over several days rise from the murky depths to a level where they can begin to imagine there might be a thing called light. Over the course of the Countdown Deal, Raether’s Enzyme floated up into the realm of four-digit sales rank.

No one is going to stumble upon the book ranked 6,802 while browsing the Kindle store. Where there is a little more hope and light is the sales rank within the various specialized categories/genres that the book is filed under.

Someone in the market for Disaster Fiction (a category suggested by a marketing consultant (definitely out of the box I had considered for the book)) would see #11 in the first page of results.

A reader looking for a technothriller might click over to page two of the results and see #54.

Hey! I’ve heard of Blake Crouch before! And for a brief time, Raether’s Enzyme was right there between two of his (older) books. How about that?

The glimmer of sunlight was nice while it lasted. After the Countdown Deal and its ad campaign ended, sales dropped off and Raether’s Enzyme began to sink back into the gloom. Sigh.

Inconclusion

There isn’t a space missing there. I’m still processing this exercise.

On an emotional level, the fantasy was dashed, but I’m happy the book reached more readers.

By the numbers, I’m not satisfied with the returns vs. the ad spending. 6.48% of the Facebook readers clicked over to Amazon and only 10% of those readers wanted the book enough to spend the price of a cheap cup of coffee. This must be attributed to my marketing and my book. I own them both. I know I’m weak at the former and fear that I’m weak at the latter.

At the same time, major publishers (and movie studios) have marketing and advertising budgets that are a substantial fraction of the overall cost of production. My $562 ad spend is well below what I’ve invested in bringing the book to market. The marketing consultant threw out a $2000 ad spend figure during our discussions. Playing the advertising game (vs. alternatives discussed here) may require better investments and more of them.

The Countdown Deal is over. The story continues.

Selecting Select

May 28, 2021 /

KDP Select, that is. From May 28, 2021, until August 25, 2021, Raether’s Enzyme, the e-book, will be available exclusively through Amazon. Not Apple. Not Barnes & Noble. Not Kobo. Not Smashwords. Just Amazon. The paperback edition will continue to be available on Amazon*, at Barnes & Noble’s online store, and whatever independent bookstores order it from IngramSpark (ISBN: 9781735183909).

“Whoa,” you say. “What happened to ‘going wide’ and ‘meeting readers on whatever device they like to read on’?”

Yeah. The thing is, near as I can tell, the only e-book copies I’ve sold outside of Amazon have been to Tensile Press. That’s me. I purchased the e-book from each store to verify that it worked on their reader apps. Absent amazing success at marketing, my book will remain unnoticed, unpurchased, and unread in the non-Amazon portion of the commercial e-book ecosystem. So, for the short term, no one would be missing out if I unpublished the book to those outlets. I did this. But why?

If you checked out the link to KDP Select, you know part of the answer. For the non-clickers out there, KDP Select offers the following:

Kindle Unlimited subscribers can read as many KU books as they wish for a fixed subscription fee. Authors get paid a share of the KDP Select Global Fund based on how many pages of their book(s) are read. For independent authors, the per-page compensation is very, very, small.

During the KDP Select enrollment period (90 days), you can either run a free book promotion or a countdown deal. Pick one. I think Raether’s Enzyme is a screaming deal at $4.99. For the price of an extra-fancy coffee drink, you get tremendous entertainment value. As the work of an unknown author, many people might not see it that way. Discounting the book, or giving it away, might overcome that uncertainty and help connect the story with readers who will love it.

If they love it, they might tell their friends. They might leave a positive review. Word-of-mouth and abundant online praise are two of the strongest allies a self-published book can hope for. You might not make any money on books you give away or heavily discount, but you can prime the pump of reader interest and build a foundation of (hopefully) positive reviews. After the give-away or sale is done, readers that find their way to the book’s Amazon page via word-of-mouth or (gasp!) paid advertising, might find the confidence they need to justify the already low-low price of $4.99. That’s the theory, anyway.  We’ll see.

The other factor that motivated me to put all my e-book eggs in the KDP Select basket was something I discussed in Stalking You on Facebook. I’m still interested in experimenting with Facebook ads, but my last experiment sent the people who clicked on the ad to my blog’s Raether page. From there they had to click again to reach the merchant who could sell them the book. That extra step was taken by about one-fourth of the people who reached the page. Focusing the marketing and advertising directly on the Amazon page removes that step and makes it easier to a reader to buy the book. That’s the theory, anyway. We’ll see.

The 90-day experiment has begun. We’ll see what the future holds.

  • At this writing, the paperback is heavily discounted on Amazon.

Marketing Monday

March 17, 2021 /
Raether's Amazon Ad

Raether’s Amazon Ad

“So, you have a new novel for me?”

“Yes, sir, I do. It’s a thriller/sci-fi/superhero mash-up with an amazing premise, a smart, sensitive hero, bounty hunters, dogs, aspiring supervillains, monsters, hackers, magic, secret identities, gunfights, and a cure for cancer!”

“Wow-wow-wow!”

Raether’s Enzyme is a story I like. The design of the paperback and eBook are excellent. Readers from my circle of family and friends enjoyed it and wanted to talk about it. I remain confident that there are many more people out there who would like it too, but that confidence is largely a matter of faith.  Sales so far have been scant, but the handful of ratings that have trickled in have been good.

The new challenge is to connect my book with readers who might enjoy it. The name of the discipline that encompasses this endeavor is: marketing. I am now consciously incompetent at marketing.

Cosmic Justice

I spent most of my adult life being unconsciously incompetent at marketing, and proudly so. As an engineer, I disdained the marketing department. They were foolish, superficial people who brought nothing but confused “customer requirements”, suspect “market research”, and undue authority to the product development process. Any failure of our efforts in the marketplace were obviously attributable to the gross incompetence of the marketing department. It is right there in both words: market. Case closed. Engineers rule. Marketing people drool. Any Dilbert fan knows this.

Yeah. About that…

Now that I am responsible for both producing the product and marketing it, I regret my former arrogance and apologize to any marketers out there who are reading this. I’m sorry. I should have had more empathy and respect for the people who work hard to identify potential customers and divine their wants and needs. I should have been more curious about how that side of a business works. Having failed in these ways, I have made a thing—a good thing—without a plan or clue as to how I might show the right people that it exists. There are infinitely many ways to fail at marketing and a small number of ways to succeed. My inability to tell the difference may doom my book to obscurity. If I can’t up my game to a baseline of conscious competence (or get very, very lucky), I fear that I will have squandered the contributions of the friends and collaborators who helped Raether’s Enzyme get this far. I will own these manifold failures from end-to-end. It will be my own damn fault.

