Why Should I Hire a Book Designer or Cover Artist?

That's one of those questions that people ask. Sometimes even when they're asking for a quote on a project. Why should I hire you? Or any designer?

Of course my first response to that tends to be "you shouldn't!" Probably not what you expected me to say, right? My thoughts are this. If you're at the stage where you don't believe a professional can help you, then you shouldn't be out looking for one. You have to believe that a partnership with the right professional is the right way for you to go before I want to work with you. Otherwise, you are not likely to end up happy through the process and nor will I be. I want to be as excited by a project as you are. It's true. It makes it much more fun for me.

You should hire a book designer/cover designer if you are new to the publishing field and you want to be successful (as much as we can help you!). There are conventions and expectations that need to be met within the industry that we have spent years learning, crafting and perfecting. And in this every-changing-but-ever-the-same field, we can maybe save you some heartache.

Yes, we're going to charge you a fee. Sometimes a hefty one. But when you hand over your files to the printer, they're going to print (or we'll make it right), and when they do print, they are going to look good. More importantly, when you head out to sell your book, your book should be indistinguisable from those produced by the big publishers. There's a whole language in the publishing industry, just like in other industries, which can make it a steep learning curve. Ease of entry into the industry means that it's awfully easy not to be taken seriously. You only get one shot at it usually, so why not make it count?

Designers:

• know convention and the industry standards
• understand "printer speak", "publisher speak" and know they are not always the same thing
• know what's happening in the industry
• are likely to share insider info, whether you want it or not, so that your project is more successful
• have probably worked with the big players
• know about the sales and marketing of books
• have expensive software to make your book look right
• knows what is likely to sell
• can save you from costly errors

There are things you need to consider when choosing your path:

• what are you goals?
• do you plan on doing one book, or more?
• what is your market
• who do you plan on selling the book to?
• what's your commitment to the project?
• do you have the tools (including software, resources and knowledge) to do it alone?

If you plan on making a few copies for friends and family, by all means do it yourself! Take some time to have fun with it, research the bits and pieces that you need to do, and go for it. There are even great online resources to make gorgeous books for your family out there (one of my favs is Blurb http://www.blurb.com/).
If you plan on making it something more, it's part of your business plan, or this is a step you have to take to bring you sucess, do it right. Designers have the right tools, the right knowledge and the right ideas to help you succeed. In the long run, you'll likely save money by doing it right.
I believe in what I do. I believe that I do it well, and I've got happy clients to prove it. I am selective about the clients I choose though. I don't accept everyone just because they can pay. I will turn down jobs that don't fit my skill set, or because I don't think the partnership between myself and the author will work. This is a very collaborative process and we need to work well together. It's your book -- but it's my job to make it look good. A different designer might go in a completely different direction, and that's ok too -- we all bring a slightly different vision to the table. So the next time you're wondering if it's worth it to pay to have someone to do a book... well, you be the judge. You're the one that has to decide. But don't ask me... I might say no. :^)

My Proof Doesn’t Look Like a Book!?!

After a lot of work, you’ve finally sent off files to the printer and are waiting with bated breath. But what you get isn’t a book, it’s a proof.

Most traditional printers do not send bound proofs (Short run printers often do, but not necessarily). They send out a color version of the cover, that is a close representation of what your cover is going to look like when printed (depending on whether you are printing digital or offset, there may be slight difference. With offset printing, proofs are pulled off a proofing machine, which represents the final cover but may not match exactly. With digital printing, odds are the cover has come off the machine that the books will be printed on, and any differences you see later will be the result of a difference in calibration.) They will also send you a print out of the interior. I’ve seen them come as loose pages, pages stapled in signatures, perfect bound with a blank cover—in each case, the process you as the publisher/author will follow is the same.

A proof is a proof, no matter how it looks. Your job is to make sure that what you see represents what your book should look like.

Start with the cover, it’s shorter.

