KDP: Kindle Direct Publishing, 2

After the KDP announcement that CreateSpace would cease to exist in October, 2018, I had two choices with the programs I had scheduled: (1) Cancel them; (2) Self-publish a book through KDP and rewrite my entire Keynote presentation, from Frame 1 through Frame 115.

I went for Option Two. Somehow, between August 28 and October 15, I would self-publish both an ebook and a softcover through KDP, take screenshots of the process, put them into my Keynote program, and create order out of chaos. 

Luckily, I had more blogs available to self-publish. I chose twenty of them and titled the book after one of the blogs: Scrape, Rattle, and Roll.

KDP offers users the ability to publish an ebook only, or a paperback book only. Or both, if one is so inclined. Which I definitely was. A user could create and publish the ebook first, or the softcover first. It makes no difference. This, of course, is different from CreateSpace, which published softcovers only.

ebook firstFor eight years I had been teaching how to self-publish a softcover first, then turn it into an ebook. Why not reverse the process? KDP puts the selection box for the ebook above the selection box for the softcover — so, I reasoned, they were hinting that people should publish the ebook first.

I liked this approach for one big reason: it is easier to format a manuscript for an ebook than it is to format a manuscript for a softcover book. (Except, I suppose, for an ebook heavily loaded with charts, tables, and illustrations.) Since the step that gave students the most grief in the past was formatting a manuscript (it terrified some, frustrated others, and downright stymied most of them — they stopped and proceeded no further), I hoped that doing the easier manuscript first and publishing it as an ebook would give them confidence to go on and format the manuscript again, as a softcover book.

Scrape ebook Title, for Blog

The ebook cover

So that is how I proceeded with my collection of blog articles: I published them as a Kindle ebook first. This process was incredibly easy, and as I took screenshots and loaded them into my Keynote program, I felt that things were going well. I published the ebook on September 1, 2018, just three days after receiving the news about all of CreateSpace being merged into KDP.

Then came the softcover book, with which I anticipated no problems — for the simple reason that I had already self-published eleven softcover books through CreateSpace and had had no problems.

KDP divides its self-publishing procedure into three categories:  Details, Content, and Pricing. I filled out the Details section quickly. In fact, most of the section filled itself in — the KDP program flowed it in from my ebook. That’s good: less work for the author-publisher.

Then came the Content section. There, too, I proceeded quickly. On my computer, I duplicated the manuscript of Scrape, Rattle, and Roll. (So that, if anything went wrong, I would have the original copy intact.) I then downloaded a 5”x8” KDP template and, after watching their 3-minute video, pasted my manuscript into their template, section by section. Easy peasy.

I saved that as a PDF and uploaded it to KDP. Their Spellcheck caught four issues, but those were examples of literary license (I invented a few words in poems), and I told Spellcheck to ignore them. I then opened Previewer and looked at my book online, page by page. It looked great! And this entire process was so much quicker than the CreateSpace process used to be. KDP has reduced the number of choices and the number of decisions, so the process works more quickly.

spelling errors

All that done (and done quite easily), I proceeded to KDP’s Cover Creator. Unlike the CreateSpace Cover Creator, which offered thirty choices, this one offers ten. If you don’t like any of these ten (each of which comes with five to seven different layout choices), you can download a cover template, design your own cover, and upload.

I, however, wanted to use KDP’s Cover Creator, because I figure that’s what most of my students would be using. So I chose a cover, looked at the colors and opted for black and hot pink. Then I looked at the layouts and chose a diagonal one that I liked.

I uploaded a photo for the front of the cover, uploaded my author photo, and pasted in the back cover copy and the “about the author” copy. And that is when everything came to an impasse.

KDP’s Cover Creator template would not approve my design. Two triangles (with exclamation marks inside) showed up, one next to the back cover copy, one next to the bar code area. The triangles told me my copy was too large to fit inside the area and urged me to click on Change Size. I did. But no matter what size of type I chose (eight point, for god’s sake!) and no matter which font I chose, the triangle told me that the copy did not fit and that I could not proceed.

So I deleted the back cover copy and I deleted the author copy. I could not delete the bar code. Two triangles still told me the [nonexistent] back cover copy did not fit.

triangle

After trying for a long time to solve this problem, I finally emailed KDP. In return, they sent me an email stating they would call me within 48 hours. This was on a Friday. They reminded me that they did not work on Saturdays and Sundays. 

When they called, they told me that the problem was not really the back cover copy, but the spine copy. Their Print-on-Demand printing machines could not print spines on books of fewer than 130 pages: the tolerance factor was such that the printer might push the spine copy onto the front cover, or the back cover. So no spine copy was allowed on books of under 130 pages.

Fine, I said. I never put the spine copy there in the first place, I informed them — the KDP template program flowed the title of my book, plus my name, onto the spine. “So let’s remove the spine copy,” I told the customer service representative. 

He then instructed me to place my cursor in the spine area, click on it, and start backspacing. I did that. The spine copy disappeared.

