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eBooks and Digital Publishing

4 Things Your eBook Cover Designer Should Also Create For You

December 3rd, 2012 . by Peggy

Whether you’re creating your own eBook cover, or hiring someone else to design it for you, that’s a great time to create additional graphics that will help build your eBook business.

It’s often cheaper to order these items at the same time as your cover design, and easier if you are designing it yourself, because all the source materials are already at hand. Graphic unity is very important in a virtual business, to build credibility and trust, and increase discoverability of your product.

Below are four key areas that you should get done ASAP.

1) Social media icons and headers.

Recently, iTunes changed their image requirements for things like podcasting and personal icons. You know, that square icon that identifies Atlanta Rhythm Section from Peter Frampton? (I’m old. Get over it.) Your image that fits that space can also be used on things like Skype, Twitter, and many, many others. One graphic of 1400×1400, in .jpg format, is all you need across all those platforms, and it should include a professional headshot of yourself. Check out mine here.

2) Banners for affiliate marketing.

Affiliate marketing should be a core part of your long-term marketing plan for your eBook. Even if that only means inviting others to use Amazon Associates links back to your eBook on Kindle. If you plan to use your own in-house affiliate program, so much the better. Having graphical ads that hilight the use of your key graphic elements should be an essential part of that. Here’s your chance to use your book cover design and really put it all out there. Here are some recommended sizes for those banners, below. (Click the image to open it at actual size, so you can see how big the banners will actually be.)

3) WordPress header or banner for your landing page.

It’s important to have a clear image at the top of any web (WordPress-based) pages that you plan to use for your book’s blog or sales page. In WordPress, the standard 2011 theme uses an image of 1000 x 288 pixels. This should ideally include an image of you, and your eBook. The clearer the better.

4) Images for use on social media, especially Pinterest.

This is different from ad banners – you’ll want some other fun and playful images to use as you promote the eBook, such as a 3-D cover, samples of the cover in several small sizes to avoid pixelation on the web, etc. Pinterest, the photo sharing site, has changed this to be an entirely new ballgame. Here’s a great place to share fun and unusual iamges that others will feel compelled to share in return – with a trail of breadcrumbs that lead back to you. For example, do you have a series of great headshots that were not all used in the eBook or on the cover? Here’s the place to use them. Is yours a cookbook? Be sure to get some images of you interacting with food, or shots of the recipes themselves. What about action shots? You, out and about in the community? Near landmarks? Even better, what about video? At the very least, be sure to have a library of images that you build on an ongoing basis. Your designer can help you crop and modify them for use almost anywhere, including your Facebook page or Twitter, but especially Pinterest.


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Top Kindle Indie Authors Worth Following

July 31st, 2012 . by Peggy

As a followup to my blog post for, about why women over 30 write better eBooks, here’s a list of the top female indie Authors worth following on Twitter, and definitely worth reading.

I was fascinated with how each of these women market themselves. Some have many books, others have very few. Some are wild about Twitter, and some are not. They use tools like video and podcasting to help get their eBooks out there. Their pricing is all over the map. And if you follow each of them carefully, you’ll learn more about their writing style, their attitudes about their business, and how that plays into their success.

In no particular order…

EL James


Fifty Shades of Grey

Fifty Shades Darker

Fifty Shades Freed

Karen McQuestion


The Long Way Home

A Scattered Life

Easily Amused

Click here to see all of Karen McQuestion’s Kindle eBooks

Ruth Cardello


Maid for the Billionaire

For Love or Legacy

Bedding the Billionaire

Jamie McGuire


Beautiful Disaster



Click here to see all of Jamie McGuire’s Kindle eBooks.


Tammara Webber



Where You Are

Good For You


Colleen Hoover



Point of Retreat


Zoe Winters


Blood Lust

Save My Soul

The Catalyst


Erin Kern


Here Comes Trouble

Looking For Trouble


CJ Lyons


Nerves of Steel

Sleight of Hand

Face to Face

Click here to see all of CJ Lyons’ Kindle eBooks.


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eBook Covers: Screen Fonts vs. Print Type

July 16th, 2012 . by Peggy

Bad font choices can make or break your eBook cover design.

Are you designing your own eBook cover? Great! Here’s how to choose a font for the title and other text on your cover.

(And BTW< this is not something that’s worth obsessing over. You have a lot going on right now – and obviously, your first concern needs to be writing a great eBook.)

