Browsing Category: "publishing"
ISBN numbers, etc.
publishing, writing August 3rd, 2008
Lyn Chamberlain of Arcadian House Writing & Publishing is back for a final installment of her series on self-publishing.
- Missed Part 1? Read So you want to write a book …
- Missed Part 2? Read What do I do first?
- Missed Part 3? Non-traditional publishers are all over the place. Can’t I just pick one?
- Missed Part 4? My book is written and I’ve seen the difference in production at the bookstore. What should I ask a publisher?
There are a bunch of numbers on every book. Can I just make them up so I have some, too?
Nope. Sorry. The numbers on the back of the book and on the copyright page provide important information.
The copyright page is part of the front matter, those pages that come before your text begins. While there is some variation, you’ll find a title page, a copyright page, dedication, acknowledgements, and table of contents. You may also find an introduction, forward, preface, and a frontispiece or illustration that precedes the book and usually faces the title page.
And those numbers. ISBN stands for International Standard Book Number. This 13-digit number is comprised of groups of numbers unique to each book. The first number identifies the language group: 0 means the book is printed in English. Next comes the publisher code; 9766666 stands for Arcadian House. Then comes an item number followed by a mathematically-produced check number designed to prevent errors.
If a book will be sold through an electronic system, it will need a barcode. The barcode allows electronic identification of the ISBN and the price for which the item was sold.
Your book also needs a Library of Congress Control Number available to all books published in the U.S. It allows librarians and book vendors to locate your book in national databases.
The first two copies off the press go to the U.S. Copyright Office. Copyright is a public record that says you own the way the material is presented.
The term prepress refers to gathering all the above in addition to creating a design for the book, making a template from the design, and fitting the manuscript into it. A good layout artist will tend to details like avoiding widows and orphans (single lines separated from their paragraphs), assuring that no pages are too long or too short, and seeing that chapters begin and end consistently throughout the book. These details are often unavailable from an online publisher.
Well, it’s been fun writing these blog entries and I hope you’ve enjoyed our short spin into self-publishing. Once again, thanks to Jan for inviting me. If you have questions feel free to call me at 614-451-5479 or email me at lyn@arcadianhouse.com. And of course, visit the web site at http://www.arcadianhouse.com/ at any time.
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Pigs vs. broccoli: self-publishing part 4
publishing, writing July 22nd, 2008
Lyn Chamberlain of Arcadian House Writing & Publishing is back for the next-to-the-last installment of her series on self-publishing.
Missed Part 1? Read So you want to write a book …
Missed Part 2? Read What do I do first?
Missed Part 3? Non-traditional publishers are all over the place. Can’t I just pick one?
My book is written and I’ve seen the difference in production at the bookstore. What should I ask a publisher?
Ask questions in four general areas: rights, quality, fee structure, and control Who will own the copyright to your book? Be sure it’s you. You’ll also need to purchase the artwork as a “work-for-hire” whether it’s supplied by you or your publisher. Don’t agree to pay royalties. Paying royalties can create a lot of confusion for the non-traditional author, the least of which is a bookkeeping nightmare. Read the fine print.
Ask to see samples of books the publisher has produced. Here’s where you use the knowledge you gained in the book store. Are the samples quality production? Quality is nearly always worth the extra cost, especially if your book will represent your business. If you’ll enter your book in contests, quality will definitely be a factor.
Will your book be printed on acid-free paper? Acid-free paper will not yellow quickly. As part of my training, in 2000 I published a book with an online publisher. The paper was not acid-free, and the book already looks very old.
Ask about prior experience. Non-traditional publishing depends on computer technology, but the technology to manufacture books does not denote an understanding of the publishing world. Vast differences stemming from training and experience can surface in the final product. You’ll want a publisher who knows about publishing.
When it comes to fee structure you may feel like you’re comparing pigs and broccoli! Originally, online POD companies charged one price. That included an ISBN number, necessary registrations, a template for you to load your manuscript into, and a few books, usually five or 10. Additional books were available at near retail price. Consequently the books you needed became expensive.