The Cover:
Your cover should have crop marks on it. This will indicate where the knife trimmer will cut it down once it’s been bound to the book block (or, in the case of jackets, where it will be trimmed before it’s applied to the case). Make sure that nothing falls within 0.5” that you hadn’t intended. Obviously, some things are designed to be cut off—called bleed items. Understand that book binding is a mechanical process—meaning there may be some shift and inconsistency when the book is bound and trimmed. So plan for it. Most printers will tell you 3/8”-1/4”. I always go with ½” to be safe, and because I like there to be thumb room. So check and make sure the title is spelt right, as is the author name. Check to make sure the spine stuff is where it should be. That color looks reasonably good. That the barcode is there, that the printed price is correct. That your back cover text is there and the fonts look right. Make sure the color looks reasonably close to what you envisioned (keeping in mind that it won’t match what you saw on your computer screen or what printed off your local color printer—ever!) That’s it. If it’s all there and looking good, sign off the proof sheet and move on to the book block. You may have noticed that I didn’t suggest you read the back cover text. You certainly can if you like, but at this stage of the game, you shouldn’t—and here’s why.

NOW IS NOT THE TIME TO BE READING CONTENT
By the time you get to the printer’s proof, you should not be reading for content or contextual errors. You should have done that before you sent the proof off to the printer. At this stage it can become very expensive to make changes. An offset printer can charge anywhere from $15 a page to hundreds of dollars to replace a file at this point. It can quickly amount to huge dollars. This is the reason publisher contracts often have a “galley change charges” clause charging authors if they make changes at this stage. With digital printers the cost is usually lower, but it slows down the process and delays your book. Don’t do it. Learn to live with a little imperfection. I once heard the claim that every book goes to print with at least 7 noticeable errors. I would believe it.

Proofing the Book Block:
This is much the same as the cover, and really, should be just about as quick. Starting at the first page, you should see crop marks, again indicating where the book will be trimmed to size. Make sure that those crop marks are outside your safe zone, and that all your text falls inside the book block. Next check pagination—that all the pages are numbered consecutively and in the order you intended. Go back to the beginning and check your running headers and fonts. Make sure that they are there on the pages they should be, and not on the ones they shouldn’t be and that all your fonts look right. Make sure your chapters are in the right order, your name is right on the title page, as is the title. Check the copyright page and make sure the phrase “Printed in XXXX” (whichever country the book is being printed in) is there. If you have photos or line drawings, make sure they are acceptable. If it looks good, sign the proof form and box up the proof to return it to the printer. If you aren’t returning the proof—immediately recycle it. Why? Because if you don’t, you’ll be tempted to read it, and then you’ll find the little things, and you’ll want to make changes. And remember, content changes at this stage cut into any potential profit margin you might have, and delay your book.

And that’s about it. You send off your proof forms and wait in agony for the books to be delivered. If, however, you’ve discovered a grievous error and you must change it, there are some considerations.

Making Changes:
If you have to make changes at this stage, you’ve got two options, maybe three depending on the complexity of the change. Make the decision on how to proceed with changes based on the economics, or the printer’s preference.
1. Ask the printer to do it. Find out the charges first. Can you live with the “error”? (quite often you will be the only one that knows it’s an error), if you can, do. Don’t change it.
2. Make the change yourself (or your designer), and submit a new page(s) files, or a new cover file. Replacing parts of the file is often less expensive than the entire file (offset), because the process is different.
3. Replace the entire file. For big, consistent throughout the document errors. Or if you’re using a digital printer, they will often get you to replace the entire file since they have to re-rip it anyway, and it’s easier to start from scratch.
4. Reproof. Either digitally (PDF electronically) or hardcopy, depending on the complexity of the change.

Do NOT get into multiple redo’s at this stage. If things aren’t going well, stop and put the job on hold. Work on the file in-house (or with your designer), make all the changes to get things up to standards, then start the process with the printer again, because a proof at the printer stage is just to make sure the printed product is going to look the way you are expecting. Nothing more, and nothing less.



Proof Checklist:
Cover:
Color
Crop Marks/Trim Lines
Spine
Author/Title Spelling
Proof Form to Printer

Book Block:
Crop Marks
Pagination
Fonts
Copyright Page “Printed in…”
Running Headers
Photos/Art
Author/Title Spelling
Proof Form to Printer

(A gentle reminder... never read your book again - a single nagging incorrect piece of punctuation can drive you nuts :))