Beyond doom and gloom

Recognizing you have a problem is the first step to solving it. As a young engineer, my next step would have been to come up with my own definition of the problem and set about solving it. Asking an actual customer for their input would only have constrained my immense creativity and innovation. As a more mature person working in a domain where I am consciously incompetent, I knew that I would need to learn, experiment, and fail repeatedly to make progress. In the months since Raether’s release, I have divided my time between marketing tasks, drafting The Gray God, and playing Cyberpunk 2077. I won’t claim to have found the optimal balance here, but I have committed one day each week to turning the learn-experiment-fail crank. I call it: Marketing Monday.

Learn

An older post offered a high-level, author’s-eye view of the landscape of the traditional publishing ecosystem as I understood it. I went with self-publishing. That landscape is similar, but there are distinct features that I should document at some point. For the purposes of this post, I’ll call out one such feature. I’m not sure if it fits my para-publishing or para-marketing categories. Let’s just say that there are many people out there who offer insight, advice, plans, and coaching for indie book marketing. Many, many people. Since I haven’t successfully employed any of their advice yet, I can’t make a recommendation as to who one should listen to or pay for. There are some common themes I’ve picked up on.

Marketing begins months before launch.

I launched Raether prematurely. I knew this at the time but didn’t want 2020 to find a way to kill me and/or destroy civilization before I had published at least one book. A prudent and planful book launch includes building buzz on your mailing list and social media, seeding influential reviewers with advance reader’s copies (ARCs), and other networking efforts. All of which require a marketing plan to identify receptive parties and shape advertising copy (which is an art distinct from fiction prose).

The Amazonian Gambit

Amazon wants to sell books. It doesn’t necessarily want to sell your book. If enough customers buy your book for it to rise in the sales and popularity ranks (in general and within the book’s category), your book will earn a position of visibility to book browsers. It falls to the indie author to bring readers to Amazon for your book or to find readers within Amazon via well-placed Amazon advertisements. Making the latter work requires insight, a bit of data science, a good cover, and a great blurb. Marketing and sales stuff. Raether has a good cover. I am working on the rest.

The insights you need include a list of books and authors whose readers are likely to enjoy your book. This list allows you to bid for ad placement on the pages for your targeted books. Then, if your cover is good and your tagline is great, a reader might just click on that sponsored product link and consider your book as well. These kindred books may also lead to further insights as to how to best categorize your book. ‘Thriller’ is a broad category. Mystery, Thriller & Suspense\Thrillers & Suspense\Technothrillers is a more specific category that gets you closer to readers who like a little science and technology in their thriller. Fortunately for Raether, which includes elements of thriller and science fiction (in the most general ‘what-if?’ sense), Amazon will let you file your book under multiple categories.

Amazon will also let you associate keywords with your book. These are invisible to customers but not to Amazon’s search engine, which may use them when a customer isn’t searching for a particular book but is in the market for a story with a ‘strong female lead’ or ‘dystopian fiction for adults.’  You only get to assign seven keywords to your book in KDP’s self-publishing system, but you can use many more in an advertising campaign. Picking keywords starts with your own ideas as to what readers might be looking for when they don’t yet know they want to read your book. You should test your ideas by searching for them on Amazon and seeing if your book fits in with the rest of the results. Alternately, tools like PublisherRocket will mine Amazon for you. This process may result in additional insights regarding similar books and authors.

With the right categories and keywords, you can, in theory, become visible to readers. If some of them buy, enjoy, and rate/review your book, the odds of it creeping up the sales ranks improve.

Finding your book’s Facebook friends

Your friends read your book because they are interested in you. Who is inclined to be friends with your book? Advertising on Facebook is a test of how accurately you can describe your ideal reader. What age range do the fall in? What educational level do they have? What interests do they pursue? Those interests can be genres (categories), authors, or specific books. They can also be medieval Scotland or space exploration. Facebook will use its creepy insights into strangers’ lives to target your ad without those strangers having expressed a desire to buy a book about a medieval Scotsman travelling to Mars. On the plus side, you can reach readers who didn’t know they wanted a book like yours. On the downside, they may not be in the market because their to-read stack is already full, thank-you-very-much.

Organic crops are labor-intensive.

I confess that I harbored a ridiculous fantasy. I told myself it was nonsense but deep down I hoped that I’d tell two friends and they’d tell two friends, and the miracle of exponential growth would popularize my book by word-of-mouth. 100% organic success. I wouldn’t have to work for it and could put all my energy into the next project. This didn’t happen. Duh. Not that my friends let me down. They helped me and my book with generous plugs and the book launch was much stronger for their contributions. I am heartened and thankful.

The book marketing coaches say that authors—and new authors in particular—benefit from being recognized contributing members of bookish communities. If readers (and writers, who are also passionate readers) know who you are, you’re not some unknown author to them. If you’ve entertained, enlightened, or encouraged them, they already value what you write. This needs to be a long-term relationship. You can’t just parachute in, flood the zone, and pitch your book.

As someone who burned out on the dramas and politics of online communities before many people knew such things existed, I don’t know if I’ll be able to make this work.

Another approach is to build an author platform. Make yourself known as an interesting person. Your platform can consist of a blog, a podcast, a Facebook page, general recognition of your expertise, all of these, and more. Having earned an audience in this other domain, you have potential readers who will trust you when you say, “Hey, gang, I’ve got a book coming out. I think you’ll like it.”

Having a platform is critical to non-fiction authors. It answers a reader or publisher’s first question: “Who is this person and why should I care what they think?” Having a platform works for new fiction authors who can say something like: “If you’ve enjoyed my articles on medieval Scotland, check out new novel. It’s set in medieval Scotland.” Established fiction authors have their prior work to build their platform on.

As someone whose labored in obscure bowels of tech behemoths until recently, this platform thing has a chicken-and-egg flavor to it. Building the platform entails the same work as marketing my book.

Experiment

So far, my experiments have all been baby steps.

