Sure, fantasy novels will always be trendy from a genre point of view. But the diversification of book formats, creator voices, distribution channels, and self-publishing outlets is rapidly reshaping how audiences and creators navigate the literary landscape.

To bring you up to speed, here are some of the most relevant and compelling book trends to look for in 2024.

Surging popularity of self-publishing

Self-publishing isn’t just a publishing option; it’s a burgeoning industry that offers creators more control and potentially higher earnings. Let’s decode what this means for you as a creator.

• Rapid growth in self-publishing: The self-publishing market is booming with a 17% annual growth rate, significantly outpacing the traditional publishing market’s 1% growth, indicating a dynamic and expanding arena for new creators.
• Earnings and royalties: Financial gains can be substantial in the world of self-publishing. Creators on only platforms are reaping substantial rewards, with more than 2,000 authors earning over $100,000 in royalties in 2022 alone. Even better, self-publishing platforms typically offer creators up to 70% of sales revenues, considerably more than traditional publishing royalties.
• Women leading the way: In an encouraging trend, 67% of top-rated self-published books are written by women, offering a contrast to the traditionally published book landscape. 
• The power of independence: The story of Brandon Sanderson, who raised a record-breaking $41 million through Kickstarter for his self-published books, exemplifies the potential of independent publishing.
• Recognition and respect: The self-publishing field is gaining recognition, with prestigious awards like the Pulitzer Prize and the British Book Awards now open to self-published creators. This elevates the status and potential of self-published works in the literary community.
• Publishing frequency and genre diversity: Many self-published creators are prolific, with over half publishing more than 10 books. Romance, fantasy, and crime/thriller genres dominate, accounting for 57% of self-published books.
• Market share and sales: Self-published ebooks comprise 30-34% of all ebook sales, with an estimated 300 million self-published books sold annually. This reflects a substantial market share and opportunity for new creators.
• Realistic expectations: While the average self-published book sells 250 copies at an average price of $4.16, the potential for significant earnings exists. However, it’s important to note that 90% of self-published books sell less than 100 copies, and 20% of authors report no income. This highlights the importance of marketing and audience engagement in self-publishing success.
• Comparative success: Comparatively, among authors who published their first book in the last 10 years, more self-published authors (1,600) have earned over $25,000 a year than traditionally published authors (1,200), according to one survey. 

In addition to novelists and authors, more photographers, fashion designers, and visual artists are self-publishing their books, from interior design portfolios to coffee table books. 

Not only are higher margins a major draw to self-publishing, but this avenue provides you with complete control over the publishing process and ownership of your work. The absence of traditional publishers and literary agents allows for diversity to thrive and underrepresented voices to be heard, eliminating all creative barriers.

Self-publishing companies offer a range of services, including design, formatting, distribution, and marketing assistance, which are essential if you’re a creator who may not have the resources to manage these aspects independently. In turn, the accessibility, marketability, and print quality of self-publishing platforms have been pivotal drivers in reshaping the book publishing landscape.

Trending book genres

Certain book genres are getting more attention than others as we head into 2024. Based on the most popular books to be published in 2023 and popular genres in recent years, several noteworthy genres are on-trend. Of these, young adult, romance, fantasy, mystery and thriller, historical fiction, science fiction, self-help, and memoir are expected to be popular book genres in 2024. 

We also looked at publishing trends by Eightify, Alyssa Matesic, and a survey conducted by OnePoll on behalf of ThriftBooks. Collectively, we found these to be the most popular text-driven book genres of 2023.

• Fantasy
• Romance
• Young Adult
• History
• Sci-Fi
• Comedy
• Action-Adventure
• Mystery
• Horror
• Thriller/Mystery
• Self-help
• Mythology
• LGBTQIA+

We also explored the top genres for photo books, graphic novels, and art books in 2023. 

• Trending photography books: Some of the leading photography book genres include portrait photography, landscape and nature photography, documentary photography, fashion photography, street photography, fine art photography, black and white photography, travel photography, wildlife photography, and photojournalism. There’s plenty for you to pick from!
• Popular graphic novel genres: Graphic novels continue to be a popular genre, with a wide range of sub-genres and styles. Some of the most prominent graphic novel genres include fiction, memoir, life-writing, documentary journalism, and comic-strip narratives. If you have an interest in selling your visual storytelling, it’s a smart plan to try these genres in 2024.
• Top art books: Art books are an extremely diverse category, encompassing various styles, movements, and artists. Rather than chasing a trend, you’ll want to feature your work alongside text, whether you’re sharing your painting, sculpture, or more.

These popular genres reflect the diverse and evolving nature of visual storytelling and artistic expression, offering a range of content for enthusiasts and professionals alike.

Proliferation of photo books

Photo books have become a popular creative outlet for an increasingly diverse market of consumers. While the general photo album market for weddings, family vacations, and more is the biggest pool in this rising tide, the proliferation of photo books extends into many professional applications.

Professional photography portfolios are one of the largest categories, with landscape, wildlife, portrait, and street photographers being a driving force in 2023 and likely will continue into 2024. 

However, such printed works aren’t limited to these photography-specific genres. Independent artists of all types—graphic artists, fashion designers, painters, sculptors, and illustrators—use photo books to showcase their work through a visual narrative. Even marketers are using photo books for visual storytelling and branding purposes. 

If you’re interested in sharing your photo book, the emergence of new technologies is helping to expand the market with state-of-the-art photo printing technologies. Plus, the availability of print-on-demand photo book services allows for professional-quality custom prints and photo books like never before.

Diversification in the industry

The Diversity Baseline Survey (DBS), which gathers statistics about diversity in the publishing workforce, clearly shows a lack of diversity in the publishing industry, specifically underrepresented groups. In short, the industry has been historically white.

But race alone isn’t the only major disparity. DBS also highlighted gender, sexual orientation, and disability-related differences in the publishing industry. Cis women are among the most dominant gender group, representing 74% of the industry, while 81% of the overall industry identifies as straight or heterosexual. 

In response, there’s a considerable push for greater diversity in the book industry, with publishers recognizing the need for diverse voices in books. In 2024, we can expect to see publishers continuing to diversify their workforces’ racial and cultural makeup. 

While the efforts of major publishing houses will be pivotal in shaping the trade book publishing sector, hundreds of indie publishers will also affect the industry’s direction toward greater diversity, equity, and inclusion. These publishers are committed to promoting diversity in all forms of publishing and championing inclusion and employment equality. They support and specialize in publishing diverse and inclusive books, amplifying marginalized voices, and providing opportunities for underrepresented creators. 

If you’re a member of a historically marginalized group or a creator focused on uplifting their stories, 2024 could be your year for a publishing deal. And if publishing deals aren’t your focus, the proliferation of self-publishing is contributing to a more equitable and inclusive publishing landscape that enriches the literary and artistic community.

Adoption of AI

Artificial intelligence is one of the hottest topics in the book industry. However, the use of AI extends far beyond content creation and writing assistance. In 2024, we can anticipate AI having a mainstream role in many aspects of the book industry.

• Editing and proofreading: AI technologies are rapidly increasing the efficiency of the editing process, allowing you to quickly and accurately identify errors, detect plagiarism, and generate reports. Authors A.I. is one such tool that provides an expert analysis of your work in minutes.
• Marketing and promotion: AI will enable books to morph into additional revenue-producing mediums in ways we’ve never seen before. AI-powered marketing can help you target the right audience, optimize ad campaigns, and track performance. Craft compelling marketing messages with tools like JasperAI or design engaging branding materials with the help of Looka.
• Data analytics: AI can analyze market trends, audience preferences, and book sales data to provide valuable insights for publishers and booksellers. This information can help you identify emerging genres, understand reader behavior, optimize pricing strategies, and make data-driven decisions. While there are tons of options, KNIME is a free and open-source platform offering a complete toolkit for analyzing and mining data with machine learning.
• Book discovery and searchability: AI-powered search algorithms can enhance the discoverability of books. By analyzing book content and user interactions, AI can tailor search results to show relevant books that readers might like. Librarian AI is an early-stage example worth checking out.

Other popular tools like Admiral, DeepL, Spiny, and Hemingway are testaments to the adoption of AI in the book industry, and we can expect to see more platforms in the coming year. 

Expansion of children’s books

If you think the widening market of photo books is compelling, wait until you see the expansion and diversification of children’s books in 2024. Here, we anticipate seeing more children’s books centered around three main topics.

• Diversity and inclusivity: There is an increased demand for children’s books with diverse characters and stories representing different cultures and backgrounds. It’s not just about skin color or ethnicity. Children with disabilities or in non-traditional family structures deserve to see themselves in the books they read. 
• Emotional intelligence: Today, children face mounting social complexities and struggles, so there’s a growing need for books that help children understand and manage their emotions. This goes hand-in-hand with how to navigate prevalent social issues children face, like bullying, discrimination, school violence, and issues around social media.
• Environmental awareness: Creators are acutely aware that the next generation of leaders will ultimately shape the future trajectory of our environment. Books that speak to our planet and the importance of looking after it will continue to be a popular subject for children’s books.

For examples of these book trends, check out the exhaustive list of 2024 children’s book sneak previews from Publishers Weekly.

If you’re inspired to contribute to the vibrant and meaningful category of children’s books, consider what unique perspectives or stories you can offer. Embrace authenticity and think about how your book can resonate with young minds, whether it’s through innovative storytelling, engaging illustrations, or exploring topics not commonly addressed in children’s literature.

Growth in graphic novels

Another billion-dollar book market with explosive growth in recent years, comics and graphic novels are forecasted to see rising interest, especially with many new publications on the horizon.

Among the most important is a new line of graphic novels called DC Compact Comics, showcasing DC stories across many genres, including science fiction, thrillers, horror, fantasy, adventure, and mystery. Undoubtedly a highly anticipated wellspring of comic inspiration, these “read anywhere” graphic novels will be released in June 2024.

Equally important in a male-dominant book market, the female-driven YA graphic novels are a powerful series showcasing strong, heroic young women as prominent characters with their own stories to tell. More than just a trend, these works highlight women as the creative talent and fan base behind graphic novels.

It’s become so much easier for creators to reach a wider audience with their visual stories. If you’re a graphic novelist, consider collaborating with other creators, pushing your boundaries into new genres, and diversifying your character creation. This is the year to push yourself!

Striving toward sustainability

Sustainability and eco-conscious book publishing trends are becoming increasingly urgent in the book industry. In the US alone, around 32 million trees are used to produce books each year. The book production process emits over 40 million metric tons of CO2 on a global scale. 

While audiobooks and ebooks are an obvious solution to this environmental problem, there are alternatives to becoming more sustainable and carbon neutral. By utilizing print-on-demand services and printing books only when needed, publishers and bookmakers can deliver books more cost-effectively while minimizing waste and using fewer resources. 

Likewise, you can help enable these trends by working with small indie publishing platforms, self-publishing with print-on-demand services, and prioritizing sustainability as one of your primary criteria when choosing a publisher. While major publishing houses like Penguin are making strides toward sustainability, their long-term goals are distant compared to what we creatives can do today to make positive change happen. 

Ascension of audiobooks

An undeniable behemoth in the book industry, audiobooks are expected to continue to grow in popularity and revenue in 2024. In the US, the audiobook market is expected to escalate at a rate of 20% to 25% per year over the next seven years, and the global audiobook market is expected to expand at a compound annual growth rate of 26.3% from 2023 to 2030. 

According to Words Rated, the audiobook share of the global publishing market will exceed 10% by 2027. By 2030, projections show that audiobooks will account for over 21.3% of the global book publishing revenue.

The audiobook market skews on the younger side, with 57% of audiobook listeners between 18 and 44 and the largest individual growth in audiobook listeners between 18 and 24 years old. The ascension of audiobooks is a call to action for you to consider diversifying your work into digital formats, which could mean reaching new audiences that wouldn’t otherwise pick up a printed copy. 

As the audiobook market continues to grow, you can explore platforms like Audible, Scribd, and Google Play Books to publish their audiobooks. Given that only 1% of audiobooks on Audible are self-published, collaborating with an audiobook publisher or a professional narrator could significantly increase your chances of success in this competitive market. 

Additionally, advancements in AI technology offer an accessible alternative for turning written content into audiobooks, though the human touch of a professional narrator often provides a more engaging listening experience. If you’re considering self-publishing, platforms like Audiobook Creation Exchange (ACX) can help connect with narrators and producers and distribute your audiobook across major platforms. 

