KDP: Kindle Direct Publishing, 3

So where were we? Ah, yes, the third call from the KDP customer service operator. The call in which he told me: “The cover you have chosen does not work with books under 130 pages.”

“Okay,” I replied. “Please choose a cover that does work. Any cover will do.” He asked me to hold the line while he chose a cover that worked. After several minutes he returned to say that none of the three covers he chose worked. That was when I informed him that I had tested all ten covers and all seventy layout choices, and not a one of them worked. He replied that he would talk to the technical team and get back to me in 48 hours.  “When you call back,” I said,  “please have a cover that works. I need to get this book published quickly.” He told me he would have a cover that worked.

Meanwhile, I returned to my KDP page constantly, checking this and that, clicking here and there, wondering if I could find a loophole anywhere — something that would make my cover work.

That was when I noticed that KDP had an icon of a cover next to my manuscript. This wasn’t the cover I had tried to choose.  The cover contained the front title, subtitle, and author name. It contained only my name on the spine copy. My name in very little letters.And, somehow or other, it contained my author photo on the back. No back cover copy, no about-the-author copy. But also, and critically important — no triangles telling me that the copy didn’t fit.

Where did this cover come from? I hadn’t chosen it. And then I thought: This is the cover of my ebook. And I thought: They’ve added a back to the ebook cover, but no copy. And I thought: I wonder if the KDP program automatically flows the ebook cover into the softcover section. When the author isn’t looking. And without telling the user that this would happen.

October 27, 2018Well, in order to give my presentation, How to Self-Publish with Kindle Direct Publishing, I needed a softcover book. In my hand. To show to the students.

Hmmm. 

I clicked on the Order Proof Copy button and within minutes I received an email telling me that I would find the book in my Amazon cart  and that I had a 24-hour window in which to purchase a proof of my book. Cost, $2.19, plus shipping. I clicked. The book was sent.

I did not tell the KDP customer service operator what I had done. I figured if I told him, he would consider the problem solved. But I didn’t consider the problem solved. If when one publishes a Kindle ebook first and then proceeds to the softcover — if the ebook cover automatically flows into the softcover program and overrides everything one might want to do with Cover Creator, then I wanted to know that this is a fact. I wanted to see KDP state so in their instructions.

Just two days after I placed the order, my proof copy arrived.

And it had my name on the spine.

And my name overflowed the spine and came out on the back cover. Illustrating exactly why KDP does not permit spine copy on books of fewer than 130 pages: because the Print On Demand machines cannot line up the spine copy so precisely that it will be centered on a small spine.

At this point I was fed up with KDP’s Cover Creator problems, and with their taking so long to solve the problem they had created. I had been talking to them about this problem for eleven days and they had said or done nothing that helped. So on the evening of the eleventh day, I did something I seldom do: I wrote an irate letter to KDP Customer Service, succinctly stating the problem with their Cover Creator, expressing anger over the eleven-day delay, and requesting the courtesy of a reply the next day.

Which, to KDP’s credit, I received, approximately twelve hours after I had emailed them. Their reply, which was very polite, informed me that unfortunately Cover Creator does not work with books of fewer than 130 pages, and that anybody who wants to self-publish such a softcover book with KDP must use the downloadable template to design their own cover.

Which means, effectively, that everyone in this situation must either be able to design covers or be able to hire somebody who will design the cover for them. Or know somebody who will do it as a favor. Which, you may recall from my previous blog, Robin Koontz had already volunteered to do.

Minutes after I received the KDP reply I emailed Robin and sent her my cover photo and my author photo, and within a day she had designed a cover I loved. Robin sent me the PDF, I submitted the PDF to Kindle, and within minutes my cover (created by Robin) was approved and my book was ready to print.