But so did the front cover copy — my book had no title, no subtitle, and no author. I pointed this out to him. He kept me on hold as he went back and forth to the technical department, asking them questions. After 59 minutes, he resolved that this had to be solved by others, and he would call me within 72 hours. This was Wednesday, so that meant he would call on Monday.

Which he did. “The cover you have chosen does not work with books under 130 pages,” he told me. Now, I had used my weekend hours, while the KDP team was off having fun, to check Each. and Every. One. of the Cover. Creator. Templates.

And each and every one had the exact same problem: the program flows the spine copy onto the template, and the copy cannot be removed, and the cover cannot be approved. Round and round in circles. You can read the rest of the story in Part 3, which will be published in two weeks . . . without spine copy.

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Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies, is one of Barbara Gregorich’s most frequently requested books. It has no spine problems.

The Threads of Destiny

 

When I was sixteen years old and had just received my driver’s license, I drove my brother and myself to the Warren Public Library, where we browsed the Local Authors shelf and discovered Earl Derr Biggers, creator of Charlie Chan. Never did I think — as we stood in that dark corner and pulled old, well-worn hardback books off the shelf — that I would end up writing a book about the author whose works I held in my hand.

But destiny, if we want to call it that, is woven of many threads, and finding those books in the public library was the first thread.

Had that been the only time I encountered the novels of Earl Derr Biggers, I’m sure I wouldn’t have written a book on his life. Destiny does not dangle by a single thread.

yarns-threads-500x500But in the 1970s, when my husband and I were both letter carriers for the US Post Office, during a very cold and very snowy (90 inches) winter, we won a trip to Hawaii. Which, I assure you, we took immediately: January 3, if I recall. And there, greeting us as we stepped off our plane, was a book rack. And on that rack were paperback editions of the Charlie Chan novels. So of course I bought one and read it. After we returned home I bought the other five and read them, too. Thread number two.

Twenty years later I was searching for topics to write magazine articles on. Being from Ohio, and having read the Chan novels twice, I came up with the idea of writing about Earl Derr Biggers who, although he was a world-known author of the Golden Age of mystery, was a name most people don’t recognize today. I wrote a 4,700-word article that was published in Timeline, the magazine of the Ohio Historical Society. And then I wrote a 1,000-word article that was published in Harvard Magazine. (Biggers was a Harvard graduate.) Thread number three.

 

Around about then (1999) I began to wonder if I should write a book on Earl Derr Biggers. I decided not to, for two main reasons: (1) Because Biggers left very little behind in terms of letters, papers, and manuscripts, it would not be a very large book — and trade publishers like large books; (2) I was not keen on the thought of writing a manuscript and then marketing it to various publishers who probably wouldn’t accept it for publication, Biggers being relatively unremembered.

EarlDerrBiggersCover_GregorichBut in 2010 I began to experiment with self-publishing some of my manuscripts. I’ve been very pleased with the process and the results. There you have thread number four.

After 2010 I knew that sooner or later I would get around to writing a book on Earl Derr Biggers. When, though — that was the question.

Little did I know that the answer would bring me full circle. In 2017 the Warren-Trumbull County Public Library (the new one, not the old one I visited in my teens) invited me to speak on Earl Derr Biggers on March 3, 2018. Thread number five!

I wasn’t about to give a speech without having a book to sell after the speech. And so, at long last, I braided the threads together and published my book, which is titled Charlie Chan’s Poppa: Earl Derr Biggers. You can look inside the book by clicking here.

 

_________________

Earl Derr Biggers deserves to be remembered, and Barbara Gregorich is glad she can contribute to people learning about him.

Women at Play: 25th Anniversary Edition

For the past several years I’ve posted a free chapter from one of my books as part of my New Year’s blog. That book has been Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies.

But this year’s giveaway chapter comes from my best-known book, Women at Play: The Story of Women in Baseball, published twenty-five years ago (Harcourt). The paperback version has been out of print for twenty years, and there has never been an ebook version.

Until today. I’m publishing Women at Play: The Story of Women in Baseball as an ebook. A text-only ebook, because photo permissions cost way too much.

All the stories are here: Maud Nelson, Margaret Gisolo, Jackie Mitchell, Babe Didrikson, Dottie Collins, Rose Gacioch, Jean Faut, Lois Youngen, Bernice Gera, Pam Postema, Julie Croteau, the Sun Sox. And more. All the original sidebars are here, as are the charts, credits, etc.

The new cover design is by Robin Koontz. The baseball on the front cover was given to me by Nellie Kearns, who played with Maud Nelson’s All-Star Ranger Girls during the 1930s.

The free chapter is below.

WAP-EBOOK

 

 

Jean Faut

 

In seven years of overhand pitching, two perfect games were pitched in the All-American Girls Baseball League—and Jean Faut of the South Bend Blue Sox hurled them both. “She had great strength,” says catcher Shirley Stovroff, “and she was very smart. She had a mixture of pitches—fastball, curve, drop, slowball—and she had excellent control.” The league’s leading hitter, Dottie Kamenshek, evaluates Faut this way: “She put them all just where she wanted.” Pitching overhand was never foreign to the Blue Sox ace. She grew up playing hardball, and when the league switched to overhand, Jean was like a fish in water, moving effortlessly through the environment.

