Self-Publishing

Indexing Information for Self-Publishers

If you are self-publishing, especially for the first time, you may have questions about indexing. Does your book even need an index? Can you make the index yourself? What does it cost to get an index created by a professional indexer?

Joanne Sprott of Potomac Indexing LLC recently created an index for a book I was designing. She kindly agreed to answer some of the questions you may have about indexing. I hope you find Joanne’s overview of indexing information for self-publishers helpful!

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How do I decide if my self-published book needs an index?

First of all, normally only nonfiction books need indexes. Very few fiction books are indexed. (Maybe something like Shakespeare’s collected plays or some other famous literary works would have an index.)

Length is the other primary deciding factor. Usually only a book with 100 or more pages is indexed. But pages are relative to trim size—the 100 is based on a 6x9-inch trim size common to trade books.

If you meet the nonfiction and more-than-100 pages criteria, then deciding on whether your book should have an index comes down to whether you think it will add enough value to make the cost worthwhile. People do buy books— especially biographies of famous people—based on a browse of the index. In books that teach something, indexes can be valuable to students for writing their own essays or exams. They are also very valuable in scholarly books to guide other scholars through to the element in the book that they are interested in comparing to their own and others’ research and writing.

Can I make my own index (DIY)?

Technically, yes, you can make your own book index. From my experience, though, there’s a certain weird way of thinking that goes with indexing, and most people don’t “get it.” They often waste a lot of time getting lost in making entries for trivial details or passing mentions (such as including every name mentioned in the book!) Authors often have trouble seeing their material from the reader’s point of view and may just outline the book in a slightly more detailed way than the table of contents and stop there. It’s a decent start, but index users are often looking for more specific topics that are scattered in the text; one of the benefits of an index is that it brings together scattered topic mentions that might be lost in an outline approach.

For a more comprehensive guide to thinking like an indexer and doing the index yourself, check out Potomac Indexing’s free indexing guide for authors, which is accessible from the footer area of our website.

How do I find and choose an indexer? Do indexers have specialties?

The best place to find an indexer, at least in the USA, is the American Society for Indexing. They have a “Find an Indexer” option in the left menu that will take you to a page where you can search for an indexer.

Yes, a number of indexers do specialize, although most are intelligent generalists. Medical books, legal books, scholarly books, and technical manuals all have indexers who specialize in those subject areas and vocabulary. ASI doesn’t specifically certify its indexers, but when you look for one in your subject area, you’ll see their experience and training.

Of course, our four partners at Potomac Indexing (we all belong to ASI and have experience in many subjects, going back to the 1990s) would be happy to help you as well. 

What does it cost to get a book indexed?

The short answer is that an index can range from USD$400 to $5,000. Average is more like USD$1,000 to $1,400.

Pricing depends on density of index terms, the book’s trim size, and length of the book. At Potomac Indexing, we normally charge a flat fee based on a per page, per entry, or per word rate, in that order of preference. Every index is a custom job, so we usually ask to take a look at some sample of the book to gauge the index term density. We will analyze word count on a typical all-text page (is it a standard about 400 words per page, or a coffee table book with 1000 words per page?), and then look at how many pages have just pictures, for example, which will reduce that index-term density for the entire book.

As an example, let’s come up with a per page rate for a 6x9 trade book on business advice, almost entirely text, that has 350 indexable book pages.

Wait, you ask, what’s an indexable page? Well, we indexers don’t count any pages we don’t have to read to decide on index terms. So, most of the front matter, from title page through acknowledgments (sometimes we index preface material) is excluded, along with back matter like bibliographies/reference lists (we may index substantive endnote material, but that’s a judgment call; definitely not the purely referential notes).

I would likely quote $3.50 to $4.00 per page for this type of subject matter, which generally is not all that dense with index terms (maybe 2 to 3 terms on average per page). So in this case, your cost would be $1225 to $1400. Not pocket change, but the indexer has to read the book and create a separate organized document called the index, so it takes longer than, say, a proofreading job. 

Yes, we read the book, not necessarily word for word, but nearly, in order to understand its themes and subtopics as well as pick up important people and place names. This is not something a software application can automatically do for us, because it can’t decide on whether a term is important enough to the surrounding discussion to be included in the index. That’s what separates a human-constructed index from a set of search engine results.

At which stage in the book writing process should I
(1) first contact an indexer, and (2) send the indexer my book?

Books designated for print with a static index shouldn’t be indexed until the page numbers are final. Subject lists without page numbers might sound like a time saver, but you have to go through the whole book again anyway to set the final page numbers. It’s more efficient to do all of this once.

That said, if you have an ebook in the works, or you really need to index early from the manuscript (it still needs to be basically finished), you can opt for an embedded index. This is where the indexer not only reads the book and decides on index terms, but also inserts special tags for each index term into the document in whatever program is used to create the book (Word, InDesign, HTML, there are lots of options). Embedded indexes use live links to the tagged location in the book. So, the index automatically reflects any changes that are later made to the book file (or changes to ebook view settings), such as if a key word moves from one page to another.

