Wednesday, 31 August 2016

Another bad book review? Yippee! Guest Post by Louise Wise

From indie author Jacqueline Howett to Gothic horror author Anne Rice we’ve all reacted badly to reviews, only most of us do it silently.

It isn’t nice when someone hates something you’ve trawled over for months or even years, but to take offence over another’s perspective is completely the wrong attitude.

If you’ve a book to sell you’re asking strangers to buy your title, remember that, you’re asking them. You’ve no right to demand they like your book, just as you’ve no right to demand they write a good review. They are strangers. They don’t know you. They don’t care about you. They owe you nothing. Readers tell the truth. Readers like to tell other readers about their great finds or warn them not to touch.

Whether they like or dislike a book is down to them. Writers have no right to be angry at ANY review—well, not publicly anyway.

You think the low stars are bad for your book? What do you head for when buying? The high stars or the low? I know I head straight for the low where I’m reading about your book. I haven’t ignored it. I’m reading about it. Then, like the majority, I’ll head to the ‘look inside’ and make my decision on whether to buy or not from there.

Do you, author-who’s-scared-of-bad-reviews understand what I’m saying?

Low stars pull in the readers!

But let’s not be silly now. I’m talking about the odd low star here and there. If you’ve a string of bad reviews with low stars you need to pull the book and take an objective look at it.

And this is why I take a different approach to bad reviews.

If someone, somewhere, has taken the time to buy, read and then write a review good or bad that’s praise. That’s frigging fantastic, in fact.

Take, for instance, my sci-fi series Eden and its conclusion, Hunted, they’ve had their fair share of reviews and particularly Eden (because it’s been around far longer than Hunted) has had a hit or miss affair with readers.

Not all readers of Eden like the main characters, Fly and Jenny, they think Jenny succumbed to Fly too easily or they think he’s too ugly. There’s too much sex. Not enough sex. It’s boring. There’s too much going on and they can’t keep up. Not enough violence. The violence is upsetting:

*‘Ugh. ANOTHER “scifi but really a romance but with no sex or romance" book. Why do I keep reading them?’
‘Good apart from the sex scenes. Are they necessary?
‘It was really dull, lackluster, boring, humdrum, tame, lame, colorless, unexciting...etc..Zzzzzz’
‘I felt worn out after reading. The author needed to slow down and think of her readers!’
‘I was sad with some of the violence though.’

Everyone’s reading experience is different. Our brains all compute things at a different level, so each one book will be different in different hands. So, why authors get offended with bad reviews beats me.

Of course, the ‘needs an editor’ ‘awful cover’ type of reviews need to be taken seriously and this is where editors such as John Hudspith, and book cover designer, Jane Dixon-Smith are needed!

So readers, most writers really do appreciate a review, any review. They don’t only sell our books but it’s like being offered a tip for work done well. It makes us feel appreciated, and, I hope, makes the reader feel good as well.

*Snippets of reviews taken from Amazon, Goodreads and book blogs.


Louise Wise is a British author. She lives in the Midlands with her husband and four sons, and works as a pharmacy technician.  Her debut novel is the acclaimed sci-fi romance Eden, which was followed by its sequel Hunted in 2013.  Her other works include A Proper Charlie (romantic comedy), Oh No, I've Fallen in Love! (dark, comedy romance), and Scruffy Trainers (a collection of short stories). She has written numerous short stories for women’s magazines including Women’s Own and Take a Break.

To sign up to Louise Wise's mailing list copy and paste this link into your browser: http://eepurl.com/cbFaoL

Tuesday, 30 August 2016

Crime/Psychological Thrillers (by male authors with female protagonists) - Guest Post by Seb Kirby

Authors Electric guest poster, |Seb Kirby
Despite the widely held opinion that male authors don't create convincing central female characters, there are some notable exceptions in literary fiction: Daniel Defoe - Moll Flanders, Thomas Hardy -Tess of the d'Urbervilles, Gustave Flaubert - Madame Bovary, Truman Capote - Breakfast At Tiffany's, Kazuo Ishiguro - Never Let Me Go, Ian McEwan - Atonement. Proving that it can be done and done well.

