I’ve spent the last year working with a firm here in the US, doing research and application development related to the use of QR codes for marketing. As a writer, I’m always on the lookout for how everything I encounter relates to information marketing, and I’ve summarized here some points that Authors in particular should find stimulating.

1. You can’t ignore it for much longer.

As tablets and smartphones capable of scanning QR codes expand to fill more than 53% of the mobile market, you have yet another avenue through which to connect to readers. If you have a book going to print in the next few weeks or months, be sure to put a QR code on the cover. If you haven’t yet decided to what you want that code to link, have no fear: just link it to a page on your current domain, such as mybook.com/qr. Then, when your’e ready, place the content at that URL.

2. Elevate your QR content.

In my don’t-call-it-humble opinion, the biggest mistake that seems to be made with QR codes overall is that they are only used to link to existing content that can be found any old way, regardless of whether someone has the code or not. Reward QR users with something extra-special, such as a video message from you that is not directly linked to from any other part of your blog, or a secondary version of your book trailer. Think of it as more than just an easy way to funnel people into what you already have.

3. Realize that most people will look at your stuff on a phone, not necessarily a tablet.

If you link to a video, be sure that it formats for a cell phone appropriately. (YouTube.com can link to an unlisted video and adjust automatically, no matter what viewers use to see it.) If you link to a page on a website, be sure it’s not a gigantic graphic, text formatted as images, etc., that will all look awful on a phone.  Make all text re-flowable, and all images self-adjusting.

4. Don’t have just one code.

Let’s assume that you’ve integrated QR codes as part of your wholistic marketing strategy. That should mean that you have a code on your business card that links to your “About me” page on your blog, and one on your book cover that links directly to information about the book itself, more in the series, extra information about the same vein of content, or perhaps an invitation to receive special extra content, one on your posters advertising book signings might link to an intro to the book, you as an author, and confirmed details about the event itself, with an easy link to put that event into their calendar. Each code can be context-sensitive and detailed.

5. Don’t expect people to buy your book from a QR code.

But do expect them to want to learn more about you, the book, your other titles, etc. If this is the first time they’re hearing about you, be sure you woo them appropriately first. As per #4, one of the codes in your arsenal should lead directly to a buy-it-now page, but be sure to offer more than that up front.

6. Don’t isolate the code.

Be sure that the code is presented in a way that lets the user know what to expect when they scan it – are they going to a contact page about you? Then be sure to tell them that. Are they going to buy tickets to your event? Are they going to see some exclusive content? A video? Be sure to give them a headsup, so that they are not only more interested in scanning, but also not worried about being spammed, getting a virus from a disreputable vendor, etc.

7. Expect more from your scanners.

It might not be a far-off assumption that people who own a smartphone and know enough to use a QR code are in that sweet spot group of consumers: 25-45 year olds with disposable income and a higher education. They might want complex content, that is well thought-out and implemented. Chances are, they will reward those extra efforts you make to entertain and challenge them with more money spent on your stuff. Give more to get more.

8. Don’t link directly to a file download.

Since users might access this from a phone, they are going to hate it if they scan a code only to see a PDF trying to suck up their entire data plan inside 2 minutes. Link to a page first, and give them an option.

9. Include social info on QR landing pages.

Once people scan the code, make it extremely easy for them to share what they’ve discovered, by including “Tweet this” and “Share on Facebook” links on that page.

10. Think in terms of space, not just time.

Mobile users might find it helpful to have a QR code perform an automatic checkin for a location on Yelp or Foursquare. Reward event attendees with a code that will help them earn Foursquare “Swarm” badges and other location or event-specific happenings.

BONUS – 11. Be sure to follow up.

Once someone has scanned your code, it’s easy enough to use any number of systems (afflink) to invite them to sign up for your list or enter their mobile number to keep up to date on future happenings. Not all will take advantage of this, but the 5% that do will be loyal enough to be worth communicating with in future.

Check out this article from iStock.com, about 6 things to keep in mind when designing a logo. These tips can also be handy to keep in mind when designing books, book covers, and typesetting books or ebooks.

The debate surrounding free content has become so heated it melts the keyboards of most Bloggers, Musicians, Visual Artists and other Creators. But does it work for Authors?

Anyone who’s published a book knows that you’re expected to give away a few things for free, including sample chapters, and of course review and publicity copies of your book. Most Authors have done free lectures in exchange for a table at the back of the room from which to sell their stuff.