How long does it take to get a book indexed?

I like to allow about two weeks on average to build and return a finished index. Depending on book length, I could do it faster than this, but that assumes I have an opening in my schedule at just the right time. Normally, indexers are juggling multiple projects that don’t all arrive as scheduled, so the two-week turnaround helps us stay sane. However, if you have an 800-page book, I may need a bit longer to finish the index.


Potomac Indexing LLC (established in 2006) consists of four experienced indexing partners along with access to another forty independent indexers in various specialties, allowing Potomac Indexing LLC to say “yes” to almost every job that comes its way. Potomac Indexing LLC guarantees the quality of the work regardless of which partner or associate indexer does the initial indexing, handling everything from a self-published memoir to a series of accounting guides or drug regulations that come back for indexing year after year. Check out their portfolio to see if they are a good match for indexing your book.


Do you have more questions about self-publishing, indexing, or book interior layout? Feel free to send me a note and I’ll do my best to help you, or to connect you with someone who can help you!

How to Compile a Book from Facebook or Social Media Posts

Do you want to write a book? Do you regularly post on social media? Your book’s content may already be half ready, ideas just waiting to be pulled together from Facebook, LinkedIn, or Instagram in a cohesive format for print. In the following post I explain how a client of mine used Facebook posts to build a memoir. Whether you’re writing a memoir, a travel journal, a business book, a marketing book — don’t forget how much content you may already have available to you on your social media accounts.


A few years ago the publisher of Notes from Susie asked me to provide interior design and layout for a memoir about a lovely woman named Susie. Susie was a prolific note-writer, and when cancer made its presence in her life known, she and her husband took to Facebook to keep her friends and family updated about their battle. Besides sharing what was going on, they shared a lot of lyrics to beloved songs in their posts.

Celebrating Grace, the publisher, pulled this story about grief, health, family relationships, music, and the Christian life together This book is an example of how a touching memoir can be assembled mostly from Facebook or social media posts.

Here’s how you can compile your own book from social media posts.

1. Gather all the information you want to include in your book from your social media account(s).

Copy and paste the text of each individual post that you want to put into your book into a Word document, in chronological oder. This can be a tedious job, and if you are sifting through a huge number of posts, you may want to hire a freelancer to do this busy work for you.

Note the date (and time, if important) of the posts, and if various voices are used, be sure it is clear which person is writing in each post.

(You can see below that Susie’s posts were organized chronologically in her book, and had date ranges as headers, and days of the week as subheaders.)

Download and save any images (or make screenshots of any other visuals) from your social media accounts that you want to include. Label these in such a way that it’s easy to find which text they relate to.

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2. Decide on a structure for your book.

Consider how best to organise the information from the posts in a way that would be understandable to the reader: chronological, thematic, by voice…. Your story will dictate which order or structure makes the most sense.

Susie’s story was told chronologically, with introductory and concluding material surrounding her and her husband Mark’s notes and posts, which make up the bulk of the book. The breakdown is like this:

  1. Front matter (foreword, acknowledgements, general introduction and introduction to Susie);

  2. Susie’s story (Susie and Mark’s posts, organized chronologically, and divided into three parts)

  3. Back matter (epilogue, reflections from Susie’s children, credits, and reviews).

Don’t hurry this process; having a solid and logical structure to your memoir is one of the most important aspects of making your book clear and easy to follow.

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3. Edit your story and decide on a title.

Edit and rearrange your material to suit the structure you’ve chosen. It doesn’t make your memoir inauthentic if you have to remove a few posts or add some explanatory material between posts to make them flow. As long as you keep the different kinds of text organized in your file (post, introduction, explanatory paragraph, footnote) your book designer can help you make instantly obvious which parts are which, through smart formatting. As you edit your story, note ideas for the title of your book!

In Susie’s books, the songs had special formatting, as well as pull quotes, copyright lines, etc.

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4. Add visuals or meaningful touches.

Collect photos to support your story.

  • Scan or collect photos in the highest quality possible, so that they will appear crisp in print.

  • If you are taking photos of memorabilia for the book, set the objects on a plain white background and be sure you have even lighting (no strong shadows) before shooting the pictures.

  • If you are using representative photos from the internet, make sure you have permission to use the images you select, and that the images are high quality. Here are some ideas about where you can find free, high quality images for your book.

  • You may want to insert your images into your Word file, so that you have a visual of where each one appears, but Word will compress the quality of your image. For this reason, be sure to also keep a folder with all original high-quality images in it, for your book designer. Before your story and images are handed over to your book designer, you should note in the Word document where each photo should be inserted. (For example, simply write “Insert Photo404.jpg from folder ‘Early Years’ here.”)