CoverScrape,Rattle,Roll-Screened copy

Cover design by Robin Koontz

Although I was twelve days behind schedule due to the fact that it took KDP that number of days to inform me that their Cover Creator didn’t work for my book, I had been taking screen shots of the entire ebook and paperback publishing process. I was also able to put those screen shots into a new Keynote program and meet my commitment to the Naperville Public Library, where I presented How to Self-Publish with KDP, on October 27, 2018.

And, even though I encountered these apparently-never-tested problems in my experience with KDP, I can honestly say that, this particular problem aside, self-publishing with KDP is very easy. They have trimmed the number of steps necessary, they have streamlined the instruction and made everything not only faster, but easier. This certainly makes it easier for people to publish both ebooks and softcover books, and it makes it easier for people like me to teach others how to do so.

_____________

Scrape, Rattle, and Roll: Reflections on This and That was published by Barbara Gregorich in 2018.

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.

_____________

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.

Guide to Writing the Mystery Novel: Part II

Guide to Writing the Mystery Novel was somewhat easy to write, probably because I had been thinking about it for three years. Some chapters took me a day to write, some two or three days. I went at it steadily, so that I would never lose touch with the purpose of the book and the tone of the book.

After I finished, I let a couple of weeks go by, and then I sat down with the manuscript and read it critically, marking it up heavily. From these marked-up pages I wrote the second draft. I showed that draft to my first two readers, listened to what they had to say, and wrote the third draft. I showed that to two more readers, and wrote the fourth (final) draft.

As I mentioned in my previous blog, my actual working title for this book was Writing the Mystery Novel, even though there were a few books with that title already out there. I knew that at some point I would change the title. When that time came, I read up on what constitutes a good nonfiction title. And subtitle. 

Many articles suggested making the title humorous and the subtitle serious. But I felt I wanted the main title to carry the message of what the book is, so that anybody searching for it could find it easily. And I wanted the subtitle to reflect what was in the book. Once I decided to title the book Guide to Writing the Mystery Novel, it took me maybe a minute to come up with the subtitle, Lots of Examples. I liked the down-to-earth feeling of the word “Lots,” which is of course colloquial. 

It’s amazing how our subconscious works parallel to and in step with our consciousness on occasions. No sooner had I deliberately, consciously chosen the colloquial Lots of Examples than, out of nowhere, my subconscious prodded, Plus Dead Bodies.

So I spent maybe three hours reading up on and thinking about nonfiction titles, about five minutes deciding on my main title, and about two minutes coming up with the subtitle. But the five minutes and two minutes would never have given me the solution had I not spent those three hours researching and thinking.

Every time I decide to self-publish a book, I ask Robin Koontz to design the cover. I’m always thrilled with her cover designs, and this one is no exception. It was Robin who came up with the idea of crime scene markers for the subtitle of the book and also for the inside chapter titles. I love it! In fact, even though I know about crime scene tape, I was unaware of crime scene markers — but I am so glad that Robin was aware of them! 

Robin also came up with the dead body (don’t ask how!), the layout, the colors, and the typefaces. An immensely appealing cover, I think. (Thank you, Robin!)

Designers put great thought into not only the front cover of books, but also the back cover. Personally, I find back covers difficult to decide on. The back cover of She’s on First contains review quotes: such testimonial blurbs are the most common back cover item. The back covers of Dirty Proof and Sound Proof contain book descriptions: sort of what the inside flap copy would be like in a hardback book.

The back cover of Research Notes Volume 1 contains extensive about-the-author information. The back cover of Volume 2 contains two long review quotes about Volume 1. The back cover of Jack and Larry contains five testimonials from sources with clout. The back cover of my poetry collection, Crossing the Skyway, contains nothing but the continuation of color from the front of the cover.

For Guide to Writing the Mystery Novel, I was seriously thinking of describing the contents of the book (as with Dirty Proof and Sound Proof), but Robin Koontz came up with a better idea. She took the topics discussed in the twenty-five chapters and created an attractive, intriguing, eye-catching collage of these topics for the back cover. This is my favorite of all the back covers of all my books.