But what if you gave away the entire book? All the time? To everybody?

Bloggers have been particularly frustrated by the issue of what to give away, and what to sell, at any of the conventions and gatherings I’ve been to in 2009. Most of them have written the equivalent of several books and not gained a penny from their efforts. Bloggers are getting a bit angry about this, because we’ve all seen so many promises of things like huge waves of blogging ad revenue that simply haven’t come true. In addition, people have become quite jaded by a proliferation of quality free content, and don’t seem willing to pay for information that helps them, entertains them, or even makes them money in turn.

But there are people making decent money – in fact, some making fantastic money – giving away content. How are they doing it?

According to Blogger and Podcaster Magazine, there are a few basic ways that people profit from free online content, including (for the most part) advertising, merchandise, and using the content to sell something more valuable: their consulting expertise. Like you, I was worried that this meant that if Authors wanted to learn from other industries and try giving away their books while making money in some other fashion, we might need to place completely unrelated and distracting ads alongside our books, which are now published as websites. This might work for some, but definitely not for all Authors and their creative works.

Seth Godin argues that  “…The book is a souvenir.” In the previous link, he discusses several cases where Authors – including himself, of course – who have released their books for free on the internet, are still selling paper or downloadable copies. Why? Because what people pay for is the instrument of delivery. Special leather-bound editions might only sell 250 copies, but they could sell for upwards of $250 per copy. CD’s containing eBooks, along with perhaps some bonus material, are still capable of significant digital cachet. Here’s an Author’s opportunity to partner with a graphic artist and create something elegant, beautiful, and distinctive – something irresistable.

Even 37Signals, the company who created the online project management system called Basecamp (that last one is an affiliate link), offered their ebook Getting Real for free if you read it off their website. They sell a downloadable version for $19, and a paper copy for $25. Despite offering it for free, they’ve sold over 30,000 copies of the downloadable version alone.

Examine this additional model from filmmaker Nina Paley, who created the film Sita Sings the Blues, based on the Ramayana of Valmiki. (Well, why the hell not?) Her very public accounting (see the link under her name) of the ways and how much money she’s made by not selling her film tells us something very important: this model does work, but you have to take a wholistic approach. Just one of those revenue streams is not enough – you need to present a well-rounded series of offerings.

As Paley says on her website, “There is the question of how I’ll get money from all this. My personal experience confirms audiences are generous and want to support artists. Surely there’s a way for this to happen without centrally controlling every transaction. The old business model of coercion and extortion is failing. New models are emerging, and I’m happy to be part of that. But we’re still making this up as we go along. You are free to make money with the free content of Sita Sings the Blues, and you are free to share money with me. People have been making money in Free Software for years; it’s time for Free Culture to follow. I look forward to your innovations.” (Links in previous paragraph are from Paley’s original website. I encourage you to give her money.)

Even with all the heat, I think I’m up for the challenge. Even if it melts this keyboard.

Writer’s tools are extremely expensive, especially in terms of software. Here’s a great list of free open-source software designed just for writers.

First, lets define exactly what open source software really means. The term “open-source” comes from the idea that the source code of the software is revealed to the public, unlike Microdaft where everything is super-duper secret. (Or at least, so they think.) When the source code of a piece of software is available to anyone, it means that anyone in the software community can use it – within certain very loose guidelines – to create new software, create add-ons, refine the program, and so on. The one major caveat: they cannot take this free source code and sell it for a direct profit.

Does that mean it’s free? Well, sort of. There’s a strong code of ethics in the open-source community, and almost nobody abuses the grass-roots system that has grown up around this concept. Most people who contribute to open-source projects make their living by consulting, designing, supporting, and doing other things alongside the product of the open-source project, not the project itself.

However, this same code suggests that if there’s a donation button, and you’re happy with the software, then by all means, buy the programmer a virtual coffee. Realize that programmers of open-source software make only marginally more than your average freelance writer. Yep – a couple of bucks wouldn’t hurt either of you.

The website osalt.com has a massive database of open-source software for almost any purpose. (Be aware that they also offer downloads of commercial software – scroll past that to get to the free stuff.) But here are some of my personal recommendations for writers;

- OpenOffice, an alternative to Microserf Office. I have not used any MSO products for several years – this does more than MSO ever will, and looks almost identical. Virtually no learning curve, except for some exceptionally cool new stuff. Imagine this: free, does more, and fewer crashes. I once used this to layout an entire book for print, which I’ll talk about in a future blog post.