But when it comes to male authored crime/thriller fiction, women protagonists are in more short supply. Of course, there are a great many very good and highly successful crime/thriller novels with female protagonists that are written by women (a list too long to mention). And there is a large number of male authored thrillers with strong female characters. A good example is Lisbeth Salander in Steig Larrson's Millennium series. But where are the male authors in this genre when it comes to internalising a view of the world from woman's point of view.

Time to mention two notable exceptions. In John Grisham's The Pelican Brief, Darby Shaw is a very believable and tenacious investigator. Christine Lucas in S. J. Watson's Before I Go to Sleep is a completely believable protagonist - so much so that as I read this, I was totally unaware that S.J. is a male author. Maybe that's something to do with the use of the author's initials only so as to not give away his gender - a neat reversal of the strategy used by George Eliot (aka Mary Ann Evans).

No doubt there are very many more male authored crime/thriller fiction first person heroines out there that I'm unaware of. It would be surprising if there weren't given the large number of published novels. So, if you know of those I have missed, please let me know in the replies.

With that disclaimer in place, why is the field so bare? It can't be that male authors are incapable of placing themselves convincingly in the shoes of a female protagonist - the great fiction by Defoe, Flaubert, Ishiguro, McEwan et al proves otherwise. Is it a case that such empathy is rare amongst male authors, or is there another, more complex reason?

Literary critic Sarah Seltzer says, "Writing across gender may be harder, require more research and humility. We may fail or get 'called out' for letting our biases show, or being ignorant. But the attempt at understanding, empathy, and inhabiting the soul of someone whose life experience is not ours, helps us grow as writers, and people too."

What's my interest in all of this? Well, in my first novel Take No More, I place myself in the shoes of conservator Julia Blake, albeit in third person, for about one third of the story. The remaining two-thirds is told in first person from the point of view of her husband, James. I continue this approach in the next two books in the series, Regret No More and Forgive No More. So I have a track record of a kind.

However in my new upcoming novel, the psychological thriller Sugar For Sugar (available in September), I've taken on the challenge of telling much of the story, in first person, from the point of view of lead character Issy Cunningham. Here's hoping I can come somewhere close to the achievements of some of the excellent authors mentioned here.

 More details on Seb Kirby's books can be found here:

US: https://www.amazon.com/Seb-Kirby/e/B004J95W0G/
UK: https://www.amazon.co.uk/Seb-Kirby/e/B004J95W0G/

Monday, 29 August 2016

Acknowledgements: N M Browne

I  am forced to acknowledge that I’ve never been brilliant about acknowledgements. I don’t much like admin (and everything that isn’t actually writing counts as admin.) I’m generally poor at detail and once a book is finished I want to forget all about it and get on with something new. For most of my books, I have missed 'acknowledgements' out altogether. 
I have a pathological hatred of speech making. Speeches were banned at my wedding and, at any social event where they are de rigueur, I will generally slope off to the loos to hide until they are over. A fact referenced by my brother-in-law in his own wedding speech as I blushingly emerged from the loos a little early, just in time to hear him mentioning my predictable flight to the loos. Oh, the hilarity.
This is relevant because, for me, acknowledgements can feel a bit like an Oscar speech, though as I’ve never watched one, I can’t be entirely sure. Where I remember to include acks, I, therefore, keep them brief to the point of near invisibility.
I don’t like to think that I may also be ungrateful, deluded and inclined to forget the contribution others make. It is not impossible that I discount the significance of the support, patience, insights and writerly assistance of others, and want to take all the credit or blame myself. Mea culpa.
I have been thinking about this because, in the last few days, both a former writing student and a friend whose work I’d read and commented on many years ago, were generous enough to acknowledge my contribution to the development of their published novels. I’m not going to lie, it was lovely and gave me a warm, glowy feeling inside. Their generosity is remarkable because what I contributed was criticism, suggestions on how the work could be improved that would have been delivered with customary bluntness and unvarnished honesty. Very often the last thing writers want is honesty: personally, I just want praise and flattery.
Both writers are good now, and were already good when I read their work long ago. Both will, I think, keep getting better because they can accept criticism, value it for the gift it is, and indeed actively pursue it. The list of people they thank is, in each case, lengthy and comprehensive. Their openness and self-awareness is salutary. As someone who has, over the years, found taking criticism tricky, I will hereby acknowledge the lessons I have learned from them: solicit criticism, make use of it and acknowledge it generously. So thank you fellow writers for your lesson in graciousness and the importance of acknowledgements.

