Basic Book Design

BASIC BOOK DESIGN How to Make Your Book, Document, Or Newsletter Look Professional
by Thomas David Kehoe and other Wikibooks contributors
License & Distribution From Wikibooks,

the open-content textbooks collection Copyright !!"# !!$, Wikimedia Foundation %nc& and con' tributing authors, all rights reserved& (ermission is granted to copy, distribute and)or modi*y this document under the terms o* the +,- Free Document .icense, version /& & 0 copy o* this is in' cluded in the section entitled GNU Free Document License& The current version of this Wikibook may be found at: http://en.wikibooks.org/wiki/Basic_Book_Design
TABLE OF CONTENTS
0bout The 0uthors&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&i D1C-23,T4&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& / 4o*t5are 0pplications&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& / 60rt7 vs& 8eadability&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& " Fonts&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& 9 .eading&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&: ;usti<cation&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& = (age 4i>e&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& /! 2argins&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& // ?eaders, Footers, 0nd (age ,umbers&&&&&&&&&&&&&&&&&&&&&&&&&&&&& / ,umber o* (ages&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& /9 C?0(T384&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& /@ ?eadings 0nd 4ubheads&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& /@ Capitali>ing Words in Titles&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& ! 2aster Documents&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& ! (080+80(?4&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& %ndentation&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& Word Division&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& Wido5s 0nd 1rphans&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& A Buotations 0nd 3xtracts&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& $ Captions 0nd .egends&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& : 43,T3,C34&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& = 4paces Cet5een 4entences&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& = 3xamples and 8ephrasing&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& = (unctuation %n Buotations&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&"/ 4pelling 0nd +rammar Checkers&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& " 8eading +rade .evel&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&" W18D4&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& "$ 3mphasi>ing Words&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& "$ Writing 1ut ,umbers&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&"$ +ender&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& "@ 2e, 2ysel* and %&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& "@ 3-mailspeak&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&"@
C?080CT384&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& "= 4traight Buotes vs& Curly Buotes&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&"= Foreign .anguage Characters&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&9/ Dashes&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& 9 3llipsis&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&99 .igatures&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&9A 4mall Caps&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& 9A Cullets&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& 9$ F81,T 0,D C0CK 20TT38&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&9: Table o* Contents&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& 9: %ndexes&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& 9= Footnotes&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& A! 8e*erences&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& A/ Cross-8e*erences&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&A$ 8ecommended Cooks&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&A@ +80(?%C4&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& A= 1rnaments&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& A= Charts 0nd +raphs&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& $! %llustrations&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&$! (lacing %llustrations&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&$" C1D384&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& @! +raphics 4o*t5are&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& @! ?ardcover vs& (aperback&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&@/ Title 0nd 4ubtitle&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& @ Front Cover&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& @$ Cack Cover&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&:! 4pine&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&:" .3+0. %44-34&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& :$ Copyright&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&:$ 8ight 1* (ublicity &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& :: 8ight 1* (rivacy&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& := .ibel&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& := C3F183 43,D%,+ E1-8 C11K T1 T?3 (8%,T38&&&=
Copyeditors&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& = 0sking For Feedback&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& =" (re-(rinting Checklist&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& =$ 8ecommended ,e5sgroups 0nd Websites&&&&&&&&&&&&&&&&&&&&& =@ +,- F833 D1C-23,T0T%1, .%C3,43&&&&&&&&&&&&&&&&&&& /!!
About The Authors

This book 5as originally 5ritten by Thomas David Kehoe and published in !! & %n ;une !!$ he released it under the +FD. li' cence so that Wikibooks could reproduce it& The original book included this in*ormation 5ritten by the au' thor, Thomas David Kehoe, about himsel* in !! F Five years ago, % 5rote Stuttering: Science, Therapy & Practice& ,o one 5ould publish it, so % published it mysel*& % must have done some things right, because my book became the G/ bestseller about stuttering Haccording to 0ma>on&comI& Cut over these years % learned more about books many mistakes& 2y next book 5as Hearts And Minds: How Our Brains Are Hardwired For Relationships& % 5anted to design the book mysel*& The *e5 books about book design 5ere 5ritten be*ore computers, 5hen bookmaking 5as an obscure art& 0 reader 5rote the *ollo5' ing revie5 o* one such book, on 0ma>onF
the book was written long before computers revo lutionized the publishing industry, so it has a dis tinctly archaiceven obsoleteaura. Vast portions of the text are no longer relevant to modern publishing, and readers who rely on them will be very seriously misled nfortunately, students will !nd that there is no modern alternative to this book"roceed at your own risk, and bear in mind that many other booksnone of them wholly satisfactorymust also be consulted for supplementary guidance within this sadly under#documented !eld.
What % *ound more use*ul 5ere LATEX manuals, as 5ell as the hicago Manual o! Style H% picked it over other style manuals be'
cause %Jm a -niversity o* Chicago alumnusI& Cut LATEX 5as too hard to learn& The hicago Manual o! Style is =!! pages long and doesnJt tell you ho5 to design a book& % 5anted a little book like the "le#ents o! Style, by William 4trunk and 3&C& White, to Kuick' ly tell me the basic rules o* book design& Traditional Rules $s% &'eep Out O! Trou(le) Rules 1*ten in this book youJll see t5o, or even three, rules regarding an issue& For the traditional rules o* book design, % re*er to the hicago Manual o! Style& When % re*er to such a rule, % list the chapter and paragraph number *rom the hicago Manual o! Style He&g&, / &"9I, so you can look up the rule& H%Jm using the /9th edition&I % also explain 5hat 5ord processorsLin particular 2icroso*t WordLdo& 4ometimes 5ord processors *ollo5 rules di**erent *rom traditional rules& 0nd o*ten % present novice or 6keep out o* trouble7 rules& These are rules that novices should *ollo5 to avoid making a5*ul, obvi' ous, knock Jem dead mistakes& 0nd, usually, the hicago Manual o! Style lists /9 pages o* exceptions to my rule& (ro*essional book designers shouldnJt *ollo5 my 6keep out o* trouble7 rules& The rules *or choosing bet5een the rules is, i* you understand the traditional rules, *ollo5 them& %* you donJt understand the tradi' tional rules, *ollo5 my 6keep out o* trouble7 rules& %* you *ollo5 my 6keep out o* trouble7 rules, ==&=M o* your readers 5onJt notice that you didnJt *ollo5 traditional rules& 2any o* the traditional rules are arcane, and kno5n only by book indus' try pro*essionals& Cut remember that you may have to 6sell7 your book to key book industry pro*essionalsLe&g&, book revie5ersL 5hoJll notice amateur typesetting& %n a *e5 places %Jll suggest ne5 ideas that % thought o*& These arenJt rules&
DOCUMENTS
Software Applications Choosing the right so*t5are application is perhaps the most impor' tant book design decision& Di**erent so*t5are applications are bet' ter *or di**erent books *aTe+, onTe+t, For Acade#ic Boo-s .ritten By /erds EouJre 5riting your (h&D& dissertation in physics& Eour disserta' tion is "!! pages long, *ollo5ed by 9!! pages o* re*erences& Eour mathematical *ormulas go on *or pages& Eour heart thumps 5ith pleasure 5hen you type commands like
\newcommand{\sumvec}[4]{\anvec{#3}{#4}=#1_1+2#2_1,\ldots,#1_#4+#2_#4}
Donald Knuth is your hero, right up there 5ith 3instein& Eou use a ,eOT computer, circa /==!, because itJs so coolLand because youJre broke& .aTeO and ConTeOt are typesetting languages& Coth are based on the older TeO typesetting language& TheyJll produce the most pro*essional-looking books& They run on Windo5s, 2acintosh, and -,%O computers& They run *ast on the oldest, slo5est comput' ers& The source <les never crash or become corrupted& TheyJre *ree Halthough youJll spend a *e5 hundred dollars on booksI& The de*aults are set *or pro*essional typesetting& %* you donJt kno5 5hat youJre doing, .aTeO and ConTeOt 5ill automatically produce a pro*essional-looking book& 1r, at least, theyJll produce an acade#ic-looking book& TheyJll put chapter numbers on all your chapters and section numbers on all your sections& TheyJll give you a choice o* three *ontsL8oman, Sans-Serif, and Typewriter&
Basic Book Design
1* course you can change these de*ault settings& Eou can install other *onts& 3xpect to spend three months <guring out ho5 to do that& .aTeO and ConTeOt are di*<cult to learn& %* this sounds like you, do5nload the so*t5are Hyes, *or *reeI *rom httpF))555&latex-proPect&org) or httpF))555&pragma-ade&nl)& Ado(e Fra#eMa-er, orel 0entura Pu(lisher, For *ong, Structured 1ocu#ents EouJre a technical 5riter 5orking *or Coeing& Eour team o* A!! tech 5riters are 5orking on the operations and repair manuals *or the ne5 @=@ airliner& 1ne set o* manuals 5ill 5eigh more than the airplane& The manuals 5ill also be available on CD-812, and on CoeingJs 5ebsite& The manuals 5ill be translated into sixteen lan' guages& The manuals 5ill be updated by your children, your childrenJs children, and your childrenJs childrenJs children, until the last Coe' ing @=@ is retired *rom the skies& The manuals have many graphics, tables, and cross-re*erences H6see page 234567(7I& The Q:!! price tag doesnJt concern you& Ado(e 8n1esign, 9uar- +4Press, Microso!t Pu(lisher, For Ad$ertise#ents, Brochures, and .e(sites EouJre a graphic designer 5orking *or an advertising agency& Eou create color*ul ads, brochures, catalogs, and 5ebpages& For the Ceagle Coy Peans catalog, you put a little dog in the cor' ner o* each recto Hright-handI page& Then you get an ideaF letJs change the dogJs tail on each page, so that 5hen readers Rip through the catalog, they see the dog 5agging its tailS Eou do creative stu** 5ith type& Eou love to go through your collection o* A!!! *onts, pick out Pust the right one, t5ist and turn the letters to *ollo5 a complicated graphic, change the si>e and shape o* each letter, color the letters 5ith a rainbo5 o* hues Hsubtly shi*ting 5ith a gradientI, and, <nally, adPusting the kerning to make the 5ords read smoothly& Cy lunchtime, youJve 5ritten three
Documents
5ords& Eou donJt do *ootnotes or re*erences& Eou donJt care about typesetting conventionsLyou break the rules, not *ollo5 themS Eou use the latest Windo5s or 2acintosh computer, 5ith the *astest processor, >igabytes o* memory, and big, beauti*ul monitor& H0dobe (agemaker is in this category, but is obsolete&I Microso!t .ord, orel .ordPer!ect, For .riters Eou 5rite books& Eou make your books easy to read& Eou 5ant a 5ord processor thatJs easy to use& Eou kno5 that easy to read means looking conventional, like other books, not breaking ne5 ground& Eou use graphics and tables, but you try to keep these simple& Eou expect your 5ork to look pro*essional, but learning arcane typesetting conventions isnJt your hobby& Eou use *ootnotes and re*erences& Eou use indexes and tables o* contents& Eour book 5ill be printed on paper, not on a CD-812 or posted onto a 5ebsite& Eou need to send your 5ork to your editor, 5ho uses the same so*t5are you use& Eou can a**ord to buy a middle-o*-the-line computer every t5o or three years&
Art vs. Readability 8eading is a habitual skill& What you read most o*ten is easiest *or you to read& This is 5hy ne5spapers, maga>ines, and books are more or less standardi>ed& Basic Boo- 1esign 5ill teach you to youJre your document look conventional& Creaking these rules usually makes your book harder to read& %&e&, a book that looks 6distinctive7 and artistic is usually hard to read& Conversely, easy-to-read books usually look boring and con' ventional& 0 good compromise is to design a distinctive and artistic cover,
Basic Book Design
chapter titles, running headers, etc&T and make your text boring and readable&
Fonts 6K33( 1-T 1F T81-C.37 8-.34F /& -se / -point Times 8oman *or text& & -se /9-point ?elvetica *or chapter titles and / -point ?el' vetica *or section headings& "& ,ever use monospaced Ha&k&a& 6type5riter7I *onts, e&g&, Courier& 9& -se unusual *onts only *or short items, e&g&, the title and au' thorJs name on the cover, or *or chapter titles& A& DonJt use too many *onts& Three should be enough *or al' most any book& 60DD0,C3D7 8-.3F 8ead The "le#ents O! Typographic Style, by 8obert Cringhurst H !!/I, *or "A! pages o* rules about *ont selection& D3F%,%T%1,4F seri* san-seri* proportional monospaced x-height points picas subheads large-print book Seri! $s% Sans4Seri! Fonts are, in general, divided into seri! and sans4seri! designs& 4eri* *onts have little curlicues on the ends o* the letters& 4ans-seri*
Documents
*onts donJt& 3&g&, Times Roman is a serif font.

Helvetica is a sans-serif font.
(eople donJt read 5ords one letter at a time& They recogni>e en' tire 5ords at once& Words are, in general, easier to recogni>e in a seri* *ont, *or three reasonsF U The curlicues give the letters a more distinctive shape& U The lo5er-case letters are relatively smaller Hand the uppercase letters relatively largerI& This is called :4height& U 8eaders are used to reading seri* *onts& What you read most o*ten is easiest *or you to read& 4maller x-height makes seri* *onts use less hori>ontal space& %&e&, your book 5ill be shorter i* you use a seri* *ont& 3&g&, the *ol' lo5ing t5o sentences are the same *ont si>eF The quick brown fox jumped over the lazy dog. (12-point Times) The quick brown fox jumped over the lazy dog. (12-point Helvetica) %n /="/, the *ondon Ti#es hired typographers to design a high' ly readable, compact *ont& Times 8oman is no5 the most 5idely used *ont& %tJs chicken-and-eggF Times 8oman is easy to read, so itJs 5idely usedT and itJs 5idely used, so itJs easy to read& Points And Picas @ & @ points make one inch& 0 point is !&"A/A millimeters& 0 point is neither metric nor 3nglish& 2icroso*t Word uses exactly @ points to the inch& %&e&, 2i' croso*t Word points arenJt real typesetting points& This is 1K 5ith meS .aTeO uses @ & @ points to the inch& 0 pica is t5elve points, or about one-sixth o* an inch, or about
Basic Book Design
*our millimeters& hapter And Section Titles -se a di**erent *ont *or chapter titles& ?elvetica is a good choice& %tJs the most popular sans-seri* *ont& %tJs the most distinctive *ont *rom Times 8oman that is still relatively easy to read& %t also looks good in bold& The hicago Manual o! Style H/:& :- =I advocates using the same *ont *or text and *or section and subsection headings Hcalled su(headsI& The Chicagoans recommend using 0.. C0(4, italics, 420.. C0(4, etc&, to di**erentiate the levels o* headings& DonJt use small caps in a heading unless you buy a small caps *ont& The Small Caps *eature that 5ord processors o**er you Hscal' ing do5n capitalsI isnJt really small caps& 2ore about this later& %* you use a small caps *ont, make sure the heading *ont isnJt smaller than the text *ont& That 5ould con*use readers& 0.. C0(4 are harder to read& This is 1K *or short chapter ti' tles, but not *or long subheads& %nstead, % suggest using the chapter title *ont He&g&, ?elveticaI *or the 0-level subheads, and then s5itching to the text *ont He&g&, Times 8omanI *or the C-level subheads& 3&g&, this book has chap' ter titles in /9-point ?elvetica ,eue bold 0.. C0(4, section heads in / -point ?elvetica ,eue bold Title Case, and subheads in / -point Times ,e5 8oman italic Title Case& 4ubheads should never be the last item on a page& %n 2icroso*t Word, use FormatParagraphLine and Page BreaksKeep with next to prevent this& Monospaced Fonts 0 third type o* *ont should be used rarely or never& These are #onospaced or type5riter *onts& The most common example is Courier& %n contrast, Times 8oman, ?elvetica, etc& are propor; tionately4spaced *onts& 2onospaced *onts 5ere designed *or type5riters& 3ach letter is
Documents
the same 5idth& 3&g&, compare Courier 5ith Times 8omanF