Guide to Writing the Mystery Novel was the eighth book I self-published, but it was the first of those books to contain an index. If I were using such a book as Guide and had finished reading it, then at a later date wanted to refresh my memory about what the author said about, say, subplots, I would want an index — because I couldn’t assume that every comment about subplots would be within the chapter on subplots.

So I asked Sharon Johnson, a friend who’s a professional indexer, and who indexed Women at Play back in 1993, if she would create the index. She said she would (Thank you, Sharon!), and the book has an index. I hope that many people find this index useful.

It’s interesting how things work out. If I hadn’t written my first mystery, Dirty Proof, I wouldn’t have written a second mystery with the same detective hero. And if I hadn’t written that second mystery, Sound Proof, and used it when teaching, I would have never written Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies. In fiction, one thing leads to another. Just as in life.

___________________

Barbara Gregorich’s most recent book is Charlie Chan’s Poppa: Earl Derr Biggers. 

Guide to Writing the Mystery Novel: Part I

Perhaps a third of the way through writing the first draft of Sound Proof, my second mystery novel, I realized that I wanted to write a how-to book on writing the mystery novel. Two factors contributed to my wanting to write such a guide. 

The first was that I had been reading a lot of mystery novels which, in one way or another, annoyed me.  One might have had a far too obvious villain: somebody I recognized as the murderer by the third chapter. Another might have had a far, far too obscure minor-character villain who, when revealed to be the villain, created no emotion in me: I just didn’t care that this seldom-seen character was the guilty party. Still another mystery might have had way-too-clunky planting of clues. One may have had way-too-obvious foreshadowing, while the solution to yet another might have been totally unearned.

Annoyed at what I was encountering, I thought I could give some guidelines on techniques such as foreshadowing, or give examples of how to plant clues. I would certainly read such a how-to book, and I thought others would, too.

The second factor that contributed to my writing a guide on how to write a mystery novel stemmed from the fact that with Sound Proof I was being forced to think through writing decisions very different from those I made for Dirty Proof. For example: Sound Proof contains many more characters and is set over a five-day period at a folk music festival. As I began to write, I noticed that I needed to know where each of the seven suspects was at a particular time of day Monday through Friday. So I had to make a where-are-they chart listing the days, the time of day, and the location of the suspects. The chart would help me understand time and place, and my understanding of time and place in the novel would help the reader understand it, too.

SOUNDPROOF-Cover

Design by Robin Koontz

In Dirty Proof I had a major character villain, but in Sound Proof I had a minor character villain. I was worried: how could I keep readers from forgetting the character? So I made a chart tracking the minor character’s appearance in the novel, making sure to have the character present enough times so that the reader wouldn’t forget, but also absent enough times that the reader wouldn’t suspect.

Because I intended to write a guide book after completing Sound Proof, I kept track of all my major writing decisions. I saved all my doodles and scraps of paper. After I finished and published Sound Proof (2011), I put all my files aside for a while, so that I could think about the organization and tone of the guide book. While letting my ideas for the guide book simmer,  I wrote and published Jack and Larry in 2012 and Research Notes for Women at Play, Volume II, in 2013.

When 2014 came along, I started to organize the guide book. The first thing I did was create a working title: Writing the Mystery Novel. I’m the kind of person who needs a title before I can write a book . . . even though I may change the title after I’ve finished. In this case, after I completed the book, I changed the title to Guide to Writing the Mystery Novel.

After coming up with the working title, I thought about how to organize the book.

 

BookmarkPerhaps there was a time in the history of reading when every single reader read a book from beginning to end, in the order the pages were printed. If there was such a time, it clearly no longer exists. People read books, particularly nonfiction books, in any order that pleases them. Middle to End to Beginning. Beginning, End, Middle. Who knows.