- WordPress, the blogging platform that this blog you’re reading is based upon. (This is different from WordPress.com, which is when you use it on a public server, which I do not generally endorse for writers.) I’m talking about WordPress.org, which offers the version that you can download and install on almost any webhost. A zany array of plugins and graphical themes are also available at WordPress.org/extend/.

- XMind, a mind-mapping application that can be used not only to distill your writing ideas, but also to map out characters, plot lines, and even help you figure out who the murderer is.

- PDF995, which although not really an open-source project, it is still free and very reliable. Even though you’ve read in other posts what a fan I am of Adobe products, I still use this for creating most of my PDF documents from typed documents, because it’s lighter and faster than the real thing. This version displays ads each time you use it, but you could just slap down the $10 and not see the ads.

- Celtx (pronounced “Kel-tix”) offers an alternative to the writer’s plague of crazy pieces of paper in every room of your house. Designed as a pre-production and planning tool for screenwriting and similar story-based art forms, it’s very useful for writers. Think of this as a digital binder, collecting your ideas and storyboards, not to mention the actual script, all in one place. Great collaboration tools for more than one contributor.

And for Writers Who Podcast…

- My beloved Audacity, the program that I use to record and edit almost all my audio podcasts. Easy to use, with cool built-in effects and a very forgiving undo button. Even the kids will love this.

- I recently discovered The Levelator, a dandy yet tiny application with big benefits for any podcaster. Smooths out levels and jumpy volume levels. This saves me hours of work.

If you can find a way to give back to the open-source community, please do so by donation or by promotion. It will keep writers in software for a long time coming.

Here’s a checklist to help you create a project timeline for your self-published book or ebook, and understand how long to allocate for each stage of the process.

There are two philosophies about when to release your book. One dictates that you should pre-determine a particular event or time of year with which to coincide the release of the book for best effect. This means picking a release date well in advance, and then counting backwards on your calendar in order to determine when you need to have certain milestones completed.

The second philosophy suggests that if your book is “timeless”, you can simply release the book on your own self-determined timeline, and take a more long-term, big-picture approach, because you’re in this for the long haul.

I suggest a compromise between the two: rather than just working along as in the second philosophy, pick a date that is practical for you to achieve, because otherwise, the book won’t ever happen. After all, every book project is for the long haul. Then follow this checklist to get the book ready in time. Rushing it rarely offers a concrete advantage, but dawdling doesn’t make you any money, either.

For a print book, the timeline must include printing, which frighteningly, relies heavily on someone other than you and your core team: Your Printer. Your printer will be your best friend on this project, so be certain that you call them as early in the project as possible (see #3 below for the best time to call them) and see what their press schedule is like. Press time can be booked over a year in advance for some large companies, but for small jobs, many companies adopt a “we’ll fit you in” sort of attitude. The print timeline is also determined by the style of book you choose, including options like hardcover vs. perfect-bound, paper choices, and so on. Your printer should prepare a clearly laid out quote with all of these options and discuss them with you in detail.

I love my printer so much that I feel I should tell you about Friesens, based in Manitoba, Canada. They have grown to become one of the largest book printers in North America, (the world?) and frequently print for the big publishing houses and many other American companies as well as their native Canadian market. My rep is an amazing guy named Gerhard Aichelberger, on Vancouver Island. (Reps are determined by where you live.) He’d love to talk to you about your print needs, and no, I’m not being compensated in any way for saying that. He’s just an extraordinarily nice guy who has repeatedly bent over backwards to make my Authors happy. All of the Friesens reps are great, and the company is made up of people that are more like a huge family than employees. There is no style of book that they cannot print, stock, and ship, and their quality controls are ISO certified.

Here are the basic timeline elements, with a sample time frame below in [brackets], based on an imaginary project where; there is only one Author, the subject is one with which they are already familiar, there is a marginal amount of additional research to be done, a simple design will be chosen, the book will be simultaneously paper and ebook published, and the Author intends to perform a combination of self-marketing and traditional print book marketing through retail channels.