Scan handwritten notes or paper memorabilia to sprinkle throughout the book. Because Susie was such a note writer, her book has quite a few notes from her, and a few notes to her. As always, be sure to scan at the highest resolution possible on your scanning device.

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Add meaningful quotes or other fun touches. Remember to acknowledge the sources of any quoted material, and remember that that if you are quoting extensively from other writers’ work (poetry, prose, lyrics), you need to check if you have permission to reprint that content. (Don’t be like the self-publisher I ran into many years ago, who informed various musicians after printing that she had included their lyrics in her book! She thought they’d be delighted. Instead, one musician threatened to sue her, and his lawyer required the author to cover the musician’s lyrics in each copy of her book with a sticker!😢)

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5. Get someone else to edit and/or proofread your content.

Once you’ve organized and edited your memoir text and content, it’s time to ask others for their input. Even if you’re just planning to share your book with a handful of family members, be sure to at least have one objective set of eyes go over your entire manuscript. You’ll be surprised how many little typos slip by you when you’re familiar with the story!

If you’re planning to release your book to a wider audience, be sure to have it professionally edited and proofread (these are two separate tasks). If you request it, your editor can also check the accuracy of things like quotations, titles or dates.

6. Make decisions about final format, printing, book designer, etc.

At this point you’ll need to consider where and how you want to print your book, how many copies you need, what your page size will be, etc. You can ask your book designer for advice on these topics if you’d like.

Once your text and images are as finalized as you can get them (and proofread one last time!), it’s time to hand them over to your book designer and her work her magic on the cover and interior design! (Note: usually the designer can start on the cover before the interior is completely finished, if you’d like to get a head start, but the title does need to be finalized before cover design can begin).

Check out my client questionnaire if you’re wondering what kinds of things your designer needs to know to help you with a book cover and book interior layout.

Notes from Susie is a lovely example of how digitally-recorded writing and images—which would be otherwise buried in a social media feed—can live on as a professionally-designed paper book! I hope this post has been helpful and inspired you to invest some time and creativity to make an unforgettable memoir for your family, friends, or wider community!


If you’ve gotten this far, you’re probably pretty keen to compile a book from Facebook or other social media posts! And I’m pretty keen to help you! If you’d like to tell me your story, I’m all ears: let’s talk. Or sign up for my Book Done newsletter to get tips and stories to help you get your book project done!

Creating a Self-Published Cookbook - An Author's Perspective

I recently worked with Krystelle F. Gratziani, the owner of Conscious Cooking, on the design and interior layout of her first cookbook Conscious Cooking: Healthy Recipes for Families. Her clean and crisp self-published cookbook is full of gorgeously photographed original recipes, inspiring some new meals in my kitchen as we worked our way through this lovely project.

Krystelle is a food blogger with an established following, but this was her first foray into print. We had lots of conversations back and forth on the long journey of getting her cookbook into print, which is why I thought she’d probably be willing to share what she learned along the way, to help anyone else who is wanting to self-publish a cookbook!

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The best thing about self-publishing a cookbook was…

“…the moment I held the first printed book in my hands! I was so touched, emotional and proud. It was very special to see the final result after spending more than three years working on my cookbook. It was a very emotional moment — I cried!”

The most challenging or surprising thing about self-publishing a cookbook was…

“It sounds funny to say this, but creating recipes and writing the book was the easiest part! The most challenging or surprising part was all the other kinds of work that needed to be done; work that I had no experience in or knowledge of. I had to do a lot of learning along the way and honestly, it was much more work than I had imagined. There was the writing and editing of the content, shooting and re-shooting of food photos, editing of the photos, the design and layout, printing, publishing, marketing and shipping….! I thought that once the cookbook was printed, my work was almost done, but there’s still lots to do, after the book has been released!”

If I were to give advice to someone else who wants to self-publish a cookbook…

“Hire as much help as you can afford to. For this project, I hired a photographer, a photo editor, a book designer (Julie!) , a proofreader and an indexer. The rest I did on my own, but next time I would hire people to help me distribute the book, do PR work, and so on. It's really a lot to coordinate solo.

“Also, be sure to work with experienced people in each field of expertise. It will help your cookbook project be done faster and more efficiently. I used a popular platform to find freelancers of different kinds along the way, and I was very pleased with the results.

“Julie and I worked very hard on the project , and she truly did an incredible job with the book. She was not only very talented and knowledgable, but also very patient and friendly. I couldn't have found a better book designer!”

[Now I’m blushing. ☺️]

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Stages of Self-Publishing a Cookbook

Every author’s journey to creating a self-published cookbook looks a bit different, but these are roughly the steps that are needed. One step does not necessarily finish before the next one starts; for example, your designer can start on a sample interior layout before all the recipes and photos are finalized; that is how I worked with Krystelle. But generally, this is the order in which the steps occur!