Raether Zero

The simplest Amazon ad campaign you can run is to set automatic targeting. Amazon will use your categories, keywords and whatever secret sauce seems appropriate. If a customer clicks on the ad, you pay for the click based on a bidding range you set. My automatically targeted campaign named Raether Zero generated 7,780 impressions (it was shown to that many customers), 7 clicks, no sales, and had cost me $15.85 by the time I turned it off and scratched my head. The Click-Through-Rate (CTR) was low and the Cost-Per-Click (CPC) was high. This can be attributed to poor placement or a bad ad. The problem is that the ad is the book cover and a short bit of text. I’m committed to the cover and will need to scratch my head some more to improve the tiny blurb the ad allows you to work with.

Raether’s Kindred Books

The next experiment involved targeting the ad at two books I think are related my story. Raether overlaps in style, setting, and plot elements with Neal Stephenson’s Reamde. Raether’s dystopian aspects and concern with a young woman losing claim to her body relate it Margaret Atwood’s The Handmaid’s Tale. Perhaps readers interested in these successful books would show an interest in my unknown novel. 11,202 impressions, 16 clicks, no sales, and $10.73 later, the answer appears to be no. Again, it may be that the ad doesn’t cut it. It may be that the book itself, as reflected in the cover and short blurb, doesn’t appear to be relevant.

Rocket 1

After pouring through How to Market a Book and Amazon Decoded, I decided to revisit my book’s categories and keywords and build a new campaign with a longer list of keywords and targeted books. PublisherRocket was my friend here. It allowed me to quickly test new keyword candidates, explore the categories of related books, and cross-reference books, keywords, and categories. I launched Rocket 1 and turned it off after 2,819 impressions. Most of the keywords were generating no or few impressions. There were only two clicks. Back to the drawing board. I may start it up again after revisiting the ad blurb and fortifying the book’s page.

The first one’s free…

Facebook kindly offered me a $10 credit to apply to advertising for my page. I had prepared an ad based on the assets supplied by my designer prior to launch, so taking Fb up on this offer was easy. I set up a (crude) audience profile and pointed the ad at Raether’s page here on my blog. Seven hundred or so impressions later I had not one nibble. This could be my ad. Or the imprecision of my audience profile. Or both. Or neither. I don’t know.

What I do know is that I am deeply ambivalent about Facebook. I enjoy seeing the good things my friends and family choose to share. I understand that employing programmers and keeping the servers running costs money and that Facebook needs to make that money somewhere. It makes it by selling advertising opportunities based on its creepy insights into its users’ likes and lives. And that bugs me on a gut level. I haven’t made peace with engaging with the ads they show me. Does it make sense—is it even right—for me, with my attitudes, to pay them to insert my ads into strangers’ feeds? I haven’t solved this conundrum, so I’ve been ignoring Facebooks endless notifications about how I can improve traffic to my page with their ads. A $20 credit with my next $10 of ad spending is generous, but I don’t want to give them my credit card number.

I must move past these blocks if I’m going to use Facebook advertising. I’m told it can be quite effective.

Fail

I cannot correlate any of my advertising experiments with a single sale of my novel. Bummer.

If at first you don’t succeed…

Repeat

I plan learn more about modern indie book marketing and experimenting with these channels and others. I expect I’ll fail again. And again. And I’ll repeat the process as needed. I owe it to my book and that’s what one does on Marketing Monday.

OPERATION: X-RAY

November 3, 2020 /

In all this excitement, I kind of lost track myself.

In the run-up to Raether’s launch, staging and scheduling the e-book was easily done and completed early. The other preparations filled me with so much excitement and terror that I had little time to think about the Kindle edition. If Amazon KDP prompted me to provide X-ray content, I missed it. You may be familiar with X-ray from Prime Video. It will pop up information about who is in a scene in the movie you’re watching. Some clever combination of annotators and algorithms connects the content of the movie to IMDB, which Amazon owns.

X-ray annotations are available for Kindle e-books. They are not folded into the e-book file directly, but live in a database in the Amazonian cloud. Launching the annotation web app is cleverly hidden in the ellipsis menu. Like so.

Launch X-Ray, if you can find it.

I stumbled onto this a week after launch. Given the choice between writing about and around the book vs. trying to figure out how to market it, I took what I thought was the easy road and got to work annotating.

Everything’s automated.

Except the things that aren’t. The system does a decent job of combing the text for character names and specialized terminology. Some of the terms will have Wikipedia content pre-selected. Your mission, should you choose to accept it, is to visit each and every character and term and:

  1. Write a short character profile or term definition.
  2. Chose a Wikipedia entry to supply the definition.
  3. Exclude the entry from X-Ray.
  4. Realize that this entry is a nickname for a character and needs to be added to that character’s profile as an alternate spelling.

Sample character entry.

I expected Operation X-Ray to run over a couple of sessions in as many days. I was wrong.

Terms real and imagined

Raether is written in close third person perspective with multiple point-of-view characters who come from different backgrounds. The narration uses vocabulary from the POV characters’ worlds without slowing down to explain the terms. It mixes real and fictitious Pacific Northwest geography. It coins new jargon around the recently discovered Raether’s enzyme. The number of people who will get all the references is a demographic of me, because I wrote the story and the story required the research.

I like to think that you can enjoy the story without knowing the details of the Ruger firearms catalog or all the Native American names for Washington’s stratovolcanoes. The story doesn’t hinge on any of these details and provides enough context that you should have enough of the idea to keep reading. X-Ray is there for readers who enjoy stopping to indulge their curiosity. For the real-world terms, the Wikipedia text does a fine job. For the products of my imagination, I provide more details to flesh out the story’s world.

In the current X-Ray, there are 24 custom entries and 163 Wikipedia terms.

Characters central and minor

The core cast of Raether numbers about twenty. There are a great many more secondary and named minor characters. X-Ray’s automated search counted a total of 143. Some of those were false-positives. ‘Roooowf’ is a noise a character makes, not a new character. After coalescing the nicknames and excluding the super-minor characters, the current X-Ray has entries for eighty fictitious people.

The character profiles should enrich the reader’s understanding of the major characters but not reveal anything that would revise that understanding. The text of the novel should be the reader’s guide to the characters. This sets up a balancing act for the X-Ray profiles. They need to be interesting enough to reward the reader, but not reveal secrets. I erred on the side of being shorter and less interesting. X-Ray content can be revised at any time, so I may revisit this in the future.