iii iii mmm (Courier) mmm (Times Roman)
Courier Times Roman iii iii mmm mmm
,otice that in Courier, the i and the # are the same 5idth& %n Times 8oman, the i is narro5 and the # is 5ide& 2onospaced *onts are hard to read and take up more space& The quick brown fox jumped over the lazy dog. (12-point Times Roman) The quick brown fox jumped over the lazy dog. (12-point Helvetica) The quick brown fox jumped over the lazy dog. (12-point Courier) *ow4Res Fonts %* you use a 2acintosh, your *ont library 5ill include several *onts 0pple developed in /=:9 *or the original 2acintosh and its %m' ageWriter printer& These *onts include ,e5 Eork, +eneva& 2ona' co, and Chicago& These 5ere designed to look good at the lo5 :! dpi resolution o* the original 2acintosh and its %mage Writer print' er& 2odern printers are at least "$! dpi& DonJt use these *onts un' less youJre trying to make your document have that authentic /=:9 birthplace-o*-desktop-publishing look& Font Si<e Too-small *onts are hard to read, especially *or older people or people 5ho donJt read much& Too-large *onts look like a childrenJs book& Eour eyes have to move more, and you have to turn more pages& This gets tiring&
Basic Book Design
Compact-5idth *onts, e&g&, Times 8oman, look best in // or / points& Wider *onts, e&g&, (alatino, look best in a smaller *ont si>e, usu' ally /! or // points& 6.arge print7 books are at least /9 points&
Leading 6K33( 1-T 1F T81-C.37 8-.34F /& When using book-length lines H$A-@! characters per line, including spacesI, donJt use single-spaced or double-spaced settings& %nstead, use 60t .east7 settings& & When using book-length lines, use t5o or three points o* leading, e&g&, /A points leading 5ith a / -point *ont& "& When using 5ider lines, e&g&, in a letter, use 5ider leading& -se double-spacing or one-and-a-hal* spacing& D3F%,%T%1,4 leading solid *eading Hpronounced like lead, the metal, not lead, 5hat your dog does 5hen 5alking youI is the space bet5een lines o* text& %tJs also called spacing, as in single4spaced, dou(le4spaced, etc& Fonts and leading are re*erred to as t5o numbers& 3&g&, 6/ )/"7 or 6/ on /" points7 is a / -point *ont 5ith /" points o* leading& 4ingle-spaced can be the same as the *ont si>e Hcalled solidI, e&g&, a / -point *ont on / -point leading& 1r it can be the *ont si>e plus one point, e&g&, a / -point *ont on /" points o* leading is sin' gle-spaced& Check 5hat your 5ord processor does& 0 / -point *ont 5ith one-and-a-hal* spacing is /: points o* leading, or / )/:& 0 / -point *ont 5ith double spacing is 9 points o* leading, or / ) 9&
Documents
-se t5o or three points o* leading& 3&g&, //)/", or / )/A& This is easier to read than single-spaced Hone point o* leadingI& 2ore than three points o* leading is usually unnecessary& Eour book 5ill be longer, increasing printing costs& 8eaders 5ill have to move their eyes more, and turn more pages& Justication 6K33( 1-T 1F T81-C.37 8-.34F /& -se Pusti*ied paragraphs& ;usti<ed text has even le*t and right margins& -nPusti<ed test has an even le*t margin and a 6ragged right7 margin&
This paragraph is justied. This sentence is in a justied paragraph. This sentence is also in a justied paragraph. This sentence isyou guessed it!also in a justied paragraph. This paragraph is ragged right. This sentence is in a ragged right paragraph. This sentence is also in a ragged right paragraph. This sentence isyou guessed it!also in a ragged right paragraph.
Typeset books use Pusti<ed text& ;usti<ed text looks nicer& 8ead' ers are used to reading Pusti<ed text, so Pusti<ed text is easier to read& 68agged right7 text improves retention& %&e&, i* you 5ant readers to remember 5hat you 5rote, and especially to return and <nd items theyJd read earlier, use o* 6ragged right7 may be Pusti<ed Hsorry, % couldnJt resist the punI& ;ust as readers recogni>e 5ords by their shape, they also remember ideas by the shape o* the para' graph& 68agged right7 text should be used in one other situation& %* the column is very narro5, or the *ont si>e is very big, or the 5ords are
10
Basic Book Design
very long He&g&, 5ebsite -8.sI, Pusti<ed text can produce huge 5hite spaces bet5een 5ords, called open lines& 1pen lines are a sign o* amateur typesetting& %nstead, set a 5ebsite -8. centered on its o5n line& %* youJre *orced to use a narro5 column He&g&, Ro5ing text around an illus' trationI, look at it both Pusti<ed and 6ragged right,7 and choose 5hat looks best& Text is al5ays Pusti<ed by increasing 5hite space bet5een 5ords, never bet5een letters 5ithin 5ords& The latter Hcalled let; terspacingI 5ould make 5ord shapes di*<cult to recogni>e& Text should al5ays be Pusti<ed by adding eKual amounts o* space be' t5een all 5ords on a line& 3arly 5ord processors Hin the /=:!sI put t5o spaces bet5een some 5ords and one space bet5een other 5ords& That looked a5*ul&
Page Size 6K33( 1-T 1F T81-C.37 8-.34F /& For books printed on o**set printers, use a $Vx=V page si>e& & For books or anything else printed on laser printers Hinclud' ing Oerox Docutech printersI, use A&AVx:&AV or :&AVx//V page si>e& The standard book si>e is six inches 5ide and nine inches tall H$Vx=VI& Eour book 5ill probably be cheapest to print, easiest to read, and easiest to sell He&g&, itJll <t on bookstore shelvesI in this si>e& .arger books are harder to hold, carry, or put on a shel*& 4maller books lose disproportionately more space to margins, increasing the cost& 0 $Vx=V book has nearly !M more text space& Cut a $Vx=V book costs only about AM more than a A&AVx:&AV book& The result is a /AM cost savings& The cover o* a $Vx=V book is /AM larger than a A&AVx:&AV book& The cover is your best advertising space& %n a bookstore 5indo5,
Documents
11
passersby are more likely to see a larger book& 4etting up your so*t5are applications *or $Vx=V pages can be tricky& %n 2icroso*t Word, go the FilePage SetupSettings Custom Paper Size& 8n-=et Printer *i#itations %* you have an inkPet printer connected to your computer, 2i' croso*t Word usually 5onJt allo5 a !&AV bottom margin& Depend' ing on the printer, it may reKuire a minimum !&A$V or !&$@V bottom margin& !&!$ inches may not sound like much, but in a 9-page book, thatJs t5o extra pages& To get around this limitation, tell 2icroso*t Word youJre using a laser printer& Word should then allo5 a bottom margin up to !& V, 0lternateively, use the de*ault paper si>e, e&g&, :&AVx//V& 4ave your document as a (DF *ile, and use 0dobe 0crobat to crop the pages&
Margins 6K33( 1-T 1F T81-C.37 8-.34F /& For bound books $Vx=V or smaller, use !&AV margins on the top, outside and bottom o* books, and a !&@AV inside mar' gin& & For :&AVx//V documents Hbound or unboundI, use /-inch margins& "& 0dPust margins, *ont si>e, and columns to produce $A-@! characters per line Hincluding spacesI& D3F%,%T%1,4 mirror margins (rinters usually reKuire minimum one-hal*-inch margins& ,arro5er margins risk smearing 5et ink as the printing pressJs rollers move the paper& %ncreasing margins He&g&, to one inchI makes your book longer
12
Basic Book Design
and costlier to print& ?o5ever, % recommend increasing the inside margin Hthe margin closest to the bindingI& This makes the book easier to read& (ages tend to curl near the binding& .ess light gets into the center o* a book& %ncrease your inner margin to three-Kuar' ter-inch& The hicago Manual o! Style H/:&/@I advocates printing $A to @! characters on each line Hincluding spacesI& %n 2icroso*t Word, select a line and use ToolsWord Count to count the number o* characters& 3&g&, in the last paragraph, the *ull lines varied *rom $" to $= characters& %* your lines have substantially more than @! characters, consid' er using t5o columns& 2ake your three outer margins eKual& This makes the text look sKuare on the page& 3&g&, set your margins at three-Kuarter-inch *or the inside, one-hal*-inch *or the outside, one-hal*-inch *or the top margin, and one-hal*-inch *or the bottom margin& (ro*essional book designers 5ill obPect that books traditionally have a narro5er top margin and a 5ider bottom margin& This looks good i* you have a running header but no running *ooter& % pre*er eKual margins, to maximi>e use o* the page and reduce page count& 0s noted above 5ith *ont choice, using eKual margins is a rule to keep novices out o* trouble& %* you understand traditional book de' sign donJt *ollo5 this rule& -se #irror #argins 5ith uneKual inner and outer margins, i* your document 5ill be bound He&g&, a bookI&
Headers, Footers, And Page Numbers 6K33( 1-T 1F T81-C.37 8-.34F /& -se a running header *or the text section o* your book& & DonJt use *ooter in books, except *or drop *olios& "& (ut the page number at the outside margin o* the running header 9& (ut the chapter title in the recto Hright-handI running head'
Documents
13
er& A& (ut the book title in the verso Hle*t-handI running header& D3F%,%T%1,4 header *ooter running header *olios drop *olio To a typesetter, a header means a chapter or section title& What your 5ord processor calls a header is called a running header by a typesetter& (age numbers Hcalled !oliosI should start 5ith the <rst page o* text as page /& %* you have excessive *ront matter He&g&, a six-page *ore5ordI, use lo5er-case roman numerals Hi, ii, iiiWI to number the *ront matter& (age numbers should at the outer margin o* the running header& -se a *ont *amily distinctive *rom the text *ont *amily, e&g&, ?el' vetica *or the running header i* your text is Times 8oman& 0lso use a *ont si>e distinctive *rom the text *ont si>e, e&g&, /! points *or the page number, i* the text is / points& The hicago Manual o! Style H/&=9I advocates not putting the book title in the verso Hle*t handI running header& They reason that your readers donJt need to be reminded 5hat book theyJre reading& % disagree, in this post-,apster era& When a reader photocopies your book, the title 5ill sho5 on each copy& (ut the chapter title in the recto Hright-handI running header& Tab in one-hal* inch *rom the verso le*t margin to start the book ti' tle& Tab back one-hal* inch *rom the recto right margin to end the chapter title& -se the same *ont *or the running header and the page number& .eave a space bet5een the header and the text& 0 large space is un' necessary i* your running header looks distinctive *rom the text& % guarantee that at least once youJll change a chapter title, and
14
Basic Book Design
then *orget to change the running header Hi&e&, at least one running header 5onJt match the chapter titleI& To avoid this problem, insert the running header as a cross-re*erence& %n 2icroso*t Word, open View Header and Footer& Click in the running header& 1pen InsertCross-Reference& 4elect Header and Header Text& 4elect the appropriate chapter title and insert& DonJt use a *ooter i* you 5ant to minimi>e printing costs& (ut all the necessary in*o into the header& First Page O! hapters The <rst page o* each chapter should not have a header& %n 2icroso*t Word, at the start o* each chapter, donJt use a page break& %nstead use InsertBreakSection Break (New Page) to start a ne5 section& Then use ViewHeader and Footer Different First Page Hthe icon has a numeral / in itI to remove the header *rom, and possibly add a *ooter to, the <rst page o* each section& 1n the <rst page o* each chapter, the page number is centered in the *ooter& This is called a drop !olio& DonJt put anything else in this *ooter& %n 2icroso*t Word, this puts a page number at the bottom o* your title page& Work around this bug by putting t5o page breaks HInsertBreakPage Break) at the start o* your title page& This produces t5o pages, the <rst o* 5hich has nothing but a page num' ber at the bottom& The second is a blank verso Hle*t handI page nec' essary to make your title page a recto Hright handI page& When you <nish your book and save it as a (DF <le, use 0dobe 0crobat to delete the <rst t5o pages& % said that the bottom margin should be one-hal* inch& The drop *olio is an exception to the rule& (ut a drop *olio a Kuarter-inch *rom the bottom o* the page&
Number of Pages 6K33( 1-T 1F T81-C.37 8-.34F
Documents
15
/& For books printed on o**set presses, total pages must be multiples o* :, /$, or " , He&g&, 9 pages, not ! pagesI& 0sk your printer i* you save money by using a multiple o* " & & For documents printed on laser printers Hincluding Oerox Docutech printersI, any number o* pages is possible& "& 2inimi>e *ront and back matter, e&g&, titles pages& DonJt in' clude items such as hal*-title pages unless you kno5 the right 5ay to design them& 9& 0sk your printer to use recycled paper and soy-based ink& T80D%T%1,0. 8-.34F 4ee the hicago Manual o! Style H/&9-A:, /&: -=/I to design the *ront and back matter pages& 1**set presses print books in signatures o* eight, sixteen, or thirtyt5o pages& 3&g&, a book can be 9 pages, but not ! pages& 0sk your printer 5hat their presses do& %t may be cheaper to print a 9-page book instead o* a /$page book& 9 pages is seven thirty-t5o-page signatures Ha signa; ture is a set o* pages printed togetherI& /$ pages is eight signa' turesF six thirty-t5o-page signatures, one sixteen-page signature, and one eight-page signature& %&e&, the printing press needs to be set up only seven times *or a 9-page book, but has to be set up eight times *or a /$-page book& 3ach set-up costs money& Oerox Docutech printers Hused *or small runs o* under A!! booksI donJt print in signatures, so can print any number o* pages& ":cessi$e Front and Bac- Pages Why books start 5ith sixteen pages o* title pages, contents, ac' kno5ledgements, dedication, Kuotations, etc& makes no sense to me& 3very page costs money& Do readers 5ant to spend an extra dollar *or pages they donJt readX Ten pages o* *ore5ords and introductions 5ill con*use the read' erLis he or she supposed to read all thatX 1r can the reader skip
16
Basic Book Design
all that and start 5ith Chapter /X ,obody reads the ackno5ledgements, except the hand*ul o* people you ackno5ledge& (ut it on the copyright page& ,obody reads the excerpted revie5s sometimes included in the *ront o* paperbacks& The reader kno5s that all the excerpts 5ill praise the book, so 5hy read themX DonJt stretch a small book by using a large *ont si>e, 5ide lead' ing, 5ide margins, blank pages at the end, etc& 4mall books can be Pust as good as big books& 2any o* the best books ever 5ritten are under /!! pages& "n$iron#ental 8ssues 0sk your printer to use recycled paper and soy ink& 4ome printers 5ill do this *or no extra cost& (ut the recycled logo on your back cover or title page&
Printed with soy in- on recycled paper%
CHAPTERS
Headings And Subheads 4et your chapter and section heading leadings in multiples o* the text leading& This 5ill align your lines o* text on *acing pages& 3&g&, youJre using /A-point leading *or your text& 2ake the chapter headings 9A points and the section headings "! points& The chapter heading might have a /9-point *ont, preceded by ! points above and // points belo5 H !Y/9Y//Z9AI& The section headings might have a / -point *ont, preceded by /A points above and " points belo5 H/AY/ Y"Z"!I& %* you donJt do this, the lines to5ards the bottom o* the recto Hright-handI pages 5onJt align 5ith the lines to5ards the bottom o* the verso Hle*t-handI pages& DonJt use relative leading He&g&, single-spaced, double-spacedI, especially i* your headings are a larger *ont si>e than your text& %n' stead, use absolute leading He&g&, /A pointsI& /u#(ering Sections %* you number your chapters, sections, and subsections, use 5hole numbers *or chapters, the <rst decimal place *or sections, the sec' ond decimal place *or subsections, etc& %n contrast, the hicago Manual o! Style numbers its sections and subsections consecutively& 3&g&, its *our levels Hchapter, sec' tion, subsection, sub-subsectionI are numberedF $& Spelling and 1istincti$e Treat#ent o! .ords %,T81D-CT%1, $&/ $& $&" $&9
18
Basic Book Design
4(3..%,+ (re*erences o* 4pecial +roups

C8%T%4? D384-4 0238%C0, 4(3..%,+
$&A
4(3..%,+4 (3C-.%08 T1 (08T%C-.08 D%4C%(.%,34
$&$ (lurals
+3,380. 8-.34
$&@
C12(1-,D ,1-,4
$&: $&=
(.-80.4 %, D%CT%1,08%34
$&/!
(81(38 ,1-,4
$&//W %&e&, the hicago Manual o! Style numbers mostLnot allLpara' graphs consecutively, restarting the numbers in each chapters& 0 better 5ay to number subsections isF $& Spelling and 1istincti$e Treat#ent o! .ords $&/ %,T81D-CT%1, $& 4(3..%,+ $& &/ (re*erences o* 4pecial +roups
$& &/&/ C8%T%4? D384-4 0238%C0, 4(3..%,+ $& &/& 4(3..%,+4 (3C-.%08 T1 (08T%C-.08W
$& & (lurals