  1. Planning the cookbook. (Consider what categories or kinds of recipes you want to have, create a rough outline, etc.)

  2. Creating and testing the recipes. (This is probably the part you already know how to do best!)

  3. Writing the recipes and any other content. (Don’t forget that cookbooks often have a few other resources, stories or information. For example, Krystelle had some material at the front of the cookbook about her food philosophy, food for babies or toddlers, etc.)

  4. Editing the text. (Do this yourself first, but then hire an editor with experience in food editing, if possible.)

  5. Shooting (and probably re-shooting) photos of the recipes. (It can be a costly procedure to have to do a second or third photoshoot because you forgot a few photos, added a few new recipes, or need a photo in a different shape or from a different angle. This is one place where careful planning can save you a lot of money!)

  6. Photoshop or touch-up work on the photos. (If you need a photo editor, send me a message. I recommended the photo editor Krystelle used, and Krystelle was super happy with her work!)

  7. Design and interior layout of the book. (This is where I come in!)

  8. Proofreading. (It’s probably wise to have several proofreaders check it! Just one wrong digit could spoil a whole recipe.)

  9. Indexing. (You probably need to hire a professional indexer for this, and it should only be done once the pages are all in their final positions.)

  10. Printing. (Ask around for a few quotes, and you might want to compare the cost of printing in Asia to printing locally.)

  11. Marketing / PR. (Any author who is self-publishing will tell you how important this step is! Marketing should start before the book is ready, of course, but will continue long after.)

  12. Shipping / Distribution. (Do you want to handle shipping yourself? Do you want to hire a distributor? Which countries will you ship to, and how?)

  13. More Marketing / PR. (As Krystelle mention, this part never really ends!)


Are you planning to self-publish a cookbook, and wondering what the process could look like to work with a professional book designer? Click here to get a free consultation with me. I’m happy to help! Please note that a custom cookbook design package (full color, hardcover, 150 pages) usually starts at USD$4,500. This does not include the cost of printing. Sign up for my Book Done newsletter to get more stories from people who’ve gotten their book projects done!

How to Know If Your Book Manuscript Is Ready for Interior Design and Formatting

Every self-publisher or author is excited to finally see his or her book formatted for print. So excited, in fact, that the temptation is strong to jump the gun and send the book formatter a manuscript that isn’t quite ready for formatting.

Sending your designer a manuscript that is unfinished or missing information is a lose-lose: it’s expensive for the author and frustrating for the designer. Here are a few ways for you to avoid “surprise” costs by making sure your book manuscript is truly ready for the formatting stage.

If your book manuscript is ready for interior design and formatting, you will be able to answer “yes” to the following three questions.

Has your book been professionally edited and proofread?

I list this first because it is a complete must. Professional editing and proofreading is essential, not only for the quality of your final product, but also to keep the cost of formatting your book from exceeding what your book designer quoted you. Every book should be proofread again after layout, but at that point, the proofreader should only be finding minor typos or layout issues, not reworking paragraph structure or removing full sentences.

Have you merged your manuscript files into one Word file?

If you haven’t done this yet, merge all your various Word files, etc. into one file with your whole book in it — from title page and copyright to references and appendices. Having this all together (and waiting to send it until you have all the needed info) is the best way to save yourself from paying extra charges if your book designer has to bill for admin tasks like ordering and merging Word documents.

Have you collected the printer specs that the designer will need?

Your book interior layout designer can’t start on the layout without knowing the page size, or if there are any special requirements from the printer. For example, print-on-demand book printers like Kindle Direct Publishing (formerly CreateSpace) or IngramSpark have their own particular requirements listed on their websites. It’s good to get a quotation from a printer and show your book designer the specs you have given the printer — this means fewer surprises for both of you when the final layout is sent to the printer. Some designers will help you communicate with the printer; be clear with your designer if this is part of what you need his or her help with!

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If you can answer “yes” to the questions above, your book may be ready for formatting! But yeah … I get it.  You’re anxious to see what your book will look like, and can’t wait to get started. Maybe the manuscript is still being edited, or the proofreader needs an extra week. There are perhaps two things you can get your designer to start on before your full manuscript is ready for formatting. They are:

Get your designer to start on the book cover design. It’s great to have your book cover designed ahead of time for marketing purposes. The front cover can be designed virtually any time after you have a finalized title and a book summary.

Get your designer to create a sample interior layout. Sometimes you may need a sample book interior layout to pitch your book to a publisher or as a sneak peak for your readers. Depending on how your book designer works, he or she may be ready to create a sample layout with a manuscript that is not finalized. For example, last year I created a cookbook interior layout sample for a client who then came back to me this year with the full cookbook contents ready for formatting. For any book layout, your designer should send you a few samples pages before the whole book is formatted.

You’re bursting with excitement (and so am I!) It’s wonderful to see your book in its final format! Hang in there — you’re close to the finish line! Don’t turn your final files over to your book designer until they’re really ready!


If you reached the bottom of this post, you must be pretty serious about finalizing your book manuscript and beginning the book layout stage. Let’s talk about what you should do next.