For the minor characters, I recapped what we already know about them as an aid for readers who might have lost track and explained a few that came up in passing conversations.

Beyond Raether’s X-Ray

X-Ray is a nice supplemental feature that I would like to provide for future books. To make it easier, I’ll need to keep better track characters and terms. In Raether, it was all in my head. I should at least maintain a spreadsheet of who’s who and what’s what. Such accounting will help during rewrites by challenging me to justify keeping minor characters. I’m looking at you, Timothy Wood, Esq. Scrivener has facilities for keeping track of characters built in, so The Gray God will start in a better place when its time under the X-Ray comes.

A Dream of Launching

October 20, 2020 /

Previously on Game of Tomes

In The Prints of Proof, I resolved the burning question of which book design for Raether’s Enzyme to bring to market by creating paperback proof copies of each design. After studying the proofs and consulting with my trusted beta readers, I settled on one of the three excellent designs. Eager to get the book to market before the murder hornets descended on me, I uploaded the book’s files to Kindle Direct Publishing, IngramSpark, and Smashwords. Hilarity ensued.

Covering my assets

With the great power of self-publishing comes great responsibility. Promoting my books is up me.  For my soft launch, I’ll be announcing the publication of Raether’s Enzyme on my social media. With a little luck, some of my friends, family, and will find the premise of the story interesting. Some of those good folks will enjoy the book enough to recommend it to their friends. Word-of-mouth will spread.

To reach readers beyond my social network, I need to advertise. The twenty-first century is awash in advertising opportunities. To put it mildly. Exploring and exploiting them requires ad media tuned to the various marketing channels. Facebook, Twitter, et al have idiosyncratic requirements for what makes optimal ads on their platforms. As I prepared to engage my designer’s talents, my research revealed that the number of ad formats was daunting. When you add the number of images required to fortify my web site, Facebook page, Twitter and LinkedIn profiles, the project was too large. And any or all these requirements were subject to change without warning.

Rather than ask him to produce all the ads and artwork I would need, I asked him to set me up with graphical assets that I could combine and arrange for all the scenarios I was facing and might face over the life of Raether’s Enzyme. The cover art for Raether is amazing. The title typography is dramatic. The background is a fascinating biofluid texture. He provided me with the title in SVG vector form and extracted the biofluid from the cover art as a PNG file. To round out the package, he rendered the cover as a paperback book and on a tablet (for the e-book). These building blocks empower me to apply my (admittedly modest) Photoshop skills to build ads that play off the strengths of his cover designs.

Ad-ing it up

I set to work building the images I’d need to announce the publication. There wasn’t room for the full back cover blurb. I distilled it down to three sentences, two of them quite short. Putting them into the artwork, I hit my first speedbump. The back cover text is in a font called Thonburi. The only free-to-use version of Thonburi I could find for Windows is for Thai systems. The text of my English sentences rendered as fragments of Thai characters. After consulting with the designer, I settled on Franklin Gothic Medium for my ad copy.

I knocked out the ads and banners on my checklist with time left to pursue a stretch goal: producing a video teaser trailer. By default, I resent PC makers pre-installing third-party ‘bloatware’ on new computers. It’s mostly crap I don’t need or want. The nice folks at MSI preloaded PowerDirector14 on my machine and I’m happy they did. The free portion of its feature set was enough to do the job. The learning curve wasn’t too steep. Before long, I had combined my assets, a few transition effects, and sound effects from soundsnap to create an intriguing thirty second video that had the flavor of a movie trailer. Minus the epic “In a world…” voice.

I was pleased with myself. I downloaded it to my home theatre PC and watched it on my big screen over and over again. The final image features the mock book and tablet. After working on the ads and the video for days on end it finally hit me: a dreadful certainty that the paperback cover I had uploaded to Amazon KDP and IngramSpark was still too dark. It failed to deliver on the promise of the ads. It was one week before Raether’s scheduled launch and I had to fix the cover.

Re-cover-y

Looking back, it was clear that I had settled for a darker cover too readily. My frustration with the screen-to-print issues got the better of me. I should have worked through the problems with the aid of the designer and landed a version of the cover art that printed well back in September. I had run an experiment on my own with an enhanced version of the cover art and a matte cover, but abandon it because the matte finish made the biofluid look chalky. I needed to recreate those enhancements and make them work with the glossy cover finish that worked so well with the liquid theme of the art.

Prudence recommended contacting the designer to ask for a version of the cover with the enhancements I believed would rescue the art from the CMYK darkness. Pride, courtesy, and desperation argued against that. I owned the mistake so I should fix it. It would have been rude (and unprofessional) to interrupt the designer’s work for other clients with my fire drill. The designer is in a different time zone, so even if I was willing to inflict my panic on him, it would be more efficient if I could make the changes and test them with KDP’s previewer on my own.

Easier said than done. I don’t need programs as powerful as Photoshop often enough to justify subscribing to Adobe’s software-as-a-service. For my occasional needs, I have work-alike programs from Affinity. They are generally potent beyond my ability to fully exploit. When I opened a copy of the cover PDF file in Affinity, I ran into two problems. The bleed portion of the cover image was missing. Affinity showed only white. That had the risk appearing at the edges of the paperback cover. The second problem was my old nemesis: Thonburi. All the back-cover text was a mess of arbitrary Thai characters if I had the font installed. Absent Thonburi, the software substituted another font. In the course of ‘fixing’ the imagery, I was breaking the typography.

Necessity is the mother of subscription. I couldn’t bring myself to buy into the full Adobe Creative Suite, but a seven-day free trial of Acrobat Pro DC enabled me to convert the cover PDF into a PNG file that combined (flattened) the image portion with the text. I adjusted that to match my matte cover experiment, boosted to contrast for good measure, and saved it as a PDF. KDP raised no alarms when I uploaded it. I ordered a new proof copy with next-day delivery and told myself to hold off on uploading the new cover to IngramSpark.