Few pitchers were able to make a successful transition from underhand to overhand. Among those who did were Dottie Wiltse Collins, Joanne Winter, and Helen Nicol Fox. Those who couldn’t went back to softball or, like Connie Wisniewski, converted to another position. By 1948, when the league went overhand, softball had all but obliterated baseball as a sport for women, and ironically the AAGBL, which started out by capitalizing on the softball craze, found as it moved toward the more exciting and exacting game of baseball that pitchers were suddenly difficult to find. In desperation league managers began to convert their hardest-throwing outfielders (who naturally throw overhand) into pitchers.

These converted outfielders learned about pitching from their managers, from watching their teammates, and from being on the mound themselves. Their knowledge was only as deep as their league pitching experience. Jean Faut’s was not. “I had more experience than most of the girls in the AAGBL,” she contends. “I came into the league with a fastball, a sharp curve, screwball, drop and change—and a lot of deviations from these basic pitches.” Born January 17, 1925, in East Greenville, Pennsylvania, Jean grew up two blocks away from the practice field of a semipro baseball team. She hung around the field and yearned to play, and by the time she was thirteen the players had taught her how to pitch. Faut learned so well that when she was still in high school she pitched several exhibition games for the semipro Buck-Montgomery League, an experience she describes as “a great thrill.”

In 1946 a scout from Allentown, Pennsylvania, offered the five-foot-four, 137-pound young ballplayer a chance to attend AAGBL spring training in Pascagoula, Mississippi. “The rookies went in first,” she remembers. “All the representatives were there from the cities, the board of directors. They chose who they wanted.” After finishing fifth out of six teams in 1945 with a 40-60 record, the South Bend Blue Sox would have been among the first to select players. Board Director Harold Dailey, who had smarted so badly from losing Rose Gacioch to Rockford in 1945, wrote of the 1946 tryouts, “We got Wirth and Faut out of the deal.”

The Blue Sox started Senaida “Shoo Shoo” Wirth as shortstop and Jean Faut as third baseman. “I had a strong arm,” she says, “so third was a natural spot.” Late in her rookie season, the league permitted some sidearm pitching and manager Chet Grant asked Faut to take the mound. Although she didn’t like to pitch sidearm because “it’s not very good for your arm, almost like throwing a screwball,” she started twelve games, winning eight and losing three. The League went to overhand in 1948. “I was ready then,” she states. “I was home free.”

When Jean Faut moved to South Bend, Karl Winsch followed her there. A pitcher in the Philadelphia Phillies organization, Winsch was called up to the majors in 1946 along with his roommate Del Ennis, who flourished there. But Winsch sustained an injury in spring training that ended his career. When that happened, he moved to South Bend and in 1947 he and Jean were married. In that year, Chet Grant sent his sophomore to the mound in forty-four games, and she posted a 19-13 record with a 1.15 ERA. By midseason, Jean was pregnant; she gave birth to her first child in March 1948. Writing about the Blue Sox 1948 season, Harold Dailey opined that “Faut was not in condition until July owing to the drag on her by pregnancy.” Starting thirty-four games, she compiled a 16-11 record.
Faut turned twenty-four years old before the 1949 season started. “I started to mature,” she reflects. “You get better, your control gets better. You work on new pitches.” The overhand ace was now in her element. In 1949 she started thirty-four games and racked up a 24-8 record and a 1.10 ERA.

Unlike Lois Florreich, another great hurler of the overhand era, Faut didn’t have intimidating speed. Outstanding hitters such as Dottie Kamenshek rank Faut as the best pitcher of the League’s overhand days despite her lack of velocity, recognizing that what matters is whether the pitcher gets the batter out, not the speed of the ball as it crosses the plate. Yet many hitters’ perception of greatness is thrown off by speed: they rank the pitcher who gets them out on a blazing fastball higher than the one who gets them out on an adequate fastball, or on a combination of pitches. Umpires, too, were baffled by Faut’s success. One of the umpires even stepped into the batter’s box during practice and bragged, “I can hit you.” So Faut whiffed him. “Afterward, he still didn’t understand why he couldn’t hit me.” Even her own manager, Davy Bancroft, said he just didn’t understand why batters couldn’t hit her.

“My biggest asset was control,” Faut explains. “I have very strong wrists and could do things with the ball. I got that way splitting wood by the hour when I was a kid.” Her variety of pitches also helped. “I had a good curveball and could throw it overhand, three-quarters, or sidearm. If overhand, it went straight down. I threw a screwball, like a slider, but not often. And a fastball. I could throw them with different speeds.” And if, as they say in the majors, 90 percent of pitching is mental, Jean Faut had that, too. “Part of my success was that in my mind I could record the pitches and the order of pitches I threw to each girl, so they never saw the same thing twice. I was a mathematical whiz in school. They’d never know what was coming, so they’d start guessing. When batters start guessing, they’re never right.”