1. Market Research

The most important thing in the entire project. This might take minutes, or it might take months. Don’t over-do it, but you should have a clear idea as to the size and viability of the market, how they are currently receiving information in this topic area (ebook vs. book, styles of either…) and what niches are still available for you in the market. Be sure to include keyword research in this section, and purchasing of appropriate domain names. (See my earlier post for choosing a domain name, which tightly steers your book titling process.) Secure your social media outlets, like your Twitter account and YouTube channel, along with your Facebook fan page. Brainstorm about more stuff like this day and night.
[2 weeks, including time to bounce the idea off a few people in your network. Future posts will tell you a bit about how I do this with my clients.]

2. Outlining

This feels like a grade school nightmare, but it is essential. Don’t skip it. It is almost as important as #1, because this is how you will know how many pages your book will be, how you can modularize it, how you will format/design it, what associated products you will create, how large a team you will need to help you, how much research help you will need, and much more. I can often complete an outline in a day-long marathon session, with the Author’s core team involved if necessary. This is also the time to secure things like your ISBN number, your UPC code, and so on. Get the technical and legal crap out of the way so you can get to the fun stuff. Set up your initial website, and start blogging. Make a video for YouTube – you’ll make more specific ones later, but start to build your audience.
[3 days, including adjustments to the marathon plan.]

3. Specification

This is the stage where you determine how long your book / ebook will be , how it will be printed (if at all), how it will be graphically designed (work with the designer to get a quote at this stage), how it will be marketed, how it will be sold (that is, the technical or real-world logistics), and many other items. Now that you know how long it’s going to be, you can calculate how many pages it will take up, based on a calculation involving page size, number of words designated or estimated per section, and how many words / illustrations / diagrams fit on the chosen page size. This means that you can now get a quote from your printer, and book your press time well in advance.
[1 day to 2 weeks, including a small amount of additional sales research. Our sample will be 2 weeks.]

4. Initial Content Development

Here’s where you start actually writing. Most clients who work through my process are extremely frustrated by the fact that they don’t get to start writing until now. My answer is: do you want to write, or do you want to make money?
[Time varies widely based on the working speed of the Author. Some people can write an entire book in a long weekend - I once wrote a 30-page ebook overnight, but I don't recommend that! For some, it can take months, but let's hope for something in-between. For our sample project, let's call it 6 weeks.]

5. Editorial Stage

There’s a lot of back-and-forth at this stage. Do not let this frustrate you. Your Editor’s job is to preserve your voice, but to make the data as saleable as possible. They should remain objective and be representative of your designated market. Usually, the book will be shorter when you get it back from your Editor, and you may have up to about 6 revisions on some areas, though more than 3 is not typically efficient. Do not indulge in dangerous emotional attachment to your content – it is only a product.
[7-10 days is often enough for a medium-length book that is essentially well-written to start with.]

6. Design

Once the content has been completely, 1000% revised, there are no more changes or spelling errors, no bits that you forgot, and your diagrams or tables have been laid out for the designer to re-create, you hand the manuscript over to your typesetter/designer. See other posts for tips for working with designers, but just be sure that there are no more changes to the content before you hand it to them, as changes after the design has started can be costly both in terms of money and lost time. Be sure to include time to design an appropriate website, hopefully in tune with your book’s design, to create wholistic and congruent communication with your reader base.
[1 to 3 weeks and up, depending on the length of the book and how clear you were in stage 3 with your design choices. Our example project will be 2 weeks.]

Tip: If you feel qualified to perform your own typesetting and design, it is often a good idea to actually write the book in the design template. Adobe InDesign and InCopy is especially good for this, but I have also successfully used open-source applications like OpenOffice.org. Writing in the design template allows you to see how words flow, gives insight into subtle things like aligning style and content, allows you to create flyouts and featured content more easily, and may help you spot trouble before you’ve gone too far.

7. Pre-Press

Some might say that this stage is not really worthy of a numbered point by itself, except that if there are any problems with the file that is uploaded to your printer, it can mess up a lot of other time frames. Ideally, this should be an invisible part of the process that takes minutes, but I’m adding this in as part of my “hope for the best, but plan for the worst” philosophy.
[Ideally, minutes. Possibly, a couple of days to figure it out and correct the problem. Keep in good contact with your printer during this time to ensure that you don't lose your press booking and that they are still on schedule. Our example project will not include any time for this.]