Hold the WordPress

My plan was to share the video from this very website, which is powered by WordPress and lives on a BlueHost server. WordPress had other ideas. My attempts to upload the video to the site’s media library failed. “Sorry, this file cannot be uploaded for security reasons.” What?! It’s a simple MP4 video file! It plays just fine on my desktop and my iPad! I consulted various oracles and tried different WordPress plugins to no avail. One of the plugins revealed that MP4 files were on the list of permitted file types. Something else was going sideways during the process and WordPress was barfing up an incorrect error message.

Well, bugger. I didn’t have time for a trip to Techsupportland.

I created a YouTube channel for Tensile Press and uploaded the video there. That should work, but viewers will have YouTube spraying ‘watch next’ content at the end of the video. Because YouTube.

Pressing the button.

The jolly, candy-like button. KDP advises that when you press the paperback publish button, it may take up to 72 hours before the files pass through final review and the book is available for purchase on Amazon. I was slipping inside that window and the proof copy with the new cover had not arrived. The new cover looked better and brighter in the previewer. No guts, no glory. I pressed the button. And waited. No guts, no glory. I uploaded the new cover to IngramSpark. And I went to bed.

The next morning I received e-mail from KDP. My files had failed the final checks. The message’s wording was that of a human being. At long last, actual human eyes had evaluated Raether’s files. It wasn’t the new cover that was the problem. It was the interior PDF, which had passed the automated tests over a month before. The interior design brings the biofluid effect inside the book. You see it in the front matter and in each chapter heading. It is super cool. The biofluid extends to the edges of the pages it appears on. For printing purposes, that means the artwork must extend past the edges of the books page into the paper that gets trimmed away, into the bleed. The interior file I had uploaded ended at the page edge. It did not include the bleed. This should have been easy for the automated tests that run when you upload to detect, but they didn’t. The final human-powered check discovered problem. This error also explained a few problems with the test copy I had ordered from IngramSpark. The designer supplied me with a full-bleed version of the interior. I uploaded it to KDP and IngramSpark, which accepted the update. I pressed the KDP publish button a second time. And waited.

The next morning KDP’s e-mail congratulated me on having published my book. That afternoon, the proof copy with the new cover (and bad interior) arrived. It looks amazing. The colors are a close match to the vibrance of the art on-screen. I hope you relish it as much as I.

The Prints of Proof

October 10, 2020 /

Previously on Game of Tomes

In A Dance with Designers, three talented teams of freelance designers produced covers and interior book designs for Raether’s Enzyme. Each team’s cover captured a different aspect of the story and were viable keys to unlocking readers’ interest. The teams mastered the layout challenges posed by the manuscript’s stylistic flourishes. The dance ended with a cliffhanger: I had three great designs and could only bring one to market. There was one last test.

Kindle Direct Proof

The final test was to upload the designers’ files to Amazon KDP and request proof copies of the paperbacks. This would get me as close as possible to what a real reader would experience. I had prior experience with the system that gave me cause for concern. This time I had professional design products, not dev. I was optimistic. Too optimistic…

I’ll break here and to say that the trials I recount here are 21st Century First World Problems™. KDP and IngramSpark afford indie authors an amazing opportunity to create real live books without the overhead of a full-blown print run. Raether’s Enzyme would not be available in paperback if it wasn’t for Print On Demand.

Okay, back to our story. I chose the design I favored ever-so-slightly for the first proof. With the files uploaded and the automated tests passed, the online preview of the book looked promising. The cover was a bit dim, but the interior tracked the designer’s PDF file perfectly. I ordered four proof copies and sat on the porch steps waiting for the delivery.

The covers were rather dim. Areas that glowed on the screen with red were like dried blood. The magical cyan was the green of chalkboards. Whole areas of subtle detail were lost in the darkness.  I’ve worked in and with computers long enough to know that unless the screen to printer pipeline is calibrated, what you see on the former isn’t what you’ll get on the latter. The additive colors on your screen work differently than the subtractive colors used by printers. Gamut mapping is a science. But it struck me that in the years that KDP had been serving indie authors, it should be able to print the users’ cover files with greater fidelity.

Diving into the KDP community forums revealed that dark covers were a persistent issue. The best advice anyone had to offer was to print on glossy paper (I had chosen a matte finish) for a 10%-20% boost in brightness. That was useful. I would try that. But that would mean another week or so before the next (single) proof copy arrived. The process was broken. For the time being, I had to deal with it.

I imagined ways it could be better, wrote them up, and posted them to the section of the KDP community forums dedicated to feedback and feature requests.

First things: I’m still new to this but have been in the system since CreateSpace. I know that printing cannot deliver the luminosity and range of colors that you can see on the screen. I recognize that an ideal pipeline would include calibration of the monitor to the printer. I understand the difference between RGB and CMYK but am not versed in the art and science of gamut mapping.

KDP has done an excellent job with my books’ interiors. The covers of my proof copies are invariably MUCH darker than source PDFs and images. The new previewer hints and the darkness to come, but IMHO understates it. The availability of proof copies on demand is a miracle of 21st Century publishing, but the one-week time between requesting a proof copy and having one to evaluate makes an iterative approach to getting the desired cover very, very slow.

Any or all of the following would improve productivity and reduce resource use. Please consider implementing these features for KDP.

COVER PROOF COPIES. Allow the author-publisher to request a printing of just the cover.

FILTERED COVER PROOF GALLERY. Like a cover proof copy, but with multiple miniatures of the cover on a single sheet. One displays the cover as uploaded. The others show the printed results with variations on the cover. RGB vs. CMYK. Selected embedded color profiles (community wisdom is that these are discarded by KDP, so maybe not). Gradations of enhanced saturation and/or brightness. Label each so that the customer can adjust their cover to match the one that looks best to them.

SMARTER COLOR MAPPING. Amazon’s a smart, capable company. Do a better job at translating the customer’s colors to what the printer can deliver. Train a machine learning system to provide customer-satisfying results. Something to keep my spirits from falling when I open the box of proof copies.

GREATER TRANSPARENCY AND BETTER GUIDANCE. Community members have done heroic work in offering workarounds to weaknesses in KDP. They aren’t in a position to solve our problems with this aspect of self-publishing. KDP should tell us up-front how to get the best color fidelity for our book covers. At the very least, it should document which printers to target so that we have a better chance to get things right the first time.

KDP is an important partner in getting Tensile Press books to market. Addressing the issues around cover color fidelity will make it a cherished partner.