Some analysts of the All-American Girls Baseball League say that the reason batting averages went up so dramatically in the last third of the league’s existence was that there were few really good overhand pitchers. Faut disagrees, naming Lois Florreich, Maxine Kline, and Millie Earp as great overhand hurlers. She should know, for in addition to 35-45 pitching appearances a year, Jean often played an additional forty games at third base, where the Blue Sox counted on her fielding and hitting. Faut believes that the hitters coming into the AAGBL in the 1950s were strong athletes who mastered baseball hitting. She points to the Weaver sisters in particular: “Betty Foss would run the bases and the dirt would fly up. One time I was pitching and Betty Foss hit the ball straight at me. It came so straight and fast I couldn’t see the spin, couldn’t react. I saw the seam and then it hit me in the stomach, there wasn’t even time to get my glove up. When I undressed, I saw the stitch marks on my stomach.”

Strong hitters or not, Jean could handle them. On July 21, 1951, she pitched a perfect game in Rockford against the Peaches, retiring twenty-seven batters in a row. Dottie Kamenshek, who prided herself on not striking out, whiffed twice that night. It was, says Kammie, “the best game I’ve ever seen pitched. It was just perfect. Overpowering.” The next morning, the South Bend Tribune reported that “Jean Faut, a sturdy gal with a lot of heart, a fast ball that hops, and a curve that breaks off like a country road pitched a perfect no-hit, no-run game to subdue the Rockford Peaches, 2-0, at Playland Park Saturday night. . . . The chances of a no-hit game were never mentioned in the Blue Sox dugout during the game, according to baseball superstition, but the crowd of 1,490 were fully aware that baseball history was in the making.” Whiffing eleven of the twenty-seven batters, the Sox hurler got behind the count on only two. “She threw three balls to Eleanor Callow in the fifth and then fanned her. One other time she threw three balls, then two strikes, and the batter grounded out.”

Faut’s 1951 pitching record was 15-7 with a 1.33 ERA. She was chosen Player of the Year and helped lead the Blue Sox to their first Shaughnessy Series victory. In 1952 she went 20-2 (a .909 winning percentage), posted a 0.93 ERA, and once again helped lead her team to a series victory, batting in the cleanup position. With the playoff series tied, she hurled the deciding game against the Peaches, hitting two booming triples for extra measure. In 1953 she pitched her second perfect game, this one against the Kalamazoo Lassies on September 3. That year she was again elected Player of the Year, only the second person in League history to receive the award twice (the other was Doris Sams).

In major league ball, Hall-of-Famer Christy Mathewson compiled a .665 winning record and a 2.13 lifetime ERA, while later-day greats such as Sandy Koufax (.655 and 2.76), Bob Gibson (.591 and 2.91), and Tom Seaver (.603 and 2.86) had somewhat lower winning percentages and higher ERAs. Jean Faut’s career statistics are 140 wins and 64 losses—a .686 winning percentage and a 1.23 ERA. Of all her accomplishments, she is proudest of her ERA, because “that’s the most important statistic of a pitcher.”

Although Faut was a real team player, her life on the Blue Sox was that of a loner. It wasn’t just that Jean was married and therefore didn’t room with another player or take part in their pregame or postgame activities. And it wasn’t just that she was raising a child. In 1951, Karl Winsch became manager of the South Bend Blue Sox, a job he held until the league folded. Under Winsch, the Blue Sox won their only two championships, but there was tremendous dissension on the team. Groups of players wouldn’t talk to the manager, and then they wouldn’t talk to Jean. Winsch wouldn’t talk to Jean, either. “Neither side communicated with me” she says. “It was a big squabble.” At the end of the 1953 season, she retired from baseball at the age of twenty-eight because it was just too rough being married to the manager.

“I suffered because I wasn’t playing,” she remembers. At first, she’d go to the games and sit in the stands, but that would make her miserable because she wasn’t playing. So, “to fill the void I went to the bowling center.” Jean became such a good bowler that in 1960 she turned pro, retiring from that status in 1988. Today she bowls with the senior women’s tour. Her highest game to date is a 299, just short of perfect.

In 1946, the same year that Jean Faut attended the league tryouts, another Pennsylvania woman went to spring training in Pascagoula. For nine years, Ruth Williams played for the South Bend Blue Sox and then the Kalamazoo Lassies. She’ll always remember one game. “Jeannie Faut beat me in sixteen innings, one to nothing, back in 1952,” says Williams. “She was pitching for the Blue Sox, I was with the Lassies. I had pitched forty consecutive shutout innings, then I got tied up with Jeannie. She was the best player in the league. She doubled off me in the sixteenth, moved to third on a bunt, and scored on a sacrifice fly. Figured it would be Jeannie that would end my streak.” It figured because Jean Faut was to pitching what Dottie Kamenshek was to hitting and Sophie Kurys was to base stealing—without peer.

——————————————

To purchase the 25th anniversary edition of Women at Play: The Story of Women in Baseball, click here.