Sunday, 28 August 2016

Morning Glory, Tomatoes, and Late Summer Fruitfulness

Exciting News

First suggested back in, I think, 2006, it's gone on for far too long. I've touched on it, briefly, in blogs,here, and on my website, but couldn't go into more exciting detail because there simply wasn't any. The story is that, many years ago, a really good friend, and admirer of my work (and we all need those) suggested that "THE TIME TREE" might be promising film material, and prodded me into turning it into a film script, which during one of those all too many arid times when nothing else was happening, I did, using several of those 'HOW TO DO IT' books. I showed the result to my agent - she was not impressed.

Nevertheless, my friend was convinced that the book had 'legs', so I took it walking. I can't post the details of that walk because they're still under wraps, but know that finally, in 2016, I can tell you that a company is interested enough to offer me a contract, with filming to start in Spring 2017. Exciting news, but I'm still not excited - partly because my beloved David isn't here to celebrate it with me, but also because it feels totally unreal - I've had film deals before (who hasn't?) which came to nothing, usually due to lack of finance. This one looks as if it's actually going to happen, though, so watch this space.

Writer's Block?

At present, and for quite a while now, I have felt unable to write, although happy to edit. I'm not sure that this fits into the official definition of Writer's Block, which I've always assumed to be that blank period in the middle of writing a novel when the writer internally screams something like: I have no idea where this bloody thing is going, and wherever it is, I won't be able to handle it.

My personal one is down to too many rejections, and the conviction that anything I write is going to be rejected, so why bother? For the past few
years I've been in love with the picture book genre - the sparse poetry of the words (demanding, that) plus the eventual visuals. If you, like me, love this challenging, difficult, and 'when it's bad, it's very very bad' area of writing, pay a visit to 'Picture Book Den', always surprising, always stimulating. Recently there was a discussion around why picture books can't be a bit longer than the 600 word limit. Well, some are, but very few. I currently have a longer one doing the rounds - a mermaid story with even the offer of an eminent illustrator in the package. So far, one rejection, on the grounds that there are no children in the story. Well there aren't in Cinderella either, but kids still love it.

Academics Do It In The Summer


There's an interesting article in the current edition of The Author, examining the relationship between creative writing and the weather - apparently, academics tend to do it in the summertime. I'm an Autumn/Winter person who dislikes excessive heat and days that don't go to sleep until 10pm, but I've been growing things, and I do feel a childlike thrill when the growing actually works. Runner beans are a joy - they never fail to come surging out of the ground with their stout little stems so attractive to slugs and snails, but most survive. My North London tomatoes have really done me proud this year, but I think my favourite plant has to be Morning Glory, especially the purple variety. It grows, and seeds itself, like a weed, but such a welcome one; flowers briefly but gloriously, and then generously pops out a few more. I threw the remains of a well-dated seed packet into two big pots, along with other things, forgot that I did it, then, suddenly, one morning, purple glory.

Possession

I finally bought a copy of A S Byatt's novel "Possession", highly recommended by so many people whose opinions I respect, to find that, at least so far, it hasn't grabbed me. There are lovely pieces of writing in it, but for me, there's far too much scholarship and far too much back-story (I recently had a novel turned down, with one of the crits being 'too much back story holding up the action.') I don't like giving up on a book - always assuming the fault is mine - but for relief, I turned to Philip Pullman's re-writing of Grimms Fairy Tales (and I'm not wild about the Grimm brothers either, but I do like Philip Pullman).

Finally, and forgive me, but I must put in a plug for Pipeline Theatre's SWIVELHEAD, now in its final days at the Edinburgh Fringe. It's an innovative fantasy based on drone warfare, and also our daughter's theatre company (well other people are involved, of course, but she's the one I care about). If you're there, and can, do go.