Thank you for your attention.
Sean Flynn
Tensile Press

This is a “compliment sandwich” with some “plussing” in the middle. These was no response from the KDP team. Various jaded community members took time out of their days to tell me that it was foolish to expect any improvements to the system. One helpful soul recommended that I send the same message to KDP tech support. I did. The response was a polite email thanking me for my input and assuring me that they would forward the message to the business unit. Time will tell.

With help from the designer and a glossy cover, the second-round proof copy looked great.

I still had two more designs to proof. Swapping in their cover and interior files one after the other would take weeks—possibly months if changes were required—before I would have all three in front of me to compare. I cheated by creating two new books with slightly different titles and KDP-supplied ISBNs. With the files uploaded for each, I ordered both as proof copies. In these cases, the covers and interiors were fine.

Proof of spines

Now there were three real-world copies of Raether’s Enzyme, each a unique embodiment of the story. The fruit of the dance with designers lay on my dining room table. I studied the covers under sunlight, LEDs, and the sky. Magical. Sophisticated. Electric. I paged through them all, weighing how each rendered the general text and played my various formatting games. A favorite emerged. A personal favorite. For a final final test, I met separately with two of my stalwart beta readers and asked for their impressions. Both preferred two of the designs. To my great relief, one of the two was my favorite. My marketing-savvy reader told me that an image should contain one, or at most two messages. He pointed to one of the proof copies and said that it had the most direct message. It was the design I had chosen based on the emotion in its cover and the way the design infused the interior. Sometimes marketing and personal taste converge.

The Bill-ion-aire, and the rest…

Amazon (via KDP) is a big market for independent authors. It is not the only market. I want Raether to available to as wide an audience as possible. Or at least as practical. Alexa will tell you that I’m quite fond of Amazon, but she doesn’t know that I like my local bookstores too and favor them when it comes to new books from my favorite authors. Readers enjoy their books on tablets, phones, laptops, desktops, and eReaders. They check out print books and e-books from their local libraries. Raether’s Enzyme should meet them where they want to read.

The self-publishing ecosystem makes this possible in numerous ways. After research and deliberation, I decided to split my non-Amazon betting by putting the print edition and the e-book into separate channels. Part of this was for eggs-and-baskets reasons. The other was to learn more about these channels for future projects.

Sparking Raether’s Enzyme

IngramSpark, that is. In many ways, IngramSpark is like KDP. Authors upload cover and content files. IngramSpark’s printing arm, Lightning Source, prints copies of the book on demand. KDP is a vertically integrated tentacle of the vast quasi-monopoly that is Amazon, who prints and sells the book. IngramSpark is part of Ingram Content Group, the largest book distributor and wholesaler in the United States. In that role, it is the ally, rather than adversary, of bookstores large and small. Adding your book to Ingram’s catalog makes it visible to your friendly neighborhood bookstore, Barnes & Noble, and your public library.

As in KDP, after your files are uploaded, IngramSpark guides you through setting the price of your book. This was my first real contact with life outside of the Amazon basin. I learned why paperback books cost what they do. To make money, bookstores need a wholesale discount. IngramSpark recommends 55% off the cover price. When I combined the price I had set for the paperback on KDP with the discount and the cost of production, Ingram calculated that my profit would be negative. I would owe for each copy sold. I needed to raise the list price by…a bit. To maintain the goodwill of the non-Amazon universe, my Amazon price would have to rise to match what I needed to charge to make things work with Ingram.

Bookstores very much want to be able to return unsold books for a refund. Margins are small. They need to manage the risk of stocking new authors. I understand and respect that. Tensile Press (which is me) can’t afford to be on the hook for a big return. Or a multitude of little ones. So, at the very real risk of Raether never appearing on a bookstore shelf, I opted out of offering a return policy.

Smashing all the words

The prospect of plugging into all myriad e-book stores daunted me. There are several outlets that will handle the multiplexing for you. I went with Smashwords. It has a good reputation and I have some pleasant memories of working with (what I think is) its founder, Mark Coker, back at Apple in the 1980s. When you upload to Smashwords, there’s little room for shillyshallying.  You’re either in the pipeline for immediate publication, or you’re available for pre-order. I freaked out. I hadn’t set a date in my mind, but I was pretty sure it wasn’t that day. I picked a release date a few weeks in the future. And I found a button on the dashboard to ‘unpublish’ the e-book. I clicked it.

Finger on the trigger

I sat there and asked myself, “If not then, when?” It was 2020. The murder hornets appeared here in Washington in the second act. Chekhov’s Gun required they be used before the curtain fell. Did I want to risk dying in whatever ether, cocaine, and peyote infused madness the 2020 writer’s room had in store without having published one book?

…………………Bang.

The answer was no. I republished on Smashwords with the original release date. I set the release date on IngramSpark. I set the (e-book) release date on KDP. The hammer struck the firing pin. The firing pin hit the primer. The powder began to burn. Raether’s Enzyme was on its way down the barrel and into the world.

Two days later an excited email arrived from one of my beta readers. Raether’s paperback edition was available for preorder on Amazon. After a moment of confusion, I realized that the IngramSpark had pushed the preorder to Amazon. As I write this, I’m working through Amazon’s support network to override that edition with the KDP version. Over the next few days, the e-book preorder surfaced on Apple’s bookstore. Print and e-book on Barnes & Noble. Kobo.

I am committing the quietest, softest, weakest book launch imaginable. I have flouted all the online guru’s advice for building interest. I haven’t sent advanced reader copies to influential book bloggers. I haven’t sought out the online communities where my (potential) audience dwells. I haven’t commissioned reviews to decorate the ad campaign I haven’t even planned. I haven’t raised an army of flying monkeys to trumpet the news to the far corners of Oz. My marketing-fu is rubbish.

Nonetheless, here it goes. There is much left to do before I can at least make an announcement via my limited social media.

Tick-tock. Tick-tock.

A Dance with Designers

September 23, 2020 /

Previously on Game of Tomes

In A Clash of Copyeditors, two talented freelance editors improved my Raether’s Enzyme manuscript and I then struggled to merge their edits into a final draft. I bought my own copy of the Chicago Manual of Style and verified that we now use the lower-case internet. There was much rejoicing.

Two is Good. Three is Better. Right?