$& $& $& $& & & & & &/ +3,380. 8-.34 & C12(1-,D ,1-,4 &" (.-80.4 %, D%CT%1,08%34 &9 (81(38 ,1-,4W
.aTeO automatically numbers sections in this style&
Chapters
19
>nnecessary Sections 3ach o* your lo5est-level subsections should have at least t5o paragraphs& 3ach next-higher-level section should have at least t5o subsections& 3ach chapter should have at least t5o sections& %* you <nd lone paragraphs or sections, consider removing the heading& Bleed Ta(s and Thu#(nail 8nde:es Bleed ta(s are blocks o* black ink H5ith something 5ritten in 5hite in the blocksI at the outer edge o* each page in a chapter so that you see black blocks 5hen you look at the edge o* the book& Cleed tabs reKuire placing a graphic outside the text margins& 0 bleed tab is al5ays placed on the outside page edge Hnever on the inside, top, or bottom o* a pageI& Create the graphic in 0dobe (hotoshop& Eou might also be able to create the image in 2icroso*t Word using ViewToolbars Drawing or InsertPictureAutoshapes& %n 2icroso*t Word, create a table using TableInsert > Table 4peci*y one column and one ro5& 4et the initial column 5idth to *it your graphic& %nsert your illustration in the table using InsertPictureFrom File
4elect the table and go to TableTable Properties 4et the hori>ontal alignment to Left or Right, 5ith >ero indent& 1pen the Options 5indo5& 4et all cell margins to >ero& Close these 5in' do5s& 4elect and drag the tableJs le*t or right border to *it the illustra' tion& 4elect the table and go to TableTable Properties again& 4e' lect Text WrappingAround and open the Positioning 5indo5& Click Move With Text& 4elect HorizontalPositionLeft (or RightI and Horizontal Position Page& This aligns the graphic 5ith the edge o* the page& 4et the VerticalPositionas you 5ish He&g&, aligned 5ith a paragraph, or centered do5n the pageI& Eour printer may 5ant the bleed tabs to extend /):V or /)9V be'
20
Basic Book Design
yond the paper edge Hthis is 5hat 6bleed7 meansI& %* so, set 2i' croso*t Word to use a larger paper si>e, and let your printer crop the (DF *iles as he or she 5ishes& Thu#(nail inde:es are like bleed tabs, but have paper cut-outs& 3xpensive dictionaries have these&
Capitalizing Words in Titles Title ase, as done by 5ord processors, capitali>es the <rst letter o* each 5orld& The hicago Manual o! Style H@&/ $-/$!I makes exceptions to this ruleF articles, coordinating conPunctions, and prepositions should not be capitali>ed in titles, except *or the <rst and)or last 5ords in the title& 3xamples o* 5ords not to capitali>e in titles in' cludeF a, an, and, (ut, !or, !ro#, into, o!, on, or, than, the, to, $ia, $s%, and with, ,ote that the common title phrase How toW doesnJt capitali>e to& A(out, as, in, and o$er are sometime prepositions, depending on meaning Hlook these up in a dictionary i* youJre unsureI& %* you have a copy o* the hicago Manual o! Style, note that the title is 6The hicago Manual o! Style7 not 6 hicago Manual o! Style&7 0ccording to the hicago Manual o! Style H@&/"AI, the ini' tial the in a title is not capitali>ed or italici>ed i* the sentence al' ready precedes the title 5ith the& %&e&, drop the initial the *rom a book title 5hen you have t5o the?s in a ro5&
Master Documents %* your computer is slo5, use master documents& 2ost 5ord pro' cessors can make each chapter a separate chapter, then Poin them together as a book& 2oving bet5een chapters 5ill be slo5er, but saving, typing, etc& 5ill be *aster& %Jve never used 2icroso*t Word in master document mode&
Chapters
21
4everal people have told me that itJs a 6bug-ridden monstrosity&7 %* this is true, and you need to make master documents, consider an' other so*t5are application, e&g&, 0dobe Frame2aker&
PARAGRAPHS
Indentation DonJt indent the <rst paragraph o* a chapter or section& 1nly *ol' lo5ing paragraphs are indented& .aTeO automatically does this& 2icroso*t Word doesnJt& %* you use 2icroso*t Word, youJll have to create a ne5 style *or 6First (aragraph7 and manually set all these <rst paragraphs into that style& How Much To 8ndent@ (aragraphs should be indented at least *ar as the *ont is high& %&e&, i* youJre using a / -point *ont, indent your paragraphs at least / points, or !&/@ inches& %ndent no more than the leading& 3&g&, 5ith /A points o* leading, indent no more than !& / inches& 2icroso*t WordJs de*ault is !&A inches& That much indent looks amateurish& %t may put too much 5hite space bet5een 5ords on the <rst line& 0nother sign o* amateur design is to put a blank line bet5een paragraphs&
Word Division ?yphenation Hcalled word di$isionI is breaking long 5ords be' t5een lines& The purpose o* hyphenation is to reduce the 5hite space bet5een 5ords& 0 line 5ith little 5hite space is called a close line& 0 line 5ith 5ide 5hite spaces is called an open line& 0 second purpose o* hyphenation is to make your document shorter& 0 sign o* amateur design is too much 5hite space bet5een 5ords& 0 pro*essionally designed book has an even grayness on
Paragraphs
23
each page, not splotchy darker and lighter paragraphs& Cut another sign o* amateur design is bad hyphenation& Follo5 these rulesF U ?yphenate only bet5een syllables& U DonJt hyphenate across a turned page, i&e&, *rom a recto to a verso& U The hicago Manual O! Style doesnJt allo5 more than three successive lines to end in hyphens H$&A:I& %n my opinion, this is too liberalT % donJt end t5o lines in a ro5 5ith hyphens& U ,ever hyphenate a 5ebsite -8.& %* itJs too long *or a line, make a -8. into an e:tract Hsee belo5I and break the -8. at a backslash& The hicago Manual O! Style H$&99-9=I lists *our pages o* addi' tional rules *or 5ord division, e&g&, not dividing personal names& The hicago Manual O! Style H$&9=I allo5s dividing 5ords 5ith t5o letters Hbut never one letter, $&9:I be*ore the division& %t does' nJt allo5 leaving t5o letters a*ter the division H$&9=I& This makes no sense to me& The reader should be able to recogni>e the 5ord *rom the part be*ore the division& The part a*ter the division does' nJt a**ect the readerJs recognition o* a 5ord& % suggest instead try' ing to keep *our or <ve letters be*ore the division, and accepting t5o letters a*ter a division& 3&g&, i* you kno5 the <rst <ve letters, you can guess most 5ordsF
You shoul not have a probl readi this sente. (5 letters) Four lett divi are also not hard to read. (4 letters) In con, if you hyp at thr let, it is muc har to rec wor. (3 letters) Re wo fr th tw le wo ch ev Va Wh. (2 letters Recognizing words from the rst two letters would challenge even Vanna White.)
Auto#ated Hyphenation Di**erent so*t5are applications do automatic hyphenation di**er'
24
Basic Book Design
ently& With 0dobe Frame2aker, you speci*y the minimum number o* letters *or hyphenation& % suggest setting this at *our or <ve letters& With 2icroso*t Word, you enter a minimum space in inches, e&g&, !&A7& This isnJt the length o* the letters be*ore the hyphen' ation& 8ather, this is the length o* letters be*ore the hyphenation plus the 5hite space be*ore the hyphenated 5ord& This is a better system& %* a sentence is open, 2icroso*t Word hyphenates at three or t5o letters& %* a sentence is close, it hyphenates at *our or <ve letters& The result is more even grayness& % <nd that 5ith / -point Times 8oman, hyphenation looks best at !&A7& ondensed Spacing Eou can eliminate most hyphenation by instead condensing the spacing bet5een letters in 5ords by !&/ points& The changes in 5ord shapes is almost imperceptible& %n some *onts, the 5ord shapes improve Hbecome more readableI slightly& This sentence has character spacing condensed !&! points& This sentence has character spacing condensed !&/ points& This sentence has character spacing condensed !& points& To manually condense a 5ord or line in 2icroso*t Word, select the text, then go to Format/Font/Character Spacing& Choose Spacing/Condensed& 4et this to !&/ points& To automatically do thisLyouJll save at least one line per page Lgo to Word/Preferences/Compatibility H2icroso*t Word OI or Tools/Options/Compatibility HWindo5s 2icroso*t WordI& Click on 6Do *ull Pusti*ication like Word(er*ect $&x *or Windo5s,7 and then click o!! 63xpand)condense by 5hole number o* points&7 When you reduce 5hite space bet5een t5o letters, itJs called -erning& *etterspacing is reducing the 5hite space bet5een all let' ters on a line&
Paragraphs
25
Hyphenate o#pound .ords %* t5o 5ords have a special meaning 5hen used together, they *orm a compound 5ord& ?yphenate compound 5ords& %* you donJt, the reader might get con*used&
the ear splitting log. the ear-splitting siren.
The *ormer sentence means that the ear 5as splitting a log, like an ax& The latter sentence means that the siren 5as loud& %&e&, in the *ormer sentence, the ear splits the log& %n the latter sentence the siren splits the ear& ?o5ever, 5ords ending in ly donJt *ollo5 this rule& DonJt hy' phenate t5o 5ords 5hen the <rst 5ord ends in ly& 3&g&, 6Wthe beauti*ully painted staircase&7 Hanging Punctuation (ro*essional typesetters extend some punctuation marks, e&g&, hy' phenation, beyond the right margin& Word processors canJt do this&
Widows And Orphans 0 widow is a short line Hone or t5o 5ordsI ending a paragraph at the top o* a page& Wido5s should be avoided& 0n orphan is the <rst line o* a paragraph ending a page& 2icroso*t Word has automated 5ido5)orphan control, in FormatParagraphLine and Page Breaks& % suggest not using it, *or t5o reasons& First, 2icroso*t Word doesnJt count the number o* 5ords in a 5ido5& 0ccording to the hicago Manual o! Style H/=&9!I, a ten-5ord line isnJt a 5ido5, and is acceptable& 4econd, the hicago Manual o! Style doesnJt say anything about orphans, so % presume these are acceptable& 1rphans are al' 5ays *ull lines Hnever one or t5o 5ordsI&
26
Basic Book Design
Quotations And Extracts Consider re5riting long Kuotations in your o5n 5ords& Eour 5rit' ing is likely easier to read, and takes up less space& (lus youJll have no 5orries about copyrights or permissions& Cut sometimes another author 5rites something better than you can 5rite&
$ felt like a punk who%d gone out for a switchblade and come back with a tactical nuke. &'hit,( $ said, &screwed again. )hat good%s a tacti cal nuke in a street!ght*( )illiam +ibson, Burning Chrome
4et apart long Kuotations 5ith a di**erent *ont *amily, *ont si>e, margins, and leading& %* youJre using a seri* *ont He&g&, Times 8omanI *or your text, the most di**erent *ont 5ould be sans-seri* He&g&, ?elveticaI& Cut sans-seri* *onts are di*<cult to read& %nstead, use a readable seri* *ont, distinct *rom your text *ont& % like 8ock5ell Hused in the above William +ibson KuotationI& %n contrast, (alatino Hbelo5I doesnJt look di**erent enough *rom Times 8omanIF
% *elt like a punk 5hoJd gone out *or a s5itchblade and come back 5ith a tactical nuke& 64hit,7 % said, 6scre5ed again& What goodJs a tactical nuke in a street<ghtX7 L William +ibson, Burning hro#e
1K, to you it looks di**erent, and (alatino is a beauti*ul *ont& Cut some idiot reader 5onJt notice that youJve changed *onts, mar' gins, and leading, and think that you 5rote the Kuotation& DonJt be subtle& 2ake things very clear to your readers& -se a *ont si>e one point smaller than the text& -se singlespaced leading& 2ove the margins in one-Kuarter or one-hal* inch
Paragraphs
27
on both sides& 0dd space above and belo5 the Kuote& DonJt add space bet5een a ne5 section heading and the Kuotation Hyour section heading should already have space above and belo5I& DonJt add space i* the Kuote is at the top or bottom o* a page& Buotations have one problem % donJt kno5 ho5 to solve& %* you change the leading, the lines on the verso and recto pages Hle*thand and right-hand pagesI 5onJt align& 0 page break should never break a Kuotation Hor an extractI 5ith one line above the page break& ":tracts 0n example is called an e:tract&
This is an example of an extract.
0gain, make your extracts look distinctive *rom your text& %* your book has both Kuotations and extracts, use distinctive *onts, e&g&, 8ock5ell *or Kuotations and ?elvetica *or extracts& 8ndentation A!ter 9uotations And ":tracts 4ome typesetters donJt indent the <rst paragraph a*ter a Kuotation or extract& This is a good idea i* the le*t margin o* your Kuotation)extract is close to your paragraph indentation& 3&g&, you set your paragraph indentation at !& 7, and your extract le*t margin at !& A7& This book has those settings& Cecause the extracts and paragraphs nearly line up, you might think that the paragraph a*ter an extract 5as part o* the extract& %* you make your Kuotations)extracts and text look distinct, in' dent the paragraph a*ter a Kuotation or extract& %* your text, Kuota' tions, and extracts look similar, donJt indent the <rst paragraph a*' ter a Kuotation or extract&
28
Basic Book Design
Captions And Legends %llustrations, tables, charts, etc& should have captions or legends& The 6keep out trouble7 rule is to use 2icroso*t WordJs Insert Caption *unction& The 6traditional7 rule is to read the hicago Manual o! Style section about this H//& 9-9"I& Culleted .ists -se a tab bet5een the bullet and the *irst 5ord& 0 space 5ill vary in 5idth, i* your list has Pusti*ied text&
SENTENCES
Spaces Between Sentences Type one space bet5een sentences& .aTeO automatically puts in a 5ider space bet5een sentences& 1ne .aTeO manual says that this is traditional *or 3nglish and 0merican typesetters, and that French typesetters donJt use the 5ider space bet5een sentences& The hicago Manual o! Style doesnJt say anything about this issue& %&e&, the 6keep out o* trouble7 rule is one space& %Jm not certain o* the traditional rule& The 65ord processor rule7 is easyF 2i' croso*t Word canJt put 5ider spaces bet5een sentences&
Examples and Rephrasing 0 good 5ay to 5rite non-<ction is to state a general principle, and then give an example& This may con*use readers& %&e&, readers may think that your ex' ample is the rule, or that the rule is merely an example& 3&g&, 6%n most species, males are usually larger than *emales& 2y *ather is taller than my mother&7 4ome reader is sure to obPect that her mother is taller than her *ather& %denti*y the general principle, and identi*y the example& 3xamples are easy to identi*yF precede the example 5ith the phrase 6*or example7 H*ollo5ed by a commaI, or the abbreviation 6e&g&7 Halso *ollo5ed by a commaI& 6.ike7 means 6similar to&7 DonJt use 6like7 to mean 6*or ex' ample&7 +eneral principles are harder to identi*y& %n general, you can identi*y a principle by preceding the principle 5ith the phrase 6in general&7 DonJt use colloKuialisms, e&g&, 6roughly speaking,7 or, 6as a
30
Basic Book Design
rule o* thumb,7 or 6you kno5 5hat %Jm sayingX7 4tate the general principle <rst, and then the example& Eou can start sentences 5ith 6%&e&,7 or 63&g&,7 but 5hen starting a paragraph use the *ull phrase 6%n other 5ords,7 or 6For example,7 Rephrasing 0nother good style is to make a precise statement using technical 5ords, and then rephrase the statement using *amiliar 5ords& 3&g&, 6Cycle po5er 5hen the .3D indicator is red& %n other 5ords, i* the red light is on, s5itch the po5er o**, 5ait a *e5 seconds, and s5itch the po5er on again&7 To avoid con*using the reader, identi*y the rephrasing by pre' ceding the rephrasing 5ith 6*or example7 H*ollo5ed by a commaI, or 6i&e&7 H*ollo5ed by a commaI& But, ountere:a#ples, and on$erse State#ents The most compelling 5ord is 6but&7 WeJre innately curious to learn that something 5e believed is 5rong, or that thereJs a ne5 5ay o* doing something 5e habitually do& For example, 6Eou thought milk 5as good *or you& Cut a*ter this commercial break, youJll hear *rom a man 5ho says that milk is the 5orst thing you can put in your bodyS7 EouJll sit through six commercials to hear that intervie5, even i* you donJt drink milk& H1r especially i* you donJt drink milk&I This style can also set up humorous lines& 3&g&, 62en should be emotionally cool 5hen asking a 5oman out on date& %n contrast, Pumping up and do5n excitedly i* she says yes, or thro5ing a tem' per tantrum is she says no, is unlikely to make a 5oman respect you&7 Buts, counterexamples and converse statements make your 5rit' ing compelling and entertaining& Cut used poorly theyJll con*use the reader& 6Cut7 or 6ho5ever7 is used *or a *alse statement *ollo5ed by a true statement& %denti*y the *alse statement as *alse& (recede it 5ith
Sentences
31
6many people believe,7 or 6you thought,7 etc& Without the iden' ti<er, readers 5ill think that your *alse statement is true, then *eel con*used 5hen you state the opposite& 6,ever start a sentence 5ith (ut7 is a *avorite phrase o* *ourthgrade teachers& Cut starting a sentence 5ith 6but7 can be grammat' ical& % donJt understand 5here this so-called 6rule7 came *rom& (er' haps 6but7 5as lo5er-class, and 6ho5ever7 5as used by educated persons& 6Cut7 and 6ho5ever7 are interchangeable& The phrase 6yes, but7 should never be used& This phrase com' municates that the preceding *alse statement is true, and the *ol' lo5ing opposite statement is also true& H?o5ever, 8ussians o*ten use the 5ord 6a,7 5hich translates to 6and but7 or 6yes but&7I Counterexamples should be identi<ed by a preceding 6in con' trast&7 DonJt use 6*or example7 or 6e&g&7 to identi*y counterexam' ples& Counterexamples arenJt examples& Converse statements are restatements Hlike 6in other 5ords7I o* general principles, but you state the opposite& 3&g&, 6%n general, men are taller than 5omen& Conversely, 5omen are shorter than men&7
Punctuation In Quotations Buestion marks and exclamation marks go inside or outside Kuota' tions, depending on 5hether the Kuoted text used the punctuation mark&
She asked me, Is this the train to Altoona? (Correct) Do you really call that borscht? (Correct)
%* youJre novice, al5ays put periods and commas inside Kuota' tion marks&
Go on, he said, Im listening. (Correct)
The
hicago Manual o! Style HA&//-/"I has a page and hal*
32
Basic Book Design
about 5hen to put a period outside Kuotation marks& %* you under' stand these rules, *ollo5 them& 3&g&,
Yes, this is what they call borscht. (Correct)
Spelling And Grammar Checkers 2icroso*t Word autocorrects many mistyped 5ords& %t underlines in red 5ords that it doesnJt recogni>e& This is help*ul& 2icroso*t Word doesnJt recogni>e ligatures Ht5o letters Poined, usually A or BI& 3&g&, it thinks that o!Ace is misspelled& 2icroso*t Word underlines grammatical errors in green& %* you donJt understand 5hy your grammar checker Ragged a sentence, click on ToolsSpelling and Grammar and it 5ill tell you& %* you donJt understand its explanation, look it up in a grammar book He&g&, The hicago Manual O! StyleI& The +rammarian grammar checker Hmade by Casady [ +reene, httpF))555&casadyg&comI is more po5er*ul than 2icroso*t WordJs built-in grammar checker& %* your 5riting is 5orth money, itJs 5orth Q/=&=A&
Reading Grade Level +rammar checkers also report reading grade level& Contrary to popular belie*, a lo5 reading grade level doesnJt mean that your 5riting is stupid& 0 high reading grade level doesnJt mean that your 5riting is smart& %nstead, a lo5 reading grade level means that you 5rote clearly& 0 high reading grade level means that your 5riting is di*<cult to understand& 3asy-to-read 5riting is read, not put aside& 3asy-to-read 5riting is understood& %n business, clear, understandable 5riting 5ins sales and contracts& %n the media, clear 5riting increases your audience si>e& %n la5, clear 5riting persuades Pudges& %n academia, clear 5riting and Q &A! gets you an espresso&
Sentences
33
8deal Reading Crade *e$el %* youJre 5riting *or a general audience, try to 5rite at a sixthgrade reading level& ,e5spaper and popular maga>ine He&g&, Peo; pleI Pournalists 5rite at the sixth-grade reading level& 0bove an eighth-grade reading level, youJll start to lose even sophisticated readers& 0 reader may have a (h&D&, but that doesnJt mean that he or she 5ants to make an e**ort to read di*<cult prose& 2ake your readerJs li*e easier& 2icroso*t Word reports that reading grade level o* the previous t5o paragraphs as the *ollo5ing average statisticsF
Sentences per Paragraph Words per Sentence Characters per Word Passive sentences Flesch Reading Ease Flesch-Kincaid Grade Level 2.5 13.6 5.0 0% 62.3% 7.9
The 6Flesch 8eading 3ase7 is the inverse o* reading grade level& %&e&, a high number is easier to read& 8eading grade level is measured by counting the number o* let' ters in each 5ord, the number o* 5ords in each sentence, the num' ber o* sentences in each paragraph, and *actoring in passive-voice sentences& That sounds simplistic, and many educators have at' tempted to improve on this simple model, but more sophisticated models donJt 5ork better& +o through your text sentence by sentence, running the reading grade level checker& Whenever it signals that a paragraph is too complex, try to simpli*y it& .ord *ength -se sesKuipedalian 5ords& 4ay exactly 5hat you mean, in as *e5 5ords as possible& Write about speci<c concepts, e&g&, 6abnormal *etal testosterone,7 that canJt be said in shorter 5ords& Cut de<ne unusual 5ords& 3&g&, 6sesKuipedalian7 literally means
34
Basic Book Design
6measuring one-and-a-hal* *eet long&7 Cut that doesnJt mean eigh' teen inches& 8ather, in rhyming verse, t5o or three syllables are called a *oot& 1ne-and-a-hal* *eet 5ould be three- to <ve-syllables& 64esKuipedalian7 means a long, multisyllabic 5ord& Cy using and de<ning long 5ords, you get the best o* both 5orlds& 4ophisticated readers appreciate your precise use o* lan' guage& -nsophisticated readers understand you& H%Jd like to see a reading grade level checker that ignores long, de<ned 5ords&I Sentence *ength Write short sentences& Take out unnecessary 5ords and phrases& 3&g&, 6The *act o* the matter isW7 .ook *or the phrase 6there are&7 ,o sentence needs those t5o 5ords& .ook *or repeated phrases& 8e5rite 5ithout the repeated materi' al& -se colons and semi-colons rarelyF re5rite these sentences as t5o sentencesT or re5rite them as three sentences& Consider replacing a comma 5ith a period& .ook *or commas *ollo5ed by and& Consider breaking the sentence at the comma& Cut too-short sentences annoy readers& %* your reading grade level drops belo5 sixth grade, consider Poining short sentences into longer sentences& Paragraph *ength %* you have more than three sentences in a paragraph, consider breaking it into t5o paragraphs& Passi$e40oice Sentences Whenever your grammar checker <nds a passive-voice sentence, re5rite it in the active voice& 3&g&,
Newspapers and popular magazines (e.g., People) are
Sentences
35
written at the sixth-grade reading level. (Passive) Newspaper and popular magazine (e.g., People) journalists write at the sixth-grade reading level. (Active)
%n a passive-voice sentence, something is happening, but the reader isnJt told 5ho is doing it& %n an active-voice sentence, somebody is doing something& *i#ited40oca(ulary "nglish Technical manuals 5ritten *or persons 5ho donJt read 5ell Hor *or 5hom 3nglish is a second language, or 5hen the manual 5ill be translated into another languageI are sometimes 5ritten in li#ited4 $oca(ulary 3nglish& This consists o* about !!! common 3nglish 5ords& EouJre not allo5ed to use other 5ords& 2isleading <gures o* speech are also *orbidden& 3&g&, s5itches are switched, not turned& 6Turn on the po5er7 is replaced 5ith 6s5itch on the po5er&7 When houses 5ere <rst electri<ed Habout one hundred years agoI, light s5itches moved in circles, and so 5ere turned& 2ost light s5itches no5 move up and do5n, but some are pushed in and out, and so the verb switch is more accu' rate& Further Reading 8udol* Flesch developed the 6phonics7 method o* teaching read' ing& %* you canJt read, buy his book .hy Dohnny an?t Read& %* you canJt 5rite, buy his /=9$ book How to .rite, Spea- and ThinMore "!!ecti$ely&
WORDS
Emphasizing Words 0mateur 5riters emphasi>e 5ords 5ith C0(%T0. .3TT384, un' derlining, bold, or larger letters& (ro*essional 5riters instead use italics to emphasi>e 5ords& A#ateurs go on and on with really long e#phasi<ed sentences% So#eti#es they e#phasi<e entire paragraphs% (ro*essionals emphasi>e only one 5ord, or a !ew words& What emphasi>ing a 5ord in an emphasi>ed sentenceX The standard !or# is that in an italic sentence, the emphasi>ed word is not in italics& 8nstead consider using (old italics to emphasize a word in an italic sentence& ModiAers DonJt use $ery, really, or =ust& These 5ords are Pust never really necessary, and al5ays make you sound very amateurish& H8ead that sentence again, removing =ust, really, and $ery&I The compound 5ord s-y4roc-eting means that the speaker is re' porting a problem someone should do something aboutLas in, someone other than the speaker& 3&g&, 6Dog poop in parks in skyrocketingS7
Writing Out Numbers The hicago Manual o! Style H:&"I advocates spelling out 5hole numbers *rom one through one hundred& ?o5ever, this makes text less readable Hand also longerI& Fe5 people see ninety spelled out, but everyone sees EF o*ten& 3&g&, advertisements say 6=! Days 4ame 0s CashS7 % suggest spelling out 5hole numbers one through t5elve, and multiples o* ten, through one hundred& -se numerals *or all other
Words
37
numbers& Where you s5itch *rom 5ritten numbers to numerals is unim' portant& What counts is being consistent& 3&g&, donJt 5rite 6thir' teen7 on one page, and 6/"7 on another& 3xceptions include Kuotations Huse 5hat 5as 5ritten in the orig' inalI, money, percentages He&g&, GFH is easier to read than se$enty percentI, and 5hen a sentence has t5o or more numbers He&g&, 6The average 5oman moves in 5ith a man at age ! or /&7I&
Gender To 5rite gender-*ree text, use the 5ords person and indi$idual& DonJt use they, the#, or their to replace he, she, hi#, her, his or hers& 6They7 and 6their7 are plural& 6?e,7 6she,7 6him,7 and 6her7 are singular&
Me, Myself and I 0void mentioning yoursel* 5hen 5riting& We naturally talk about ourselves in conversation, so itJs easy to 5rite this 5ay& Cut it doesnJt sound pro*essional& -se Find to search *or 6%7 and 6me7& 8e5rite the sentences 5ithout mentioning yoursel*& 1r take out the materialLit probably doesnJt add anything& -sing the phrase 6the author7 sounds stu**y& 0void telling personal stories& 4tories take up more room than simply stating the point& .ike unusual *onts, break this rule i* you have a good reason& 3&g&, your book is a memoir, or a book o* personal essays&
E-mailspeak The e-mail smiley *ace :-) is o* great value in in*ormal communica' tion& -se it 5hen you dash o** a Kuick humorous note& DonJt use it in published materials& Take the time to re5rite hu'
38
Basic Book Design
mor so that itJs *unny, 5ithout the smiley *ace& %* itJs not clearly *unny, take it out& %* you type :-) in 2icroso*t Word, it tries to replace it 5ith its o5n smiley *ace& %* you save your document as a (DF, the smiley *ace turns into a D& DonJt use 2icroso*t WordJs smiley *ace, unless youJre 5riting to someone under seven years old& %2?1 Hin my humble opinionI, .1. Hlaughing out loudI, etc& are eKually out o* place in *ormal 5riting& Further Reading %* youJre one o* the rare 5riters 5hose grammar is ==&=M cor' rect, and you only occasionally have to look up an arcane rule, use the hicago Manual o! Style or a similar tome& For the rest o* the 5orld, 3nglish teachers have 5ritten a variety o* short, easy-to-understand grammar books, e&g&, The "le#ents o! Style, by William 4trunk and 3&C& White& 4ome o* these books are more-or-less *un and entertaining to read, especially .oe 8s 8, by (atricia 1JConner, and its seKuels& 0lso, subscribe to Carbara 2c,icholJs *ree monthly e-mail ne5sletter .ord Trippers& 3ach month she highlights con*using 5ords, such as co#pli#ent and co#ple#ent, or discreet and dis; crete& 4ubscribe or read back issues at httpF))555&barbaramcnichol&com)
CHARACTERS
Straight Quotes vs. Curly Quotes 0 sure sign o* amateur typesetting is to use Vstraight KuotesV in' stead o* 6curly Kuotes&7 ,ote that curly Kuotes come in le*t and right pairs& 4ingle Kuotes also come in straight H\I and curly H] JI varieties& Ce sure to use a single-close Kuote in contractions, e&g&, %Jll& 2ost 5ord processors 5ill automatically substitute curly Kuotes& To s5itch this *eature on or o** in 2icroso*t Word, go to
ToolsAutoCorrectAutoFormat As You TypeReplace As You Type "Straight Quotes" With Smart Quotes& Then go to Hyou have to s5itch the *eature on or o** in t5o placesI Tools AutoCorrectAutoFormatReplace "Straight Quotes" With Smart Quotes.
To manually use curly Kuotes, type the *ollo5ing key combina' tions on a 2acintoshF ]
option-] shift-option-] option-[ shift-option-]
%n .aTeO, type ^ Haccent markI and ^^ Ht5o accent marksI *or open single- and double-curly Kuotes, and \ and \\ Ht5o single apos' trophesI *or close single- and double-curly Kuotes& .aTeO auto' matically replaces these 5ith the appropriate curly Kuotes& ,ote that inch and *eet marks are straight Kuotes, e&g&, 6he 5as $\/V tall&7 ontractions .ithout Preceding *etters -se a close-single-curly-Kuote in contractions that donJt have a
40
Basic Book Design
preceding letter& 3&g&, 6smoke Jem i* youJve got Jem7 is a contrac' tion o*, 6smoke them i* you have got them&7 Word processors 5ill instead incorrectly produce 6smoke ]em i* youJve got ]em&7 4ome *oreign languages put a pre<x be*ore *amily names& 3&g&, the King o* ;ordan is 0bdullah bin 0l-?ussein Hmeaning, 6son o* the ?ussein *amily7I& ?e can also be re*erred to as King ?ussein& Cecause ?ussein is a contraction o* 0l-?ussein, some 5riters use an apostrophe, e&g&, J?ussein HcorrectI or ]?ussein HincorrectI& Possessi$e Singular And Plurals The *irst page o* the "le#ents o! Style, by William 4trunk and 3&C& White, has a mistake& The mistake is o* omission, i&e&, 5hatJs 5rit' ten is true, but misleading& 4trunk and White correctly advised *orming possessive singular nouns by adding ?s, regardless o* the 5ordJs <nal letter& 3&g&,
Charles friend (Incorrect) Charless friend (Correct)
They didnJt explain that the apostrophe replaces a vo5el, as a contraction& 3&g&, 5e say aloud 6Charles>e> *riend,7 not 6Charles *riend&7 WhatJs misleading is that they didnJt explain 5hat to do 5ith possessive plural nouns& %&e&, a reader might think that 4trunk and White advised adding Js to *orm all possessive nouns& This isnJt correct& (ossessive plural nouns add the apostrophe 5ithout the s& 3&g&,
chimpanzees humans
?ere 5e donJt add an extra syllable, e&g&, 5e donJt say 6chim' pan>ees>e>7 or 6humans>e>7& The apostrophe 5ithout a *ollo5ing s indicates that itJs silent&
Characters
41
Foreign Language Characters (ro*essional typesetters use special characters 5hen needed in *or' eign 5ords& 3&g&, a soon-to-be-married man is a <anc_, and a soon-to-bemarried 5oman is a <anc_e& HCoth 5ords have the same pronuncia' tion, so people get them mixed up&I -mlauts are used in 6na`ve,7 +erman 5ords, and heavy metal bands He&g&, 2atley CrbeI& These and many other *oreign language characters are available by typing combinations o* option or shift-option and other keys& 1n a 2acintosh, look up these combinations in the Key Caps applica' tion& %* youJre unsure 5here the special characters go in a *oreign 5ord He&g&, 6picce de r_sistance,7 note that the <rst accent mark is gra$e and the second is acute, in other 5ords, they go in opposite directionsI, get a dictionary& haracter Sets Di**erent so*t5are applications use di**erent character sets& 3&g&, 5hat 5as an A ligature in one application becomes d in another ap' plication& Documents look di**erent on 2acintosh or Windo5s computers& The only 5ay around this problem is to strip out special charac' ters be*ore moving a document *rom one application to another& 3&g&, use Find and Replace to change all the A ligatures to A Ht5o lettersI, move the document to the ne5 application, then use Find and Replace to change all the A Ht5o lettersI to A ligatures& On .e(pages When coding a 5ebpage, use the ?T2. special characters& These are listed in the back o* most ?T2. manuals& 3&g&, _ is é or é& 4ome so*t5are applications 5ill instead use other char' acters& Die5ers using di**erent applications He&g&, %nternet 3xplorer vs& ,etscapeI, or a di**erent %nternet service provider He&g&, 0meri' ca 1nlineI, or a di**erent computer HWindo5s vs& 2acintoshI, or
42
Basic Book Design
even the same so*t5are set to a di**erent character set Hat least : character sets existI 5ill see di**erent things on your 5ebpage& ?T2. uses straight double Kuotes HVI *or special purposes, e&g&, speci*ying hyperlinks& %* you use straight double Kuotes in ?T2. text, you might leave a Kuote out, and produce a bad link& 3&g&, you intended to code
Go to the world's <a href="http://www.terraquest.com/antarctica/">"coolest"</a> website.
but you mistakenly typed