8. Printing

The day you send the book to the printer, you will not sleep that night, and will instead spend the night staring at the ceiling, wondering what you forgot, misspelled, left out, etc. I advise you to have a glass of wine or go to a movie and just try to get through it.
But remember, this is *not* the time to sit on your hands! If you have an ebook that was created at the same time as your print book, get that sucker out there are start hawking it – hard. Call the book distributors and retailers that you’ve been talking up and give them an update. Plan events. Create downloads for your website. Blog till your fingers bleed. Start doing interviews. Tweet like a songbird. Just keep building the momentum until it comes back from the printer and lands on your doorstep.
[2-3 weeks including freight, but this depends heavily on your printer's press schedule. The earlier you book, the less time you need to budget. Our example project will be 3 weeks.]

9. Safety Margin

It’s rare, but print errors happen. Freight gets lost, snowstorms tie up deliveries, and sometimes people just catch the flu. This time is your margin for error that ensures if you have promised delivery of the books to someone, you can deliver them early and look like a genius, or you have time to fix the mistake / wait for the snow to melt. Planning this time into your calendar at the outset will reduce a lot of stress, but if you end up with the books without delay, consider it bonus marketing time. Send out more review copies, get more last-minute interviews, do a few more talks or lectures, and just work it baby, work it.
[2 weeks in summer, 3 weeks if in winter, not because of weather, but because if you are printing at a busy time of year, you will need more time to get back on track. Our example project will be 2 weeks.]

10. Book Release Date

This date is not the end of your book journey, but the beginning. A well-designed book should have an active life span of 2-5 years, and perhaps a great deal more for an ebook, as it is a living document and can be revised to a new version any time, replacing the previous version on your website. You now have a full-time job of being an Author, and should continue to perform all of the marketing activities that you’ve been ramping up before this time, adjusting for market fluctuations and actively marketing your personal services alongside the book.

All of these time blocks, including the Safety Margin add up to: 19 weeks, or about 5 months. That sounds like a lot of time, and it is. I’ve seen Authors who work solo do it in less than 3 weeks plus press time, and it is of course possible to produce an elemental ebook overnight. 2-3 months is still practical for a paper book all in, assuming that there are no problems, and that the Author is decisive and well-prepared.

It’s up to you to process each of these stages and design a timeline of your own, but just be sure that you give yourself enough time to include proper market research up front, and a margin for error. The market research will guide you for the length of the project and steer every decision from content to design to printing to marketing. It’s first on the list because it is most important.

This was a long article, but I hope it’s encouraged you to think of your project in terms of the big picture – the picture where you are a successful, independent, and slightly wacky Self-Published Author.

I find this blog post from the Society of Authors in France interesting because it’s what many of us perceive as the main points of debate on self-publishing.

Here’s what I agree with in this post:

- Every Author needs help. It’s real work – you can’t do it all yourself.
- Every Author is afraid of selling. We all get over it, and the faster you do, the more you’ll sell.
- Hire an Editor. I don’t care if it’s me or not, but almost nobody can edit their own work. (I should know – I’ve tried for years and it always sucks when I edit my own stuff.)
- It’s true that more people are reading eBooks, and for some, that’s definitely the way to go. (BUT: see note below.)
- Write because you have something new, groundbreaking or truly useful to say, not because you think you can make money writing about a particular topic. It is twisted but true that writing just to make money will make you poor.
- Finding alternative or unusual markets for your self-published material can be your greatest success. In fact, any truly great self-publishing success that I’ve personally experienced or witnessed has happened in this way. Don’t think bookstores – they are rarely profitable.
- A new breed of professional is definitely developing (ahem – such as Yours Truly) who is all about helping self-published Authors get their stuff out there.
- All self-published Authors need to get serious about selling from a quality website which includes an affiliate marketing plan.

Here’s what I don’t agree with:

- You don’t lose out on anything such as editing, graphic design, or quality printing if you self-publish. Anything is available to anybody these days.
- eBooks are not a direct alternative to printed book publishing. They are a different market altogether, and anyone considering the eBook route should perform market research to see if an eBook is appropriate for their market and materials. (See a future post for details.)
- You do not lose out on marketing, publicity, distribution, or reviews in the press if you self-publish. (Who ever said a traditional publisher got you all that stuff, anyway? All Authors end up doing tons of work in this area whether self-published or not. You may need help, but it’s no harder than for a traditionally-published Author.)
- Being self-published does not mean that you are not going to be of interest to agents. It means that you are going to have to approach them differently, but they will probably be just as interested if not more, because they know they’re working with an Author who is committed and hungry.
- Shipping your own books is rarely practical. There are plenty of fulfillment providers that will do this for you, and I can recommend a great guy who ships for me worldwide if you need one.
- Self-publishing does not rule out any opportunities to sell foreign rights. I don’t know where anybody got that idea, actually.
- I don’t know why an Author would want to sell their eBook to a publisher. The bulk of the cost of self-publishing is in the printing, so once that is out of the picture, why wouldn’t you self-publish?
- Here I go again, but print-on-demand is not usually the way for most Authors to publish their books. (For my reasons, just read some of my old posts.)

Every Author wants to produce the best book that they can. For some of us, self-publishing seems difficult to navigate, and we’re worried about being forced to accept sub-standard results. We worry about things like learning to sell and how we can afford to launch a national marketing campaign. The reality is that if we are treating our books as a business, we won’t have any trouble selling it. This means doing proper market research, writing very well (ie. saying something really valuable), and performing due diligence on things like quality graphic design and product creation.

In conversations with plenty of authors, self-published or otherwise, I have heard many of the same concerns over and over again. But with help, anything is possible. Always remember that another Author has been there before you, and if they did it, so can you.

I’ve personally been involved on the design of about 25 book covers now, both ebook and printed books. Here are my 10 top tips for a great book cover.

The design of your book cover is extremely important, no matter how you plan to distribute it. Marketing rumour (I won’t say research, because I can find no quotable sources on this) tells us that from the moment a person picks up your book, you have about 6 seconds to convince them to buy it. This includes the time they take to look at the back cover and the spine.

You may think that an ebook is somehow less worthy of time taken on a quality cover design, but I strongly disagree: if anything, it is more important that your ebook have a quality cover design, as the ebook market is currently in a growth stage. It’s important to put your ebook into the next category up from some of the (let’s be frank here) garbage that has been distributed this way in the past.

These are in not in order of importance, and perhaps some of these don’t apply to your project.

1. The cover and typesetting should really be done by the same person, at the same time.

This wholistic approach unifies the design and gives it greater impact. A good recent example is the design of Jeri-Lyn McCrea’s Words in Action, which continued the floating words on the cover into the end papers, where the user can write a goal for the year inside the cover. All of this gives your content greater credibility.

2. Keep the design clean.

Avoid a cluttered look, make use of white space, and follow the fashionable rule: two main colours, plus an accent. (Think black skirt, red sweater, and the shoes and the belt should match either the skirt or the sweater – not a third colour.) Don’t give them too much to look at: strip it down to the basics. Too much stuff can threaten, confuse, and frustrate readers. Keep fonts clean and easy to read, and keep text from looking squished together. Use the back to flesh things out if you must, but keep the front of the cover cool and simple.

3. Use a focal point to orient the user.

The idea is to give them something that instantly tells the reader what your book will give them. This focal point must be meaningful to just about anybody, so test it out on a few people before you fly with it. This focal point could be a photo (my favourite) or something else that communicates clearly what your book is about, such as a single word in bold letters, etc. Your book cover is a promise of what’s inside. Grab their attention with a symbol or single word that will focus their attention.

4. Be sure they can read it without glasses.

Even as I typed that, it sounded stupid, but it’s true. Many people need reading glasses, but they don’t wear them while walking around a store or while using a computer. If they can’t read the cover because the print’s too tiny, you’ve lost your opportunity.

5. Use the spine properly.

The trend of creating spiral-bound self-published books makes me shudder. Not only does it look terrible, but you can’t use the spine to attract attention for your book on a shelf. Libraries won’t buy them, either. If you need people to be able to lay the book flat for some reason, there are much better alternatives than something that looks like it was done in your basement. The spine is very valuable real estate, and anything you can do to make the text there really *POP* is great. Keep the content restricted to the title and author’s name, as if you’ve titled your book properly, you can leave the sub-title for display on the front only.

6. Include a photo of the author.

A photo tells the reader who is doing the talking, and establishes instant trust. The photo does not have to be huge, but it should be included. If you are super-shy about having your photo taken, get a nice headshot done by a good photographer, and have it re-touched until you’re happy with it. Dress appropriately to your subject matter, and make it a cropped closeup of your face. (See a future article on what makes a good author headshot.)