While the audiobook landscape may require additional effort and investment on your part, the potential to reach a broader, tech-savvy audience makes it a worthwhile to try in 2024.

Direct-to-consumer sales

Driven by the surge in self-published book sales and more creators aiming to take ownership of their books’ profitability, direct-to-consumer (D2C) sales are gaining traction as a significant trend in the book industry. For emerging authors and creators, the emphasis has shifted towards establishing a direct rapport with their audience, circumventing the conventional distribution and marketing channels.

Engaging in D2C sales is not merely a transactional choice but a strategic investment in your brand. You are building trust with your audience and offering them more chances to interact directly with your branding. Thanks to modern publishing avenues, like print-on-demand, getting more economical and flexible, the process of selling books directly to your fans is actually simple.

By adopting a D2C model and using your own channels (like your website, social platforms, email list) to sell your work and communicate with fans, you can foster a closer connection with your audience, retain greater control over your work, and maximize your earnings potential. It’s an empowering and forward-thinking approach that is reshaping the future of publishing.

Short-form content

Short-form content is becoming more popular among readers, meaning book publishers and self-directed creators must find new ways to craft content for quick consumption. Short-form content is easily consumable, bite-sized pieces of information that an audience can quickly digest. 

Serialized content, short stories, zines, and flash fiction are some of the digestible content that meets this rising demand. This is particularly relevant in digital publishing, with shrinking attention spans and an over-abundance of content, making it an uphill battle to capture an audience’s attention. 

So what does that mean for you and your currently published books? It may be smart to translate your long-form work into digital short-form content like blog posts, PDF guides, videos, and reports. While this type of content won’t likely replace books, it will serve as a healthy supplement to make your work more well-known and wildly distributed. 

Smarter book marketing

Beyond trending book genres and formats, the world of book marketing is increasingly dynamic and exploring new methods every year. The strategies and channels creators use to promote their books are constantly evolving. And in 2024, we can expect to see a few major trends that will work in your favor.

• Authenticity: Authenticity is becoming more important in book marketing, with audiences responding positively to marketing messages and content that’s genuine and relatable over well-polished, high-quality productions.
• Social media: Now more important and relevant than ever, social media continues to be a powerful tool for book marketing, with creators and publishers using platforms like TikTok and Instagram to connect with their audience and promote their books.
• Connecting directly with fans: Powered by influencer marketing, social media, and trends like #BookTok, we can expect to see a continued effort in connecting directly with fans over traditional marketing strategies.
• Virtual events: Virtual events have become more prevalent in recent years, with creators and publishers using platforms like Zoom and Facebook Live to host book launches, creator talks, and other events that ultimately support book sales.
• Email marketing: Email marketing is one of the most effective ways to maintain lasting relationships with your audience. You can work to build your email lists to promote your books and connect more deeply with your audience.

Technology will continue to play a significant role in book marketing and how promotional content is produced and consumed. As we saw, the advent of artificial intelligence is changing how some creators market their work and manage relationships with a target audience.

Be a proponent of change with Blurb

Self-publishing platforms like Blurb have been instrumental in these trends and give creators the liberty to bring their books to life. With intuitive bookmaking tools, vast customizability, and print-on-demand capabilities, Blurb offers an economical solution to create bookstore-quality finished products. Learn more and start your project today.

The post Book trends to look for in 2024 appeared first on Blurb Blog.

So whether you’re elevating your portfolio or boosting your branding and marketing efforts, we’ll explore how creating a photo book can help you express your creativity and take control of your work.

Are photo books worth it?

Dismissing print and photo books as irrelevant can be easy. After all, you can instantly reach a global audience with a website, ebook, or Google ad—or get discovered by going viral on TikTok or Instagram. 

So why print in the digital age? Here’s TL;DR on why photo books are worth it. 

• Tangibility is timeless. First, photo books offer a hands-on experience that no screen can match. You can touch the pages, feel the texture, and get up close and personal with your photos.
• Photo books are the ultimate storytellers. They let you curate your best shots into a cohesive narrative, like a director creating a blockbuster movie. And, like a movie in a theater, you aren’t fighting for your audience’s attention with popup ads and the next post a click away.
• They’re a high-impact medium. We’ve all gotten used to scrolling, clicking, typing, and tapping to the point where digesting any digital content is slightly numbed by the interaction of a device. Swap a digital device for a photo book, and you bring your stories to real life.
• You gain complete creative control. Here’s the cherry on top: Photo books give you total say over how your work is presented, from layout to paper quality. It’s like having your personal art exhibit without the pitch, setup, and location-bound setting.
• Your marketing and branding get elevated. Whether you aim to showcase your work as a portfolio or tell a specific story with your photos, a book offers an engaging platform to level up the engagement and memorability of your work, especially when it comes to marketing and branding yourself as a professional.
• Photo books are the perfect keepsakes. Unlike digital files that can disappear into the abyss of tech failure, physical copies are here to stay. They’re like time capsules of your creative journey, ready to be passed down to future generations.

There are a plethora of photo-sharing platforms that are convenient and low-cost. Print-on-demand photo books are one such platform! And with print, you can make a powerful, standout impression that makes your work more memorable and enjoyable to digest. 

Why photo books add value to any project

There’s no denying that photo books hold their value, especially in an era when we view most things from a device. Producing a physical portfolio or photo book can elevate your work and build your brand as a photographer, artist, or creator. It’s a power move for your creativity. Let’s dive deeper into the reasons that make creating photo books worthwhile.

1. Narrative storytelling

A photograph can tell a much richer tale than any number of words. It’s a whole story in one shot. But we often scroll past images on digital platforms without genuinely understanding their meaning. That’s where photo books win against digital content.

A photo book lets you curate your work so that each image flows seamlessly into the next, giving you total control over the narrative. Flipping through the pages and experiencing how one photo leads to another takes viewers on an immersive journey through your creative vision.

• Narrative control. Every page turn in a photo book reveals something new and unexpected. You control the suspense, climax, and photographic narrative.
• Structure. Digital platforms often display images individually, rather than as part of a thematic collection. With a book, you can ensure each image is seen with the others that help bring it to life.
• Context. While photos are powerful on their own, captions provide additional insight into the captured moment or what inspired you. A photo book gives you space to add depth and truly weave a story.
• Detail. From paper choices to font selection, every element contributes to the tale you’re telling. Photo books allow greater direction over each design detail.
• Permanence. Digital platforms and formats change, but a photo book remains constant. Your narrative in a photo book is preserved exactly as you intended it, forever.

Photo books give you the freedom to control your narrative. In a world where content is consumed and forgotten within seconds, photo books offer the time and space to weave a story that will be remembered. 

2. Elevated portfolios

Today, putting your work on the web is a requirement for almost any creative field. But let’s not forget about the impact that traditional mediums can have. Since a website is status quo, a tangible photo book can make your portfolio stand out—especially during in-person meetings.

A photo book also lets you showcase your photos in a way that digital portfolios can’t. Flip through pages filled with stunning images on high-quality paper, and you’ll see. The physical act of touching and turning pages adds depth to the viewing experience, something that you can’t replicate digitally. It enhances engagement and creates a stronger connection between viewers and your work.

• Professionalism. A well-designed photo book shows you went above and beyond to prep for your meeting. Plus, it shows you know print as a craft.
• Curation. Unlike digital platforms with unlimited space, you must curate your images and create a cohesive narrative to fit within a book.
• Attention. When hiring managers look at a physical object, they can’t scroll away or get distracted by an email notification. A book helps keep them in the moment and focused solely on your work.

Printing a portfolio book offers unlimited creative possibilities, enabling you to present your work originally. Still on the fence? Explore the pros and cons of a portfolio book versus a digital portfolio. (Psst. We think you should do both.)

3. Impactful brand building

In the visual arts world, having a standout brand is a must. A photo book is your secret weapon for showcasing your unique point of view and making a lasting impression.

A photo book isn’t just a compilation of photographs; it’s an opportunity to display your distinct flair and leave a long-lasting impression. It’s a physical representation of your artistic identity that captivates viewers and leaves them wanting more.

• Trust. Physical books invite viewers to engage, touch, and feel your work. This makes your brand feel real and substantial, enhancing trust with your potential clients.
• Personalization. Print-on-demand photo books allow for a high level of customization, from adding a dedication to swapping out projects. Personalizing books for your top-tier clients shows you care.
• Quality. Photo books let you showcase images in their best light while controlling for issues like display calibration. If your wedding package includes a print book, you are showing off the final product a prospective client can expect.
• Longevity. Photo books are long-lasting, making them a constant reminder of your brand’s message and values. Unlike digital content, which can quickly become lost in the endless online stream, a photo book remains a permanent fixture on a desk or coffee table.

Your choice of paper, cover material, design layout, and overall photo book format come together to shape the perceptions and image of your brand. With print-on-demand brands like Blurb, you can customize these elements to align with your brand’s personality while leveraging bookstore-quality standards.

4. Smarter networking

Pro photogs know that connections are crucial in this industry. A photo book can be a powerful tool for establishing relationships and growing your network. Think of it as your calling card—showing the people you want to know who you are and what you can do.

Your book is your opportunity to present your unique perspective and an embodiment of your creative vision. As people navigate your book, they are not just browsing images. They’re taking time to ponder if your visions combined can lead to fruitful collaborations or professional opportunities.

• Better business card. The purpose of a card is to continue a connection. A photo book has the added benefit of not just sharing your contact information, but also giving an in-depth look at your work. Add in the story of who you are as a creator, and you have an artifact that will make others want to keep in touch.
• Example of your work. Showing others what you can do is the fastest way to gain their confidence. If you’re seeking collaborators, bring a photo book of work you’ve done with others. If you’re a designer looking to get in the door to an agency, take a book of your agency work.
• Conversation starter. Just like a coffee table book prominently displayed can start a chat, a photo book can serve as a conversation piece during networking events. People are more likely to engage in a conversation when there’s something physical to discuss.
• Versatility. While many think of photo books as expensive, hardcover collectible pieces, a photo book can be economical too. You can create one that is only a few pages and can be printed on regular paper or cardstock. Build what works for you—whether you’re mailing tons of cheaper books to generate work or printing a single, spendy layflat for a few high-profile meetings.
• Reference material. Having an actual portfolio book to show off your work is invaluable. It can clearly illustrate your process, range of skills, and how you approach different projects. Bring one with you to meetings with your mentors to gain valuable feedback.

Plenty of creatives bring a tablet or computer to networking events and coffee chats to show off their work. But there are so many reasons to consider a print book, too. By integrating photo books into your networking strategies, you can leave an unforgettable impression.

5. Limited editions

There’s nothing like viewing photography in print. Original images hung up in a gallery or museum let you experience a work of art larger than life. But there are only so many museums and galleries. That’s why photo books, for many, are the most practical way to view a photographer’s work. And, unlike art hung on a wall, they’re pieces of art you can hold.

Producing a limited-edition photo book can elevate your photography to the realm of fine art. These collectible items can become desirable for enthusiasts, collectors, or fans who appreciate your book’s exclusivity and uniqueness.

• Exclusivity. Limited edition photo books offer a sense of exclusivity, making them intriguing to collectors and even casual fans of your work. They can also increase the perceived value of your photography, which will help your brand.
• Increased value. Collectibles increase in value if the artist becomes more popular or the work itself becomes historically significant. If you’re a star on the rise, yours is an excellent investment for collectors.
• Marketing advantage. Announcing a limited edition run creates urgency, making it a great marketing strategy that can help to drive up demand and interest in your work.
• Control. Limited editions also allow you to maintain control over the distribution and ownership of your work. You can ensure that it remains rare and valuable, rather than mass-produced.
• Enhanced design. Take this chance to pull out all the stops. Add in special features like autographs, unusual format, bonus content—whatever you can think of.

If you’re looking to increase your visibility, generate excitement about your work, and add a new revenue stream to your business, try a limited edition run. It’s a great way to stand out from the crowd and add value for your collectors.

6. Engaging educational tools

Photo books are often like secret portals for viewing the world. A photo book isn’t just a collection of attractive visuals; it’s an opportunity to explore the lessons and stories behind each photograph. Whether art, history, geography, or personal experiences, photo books offer a fascinating means to learn and explore new things.