 

Adventures in Self-Publishing, Part 5

After publishing my first volume of poetry, I turned to the exacting task of constructing Volume 2 of Research Notes for Women at Play. Just as with Volume 1, I first created a template and then typed my book into that template. (For all my other books, I wrote the book first and then pasted the manuscript into a blank template.)

There was so much formatting involved with all three volumes of Research Notes that I just felt more comfortable doing everything in the template itself, thus decreasing the chance that I would create some inadvertent error if I were to transfer the manuscript to the template.

GregorichRNNotesIIKindleCoverI published Research Notes for Women at Play, Volume 2, in July of 2013. It was my second self-published book of that year, and my seventh self-published book since early 2010.

Not long after publishing Volume 2, I was hit with a desire to write a book on how to write a mystery novel. I’ve been reading mysteries since I was eleven years old, and mysteries account for perhaps 50% of all the books I read. As an avid reader, I find that over the years I’ve developed annoyances at certain things I encounter in some mystery novels — and if I encounter them, I do not continue to read that author’s books.

I’ve published two mystery novels, and while writing my second one, Sound Proof, I created charts and graphs. These allowed me to track the appearance of minor characters, track their motives, and always be aware of where all the characters were within the setting. I drew a diagram of the farm and buildings where the action took place. I made certain that the minor-character villain was present often enough to register on the reader’s consciousness. I tracked all the elements important to developing plot, character, tension, and resolution.

One day (who knows why) I was struck by a desire to explain some of the things a mystery writer should consider in order to write a mystery that doesn’t cheat, doesn’t sound improbable, and doesn’t annoy the reader. So, pulling out all my saved materials for Sound Proof, I wrote a 25-chapter outline for my to-be nonfiction book and then, week by week, wrote the manuscript. And, because most of the books I’ve written are not mysteries, the guide contains a lot of information on writing in general. (Reviews have pointed this out.)

Let me digress a moment to say that one of the truly wonderful things about self-publishing (and there are many) is that it allows writers to publish books that, because they have a small market, are unlikely to be picked up by a traditional publisher. All three volumes of Research Notes serve as an example. Th existence of high-quality self-publishing also allows writers to self-publish books that are unlikely to sell to a traditional publisher because the author isn’t a big enough name. My how-to serves as an example. I felt that traditional publishers might like my manuscript, but wouldn’t take a chance on publishing it. I love that I was able to publish it myself.

COVER-WITH-TEMPLATE

And now back to the process of self-publishing my how-to. With this how-to, which would become my eight self-published book, I ran into a word-processing roadblock. Fitting all the charts and graphs into my 6”x9” template proved impossible: there was something about Apple’s Pages program that didn’t allow a long chart (three pages long, say) to flow from one page to another. Instead, I had to chop the chart into pieces that would fit on each page. And even then, I couldn’t make it work. So, as before, I asked friend Robin Koontz if I could hire her to format the document. Robin agreed, producing a publication-ready template — but even she thought it was difficult to do.

Of all the titles I’ve come up with for my self-published books, this one is my favorite: Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies. The title promises information, lots of examples, and humor. The book, I think, delivers those things.

Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies, was published in October of 2014. It soon became my best-selling self-published book. To this day, Guide battles with Jack and Larry for the number one position in my monthly sales.

After I published Guide in 2014, I dove into the work of publishing the final volume of Research Notes to Women at Play. I self-published the first volume in 2010, and the third in October of 2015.

BookCoverNotesCoverIII-FINALIf you’ve been reading these posts on my self-publishing adventures, you may remember that I intended to donate my thousands of pages of research notes to the Baseball Hall of Fame . . . but then I got the brilliant idea of self-publishing a portion of the notes.

So, after the third volume was finally published, I began to organize my notes, so that I could deliver them to the BHOF in a neat order. I began in November, 2015, and I finished in July, 2016. The project was a big one. I delivered the notes in August, 2016. And then I spent the rest of the year catching up on what I had neglected while organizing the notes. So I did no self-publishing in 2016.

In fact, I thought it was unlikely that I’d self-publish anything for two or three years. But such was not the case.

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Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies vies with Jack and Larry for best-selling of Barbara Gregorich’s self-published books.

Adventures in Self-Publishing, Part 4

After I self-published two books in 2010 and another two in 2011, I planned to make Volume 2 of Research Notes my fifth self-published book, to come out in 2012. It was still my intention to donate all my research notes to the National Baseball Hall of Fame, but I couldn’t do that until I finished publishing all three volumes.

As it turned out, I realized that instead of publishing Volume 2, I would end up self-publishing a totally different kind of book, though a baseball-related one. Jack and Larry is a nonfiction crossover (Ages 10 – Adult) book I had hoped a traditional publisher would offer me a contract on. I had been trying to get Jack and Larry published for more than three years. Editors told me they liked it . . . but they didn’t offer to publish it. Based on the personalized rejection letters I received, editors didn’t want to take a chance on a story set in Cleveland, Ohio: they didn’t consider that as exciting or as big a market as New York or Los Angeles. And some felt that the story should center on either Jack Graney or on Larry, his bull terrier — but not on both.