7. Leave appropriate space for the technical gunk.

Check out the image here of the back of a book cover I recently designed. This book is rather small, only 4 inches wide x 6 inches high. Even taking that into account, we’ve left the scan codes at full size. This ensures that they will scan appropriately no matter what sort of equipment is being used. The ISBN number is clearly displayed, and one of the author’s websites is visible somewhere. The appropriate category is in the top left corner, which helps bookstores and libraries place the book to best selling advantage. The price is also given in both Canadian and US dollars. The ISBN-13 scan code includes a separate price bar code, and a separate UPC code allows the book to be sold in virtually any retail venue – not just bookstores.

8. Use appropriate information hierarchy.

Again, refering to the photo, pay special attention to the font sizes. The largest font size is used on the information that is most important – the book’s description. The smaller the font gets, the less important the information. Even subtle changes of a point or less can be detected. This leads the reader down a logical path of what order we want them to read in.

9. Make the design match the content.

I don’t understand why we continue to see child-like colourful designs with hand-drawn illustrations for business books. If you wouldn’t attend a business meeting wearing that cover, why should you ask your book to wear it? If the content is business, make the cover business-like. If the content is self-help, make the cover uplifting and beautiful. Good style is good business.

10. Don’t waste real estate.

A book cover is actually 7 locations: the front, the spine, the back, and don’t forget the inside of the front, and the inside of the back, plus the first right-side paper in the front and the last left-side paper in the back, which can be special sheets called endpapers. If you are publishing a hardcover, you can print the endpapers in one solid piece, and if you’ve gone softcover, you can print directly on the inside cover and the first “page” of the content. I’d love to see every author to ever publish put an order form there to order more books off their website. The cost is pennies per book, and the rewards can be great.

Remember: good design is good business.

I recently had a question posed to me by a self-publishing author about how to choose and negotiate with a graphic designer.

She asks, “…Pay per job, per hour or a combo of paying for the job plus a percentage of the first set # of books sold. Any opinions?”

Most graphic designers, if they are experienced enough to be worthy of doing your project, will know enough about the tasks ahead of them to quote by the job. Some designers do enough print work that they can speed up the process by templating certain technical, unseen parts of the process, much like an editor or writer has a specific methodology that they follow based on successful experience. Templating is not meant to imply that anything they create for you will look like anything else they’ve ever created – I’m talking about codes and document settings, etc.

Most experienced print designers will not accept a royalty, unless it is part of a payment package. If your project is very graphic, such as a profile of a painter or other artist, and the product of the designers work will be considered a work of art in itself, or if perhaps you’re sharing major credit with the graphic designer, a base payment plus royalty may be considered. But as most graphic designers are freelancers, I’ve found that many of them just prefer to keep things simple, and get paid right away.

Paying by the hour may be requested if a designer is working with you for the first time, if they are looking to do some “test” work to see if they like working with you, if they’re new to freelancing (which doesn’t necessarily mean new to design) or if you are hiring them on a number-of-hours-per-week situation to work on a variety of projects that you have on the go.

If a designer pushes you to pay by the hour for a single pre-determined project, first check to see if you’ve been clear about the job specs. With proper direction from you, designers usually know how long a job will take them, and this provides you with better cost predictability.

That being said, most designers will include an hourly rate that they will charge for anything outside the original spec. If you find yourself in a position where you need to make changes, approach the designer and ask them if what you’re asking is minor or major work. If it’s major, either pass or learn for next time.

The most important thing to consider when working with any contractor*, especially in the case of a graphic designer, is a clearly-written spec doc. I usually type up a couple of pages that are as clear a set of instructions for the job as I can make it. Include anything you think might be helpful, such as pencil sketches, colour swatches, charts, diagrams, examples of work you like from other designers, etc. The document should definitely include things like the time frame for completion, exactly how many images you need created and what size / resolution, and a technical description of how the final product will be used. Output specs from the printer are essential for designers, so that they know they will be able to accept certain file types, etc.

As with many things in a large project, communication is the key. If a designer feels that you’re ready to give them all they need to free their creativity, they will do the same for you.

[* Don't forget to have them sign a non-disclosure agreement! Other tips for dealing with designers and contractors will be offered here in a future post.]

I eagerly invite comments and constructive criticism from any graphic designers who read this post. What can we do to make doing business with you easier?