• The power of visual learning. Photo books are like learning stimulants for your readers’ brains. They use images to help engage and educate us about people, places, and points of history.
• Cultural exploration. Forget about armchair traveling through Instagram. A photo book dedicated to different cultures helps you offer a first-class ticket to viewers so they can understand niche aspects of the world.
• Historical documentation. History books are cool, but photo books are time machines. You can capture moments in history and bring them to life via photo books in a way that textbooks can’t. It’s like sharing a front-row seat of the past.

For all ages, photo books are both educational and inspirational. Remarkable photo books can be the catalyst for new travels and life directions. And the act of flipping through the pages is sensory, helping support retention and learning.

7. Archival documentation

A well-crafted photo book is the superhero of archival documentation and legacy preservation. Unlike digital versions that are prone to becoming obsolete and forgotten, a tangible book can preserve your work for distant generations.

• Preserving memories. Photo books keep memories alive for future generations. They’re like low-tech time capsules. Whether it’s family history or life milestones, photo books freeze your favorite moments in time with tons of detail.
• Nostalgia. Photos bring back memories, and many woven together makes you feel like you’re reliving the past.
• Catharsis. Creating a photo book can be soul-baring if you use your photography as self-expression.
• Inspiration. High-quality visuals in a photo book can help spark your creativity and present you with new perspectives.

This type of documentation extends well beyond just personal use. Photo books are a staple in museums and libraries, helping articulate history and preserve cultural heritage. 

The enduring appeal of photo books in a digital world

In a digital domain where screens reign, it’s easy to dismiss photo books. So, why consider photo books for your project?

• Show off your skills. A photo book is like a VIP pass to your photography prowess. It lets you curate your best shots and impress everyone with your artistic eye.
• Make a lasting impression. Want to leave a mark on clients or gallery owners? A stunning photo book or coffee-table book will do the trick. Creating a memorable experience with the tactile sensation of paper and high-quality prints is an irreplaceable part of viewing art.
• Get touchy-feely. There’s something magical about flipping through real pages and feeling the weight of high-quality prints. It’s a sensory experience that digital galleries just can’t replicate.
• Evoke emotions. Photo books can engage readers and evoke emotions to a degree that digital outlets can’t touch.
• Tell a story. With a photo book, you’re the storyteller. Arrange your photos strategically to guide viewers on a captivating narrative journey.

Not limited to these qualities, photo books also offer lasting archival value, networking potential, and educational utility. They’re the Swiss Army knives in the creative world of visual arts. 

***

Blurb is a self-publishing platform built for photographers. If you’re ready to unleash the power of print, check out Blurb’s photo book options. They offer something special that digital media just can’t match. 

The post 7 reasons why photo books are worth it in the digital age appeared first on Blurb Blog.

As a comic book writer, you’re constantly exploring various graphic novels and comics—some of which may be ready to publish and share with the world. If you’re still getting started, we suggest checking out this post on how to start a comic book, which provides a step-by-step process for beginning.

This guide focuses on how to self-publish a comic book, taking you from finalizing your art to printing and marketing your work. It may not be as fun as the creative process, but it’s crucial for turning your work into a finished product. Let’s dive in.

Benefits of self-publishing your comic book

Historically, getting your work published meant submitting your work to a major comic book publisher in hopes of sparking their interest. For many comic writers, this avenue was a distant long shot, limited to the best of the best and highly-regarded creators who already had a track record in the industry.

Nowadays, self-publishing platforms have lowered the barrier to entry, making it possible for anyone with a finished concept to publish a comic book. In addition to accessibility, the ability to self-publish your comic book comes with many benefits, including:

• Retaining creative control: Self-publishing allows you to take control of your creative process. From deciding on the story arc to depicting your characters with creative liberty, you to tell your story without constraints.
• Faster publishing times: Self-publishing typically results in faster publishing times than traditional publishing.
• Bigger return on investment: One of the most desirable benefits of self-publishing a comic book is keeping more of the profits. That’s because creators partnering with traditional publishers only receive a percentage of the sales.
• Complete ownership: Unlike traditional publishing, self-publishing means retaining complete ownership of the finished product, giving you complete creative and marketing control.
• More fulfilling endeavor: Although writing and designing comic books and graphic novels is time-consuming, it can be extremely fulfilling.
• Involvement in every aspect of the book’s production: Self-publishing means you’ll make decisions about every part of the book’s creation, from content to cover.
• Superior quality control: Some self-publishing platforms, such as Blurb, provide professional quality control and fast turn-around times, rivaling the finished product of major publishing companies.

Self-publishing gives creators complete control over every aspect of their comic book’s design and content. Likewise, cutting out middlemen, like book agents and publishers, means indie creators can keep more of the revenue generated from their work. It’s a no-brainer why so many creators are pursuing the control, liberty, and fulfillment of self-publishing.

Finalize your comic book

After countless hours of hard work creating your comic book, it’s time to finalize all the moving parts to get it ready for publishing. Here are some key considerations to help in finalizing your comic book before moving forward with self-publishing your work.

Determine your desired format type

The term “format” can have many meanings in the publishing world. But in this context, decide whether your comic book will be in digital form, printed copies, or a hybrid of both. In this guide, we emphasize printing physical copies. However, most of the advice applies to all formats and finished products.

Use the correct formatting

The other meaning behind the format focuses on layout and sizing. The arrangement of your book’s content should align with the dimensions of your desired book format. Blurb’s trade books, available in 5 by 8, 6 by 8, and 8 by 10 inches, match well with most comic book specs. The magazine format is also suitable if you want more page real estate.

The formatting of your comic book is crucial for a professional look and feel. Ensure all pages have consistent margins, font sizes, and panel spacing. Also, verify that all images are high-resolution for printing purposes. These formatting considerations are critical when assembling the final version of your comic book.

Edit and proofread

It’s wise to hire a copy editor or proofreader to review your comic book before you upload it for printing and distribution. Although you might be confident in your editing skills, getting a second set of eyes on your work pays dividends to ensure your book is polished and professional. In addition to correcting spelling and grammar mistakes, experienced editors help with word choice and fine-tuning the flow and delivery of your stories.

Design your comic book’s cover

If you’ve yet to create a cover for your comic book, this is a key box to check in finalizing your work. Your cover design should be eye-catching enough to attract potential readers while accurately representing your book’s content. Select an appropriate color scheme and imagery that showcases key characters and complements your story arc but doesn’t give too much away.

Decide how many copies you’ll need

You’ll want to determine how many copies to print based on demand or budget constraints. This decision helps determine what self-publishing platform to use if you’ve yet to select one. For instance, some platforms require a certain minimum amount, while other print-on-demand providers allow you to print single copies as needed.

Choose a self-publishing platform

There is no shortage of self-publishing platforms, each offering its own bookmaking tools, printing options, and distribution reach. Depending on the format and goals of your comic book, some platforms are more suitable than others. Here’s a breakdown of some of the most popular options, along with the pros and cons of each.

ComiXology

Now a brand under the Amazon umbrella, ComiXology is a popular digital comics platform. Amazon has created the Kindle Comic Creator tool specifically designed for independent comic book creators. It allows creators to publish their work digitally and reach a wide audience of comic book readers.

• Pros: Access to a large and established reader base; potential exposure to a broader audience; integration with Kindle devices and apps; royalty payments for sales.
• Cons: Unable to publish on other sites; no indie creator highlights on storefront; high cost; limited control over pricing.

Webtoon

Webtoon is a popular webcomic platform that offers a unique vertical scrolling format. Creators can publish their comics on Webtoon Canvas, gaining access to a large and engaged online community.

• Pros: Wide exposure to a dedicated readership; potential for viral reach and popularity; optimized for mobile viewing; potential to earn revenue through the Ad Revenue Sharing Program and Patreon integration.
• Cons: Primarily digital-focused; limited control over formatting due to the vertical scrolling format; more suited for ongoing serialized stories rather than traditional print editions.

Gumroad

Gumroad is a platform that enables independent creators to sell digital products directly to their audience. It supports self-publishing digital comic books and offers marketing and sales tools.

• Pros: Direct sales to your audience; flexibility in pricing and content; additional features for building a fan base and managing subscriptions; ability to sell digital and physical products.
• Cons: Less focused on the comic book market; self-promotion and marketing efforts required; limited discoverability on Gumroad’s platform.

Tapas

Tapas is a webcomic platform that allows creators to publish and monetize their comics. It offers a mix of free and premium content, providing opportunities for creators to earn revenue through ad revenue sharing and tipping.

• Pros: Access to a large and engaged readership; ability to earn revenue through ad revenue sharing, tipping, and premium content; opportunities for promotional features and contests.
• Cons: Primarily digital-focused; limited control over the pricing of premium content; potential competition with a large number of other creators for visibility.

Morris Publishing

Morris Publishing is a self-publishing platform tailored explicitly for comic book creators. It offers a range of services, including printing, distribution, and fulfillment, to help creators bring their comics to a physical audience.

• Pros: Focus on physical book printing and distribution; professional printing quality with customization options; assistance with distribution and fulfillment.
• Cons: Limited digital reach and discoverability; potentially higher upfront costs for printing and services; self-promotion required to build an audience.

Blurb

Blurb is a world-class self-publishing platform that supports various types of publications, including comic books. It provides easy-to-use tools and templates to create and publish your comic book in various print formats and across integrated distribution channels to sell your work.

• Pros: Flexibility to print physical copies on demand; fully-customizable layouts and designs; high-quality professional printing; the ability to sell through Amazon and Blurb’s bookstores.
• Cons: Comic book market is one of many supported types but not a core focus; self-promotion and marketing efforts are required to reach an audience.

If going the digital route, there can be advantages to choosing platforms specializing in comics. But if you want to print professional-quality hardcopies, utilizing the print-on-demand services at Blurb is a great option that many comic book creators choose.

Fund your comic book 

If your comic book is more than just a hobby or passion project—it’s a business venture aimed at making money—then you’ll need sufficient funds to print and market your book. That’s where things get tricky! Here are the top ways to get your comic book or graphic novel into the market.

Crowdfunding platforms

Create a compelling Kickstarter campaign and offer backers rewards based on different pledge levels. Craft an engaging pitch, showcase sample artwork, and share your vision for the comic. Promote your campaign through social media, email newsletters, and engage with potential backers to generate interest.

Similar to Kickstarter, Indiegogo allows creators to launch crowdfunding campaigns. Utilize the platform’s tools and resources to create an engaging campaign page, reach out to your existing network, and connect with your new audience and backers.

Pre-sales and pre-orders

Offer pre-sales or pre-orders for your comic book through your website or online platforms like Gumroad, Big Cartel, or Shopify. Promote the opportunity to secure a copy of the book before its release, potentially with exclusive bonuses or limited editions to incentivize early purchases.

Depending on your audience, leverage social media and email marketing to generate buzz and direct potential readers to your pre-sales page. Stay engaged with your audience, provide updates, and create a sense of anticipation for your comic book release.

Patrons and subscription models

Establish a Patreon page or offer a subscription model through platforms like Gumroad or Tapas. Provide patrons or subscribers exclusive content, behind-the-scenes access, early previews, or bonus material. Regularly engage with your supporters and make them feel part of a community. Consider offering different tiers of membership or subscription levels with varying benefits and rewards to cater to supporter preferences.

Collaborations, sponsorships, and contests

Seek collaborations with brands or businesses that align with your comic book’s themes or target audience. This approach explores partnerships that can provide financial support, cross-promotion, or sponsorships to help fund your project. Engage with local businesses or organizations interested in supporting local artists and creators. Seek out potential sponsors or patrons willing to invest in your comic book.

Also, explore contests and awards that offer financial support or exposure to winners or finalists. Winning or recognition by these competitions provides validation and visibility for your work. Check out Script2Comic and Negative Space for contests that may be worth exploring. 

Publishing your comic book

Once you’ve finalized your comic book and chosen the ideal platform, it’s time to submit your book and have it self-published. Each platform has its own process, but most will involve some combination of the following.

Create or upload your book

The content of your book should be finalized and ready to publish. Many platforms have proprietary tools for this. With Blurb, you can use its free bookmaking tool called Bookwright or sync with Adobe Photoshop, InDesign, and Lightroom to create your book. You can also upload a PDF of your book to have it published. 

Choose your book size and paper type

Depending on your book’s format, choose from different styles and sizes, like 8 by 10 inch hardcover books for limited editions or 5 by 8 inch softcover books for affordable and portable comics. Remember to carefully select your paper type and printing options—there’s no reason to pay for full color if you are creating a black and white copy, but you’ll definitely want premium paper and premium color printing if you’re crafting a high-quality, full-color print edition.