February 2012 would mark the 100th anniversary of Larry joining the Cleveland major league baseball team, then called the Cleveland Naps. By late summer of 2011 I realized that if I wanted the book out for that 100th anniversary, I would have to self-publish it.

And so I did.

BookCover5_5x8_5_Jack and Larry-FINAL-FINAL

Somewhere around late 2011 CreateSpace developed templates for all of its book sizes. (Lulu had had such templates all along.) So now it was possible for a user to download a template and paste her manuscript into it. In other words, she didn’t have to create her own template. I downloaded a CS template — but I wasn’t happy with either their default margins or their default typeface. Rather than change the CS template, I figured it would be easier to use my own 6″x9” template.

What I didn’t figure on was how difficult it would be for me to create the screened sidebars that appeared on some of the pages. Jack and Larry is written in free verse (also called lined prose), but some pieces of information appear in prose sidebars. Either because I couldn’t master Pages back in late 2011, or because it wasn’t possible to create pages of free verse with screened sidebars back in 2011, I asked Robin Koontz if she would like to design the book interior. Robin was willing to try, and she designed a beautiful looking interior — as well as an attention-grabbing, heart-warming cover.

J&LPg2

This page contains both a free-verse poem and a screened sidebar.

I published Jack and Larry early in 2012, so that it was out for the 100th anniversary of Larry joining the Cleveland Naps. The book received numerous reviews in baseball publications and bull terrier publications and became my best-selling self-published book. I have spoken on Jack and Larry in Ohio, Illinois, and Canada, and presented the story to middle-grade and junior-high school students. Even now, more than five years after its publication, I am still asked to give presentations on the story. Had I not self-published this book on the 100th anniversary of the event, I think it would never have been published. Timeliness of publication is a very strong argument for much self-publishing.

Because I spent all of 2012 giving talks on Jack and Larry, traveling, and publicizing the book in many different ways, it was the only book I self-published that year.

So, then: would I self-publish a sixth book in 2013? And would it be Volume 2 of Research Notes?

Yes. And No.

Either because I enjoyed writing the free verse in Jack and Larry, or because I loved the 6″x9” format, or for some reason still unknown to me — I decided to start 2013 by self-publishing my first collection of poetry.

Cover-with-Template

Because this book contained only poetry (no sidebars, as in Jack and Larry), I was able to format it myself. And even though CreateSpace now offered templates, I still continued to create my own, rather than download and modify theirs. (This would change when I self-published my tenth book.) Once again I duplicated my trusty 6″x9” template and pasted the pages of my manuscript within.

For this book, unlike any of the others, I wanted no header or footer information except for the page numbers. That is, I didn’t want my name or the title of the book to appear on the pages. My reasoning was that such information would, in one way or another, interfere with the lines of poetry. In addition to not wanting headers or footers to interfere with the poems, I also didn’t want the page numbers to interfere. So I made certain that the page numbers were in much smaller type, and that they appeared in the far-right corner of each page: where the lines of poetry were least likely to run into them.

Crossing the Skyway was my sixth self-published book. By this time I was thoroughly enjoying not only the writing of the books, but also designing and publishing them. I was finding (and continue to find) self-publishing rewarding on many different levels: immediacy; control of design; control of pricing; higher royalties; and, especially, collaboration between writer and designer. I enjoyed going through the cover design process with Robin Koontz, who not only was interested in how I “saw” the cover, but who also (because she read each manuscript), had her own ideas from a reader’s and designer’s perspective. From the very beginning, I found self-publishing to be a very rewarding process.

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In Jack and Larry the Cleveland Indians win the World Series.

Adventures in Self-Publishing, Part 2

When I first considered self-publishing, what I was thinking of were manuscripts which, for one reason or another, would have taken years to find a home with a traditional publisher. So I was thinking of books I had already written. Or perhaps had not written yet, but soon would.

I was not, I assure you, thinking of going into my file cabinets, pulling out thousands of pages of research notes, and publishing them. Yet that’s what happened.

The existence of easy self-publishing through CreateSpace is what made me even think about publishing a collection of research notes. As a result of all my research on the history of women who played baseball, I had thousands of pages of information in my file cabinet. My original intention was to get all these notes in good order and then donate them to the National Baseball Hall of Fame.

sc004dc527Which I would have done back in 2010 had self-publishing not come into my life. Because one day, as I was eyeing the stuffed file drawers, trying to figure out how and when I would put them in order, a thought crossed my mind. Two thoughts, actually: (1) Might baseball researchers, historians, teachers of the research paper, and others be interested in some of these notes? (2) If so, why couldn’t I self-publish the ones that were public domain (1923 or earlier)?

I was so excited by the possibility of this venture that I immediately sat on the floor in front of my file cabinet and began sorting. It soon became clear that, unless I wanted to publish a 500-page book (I did not), I would have to divide the notes into at least two volumes. Digging deeper into the files, I realized that three volumes allowed for a more logical division of the materials. Okay, then: I would self-publish three volumes of research notes!