Go to the world's <a href="http://www.terraquest.com/antarctica/>"coolest"</a> website.
and so you send your visitors to

http://www.terraquest.com/antarctica/>
5hich isnJt a 5ebpage& %nstead, use " instead o* double Kuotes& 4ome programmers use t5o grave accents H^^I *or an open curly double Kuote& This is a sign o* amateur coding& %nstead, use *or le*t curly single Kuote, *or right curly single Kuote, *or le*t curly double Kuote, and *or le*t curly dou' ble Kuote&
Dashes Typesetters use at least *ive 5idths o* dashesF # L hyphenbet5een 5ords en-dash bet5een numbers em-dash bet5een phrases
Characters
43
LL -em dash LLL "-em dash
indicates missing letters HrareI indicates omitted 5ord HrareI
%n addition, some *onts include a minus sign, and a ")9-emdash& The hyphen is the narro5est& The hyphen is used bet5een 5ords, e&g&, three-Kuarter-inch& Eou get it by typing the hyphen key Hnext to the >ero keyI& The en-dash Has 5ide as a lo5er-case nI is the middle 5idth& %tJs used bet5een numbers, e&g&, @#=& 1n a 2acintosh, you get it by typing option-hyphen& %n .aTeO, itJs t5o hyphens H--I& %n ?T2., itJs & The em-dash Has 5ide as a capital MI is the 5idest 5idth& %tJs used bet5een phrases, e&g&, 6Farmer ;ohn is outstanding in his <eld Lor is he standing out in his <eldX7 1n a 2acintosh, you get an em-dash by typing shift-option-hyphen& %n .aTeO, itJs three hy' phens H---I& %n ?T2., itJs & H2icroso*t Word O sometimes has *ormatting problems 5hen an m-dash is used, e&g&, in a bulleted list& 0 line may look right on your monitor but print incorrectly&I 0 sign o* amateur typesetting is to use t5o hyphens instead o* an em-dash, e&g&, 6Farmer ;ohn is outstanding in his <eld -- or is he standing out in his <eldX7 0nother sign o* amateur typesetting is to put spaces around an em-dash, e&g&, 6Farmer ;ohn is outstanding in his <eld L or is he standing out in his <eldX7 2icroso*t Word *or 2acintosh doesnJt break lines a*ter an mdash& -se Find to look *or em-dashes bet5een the <rst and second 5ords on a line& Try inserting a space a*ter the m-dash, to see i* the <rst 5ord and the m-dash Pump to the previous line& H2icroso*t Word *or Windo5s does this automatically&I 2icroso*t Word H*or neither 2acintosh or Windo5sI doesnJt break lines be*ore an em-dash& %Jm not sure 5hether starting a line 5ith an em-dash is acceptable HThe hicago Manual o! Style does' nJt sayI& %* you 5ant to do this, youJll have to manually search *or em-dashes bet5een the *irst and second 5ords on a line, and insert
44
Basic Book Design
a space be*ore the em-dash& 2icroso*t Word *or Windo5s 5ill break lines a*ter an en-dash H2icroso*t Word *or 2acintosh doesnJt do thisI& %Jm pretty sure this isnJt acceptable, i&e&, a range o* numbers shouldnJt break across lines& 0gain, the hicago Manual o! Style doesnJt discuss this&
Ellipsis 0mateur typesetters type three periods H&&&I to indicate removed text in a Kuotation& (ro*essional typesetters use an ellipsis HWI& The problem 5ith three periods is that the amount o* space bet5een the periods varies, especially 5ith Pusti<ed text& 3&g&,
The quick brown fox...jumped. (Incorrect) The quick brown fox. . .jumped. (Incorrect) The quick brown fox . . . jumped. (Incorrect) The quick brown foxjumped. (Correct)
1n a 2acintosh, the ellipsis is option-;& %n ?T2. itJs & 2icroso*t Word doesnJt break lines at an ellipsis& 3&g&,
The quick brown fox jumped over the lazy dog, and then the lazy dog took a nap. (Incorrect) The quick brown fox jumped over the lazy dog, and then the lazy dog took a nap. (Correct)
-se Find to look at each ellipsis in your book& %* the ellipsis *ol' lo5s the <rst 5ord in a line, try putting a space a*ter or be*ore the ellipsis, to see i* that <rst 5ord Pumps to the previous line& HThe hicago Manual o! Style doesnJt say that you canJt begin a line 5ith an ellipsis, so % presume this is 1K&I
Characters
45
Ligatures Typesetters replace the **, <, R, *<, and *R letter combinations 5ith ligatures, or letter combinations& .ook more closely Hthe ligatures are on the rightIF
*i < *l R
4ome *onts Hespecially sans-seri* and monospaced *ontsI donJt have ligatures& 8eplacing these letter combinations 5ith ligatures is a sign o* pro*essional typesetting& %n any 2acintosh application, type shiftoption-5 *or the < ligature, and shift-option-6 *or the R ligature& The **, *<, and *R ligatures arenJt available on the 2acintosh& .aTeO automatically substitutes all <ve ligatures& The hicago Manual o! Style doesnJt allo5 using the I or J ligatures in 3nglish, +reek, or .atin H$&$/I&
SMALL CAPS
420.. C0(4 083 W18D4 %, 0.. C0(%T0. .3TT384, %, 0 420..38 F1,T 4%e3 T?0, 4-881-,D%,+ T3OT&
T%T.3 C043 420.. C0(4 -43 T?3 ,1820. F1,T 4%e3 F18 T?3 F%84T .3TT38 %, 30C? W18D& T?3 F1..1W%,+ .3TT384 083 420..38& The hicago Manual o! Style H:&9/-9 , /9& @I advocates using small caps *or era designations, e&g&, 0&D& /!$$T /",A!! C&(& H(e!ore presentI& ,ote that these are abbreviations Hnot acronymsI and so have periods a*ter each letter& 0lso note that 0&D& and 0&?& H*or 2us' lim and ?ebre5 yearsI are placed be*ore the year, 5hen all other era designations are placed a*ter the year& The hicago Manual o! Style H/9&/AI advocates not using small caps *or acronyms, e&g&, the 0F.-C%1&
46
Basic Book Design
The hicago Manual o! Style H/:& :- =I suggests using small caps Hnot in title caseI in subheads& % oppose this practice, because subheads shouldnJt use a *ont smaller than the text *ont& ?o5ever, title case small caps may be acceptable& Title case small caps in ta' ble o* contents entries can look good& S#all ap Fonts %* you o*ten use small caps, buy a small caps *ont& 0 small caps *ont looks di**erent *rom caps in a smaller *ont si>e& % donJt have an example o* a small caps *ont to compare& The above examples are caps in a smaller *ont si>e& %Jve been told that the di**erence is apparent and 6youJll never go back7 i* you invest in a small caps *ont& H% rarely use small caps&I Cuy a small caps *ont that matches your text *ont Hanother rea' son to stay 5ith common *onts, e&g&, Times 8omanI& %nstead o* choosing Small Caps as a *ont option, change *onts to your small caps *ont&
Bullets %n a list o* items, a sign o* amateur typesetting is to use dashes in' stead o* bullets& 3&g&,
Book designers have a choice of several software applications: - Adobe FrameMaker - LaTeX - Microsoft Word - Ventura Publisher Book designers have a choice of several software applications: Adobe FrameMaker LaTeX
Characters
47
Microsoft Word Ventura Publisher
1n a 2acintosh, the bullet is option-8& 2acintosh 2icroso*t WordJs automated lists *eatures incorrect' ly uses dashes instead o* bullets& Windo5s 2icroso*t Word cor' rectly uses bullets& %* you use 2icroso*t WordJs automated lists *eature, and then save your <le in (DF *ormat, check each o* your lists& The bullets Hor dashesI may be lost 5hen you convert to (DF& %* youJre *eeling artistic, use a dingbat Han ornamental typeset' ting characterI, e&g&, , t&
FRONT AND BACK MATTER