How to Shoot Photos for a Printed Book or Cookbook

I work with a lot of self-publishers, and some of them select a photographer who is shooting photos for a printed book for the first time. As someone who has been integrating photos and text in book layouts for more than a decade, there are a few common problems I run into: images that (1) are not high enough quality, (2) images that don’t fit the proportions of the book or are cropped too tightly, and (3) images that shift significantly when converted from RGB to CMYK. You can avoid these problems by considering the following points.

Shoot your photos in the highest possible resolution.

This should go without saying, but photos that will be used for print need to be the highest possible resolution. They should be at least 300 dpi at final size, but since the photographer doesn’t know how much the designer may enlarge or crop the photo, it doesn’t hurt to send the designer photos that are up to 600 dpi at final size. If you are sourcing any additional photos from a stock photo site, purchase their highest resolution image if it will be used as a full-page photo.

Consider the proportions of the book when culling the photos or selecting photos from photographer proof sheets.

Usually a photographer will take both portrait and landscape orientation photos for a book, but sometimes when the photos come to me, only one of these orientations is provided. However, most cookbooks are portrait format and some are square. If the image provided is landscape orientation, it is difficult to have any “full page photos” because the proportions of the image are so different than the proportions of the book.

Consider the cookbook with blue pages shown above and below as an example. The page format is square. In order to make the landscape orientation images fit on square pages, they either had to be zoomed in/cropped closely (top example) or the images have to be quite small (lower example). Providing a portrait version of the same recipe would have given me more options for layouts, especially full page layouts.

If you are culling or selecting images and aren’t sure which ones to use, pick one portrait and one landscape (and not too closely cropped, below) or contact your book designer and ask what they think is best, given the dimensions and orientation of your book!

Don’t crop the photos too closely.

Leave enough “dead space” around the edges of the image that the book designer can do the final “cropping” when he or she decides exactly how to position your photos in the book. There is almost always a difference between the proportions of the photo as it comes out of the camera, and the proportions of the book. If the photographer or illustrator provides images that don’t suit the proportions of the book, it is the job of the layout designer to pick the best cropping possible. For example, take this overnight oats recipe spread from a cookbook I designed. The reader doesn’t see how much the photo has been cropped…

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…but when I give you a behind-the-scenes peek into how the book looks in Adobe InDesign, the industry-standard book layout software, you see that the book is a 4:5 ratio but the photos a 2:3 ratio. I had to decide how best to crop this image, and chose to lose some of the jar and canister in the background rather than to crop the jar of oats.

Another reason to not crop your photos to closely is because a book designer always needs at least an extra 0.125” around all edges of the photo for bleed, if the photo goes to the edge of the page. This area will be trimmed off, but needs to be there so that there is no unintended white edge around the photo.

For a full wrap hardcover book with a photo on it, the cover designer might even need several inches of extra space around all edges of the photo, for the photo to wrap nicely around the cover board without leaving an unintended white edge.

Related to the topic of cropping, sometimes providing the designer with several variations of the same photo for him or her to choose from can be a huge help for creating a successful layout. Just a slightly different position of a spoon or slightly different camera angle can make a big difference. For example, for the same cookbook project, the photographer sometimes gave me two similar photos to choose from.

Consider converting your photos to CMYK.

It used to be necessary that the photos used in printed books be converted to CMYK on the photographer or designer’s computer. However, because today photos and photo books are often seen both on screen (RGB) and in print (CMYK), it is becoming more common practice to simply let the printer convert all the images to CMYK before printing. However, if you are particular about the RGB to CMYK conversion, or are shooting photos in tones that show up significantly differently in RGB than in CMYK (like a neon green or light, bright aqua), you may want to go ahead and convert your image files to CMYK before sending them to the book layout designer.


There’s not much that I enjoy more than a good book interior layout with stunning photography! If you have questions about preparing photos for a book layout, shoot me a message or book a free consultation with me!

Design and Print Production Considerations for a Book in the Grief and Loss Genre

This week I was discussing a book interior layout project with a client who is self-publishing in the Grief and Loss genre. As I spoke with her about a wide variety of topics related to the preparation of her book, a few thoughts came to mind that might also help others self-publishing in this category. 

Self-publishers face a myriad of options but don’t always know what suits their genre best. Making thoughtful decisions about your book’s physical appearance and layout will ensure that your final physical product reflects the heart of your book.

Photo by Kelly Sikkema

Photo by Kelly Sikkema


1. Choose off-white or cream-colored paper instead of white.

There’s something about the warm tones of cream-colored paper that just gives a warmer and more approachable feeling to your less-than-approachable topic. Black words on white paper feel a bit stark and academic — white paper is often the stuff of office work and text books. There is no hard and fast rule about this, but cream-colored paper is most often used in this genre and feels more welcoming. If you’re self-publishing at CreateSpace, cream and white are your only two paper options.