The difference between a screen font and a print typeface deals with the intricacies of readability and the science of typography. A screen font is one that’s designed to work and read well from a screen, versus a typeface that is designed for print, and not to be read on a screen at all. It’s a common mistake to not realize the difference, and use a screen font on an eBook cover, and I’m not sure that’s a good idea.

I should mention that the very word “font” is actually only used to describe the set of files that compose a screen font – not the typeface that is meant for print. Typography geeks might get on your back about that.

Screen (or web) fonts are meant to be readable in reflowable text situations, and represent well in what are generally lower resolutions on a screen. These fonts have different spacing attributes, meaning the spacing between letters, between the “legs” of each letter, and any enclosed areas, such as the gap in the middle of an “A”. Screen fonts are also meant to scale well and look good at both large and small sizes without any sacrifice to structure and readability. Font files will contain different sets of the letterforms than a print typeface. You’ll typically find a bold version, an enlarged bold, etc. Italics are found less often, due to their typically poor visibility on a screen. There’s a great article about this subject here:

Print typefaces are typified by greater complexity and customizability, so that a designer in full control of the printed object can manipulate a typeface to an amazing extent. Designers can treat type like a graphic object, even though that’s usually something that’s tough to pull off.

A big part of this entire debate – and yes, it’s still an open debate – is what’s known as kerning. Kerning refers to adjusting the spaces between letters and words. A typesetter can adjust the kerning in a word or sentence so that parts of the letter overlap into the space of the letter immediately preceding or following it. For a great illustration of this concept, have a look at this Wikipedia article:

Because we don’t typically adjust kerning for screen text, each letter in a screen font has a pre-set amount of space that surrounds each letter. This is what’s known as “monospaced” type. In other words, a screen font is meant to be standardized so that no matter what letter falls after which, the font will remain readable and properly spaced. Some screen fonts have evolved to be able to be kerned, but it’s highly automated, and like anything that’s fully automated, there will be some areas that just don’t work precisely the way that we’d always like it to. Sort of like factory cheesecake. Still good, but perhaps not worth blowing your diet over.

It’s not true that all serif typefaces are really for print, and non-serif fonts are for the screen, because in the years since modern monitors first came out, fonts and typefaces have evolved both artistically and in terms of usability. We now see both types of type in both print and on-screen. But there can be dramatic results by manipulating little things like the extension on the cross of a “t”, for example, which helps letters fit in a way that makes good use of the space on the screen, and still looks natural. Some typefaces, like Times Roman, were designed for specific things, like newspaper columns, and there are sooo many much better choices for serif typefaces in books, documents and papers, that I’m amazed that people still use that font at all. Times Roman is like the Scottish Play – you just can’t say the name of it at certain parties.

It’s considered a major no-no to use a screen font in print. The end result is a font that is not kerned properly, meaning that there are uneven gaps between the letters, which if they are used for the title, is going to glare at you from smack in the center of the cover of the book. There’s also something called aliasing, which very simply means that the angled edges of a screen font can be artificially smoothed to appear softer on the eye. Again, this is one of those areas that can get thoroughly messed up if you don’t understand the finer settings of stuff like Photoshop. Simply taking a high-resolution typeface and shrinking it down will not adjust the resolution properly, making it look “jagged” and blurry. See here for another article with an excellent technical explanation:

Screen fonts also have different effects when justified, due to automatic kerning. If you align a paragraph to be justified using a screen font, the letters across the line will be aligned with even gaps from the outermost point of each letter, which means that if an “A” and a “V” happen to follow each other, there will be too much space between them. A print typeface will typically automatically compensate for this, making the line appear more naturally-spaced, and therefore lend itself to a more natural reading experience. You cannot always correct this with hand-kerning. And even if you can, it’s time-consuming.

No matter what, if I were you, I would not geek out too much about this issue. There is an argument to be made that using screen fonts for the design of eBook covers is totally appropriate, considering that they are not meant to be printed out – the covers, too, are seen only on a screen. But I must say that I’ve seen a lot of oddly-spaced type out there: it floats, strangely, like a ship that isn’t anchored properly.

I think it’s a style choice. Is it readable? Does it look professional? Does it clearly make readers understand what they’re going to get in this book? If you answer yes to all of those, then great. Trust your eyes and your instinct.

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