Since then, pricing structures have evolved and online publishers offer a variety of options. Knowing exactly what each contract covers allows for effective comparison.
Finally, ask how much input you will have in the process. When you publish with a traditional publisher, you surrender ownership of your book, but when you self-publish, you should have as much or as little involvement as you want. At Arcadian House we love having our authors involved at every step, from editing, through art choices, through prepress and proofing.
Next time we’ll talk about some publishing terms. Until then please visit my website at http://www.arcadianhouse.com for more information.
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Self-publishing: part 3
publishing, writing July 16th, 2008
Lyn Chamberlain of Arcadian House Writing & Publishing is back with Part 3 of her series on self-publishing.
Missed Part 1? Read So you want to write a book …
Missed Part 2? Read What do I do first?
Now, onto Part 3: Non-traditional publishers are all over the place. Can’t I just pick one?
You can, but you might not be happy with the results. Like any other product, you’ll be most satisfied if you shop and compare first.
Since you’ll need to make some decisions before you select a publisher, begin the process with a study session at the local bookstore. Study the physical makeup of the books. Understanding the subtle differences in the final product helps you ask the right questions.
First, check out the variety of bindings. By far the most common is the perfect bound paperback. This is the one with the flat, printed spine. You’ll also find books with saddle stitch binding — stapled, no flat spine. Some books have spiral binding, and a few have comb binding.
Two types of hard covers are common: cloth with dust jacket and case bound. You’ll find variations on either style.
Now return to the paperbacks and check out the difference in quality. Trade paperbacks are usually larger; 6 x 9 and 5 ½ x 8 are standard sizes. Mass market books may be 4 ½ by 7 or smaller. Compare cover, text pages, and prices. Trade paperbacks are more expensive because both materials and manufacturing are better quality.
Give serious thought to your book’s purpose and distribution. Decisions you make will influence both the quantity and quality of your book. Will you sell your book to the public or is it more of a family story? Will your book become a premium for clients or workshop attendees? Do you plan to reorder or can you buy all you need in one press run?
Armed with the information you’ve gained, you’re ready to begin asking questions of non-traditional publishers.
Next time, we’ll discuss the questions you need to ask. Until then, please visit my website at http://www.arcadianhouse.com/ for more information.
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Self-publishing: Part 2
publishing, writing July 7th, 2008
Here’s the second of five installments on self-publishing, courtesy of my guest blogger, Lyn Chamberlain of Arcadian House Writing & Publishing.
Missed Part 1? Read So you want to write a book ...
Now, onto Part 2: What do I do first?
Okay. You want to self-publish a book? What do you do first? Write the book. If you’re having a problem in that area, talk to a developmental editor. She’ll help create a structure and organize material logically. She’ll make sure that your information is current and may even suggest information to add or point out items that should be deleted.
Find a good copy editor. An editor’s job is to make sure you sound like the professional you are. Besides checking grammar, usage and punctuation, she’ll provide a host of services like checking for conflicting statements, eliminating wordiness or triteness, and making sure all explanations are clear.
The traditional publishing world often criticizes self-publishing for lack of quality control. Unfortunately, too often that criticism is deserved. Good editing, proofing and quality book manufacture provide quality control.
Proofread.
Contract for an illustrator. Producing good artwork takes time. Your book will need at least a color cover, and you may want interior illustrations.
At Arcadian House we send a book summary to several illustrators. Interested illustrators respond with a price quote and an art sample. As author, you can choose an artist based on style and price.
Complete pre-press activities. With the manuscript edited and the art work finished, it’s time to put everything together in a format the press can use. First is to create a design for the book and then feed the text into the design. Pre-press also supplies all the things that register a book where needed and make public sales possible: ISBN, barcode, and registration with the Library of Congress, Books in Print, and U.S. Copyright Office.
Proofread.
When the printer receives the files and sets them up for the press, he sends pages proofs, sometimes called galleys, for checking. Once they are approved, books are manufactured and delivered to your door.
That’s it for today. Next time, we’ll talk about what to look for in a non-traditional publisher. Until then, please visit my website at http://www.arcadianhouse.com/.