2. Choose matte cover paper instead of glossy.

A flashy, glossy cover screams “exciting” and “new” — not really what most authors are going for when approaching the topic of grief. Opt for a matte cover paper, even if your cover design has photos on it, to lend a more subdued, respectful tone to your serious topic. Whether you’re printing on demand with a printer like IngramSpark or CreateSpace, or working with a traditional publisher, ask about cover paper with a matte finish.

3. Consider a smaller format.

A smaller, easier-to-read format lends itself to being picked up when the reader has a few minutes to spare. It makes your book easier to tuck in with a gift or to mail to a friend going through a hard time. If your book is made up of short readings, poetry or stories, a small format is particularly natural; consider a size of around 5.5x8.5” for your book. But do let the nature of the content dictate the size — some years ago I laid out this Notes from Susie book interior and it was a standard 6x9” size. This 400-page collection of the deceased author’s writings would have been too thick in a smaller format. The same might go for books that are compilations of longer essays or a Grief and Loss genre book whose nature is more academic than coffee table.

4. Choose colors that suit your genre.

In Western cultures, usually cooler colors in the purple and blue spectrums are most associated with the subdued themes of suffering, healing and grieving. Purple has liturgical ties, and blue might remind the reader of water, the sky, or Heaven. (Green probably starts to feel too earthy or medical, unless your book’s theme leans that way.) Neutrals can also be a good choice. In many Asian cultures, white is the color of mourning; and in many Western cultures black or grey is associated with death or loss. Research your audience and work with your cover and interior layout designer(s) to pick colors that best convey the material you are self-publishing. Discuss colors ahead of time, or if your designer picks colors you were not expecting, feel free to ask his or her reasons for doing so.

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If you are looking for cover design or interior layout for your book in the Grief and Loss genre, I’d be happy to help you take these ideas into consideration and make your book more approachable and shareable when people are hurting. After all, you wrote it to reach those people, right? Now you’re on the home stretch — make smart design and print production choices to make sure your book catches your intended audience’s eye! Contact me here to learn more about working together.

Where Can I Find Free, High-Resolution Images for Print Design?

Photo by JESHOOTScom via Pixabay

Photo by JESHOOTScom via Pixabay

In the past five years, there's been a real boom in websites offering high resolution, print-quality photos that are free for commercial and personal use. Whether you're wanting photos for a professional print design project or even just looking for a beautiful new photo to enlarge for your office wall, check these websites before you shell out the cash for paid photo services.

1. Unsplash

The first place I look if I want non-cheesy, free, high-resolution photos is Unsplash. The images at Unsplash are well curated, and have a young, artsy vibe. They're high enough quality for printing and Unsplash doesn't require that you start an account with them to download images. All images on Unsplash are free for commercial or personal use. Another nice feature of Unsplash is that there's little advertising on the website; the same can't be said for most of the following photo sources. I like Unspalsh so much that I sometimes even contribute my own photos to the pool for others to use. 

2. Stocksnap

Stocksnap is another great gallery to search for quality, high-resolution photos at no cost. Similar to Unsplash but a bit less hipster. They offer alle of their images under the same CC0 license that lets you do what you want with their photos, with no attribution required. The quality of the images is sharp and good for print at most sizes. You can read their image licensing details here

3. Pexels

Still searching for that perfect image? Enter your keyword(s) into Pexels and press enter! Pexels specifies that their images can be used in print marketing material: "Use the photos for flyers, postcards, invitations, magazines, albums, books and more" but be sure to read their licensing write-up here before you hit print!  

4. Pixabay

Not to be confused with Pexels (the "p" and the "x" in both names still throws me off), Pixabay advertises that they have over 1.5 million royalty free stock photos and videos. Pixabay requires that you create an account and log in to access the images in higher resolutions, but it's worth it if they have the image you're wanting! 

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Of course, there are many more such websites, but I hope these four favourites of mine will be useful to you! It's always good to have a few different links go-to free stock photo websites in mind when you need images for a project, because particularly when it comes to free stock images, not every site will have the image you need.

If you can't find the image you're wanting for free, try a cost-effective source of paid images like Shutterstock.

Lastly, I can't emphasize enough how important it is to check and double check the licensing on "free" images before ordering a large print run using those photos. Free print-quality stock images can be a great solution in many situations, but watch for my follow-up post, where I explain why (in my opinion) you should never use a "free" image on your book cover, or front and centre in any other important, widely-distributed print marketing piece. 


Wondering about using an image for print, but not sure if the resolution is good enough? Give me a shout through my Contact page and I'll help you figure it out! Or sign up for my Book Done newsletter to get tips and stories to help you get your book project done!

Expect Delays When Self-Publishing

If there's anything I've learned since beginning to work independently with self-publishers, it's this: self-publishing a book takes longer than you expect. Especially if it's your first book.