 

 



Saturday, 27 August 2016

Make Yourself Immortal - Now Everyone Can Do It! Andrew Crofts


Once upon a time immortality was only for the famous or the infamous – now it can be for everyone and I don't see why anyone should be shamed by accusations of "vanity publishing" into forgoing the opportunity.

In the past if you wanted your name to live on after everyone who knew you had gone you had to rely on word of mouth. Stories of great ancestors would be told by each generation to the next and through the years they would evolve into myths and legends.  

With the invention of the written word the famous were able to take more control of how they were remembered, but only if they were selected by elite publishers or were wealthy enough to pay for expensive private publication. From the writings of Homer to the tales of Beatrix Potter, books cemented the names of only a select few into history. Very occasionally discoveries of handwritten manuscripts like the Country Diary of an Edwardian Lady would be unearthed and would bestow immortality on someone who would otherwise have disappeared.

Fame, however, has been democratised in recent years and now, thanks to technology, anyone can make themselves immortal and ensure they have a permanent place in history by writing a memoir or an autobiography.

It might be that your book will only be read by one or two of your descendants, and perhaps not for a century or more. It might be that it is discovered by a researcher looking into people who lived in your times or your area, or wanting to find out about your profession or the day-to-day routines of someone of your class, gender or background. For some it might mean that your life story is discovered by another writer who turns it into a best selling novel or a block busting film script. What happens to your story in the future is down to serendipity, but if you write it at least it will exist and will have the potential to be discovered and read after you’ve gone.

If you have a computer and a printer you could just write it and print it, putting the manuscript in a drawer for people to discover, just like that Edwardian Country Lady. But if, like the contributors to this site, you have a bit of technical know-how, or know someone who does, you can put it up on a site like Amazon as an e-book or make it available as a print-on-demand paperback, or you could start by simply recording your life story in a blog.



If you have a bit of money to invest you could hire an editor or a ghostwriter to help, and a designer to make the cover eye-catching. With a bit more investment you could produce as few or as many beautifully bound hardback copies as you want, giving them to friends or relatives. If you run a business you could present copies to customers or shareholders, or use them to promote the business. Not everyone will read every word, of course, but most of them will keep the books, particularly if you write a personal message inside. They will put them on a book shelf to be discovered by others in the future.

Committing your story to print is like writing a letter to the future, and will ensure that you reserve your own small place in it.    



Friday, 26 August 2016

Sometimes the Silver Screen Don't Shine by Ruby Barnes

In July 2016 the Barnes family spent two weeks in Majorca, during which three of the four of us read The Shining by one Mr Stephen King. The readings were punctuated by Mrs R appearing at doorways and saying "Here's Johnny!" in her best Jack Nicholson impression, which was scary enough. Imagine our individual surprise when the "Here's Johnny!" phrase was nowhere to be found in the 2011 paperback reprint of the 1977 original novel. We resolved to watch Stanley Kubrick's 1980 film version of the story on our return to Ireland, as it was before my daughter's time and I had never managed to watch the film all the way through.
 
Many times re-published, this edition of the 1977 novel has a 2001 introduction by the author.

The novel revolves around a very limited number of characters in an ultimately claustrophobic setting. What happens before the family of three reach the Overlook Hotel is of great significance when it comes to understanding why Jack, Wendy and little Danny Torrance behave the way they do once the Overlook become snowbound. Jack's history of drink and violence, and his struggle with self-esteem as a writer of limited success, are essential elements. Danny's psychic premonitions, guided by his imaginary friend Tony, build a sense of menace from the start. The dubious history of the Overlook itself is a key driver for the plot. The head of steam built by the hotel's faulty boiler and the thumping of the wooden mallet in Danny's trances built the tension at an ominous pace.
There are very few loose ends or lame components in the novel. King himself says in his introduction that "there is a cocky quality in some of The Shining's prose that has come to grate on me later years, but I still like the book enormously and recognize the choice it forced on me". The choice he talks about is between creating an obvious monster and a more subtle, reality-based horror such as the Jack Torrance of this novel. All three Barnes critics found it to be a great read.

Here's Johnny!