Order a proof copy

A proof copy is a single copy of your book that allows you to review and make any necessary changes before ordering additional copies. If you plan to distribute your book, it’s standard practice in the printing world to order and review a proof copy to ensure it’s exactly how you want it. This is a good time to pass it around to friends and family to see who can find any errors before you print multiple copies or put it up for sale online.

Print on demand

Print-on-demand technology means books are printed as they are ordered, rather than all at once as larger traditional publishers do. Printing copies as needed eliminates the required resource for large inventories—not to mention figuring out how to ship your book to buyers. Unlike days past, print-on-demand doesn’t compromise on quality. Today, your finished product will match the pristine quality you’d expect from traditional publishing houses.

Set your price

Self-publishing a comic book allows you to determine the price of your book. In setting the price, take into account your publishing costs and any fees or percentages that distribution channels like Amazon take when your book is sold. Pricing can be tricky, so you’ll want to do a deep dive with our ultimate guide to pricing for self-published creators.

Market your comic book

Let’s get real. Marketing your comic book isn’t always easy. Yet, it’s crucial to make your book successful in an increasingly saturated space. Here are some of the best marketing and distribution strategies when self-publishing your comic book. 

Build an online presence

There’s more than one way to create your web presence, but we recommend starting with a website. This could be a personal portfolio website to market yourself as an author or a fully-functional ecommerce store where people can buy your book. 

Next, invest in building or growing your social media presence. Platforms like Twitter, Instagram, and Pinterest are effective for cultivating a following and promoting your comic book. You can also experiment with social media advertisting to raise awareness and generate traffic to your site.

Leverage distribution channels

This is where publishing through niche comic book platforms has its advantages. Platforms like ComiXology and Webtoon have strong track records in helping creators reach a broad audience of comic book readers. However, sometimes these platforms are limited to digital-only books.

Make sure you are harnessing the distribution potential of each of your sales channels, like Amazon, Ingram, and Blurb’s online bookstore. Many online retailers have ways to run ads and tips on optimizing your book’s descriptions so you can show up higher in search results. Do plenty of research and take advantage of these channel-specific marketing solutions.

Attend comic book conventions

Attending comic book conventions and events is a great way to meet prospective customers, connect with existing fans, network with other creators, and ultimately, sell your book. The comic book scene is a community of passionate people. So, attending in-person events is a powerful way to reach hyper-targeted audiences actively interested in exploring new comic books and emerging creators.

Work with online and offline retailers

Certain retail outlets, such as local bookstores, aren’t going to stock your book automatically. Typically, you must reach out, pitch your book, and secure valuable shelf space. You can also contact numerous online comic bookstores, some of which have local storefronts.

This is just the tip of the iceberg in marketing your comic book. Some creators build momentum by buying paid ads and media placements, offering free samples to generate interest and build a fanbase, or collaborating with other brands and influencers. Just keep your marketing efforts ethical and relevant to those you’re trying to reach.

How much does it cost to self-publish a comic book?

The cost of self-publishing a comic book depends on a range of factors, such as the book’s length, printing method, book size, paper choice, and marketing strategy. Of course, the cost of these factors weighs heavily on the publishing platform you choose and your overall project goals, as the options and quality of printing services can vary widely.

In general, the cost of self-publishing a comic book usually varies between a few hundred dollars to several thousand dollars. Hobbyists aiming to make a comic book for fun can fund their project for far less than creators looking to sell their book to the masses.

For instance, if you only need one copy at a time, Blurb’s print-on-demand allows you to publish your comic book for as low as $13.99 per book for a 5 by 8 inch paperback trade book format with up to 24 pages.

Conversely, volume print runs can reduce costs with bulk orders. This is advantageous for creators anticipating high demand for their work and substantial sales potential. However, this option is generally more suitable if you have significant marketing momentum and budgets in the thousands of dollars.

Self-published comic book creators examples

Creators ranging from creative enthusiasts to notable writers have used Blurb to self-publish their comic books. Here are a few of those creators and the work they’ve put out into the world.

Lauren Cohen

Artist and writer Lauren Cohen self-brands herself as the Other New Yorker, the underlying theme of her comic graphic novel. In addition to her new life and experiences in New York, Lauren’s 122-page comic book is a culmination of her relatable insecurities about life, current events, politics, feminism, loneliness, sex, and the art world. 

Edgar Alanis

Graphic designer and illustrator Edgar Alanis tastefully combines the world of academic art history with hilarious comic narratives in his self-published comic book titled Nudes Nudes Nudes. Each chapter of the book retells the origin stories behind specific iconic nudes portrayed through art history, but in a way that brings humor and lightness to an otherwise extremely niche topic. 

Morvern Anderson

Scottish illustrator and comic specialist Morvern Anderson is a talented artist whose work transports readers to another world. Her self-published book, The Wee Stravaigers, (“stravaiger” meaning one who wanders or strolls), is an adventurous story of two friends who explore an abandoned island filled with historic ruins and revelations. It’s an epic encapsulation of Morvern’s unbound storytelling capacity and artistic abilities.

Michael Johnson

French comic writer and illustrator Michael Johnson compiles his comic opera titled Success! into a dense 480-page book organized into multiple acts and scenes. Rich with comical characterization, hilarious storytelling, and extraordinary illustrations, Michael’s one-of-a-kind comic book is a true work of art and a testament to his creative potential.

Danna Feintuch

Equal parts creative exercise and therapeutic outlet to process her mother’s passing, Arlyne Feintuch’s Places I’ve Left My Mom is a short, 16-page self-published comic book that contains illustrations of the various places around the world where she left her mom. Available as a 5 by 8 inch softcover book, it’s the perfect example of how self-publishing your comic book can be kept simple.

Self-publish your comic book with Blurb

Ideal for all types of creators, Blurb is an easy-to-use online platform that allows you to design, publish, and sell your comic book across multiple distribution channels. Assemble your book using Blurb’s free design tool BookWright, or leverage popular tools like Adobe InDesign, Lightroom, and Photoshop that integrate seamlessly with Blurb. Blurb’s free and customizable templates make it simple to get started or take advantage of the PDF to book tool to turn already created comics in PDF form into a book.

When ready to publish, Blurb provides a complete range of custom format options, like pristine layflat books or more economical softcover format. Once published, you can sell and distribute your book through Amazon, Ingram, or Blurb’s Bookstore.

The post How to self-publish a comic book: the go-to guide for independent comic creators appeared first on Blurb Blog.

The free reign of zines allows for untethered creativity and unrestricted delivery of theories—making it a common medium for nonconformist countercultures and alternative communities. But today’s zines have taken new shape beyond yesteryear’s handwritten, photo-copied publications. They’re now an elevated art form that creatives make their own, whether mutual aid collectives or established artists. 

In this guide, we’ll explore everything from the origins of zines to practical steps to make one.

What is a “zine?”

A zine, short for “magazine” or “fanzine,” is a self-published print work, typically produced in small batches, featuring original content in a structure that may be journalistic, narrative, comic-like, or completely abstract.

Historically created and bound through various DIY methods, anyone can craft a zine with a sharpie and a photocopier. But today’s new-age zines are taking the shape of physical and digital forms, including online websites, Instagram accounts, and the classic typewriter handouts. They can cover a wide spectrum of topics, ranging from art, music, photography, social and political issues, sexuality, literature, personal memoirs, and much more.

The beauty of zines centers on a lack of rules. In addition to the subject matter, the zine’s content may be handwritten, typed, collaged, printed, or in any way that combines words and imagery. They’re typically small-circulation booklets reproduced via photocopier, but newer technologies have made it possible to create and publish zines online and distribute them digitally.

Zines are generally not intended for profit but rather to create and share ideas. While the early rise of the internet diminished its popularity, zine culture is now alive and thriving as it returns to the mainstream. But unlike before, the distribution of zines has taken new shapes through social platforms like Instagram and print-on-demand technology. 

A brief history of the zine

Zines originated in the science fiction fandoms of the 1930s, taking their name from fanzine, which is short for “fan magazine.” The first of its kind was called The Comet, an alternative publication by the Science Correspondence Club in Chicago which catapulted a trend of science fiction zines created by fans.

Since then, zines have become an enormous part of underground, non-commercial publications, usually focused on areas of activism or niche interests. They were a common format used to promote punk music in the 1970s, when the genre received very little interest from more prominent music publications.

Notable historical examples of zines include:

• Sniffin’ Glue: A vessel for UK’s punk scene in the 1970s, Sniffin’ Glue was a zine inspired by the Ramones song “Now I Wanna Sniff Some Glue.” It was roughly written and organized but struck a chord, going from a mere 50 copies sold to upwards of 15,000.
• Bikini Kill: An influential zine to the early 1990s riot grrrl movement, Bikini Kill was a collaborative feminist zine featuring poems, articles, and interviews. It was created by members of the band, also named Bikini Kill, and focused on feminism, punk rock, and activism.
• J.D.s: A widely acknowledged zine that launched the queercore movement, J.D.s was an early example of LGBTQ+ activism that provided vital communication between members of the subculture. Hundreds of zines followed suit, allowing queercore culture to spread to smaller communities lacking a queer scene.

Why create a zine?

So, what’s a zine good for compared to other books and print publications? For one, zines offer a free creative expression for your ideas, particularly those considered alternative or unconventional and not likely to be picked up by traditional publishers. 

Creating a zine allows you to express your true self, connect with others, and share your work without breaking the bank. Let’s look at a few more reasons you might create a zine.

• Showcase your unique perspective. You get to be the critique! Share your thoughts on art, politics, or personal experiences.
• Cover niche interests. Fill the gap in mainstream media and provide content for others who share your passion.
• Foster community. Collaborate and make friends within the creative community.
• Promote your work. Use zines as an accessible platform to showcase your photography, art, or writing. Some creatives use zines as business cards, leave-behinds, or portfolios to land gigs.

Creating a zine also offers opportunities to learn new skills, like writing, editing, layout design, and self-publishing a book for distribution. If you’re a young creative seeking a channel to broadcast your ideas or get experience, zines can make a powerful statement while bringing like-minded people together. 

Choosing a topic for your zine

Now, let’s get into the actual creation of your zine, starting with topic selection. Choosing a topic for your zine is crucial, as it sets the tone and direction of your publication. While you probably have a rough idea of what you envision for your zine, it’s important to pin down just how niche and specific or broad and encompassing you want to get with your zine’s content.

Here are some tips on how to choose a topic for your zine.

• Pick subjects and topics you’re passionate about, whether sharing marginalized voices and non-mainstream political positions or exploring specific topics related to music, food, health, tech, science, and more.
• Consider choosing a topic that resonates with both you and your friends or colleagues. Zines are often about community and shared passions. This can encourage more people to want to get involved—whether joining you in the next publication or simply picking up a copy and cheering you on.
• Think about the topics you could talk about for hours on end. Let your imagination fly and explore the exciting, novel, or curious ideas you come up with. We’ve seen zines on pets, street photography, and even objects that make funny faces. Whatever you can talk about can be made into a zine.
• Begin by listing general subjects you’re interested in or passionate about—like food, pinball machines, or backpacking. Then, underneath each one, create a list of content ideas you could include in your zine.
• Seek inspiration (and differentiation) from other zines and publications within similar genres, and consider incorporating subtopics that complement the main focus.

Remember, there’s no barrier to entry when it comes to making a zine, so you can really do whatever you want. You can keep it as professional or as playful as you like. But by pinning down your topic, you can ensure consistency and keep your audience wanting more. That’s especially important if you’re planning a zine series!

Planning your zine

One of the most critical aspects of your zine is its design. This can take many different shapes, all impacting content delivery and presentation. Before you dive right into creating, there are some significant components to be mindful of when designing your zine.

Medium

Designing a zine for the web can be vastly different than creating a zine for print. So you should plan your zine specifically for the channel you’ll use to share it. 

For instance, if you’re using Instagram to share your digital zine post by post, start with vertical image dimensions sized at 1080 by 1350 pixels with a 4:5 aspect ratio or square posts at 1080 by 1080 pixels at a 1:1 aspect ratio.