Clash’s dual-slit copyeditor experiment went well enough that I was keen to try it again with the cover and interior design. I liked Reedsy as a place to connect with freelance professionals but it was too early to put all my eggs in their walled garden. One of my eggs, yes. The other I would entrust to someone else. Someone out there.

Be careful for what you wish for. To that end, I started my search with the following criteria in place and immutable:

  • One stop shop. For the cover, interior, and eBook to be consistent, I wanted one designer (or team) to develop all three. Typography on the cover should inform the interior. On a more concrete level, the dimensions of a paperback’s cover spine depends on the page count of the interior.
  • Genre agility. Raether’s DNA contains thriller, sci-fi, and a dash of superhero story. The designer portfolios I was looking for needed breadth. There are artists and studios out there who can land your cover solidly within the romance, science fiction, or fantasy spaces. I was looking for an artist who could compose from a multi-genre palette.
  • License free. Once I had the completed work, I needed to be free to use it without accounting for additional use fees. You know, in case I sell too many books.
  • I strive to be clear and forthright in my dealings. I prepared a project brief describing scope and challenges as I saw them. The designers I wanted to work with would cite details or ask pertinent questions in the course of formulating their offers.

The project brief I sent to each designer began thus:

Short version

Cover and interior design for eBook and print. 114,000-word manuscript. Mixed genre – a contemporary thriller with elements of science fiction and superhero origin story. Includes text messages, email, simple tables, and a few other stylistic flourishes that preclude direct application of a template.

I am exploring this process for the first time. I may hire more than one designer. In that scenario you would be paid in full and thanked profusely but might not see your contribution to the book go to market.

The long version goes on from there into spoilers territory.

After a long search, I landed on a book design site that I liked. Their portfolio was diverse and included authors that I recognized. The prices were higher than I expected and did not include eBook formatting in the package that was otherwise right for my project. There was space for my brief in the request-a-quote form, so I added it. I clicked submit and waited to hear back via email. The response was disappointing. Boilerplate outlined a cover and interior package that started out $500 more expensive than the package I had asked about. That base figure covered a page count that was much smaller than I knew Raether would need. The quote disagreed with the web site and indifferent to the details I had provided. I chose to go no further.

I approached the next design site with the same brief and more trepidation. Unnecessary trepidation. The designer (interior) had read the brief and asked to see the manuscript to better set the bid. These were folks I could work with. I had my non-Reedsy design team.

All this while, I had encoded most of my criteria into Reedsy’s marketplace search queries and spent many hours reviewing bios and portfolios. After much sifting and sorting I got it down to two candidates. One had a strong, broad portfolio and a background that fit the project well. The other had a distinctive distinctiveness to his work. I wanted to see what he would do with the project. I requested quotes from both. Be careful what you wish for. They were both available. Both were interested in the project and attentive to its requirements. Both were fair and reasonable in their offers. Dangerously reasonable. As in: I could hire both of them for what that first design site was asking. So that’s what I did.

Dosado and Away We Go

Every dance has certain steps. The copyediting dance is relatively simple. The writer presents the editor with a manuscript and any notes that might be helpful. The editor may in time respond with questions about the manuscript’s idiosyncrasies. The editor delivers a version of the manuscript with their recommended changes tracked by Word. The writer happily clicks ‘Accept’ on 95% of the changes and agonizes over whether the remain errors are something super clever and special. The dance partners thank each other and move on.

The book design dance is more involved and iterative. The steps I observed while collaborating with all three teams went like so:

  1. The writer supplies the manuscript, notes about what they are looking for, and examples of relevant cover art.
  2. The designer creates two or more preliminary cover designs.
  3. The writer spends a day thrilled with and fascinated by the designer’s imagination and skill.
  4. The writer agonizes about which design to choose.
  5. The writer picks one design to move forward and writes up their thoughts on the cover.
  6. The designer evolves the cover in response to the writer’s notes and delivers one or more variations of the core cover.
  7. Repeat steps 5 and 6. The designers I worked with offered more than one revision as part of their services. If you need more than three, chances are there’s a communication problem or you don’t really know what you’re looking for.
  8. The writer signs off on the cover design.
  9. The designer takes the manuscript, front matter (copyright, dedication, etc.), back matter (acknowledgments, author bio, etc.) and instructions from the writer and combines them into a print-ready PDF.
  10. The writer reviews the PDF and responds with any notes and corrections.
  11. The designer updates the PDF in response.
  12. Repeat steps 10 and 11 as needed. (Raether needed due to its formatting extravagances.)
  13. The writer signs off on the interior. The page count is now known and fixed.
  14. Optional: Paperback full cover design. Skip if the project is eBook only.
    1. The writer supplies back cover blurb text and ISBN number.
    2. The designer extends the cover design to include the spine and back cover with barcode.
    3. The writer reviews the full cover design and responds with notes.
    4. The designer updates the full cover design.
    5. Repeat steps c and d as needed.
    6. The writer signs off on the full cover.
  15. Optional: eBook interior design. This is like the print interior design, with EPUB files taking the place of the print-ready PDF.

Working with one designer, a manuscript with conventional formatting, and a story with clear genre, this dance is intricate but the choreography is straight-forward. Working with three designers on a more complex manuscript (by novel standards), a mixed genre story, and consulting with my beta readers, is where the dosado comes in. From my perspective, it was more of a square dance than a waltz. I was switching partners, repeating steps, and listening for the next call. The extra work was rewarded with sustained excitement.

The Covers

In the first draft of this post, I went into detail about dance Steps 1 through 8. I described each of the cover candidates, my reactions to them, and which ones I chose to develop and why. That was the right thing to do for a private journal and the wrong thing to do for a blog post. While I had anonymized the designers, I was still exposing details of our collaborative dialog and painting with words works-in-progress that were not intended for a wide audience. To put it lightly: It was unprofessional. To put it honestly: I was betraying the designer’s trust.

Allow me to summarize. Each design team started with the manuscript, some notes, and a link to the educational saga of my own attempt at designing the book. The preliminary designs were exciting and diverse. Each artist found their own themes to emphasize and each of these pictures spoke a thousand words about what I had written. Each was a key with the potential to unlock the interest of readers who will enjoy the book. Studying the designs and writing feedback for the artists sharpened my understanding of what I was looking for. Picking one design from each team to develop forced me to separate what I wanted and liked from what the book needed. Reaching Step 8 was an awesome milestone, repeated three times.