Photo by Christin Hume

Photo by Christin Hume

A self-publisher often underestimates how many steps are involved in the publishing process. Maybe the photographer calls in sick. Or the editor needs an extra week. The proofreader can't work on the file right away because it came to her a different week than she expected. One small delay can have a domino effect, causing the whole project timeline to change.

When I am designing a full color book involving a lot of photography, usually the self-publisher works with me on a sample design or layout before the contents for the whole book are ready. The self-publisher talks to me about his or her ideas for the book, and gives me about ten pages of sample content. At this stage we establish the visual aspect of the book. Once the sample layout is ready, I wait — an indeterminate amount of time — until the full manuscript is ready for layout and design in the same style. On average, I would say that books come to me two weeks to two months later than the self-publisher originally intended, depending on the complexity and length of the content. 

I don't share this to be pessimistic, but to be realistic. If it's your first book, and especially if you're coordinating the project independently, I have three tips:

  1. Don't commit to a particular release date. You may have a release date in your mind, but you don't have to give that date to others. Your first book will almost always be completed later than you expected. (One of my clients shares about his experience with setting a firm launch date in this blog post.) Or, give a padded date...

  2. Pad your timeline. If you'd like to release your book in March, try to create a timeline that would have it releasing in January, to give yourself some wiggle room. If you give your contractors deadlines that are not your real, drop-dead dates, you won't be stressed out by every little delay that comes up.

  3. Don't rush the process. Skipping important steps at the beginning of your book project can be very expensive in the end. The full layout should never be done until the text has been thoroughly edited and proofread. Major changes after the book has been laid out or after the book has gone to press can unnecessarily blow your budget.

Self-publishing a book — especially if it is your first book — takes longer than you expect! But if you expect the unexpected, maybe it won't actually take longer than you expected!


Are you self-publishing a book? I'm happy to answer any questions you might have. Give me a shout through my Contact page!

Why Does the Color on My Ebook Cover Look Different Than the Color on My Printed Book Cover?

Recently a client sent me a screenshot of his print book cover and his ebook cover side by side, and asked me why he saw such a visible color shift between the two.

I explained to him that the ebook cover is in the RGB color space, but the printed book cover is in the CMYK color space. RGB is the color space used for on-screen images, while CMYK is the color space that printing devices can capture. As a basic explanation, the RGB images look brighter because they are being shown on a lit screen. It's hard to achieve the same brightness with ink on paper. As you can see in the chart below, CMYK captures a smaller range of color than RGB captures (and both capture fewer colors than our incredibly-designed eyes can really see!) 

Image by The Graphic Mac

Image by The Graphic Mac

My client's cover designer had always sent his bright teal cover to him in RGB, and suddenly before printing, he saw the teal for the first time in CMYK and was surprised at the significant color shift.

If you don't convert your images to CMYK before sending them to the printer, the printer must convert them to CMYK before printing. It's no big deal for them to make the conversion, but depending on the colors you are printing, you may notice that the printed piece comes back looking duller than you expected if you only saw proofs on your screen. 

The following two color spectrums help you to see which colors are hardest for CMYK to achieve. The duller quality of CMYK is instantly noticeable. 

Color spectrum shown in RGB

Color spectrum shown in RGB

Color spectrum shown in CMYK

Color spectrum shown in CMYK

Whether you're picking a color for a book cover or a logo, it's good to consider whether that color will be achievable both in RGB and CMYK. If not, you might want to consider adjusting the ebook color a bit to make it easier to match in print. Or, you'll just have to get used to the slight difference in color between your ebook cover and your printed book cover.


Thank you for taking the time to read this post! If you are needing a book cover design, please check out my Book Covers services page.

Should My Photo Be on the Front Cover of My Book?

This week a client of mine who is self-publishing a cookbook wrote to me with this question: "Should my photo be on the front cover of my book? Everybody says yes....[but I am not sure.]"

When I replied to her, in essence I told her two things:

  1. Having your face on your book's front cover is atypical in your genre. Looking at other cookbooks in the clean eating or vegan genre, I knew that it is not standard practice to have the creator's photo on the front.

  2. Sometimes having an atypical cover can make your cover win, but often it can make it lose. The decision to make an atypical cover needs to be a decision made for a deliberate marketing reason.

I went on to explain that the choice depends a lot on her businesses' branding. For example, if her business is very much about her face, her personality, her look, etc. then it might work well to put her face on the cover to further cement that idea that she is the one creating the recipes. However, if she doesn't show photos of herself a lot in her marketing, and focuses more on photos of her culinary creations, it would probably be better to do the same in her cookbook cover design...unless she's gearing up for a big change in her marketing methods.

Photo by Dan Gould

Photo by Dan Gould

After having written to her with my thoughts, I found two other answers to similar questions online, which I thought were worth sharing here. 