As for printed zines, there are far fewer dimension limitations. If you’re going the DIY route, design your zine around the paper size you’ll use. If you’re printing with an online service to create a higher quality finished product or more copies than you’d like to assemble by hand, check the print company’s specifications before you begin. When we create zines, we use dimensions like the small square (7 by 7 inches), standard portrait (8 by 10 inches), or large square (12 by 12 inches).

Format

Similar to the medium, your zine’s format involves the actual makeup of how it’s constructed. This is particularly important for physical, printed zines. Here are some common formats.

• Stitch-bound zines: Common for DIYers, you sew this format together with thread.
• Perfect-bound zines: To craft these professional-feeling zines, you must glue them together at the spine. Better yet, use a print-on-demand company to print your zine as a traditional book.
• Accordion zines: You’ll fold this classic zine format like an accordion, with each panel containing a different part of the zine.
• Tiny zines: These micro-zines come in the size of matchboxes or other small containers.
• Large poster-sized zines: Often used for music or art, you can create a folded zine that opens up like a poster.
• Digital, online-only zines: Make digital zines for global, online distribution. Choose from common formats like blogs, social media accounts, and webcomic sites. 

Ultimately, your chosen format will depend on your preferences and your zine’s content.

Color

Do you plan to print your zine in full color or black and white? Color can impact your zine’s style, tone, and printing cost. Sticking with black and white can usually make printing your zine more affordable, but this decision should align with the mood you’re trying to convey.

Keep in mind that if you plan to print in black and white, you can still choose to use color when creating your zine. Consider making a limited-edition or web-only color version and a black-and-white version to distribute more widely. All-in-all, select colors, patterns, images, and shapes that work together to create a cohesive design.

Visual elements

Do you want lots of photos and images, or is taking a minimalist approach with tons of whitespace more your thing? Will you use handwritten text, like the old analog-style zines, cut and paste typed words, or use software to place your type on each page perfectly? 

Your choices of different visual elements can shape your message and inform the content’s layout and order. Don’t overthink this step. And if you’re feeling stuck, take out some of your favorite zines and think about the visuals you like most. Are there any style choices you’d like to include in your zine?

Layout and order 

In the art of zine-making, no real rules tell you how to do things. But having some degree of structure is extremely helpful in maintaining an organized flow of content in your zine.

While this may vary from edition to edition, consider dividing your zine’s core layouts into sections. You might have certain styles or templates for your zine’s main themes or chapters, followed by standard page layouts for presenting ideas. Keep the arrangement and order of these pages intuitive and easy to follow.

At this stage, a loose outline is a great place to start. You don’t need to create each page or each element on each page. Just having an idea of where you’re going is enough.

Leverage design tools

Many tools are available to help you design your zine—and many templates help if you don’t consider yourself a designer. Take advantage of using digital design software to make your zine if handmade art isn’t your forte.

Design software like Adobe InDesign or Blurb Bookwright can be beneficial in putting together your zine’s design layout, complete with page numbers, print-friendly color, and a stylish design. These tools make the transition from design to printing seamless, allowing you to easily self-publish your zine with a print-on-demand company.

Pick the tools you’ll use before you start creating. Are you going old school with a pen, scissors, and copy machine—or will you use your iPad or computer?

Producing and assembling your zine’s content

While planning is integral to zine-making, producing your zine’s actual substance is where things get fun. Let’s zero in on writing, arranging, and assembling your content. Here we’ll break down the process step by step.

Plan your content

You already have your medium, format, visual style, loose outline, and design tool picked. Now you’ll need to consider the different types of content you want to include in your zine. 

Narrow down your content. Are you including articles, poems, stories, artwork, photography, collages, or interviews? Brainstorm ideas aligned with your topic and add them to your rough outline.

Getting a sense of the content type and a more detailed narrative flow can help you in the writing process. After all, there isn’t much scarier than a blank piece of paper! Knowing the chapters of your work and some bullet points on what you’ll add to each will help go from the big picture to the nitty gritty.

Write or collect your content

Begin composing the written pieces for your zine or collaborating with others involved in the project. Now is the time to research and write if you’re including articles, poetry, or how-to guides. Conduct interviews or collect stories if you’re sharing the voices of others. If your zine is visually driven, you can simply think about your title, dedication, or about page and skip to the next step.

When you’re co-creating with your community, now is your chance to review or revise others’ work for clarity and coherence. Pay attention to grammar, spelling, and readability—or don’t. You’re the editor-in-chief of your zine, and you make the rules. Your zine can be as polished or grunge as you choose. 

Compile artwork and visuals

Gather or create artwork, illustrations, or photographs that align with your zine’s theme and individual pieces. Ensure that the visual elements complement and enhance the written content, if you have any. Once you have everything compiled, narrow down your visuals to only your strongest. Culling your work is a critical part of the process.

Pay special attention to your cover art since it’s the first thing a reader will see. You might even ask a community member to illustrate or paint something special for your cover—or pull your most iconic visual from inside your zine.

Lastly, we know you will, but always ask permission and credit the artists appropriately if you’re using someone else’s work.

Arrange and sequence

Consider the flow of your zine. Decide on the order in which you want to present the content. Think about how the pieces will transition from one to another and create a cohesive experience. Experiment with different arrangements and combinations until you find the best sequence. 

You’ll also want to add any navigation elements, like a table of contents or headings. This will make your zine easier to digest.

And don’t be afraid to cull more content in this process—whether that’s your copy or your imagery. Zines are usually short and to the point; this is your time to ensure yours is as sharp as possible.

Finishing touches

Contemplate adding any additional elements to enhance your zine. This could include a glossary, an introduction, or even personal handwritten notes and doodles. Mentioning who’s behind the zine, what the mission is, or setting the intention of your zine can help reinforce “why” people might gravitate to your work.

Adding a summary or blurb to your back cover is a great idea, especially if you’re planning on selling your zine at bookstores. Whatever you can do to entice readers to open your zine will be well worth your effort. 

Print and assemble

After finalizing the design and contents of your zine, it’s time to print it. Depending on your resources and preferences, you can print it at home, use a local print shop, or utilize online printing services. 

No matter how you print and assemble your zine, you’ll want to choose a paper and finish type that best suits your zine. We highly recommend printing and assembling a single proof copy before creating more. It’s essential to edit your work—and even get a mentor or friend’s feedback. Doing this step will ensure you don’t have any unwanted typos, margin errors, or color issues.

Zine-spiration: examples of Blurb-made zines

The Blurb community has created a wide range of zines over the years—using tools from Adobe Photoshop, Lightroom, and In-Design to Blurb Bookwright. These zine ideas come to life via professional-quality booklets and magazine-like publications. Here are a handful of our favorites.

Humans After All – Zine #2

Created by Canadian visual storyteller Fred Ranger, Humans After All is a zine series that zooms in on the human experience by sharing immersive photography that captures human life’s complexity, vulnerability, and beauty. A hybrid between a photo book and a magazine, this second edition of Humans After All is a testament to turning one’s photography passion into a reflective page-turning experience that we can all relate to.

The LA Dream: Art Block Zine; Vol. 7, Issue 2

The Art Block Zine is a biannual zine created by the DSTL Arts program, a nonprofit arts mentorship organization based in Los Angeles, California. The LA Dream is the name of this issue’s theme, and it encapsulates stories, visual art, and poetry to express the various dreams of those who live and work in LA. A true community-driven zine, all proceeds support DSTL Arts and the free programs it offers to emerging artists from underserved LA-based communities.

working the park, no 2

Created by New York City street photographer Regi Metcalf, working the park, no 2 is a black and white zine that captures people’s raw nature and vibrancy and diverse forms. In this second edition of the zine series, Regi compiles 44 pages of his photography, primarily set in Washington Square Park in New York City.

Hype Zine Volume 4

Drawing on the inspiration for the early, collage-based zines, Hype Zine Volume 4 is a collection of interviews and artist showcases densely packed into a 116-page zine. Originally published on the Hype Zine website, this publication is an excellent example of a multi-format zine that has a handmade collage aesthetic presented in a digitally-forward way.

Easy Does It: Volume One

Introspectively poetic, Dani Kreeft’s seasonal print zine, Easy Does It, is a quarterly publication of reflective journal entries combined with nostalgic film photos. In this first volume of Easy Does It, Dani marries conversational words with winter travel photos of California and Arizona. It’s a minimalist zine with lots of white space. But it doesn’t compromise on inspiration, giving readers clues on how to reshape their perspectives on the world around them.

Sharing your zine

In the same way that making your zine offers limitless creativity, sharing your zine with your audience is a marketing art in its own right. That’s to say, there are many ways to share, distribute, and promote your zine. Here are a few thought starters to help you get the ball rolling.

Establish an online presence

Whether your zine is digital or print, harness the power of the internet to share and promote your zine. Create a digital presence for your zine through a website, blog, or social media platforms. Share previews, excerpts, or behind-the-scenes content to generate interest. 

Devise a distribution strategy

Decide on the distribution channels for your zine. You can start by distributing it locally through independent bookstores, art galleries, zine fairs, or community events. Or, explore opportunities to collaborate with like-minded individuals or organizations that align with your zine’s theme. Consider leaving copies where your target audience is likely to find them, such as coffee shops, libraries, or related events.

Join zine communities

Engage with zine communities and networks both online and offline. Participate in zine fairs, festivals, or workshops to connect with other creators and potential readers. Join online forums or social media groups dedicated to zine-making or related topics. Sharing your experiences, collaborating, and exchanging zines with other creators can help expand your reach and visibility.

Collaborate and cross-promote

Collaborate with other artists, writers, creatives, and zine-makers to promote your zine. Cross-promotion helps expand your audience by tapping into your collaborators’ existing networks and communities. You can even explore creating collaborative zines, featuring each other’s work, or organizing collective zine projects. 

Hold a launch party

Launch parties are a good idea if you’re trying to make your zine a well-known entity in your community. Depending on your topic and target audience, you can incorporate live music, guest speakers, brand collaborations, and other creative partnerships to make a lasting impression with your event. 

Keep in mind that promoting and sharing your zine is an ongoing process. As long as you want to continue growing your audiences, make an effort to continuously seek opportunities, adapt your strategies, and explore new avenues to connect with readers who will appreciate and support your work.

Start assembling your zine with Blurb

Whether you’re looking to create a grungy zine of digital collage work or an elevated zine with sharp edges and inspiring content, the creative possibilities are endless. Blurb can help you bring your zine to life with intuitive bookmaking design tools, self-publishing print capabilities, and built-in distribution channels to broadcast your work. Upload PDFs of work you already have or start building with Blurb’s design tool integrations. Or, if you’re stuck on how to get started, begin by exploring these zine ideas and topics to spark your creativity.

The post How to make a zine: a beginner’s guide to getting started appeared first on Blurb Blog.

The answer may seem ambiguous for many of us—because we just don’t know. Sure, you can typically save some money by printing at a high volume. But committing to a run of 300 copies may seem like too much, especially if you’re uncertain how well-received your book will be.

The print-on-demand option allows you to control the production stream and print however many copies you need. It’s become a modern solution for self-published creators, providing a more convenient and economical way to bring your work to the market.

So, what is print on demand?

Print on demand is a modern publishing method that allows creators to print books when ordered or as needed rather than printing large quantities upfront. This approach makes self-publishing more accessible and economical for creators.

Traditional book publishing can be costly, as you must invest in bulk printing of your work, which may result in excess inventory if the book doesn’t sell well. Historically and still today, this avenue typically involves working with book publishers, who only work with creators they are confident will sell many books.

With print on demand, however, you can produce high-quality printed materials according to your need—eliminating the cost of unsold stock.

How does print on demand work?

You’ll be happy to know the process behind print on demand is easy. To get started, you’ll first need to create your book using a book design tool, like Adobe InDesign or BookWright. Once your book and cover design is complete, upload these assets to your chosen bookmaking service provider like Blurb. (We’ll talk more about how to pick your service provider later.) 

Each self-publishing platform guides you through the necessary steps of formatting and setting up your book for printing. In general, the process usually consists of selecting specific details. Here’s what to think about.

• Trim size: Choose the dimensions of your finished book based on industry standards or personal preference.
• Cover type: Explore options like a layflat hardcover for full-spread photo books, traditional hardcover with dust jacket or image wrap for art books, or a softcover book for comics and novels.
• Paper type: Balance quality with cost when choosing your paper type. Premium bookstore-quality paper works well for cookbooks, luxurious paper is ideal for photography books, and standard paper is great for low-cost books without visuals.
• Binding style: Decide between options like perfect bound, saddle-stitched, or hardcover, depending on the nature of your project.
• Laminate type: Select matte or glossy finishes for added protection and visual appeal.
• Color or black and white: Determine whether full-color pages are necessary for your book’s imagery and text or if black-and-white is preferred.