It was with great expectations that we sat down on our return to watch the 1980 film version of The Shining. My previous failed attempts at watching the film I put down to my short attention span and poor hearing. Pretty soon good old Jack Nicholson was stomping about the Overlook in his pre-manic style, gearing up to full lunatic (as seen in One Flew Over the Cuckoo's Nest).
But wait! Where was Jack's back story? His history of violence and drinking, of abuse and being abused. What about the Overlook's own history? Where was Danny's sense of premonition, the thumping of the wooden mallet, the imaginary Tony's warnings?
New additions were thrown into the mix. Scary twins girls featured regularly. Tony was reduced to a finger puppet. Nothing hung together. The brief appearance of a man in a dog costume only made sense having read the book. It was a disjointed mess. Kubrick had gone for the cheap trick, a full-on Nicholson monster with little or no plausibility. Nothing much more than a slasher film of gratuitous madness.
In his paperback introduction King alludes to the fact that he had just one single conversation with Kubrick about the film and they had come to different conclusions regarding Jack Torrance. I suspect it was a much more marked difference than that.
I never did "get" The Shining as a film and I never will. It's the worst kind of clich├ęd interpretation of a great novel. Nevertheless, it retains a reputation as a key part of pop culture.


Thursday, 25 August 2016

Publishing a Picturebook with Createspace - by Susan Price

Three Billy Goats Gruff - Susan and Andrew Price
At last, Three Billy Goats Gruff is available on Amazon, both as paperback and ebook, after much cursing on the part of me and Andrew Price, the illustrator.

With apologies for the length, here's what Andrew and I have learned about the process.

How To...Olsen

This blog is going to be about Createspace. If you can make it there, you can make it anywhere. After going to the mat with Createspace, producing the Kindle is cake.

But don't let me put you off, if you have a spare picture-book. Lash out a couple of quid on How To Format Your Picturebook For Createspace Without The Frustration and get stuck in. We found Olsen's book invaluable, but worked out a few wrinkles for ourselves too.

 Graphics Programme

You will need a graphics programme, such as PhotoShop (which you can now rent annually or monthly) or the free Open Source programme, Gimp. There are others, such as Canva and one recommended by our own Karen Bush, PicMonkey, which struck me as a more intuitive, user-friendly PhotoShop.

If you can't use any graphics programme, then bribe, trap, marry or otherwise acquire someone who can. I am lucky in my brothers, Andrew and Adam, who can both use more than one graphics prog. Andrew has gone as far as teaching me the basics.

Before You Even Start...

There are things you have to consider before you even start programming your picture book. For instance, Createspace won't upload any book with fewer than 26 pages, so forget the traditional formula of 24 pages (excluding front and back matter.)

This gives more freedom in telling the story, but if you want to republish an existing out of print (OOP) picturebook, you may have to be creative with title-pages, author bios, ads for forthcoming books and so on, to reach the required page number.

Then there's cost. Amazon charges pennies for electronic delivery of ebooks, so cost of production is irrelevant. But Createspace produces an actual paper book which you can drop on the floor with a thump. So costs of materials, storage and delivery apply. Createspace sets a minimal price, which covers the costs of production and their profit. To make a profit for yourself, you must charge above this. The more pages in the book, the higher you will have to set your price.

Createspace Hates Spreads

Middle-Sized Billy Goat flees the Troll

One of the great appeals of the picturebook to an illustrator is the opportunity to design lively, story-telling pictures across a double-page spread. But Createspace was designed to automatically publish books for adults, with pages of text to right and left and a central gutter. During the proofing stage, Createspace's digital previewer marks double spreads as mistakes, because they cross the gutter. The challenge is to publish such a book despite Createspace.

What Size?

You need to decide on your book's size. Createspace offers you several, of slightly different proportions. For Three Billy Goats Gruff, Andrew and I chose the largest standard size offered: 11 inches by 8. Amazon always works in inches. In centimetres, this is 27.9 x 20.3.

How Do You Get The Book Into The Computer?

You've decided on your lay-out and the number of pages. You've decided the size of your book. But how do you get your picture layouts, text and all, into the computer?

First, in your graphics programme, you will make a background or blank canvas. Your book's pages will be 'inserted' or pasted onto this background. When edited to your satisfaction, you'll save the whole layout as a picture-file. We used the jpeg format, but Createspace will accept others.