Table of Contents 2ost 5ord processors 5ill automatically generate a table o* con' tents& 0 table o* contents should be one or t5o pages& 8eaders should be able to glance through it and see 5hat the book is about& %* your table o* contents is too short, increase the number o* levels& %* itJs too long, reduce the number o* levels& Eou can put a detailed ta(le o! contents a*ter the primary table o* contents i* necessary& The de' tailed table o* contents can be as long as you 5ish& hapter Su##aries 0 table o* contents should include a one- or t5o-line chapter sum' mary a*ter each chapter title& The summary makes readers 5ant to read the chapter Hlike the title and subtitle o* the bookI& 3&g&,
Chapter "F The 0nnouncementWWW&&W&&&&WW"$
Crad and Carol al5ays 5anted kittensLbut !or lunchX
2icroso*t Word canJt do chapter summaries automatically& EouJll have to run your table o* contents, and then type in each chapter summary& This is tedious, i* you have to run your table o* contents several times He&g&, you add or move a chapterI& Ce*ore sending your book to the printer, check the table o* con' tents page numbers& ,othing makes a book look more amateurish than a table o* contents that doesnJt match the page numbers& 3&g&, Chapter Three is supposed to start on page "$, but actually starts on page "@&
Front And Back Matter
49
Indexes The plural o* inde: can be inde:es or indices& 2ost 5ord processors automatically generate indexes& To gen' erate an index, <rst 5rite a concordance& This is a list o* 5ords that you 5ant indexed& Eou type the concordance in t5o columns& The <rst column is the 5ords to be indexed& The second column is ho5 the 5ords 5ill appear in the index& Eour 5ord processor may not be smart enough to <nd capital and lo5er case, or singular and plural versions o* a 5ord, so youJll have to type each 5ord in *our variations& 3&g&,
chimpanzee Chimpanzee chimpanzee Chimpanzees chimp chimpanzees chimpanzees chimpanzees chimpanzees chimpanzees
Eou then run Automark to insert hidden index entries into your text, and then generate the index& 2ake hidden text visible Hon 2icroso*t Word, the N icon in the 4tandard ToolbarI& .ook through your *ront and back matter He&g&, title page, copyright page, table o* contents, etc&I *or index entries& 8emove these manually& %&e&, donJt index your title page, etc& %* 2icroso*t Word 5ere smarter, you 5ould select the text portion o* your book, then tell 2icroso*t Word to automark only this section& 8ead your index& EouJll <nd mistakes, 5ords you shouldnJt have indexed, and 5ords you *orgot to include& Change your con' cordance and rerun your index& 2icroso*t Word doesnJt remove hidden index entries be*ore it automarks& %&e&, i* you remove 6chimpan>ees7 *rom your concor' dance, then run Automark 5ith the ne5 concordance, 6chim' pan>ees7 5ill again appear in your ne5 index& EouJll have to s5itch on hidden text H5ith the N icon in the 4tandard ToolbarI, search *or each 5ord, <nd the hidden index entry, and manually delete it& This is tedious& 2icroso*t Word should remove Hor ask i*
50
Basic Book Design
you 5ant toI remove previous index entries be*ore automarking& When your index looks right, put in number ranges& 4ome 5ord processors do this automatically& 2icroso*t Word doesnJt, e&g&,
chimpanzees, 43, 44, 45, 46, 47, 48, 49, 50 (Incorrect) chimpanzees, 4350 (Correct)
The hicago Manual o! Style H:&$=-@!I advocates leaving o** certain digits in number ranges, e&g&, ///"# /, rather than ///"# // /& 3xplaining their rules takes t5o pages& %* you understand it, use it& 1ther5ise, use all the digits& Format your index in t5o columns& Format it single-spaced& Eou may 5ant to use a *ont si>e one point smaller than your text& %* you replace an index, 2icroso*t Word may reset your index in a de*ault *ont, rather than use the *ont that you previously speci<ed& %&e&, you may need to change the *ont *or your index every time you replace the index&
Footnotes Footnotes look like this&f -se *ootnotes sparingly& Footnotes are a primitive *orm o* multiple *ormatting& 3&g&, us' ing 0dobe Frame2aker, you could 5rite one book, marking out beginning and advanced material, then print out a beginner-level book and an advanced-level book& Footnotes are usually advanced material, o* interest to *e5 read' ers& %* you 5ant every reader to read the *ootnote, it should be in the text, not in a *ootnote& The problem 5ith *ootnotes is that many readers 5ill read the *ootnotes, even i* they shouldnJt& The *ootnote breaks up their reading Ro5, and gives them in*ormation they donJt need& 1r the reader misses the asterisk identi*ying a *ootnote& The
f
This is a *ootnote&
51
reader then reads the *ootnote 5hen he or she gets to the bottom o* the page& 1ut o* context, the *ootnote doesnJt make sense& The readerJs curiosity is piKued, so he or she goes back and tries to <nd the asterisk that the *ootnote goes 5ith& This breaks the Ro5 and 5astes the readerJs time, again *or useless in*ormation& 0 long *ootnote near the bottom o* a page can mess up your page breaks& 4ome so*t5are applications 5ill break such a *ootnote onto the next page, 5hich *urther con*uses readers& Footnotes are usually in a smaller *ont, so take up relatively lit' tle space& Cut the hori>ontal bar setting apart the *ootnote takes up one or more lines& Eou may be able to adPust this amount o* space H% thought by using FormatStyleFootnote Separator, but this doesnJt seem to 5ork no5 in 2icroso*t WordI, but, in general, *ootnotes take up more space than 5orking the material into your text& -se *ootnotes in your <rst dra*t& 1n the next dra*t, remove un' necessary *ootnotes& %* a *ootnote is necessary, 5ork it into the text& Consider putting the *ootnote some5here else in the book& The editing process includes much rearranging and reorgani>ation ma' terialLan important *ootnote may actually be text that belongs in another chapter&
References 8e*erences identi*y the source o* your in*ormation& %n the book de' sign bi>, this is called docu#entation& .hy >se Re!erences@ 4cienti<c and academic books use re*erences& 2ainstream non-<c' tion generally doesnJt use re*erences& ?o5ever, non-<ction authors should change this habit& %n recent years, several popular non-<c' tion authors, e&g&, 4tephen 0mbrose, have been discovered to have Happarently unintentionallyI plagiari>ed material *rom other au' thors& These 5ere maPor embarrassments *or the authors& +et in the habit o* re*erencing everything as you 5rite&
52
Basic Book Design
.hich Re!erence Style@ The hicago Manual o! Style H/A& I advocates t5o choices *or re*' erencesF U Hu#anities style, listing the sources used in each chapter in an endnotes section at the end o* the book, 5ithout putting re*erences in the text& U Author41ate style, listing the primary authorJs last name, *ol' lo5ed by the year o* publication, in parentheses in text& The 0u' thor-Date style looks like this HThistleth5aite, /=:@I& 0 bibliogra' phy at the end o* the book lists the sources in alphabetical order& 0 third method, citing re*erences in the text by number, 5ith an endnotes section at the back o* the book, is 6much less satis*actory,7 according to the hicago Manual o! Style H/A&"I& This third method looks like this&$" % disagree 5ith the Chicagoans& The ?umanities style is di*<cult *or the reader to look up a re*erence& 0 chapter may have *i*ty re*' erences& ?o5 5ill the reader kno5 5hich *act came *rom 5hat sourceX The 0uthor-Date style H?umpdragon, /=9"I interrupts the read' erJs concentration HFartso, /== I, especially i* you have many re*' erences H4pit>enburger, /===I, or i* the re*erenced names are *un' ny HCender-1ver, /=$=I& %n contrast, readers 5ho donJt care about your sources can easi' ly ignore re*erence numbersT$9 yet readers 5ho need to look up a *act can easily <nd your source&$A The hicago Manual o! Style H/A&"I gives t5o reasons against re*erence numbers& First, i* your readers are *amiliar 5ith your sources, theyJll recogni>e 0uthor-Date re*erences at a glance, 5ithout looking in your endnotes& 3&g&, (ro*essor Calderdash sees that youJve Kuoted Dr& Tit>lingerJs seminal /=@" paper on brassiere dynamics& The other reason is that 6additions and deletions cannot be made 5ithout changing numbers in both text re*erences and list&7 True enough 5ith the so*t5are available in /==", 5hen /9 th edition
53
o* the hicago Manual o! Style 5as published& Cut, in !! , 2i' croso*t Word and .aTeO automatically number your re*erences& 0dding and deleting re*erences is easy& 0dobe Frame2aker also numbers re*erences, 5ith the caveat that i* you add or delete num' bers, you have to tell Frame2aker to redo the numbers be*ore you send your book to the printer Halso easyI& With automated re*erencing, donJt use i(id to repeat re*erences& %* you remove the <rst re*erence, the *ollo5ing i(id re*erence 5ill be incorrect& %t 5ould be cool i* 2icroso*t Word automatically printed i(id 5hen consecutive re*erences are identical, but % doubt thatJll happen any time soon& 0dobe %nDesign, Buark O-(ress, and 0dobe (agemaker donJt number re*erences& -sers o* these so*t5are applications have to use either the ?umanities or the 0uthor-Date style& H%Jve heard that plug-ins are available *or automatically numbering *ootnotes, *or about Q !!& % havenJt used the plug-ins&I Put Kour "ndnotes On Kour .e(site ?ereJs a radical idea& DonJt put your endnotes section at the back o* your book& %nstead, put your endnotes on your bookJs 5ebsite& 2y book Hearts And Minds has nearly 9!! re*erences& This takes up / pages, in a single-spaced, /!-point *ont& (rinting the end' notes 5ould add a dollar to the bookJs price& ==M o* my readers 5ill never look up a re*erence& % think theyJd rather keep their dol' lar& 1r you could include the endnotes in your hardcover edition, and leave the endnotes out o* the paperback edition& The *e5 read' ers 5ho 5ant to look up a re*erences 5ould have to go to the li' brary& TheyJll have to use the library any5ay to get the re*erenced document, so youJre not making them take an extra trip& Re!erence /u#(er Rules 8e*erence numbers al5ays *ollo5 punctuation, except *or a dash& 3&g&, a re*erence number goes a*ter a comma,9A not be*ore a peri' od9$&
54
Basic Book Design
,ever put a re*erence number Hor *ootnote markI in a chapter or section title& -se the text *ont *or re*erence numbers& Changing *onts 5ill distract the reader& 8e*erence numbers should be invisible to read' ers, unless they look *or the re*erence numbers& 4uperscript numbers should be hal* the point si>e o* the text& 3&g&, 5ith / -point text, use $-point re*erence numbers& The num' ber then <ts in the upper hal* o* the text line& %&e&, the top o* re*er' ence numbers line up 5ith the top o* the capital letters& H2icroso*t Word does this automatically&I %* your book 5ill be printed on high-Kuality paper, consider go' ing one point smaller, e&g&, A-point re*erence numbers 5ith / point text& The numbers 5ill be less intrusive, yet still legible& Re!erence For#at
&,he great thing about standards is that there are so many of them.( heard from an electronics engineer
The hicago Manual o! Style H/$&" -=$I advocates re*erencing books by author H*ollo5ed by a periodI, title H*ollo5ed by a colonI, subtitle H*ollo5ed by a commaI, city o* publication H*ollo5ed by a colonI, publisher H*ollo5ed by a commaI, and year o* publication H*ollo5ed by a periodI& 3&g&,
Caro, Robert A. Lyndon B. Johnson: The Path to Power. New York: Vintage, 1990.
% presume that this con*using array o* periods, commas, and colons 5as planned so that no t5o punctuation marks are consecu' tive& %&e&, i* the above example 5ere 5ritten 5ith each <eld separat' ed by a comma, youJd be con*usedF
Caro, Robert A., Lyndon B. Johnson, The Path to Power,
55
New York, Vintage, 1990.
%s *yndon B% Dohnson the title o* the book, or a second authorX That *ormat leaves out the most important item *or identi*ying a bookF the %nternational 4tandard Cook ,umber H%4C,I& 3&g&, the above book about .yndon ;ohnson is 8SB/ F3GEG5E7L6& 0nd 5hy list the city 5here the publisher has its main o*<ceX Did publishers once enPoy visits *rom readersX The hicago Manual o! Style H/A&/:AI advocates including page numbers only 5ith numbered re*erence citations, not 5ith ?umani' ties or 0uthor-Date bibliographies& % suggest including page num' bers 5ith all re*erences& 2ake li*e easier *or your readersLand yoursel*, i* you have to look up a *act ten years *rom no5& Re!erence 1ata(ases The %nternet solves all these problems& %nstead o* typing re*er' ences, you can no5 do5nload the in*ormation *rom a re*erence database& EouJll save time and mistakes& When you <nish 5riting your book, you can re*ormat the data into di**erent standards at the click o* a mouse& 3&g&, your editor re' *uses to let you include %4C, numbers& 1ne mouse click and the %4C, numbers are gone& Then the editor Kuits to 5ork *or another publisher, and a ne5 editor takes over your book& The ne5 editor likes your suggestion to use %4C, numbers& Eou click your mouse again, and the %4C, numbers return& %* you use Windo5s and 2icroso*t Word or Corel Word(er*ect, %Jve heard good reports about Citation Habout Q !!, or about Q:! *or students, httpF))citationonline&net)I& For 2acintosh 2icroso*t Word, use 3ndnote Habout Q A!, httpF))555&endnote&comI& %* you use another so*t5are application, you may be able to use Citation or 3ndnote independently& Eour endnotes 5ill be a sepa' rate document, 5hich you can save as a (DF and attach to your book&
56
Basic Book Design
Re!erencing .e(sites Cut the %nternet has introduced *urther problems& ?o5 to re*erence 5ebsites, e-mail ne5sletters, discussion *orums, etc& is under de' bate& Cover your bases and include as much in*ormation as you can <ndF -8., authorJs name, 5ebpage title, date, etc&
Cross-References Cross-re*erences, e&g&, 6see page 56,7 can be use*ul in technical and other non-<ction books& 4ome so*t5are applications do crossre*erences, e&g&, 0dobe Frame2aker and 2icroso*t Word& Writing 6more about this later7 or 6as previously noted7 is easy, but not help*ul to a reader& +et in the habit o* instead using crossre*erences& Cross-re*erencing a chapter or section is easy& %n 2icroso*t Word, go to %nsertWCross-re*erence& 4elect Reference type Heading and Insert reference toHeading text& 4elect the chapter or section, and 6see MHousetraining Kour Aard$ar-?7 appears in your text& %* you change the chapter title, the cross-re*erence auto' matically changes& 0lso get into the habit o* captioning your *igures He&g&, illustra' tions, graphsI, tables, and eKuations& Then cross-re*erence the *ig' ure in your text& 3ven i* your *igure is on the same page 5ith the text describing it, tell your reader Hin other 5ordsI 6% 5ant you to look at this now&7 This improves the *lo5 o* your book& DonJt put *igures be*ore the point 5here you 5ant your reader to look at the *igure& (ut the *igure a*ter that point, even this *orces the *igure to the next page& 2icroso*t Word can cross-re*erence t5o other types o* obPects Hnot counting *ootnotes and endnotes, 5hich % donJt recommend cross-re*erencingI& 0ny numbered item in a list can be cross-re*er' enced& .astly, you can insert a hidden bookmark any5here, and cross-re*erence the bookmark& Eou select any text He&g&, a personJs nameI and go to InsertBookmark& Eou can then cross-re*erence
57
that selected text&
Recommended Books 3very non-*iction book should have a 68ecommended Cooks7 sec' tion at the end& Then sell the recommended books on your 5ebsite& 4elling books on a 5ebsite is easy& Eou sign up 5ith 0ma>on 0ssociates HhttpF))555&ama>on&com)associates)I& Eou choose the books you 5ant to sell& 0ma>on gives you hyperlinks to put on your 5ebsite& 0ma>on 5ill also give you pictures o* the books, etc& When your 5ebsite visitors decide to buy a book, they click on your 5ebsiteJs link, 5hich takes them to 0ma>on& 0ma>on then pays you A-/!M o* the price& Eou donJt need to stock or ship any' thing& 4etting up your 5ebpage takes an hour or so& 0*ter that, 0ma>on sends you a check every month& A-/!M may not sound like much Hbookstores get 9!MI& Cut thatJs all the author gets in royaltiesS 2any authors get less than that& 3&g&, your publisher pays you :M royalties& Eou persuade your readers to buy, on average, one recommended book *rom your 5ebsite& 0ma>on sends you checks *or about :M o* these sales& EouJve doubled your royaltiesS %n your 68ecommended Cooks7 section, 5rite a short revie5 o* each book& %nclude a small picture o* the cover Hget these *rom 0ma>onI& When your book is available, upload all your revie5s to 0ma' >on Hin the reader revie5s section o* each bookJs 5ebpageI& .ist your name as 64o-0nd-4o, author o* How To Start A Success!ul 1onut Shop,7 or 5hatever& 0ma>on customers looking at the books you revie5ed 5ill see your name and book title, and possi' ble order your book& Hearts And Minds had some extra HblankI pages, so % added a list o* all the books that % Kuoted or mentioned in my text& % includ' ed the page number, so readers could go back and reread a Kuota' tion or see 5hat %Jd said& This reKuired using 2icroso*t WordJs bookmarks and cross-re*erences *eature Hsee aboveI&
58
Basic Book Design
GRAPHICS
60 picture tells a thousand 5ords,7 yet *e5 authors include graph' ics in their books&
Ornaments 1rnaments are, in general, small graphics used in repeating ele' ments o* your book& 3&g&, every chapter o* Hearts And Minds end' ed 5ith a heartF
g
The last chapter ended 5ith t5o hearts&
gg
0 detective novel might end each chapter 5ith a dagger& 0 book about cats might end each chapter 5ith a cat& Chapter ends are a good place to use an ornament, because nothing on the page tells the reader that the chapter is over Hexcept *or unimaginative 5hite spaceI& Chapter starts are another place *or an ornament& Eou might *rame each chapter title 5ith a cornerF
2E C?0(T38 T%T.3
8unning headers and *ooters are another place *or ornaments& 1ing(at *onts, e&g&, eap* Dingbats, Wingdings, Woodtype 1r' naments, etc&, are collections o* small ornaments and other typo' graphic bits He&g&, arro5s, stars, checkmarks, checkboxesI& Word processors handle dingbats as text, not as graphics& Dingbats re' Kuire no special skills to use, and donJt slo5 do5n your computer&
60
Basic Book Design
Find these by searching the World Wide Web *or 6dingbat *onts7 or 6page ornaments&7 % recommend httpF))555&5eb-elegance&com) -sing ornaments is a sign o* traditional book design& 2odern book designers tend not to use ornaments& % suggest that novices use ornaments, but sparingly& -sing the 5rong style o* ornaments *or your book, or overdoing ornaments, looks amateurish&
Charts And Graphs %* you have to present numerical in*ormation, consider using a graph Hchart and graph are synonymsI& To design e**ective graphs, read The 0isual 1isplay O! 9uanti; tati$e 8n!or#ation, by 3d5ard Tu*te H/=:"I& 2ost spreadsheets, e&g&, 2icroso*t 3xcel, produce graphs *airly easily& Eou can copy a 2icroso*t 3xcel graph directly into a 2i' croso*t Word document& This may be a good idea 5ith a graphic that you update regularly, e&g&, a sales chart in 5eekly company ne5sletter& -pdating the spreadsheet may automatically update the 5ord processor document& Cut i* you donJt expect to update the <le, donJt copy directly bet5een 3xcel and Word& When save your document as a (DF <le, you may lose your graph& %nstead, copy your graph into 0dobe (hotoshop, clean it up as necessary, adPust the si>e, and save it in a standard graphic *ormat He&g&, (%CT, ;(3+, etc&I& Then insert it into your document&
Illustrations ,e5 technology has made creating and printing black and 5hite il' lustrations easy and inexpensive& Color illustrations are still expensive and di**icult& This section is about using black and 5hite illustrations& %* you 5ant to use col' or illustrations, talk to your printer&
Graphics
61
Eour printer may suggest putting all the illustrations in an :page signature in the middle o* the book& DonJt accept thatLit looks old-*ashioned and makes the book harder to read& %nstead, ask your printer to use paper that can reproduce pho' tographs& 4uch paper costs only a *e5 pennies more per book& Resolution The 6keep out o* trouble7 rule is that photos should be at least "!! dots per inch HdpiI& 2ore resolution is better, but 5ill slo5 do5n your computer& .ine art He&g&, graphsI should be / !! dpi& 8#age Sources The 6keep out o* trouble7 rule is to go to a pro lab and pay them QQQ to scan your original slides or negatives& 0 cheaper alternative is to have a photo store catering to ama' teurs scan your negatives& %* a photo 5ill be small in your book, you donJt need a pro-resolution H A megapixelI scan& 0void scanning prints& The Kuality 5ill be, in general, 5orse than a direct scan o* a negative or slide& 0lso avoid using photos you do5nloaded *rom the World Wide Web& 2ost 5ebsite photos are about @ dpi& Ad=usting Photos For Printing When scanning a photo, set the ga##a cur$e at /&@, the highlight dot to M, and the shadow dot to =!M& This lightens the image, and compensate *or the tendency black ink to oversaturate and darken an image& -se 0dobe (hotoshop to adPust photos a*ter scanning, be*ore printing& H%Jve heard that ;asc 4o*t5are (aint 4hop (ro is also good, and is less expensive&I With black and 5hite, use ImageModeGrayscale& Then use ImageAdjustmentsAuto Levels to adPust brightness and con' trast& %* you scanned your photo as suggested above, you should be able to skip the next *our paragraphs& %* you someone else scanned
62
Basic Book Design
the image, make the *ollo5ing adPustments& 1pen ImageAdjustmentsCurves& Click your mouse on the center o* the graph, 5here it reads Input: 50%, Output: 50%& Drag your mouse do5n until this reads Input: 50%, Output: 35%& This lightens the midtone detail He&g&, *acesI& ,ext, open WindowsInfo& Then open Image Adjustments Levels Hnot Auto LevelsI& 2ove your cursor over your image& The cursor should change to an eyedropper& 2ove the eyedropper cursor over the darkest areas o* your image& %n the %n*o 5indo5, you should see K: 98%/98% or similar numbers& 0dPust the t5o black triangles in the Levels 5indo5 Hone *or Input, the other *or OutputI until the second number reads =!M in the darkest area o* the image& EouJve lightened the darkest area to prevent oversatu' rating black ink on the paper& ,ext, move your eyedropper cursor over the lighest areas o* your image& 0dPust the t5o 5hite triangles in the Levels 5indo5 Hone *or Input, the other *or OutputI until the second number reads M or "M in the lightest area o* the image& .astly, move your eyedropper cursor over *aces& The K: value should read bet5een AM and 9!M Hpartly depending on skin colorI& 0dobe (hotoshop can do many other e**ects& 3&g&, you can dodge or burn to lighten or darken selected areasT crop the imageT or erase a background& For more in*ormation, visit httpF))555&scantips&com& File For#ats 2any computer graphic <le *ormats are available& The di**erence bet5een <le *ormats *or 5ebsites and *or printing is that 5ebsites need compression& %&e&, <les need to be as small as possible, to get through a A$K Hor slo5erI modem 5ithout making the vie5er 5ait& Cut youJll give your book to your printer on a eip disk or CD812, 5here <le si>e 5onJt be an issue& (rinters generally avoid compressed <le *ormats because the image Kuality is slightly de' graded&
Graphics
63
The t5o common compressed <le *ormats are ;(3+ Hor &PpgI and +%F H&gi*I& %* you use ;(3+ <les, set the compression at ?igh or 2aximum& DonJt use +%F <les *or printingLthis *ormat limits the number o* colors or gray tones& The t5o common uncompressed *ormats are T%FF H&ti*I and (%CT H&pctI& These <les 5ill be about ten times larger than ;(3+ <les& (rinters usually ask *or T%FF <les& 2ost 5ord processors 5ill 5ork 5ith all *our <le *ormats, plus do>ens o* others, i* your <les are small& 3&g&, 2icroso*t Word is happy 5ith a Kuarter-inch orna' ment in any <le *ormat& Cut 2icroso*t Word handles large <les poorly& %t can only han' dle large <les as (%CT *ormat 5ith ;(3+ compression Hchoose ?igh compressionI& 0ny other <le *ormat 5ill sho5 as 6grayed out7 or look blurry& 4ometimes 2icroso*t Word displays an image on your monitor 5ell, but prints it poorly& For a "Vx9V image, 2i' croso*t Word can handle up to about :!! dpi& %t canJt handle / !! dpi images Hunless the image is smallerI& Whenever you add an im' age o* that si>e, your computer 5ill slo5 do5n noticeably& With about a do>en such images, youJll need a *ast computer to get any 5ork done&
Placing Illustrations 4tay 1ut 1* Trouble 8ules .imit yoursel* to *our illustration placementsF U .arge illustrations centered hori>ontally& U 4mall illustrations 5ith captions to the side& U 4mall illustrations 5ith text *lo5ing around& U 4mall ornament placement 5as discussed earlier& .arge illustrationsF ?ori>ontally center the illustration& (ut the caption belo5 the illustration& The caption should be in a di**erent style H*ont *amily, *ont si>e, *ont 5eight, leadingI than
64
Basic Book Design
the text& -sually the caption should be single-spaced& DonJt put text Hother than the captionI belo5 a large illustration& 8eaders may miss text belo5 a large illustration& 0nchor the graphic to the bottom o* a page& DonJt anchor it the top o* a page unless it *ills the entire page& ?ave your text *lo5 above and belo5 the illustration, but not on the sides& 3&g&, a paragraph may have t5o line above the illustra' tion, and three lines on the next page&
6(ilots pleased over their victory during the 2arshall %slands attack, grin across the tail o* an F$F ?ellcat on board the >SS *e:ington, a*' ter shooting do5n /@ out o* ! ;apanese planes heading *or Tara5a,7 ,ovember, /=9"& (hoto by Comdr& 3d5ard ;& 4teichen& ,ational 0rchives and 8ecords 0dministration, +eneral 8ecords o* the De' partment o* the ,avy, /@=:-/=9@T :!-+-9@!=:AT
httpF))555&nara&gov)exhall)picturingh thehcentury)galleries)5orldRames&html
%n 2icroso*t Word, create a table using TableInsert > Table 4peci*y one column, one ro5, and auto initial column 5idth& %nsert your illustration in the table HInsertPictureFrom FileI& 4elect the graphic and then use FormatParagraph to set the alignment to Center& 4et indentation and space above and belo5 at >ero& 4et Line spacing to Single Han Exact leading speci*ication, e&g&, /A points, 5ill cut o** the top or bottom o* the graphicI& Close the FormatParagraph 5indo5& 4elect the table and go to TableTable Properties 0gain set the hori>ontal alignment to Center, 5ith >ero indent& 4elect Text WrappingAround and open the Positioning 5in' do5& 4elect VerticalPositionBottom and VerticalPosition Margin& -nclick Move With Text& This anchors the illustration at the bottom o* a page& (ut a *ull paragraph o* text above the table& %* you go to View Page Layout you should see your illustration at the bottom o* the page, 5ith part o* the paragraph above the illustration, and the rest
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o* the paragraph at the top o* the next page& %* not, move para' graphs above or belo5 the illustration until youJre satis*ied& DonJt break paragraphsLthe last line above the illustration 5onJt be Pus' ti*ied, and the next line 5ill be indented& 4mall illustrations 5ith captions to the sideF
-s far as $ am concerned, $ never really lived until $ met .onnie. /h, $ know that this is not the popular admission these days.0ut .onnie is my reason for being happy. )ithout him, $%d be 1uite miser able and have no real purpose or direction ,ancy 8eagan/ in life. 2ancy .eagan
-se this *ormat i* a small illustration has a long caption& The above example has t5o captions, one short H6,ancy 8eagan7I and one long Hthe KuotationI& The caption should be on the right side, i* you expect your reader to look at the illustration *irst, then read the caption& %n 2icroso*t Word, create a table using TableInsert > Table 4peci*y t5o columns, one ro5, and auto initial column 5idth& %n' sert your illustration in the table HInsertPictureFrom FileI& 4elect the graphic and then use FormatParagraph to set the alignment to Left& 4et indentation and space above and belo5 at >e' ro& 4et Line spacing to Single Han Exact leading speci*ication, e&g&, /A points, 5ill cut o** the top or bottom o* the graphicI& Close the FormatParagraph 5indo5& 4elect the table and go to TableTable Properties 0gain set the hori>ontal alignment to Left, 5ith >ero indent& 4elect Text WrappingNone& 1pen the Options 5indo5& 4et all cell margins to >ero& Close these 5indo5s&
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4elect and drag the tableJs center border to *it the illustration& 3nter your long caption in the other 5indo5 and *ormat as nec' essary& 4mall illustrations 5ith text *lo5 aroundF -se this *ormat *or small illustrations 5ithout captions, or 5ith short captions& (lace the illustration against the right margin& Flo5 text around the illustration& DonJt place the illustration against the le*t margin& This is harder to read& Cecause you in' dent the *irst line o* each paragraph, and the text in' dents to *lo5 around a le*t-side illustration, readers 5ill unconsciously pause in the middle o* a sentence and think, 6This is a ne5 paragraph&7 This may seem minor, but the goal o* the book designer is to not make readers think Habout anything other than the authorJs presen' tation o* ideasI& To reiterate, small illustrations go on the le*t margin i* you have a long caption *or the reader to read a*ter looking at the illustration& 4mall illustrations go on the right margin i* no caption or a short caption accompanies the illustration& DonJt center an illustration i* text is on both sides& %&e&, donJt make readers read part o* sentence and then skip over the illustration to read the rest o* the sentence& 4et the illustration to move 5ith the paragraph itJs part o*& The primary rule to vertically align a small illustration is to not leave 65ido5s and orphans,7 i&e&, a single line o* text above or be' lo5 the illustration& The secondary rule is to center the illustration 5ith the para' graph itJs related to& This is rule is usually not *ollo5ed because it o*ten con*licts 5ith the primary rule& To reiterate these rulesF U %* the illustration goes 5ith the *irst paragraph on a page,
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anchor the illustration against the top page margin& U %* the illustration goes 5ith the *irst paragraph on a section, align the illustration 5ith the top o* the *irst paragraph o* the sec' tion Hbelo5 the subheadI& U %* the illustration goes 5ith the last paragraph on a page, anchor the illustration against the bottom page margin& U %* the illustration goes 5ith a long paragraph that isnJt the *irst or last paragraph on the page, center the illustration in the paragraph, i* this results in at least t5o lines o* text above and be' lo5 the illustration& U %* the illustration goes 5ith a short paragraph that isnJt the *irst or last paragraph on the page, align the illustration 5ith the top o* the paragraph&
Dertically center the illustration 5ith the paragraph it goes 5ith& %* possible, make the paragraph taller than the illus' tration, so the *irst line Hor linesI o* the paragraph is above the illustration, and the last line Hor linesI o* the paragraph is belo5 the illustration& Dertically align the illustration 5ith the adPoining lines o* text& This is the *irst o* t5o useless sentences inserted to make another line belo5 the illustration& This is the second useless sentence& ?o5ever, i* the paragraph is the last paragraph on the page, an' chor the illustration to the bottom page margin& The rule here is 6donJt put text under an illustration&7 %&e&, i* you vertically centered the illustration in the paragraph 5ith one *ull line a*ter the illustra' tion, the *irst 5ords in the last line 5ould look some5hat like an orphan& %n 2icroso*t Word, create a table using TableInsert > Table 4peci*y one column, one ro5, and auto initial column 5idth& %nsert your illustration in the table HInsertPictureFrom FileI& 4elect the graphic and then use FormatParagraph to set the alignment to Right& 4et indentation and space above and belo5 at
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>ero& 4et Line spacing to Single Han Exact leading speci*ication, e&g&, /A points, 5ill cut o** the top or bottom o* the graphicI& Close the FormatParagraph 5indo5& 4elect the table and go to TableTable Properties 0gain set the hori>ontal alignment to Right, 5ith >ero indent& 1pen the Options 5indo5& 4et all cell margins to >ero& Close these 5indo5s& 4elect and drag the tableJs le*t border to *it the illustration& 4elect the table and go to TableTable Properties again& 4e' lect Text WrappingAround and open the Positioning 5indo5& Click Move With Text& 4elect VerticalPosition0" and VerticalPosition Paragraph& This aligns the top o* the illustration 5ith the top o* the paragraph& 2icroso*t Word canJt automatically vertically center a table 5ith a paragraph& Eou have to do this manually& Close the 5indo5 and 2icroso*t Word should go into Page Layout mode, sho5ing you the position o* the illustration in its paragraph& %* you 5ant to put lines above the illustration, go back to TableTable PropertiesVerticalPosition 3nter the line spacing in points, e&g&, 15 pt *or one line o* /A-point leading H2i' croso*t Word 5onJt recogni>e 6/A pts7 or 6/A points7I& 2icroso*t Word 5ill then convert your points measurement into inches Hyou can also enter a measurement in inchesI& Close the 5indo5 again and look at the Page Layout mode& %* the numbers o* lines above and belo5 the illustration looks right, no5 adPust the vertical alignment o* the illustration compared to the text lines& 4tay in Page Layout mode& 4elect the graphic and go to FormatParagraphSpacingBefore& 0dd a *e5 points o* spacing and look at the result in Page Layout mode& 8epeat until it looks right& 0dvanced %llustration (lacement Drop 4hado5s Coring charts 5ould look better 5ith a drop shado5& %Jve *ound
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no 5ay to do this& 0dobe %llustrator creates drop shado5s, but 5hen the *ile is saved as a (DF or pulled into (hotoshop the drop shado5 is lost& 2icroso*t Word and 0dobe (hotoshop donJt create drop shado5s&
COVERS
%n a bookstore, the *ront cover advertises the book& When a poten' tial buyer picks up the book, he or she is likely to read the back cover be*ore deciding to buy your book& Design a cover that sells the book& Cegin by creating a *ull-page mock ad in the publication best suited *or the book& 3&g&, i* your book is about skydiving, design an ad *or S-ydi$ing Maga<ine& Whatever you 5ould put in the ad, put on your cover& +o through your bookshel* and pick out books 5ith e**ective covers& EouJll likely <nd *e5 such books& 1*ten a cover looks nice, but tells you little about the book& 4ometimes covers donJt even look nice, as i* the publisher didnJt care about the cover&
Graphics Software -se 0dobe %llustrator& %tJs expensive and hard to learn, but it does everything you need HyouJll need a lot o* e**ects to produce a great coverI& Eour printer 5ill 5ant an 0dobe %llustrator <le, along 5ith a (DF <le& .ikely your printer 5ill have to adPust something& Eour book may turn out to be thicker or thinner than expected, and the printer 5ill have to change the spine 5idth& 1r the printer needs more or less bleed Hthe extra Kuarter-inch around the cover that gets trimmed o**I& 1r the ink colors arenJt matching& With an 0dobe %llustrator <le, your printer 5ill be able to easily <x prob' lems& Create the back cover, spine, and *ront cover on one sheet& ThatJs ho5 the cover 5ill be printed& 0dd a Kuarter-inch bleed around it& 3&g&, *or a $Vx=V book, set up 0dobe %llustrator *or a /"Vx=&AV cover&
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Hardcover vs. Paperback (aperback books are cheaper to print, but 5ear out a*ter about <ve people readings& This isnJt usually a problem, as most books are read only once& The exception is libraries& %tJs cheaper *or a library to pay Q9! *or a hardcover Hcalled case (oundI that /!! patrons can borro5, than to buy t5enty Q/! paperbacks& %* durability isnJt an issue *or you, thereJs no reason to print a hardcover edition& The binding 5ill cost about Q more to print& .etJs look at the price, based on the bestseller The Map That hanged The .orld: .illia# S#ith And The Birth O! Modern Ce; ology, by 4imon Winchester H !!/IF
Hardcover back Retail Wholesale (40% discount) Publisher (55% discount) Printing and shipping Publishers prot $26 $15.60 $11.70 $4.50 $7.20 Paper$13.95 $8.37 $6.28 $2 $4.28
The customer pays Q/ extra, *or the publisher to get Q" more pro<t& Cut the high price might cut sales in hal*& The publisher might have made more pro<t going straight to paperback& Cooks usually get only one marketing campaign& 3&g&, revie5' ers revie5 ne5 books, not reissued paperbacks& %* you think your book 5ill have substantial 5ord-o*-mouth sales Hlike 1i$ine Se; crets O! The Ka4Ka Sisterhood, by 8ebecca WellsI, you may better o** publishing in paperback, selling more books at a lo5er pro<t per book, and then 5aiting *or 5ord-o*-mouth momentum to build greater sales Hand pro<tsI& Consider publishing in a paperback 5ith a price hal*5ay be' t5een hardcover and paperbackF
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Basic Book Design
Retail Wholesale (40%) Publisher (55%) Printing Publishers prot
Hard $26 $15.60 $11.70 $4.50 $7.20
Paper1 $13.95 $8.37 $6.28 $2 $4.28
Paper2 $19.95 $11.97 $8.98 $2 $6.98
The publisher makes the same Q@ per book pro<t on the Q/=&=A paperback or on the Q $ hardcover& 4ales volume should be greater 5ith the Q/=&=A price, so total pro<ts should be higher&
Title And Subtitle 0 bookJs title is usually its most important cover element& Think o* lots o* titles and subtitles *or your book& 0sk people 5hich is best& -sually the title is a catchy or cute phrase& The subtitle then de' scribes the book& 3&g&,
Into Thin Air: A Personal Account of the Mount Everest Disaster The Difference Between God and Larry Ellison: Inside Oracle Corporation Men Are from Mars, Women Are from Venus: A Practical Guide for Improving Communication and Getting What You Want in Your Relationships
Titles should be short& %* it canJt be read at a glance, potential buyers 5ill skip it& /!-/ 5ords *or the title and subtitle are ideal& %n contrast, Men Are Fro# MarsN is 5ords& The title is catchy, but the subtitle could have been edited to 8#pro$ing o##unica; tion 8n Relationships Htotaling / 5ordsI&
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Try omitting your title& Try omitting your subtitle& 45ap the ti' tle and subtitle& %* you have a title Hor a subtitleI thatJs both catchy and descriptive, use it alone& Fiction books donJt usually have subtitles& Branda(le Titles Think o* the title as a brand name& %* you 5rote a series o* books, 5hat part o* the title 5ould you repeat to identi*y the seKuelsX 3&g&,
A Is For Alibi B Is For Burglar C Is For Corpse D Is For Deadbeat Men Are From Mars, Women Are From Venus Mars And Venus On A Date Mars And Venus In The Bedroom Mars And Venus In The Bathroom Windows For Dummies Football For Dummies Wine Coolers For Dummies Spotted Hyenas For Dummies
opyright And Trade#ar- 8ssues For Titles Titles canJt be copyrighted& Cut titles can be trademarked& Cut trademarks are invalid i* theyJre too descriptive He&g&, A$iation Maga<ineI& 4ome states 5ill protect titles under un*air competition la5s& 4ee the books recommended belo5 in the copyright section& Title 1esign The title should be C%+& -se the biggest *ont si>e that <ts& -se a *ont that communicates something& 3&g&,
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Basic Book Design
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4T1,3 0+3 W1-.D C3 +11D F18 0 C11K 0C1-T T?3 F.%,T4T1,34& E-CC0-D-C' C0-D11S
Edwardian Script Would Look Nice For A Romance.