Once you’ve uploaded your book’s digital file and selected the specifications, it’s time to choose the number of books you’d like to print. The beauty of printing on demand is that it removes the risk of guesswork. You can start by printing five or 10 copies of your book or print 50 or 100 copies at a time. Or maybe you want just one!

When selling and distributing your book on the market, some self-publishing services provide print-on-demand books as they’re ordered. For instance, when someone orders a copy of your book online—either through your book printing platform directly or via a third-party retailer like Amazon—the book is printed and shipped to the customer as a one-time order fulfillment process. This eliminates the need for large print runs, reducing upfront costs and minimizing waste. Plus, you don’t need to ship them yourself!

What can print on demand be used for?

Print on demand is the perfect solution for a photographer, artist, designer, author, or anyone looking to create and self-publish a book. Whatever your creative niche or trade, there are virtually no limits to what you can use print on demand for. 

Photo books

A photo book is a great way to showcase your photography skills as a product or portfolio. With print on demand, it’s easy to create professional-quality photo books without worrying about minimum orders, shipping, or storage space.

Food and cookbooks

Cookbooks, recipe books, and food books are other popular books that benefit from printing on demand. You can create beautiful cookbooks filled with delicious recipes and stunning photos and print as many as you need when you need them.

Travel books

If you’re passionate about traveling and want to share your experiences with others, creating a travel guidebook or photo journal could be a rewarding creative project. With print-on-demand technology, it’s easy and economical to turn your adventures into captivating travel books that people will love reading over and over again.

Children’s books

The children’s books industry has grown significantly, thanks largely to print-on-demand publishing options. It’s never been easier for authors to create a children’s book, allowing complete control over their print volume while still maintaining quality standards set by traditional publishers.

Portfolios

If you’re an artist, designer, copywriter, or creative, having a portfolio is essential to showcase your work. But a common problem is knowing how many portfolio books to print. Print-on-demand technology is the solution that solves the “how many” conundrum without compromising on world-class production.

Business books

Self-publishing a book featuring your business expertise in entrepreneurship, marketing, or finance creates credibility within your industry or profession. You can regulate your inventory with print-on-demand publishing to develop professional, bookstore-quality business books.

Comic books and graphic novels

The comic book industry has seen an influx of new authors thanks partly to print-on-demand publishing options. Creators can explore their comic book ideas without the commitment of high-volume runs or working with a large-scale publisher.

Zines, poetry books, yearbooks—the possibilities of types and genres are practically limitless. With print-on-demand books, you can test your market with minimal financial risk and quickly get your book out into the world.

Why is print on demand rising in popularity?

Parallel with trends in self-publishing, print-on-demand books have seen heightened demand over the years. The underlying reasons center on convenience, cost-effectiveness, and accessibility. More specifically, creators can enjoy:

• Low upfront costs: Unlike traditional publishing methods, which often require a significant investment to print large quantities of books, print on demand allows you to produce as few or as many copies as needed without breaking the bank.
• No inventory management: Print-on-demand services print and ship your books directly to customers upon order placement, so you don’t have to worry about storing or managing physical stock.
• Faster time-to-market: Once your book design is complete, it can be published through a print-on-demand platform within days instead of waiting months for traditional printing processes.
• Eco-friendly: By only producing what’s needed when it’s ordered rather than mass-producing thousands of copies at once, you can significantly reduce waste from unsold books.
• Creative control: You retain complete creative control over your work with self-publishing via print-on-demand platforms. This includes designing custom covers and interiors, choosing suitable pricing options, and making and reprinting revisions to your book.

In addition to these benefits, technological advancements have also played a role in making high-quality digital printing more accessible. Global distribution channels make it easier than ever before for independent authors and creators worldwide to reach audiences who may not otherwise discover their work. All these factors combined contribute to an increased demand for self-published, print-on-demand books.

What are the benefits of print-on-demand books?

So far, we’ve outlined the core advantages of print on demand for self-published creators and authors. But there are additional benefits; let’s take a look.

1. Speedy production and distribution process

Print-on-demand production is much faster than conventional book printing methods because it doesn’t require large-scale setups or equipment adjustments between orders. Additionally, many top print-on-demand companies offer global distribution options so your book can reach a wider audience.

2. No inventory management required

With print on demand, there’s no need to manage inventory or storage space since you print books when ordered by you or your customers. This not only saves time but also reduces overhead expenses.

3. Creative control and customizable options

In contrast to traditional publishing houses that can impose restrictions on design elements, print on demand gives bookmakers full creative control over their work. From cover designs to interior layouts, print on demand enables endless customization possibilities.

4. Cost-effective printing

Print on demand eliminates large upfront investments, as you only pay for what you print. This allows creators to avoid the high costs and lack of accessibility associated with traditional publishing methods, like bulk printing and warehousing.

5. Sustainable approach

Print on demand reduces waste in the publishing industry by only producing copies as needed, thus minimizing the number of unsold books in landfills.

6. Scalability

The plates used in traditional printing houses are only good for one use. So once a run has sold out, you can’t reorder your book without another round of setup and proofing. 

What does that mean? If you published 5,000 books and need 500 more the following week, it’s too late. Or, if you sold only 500 books but ran 5,000 copies, you’re left with many extra copies and a low return on investment. Digital print on demand provides a more scalable solution. 

7. Revise with ease 

Presenting your work to the world one copy at a time makes it easier to iterate. You can make changes and print additional copies on demand. You can fix errors, and customize covers and content from the same file, at no extra cost. Printing on demand offers the lowest risk and the greatest flexibility.

How much does print on demand cost?

From the order quantity to the cover type, there are countless variables to figure out how much a print-on-demand book will cost. For example, a 350-page, 5 by 8 inch, black-and-white trade book ideal for a novel will cost anywhere from $5.20 to $9.50 as of June 2023. At the top of the spectrum, a 50-page, 10 by 8 inch, premium paper layflat hardcover photo book ideal for wedding photography will run you between $125.50 and $289.

While it’s nearly impossible to provide an accurate estimated cost for all print-on-demand publishing without the specifics of what you’re printing, there are some common cost-determining factors. Here’s what to watch out for.

• Trim size: This refers to the dimensions of your finished book. Different trim sizes come with varying costs due to the amount of materials used.
• Binding type: Your choice of binding, like perfect bound or hardcover casebound books, also impacts the overall cost. Hardcover books typically come at a higher price than paperback.
• Laminate type: Selecting a specific laminate finish for your cover (glossy or matte) affects the final pricing, too. Some print-on-demand companies will charge extra for premium finishes like matte lamination.
• Color options: Choosing between black-and-white or full-color ink significantly influences your printing costs: color prints are generally more expensive than black-and-white. 
• Paper choice: The quality and weight of paper used in printing also impact the total expense. Thicker papers usually come at an additional fee.
• Page count: Dense trade books with hundreds of pages cost more than shorter reads with just a few pages. 
• List price and royalties: Lastly, setting a list price is essential in determining your earnings from each sale through royalties after deducting the printing costs. Higher list prices can lead to higher royalties but may also affect the overall sales volume.

In short, the cost of print-on-demand books varies widely. Use our pricing calculator to get a feel for how much your project will cost based on factors like those above.

Top print-on-demand providers at a glance

If you’re looking to self-publish your book and print on demand, there are several top players you can choose from. Each has unique advantages and disadvantages, but they all allow printing as many or as few copies as you need.

Blurb

Blurb (that’s us!) is a popular choice for authors and creators who want complete control over their book design and distribution. The platform offers easy-to-use tools that allow users to customize every aspect of your book’s layout and format. Blurb also provides access to global distribution channels like Amazon and Ingram. It’s the only print-on-demand company on this list specifically designed for visual creators.

Pros:

• High-quality book options designed for visual creators like photographers, illustrators, and designers
• Multiple bookmaking tool options with customizable templates—from free Blurb BookWright, or plugins with InDesign, Photoshop, and more
• Distribution through multiple channels, including Amazon and Ingram
• No upfront fees or minimum orders required

Cons:

• Slightly higher pricing than other print-on-demand providers on the market
• No online book-building tool

Amazon Kindle Direct Publishing (KDP)

Amazon KDP is one of the most widely used print-on-demand services on the market today. It offers many features, like free ISBNs, automatic distribution through Amazon’s worldwide network, along with royalties of up to 70%. KDP also has a large library of book templates, so you don’t need to design your book from scratch.

Pros:

• No setup fees or minimum orders required
• Global distribution through Amazon’s global network
• Free ISBNs for both digital and print books
• Marketing and promotional tools available to creators

Cons:

• Book quality isn’t as high as other print-on-demand providers
• Fewer customization options for books
• Lower royalty rates for books sold outside of Amazon, limiting distribution options

Did you know? If you design a photo book with Blurb, you can distribute it on Amazon!

Lulu

Lulu is a user-friendly platform allowing users to create professional-quality print-on-demand books quickly. It offers features like free ISBNs, automatic distribution through retail channels, including Barnes & Noble and Ingram’s Global Retail Network, and royalties up to 90%. They also offer premium services like cover design and editorial assistance at an additional cost.

Pros:

• User-friendly interface with templates for use with InDesign, Photoshop, and Word
• Distribution through multiple channels, including Barnes & Noble, Ingram’s Global Retail Network, and the Lulu Bookstore
• Premium services like cover design available at an extra cost

Cons:

• No bookmaking tools
• Only English books can be sold in the Lulu Bookstore
• Pricing can be slightly higher compared to other print-on-demand providers
• Limited book customization options for some users

IngramSpark

IngramSpark is a popular choice among independent authors and publishers, with access to over 39,000 retailers globally. They offer high-quality printing services and distribution channels, allowing booksellers and libraries worldwide to purchase your book.

Pros:

• Distribution through multiple channels, including Amazon and Barnes & Noble
• No setup fees or minimum orders required
• Free online book-building tool

Cons:

• Less user-friendly platform than others on this list
• Slightly higher print costs than other print-on-demand providers

Blurb creators can distribute Blurb trade books or notebooks to 39,000 online and physical bookstores globally via Ingram!

Contrado

Contrado offers an array of customizable products such as clothing, accessories, and homeware but also provides an excellent quality print-on-demand book-publishing service. Their website offers many tools for users who want complete control over their book’s design layout.

Pros:

• User-friendly interface with lots of templates
• More printing options than books alone
• Distribution through multiple channels, including Amazon and Barnes & Noble

Cons:

• Higher prices than other print-on-demand providers in the market
• No free ISBNs provided, which can add additional costs for users

Choosing the right print-on-demand provider is critical to self-publishing your book. You’ve just read a high-level overview, so carefully research those you’re considering, as self-publishers may offer different tools and features.

Print your book on demand now

Print on demand has revolutionized how people publish their work without going through large-scale printing companies. With the right print-on-demand provider, you can publish your own book quickly and easily. Plus, you don’t have to worry about printing enough copies for distribution—you only have to order what you need. So explore your options today and start printing on demand!

Good luck with your self-publishing project! We’re excited to see what you create. 

***

Blurb is a self-publishing and print-on-demand platform. Leverage free tools and templates, complete customization, and stunning professional-quality books. Turn your book idea into a print masterpiece by getting started today.

The post What is print on demand for books, and how does it work? appeared first on Blurb Blog.

How do you plan out your book, collaborate on illustration and copy, and sell it to a publisher? If you’re here, you can probably guess that it’s with a book dummy! They’re an important part of the process of printing your book—especially if you’re crafting a children’s book, illustrated book, or any other kind of picture book.

Why? Well, if you’re nearing the end of your bookmaking process, it’s a good idea to lay out all the words and images of your story in sequence. This will help you determine if your book is the right length, your illustrations work well with your copy, and the story flows smoothly from beginning to end.

But even if you’re not about to hit print, book dummies can be great for kinesthetic creators who need to physically move things around to get them just right. Before settling on the exact words and visuals, dummies can help you figure out pacing, plot, and even illustration style.

In this article, we will discuss what a book dummy is and why it’s so important in the publishing process. Then we’ll provide tips on how to create one yourself (including how to use print-on-demand services to make the process easier than ever) and what to do with it once you have it!

What is a book dummy?