This insight is from Hobie Hobart:

Is it ever a good idea to put your picture on a book cover? 
This is contingent on many factors so the initial answer is, it depends. It IS a good idea, and nearly mandatory, to use your picture on the front cover if you are a Barack Obama, an Oprah, or a renowned superstar. Many authors think that putting their picture on the front cover will make them famous. This is not necessarily so. Unless you are well known in the media, bookstore buyers will not accept your book which pictures you on the front cover. However, if you are selling exclusively to a tight niche where you are well known, or your intention is to start branding yourself to a specific market, your photo on the front cover or the spine can be an advantage.

This is how Michele DeFilippo answered this question:

Should I put my own photo on my book cover? 
It depends. If YOU are the product, then your picture can absolutely be used on the front cover (think Dr. Phil or Suze Orman). If your book is non-fiction, you are a well-known expert in your field, and buyers would recognize your face, then your picture can be used on the back cover, along with a bio. Otherwise, your picture and bio belong in the back matter of the book.

Ultimately the answer is, "It depends!" But often the answer is, "No." Think carefully about your market and your branding before deciding to put your photo on your book cover.


Thank you for looking at this post! If you have a question about your book project that you'd like me to answer, leave a comment below, or write to me through my Contact page. 

How Can I Catch More Errors in My Book Manuscript or Print Design Documents?

This week I received a nice marketing email, and I followed a link in the email to a blog post. I didn't read the whole blog post, but this I did get out of it: the writer had written "check" where it should have said "cheek" — and that was my main takeaway. Probably not the takeaway that the author was intending. 

We've all been in those situations where a typo slips by us. When you are preparing files for print, catching typos and mistakes is even more essential than when preparing text for online media, where content can be corrected with just a few clicks. (I wrote back to the company who had sent me the marketing email, and within half an hour the typo was corrected.)

I won't claim to produce completely error-free print files, but here are a few tricks I've learned to get as close to perfect as possible.

Photo by Jonas Jacobsson

Edit text in software that has automatic spelling and grammar check (and make sure it is turned on). 

If you're typing or writing more than just a few words, make sure to start in a program or browser that provides basic spelling and grammar check. This sounds obvious, but it's easy to start typing in a software that's not flagging any errors. This is your first and easiest error safety net.

In higher-end design software, the option to automatically underline misspellings or grammar mistakes is not necessarily activated. In Adobe InDesign this has to be turned on under Main Menu > Preferences > Spelling. Adobe Illustrator and Adobe Photoshop are not text editing programs, but some people use them that way. They do not provide the option to automatically flag misspelled words; you actually have to manually run a spellcheck (Edit > Check Spelling).

The best option is to always start your typing in a program or software that provides spelling and grammar check, especially if you are not a native speaker of the language in which you work.

Get your computer to read your text to you.

Another helpful tool for catching mistakes in your text is getting your computer to read the text to you. If the author of the blog post I mentioned in my opening text had listened to her article, she definitely would have heard the difference between "check" and "cheek", but it was not a mistake a spell check could have picked up. I have used the free version of the software Natural Reader for this, but usually I just highlight the text on my Mac, right click, and select Speech > Start Speaking. I did it for this blog post, as well, and definitely caught some of those tricky typos.

Proofread a printed version of your document. 

I've heard that we notice 25% more errors when we proofread printed documents than when we proofread on screen, and I believe it. Printing out your document also helps you notice formatting issues — like a font that is too small, or text that is printing too close to an edge that will trim. When I lay out books for my clients, I often encourage them to print out the full proof and read it over in print, no matter how many times they've already read the manuscript over on screen. (And when you're done with that printed proof, please, recycle the paper.)

Ask at least one "uninvolved" person to proofread.

When deadlines are tight, it can be tempting to overlook this step. But any document can benefit from being looked over by another set of eyes. Sometimes you need to outsource the proofreading to a professional. Or just ask someone else who is a bit less involved in the project to read it over with fresh eyes. Last year, at the last minute a team member who had not been very involved in an important project was asked to help with the final proofread. He noticed that the text on the spine of our book was running in the wrong direction — an important detail that four or five of us who were more involved in the project had missed. 

Order a printed proof from your printer. 

While small or low-cost projects might not necessitate ordering a printed proof, for any print project with large amounts of text or that costs a lot of money, it's good to build enough time and money into the project to order a printed proof (in addition to the now-standard PDF proof). The printed proof can help you to recognize technical, visual or formatting issues that would never have come to your attention in a PDF, as well as any proofreading errors. For example, on a recent $10,000+ print project, I was so glad when the printed proof showed us that there would be a score line on the cover that would go directly through the company's logo. This gave us the chance to adjust the position of the logo — it was the only change we made after seeing the printed proof, but a change that made a big difference in the quality of the final product. 

No one's perfect! But the closer you can get your printed piece to perfection, the happier both you and your team or client will be! I hope these tips give you a few new ideas for catching errors in your writing and designing for print, before it goes to press!


Are you writing a book or preparing a document for print? Ask me a question through my Contact page.