3erculanum would be good for a book set in ancient +reece.
-43 0.. C0(4 T%T.3 C043 F18 T?3 T%T.3& -se Title Case *or the subtitle and authorJs name& The title and subtitle should look di**erent& -se the same *ont *or the title, subtitle, and authorJs name& -se the same si>e *ont Hsmaller than the title si>eI *or the subtitle and authorJs name& DonJt make the readerJs brain 5ork too hard by s5itching *onts or colors, especially i* you selected an unusual *ont& The reader needs to glance at cover but not d5ell on it& The cover should grab the readerJs attention and then send him or her to the back cover& %* you decide to color the text, leave a thin black outline around each letter& %n 0dobe %llustrator, select the text, then click on the Fill (X) and Stroke (X) boxes near the bottom o* toolbar& Eou should get the *ont in 5hite 5ith a black outline Hor black 5ith a 5hite outline, because selected text has inverted colorsI& Doubleclick the Stroke (X) box to open the color palette& Choose the <ll color& -nder the Windows menu, open the Stroke 5indo5& 0dPust the stroke 5eight& /u#(ers 8n Titles DonJt start your title 5ith a long numberLreaders 5onJt be able to <nd your book on a bookshel* arranged alphabetically& 3&g&, 2O25 O$erture: The 8ncredi(le Story Behind Tchai-o$s-y?s Masterpiece 5ould be hard to <nd on a shel*& 0 better title 5ould be Tchai-o$s-y?s 2O25 O$erture: The 8ncredi(le Story Behind The
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Basic Book Design
Masterpiece&
Front Cover o$er 8llustration Cook covers, like advertisements, should have an illustration& %* the bookJs subPect matter can be sho5n visually He&g&, skydiv' ingI, choosing an illustration should be straight*or5ard& For an abstract book, consider 5hether the title suggests an im' age& 3&g&, my book Hearts And Minds: How Our Brains Are Hard; wired For Relationships suggested hearts, brains, 5iring, and rela' tionships& 0 picture o* a brain might suggest that the book 5as hard to read, so % avoided that image& %nstead, % had an artist dra5 a man and a 5oman holding giant electrical plugs& The male plug and *emale socket added sexual connotations, so % added hearts around them to instead communicate romantic connotations& 0 third choice is to use a beauti*ul photo or art5ork that has nothing to do 5ith the subPect& 3&g&, Sel!4Therapy For The Stutter; er, by 2alcolm Fraser, has a beauti*ul photo o* t5o men <shing on a lake at sunrise& The title communicated clearly 5hat the book 5as about, and the subPect is di*<cult to sho5 visually, so this 5as a good choice& Art On A Budget Cover illustrations can be expensive& This is 5hy many books donJt have cover illustrations& The cover artist simply chooses ap' propriate *onts and colors, and is done in *our hours& Eou may be able to save money by using a photo that you took& 1r use a public domain photo& 1r you can create the illustration yoursel*& 3ven i* you think you 6canJt dra5,7 youJll be surprised 5hat you can do i* you try& Eou may able to start 5ith clip art and spi** it up in 0dobe %llustra' tor& %nstead o* hiring a pro*essional cover designer *or Q$!-
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/ A)hour, you may be able to hire an art student *or Q/!-/A)hour& ele(rity "ndorse#ent 0sk the bestselling authors in your <eld to endorse your book& %* they like to make money, theyJll be happy to see their name Hand the title o* their bookI advertised on the cover o* your book& 0sk other celebrities, i* they have some connection to the sub' Pect& 3&g&, a book about stuttering could be endorsed by 2el Tillis& To <nd a celebrityJs address, do an %nternet search, call the celebrityJs publisher, or ask a librarian to help you& %* possible, call or e-mail be*ore you send the book& Write three cover endorsements& (ut these in a cover letter, ask' ing the celebrity to either pick one or 5rite his or her o5n endorse' ment& %nclude your manuscript Hsome celebrities only 5ant to see a sample chapterI& -se a readable *ont si>e and *amily& 1lder readers should be able to read the celebrity endorsement 5ithout reading glasses& /"or /9-point Times 8oman is a good choice& Blac- And .hite o$ers First design your cover in black and 5hite& %* you expect to print less than A!!! books, black and 5hite covers 5ill save you consid' erable money& Designing <rst in black and 5hite *orces you to make optimal use o* *onts, illustrations, etc& %* your cover looks snappy in black and 5hite, itJll look even snappier in color& %* it looks blah in black and 5hite, itJll look only some5hat less blah in color& 0lso, some catalogs 5ill sho5 your book in black and 5hite& When you <nish your color design, look at it in black and 5hite& 1pen your <le in 0dobe (hotoshop, then go to ImageMode Grayscale& 4ome printers can give you a good deal on a t5o-color cover& 3&g&, you might make the title red, and rest o* the cover black and 5hite&
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The *anguage O! olor Choosing colors *or your cover is almost as important as choosing a title& Di**erent colors have di**erent meaningsF U +reen symboli>es *ertility and li*e& U 8ed symboli>es blood, <re, and passion& U Clue symboli>es relaxation or 6going 5ith the Ro57 o* li*e, blue-sky optimism, or the denim clothes o* reliable, 5orking class people& U Cro5n is do5n-to-earth, humble, and reliable& U +old is 5ealth& U Eello5 is *eminine, cheer*ul, sunny& U (urple is royal& U 1range is conspicuous, 6look at meS7 U White is pure, innocent, or abstract& U Clack is serious or morbid& U +ray and beige are emotionless, inconspicuous, trying to pass 5ithout being noticed& Within each color, di**erent shades subtly alter the meaning& olors That Show .ear DonJt use large 5hite areas, unless your covers 5ill have <lm lam' inate& DonJt use large black areas 5ith <lm laminate, because it sho5s <ngerprints& 3ither 5ay, youJll get many returns& -se a variety o* medium colors, 5ithout large patches o* one color& MK' $s% RCB -se C2EK color& %n 0dobe %llustrator, this is under FileDocument Color Mode& MK' means 6Cyan, 2agenta, Eello5, black&7 These are the *our colors o* ink used in *our-color printing presses Hand inkPet printersI& %n contrast, RCB means 68ed, +reen& Clue&7 These are the three colors o* computer monitors Hand videoI& The di**erence is that you can produce any color by adding cyan, ma'
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genta, and yello5 togetherT or by subtracting red, green, and blue *rom each other& (aper reRects light, computer monitors produce light& 0s you pile on more color to paper, it gets darker& 0s your s5itch on more pixels on your computer monitor, it gets brighter& H(rinters also use black ink because itJs cheaper and looks sharper than colored ink&I -se 8+C mode *or art5ork that 5ill be seen on computers, e&g&, *or a 5ebsite& For art5ork that 5ill be printed on paper, use C2EK mode& When you print your art5ork, the colors might not match 5hat you sa5 on your computer monitor& To avoid this problem, use pri' mary colors 5here possible& %* you use pure cyan, magenta, yello5, or black, all printers 5ill produce 5hat you expected& (ure red, green, and blue should also print consistently& This may sound uninspired, but you can get a 5ide range o* shades by adPusting the density o* a color& 3&g&, !M pure red Hactually, !M magenta, !M yello5, !M cyan, !M blackI is light pink& Three41i#ensionality 0 sign o* amateur design is a Rat-looking, t5o-dimensional cover& (ro*essional cover designers have several 5ays to make a sheet o* paper look three-dimensional& Eou could put a hologram on the cover, or use a printing press that stamps out parts o* the cover& Those choices are expensive& 1r you could use large blocks o* negative colors, e&g&, green text on an orange background& This creates the optical illusion o* the text Roating in *ront o* the background& Cut that looks garish& The t5o pre*erred methods are gradients and drop shadows& These 5ork in black and 5hite or in color& 0 black and 5hite cover 5ith gradients and drop shado5s can be more eye-catching than the same cover in color 5ithout gradients or drop shado5s& 0 gradient is a smooth transition *rom light to dark He&g&, /AM yello5 to AM yello5I or bet5een t5o colors& 3&g&, youJve decided to use !M yello5 *or your background color& %nstead, use /AM yello5 behind the bookJs title, and AM yello5 around the edges
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o* the book& This 5ill look like a spotlight is shining on the title& %t 5ill dra5 the vie5erJs eye a5ay *rom the edges o* the book, to the title& %n 0dobe %llustrator, select your background *rame, then click on the Gradient tool or go to WindowGradient& For a drop shado5 in 0dobe %llustrator, select the obPect, then go to FilterStylizeDrop Shadow& 1r go to EffectStylize Drop Shadow& Drop shado5s only 5ork on $ector obPects, not raster obPects& Dector obPects include sKuares, lines, circles, etc& 8aster obPects in' clude photographs and scanned art5ork& To put a drop shado5 be' hind a photograph, you must dra5 a vector obPect He&g&, a boxI around the photograph&
Back Cover -se the same color scheme on the *ront and back covers& DonJt make the readerJs brain 5ork too hard 5hen he or she is thinking o* buying your book& Su(=ect ode The upper le*t corner o* your back cover should tell bookstore em' ployees 5here to put your book& 3&g&, 4el*-?elp, 8e*erence, Ciog' raphy, etc& -se the C04%C subPect categories Hused by bookstoresI, not .1C or DDC numbers Hused by librariesI& %* your back cover lacks color, put the subPect code in the same color Hand *ontI text as the *ront cover title& 8SB/ Bar ode And Price The lo5er right corner o* your back cover should have the %4C, number, bar code, and price& Without a bar code, bookstores canJt sell your book& 0n %nternational 4tandard Cook ,umber H%4C,I uniKuely iden' ti<es your book& Cooksellers and 5holesalers reKuire this number&
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(ublishers get %4C, numbers *rom httpF))555&isbn&org Ha division o* 8&8& Co5kerI When you have an %4C, number and youJve decided on the price, order the bar code *rom 0ccu+raphiO httpF))555&bar-code&com %* you order 5ith a credit card, they usually e-mail an 3(4 <le 5ithin 9 hours& Eou then place the 3(4 <le in your 0dobe %llustrator layout& -se a 5hite background *or the bar code& DonJt change the si>e or shape o* the bar codeLuse it exactly as 0ccu+raphiO sent it to you Husually /&:" inches 5ideI& %* you need a larger barcode He&g&, your cover 5ill be printed on cheap paper incapable o* reproducing <ne linesI, talk to 0ccu+raphiO about making a larger barcode *or you& Type the price belo5 the bar code& The price should be both dis' creet and obviousLyou donJt 5ant to shock readers 5ith the price be*ore theyJre 6sold7 on the book H6Q/=&=A *or a paperbackSXS7I, but they should easily <nd the price 5hen they look& / -point ?el' vetica bold is good& (ut the Canadian price in parentheses and reg' ular Hnot boldI *ont& .ook up the Canadian price at httpF))555&xe&net)ucc) 8ound the Canadian price do5n, not up& EouJll get the same 5holesale price, Canadians 5ill pay less, and the 5holesaler loses the di**erence& Author Photo 4pend the money *or a good author photo& 4end the author to a 6makeover photo studio7 5ith a hair stylist& The background should be 5hite& %* you have to use a non-stu' dio photo, use 0dobe (hotoshopJs eraser to remove the back' ground& Bac- o$er Re$iews %* you did your celebrity endorsements 5ell, you should have got' ten back several longer endorsements, *rom lesser-kno5n celebri'
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Basic Book Design
ties& (ut one or t5o o* these in the lo5er hal* o* the back cover& Bac- o$er Te:t The back cover text is your primary text advertising& CrieRy de' scribe 5hat the book is about, in as *e5 5ords as possible& Then say 5hy the reader 5ants to read it& What 5ill the reader get out o* the bookX Eou may 5ant to use bullet points *or the three, *our, or <ve bene<ts the reader 5ill receive& 2ake your bene<t points mysterious and intriguing& 3&g&,
What you should never eat on an airplane.
sounds better than