A book dummy is a physical representation of your book. It’s essentially a mock-up of the final book, complete with all the text and visuals in their correct positions. Making a book dummy is an essential step in the publishing process, as it allows you to envision exactly how your book will come together and ensures everything is in its rightful place.

Not only that, they help others visualize your finished book—which is crucial when it comes to getting book deals! In fact, most book agents and editors will not even consider a book that doesn’t have a dummy. That’s because, especially for unpublished creators, they want to see that you’re serious about your book and that you’ve put in the time and effort to create a professional-looking product.

Why is a picture-book dummy useful?

Whether you’re an author, designer, art director, agent, publisher, or editor—you’ll likely benefit from a book dummy. Usually, a picture book starts with an idea, turns into a storyboard or map, and ends up as a book dummy before getting proofed and printed.

These physical mock-ups help authors, illustrators, and anyone else who’s collaborating to see how text and illustrations work together on each page and spread. They provide a sense of the book’s overall design and flow, helping creators ensure the book is easy to follow and all aspects complement each other. Similar to a proof copy, book dummies can also be used to catch any errors or typos before the book goes to print, which is really important if you’re self-publishing.

But picture book dummies are not only helpful for the bookmakers—they’re also vital for book editors, agents, and publishers. As we mentioned before, most picture book submissions will not be tossed out without a dummy—so use them wisely during the publishing process. This is your chance to accurately communicate your vision for your book in a physical form.

How to make a book dummy

Now that we’ve discussed the what and the why, it’s time to make one. The good news is you don’t need to be a professional designer or professional printer to create yours—all you need is a printer and some basic materials.

Here are the steps you’ll need to follow to create your own:

1. Gather your materials

First, you’ll need to gather all of the materials you’ll need:

• 8+ sheets of blank paper (we recommend card stock)
• A ruler or measuring tape
• Scissors
• Bone folder or butter knife
• Tape, glue, staples, or thread
• Your manuscript

2. Measure and cut your blank pages

Are you making a square, portrait, or landscape book? Is it travel sized or oversized? All of these questions come into play when picking your trim size.

But whatever you’ve chosen, it’s important to cut your blank paper to size. This way, you’ll get a realistic impression of your final product.

Start with your large pieces of paper and cut them to size. For a classic 8- by 10-inch portrait trim size, pick eight blank sheets of 11- by 17-inch card stock. Then measure and cut it to 10 by 16 inches, one inch off each side.

3. Assemble your pages

Now that you have all of your paper measured and trimmed to be the same size, fold each page in half. It can be helpful to use a bone folder, which will give you a nice, clean fold. If you don’t have one, simply use the blunt edge of a butter knife or your fingernail.

4. Bind your book dummy

Once each page is folded in half, it’s time to put it all together! You can do this in a few different ways:

• Tape: Use double-sided tape along the center fold to stick each page together. Make sure to use a few small pieces, or you’ll have a deep gutter.
• Glue: Apply a thin layer of glue along the spine of one page, then place gently and firmly into the center fold of your next page.
• Staple: This is the quickest way to put your book together, but it’s not as professional looking. Simply stack all of your pages together and use a saddleback stapler to hold them together at the center.
• Thread: This method is a little more time-consuming, but it looks beautiful. Start by folding each page in half, then make tiny holes along the center fold with a thumbtack. Once all your pages have holes, use a long piece of thread to sew them all together.

And that’s it! Paste in the copy and illustrations, and you’ve now created your very own book dummy.

How to use print-on-demand

If cutting and taping, stapling, gluing, or sewing isn’t your favorite way to spend an afternoon, there’s an easier way to makea book dummy. Plenty of online book printers (like Blurb) offer print-on-demand services, which means you can order printed books one at a time without having to worry about minimum orders or storing a bunch of books.

This is perfect for creating book dummies because you can order as many—or as few—books as you need, and you don’t have to worry about what to do with the extras. Plus, most online book printers offer a variety of paper, cover, and bookbinding options, so you can choose the perfect look for your sample.

We’d recommend laying out your manuscript and illustrations in your favorite online editor (like Photoshop, Illustrator, or Blurb’s BookWright). Play around with spreads and pacing. When you’re ready, simply upload and hit print.

Since it’s all digital, you can quickly iterate, make edits, move visuals and copy around, and print as many as you need at once. This makes it easier to collaborate with your team and send out as many as you need to your dream publishers if you’re going the traditional publishing route.

How to use your dummy

When you finalize your booklet, whether physically at home or digitally with your preferred printing company, you should use it wisely.

Here are the questions that we ask ourselves when we get our first physical copy:

• Do any pages feel empty? Or too filled with text or illustration? (Hint: Typical 32-page picture books have 13 evenly paced, double-page spreads.)
• Do the spreads work together? Do the page design and art move the story forward?
• Are the characters and premise captivating right away?
• Is there enough of a plotline in the middle to keep pushing readers along?
• What happens in the end? Is there a surprise, necessary conclusion, or new connection?
• How is the pacing? Does the story peak too early? Or leave too much to wrap up at the end? (Hint: Most children’s books hit their peak around page 30.)
• What’s the one-sentence summary of the book?
• And above all: Is the book clear? When you read it out loud, does it sound conversational? Are the visuals and copy legible and understandable on every page?

Once you feel satisfied with your book, you can use it to collaborate with others! Here’s how:

1. Catch errors: When you have a fairly finalized sample, take time to read it through a few times. Then pass it to someone else to catch errors or typos you may have missed.
2. Get feedback: Beta readers, mentors, friends, family, fellow bookmakers—the more feedback you get on your book, the better!
3. Apply for grants and contests: If you’re seeking funds to support your bookmaking process, mock-ups can be helpful in the application process for certain grants and contests. Use yours to get the finances you need to finish.
4. Impress editors, agents, and publishers: Last but not least, you’ll likely need a book dummy if you want to traditionally publish your book. It’s a great way to show off your illustrations, book design skills, and overall story so you can sell your book.

Creating a mock-up is an extremely helpful way to visualize your book and make sure all the elements are working together. It can also be used to get feedback from others, apply for grants and contests, and impress potential publishers. By following the steps in this guide, you should be able to make a book dummy that is both clear and visually appealing, no matter how you’re planning on using it.

Ready to make your own? Self-publish your book today!

The post What is a book dummy and how to make one: the ultimate guide appeared first on Blurb Blog.

The traditional publishing model is a lengthy process navigated by an agent, funded by a publishing company, and, typically, backed by a small army of editors, designers, and marketers. Choose to self-publish, and you (and anyone else you enlist to help) will fund, publish, and market your self-published book.

Depending on your book and who you are, as an author and as a person, one option might sound far more appealing than the other right off the bat. But there are many self-publishing vs. traditional publishing pros and cons, financial and creative, hiding in the details. We’ll lay them out here so you can pick the right path.

But before getting into those details, you should know one thing up front: The percentage of authors for whom the traditional publishing book deal path is the best approach is very low—like, less than 2%. To know if you’re in that 2%, you’ll need to understand both options.

Traditional publishing

To best explain the differences between the two, we’ll start with the often-arcane world of the traditional book publishing process because much of what defines self-publishing is how it differs from this classic model.

Getting published by a traditional publishing house begins with two giant steps. The first is finding a literary agent to represent you and your unpublished book. The second isn’t so much a step as a waiting game. Your agent will submit your manuscript to traditional publishers to get them interested and ultimately pay to publish it—while these traditional publishers are fielding hundreds or even thousands of other new manuscripts. This process can take months or even years, particularly for first-time authors and those trying to publish hard-to-categorize books, poetry books, and short story collections.

Because it’s all out of your hands, the wait can be—to put it mildly—frustrating. And there are no guarantees your manuscript will sell at all. But once a publishing house is on board, one advantage of traditional publishing emerges: the advance.

No upfront costs

The publisher usually pays the author a lump sum upfront before the rest of the process gets underway to secure the publishing rights. This ranges from a small stipend to hundreds of thousands of dollars. While you shouldn’t expect a windfall on your first foray into publishing, any advance can be a big win.

The economics from that point forward get a little murkier. The publishing company will pay for the production of your book, from editing to design to printing to distribution. That’s a win for the author. In exchange for carrying those costs, the traditional publisher will take a share of the royalties—a percentage of the sale price of each book that sells, negotiated upfront with help from the agent. The author usually retains a cut of between 5% and 20% of sales in traditional publishing, with higher royalties for hardcover books than for paperback and mass-market publications.

The royalties can add up if the book is a bestseller, but if it’s not, this small share of fewer sales may stay small in the long run. And whatever the share, keep in mind: authors’ royalties only kick in after your share exceeds the cost of your advance. This means that if your book only finds a tiny audience, you may never make another dime once it’s published.

Longer publishing timelines

A delay in the actual publishing exacerbates this delay in sales earnings. The publisher’s editors, designers, and printers will ensure that every facet of your book is as polished, professional, and appealing as possible before it goes to market. All of this can be critical to the quality and, ultimately, the success of a book.

But because every part of this process involves multiple decision-makers and intermediaries, you may find you’ve read more words in emails than in your book before it goes to print. 

Compounding this is the fact that every traditional publisher has to choose which books should take priority. So, when fighting for a slice of these expert resources, unproven or first-time authors may find themselves at the back of a very long line.

Marketing and sales support

The struggle for priority also carries over into the marketing and sales of a traditionally published book. Marketing clout and the connections to get books on shelves is a significant advantage for the major publisher. Still, titles that might be considered niche books are unlikely to be given the special promotional treatment, such as retail display collateral, special editions, press coverage, and the like.

Publishers usually reserve this star treatment for books they deem to have the most mass appeal; unfortunately, books that the publishing gatekeepers think are likely to sell will get the most help when it’s time to sell it. Knowing whether your book is likely to reap those benefits isn’t easy without deep knowledge of the rapidly-shifting industry and audience trends and, even more unknowably, the whims and priorities of a particular publisher. Good agents will help with that, too, but for some titles, getting exposure will always be an uphill battle.

Access to awards

One last benefit that traditionally published authors enjoy is a better chance at literary awards. Because traditional publishing houses have more resources to throw behind a title and because they often have personal relationships with award committees, the “Big Five” publishers (Simon & Schuster, Penguin Random House, HarperCollins, Hachette Book Group, and Macmillan) tend to dominate award season. Awards may not be a deciding factor for every author, but it’s certainly something to keep in mind if you’re hoping critics will recognize your book.

Benefits of traditional publishing, summarized

If that all sounds exhausting, ask any author, and they’ll tell you: It is! And they may also tell you it was totally worth it. When things go well, traditional publishing has its upsides, primarily:

• Payment up front (the advance)
• No costs incurred by you, the author
• Assistance with design, editing, and marketing
• Better chance at winning awards

Self-publishing

Any indie author will tell you publishing your own book is, all things considered, far less complicated. It can also be far more work for you, the indie author. That’s not surprising when you’re doing everything yourself.

That’s a huge difference, and it manifests right away. You will not need to find an agent interested in your manuscript, and that agent will not need to find an interested publisher. So happily, you can eliminate this part of the wait entirely.

However, that doesn’t mean you’re ready to publish immediately; all the editing and cover design work still needs doing. You’ll always be at the front of the line when you’re doing it yourself. But if you’d like the benefit of outside resources to help get your book into publishing shape, you’ll need to find them and, likely, pay them.

Total creative control

The good news with self-publishing is that you’ll be in complete creative control of the entire process. In even the most author-friendly traditional publishing deal, the decision-makers who help get a book to market exert some control over the process and the finished product.

Whereas with self-publishing, all of those critical decisions are made by you as fast as you can make them. And you’ll never wonder if other people made them with your best interests in mind. Instead, you’ll be publishing your book exactly as you want it, with way more creative freedom, and as soon as you want to print it.

All publishing rights

That control extends to the ownership of your creation. Traditional publishing deals always cede primary (first-to-market) publishing rights of the printed work to the publisher. Subsidiary rights are also in play during traditional publishing deal negotiations. Those are rights to audiobook versions and film adaptations (if you’re fortunate enough to need them).

If you’re confident in your work (and if you’re self-publishing, you should be!), these subsidiary rights are almost always worth keeping for yourself. If you self-publish, you’ll retain all rights to your work, in any form, in domestic and foreign markets.