BUT, before you know how big to make your 'blank canvas', you have to consider 'bleed' and 'gutter. 

Bleed

You're creating a paperback which will be printed on real paper and chopped to size.

You need to allow an area at the edges of your pages for 'bleed.' Anything which falls within the bleed may be cut off during the book's production.

Createspace suggests that you allow 0.125 inches to the width and 0.25 inches to the height. So if each of your single pages is 11 x 8 inches, then this has to become 11.25 x 8.125 inches. Olsen suggests that you play safe and make the bleed half an inch, so: 11.5 x 9 inches.

Gutter or Spine Width

Createspace provides a formula for calculating spine width here.
In short, for a colour interior, you multiply the number of pages by 0.002347.
Three Billy Goats Gruff had 48 pages, so its spine width was 0.112656. Or, rounded up, 0.113 inches.

When calculating page dimensions, the spine-width is halved as one half is one side of the gutter and the other half on the other.

The dimensions for our left-hand single page, 11 x 8 including bleed and gutter are:

 Bleed    +    Page Width   +    Bleed   +   Half-Gutter
  0.25                 8                     0.25             0.06             =    8.56 inches

For the right-hand page, the half-gutter goes on the other side.

For double-page spreads, you double this: 11.5 inches high by 17.12 inches wide.

So, now you've done all your hard sums, can you go ahead and set up your blank canvas?
No.
First you have to supersize.

Supersize

If you want your book to be 11 x 8, you don't make your graphic programme blank canvas that size, not even with added bleed and gutter.

Andrew, with his graphics background, made our blank canvas four times bigger: 45 inches high and 34.24 iches wide. (Miraculously, this fits easily inside the computer screen.)

Set the resolution too. Andrew says to make it at least 300 dpi. (Dots per inch: also known as PPI, Pixels Per Inch.) Andrew never works at less than 300 dpi.

Why such huge files? Two reasons, Andrew says. To enable you to create original artwork and to keep your images sharp when reproduced.

"When creating original artwork," Andrew explains, "you need to be able to magnify your image to handle fine detail. If your image is a mere 11 x 8, it will pixellate - break up - and blur as you zoom in close. Make your file 4 to 6 times larger than you need and you'll be able to zoom in close without losing definition."

Then, looking ahead, "What if you want to use your image for a small postcard, or a big poster? An image of 11 x 9 would pixellate and look terrible if we tried to blow it up or shrink it.

"Huge files give you high resolution. Shrinking the images for Kindle or Createspace sheds pixels and losing definition but if you start with a huge file, your image stays sharp."

Guide Lines

When you've made your supersized blank canvas, place guide lines on it, to show you where the bleed areas and gutter will be.

The bleed of 0.25 at top and bottom becomes a supersized inch, so the horizontal guides are set one inch from the top of the page, and 42 inches from the top.

The vertical guides are set at an inch from the left-hand edge and 33 inches from the left. You can place guides to show where the gutter is too.

So, now you have your huge blank canvas set up and your guide lines showing you the bleeds. Now you're going to bring your pages into the computer and place them on this blank canvas.

An OOP Book

Let's say you have an OOP picture book. You want to self-publish it and either own the rights in both text and art-work, or you own one and have the permission of the rights-holder for the other.

If your home-scanner has a large bed and is capable of taking high-res copies, then scan your book, page by page, and save the scans as picture files. We saved the scans as jpegs, but you may prefer another format. The pages must lie flat on the scanner-bed to prevent light getting in at the edges and spoiling the scan. You may have to tear your book into separate pages to achieve this.

Create a clearly named folder to hold these picture files, so you can find them easily. Label each image alphabetically. For instance: aGoats01 - bGoats02 - and so on. Back up that folder!

You may prefer to take your book to a high-street printer. They will supply you with high resolution scans on a CD or USB stick.

Once the scans are in your computer as jpegs, you can open them in your graphics programme and drag them onto your supersized blank canvas. You will probably have to resize them.

As you resize each image, save them as huge graphics images (4-6 times the size you need.) Then use the Save As tool to save them as humungous jpegs.