Foods that airlines dont refrigerate properly.
Cetter yet, put page numbers a*ter the mysterious points, e&g&,
What you should never eat on airplane (page 37).
The reader then turns to page "@& 2ake sure these are -iller pages& %&e&, i* a reader only read that one page, he or she is hooked& %n contrast, i* the one *ood you should never eat on an airplane is shell<sh, readers 5ill say, 64o 5hatX ,o airplane serves shell<sh&7 The *ront cover sent to reader to the back cover& The back cover sends the reader to the best pages inside the book& Consider starting 5ith reader bene<ts, and putting the descrip' tion last& 3&g&, 6Do you 5ant *ull, thick, beauti*ul hairX ?air that people 5ill admire and envyX The Spray4On Hair Boo- 5ill tell you ho5 to use products advertised on late-night televisionW7 -se a readable *ont *or the back cover text& 1lder readers should be able to read it 5ithout reading glasses& /"-point Times 8oman on /A-point leading is a good choice&
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Spine To calculate spine thickness, ask the printer *or the paper stockJs rating *or sheets per inch, and divide by the number o* pages& 3&g&, *or a 9-page book, you select a $!G o**set recycled stock, 5hich is rated 99:& Divide 99: by 9 pages& Eour bookJs spine needs to be one-hal*-inch 5ide& Spine olors -se the same color scheme on the spine that you used on the *ront cover& %tJs annoying *or a reader to recall that your book 5as black 5ith yello5 lettering, and look through his bookshel* and not <nd a black spine 5ith yello5 letteringLbecause you decided that yello5 spine 5ith black letters 5ould look nicer& %* you must use di**erent colors *or the spine and *ront cover, make the spine the same color as either the back cover Hor vice ver' saI& This allo5s *or adPusting the thickness o* the book during binding& Dark Hor bright redI lettering, in a large, readable *ont, on a light background 5ill make more bookstore customers read your bookJs spine& Conversely, customers 5ill ignore a di**icult to read spine& Spine Font -se the same *ont on the spine that you used *or the title& 0gain, the *ont 5ill help the reader recogni>e your book& -se 0.. C0(4& This avoids descenders, allo5ing you to use a larger *ont si>e& 4pines are usually read vertically& That 5ould be <ne i* you 5rote in ;apanese, but reading vertical 3nglish is a problem& 1ne solution is to stack the letters, e&g&, 2 E C 1
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1 K T % T . 3 4tacking the letters destroys the shapes o* the 5ords& Eou *orce the reader sound out each 5ord one letter at a time& %* your spine is thick and the 5ords are short, you could stack the 5ords, e&g&, 2E C11K T%T.3 0 third choiceLused by =AM o* book designersLis to put the type the letters normally, and *orce the reader to bend his or her neck side5ays =!i& This makes li*e easy *or the book designer, and hard *or the reader& The 5orst design is to use an italic *ont& %talics lean /!i *or' 5ards& To read an italic spine, the reader has to bend his neck /!!i& % have a uniKue solution to this problem& % use re$erse italics on the spine& %n 0dobe %llustrator, % select the text, then go to Object TransformShear& % lean the *ont back /!i& The reader than has to bend his neck only :!i& When read hori>ontally, it looks like italics& (erhaps a typographer could design a *ont that is readable lean' ing back 9Ai& 3uropean books have the spine text reading up, not do5n& 0n italic *ont 5ould be a good choice *or a 3uropean book&
Cover
85
olophon 0t the bottom o* the spine, put the publisherJs logo Hcalled a colophonI& Fe5 publishers have a recogni>able logo that 5ould make read' ers buy your book& 3xceptions include 1J8eilly *or computer books, or ,olo (ress *or la5 books& %* your publisherJs logo isnJt a selling point, consider instead using a graphical element *rom the *ront cover& 3&g&, my book Hearts And Minds had three hearts on the cover, so % put on heart on the spine& 0 reader 5ho sa5 my cover 5ill more easily recogni>e my book on a bookshel*& Special o$ers For Re$iewers %Jve heard that certain revie5ers 5ill only revie5 a (ound galley& This is an old type o* cover, 5ithout art5ork& These revie5ers 5ant to see a book many months be*ore the publication date& They 5onJt read books 5ith cover art& They think that cover art means that the book has been printed Hi&e&, they arenJt getting an advance copyI& TheyJre una5are that inkPet and laser printers can print art' 5ork in minutes, instead o* months&
LEGAL ISSUES
%Jm not an attorney& The *ollo5ing isnJt legal advice& This chapter is intended to brieRy *amiliari>e a novice about the principal legal issues in publishing& The end o* this chapter recommend several books *or *urther reading&
Copyright The Copyright 0ct o* /=@$ automatically grants certain rights to an author, photographer, or other creative person *rom the moment he or she <xes his or her creation in some tangible *orm, e&g&, 5rites on paper, photographs on <lm, etc& ,o registration is necessary& To use a created 5ork, you must get permission *rom the creator& Copyright lasts the creatorJs li*etime, plus <*ty years& Fair >se 0 publisher may use short pieces o* an authorJs 5ork He&g&, a Kuo' tationI, 5ithout permission& This is called !air use& %* the Kuotation is longer than "!! 5ords Habout a pageI, itJs un' likely to be *air use& Buotations shorter than "!! 5ords *rom a book may be consid' ered *air use& Factors a**ecting *air use includeF U The length o* the original 5ork& %* the original 5ork 5as a ten-5ord hai-u poem, Kuoting more than one 5ord 5ill ex' ceed *air use& U Buotations in advertisements are never *air use& 2ore about this distinction belo5, in the 68ight o* (ublicity7 section& U The 6heart o* the 5ork&7 4ometimes a book has a *e5 para' graphs that are the 6heart o* the 5ork,7 and the rest o* the book is about those paragraphs& Buoting those paragraphs, isnJt *air use& U The e**ect on the market *or the original 5ork& %* your Kuota'
Legal Issues
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tion hurts the sales o* the Kuoted 5ork, itJs not *air use& (hotographs and other graphic 5orks are rarely *air use, be' cause these are more creative than *actual& 0n exception might be a small section o* a map& Pre42EGO .or-s The Copyright 0ct o* /=!= covers 5orks created be*ore ;anuary /, /=@:& -nder the old 0ct, 5orks 5ere copyrighted *or @A years a*ter the date o* copyright& %&e&, anything created be*ore /= @ is no5 in the public domain& 0lso, some 5orks created bet5een /= @ and /=@: may not have been copyrighted or rene5ed properly& Pu(lic 1o#ain Works in the pu(lic do#ain are not copyrighted& 0ny 0merican can used public domain 5orks, 5ithout permission *rom anyone& Work created by or *or the *ederal government is automatically in the public domain& When looking *or book illustrations, % sug' gest that you start looking at the .ibrary o* Congress HhttpF))555&loc&govI and ,ational 0rchives and 8ecords 0dmini' stration HhttpF))nara&govI 5ebsites& The latter 5ebsite has excellent photos o* (residents and 5ars& The 5ebsite also *eatures photographers commissioned by the *ed' eral government, e&g&, Dorothea .angeJs photographs o* migrant 5orkers in Cali*ornia in the /="!s, and 0nsel 0damsJs pho' tographs o* the national parks in the /=9!s& .ook at other *ederal 5ebsites& 3&g&, i* your book is about avia' tion, go to the ,ational 0ir [ 4pace 2useum 5ebsite& 4ometimes a photographer donates photos to the *ederal gov' ernment, but doesnJt trans*er the copyright to the *ederal govern' ment& %* youJre not certain that the photographer 5as a *ederal em' ployee, do your best to contact the photographer and check&
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Right Of Publicity %* you use an individualJs name or likeness in an advertisement, you must get the individualJs permission& 0 personJs likeness includes his or her name, signature, image He&g&, a photograph or paintingI, voice, or other identi<able charac' teristic& 3&g&, a 2ichigan company sold portable toilets under the name 6?ereJs ;ohnny7 H arson $% Here?s Dohnny, $=: F& d :"/, $th Cir& /=:"I& Cecause those t5o 5ords 5ere used every night on the Tonight Show to introduce ;ohnny Carson, Carson success*ully sued the company& Eou may use anyoneJs likeness *or editorial purposes& 63ditori' al7 is also called 6ne5s,7 6ne5s5orthy,7 or 6non-commercial&7 0 common misconception is that 6non-commercial7 means giv' en a5ay *ree, perhaps by a non-pro<t organi>ation& Whether your publication is commercial or non-commercial has nothing to do 5ith the price& "ditorial means Hin this contextI
the use a person%s name or likeness for scholar ship, cultural, historical, educational, political, and public interest purposes or for news reportingeven if the work is more entertaining than newsworthy. 4loyd 5assin and 'teven 'chechter, The Copyright Permission And Libel Handbook
Ad$ertising is the opposite o* editorial& %* you use a personJs name or likeness to sell something, you need the personJs permis' sion& -sing a personJs name or likeness 5ithin a book isnJt advertis' ing& The reader doesnJt usually see the inside o* a book until a*ter he or she buys the book& 3verything inside a book is editorial& 1n your bookJs cover or in advertising *or your book, you can use the name and likeness o* the person your book is about 5ithout right o* publicity permission& 3&g&, Sports 8llustrated used a photo'
Legal Issues
89
graph o* ,e5 Eork ;etsJ Kuarterback ;oe ,amath in an article about the 4uper Co5l& 0n advertisement *or the maga>ine sho5ed the article, 5ith ,amathJs photo& ,amath sued, claiming that his image had been used in an advertisement& The court ruled in *avor o* the maga>ine& Eou canJt use the name or likeness o* an individual unrelated to your book on the cover or in advertising *or the book& 3&g&, i* at Fancy maga>ine used ;oe ,amathJs photo in an advertisement, and the maga>ine had never 5ritten an article about ;oe ,amath, the maga>ine 5ould need his permission&
Right Of Privacy %nvasion o* privacy has three *orms& 8ntrusion >pon Seclusion Eou may not take photographs or record a person in his or her home 5ithout his or her consent& This legal concept sometimes ex' tends to other private places, to photos o* the inside o* the personJs home, or to 6hidden camera7 or 6hidden microphone7 use any' 5here& Pri$ate Facts Details o* an individualJs sexual relationships, personal hy' giene, contents o* personal letters, etc&, are o** limits to the ne5s media, except 5hen such *acts are 6ne5s5orthy&7 False *ight Pu(licity %nventing Kuotes or <ctional events to portray a person *alsely to the public, or using photos out o* context to imply scandalous activity, is unla5*ul&
Libel .ibel is a *alse statement that harms the reputation o* a person or
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business& Cecause the First 0mendment guarantees *ree speech, prosecut' ing a libel case is di*<cult& Conversely, de*ending a libel case is easy& To 5in a libel la5suit, U The plainti** must prove that the statement 5as *alse& The de' *endant Hthe publisherI doesnJt have to prove that the state' ment 5as true& %* the publisher can prove that the statement is true, the Pudge 5ill dismiss the case& %&e&, truth is an abso' lute de*ense *or libel& U The plainti** must prove monetary damages& Dague claims o* anguish or su**ering donJt 5ork& U 4ome state la5s reKuire that the plainti** contact the publish' er 5ithin a certain time, provide proo* that the allegedly li' belous statement 5as *alse, and ask the publisher to retract the statement& %* the publisher complies, no libel case is pos' sible& U .ibel la5s vary 5idely *rom state to state& ,o *ederal libel la5 exists& De*endants have many de*enses against libel claims, includingF U (arody can say almost anything about anyone, e&g&, that ;erry Fal5ell lost his virginity 5ith his mother in an outhouse HHustler Maga<ine $% Falwell, 9:A -&4& 9$, /=::I& U 0nyone can say almost anything about politicians& U Buestions are not statements, so are never libelous& 3&g&, 6Cill +ates is an idiot7 might be libelous, but 6%s Cill +ates an idiotX7 isnJt libelous& U 4tatements o* opinion are never *actual, so are never li' belous& 3&g&, 6%n my opinion, Cill +ates is an idiot7 isnJt li' belous& U 8evie5s and critiKues are shielded *rom libel claims& U The publisherJs intention sometimes matters& %* the plainti** canJt prove malicious intent, he or she might not 5in&
Legal Issues
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Cetting Per#issions Contact a celebrityJs agent by doing a 5ebsearch *or the celebrityJs o*<cial 5ebsite& 1r ask a librarian to help you contact the celebrity& 0n honest, in*ormed agent 5ill say, 6%* you 5ant to cover your bases in case thereJs a legal problem, 5eJll sell you permission&7 Cut be skeptical 5hen a celebrityJs agent says that you 6have to7 pay *or permission to use the celebrityJs name or likeness& %Jve had a celebrityJs agent tell me that, because my book 5asnJt *ree, it 5as commercial and so % had to pay QQQQ to mention the celebrity& 0nother agent said that she o5ned the 6right to use7 a photo in the public domain Hevery 0merican has that rightI, and % could pay her *or the 6right to use7 the photo& Further Reading The opyright Per#ission And *i(el Hand(oo-, by .loyd ;& ;assin and 4teven C& 4chechter H/==:I, covers copyright, libel, right o* publicity, and right o* privacy in one book& % also recommend the opyright Hand(oo-, by 4tephen Fish' man H/==@, 9th edition, ,olo (ressI& That book only covers copy' right& *i(el, Slander, And Related Pro(le#s, by 8obert D& 4ack and 4andra 4& Caron H/==9I, is the authoritative book on libel issues& 6%nvasion o* (rivacy and the 2ediaF The 8ight ]To Ce .et 0loneJ,7 by ;ohn 0& Cussian and (aul ;& .evine Havailable at httpF))555&Rabar&org)I, covers right o* publicity and right o* priva' cy&
BEFORE SENDING YOUR BOOK TO THE PRINTER

+o through your book and pick out the best chapter, the chapter that grabs readers, then knocks Jem dead& (ut that chapter <rst& (ut the next-best chapter second, and so on& 3&g&, %Jm reading a book about the /=$@ 4ix Day War& The <rst /@! pages cover the diplomatic history bet5een the %sraelis and 0rabs& Then, in the <rst minutes o* the 5ar, the %sraeli 0ir Force destroyed the 3gyptian 0ir Force on the ground& Casualties 5ere minimal on both sides& That chapter is excitingS The author could have put it <rst, and then said, 6,o5 letJs examine the diplomatic situation that led up to this incredible battleW7 %* your book doesnJt hook readers in the <rst chapter, theyJll put it aside and never get to the exciting stu**&
Copyeditors When hiring a copy editor, ask 5hat type o* books the editor has 5orked on& .a5 books reKuire legal copyeditors, math books re' Kuire math copyeditors, etc& Eou may dislike a copyeditorJs style& 4ome copyeditors like to re5rite your 5ork into long, complex sentences& 1thers like to make your 5ork easier to read& Communicate 5hat you 5ant& Ce 5ary o* copyeditors 5ho Kuote a *ee He&g&, QA)pageI 5ithout seeing your book& +ive the copyeditor your manuscript and a check *or QA!& 4ee 5hat he or she does 5ith the <rst chapter, and his or her estimate *or the book& %* your budget is tight, call a university 3nglish or Pournalism department& 0 student should be able to <nd your most glaring mistakes, *or a *raction o* a pro*essional copyeditorJs *ee& 0 stu' dent may not notice arcane mistakes, but neither 5ill most o* your readers&
Before Sending Your Book To The Printer
93
2ost copyeditors are booked three to six months in advance& This can *orce you into an undesirable tradeo** 5ith last-minute author changes& 1n the one hand, you could allo5 the author to add ne5 material, re5rite sections, etc& up to press time& Whenever the author makes changes, typos creep in& 1n the other hand, you could reKuire the author to hand in the *inished manuscript three months be*ore press time& The book then goes to the copyeditor and production& The book 5onJt have typos, but the content 5onJt be as good as a book that the author continued to polish&
Asking For Feedback Cy nature, 5riters enPoy sitting alone and 5riting& %* 5e enPoyed talking as much as 5e enPoy 5riting, 5eJd be politicians& Cut *eed' back 5ill make you a better 5riter& Ceginners need to be told 5hat theyJre doing right& 3xperts need to be told 5hat theyJre doing 5rong& Eour *riends and *amily 5ant to make you happy& TheyJll point out the good parts o* your 5riting& %* youJre a beginning 5riter, sho5 your 5ork to your *riends and *amily& %* youJre an expert 5riter, sho5ing your 5ork to your *riends and *amily 5ill be a 5aste o* time& They 5onJt point out your mis' takes& %nstead, seek critical *eedback& Criticism al5ays stings at <rst, but then you look at your book and say, 6Ees, % never thought o* it that 5ay& %* % re5rite that sec' tion itJs much better&7 3xperts thank critics& EouJll 5ant ti#ely *eedback& Within a month is ideal& +etting a letter pointing out a mistake in something you 5rote ten years ago is useless& Eou 5ant pri$ate *eedback& The /ew Kor- Ti#es book revie5er may point out <*ty mistakes in your book& ThatJs goodLbut i* ten million people read his or her revie5, thatJs not good& Eou 5ant *eedback *rom #any readers& Eour literary agent and your editor are t5o opinions& +et at least t5enty opinions& Eou 5ant *eedback *rom typical readers& Eour literary agent
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and your editor probably have masterJs degrees in 3nglish .itera' ture& They read care*ully, 5ith comprehension& %nstead, seek *eed' back *rom readers named 2urphy& 0nything they can misunder' stand, they 5ill misunderstand& Cut average readers arenJt good at articulating their thoughts& They like or dislike something, but canJt say 5hy& This is 5hy theyJre not 5riters& 1i!!erent Boo-s, 1i!!erent Feed(acWith my *irst book, Stuttering: Science, Therapy & Practice, get' ting *eedback 5as di**icult& % mailed out do>ens o* copies, and less than one in ten recipients read the book& The only substantive criti' cism came *rom t5o Pournal revie5ers, 5hose revie5s totaled $ pages& These revie5s came out more than t5o years a*ter % submit' ted the book& .uckilyLor unluckilyL%Jd chosen a printer 5ho used a Oerox Docutech printer& % *ixed the corrections, re5rote the book, and printed a ne5 edition& 1ne o* the revie5ers 5as !urious 5hen she *ound out %Jd done this& 2y second book, Hearts And Minds, 5as a little easier to get *eedback on, as more people are interested in relationships& This time, % asked people in advance be*ore mailing them copies& 4till, only one in *ive people 5ho said theyJd read the book did Hsome people told me theyJd started it and 6gotten busy7Lin reality, got' ten boredL5hich is use*ul *eedbackI& 4ubstantial *eedback came *rom a *e5 experts, a *e5 *riends, and the 0ma>on 6dummy7 re' vie5ers Hmore about this belo5I& 2y third book, Multi!actoral Stuttering Therapy, has been as di**icult as my *irst book to get *eedback on& HCut %Jm not trying as hard, as itJs my second book on the subPect&I 4o *ar, %Jm pleasantly surprised at the excellent *eedback %Jve gotten on Basic Boo- 1esign& % put the book on my 5ebsite and asked *or *eedback on various ne5sgroups and 5ebsites& %t helps that the book is shortL% get comments 5ithin hours and days, not 5eeks and months& HThis supports my contention that most books
95
should be under /!! pages&I Di**erent books reKuire di**erent approaches *or *eedback& With a technical book, ask experts in your *ield& DonJt be surprised i* they say theyJre 6too busy,7 5hich translates to youJre not as im' portant as they are Hespecially i* you donJt have a contract 5ith a maPor publisherI& With a general audience book, the next section details the uniKue 5ay % *ound to get honest *eedback *rom typical readers& 1u##y Boo-s For 1u##ies 2ake a dummy 5ebpage on 0ma>on& +ive your book an alternate title, make up a <ctitious authorJs name, create a di**erent cover, and put on a di**erent %4C, number& 4ubmit the dummy book to 0ma>on& ?ave a 6print-on-demand7 printer make <*ty copies& +o through 0ma>onJs top /!! revie5ers, looking *or revie5ers 5ho revie5 books similar to yours, 5ho provide their e-mail ad' dresses& 1**er to mail them your book& Treat these people nicely L theyJre the best revie5ers, and their *eedback is 5orth its 5eight in gold& Then go through the 0ma>on reader revie5s *or books similar to yours& .ook *or readers 5ho provided their e-mail addresses& 1**er to give them your book Heither printed or do5nloaded *rom your 5ebsiteI, i* theyJll revie5 it on 0ma>on& 2ail out the books& %n a month youJll see the revie5s appearing on 0ma>on& Ce prepared *or shocks& With Hearts And Minds, sev' eral people reported items that 5erenJt in the book Hsome *avor' ably, some criticallySI& 3xpect misinterpretations and misunder' standings& 8e5rite your book& Then tell 0ma>on that youJve cancelled publication o* the dummy book, and ask them to remove it *rom their database& 3-mail the people 5ho 5rote positive revie5s and ask them to repost their revie5s 5hen the real book is published& 1**er to send them a copy o* the re5ritten book& This isnJt dishonest& (ublishers cancel books all the time& % doubt that 0ma>on 5ill *orbid it, because *e5 other authors 5ill go
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to this much trouble to get honest *eedback& %* many 5riters did this, 0ma>on could set up a discussion *orum *or authors to post reKuests *or revie5ers&
Pre-Printing Checklist 4earch *or 6there are7 and re5rite these sentences& 4earch *or 6, and7& Consider breaking these sentences into t5o sentences& 4earch *or =ust, $ery, really, and actually, and remove& 4earch *or 6ly-7 and remove the hyphen& Consistently use either 6*or example7 or 6e&g&7 Consistently use either 6in other 5ords7 or 6i&e&7 4earch periods *ollo5ing Kuotations marks& 4earch *or t5o spaces a*ter periods, Kuestion marks, and excla' mation marks& ,o hidden index entries in the *ront or back matter He&g&, title page, table o* contentsI& -se a grammar checker to <nd passive voice sentences, and re5rite in active voice& Check capitali>ation in all chapter and section titles& 4earch *or repeated carriage returns, and remove& 8eplace < an* R 5ith ligatures& 2-dashes breaking at line breaks& 3llipses breaking at line breaks& 0utomated hyphenation on& ,o too-short or too-long 5ord di' visions& First paragraph o* chapters, sections, and subsections not in'
97
dented& Chapter titles in running headers correct& First page o* chapters donJt have headers, instead have drop *o' lios Hpage number in *ooterI& Title page, <rst page, etc& on recto Hright-handI pages& ,o 5ido5s& ,umber o* pages *its into signatures He&g&, +raphics neither too dark not too light& Table o* contents page numbers correct& %ndex page numbers correct& Crop (DF <le pages to page si>e& Car code price correct& The price is the smaller bar code to the right& 0bove youJll see a number& %t 5ill start 5ith a A, i* your price is in 0merican dollars& %gnore the <rst digit& The rest o* the number is your price& 3&g&, 6A/==A7 means -4Q/=&=A& Canadian (rice& -se the latest exchange rate to check this& 9 pagesI&
Recommended Newsgroups And Websites 4u>anne 4& Carnhill 5rote many 6tips and tricks7 *or Windo5s 2i' croso*t Word, in a 5ebpage entitled 6Tips and tricks *or copy *it' ting,7 at httpF))555&mvps&org)5ord)F0Bs)Formatting)FitCopy&htm The 2acWorld maga>ine HhttpF))555&mac5orld&com)I *orum *or 6Design 0nd (ublishing7 has kno5ledgeable pro*essionals 5ho can ans5er Kuestions *or 2acintosh users& 4everal -senet ne5sgroups may help youF U microso*t&public&5ord&*ormatting&longdocs is *or book and document designers using 2icroso*t Word&
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U comp&text&tex is *or .aTeO, ConTeOt, etc&, users& U comp&publish&prepress 5ill ans5er Kuestions you have about printing color, using Buark, etc& U alt&publish&books 5ill ans5er Kuestions about %4C, num' bers, 5orking 5ith distributors, etc& 0nnounce your book to distributors and bookstores by creating an 1,%O *ile at httpF))555&netread&com)& The Q/A!)title *ee may seem sti** at *irst, but a*ter youJve hassled 5ith 0ma>on, %ngram, and t5enty other booksellers, youJll appreciate ,et8ead&com&
N N
C0CK C1D38 Basic Boo- 1esign isnJt another book about grammar rules, *reeing your inner 5riter, or <nding a publisher& %tJs about making your books, documents, and ne5sletters look pro*essional& ,o other book tells youF U Which *onts 5ill make readers devour your bookLand 5hich *onts 5ill make them put your book aside& U Common mistakes that make your ne5sletter look amateur& U DesignersJ tricks to save printing costs and make documents look better& U The !ree so*t5are that 5orks better than 0dobe (agemaker, Buark O-(ress, or 2icroso*t (ublisher& U Work-arounds to avoid bugs in 2icroso*t Word& U When you need permissions *rom both the photographer and the person depicted in the photoLand 5hen you need neither& U The government agency that 5ill give you co#pletely !ree photos by *amous photographers such as 0nsel 0dams and Dorothea .ange& 6The money-saving tips 5ill pay *or this book /!! times over&7 L 0& F& 0mos (erson 64trunk [ White *or the computer ageS7
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GNU Free Documentation License