Here are five of the things I learned during this part of the dance:

  • Don’t over-specify the design. What the designers created was far more interesting and original than what I had in my head. I put that creativity at risk by sharing too many of my own thoughts. If the designer’s process includes reading the manuscript, let the story itself make the suggestions.
  • Write good feedback on all the preliminary designs. You’ll only develop one, but what you loved about the others (and what didn’t quite work) will inform the evolution of your preferred cover. Getting your reactions and reasoning down in writing clarifies your thinking.
  • Putting your characters on the cover is hard. I read that without searching out a model and commissioning a photo shoot, you aren’t going to get a great match for features, expressions, or poses. This turned out to be true. Working with glimpses, abstractions, or silhouettes can put your protagonist on the cover without stealing the one of the most important things the reader imagines.
  • Test the designs at thumbnail size. Beautiful, subtle images and typography weaken when the cover is one of many thumbnails the reader is browsing through an online catalog. Unless or until the reader is looking for your book, the cover has to do its work when it’s small.
  • Favor fuel over maps when providing feedback. Inspire change rather than direct it. Request amplification or reduction of emotions instead of dictating new design elements. Identify problems in terms that allow the designer to find the solution. I did make some very specific requests. “Could we see the apostrophe more clearly?” The most nit-picky was: “Could we increase the kerning here?” Picking of nits should be the exception, not the rule.

On to the Interior

Dancing with designers inside the book’s cover is less emotional than the cover design. Absent interior illustrations, it’s all about layout, typography, and getting the fine details right. Some people have passionate opinions about fonts and might argue with their designer over which style of Baskerville to use for the body text. I’m not one of those people. Each design team picked a different set of fonts and all are pleasing to my eye. For a novel with the usual mix of narration and dialog, the first version of the interior may be the final one. Reviewing might catch widows and orphans, which are easily fixed.

Raether features stylings for which there appear to be no industry standards: dialog via text messages, email, and Slack chats. Its scene breaks take the form of headlines culled from the internet. These features presented a creative challenge for the designers. I had solutions for these problems and corresponding Word styles for the manuscript. The trick was to make them clear and pleasing on the printed page. As a general rule, a novel uses one font in its body text. There may be bold face in the chapter headings and occasional italics. After seeing the text messages in the main font, I asked the designers to use a sans serif font, like the ones you’re used to seeing on your devices, for all the electronic communication. This made the transitions between the digital world and the regular narrative clear.

The text messages were not done making trouble. In the manuscript and in each interior design, you see them as on your phone, with the messages from one person on the right and the other on the left. The designers had trouble keeping the messages on their correct sides. My bafflement turned to frustration. How are you getting this wrong? It’s right there in the manuscript! I didn’t actually blow up like that at them. I just made notes off all the places where the errors occurred. The errors were fixed. I cooled down and realized that if they were all having the same problem, it might well be in the manuscript. In the course of formatting the messages, I had allowed Word to spawn sibling styles for right and left side messages. Failure to consolidate those styles meant that while it looked right in the manuscript, the work the designers did to transform the message styles was error-prone. Document your fancy-pants styles and apply them with rigor.

The upside of needing revisions to the interior PDF was that I found seven manuscript errors that had slipped through copyediting. The designers were all kind enough to work those corrections into their revisions.

Popping down to the EPUB

EPUB is the (family of) standards underlying most eBooks. Under the hood, your typical EPUB eBook is a ZIP file containing XML documenting the book’s structure, CSS files describing its stylings, HTML files for all the chapters and sundry sections, and image files for the cover and any interior artwork. Having worked on Microsoft’s XPS documents and early versions of its web browser, this isn’t unfamiliar territory for me. Nonetheless, I sought help to ensure Raether’s eBook offered readers a polished experience.

Two of the three design teams opted out of the EPUB part of the project. To their credit, the Word files for the interior PDFs can be converted to EPUB and Amazon’s corresponding format via tools like calibre and Kindle Create. The process turned out to be mostly automated and otherwise straight-forward.

The third designer signed up for the job and probably wishes he hadn’t. Little did he suspect I would draw him into a vortex powered by my neophyte ignorance and long history in software development. He provided me with .EPUB and .MOBI versions of the book. I downloaded a variety of eBook readers to my PC, iPad, and iPhone to test out the file. I sideloaded the MOBI onto my Kindle Paperwhite. I changed color schemes and font sizes. There were problems. Some of them I attributed to dodgy apps. But on the Kindle, Kindle apps, and Apple’s books, I expected perfection and got bungled drop caps at the beginning of each chapter. The cover image was either clipped or stretched. I freaked out.

The designer was flummoxed. It looked great when he tested in Kindle Previewer 3. I downloaded this program and told it open the file. The other eBook readers had opened the file instantly. Kindle Previewer 3 popped up a little progress window. It wasn’t just opening the file. It was ingesting it. In the progress window, text flashed by. Something about ‘Enhanced Typesetting’. It turns out that drop caps are facilitated by ‘secret sauce’ that Amazon adds to the file as you hand it off to their KDP self-publishing site. Apple and the other big eBook sellers likely do the same. EPUB is an independent standard, but the big players “add value” to provide a more premium experience than the core standard allows. I needed to trust the system(s) to make things right. I apologized to the designer for raising the alarm. Ever the professional and diplomat, he said the project had been a learning experience for both of us.

When the Music Stops

I have three great designs. Each captures an aspect of my story and illuminates it with an artists imagination. Each is right in its own way. I want readers to see all three and pick the one they like best. But that misses the point. There aren’t any readers out there who will pay their good money for my book based on the strength of my name. I tempt myself with the possibility of selling different designs through different channels and tell myself it would be a form of A/B testing. Traditionally published books get different covers in different markets. I have spare ISBN numbers to apply as needed. Could I attract attention with such a stunt? Yes. Would I sow confusion where I need clarity? Probably. Am I trying to rationalize avoiding a hard choice? Definitely.

When the music stops, there can be only one. Somewhere down the line there may be an opportunity to share the other designs via special editions. For launch, I need one cover to share and advertise.

There is one more test to run. One more set of data to collect. I need proof that that each design works. Please stay tuned.

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