So now you have two copies of each page: one saved as a graphics programme file and one as a jpeg or picture file.

The next step is to make another blank canvas in your graphics programme, this time at your book's actual size. Page by page, copy your humungous jpegs onto this canvas and resize to fit. Because of the original supersize, it will stay sharp.

Put the book-sized jpegs in their own folder. Name them alphabetically and back them up.

(Because these files are so huge, it's best to store them on an external drive or a USB. They will take up an awful lot of space in  your computer's memory.)

An Original Book

A Wacom graphics tablet
What if you want to create an original book?

You can make sketches or paintings on paper or board and scan them into your computer, saving them as picture files, such as jpegs. Or you can use a graphics tablet, such as the Wacom Bamboo, to draw directly into your graphics programme. (The tablet gives you far more control than a mouse.)

Or combine the two methods: scan in drawings and then use the tablet to rework them.


Layer It


Take full advantage of your graphic programme's layers by putting every element of your work on different layers.

Think of the layers as a series of transparencies piled on top of one another, just as pre-digital animation used layers of transparent cells

The background was painted on one layer. An important feature, such as a large tree, would be painted on the layer on top of that. A character would be on the next layer up. Because the layers were transparent, the onlooker could see all the elements at once, forming a complete picture. However, details on the upper layers could be changed without altering those underneath.

The layers in graphics programmes work in the same way. Different programmes may call them by different names, but I think most have something similar.

So, put your background drawing on one layer. Put the colour for it on another layer. Name both layers clearly, so you can find the one you want.

The outline drawing of characters each have their own layer. Their colouring goes on other layers.

The text has its own layer. Indeed, each sentence - each word, each letter - can have its own layer, if you wish.

Obviously, these ever multiplying layers can become difficult to manage. So, why bother?

Well, say you want to change the tree from a spring tree in blossom to an autumn tree. But Goldilocks is standing in front of it and you don't want to change her. Well, switch off her layer. She vanishes. You can then work on the tree as much as you like without worrying about Goldilocks.

When you're happy with the tree, turn Goldilocks back on and there she is, in front of the tree, unchanged.  If you now want to change the colour of her clothes, you can do that, without changing her outline, if you have the colours on a separate layer.

You can experiment with the text, changing its position, size, colour and font without changing anything else. You can re-use a background or that tree several times, copying them from one canvas to another.

Save And Back Up!

Save your work as graphics files, with all their many layers. Name them alphabetically and put them in a folder of their own. This may seem fussy and boring, but you will be glad you did it.

Back them up! I know I'm nagging, but be told.


When you're happy with your pages and want to save them as picture files, first open the saved graphic files and 'flatten' the layers. This amalgamates all the layers into one image.

It also 'embeds' the text as part of the illustration. In effect, your graphics file becomes a photograph of your page: illustration and text become one.

You have to do this before you save them in a picture format and load them up to Createspace but, once flattened, you can no longer make changes to either picture or text.

While this was in layers in a graphic file, we could change the font, its colour and size. Once layers are 'flattened' it becomes fixed.


But you will almost certainly have to make further adjustments before you can publish.

This is why it's so important to save your graphics files, with all their layers. When you need to make changes, you can return to these graphics files, make changes and save them as jpegs again.

Once you have flattened your pages, use the Save As tool to save them as jpegs or whatever format you are using. Put them in their own folder, alphabetically.

But these jpegs are huge, at least four times larger than you want them to be. You have to reduce them to the size of your book, plus its bleeds and gutter. So, make a new blank canvas in that size and copy each of your jpegs to it, resizing it to fit. Save the book-sized jpegs in their own folder. Alphabetically.

Keep your supersized jpegs and your layered graphics files. They are your master copies.

Next, loading up to Createspace. You thought we'd never get here.

Faff and More Faff.

We made our book with Microsoft Word. Eventually.

When Andrew and I first researched making our book, all the advice was to make a PDF using Adobe Pro, an expensive programme which can create a PDF as well as read one.

We signed up for the 30-day free trial, agreeing that, if it worked for us, we would each sell a kidney and buy it.