Dersion /& , ,ovember !!
Copyright (C) 2000,2001,2002 Free Software Founda tion, Inc. 51 Frank in St, Fifth F oor, !o"ton, #$ 02110%1&01 'S$ ()eryone i" per*itted to copy and di"tri+ute )er+a ti* copie" of thi" icen"e docu*ent, +ut changing it i" not a owed.
0. PREAMBLE The purpose o* this .icense is to make a manual, textbook, or other *unctional and use*ul document V*reeV in the sense o* *reedomF to assure everyone the e**ective *reedom to copy and redistribute it, 5ith or 5ithout modi*ying it, either commercially or noncommer' cially& 4econdarily, this .icense preserves *or the author and pub' lisher a 5ay to get credit *or their 5ork, 5hile not being considered responsible *or modi*ications made by others& This .icense is a kind o* Vcopyle*tV, 5hich means that derivative 5orks o* the document must themselves be *ree in the same sense& %t complements the +,- +eneral (ublic .icense, 5hich is a copy' le*t license designed *or *ree so*t5are& We have designed this .icense in order to use it *or manuals *or *ree so*t5are, because *ree so*t5are needs *ree documentationF a
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*ree program should come 5ith manuals providing the same *ree' doms that the so*t5are does& Cut this .icense is not limited to so*t' 5are manualsT it can be used *or any textual 5ork, regardless o* subPect matter or 5hether it is published as a printed book& We rec' ommend this .icense principally *or 5orks 5hose purpose is in' struction or re*erence&
1. APPLICABILITY AND DEFINITIONS This .icense applies to any manual or other 5ork, in any medium, that contains a notice placed by the copyright holder saying it can be distributed under the terms o* this .icense& 4uch a notice grants a 5orld-5ide, royalty-*ree license, unlimited in duration, to use that 5ork under the conditions stated herein& The VDocumentV, be' lo5, re*ers to any such manual or 5ork& 0ny member o* the public is a licensee, and is addressed as VyouV& Eou accept the license i* you copy, modi*y or distribute the 5ork in a 5ay reKuiring permis' sion under copyright la5& 0 V2odi*ied DersionV o* the Document means any 5ork contain' ing the Document or a portion o* it, either copied verbatim, or 5ith modi*ications and)or translated into another language& 0 V4econdary 4ectionV is a named appendix or a *ront-matter sec' tion o* the Document that deals exclusively 5ith the relationship o* the publishers or authors o* the Document to the Document\s over' all subPect Hor to related mattersI and contains nothing that could *all directly 5ithin that overall subPect& HThus, i* the Document is in part a textbook o* mathematics, a 4econdary 4ection may not explain any mathematics&I The relationship could be a matter o* historical connection 5ith the subPect or 5ith related matters, or o* legal, commercial, philosophical, ethical or political position re' garding them& The V%nvariant 4ectionsV are certain 4econdary 4ections 5hose ti'
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tles are designated, as being those o* %nvariant 4ections, in the no' tice that says that the Document is released under this .icense& %* a section does not *it the above de*inition o* 4econdary then it is not allo5ed to be designated as %nvariant& The Document may contain >ero %nvariant 4ections& %* the Document does not identi*y any %n' variant 4ections then there are none& The VCover TextsV are certain short passages o* text that are listed, as Front-Cover Texts or Cack-Cover Texts, in the notice that says that the Document is released under this .icense& 0 Front-Cover Text may be at most A 5ords, and a Cack-Cover Text may be at most A 5ords& 0 VTransparentV copy o* the Document means a machine-readable copy, represented in a *ormat 5hose speci*ication is available to the general public, that is suitable *or revising the document straight*or5ardly 5ith generic text editors or H*or images com' posed o* pixelsI generic paint programs or H*or dra5ingsI some 5idely available dra5ing editor, and that is suitable *or input to text *ormatters or *or automatic translation to a variety o* *ormats suitable *or input to text *ormatters& 0 copy made in an other5ise Transparent *ile *ormat 5hose markup, or absence o* markup, has been arranged to th5art or discourage subseKuent modi*ication by readers is not Transparent& 0n image *ormat is not Transparent i* used *or any substantial amount o* text& 0 copy that is not VTrans' parentV is called V1paKueV& 3xamples o* suitable *ormats *or Transparent copies include plain 04C%% 5ithout markup, Texin*o input *ormat, .aTeO input *ormat, 4+2. or O2. using a publicly available DTD, and standard-con' *orming simple ?T2., (ost4cript or (DF designed *or human modi*ication& 3xamples o* transparent image *ormats include (,+, OCF and ;(+& 1paKue *ormats include proprietary *ormats that can be read and edited only by proprietary 5ord processors, 4+2. or O2. *or 5hich the DTD and)or processing tools are not
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generally available, and the machine-generated ?T2., (ost4cript or (DF produced by some 5ord processors *or output purposes on' ly& The VTitle (ageV means, *or a printed book, the title page itsel*, plus such *ollo5ing pages as are needed to hold, legibly, the mate' rial this .icense reKuires to appear in the title page& For 5orks in *ormats 5hich do not have any title page as such, VTitle (ageV means the text near the most prominent appearance o* the 5ork\s title, preceding the beginning o* the body o* the text& 0 section V3ntitled OEeV means a named subunit o* the Document 5hose title either is precisely OEe or contains OEe in parentheses *ollo5ing text that translates OEe in another language& H?ere OEe stands *or a speci*ic section name mentioned belo5, such as V0c' kno5ledgementsV, VDedicationsV, V3ndorsementsV, or V?istoryV&I To V(reserve the TitleV o* such a section 5hen you modi*y the Document means that it remains a section V3ntitled OEeV accord' ing to this de*inition& The Document may include Warranty Disclaimers next to the no' tice 5hich states that this .icense applies to the Document& These Warranty Disclaimers are considered to be included by re*erence in this .icense, but only as regards disclaiming 5arrantiesF any other implication that these Warranty Disclaimers may have is void and has no e**ect on the meaning o* this .icense&
2. VERBATIM COPYING Eou may copy and distribute the Document in any medium, either commercially or noncommercially, provided that this .icense, the copyright notices, and the license notice saying this .icense ap' plies to the Document are reproduced in all copies, and that you add no other conditions 5hatsoever to those o* this .icense& Eou may not use technical measures to obstruct or control the reading
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or *urther copying o* the copies you make or distribute& ?o5ever, you may accept compensation in exchange *or copies& %* you dis' tribute a large enough number o* copies you must also *ollo5 the conditions in section "& Eou may also lend copies, under the same conditions stated above, and you may publicly display copies&
3. COPYING IN QUANTITY %* you publish printed copies Hor copies in media that commonly have printed coversI o* the Document, numbering more than /!!, and the Document\s license notice reKuires Cover Texts, you must enclose the copies in covers that carry, clearly and legibly, all these Cover TextsF Front-Cover Texts on the *ront cover, and Cack-Cov' er Texts on the back cover& Coth covers must also clearly and legi' bly identi*y you as the publisher o* these copies& The *ront cover must present the *ull title 5ith all 5ords o* the title eKually promi' nent and visible& Eou may add other material on the covers in addi' tion& Copying 5ith changes limited to the covers, as long as they preserve the title o* the Document and satis*y these conditions, can be treated as verbatim copying in other respects& %* the reKuired texts *or either cover are too voluminous to *it legi' bly, you should put the *irst ones listed Has many as *it reasonablyI on the actual cover, and continue the rest onto adPacent pages& %* you publish or distribute 1paKue copies o* the Document num' bering more than /!!, you must either include a machine-readable Transparent copy along 5ith each 1paKue copy, or state in or 5ith each 1paKue copy a computer-net5ork location *rom 5hich the general net5ork-using public has access to do5nload using publicstandard net5ork protocols a complete Transparent copy o* the Document, *ree o* added material& %* you use the latter option, you must take reasonably prudent steps, 5hen you begin distribution o*
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1paKue copies in Kuantity, to ensure that this Transparent copy 5ill remain thus accessible at the stated location until at least one year a*ter the last time you distribute an 1paKue copy Hdirectly or through your agents or retailersI o* that edition to the public& %t is reKuested, but not reKuired, that you contact the authors o* the Document 5ell be*ore redistributing any large number o* copies, to give them a chance to provide you 5ith an updated version o* the Document&
4. MODIFICATIONS Eou may copy and distribute a 2odi*ied Dersion o* the Document under the conditions o* sections and " above, provided that you release the 2odi*ied Dersion under precisely this .icense, 5ith the 2odi*ied Dersion *illing the role o* the Document, thus licensing distribution and modi*ication o* the 2odi*ied Dersion to 5hoever possesses a copy o* it& %n addition, you must do these things in the 2odi*ied DersionF A. -se in the Title (age Hand on the covers, i* anyI a title distinct *rom that o* the Document, and *rom those o* previ' ous versions H5hich should, i* there 5ere any, be listed in the ?istory section o* the DocumentI& Eou may use the same ti' tle as a previous version i* the original publisher o* that ver' sion gives permission& B. .ist on the Title (age, as authors, one or more persons or entities responsible *or authorship o* the modi*ications in the 2odi*ied Dersion, together 5ith at least *ive o* the prin' cipal authors o* the Document Hall o* its principal authors, i* it has *e5er than *iveI, unless they release you *rom this re' Kuirement& C. 4tate on the Title page the name o* the publisher o* the 2odi*ied Dersion, as the publisher& D. (reserve all the copyright notices o* the Document&
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E. 0dd an appropriate copyright notice *or your modi*ica' tions adPacent to the other copyright notices& F. %nclude, immediately a*ter the copyright notices, a li' cense notice giving the public permission to use the 2odi*ied Dersion under the terms o* this .icense, in the *orm sho5n in the 0ddendum belo5& G. (reserve in that license notice the *ull lists o* %nvariant 4ections and reKuired Cover Texts given in the Document\s license notice& H. %nclude an unaltered copy o* this .icense& I. (reserve the section 3ntitled V?istoryV, (reserve its Ti' tle, and add to it an item stating at least the title, year, ne5 authors, and publisher o* the 2odi*ied Dersion as given on the Title (age& %* there is no section 3ntitled V?istoryV in the Document, create one stating the title, year, authors, and pub' lisher o* the Document as given on its Title (age, then add an item describing the 2odi*ied Dersion as stated in the previ' ous sentence& J. (reserve the net5ork location, i* any, given in the Doc' ument *or public access to a Transparent copy o* the Docu' ment, and like5ise the net5ork locations given in the Docu' ment *or previous versions it 5as based on& These may be placed in the V?istoryV section& Eou may omit a net5ork lo' cation *or a 5ork that 5as published at least *our years be' *ore the Document itsel*, or i* the original publisher o* the version it re*ers to gives permission& K. For any section 3ntitled V0ckno5ledgementsV or VDedicationsV, (reserve the Title o* the section, and preserve in the section all the substance and tone o* each o* the con' tributor ackno5ledgements and)or dedications given therein& L. (reserve all the %nvariant 4ections o* the Document, unaltered in their text and in their titles& 4ection numbers or the eKuivalent are not considered part o* the section titles& M. Delete any section 3ntitled V3ndorsementsV& 4uch a
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section may not be included in the 2odi*ied Dersion& N. Do not retitle any existing section to be 3ntitled V3n' dorsementsV or to con*lict in title 5ith any %nvariant 4ection& O. (reserve any Warranty Disclaimers& %* the 2odi*ied Dersion includes ne5 *ront-matter sections or ap' pendices that Kuali*y as 4econdary 4ections and contain no materi' al copied *rom the Document, you may at your option designate some or all o* these sections as invariant& To do this, add their titles to the list o* %nvariant 4ections in the 2odi*ied Dersion\s license notice& These titles must be distinct *rom any other section titles& Eou may add a section 3ntitled V3ndorsementsV, provided it con' tains nothing but endorsements o* your 2odi*ied Dersion by vari' ous parties--*or example, statements o* peer revie5 or that the text has been approved by an organi>ation as the authoritative de*ini' tion o* a standard& Eou may add a passage o* up to *ive 5ords as a Front-Cover Text, and a passage o* up to A 5ords as a Cack-Cover Text, to the end o* the list o* Cover Texts in the 2odi*ied Dersion& 1nly one pas' sage o* Front-Cover Text and one o* Cack-Cover Text may be added by Hor through arrangements made byI any one entity& %* the Document already includes a cover text *or the same cover, previ' ously added by you or by arrangement made by the same entity you are acting on behal* o*, you may not add anotherT but you may replace the old one, on explicit permission *rom the previous pub' lisher that added the old one& The authorHsI and publisherHsI o* the Document do not by this .i' cense give permission to use their names *or publicity *or or to as' sert or imply endorsement o* any 2odi*ied Dersion&
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5. COMBINING DOCUMENTS Eou may combine the Document 5ith other documents released under this .icense, under the terms de*ined in section 9 above *or modi*ied versions, provided that you include in the combination all o* the %nvariant 4ections o* all o* the original documents, unmodi' *ied, and list them all as %nvariant 4ections o* your combined 5ork in its license notice, and that you preserve all their Warranty Dis' claimers& The combined 5ork need only contain one copy o* this .icense, and multiple identical %nvariant 4ections may be replaced 5ith a single copy& %* there are multiple %nvariant 4ections 5ith the same name but di**erent contents, make the title o* each such section uniKue by adding at the end o* it, in parentheses, the name o* the original author or publisher o* that section i* kno5n, or else a uniKue number& 2ake the same adPustment to the section titles in the list o* %nvariant 4ections in the license notice o* the combined 5ork& %n the combination, you must combine any sections 3ntitled V?is' toryV in the various original documents, *orming one section 3nti' tled V?istoryVT like5ise combine any sections 3ntitled V0ckno5l' edgementsV, and any sections 3ntitled VDedicationsV& Eou must delete all sections 3ntitled V3ndorsements&V 6. COLLECTIONS OF DOCUMENTS Eou may make a collection consisting o* the Document and other documents released under this .icense, and replace the individual copies o* this .icense in the various documents 5ith a single copy that is included in the collection, provided that you *ollo5 the rules o* this .icense *or verbatim copying o* each o* the documents in all other respects&
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Eou may extract a single document *rom such a collection, and distribute it individually under this .icense, provided you insert a copy o* this .icense into the extracted document, and *ollo5 this .icense in all other respects regarding verbatim copying o* that document& 7. AGGREGATION WITH INDEPENDENT WORKS 0 compilation o* the Document or its derivatives 5ith other sepa' rate and independent documents or 5orks, in or on a volume o* a storage or distribution medium, is called an VaggregateV i* the copyright resulting *rom the compilation is not used to limit the le' gal rights o* the compilation\s users beyond 5hat the individual 5orks permit& When the Document is included in an aggregate, this .icense does not apply to the other 5orks in the aggregate 5hich are not themselves derivative 5orks o* the Document& %* the Cover Text reKuirement o* section " is applicable to these copies o* the Document, then i* the Document is less than one hal* o* the entire aggregate, the Document\s Cover Texts may be placed on covers that bracket the Document 5ithin the aggregate, or the electronic eKuivalent o* covers i* the Document is in electronic *orm& 1ther5ise they must appear on printed covers that bracket the 5hole aggregate& 8. TRANSLATION Translation is considered a kind o* modi*ication, so you may dis' tribute translations o* the Document under the terms o* section 9& 8eplacing %nvariant 4ections 5ith translations reKuires special per' mission *rom their copyright holders, but you may include transla' tions o* some or all %nvariant 4ections in addition to the original versions o* these %nvariant 4ections& Eou may include a translation o* this .icense, and all the license notices in the Document, and any Warranty Disclaimers, provided that you also include the orig'
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inal 3nglish version o* this .icense and the original versions o* those notices and disclaimers& %n case o* a disagreement bet5een the translation and the original version o* this .icense or a notice or disclaimer, the original version 5ill prevail& %* a section in the Document is 3ntitled V0ckno5ledgementsV, VDedicationsV, or V?istoryV, the reKuirement Hsection 9I to (re' serve its Title Hsection /I 5ill typically reKuire changing the actual title& . TERMINATION Eou may not copy, modi*y, sublicense, or distribute the Document except as expressly provided *or under this .icense& 0ny other at' tempt to copy, modi*y, sublicense or distribute the Document is void, and 5ill automatically terminate your rights under this .i' cense& ?o5ever, parties 5ho have received copies, or rights, *rom you under this .icense 5ill not have their licenses terminated so long as such parties remain in *ull compliance& !". FUTURE RE#ISIONS OF THIS LICENSE The Free 4o*t5are Foundation may publish ne5, revised versions o* the +,- Free Documentation .icense *rom time to time& 4uch ne5 versions 5ill be similar in spirit to the present version, but may di**er in detail to address ne5 problems or concerns& 4ee httpF))555&gnu&org)copyle*t)& 3ach version o* the .icense is given a distinguishing version num' ber& %* the Document speci*ies that a particular numbered version o* this .icense Vor any later versionV applies to it, you have the op' tion o* *ollo5ing the terms and conditions either o* that speci*ied version or o* any later version that has been published Hnot as a dra*tI by the Free 4o*t5are Foundation& %* the Document does not speci*y a version number o* this .icense, you may choose any ver'
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sion ever published Hnot as a dra*tI by the Free 4o*t5are Founda' tion& E$%&'()l l*(+, +,- Free Documentation .icense HWikipedia article on the licenseI 1**icial +,- FD. 5ebpage
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BASIC BOOK DESIGN How to Make Your Book, Document, Or Newsletter Look Professional

by Thomas David Kehoe and other Wikibooks contributors

License & Distribution From Wikibooks,

About The Authors