I happen to read books from beginning to end, in the order the pages/chapters are printed. But I don’t want to impose my reading preference on others, and so as I began to create Guide to Writing the Mystery Novel, I made certain that the book would logically lead a reader from beginning to end, teaching skills along the way — and that any individual chapter could be read at any time and still make sense. In that respect, Guide to Writing the Mystery Novel is “interactive” in that the reader can interact with the book in any order she pleases.

People who teach know that nothing works like examples — theory and instructions are abstract: examples are concrete. In addition to explaining foreshadowing, for example, it helps to show an example of foreshadowing. This is why Guide to Writing the Mystery Novel contains (as the subtitle promises) lots of examples.

Most of the examples are from Sound Proof, for a variety of reasons, one of which is that I own the copyright to Sound Proof and therefore don’t need permission to publish quotes from it. Equally important is that because I wrote the novel, I knew what problems I faced when writing it, and I know what my thinking was in reaching a solution. I shared these problems and my thinking and my solutions with the reader in Guide to Writing the Mystery Novel.

_____________________

Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies, is one of Barbara Gregorich’s most frequently requested books.

Presenting to the Public: The Golden Rule

Like many writers I supplement my income and increase the sale of my books by presenting programs to the public. Usually, but not not always, my programs are related to one or more of my books. Experience has taught me that an audience loves to see photos of what I’m talking about, so ever since Apple introduced Keynote (Powerpoint’s superior cousin), I’ve taken the time to build Keynote presentations.

Today most speakers/presenters take advantage of modern technology and use graphics, movement, and sound to enhance the content of their programs. Yet despite the age we live in, many presenters fail to meet the grade. As one who goes to talks given by others, I find myself more often disappointed than not, and the reason I’m most often disappointed is that the presenter reads his or her talk.

I find this totally boring and incredibly annoying. If you’re an author (or a teacher, historian, musician, scientist, whatnot) and you intend to present to the public, think thrice about reading out loud.

Did the person who hired you ask, “Would you be willing to read a speech to our patrons?” Or: “Can you come to our event and read out loud the notes you’ve typed into your Powerpoint/Keynote program?”

I’ll bet not one Outreach Director or Program Coordinator in history has ever made this request.

So: Don’t. Read. Speeches. to. the. Audience!

I don’t know about you, but I’m a fast reader and a good comprehender of what I read. If you intend to take 60 minutes to read a talk to me, I much prefer you give me a copy of the talk so that I can go sit in a corner, read it in 15 minutes, and then use the other 45 minutes to do something exciting.

At the Bloomingdale Public Library, Illinois, with my favorite roadie, Phil Passen

At the Bloomingdale Public Library, Illinois, with my favorite roadie, Phil Passen

In giving presentations, I feel it’s my obligation to give the kind of talk I myself would love to see and hear. See. And hear. Thus I put together visuals, I add transitions and movement, and I use the logic of events or the logic of story to carry my visuals forward, so that I can simply glance at the screen and see what’s coming next.

I speak directly to the audience. I move around. I make eye contact. I use humor.

Do people actually want this?

You know what the answer is.

I recently gave one of my most popular presentations, When Women Played Baseball: The Story of Margaret, Nellie, and Rose, at the Warren-Newport Public Library in Gurnee, Illinois. Several weeks later, the Adult Programming Specialist kindly shared with me the remarks that patrons made on their evaluation sheets. Here are some of their comments.

• interesting, good presenter, good graphics
• excellent research, brought Nellie, Rose and Margaret to life, fun facts
• very interesting, fun
• informative, told stories, knowledgeable, loved her topic
• speaker was super, kept my attention
• entertaining, informative
• the historical slides and the humor
• very impressive, Barbara’s knowledge and facts; the flow she talks with, not just ‘notes;
• enthusiasm; knowledgeable
• excellent; very knowledgeable in the subject, enthusiastic; great slides
• informed, enthused; engaged with audience; humorous; lively; much expression
• very prepared and great pace
• entertaining; funny
• knows her stuff and enjoys sharing it
• loved her knowledge and enthusiasm; but also her physical presentation; very cute “slides” and use of quotations; excellent
• enthusiastic about her subject

This is a long list. I print it not to brag about my presentation, but to help you, if you intend to speak or present in public. Look over the list and notice what stands out:

Knowledge
Enthusiasm
Humor
Visuals
Pacing
Story

These are what I want to see and hear when I attend somebody’s talk. And so they are what I give to others when I’m the speaker. Give unto others as you would have them give unto you.