Shoving future volumes two and three aside, I collected all the papers that would go into volume one and heaped them on my computer table. The stack was about 18 inches high.

The next day, I looked at CreateSpace book sizes again and decided that I wanted a bigger size than 6×9”, so that I could have wide margins in which people could write, and so that the book might more easily lie open. I chose the 8″x10” format and then created a document that size in my word processing — thankful that I had learned how to create such a format for my first self-published book. (See Adventures, Part 1.) CreateSpace at this time (2010) still did not offer format templates. Because I knew not only how to create a specific page size, but also how to change page margins, I ended up with a template that was 8 inches wide, with a 1-inch inside margin and a 1-inch outside margin. Because many of the newspaper articles were quoted in full and thus indented even more, readers usually saw a 1.25-inch margin.

Left Page V1              Right Page V1

From that time on (February, 2010) until early October, I daily typed notes into my 8×10 template. This was tedious work, not because the notes were uninteresting (some of them were quite lively reports from old newspaper articles), but because I had to create many headers and sub-headers and develop a style for the newspaper reproductions. In short, I was making design decisions as I created the book, entry by entry.

By October of 2010 my book was ready. Robin Koontz designed the cover for me, and in early November of 2010 I self-published Research Notes for Women at Play, Volume 1. Although both Robin and I knew there would be more than one volume of Research Notes, and although both of us knew that the CreateSpace POD process did not allow for printing on the spine of books that were fewer than 175 pages in length — neither of us anticipated something that would turn out to be a problem when I started to work on Volume 2. More about that in a later blog.

 

First Cover, V1

Cover design by Robin Koontz

This time around I was able to conquer the alternating headers problem: my left-hand pages contain the title of the book, my right-hand pages contain the names of the main players in Volume 1. But this time around I decided to put this information in the footers, not in the headers. My reasoning here was that information at the top of the page could interfere with the reader’s concentration.  The fact that I didn’t know how to create different left- and right-hand headers/footers with my first book, but was able to do it with my second, made me giddy with happiness!

If you recall, my goal was to format my second self-published book in three weeks or less. As it turned out, the process for my second book took longer than three weeks. In fact, it took eight months — but that’s because I was creating the manuscript as I went along. With She’s on First, the manuscript had been created years ago: my job was simply to format it. With Volume 1, creation, design, and formatting took place at one and the same time. This is a much slower process than pasting an existent manuscript into a template.

Also, this time around I did not use the New Pentium typeface that I had used in She’s on First. Initially I chose Palatino because I think it’s a beautiful, very readable typeface (with no problems when it comes to italics or Arabic numerals). But somewhere along the line I realized that Palatino is also a rather large typeface. I experimented with changing my document from Palatino to Times New Roman.

The result was mildly astonishing: my 8×10” book was reduced from 123 manuscript pages to 112 manuscript pages. At no cost in legibility. The reduction in page size helped me keep the price of the book at $12. (I would have preferred charging $10, but with the cuts taken by both CreateSpace and Amazon, my income per book would have been too low.)

A few days after publication I created a PDF of the document and self-published Volume 1 as a Kindle ebook. (More about PDFs as ebooks in a later blog.)

My Formatting Accomplishments
•  Created an 8″x10” Template
•  Created Wide Page Margins
•  Inserted Distinct Footers for Left- and Right-Hand Pages
•  Chose a Problem-Free Font
•  Designed the Interior with Consistent Headers and Sub-Headers
•  Decreased Total Page Count by Choosing a Different Font

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Research Notes for Women at Play: The Story of Women in Baseball, Volume 1 not only reports the stories of 19th century female ballplayers, it sets the stage for the dramatic intersections of these stories in Volume 3.

Adventures in Self-Publishing, Part 1

Desktop Publishing (DTP) is the creation of print-ready documents using page layout skills on a personal computer. That is to say, a person sitting at her personal computer can use her word-processing/layout program to create a document that can be printed as a newsletter, or a greeting card, or a book. She can most likely print the newsletter or greeting card directly from her printer. But in order to print/publish the book, she will have to submit the document to a publisher.

That publisher can be an ebook publisher such as Kindle or Smashwords; it can be a traditional publisher which uses traditional printing presses; it can be a Print On Demand (POD) publisher such as CreateSpace or Lulu, which sends the document to various POD fulfillment centers who print and ship the book.

The kind of self-publishing I have explored and used is the POD kind in which the author creates the page design and cover, determines the price and distribution, and is responsible for the marketing. To date I’ve self-published ten books through CreateSpace, and I’ve turned all ten of them into Kindle ebooks after first publishing them as softcover books.

Bloomingdale Public Library

Selling my self-published books at the Bloomingdale Public Library, with Phil Passen

I first became interested in self-publishing in 2009, probably as a result of the fact that editors were taking way too long to respond to manuscript submissions. Also due to the fact that some of the rejection letters I received stated that the story was wonderful but, in the publishing house’s opinion, the book would not be profitable. So I reasoned that in addition to submitting manuscripts to traditional publishers, I would try to self-publish those stories which editors at mainstream publishing houses did not or might not want.