Readers, we followed the instructions to the letter. We hopefully loaded our PDFs to Createspace countless times - and saw tiny thumbnails crammed unreadably into one corner.

We read and re-read the best advice from the best people, checked our work, changed dimensions, sacrificed to Odin... Nothing worked. It was a bit frustrating.

While Andrew howled at the moon, I read a bit further into Olsen's book and found a chapter about using Word. Here's how.

Using Word for Createspace Picturebooks


First, create a Word page file at the actual size of your book, plus bleeds and gutter. I refer you to Olsen, who tells you exactly what to do.

We learned for ourselves that it's best to add more blank pages to your Word file than you will actually need before you add any content. It's much easier to insert pictures into empty pages than it is to add a page after you've inserted a picture.

When your blank Word file of 55 or so pages is ready, go through and insert all your book-sized jpegs. Here is where all that patient alphabetical labelling pays off. Instead of hunting through all the thumbnails in the folder, looking for the one you want, they are all neatly in order.

It will be even more useful when you come to make the Kindle version.

Go to Insert Picture and, when the Browse box opens, click on the picture you want. Click Open, and it will appear in your Word file. Use Picture Tools to centre the image. You may have to drag it at the corners to resize it.

Your double-spreads will have to be cropped into single pages as Word will only accept single pages. They may not look as if they join up in Word, but if you have your measurements correct, they will.

The first time we loaded a Word file up to Createspace, it worked! It wasn't perfect, but it was the right size, filling the digital 'book' from edge to edge.

The pages were out of order, and we had to add an extra title page to bump the others along so that the pages meant to form a double spread did so.

We had both our graphics programme and the Createspace previewer open at the same time, and flicked from one to the other, so we could see what elements we had to adjust.

Proofing

You proof-read on Createspace's digital previewer. To make corrections, return to your original graphics files, edit and then save, first as a graphics file, then as a supersized jpeg and finally as a book-sized jpeg. This may seem a lot of unnecessary work, but you need those files. And once you've learned what to do, the saving at different sizes is quick and easy. (Though, admittedly, it will do your head in at first.)

When you've made your corrections, load them up to Createspace as an interior file and test again. You can load up your book and check it with the previewer as many times as you like.

You create your cover and load it up separately. (Hey, if you can make a Createspace double-page picture book spread, you can create a cover. Just remember to allow for your bleeds and spine-width.)

'Live Elements' Warning


Finally, when you think you can do no more, you submit for publication. At this point, Createspace will put big red warning triangles all over your book because your 'live elements' stray into the bleed and cross the gutter. This alarms Createspace. It urges you to cease, desist and abandon all hope.

Hold your nerve. If you are satisfied you've done your sums right, and you've put nothing into the bleeds and gutter that you can't bear to see trimmed, then your book will be fine.

With a certain resignation, Createspace supplies a button which allows you to ignore all its warnings and go ahead anyway. And even if you have made a bad mistake, you can still put it right.

This is because you are going to -

Pay For A Proof Copy.

It hurts, but Andrew and I seriously advise you to cough up and pay for a paper proof copy to be sent from America. The on-line previewer, though very good, is not perfect. When our paper copy arrived we saw that there were a couple of lines of text that were painfully close to the page edge, although they'd looked okay on-screen. We were able to return to our master-copies and move them (thanks to the graphic layers.)

Andrew spotted places in his art-work where the colour wasn't as smoothly graduated as he wanted it to be. This hadn't shown up as well on screen as it did on the printed page. Again, he was able to return to his master-copies and improve them.

Kindle

After all this, we still hadn't had enough. We made the book into a Kindle ebook too, though it was easier than Createspace. This seems to be selling in America better than the UK.

First Attempt

This was our first attempt to produce a fully-fledged, full-bleed picture-book with double page spreads with Createspace and it was a lot of work. But we've learned an enormous amount and are confident that our second book, which is already under way, will be much easier. It's to be The Bremen Town Musicians.

Three Billy Goats Gruff by Susan Price.   Illustrated by Andrew Price.






Paperback              Kindle ebook
    UK                                UK
    US                                 US














Using a graphics programme also allowed us to strip out colour and produce a colouring-in book, with closed writing exercises.