If you’re going to present to the public, work on your presentation until it’s rich and full. Until it shimmers like a gem. Until it wows the audience. You will please people, and you will be invited to give more presentations — at which, being a writer, you can sell more of your books.

_______________

Barbara Gregorich enjoys sharing what she knows about writing mysteries in Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies. And, she gives a related 60-minute presentation titled Thinking Like a Mystery Writer.

Book vs. Class

In February I’m scheduled to teach “Writing the Mystery Novel” at the Off-Campus Writers Workshop in Winnetka, Illinois. Teaching the class is a result of having published Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies. While I’ve taught many writing classes in many different places on many different topics, I’ve never before taught one based directly on the contents of one of my books.

You would think that this is an easy teaching assignment: pick up the book and go through it, chapter by chapter.

Not. A. Chance.

I remember how horrified I and a classmate were when, freshmen in college, we encountered a World History professor who proceeded to read from the book. Day after day, hour after hour.

The book — but not the class.

The book — but not the class.

What, we asked ourselves, was the sense of our reading the book and attending the lectures? Doing one or the other would have been more efficient. Doing both was boring, and the professor didn’t seem to understand that it’s often more productive to teach the same topic in several different ways, maybe from several different directions, to increase the chance that students will grasp the meaning of what is being taught.

Because of that experience, I never teach “from the book.” Instead, I approach the topic (in this case, writing a mystery novel) in a different way, from a different direction.

Speaking live to a group of people is quite different from writing a book. For one thing, a book is dated the minute it’s published — but in teaching a subject face-to-face, a mentor can mention or use as an example something that happened yesterday. Or this morning. Or just five minutes ago. In teaching “Writing the Mystery Novel,” I’ll be able to bring in current events if I wish, or novels I’ve just finished reading.

For my in-person teaching I plan to use a wider variety of mystery novels as examples than I did in Guide to Writing the Mystery Novel: Lots of Examples, Plus Dead Bodies. The examples in Guide are strong examples that illustrate the techniques and problems I discuss. They are, however, all examples from my own writing — not only because I know my own writing process best, but also because I freely give myself permission to quote from any of my books.

Such is not the case with getting permission to quote passages from other people’s novels. Getting permission is a boring, time-consuming affair. (For Women at Play: The Story of Women in Baseball, I spent three full months doing nothing but getting permissions. . . . ) But each teacher is free to hold up somebody else’s book and talk about it in class and read a passage from it. In fact, reading aloud to students is a great way to entertain them and get them to hear/see things in a different light.

I find that the structure of a live class often reveals itself to me in a different form or outline than does that of the book. As I prepare a class, I imagine what students expect out of (in this case) two sessions. They will receive less information than is contained within Guide to Writing the Mystery Novel — maybe only one-third as much. But what they receive will be central to their immediate concerns: for example, the crime, the villain, the suspects, and planting clues. And what they receive will be a give-and-take experience: if they have a question, they can ask it then and there. Ask for clarification, ask for examples, tell what they’re writing about and what problems they’re facing.

I love writing books both because I am captivated by story and because I love the written word. I love teaching in person because I enjoy the opportunity to clarify, the spontaneity of examples, and the unexpectedness of random questions from students.

Teaching is a wonderful challenge. And I’ll be challenged again when I give a 30-minute presentation on this same topic, at Mystery to Me Bookstore in February, and Aunt Agatha’s in March.