Back in 2009 I did a bit of research on the various self-publishing options. Lulu and CreateSpace (CS) seemed the most usable at that time, and I chose CreateSpace because marketing my books through Amazon (via CS) would be both easier and more profitable.

CreateSpace charges no setup fees: thus it’s possible to publish a book at no cost on CreateSpace. This is how I published each of my ten self-published books: at no cost.

No financial cost, that is. I confess there was definite wear and tear on me as I worked to conquer the difficulties of formatting manuscripts into facing-pages book form. In my public presentations (“How to Self-Publish on CreateSpace at No Cost”), I guide the attendees through the CreateSpace process step by step, from set-up through finished book. However, I find it more interesting to look at my experiences in chronological order: what I learned, book by book.

sc00d32959

1987, hardback, Contemporary Books

From the get-go I realized that self-publishing a book would most likely result in my making a few mistakes. If I were going to make mistakes, I would prefer to make them on a reprint, not a new book. The rights to She’s on First, my first novel, belonged to me, so I decided I would reprint it myself, as my first CreateSpace book.

I began formatting the manuscript in early November, 2009. That’s when I realized that even though I had been working with documents for decades, an 8.5″x11” manuscript page was N.O.T. the same as what was required for self-publishing a  book. After perusing the various book trim sizes that CS offered, I settled on the 6″x9” size. I guess my choice was a good one: two or three years later CS made the 6″x9” size its default selection.

I tried to create 6″x9” pages on Pages (Apple word processing software), but couldn’t. My attempts frustrated me for days and days. And days. Admitting defeat, I stuffed my MacBook into a backpack, hoisted the pack onto my shoulders, and walked to the Apple store on Michigan Avenue. There I explained my problem to the first person who offered assistance. He showed me how to set the page size in about, oh, three minutes.

Creating a 6″x”’ template was the single biggest problem I had to solve in formatting my first manuscript. At that time, CreateSpace didn’t offer templates. They do now, but because they didn’t then, I had a lot to conquer.

The second most difficult problem for me was figuring out how to make my word processing program show one header on a left-hand page and a different header on a right-hand page. Specifically, I wanted the title of my book to appear on the left-hand page and my name on the right-hand page.

I absolutely could not do this, and so She’s on First was published with the same header (the title) on both the left-hand and right-hand pages.

SOF Sample copy

My template, showing the layout of two facing pages

The typeface I chose for She’s on First was New Peninem, which no longer looks anything like it looked back in 2009: it was a serif font back then (as you can see in the pages above), but now it’s offered only as New Peninem MT, which appears to be a sans serif font. I have no idea what intrigued me about it back in 2009, because after my novel was published I realized that wherever I had used italics, the New Peninem font didn’t look good. It especially didn’t look good if there were Arabic numerals involved. Maybe, some day, I’ll go back and convert the entire document to a more readable typeface, such as Palatino or Times New Roman.

I think that by 2010 (if not even earlier) CreateSpace offered Cover Creator as a way for its customers to easily create book covers. For my first book (in fact, for my first nine books) I didn’t explore this option. That was because I wanted a really great cover for the reprint of She’s on First, and I didn’t particularly want a cover design that would look exactly like other cover designs. So I asked friend Robin Koontz, a writer/illustrator/designer, if she would design the cover. I paid Robin for her design, so, while I published for free on CreateSpace, I did lay out some money for the cover design. And I also paid for the cover photo. I’m both glad and grateful that Robin took care of dealing with the cover template that CreateSpace allowed me to download after the interior was approved.

SOF-COVER-FINAL-JAN16-2010 copy

The cover template, created by Robin Koontz, who, just before publication changed the color of the black line to a striking orange-red

Back in 2010, if you wanted to self-publish through CreateSpace you had to order a physical proof of your book and examine it. This later changed so that now you can proof your book online, without ever holding a physical copy in your hand. Even though I’ve published ten books with CreateSpace, I always order a physical copy. When I received my proof copy of She’s on First, I opened the book to the middle and saw that the interior margins I had created were too narrow: I had half-inch interior margins, but after seeing how tight they looked, I changed them to three-quarter-inch margins.

Where I Succeeded
•  Creating a 6×9” Template
•  Creating Page Margins
•  Inserting Headers
•  Inserting Page Numbers
•  Choosing Fonts
•  Examining the Proof Copy and Correcting It

Where I Failed
•  Creating Distinct Headers for Left- and Right-Hand Pages
•  Choosing a Problem-Free Font

In February of 2010 I published She’s on First as a softcover book. A few days later I submitted a PDF of the document to Kindle for publication as an ebook. This means I accomplished my goal of self-publishing a softcover POD book — and ebook! — with about three months work on my part. At this point I was already thinking about self-publishing a second book. My goal was to reduce my formatting time from three months to maybe three weeks.

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Read She’s on First and decide for yourself if the New Peninem typeface should be replaced with a different one.