Upfront costs

If you go the self-publishing route, you’ll also bear 100% of the cost of making and printing your book, and there’s no such thing as an advance. Unless you’ve found a generous benefactor or amassed some backing on a crowdfunding platform like Kickstarter, financing a self-publishing venture is all on you. Carefully consider what you’re willing to spend to get your book out into the world.

Without the informed insights of an agent and a publisher, you’ll need to gauge audience interest ahead of your first printing run. And, if you’re looking to get your book onto physical bookstores, the same goes for retailer interest.

Print more than audience demand calls for, and it’ll be your own money tied up in those extra copies. Thankfully, today’s self-publishing options allow for a surprisingly speedy turnaround on new print runs, so if your book suddenly finds a huge following, you can get more copies into the market and brick-and-mortar stores relatively quickly.

Read about John Scarpati’s Blurb & Kickstarter journey

A larger share of the royalty

Perhaps the most significant upside to self-publishing is that independent authors keep a lion’s share of the sales from every book. You’ll effectively keep 100% of the net profits. This is because there’s no waiting to cover your advance—just your initial publishing outlay. Accounting for printing and distribution costs, this usually translates to royalty rates of around 50-70% per sale for the self-publishing author.

That higher percentage may or may not equate to more money in the long run—it’ll depend on how well your book sells. Responsibility for that largely falls on the self-publishing author as well. So make sure you have a plan and follow a few best practices on how to sell a book online and seek out advice from other self-published authors to help guide you along the way.

Benefits of self-publishing, summarized

With the right book, the right approach, and some determination, self-publishing can lead to a success story that clearly wins out over traditional publishing in some critical ways:

• Faster to market
• More creative control
• All publishing rights
• Larger share of royalties

 Learn self-publishing mistakes to avoid

Still not sure?

Don’t fret if you’re not certain that you’re in that 2%. The beauty of self-publishing is that you’ll learn a lot about yourself, your work, and the publishing business. Your first effort will set you up for future success, and remember, if you establish a solid readership through self-publishing, literary agents and publishers may seek you out for your next book. Then you can make this decision all over again!

Ready to start your self-publishing journey? Let’s make it happen!

The post Self-publishing vs. traditional publishing appeared first on Blurb Blog.

If you’re serious about self-publishing, you owe it to yourself and your work to learn how to write a synopsis that is appealing and lives up to your talent as a novelist.

With all that in mind, it’s time to learn more about the synopsis: its meaning, parts, and the step-by-step process for crafting one that sets you up for success.

What is a synopsis?

Speaking generally, the definition of a synopsis is a brief summary (of just about anything). But in the publishing world, it’s far more specific. A story’s synopsis is essentially an overview of all of the most critical parts of the book, from start to finish. It includes characters essential to the plot, motivations, and the complete narrative arc, including its resolution.

What’s a synopsis used for?

It’s easy to confuse a synopsis for that teaser on the back of the book or on its online storefront page. But those are blurbs—lower-case b—and they’re used to sell your book to readers. (If that’s what you’re writing, we’ll cover that, too.)

A synopsis, on the other hand, is used by authors to help get their novel published. It helps agents pick the works they’d like to represent and is used to convince editors (and the publishers they work for) that a novel is unique, compelling, and, ultimately, good for business.

That all means that writing a great synopsis is important when you’re looking for an agent, editor, or publisher. But the synopsis is also essential for getting your work out to wider audiences, and before that can happen, you’ve got to craft a synopsis that resonates with the publishing audience. There’s an art to that, too. It’s not exactly a book report, but if you’ve ever had to summarize any novel in a straightforward way that still captures and holds the reader’s attention, you’re not entirely new to this synopsis thing.

How to start a synopsis

If you’re used to writing novels, a synopsis will seem short. They tend to be as few as 200 words on the low end, and 1,000 at the top. That’s less than two single-spaced pages to capture all the important characters, motivations, settings, relevant plot points, and resolutions. Any longer than that, and you risk losing interest from an agent or editor. So when you set out to write a great synopsis, the first step is to find your most concise voice and keep brevity top-of-mind from the beginning.

The next step should usually take the form of an outline. You’ll define your plan of attack and have a better understanding of where you stand as you tackle the synopsis itself. If you didn’t have an outline for your novel, now’s probably the time to make one.

What should a synopsis include?

A good synopsis typically kicks off with the introduction of the protagonist, or main character. Who are they? Where are they? What’s their mindset and situation as the novel begins?

From there, you’ll want to jump right into the plot as quickly as possible—starting with the inciting incident that kicks the narrative into motion. How does the protagonist’s life change, and what tension arises? Depending on your story, this will likely coincide with the introduction of other relevant characters that drive that action or the protagonist’s response.

To that end, it’s important to note that even if you’re proud of the wide cast of characters you’ve created, only those directly relevant to the main plot should make their way into your synopsis. While incidental encounters and ancillary characters can help give deeper insights into the protagonist’s mind and the world you’ve built in your novel, getting too far into the weeds will distract from the essential information and key takeaways your agents and editors are looking for.

After the inciting incident, move directly into the rising action—that is, how the plot unfolds. Again, focus only on the most critical plot points. If your protagonist has a nightmare that gives readers insights into their backstory and psyche, that’s not nearly as important to the plot as when they wake up to find a stranger in their hotel room. Keep things moving, and don’t be afraid to explicitly state a character’s motivation as they respond to and participate in the action around them. The novelist’s guiding principle of “show, don’t tell” can take a back seat to clarity and conciseness here. It’s ok to boil your more complex moments down to the nuts and bolts and explicitly state the emotions around these events.

When all the plot points essential for understanding the plot’s climax are in place, move right into it. What significant events transpire, what emotions does the protagonist experience, and how do the protagonist’s actions lead to the plot’s resolution?

Distilling your novel this much might make you feel like you’re compromising your work and that you’re leaving out what makes your novel so special—tone of voice, wordplay, vivid imagery. But keep in mind that the agents and editors reading your synopsis are here to learn how you craft a narrative and how your novel fits into their publishing landscape in as little time as possible. Pique their interest in these broader terms, and they’ll be more than delighted to find out you’re also a powerhouse of prose when they read your full novel.

What’s next?

Now that your synopsis is ready to send: Edit! The importance of editing can’t be overstressed. Take a long hard look at what you’ve composed, and look for opportunities to sharpen things up. Does the reader really need to know about this character? Have you provided more background than necessary before diving into the plot? Each sentence should be working hard. If you can achieve the same result with fewer words, you’ll win points with agents and editors.

Once you’ve trimmed things back, look again for what’s missing. Have you explained the “why” of each vital action the protagonist takes? Did you take something for granted because you thought it would go without saying? Find a place for that on the page.

Most importantly, even if you’re great at self-editing, you’ll absolutely want to get a second opinion (or ten). The most helpful ones will come from people who’ve read your novel. You may have to explain a synopsis, but their familiarity with your work will offer a great perspective. They can tell you if you’ve missed anything that they found essential to appreciating the story’s plot and emotions or what stood out and surprised them.

With everything extraneous removed, and the essentials in place, revisit the synopsis as a whole. How does it flow? Is the opening attention-grabbing? Does the conclusion give a proper sense of the takeaway you want readers to get from the novel itself (without having to state it explicitly)? Polish and repeat.

What else?

That covers the not-so-basics of synopsis writing. Here are a few more things to keep in mind to help you get started, stick the landing, and get a positive response.

• Look for synopsis examples for books you’ve read and enjoyed. You may be taken aback by how stripped-down they are. Agents and editors are seasoned readers that can fill in the blanks and derive deeper meaning than a page or two might usually communicate—so long as the synopsis is well structured, well written, and respectful of their time and intelligence.

• Clearly define important terms and concepts, accounting for what might not be common knowledge to readers less familiar with the topic or genre. If the climax takes place during the big cricket game, you’re better off explaining the situation as “on the brink of defeat” rather than “three runs shy and eight balls in hand.”

• When you first mention an integral character (and you should, for the most part, only mention integral characters), give their name in ALL CAPS. It helps readers scan and recall the essentials of your synopsis. Other characters that play a role in the plot but whose emotions and motivations aren’t critical shouldn’t be referred to by their proper names; the janitor can just be “the janitor.”

• Avoid using dialogue. Even if your plot is driven by riveting conversations, distill exchanges into their sentiment and outcomes. That heated exchange can be described as just that.

• Don’t spell out your themes or the novel’s construction in literary terms. You don’t have to say that your work is “a new twist on a coming-of-age story,” or that an event is a “plot twist” or the “climax.” Things like that should be apparent from the rest of the synopsis.

That said, if a literary technique, style, voice, or point of view is critical your characters and plot, there’s room for them in your synopsis. Does an unreliable narrator obscure the true motivation of a character? Does the prose deteriorate as the protagonist’s dementia worsens? Make the reader aware of that if it helps explain the tension and plot arc in your work.

Synopsis example

The synopsis: a synopsis
Now for some fun. Let’s synopsize the process of what we just learned:

A talented writer sets out to write a compelling synopsis of their new novel in hopes of selling it to a publisher. Despite their undeniable writing skills, they feel unprepared for this new undertaking in a business landscape utterly unfamiliar to them. But, despite their fear of rejection, they set out to learn everything it takes to ensure their success, knowing it’s an essential step towards realizing their dreams of being published.

After drawing up an outline, they write a concise draft that summarizes all the most important parts of their novel, focusing on only the most important characters, their motivations, and emotions as they spell out the inciting incident, rising action, climax, and resolution of the plot—without using those exact terms.

Just as they near completion of the synopsis, they realize that a few extraneous details are getting in the way of the flow and that a key element of the narrative has been left out. Determined to see this through, they revise and share the synopsis with a trusted confidant, mom. Her thoughtful insights provide exactly what the synopsis needed to reflect the unique and utterly compelling nature of the novel to even the most jaded of literary agents.

Filled with newfound confidence, they send the finished synopsis out to publishers, knowing that whatever happens, not a single stone has been left unturned—and that new avenues of opportunity are, at long last, about to open.

Synopsis vs. Blurb

A blurb is entirely different from a synopsis, both in its use and how it’s written. Blurbs should pique the interest of anyone you think should read your work without giving away the entire plot (if there even is a plot at all).

If you have a publisher they’ll likely handle writing the blurb. But if you’re self-publishing, your blurb is entirely up to you. Aside from typically being only 150-200 words, there are far fewer rules when writing a blurb. It’s your opportunity to sell your work on your terms.

A blurb for a novel will usually include much of the same general information as a synopsis (protagonist, motivations, inciting action) but may only hint at the rising action and, of course, leave the climax and resolution out entirely. It’s more likely to follow the voice of the work itself (though it doesn’t have to). And it can be more direct in describing the nature of the novel. If it’s a gripping sci-fi romp where the rules of physics have gone out the window, you can come right out and say so.

Beyond novels, practically every type of book can use a good blurb. A blurb for a collection of poetry can explicitly state the themes, structures, and intent of poems. Photo books may not contain a single word, but their blurbs should describe the imagery within and tell the otherwise-unwritten story of how the photos came to be. Anthology blurbs can list the authors and works they contain and their significance. And blurbs for short story collections can introduce the unifying theme—or tease the breadth of their subject matter.

You can treat your blurb like a sales pitch or an extension of the book itself, with as much or as little flair as you like. Be intriguing. Be coy. Be bold. Be whatever suits you and your work.

And, just as you would with a synopsis, consider getting a second opinion on your blurb before you put it out to the world.

Ready to pen your masterpiece, synopsis and all? Get started on creating your trade book today.

The post How to write a synopsis appeared first on Blurb Blog.

Create a unique book

This might sound obvious but take the time to make the best book you possibly can. Whether you’re writing, photographing, or illustrating, focus on the details that will mean your book stands out. Creating unique work makes all other aspects of selling your book online easier. 

Build your platform

A big part of learning how to sell a book online is building a platform. I like to refer to this as an author ecosystem. But before I delve into this idea just know this is a long-term strategy, not short-term. This is about building a solid foundation of support. 

Think of your ecosystem as an octopus. Each arm works on a particular channel but also contributes to the big picture. The arms of your octopus might include your website, email newsletter, social media, online speaking, YouTube videos, book reviews, and interviews, or public speaking engagements. Each of these avenues helps you create a complete system for not only telling your story but telling the story of your book. Be honest, be humorous, be generous and share more than the fact you have a book for sale. Readers are not only interested in your book, they are often interested in you as well. 

Leverage Blurb’s online network 

Through Blurb you can reach a huge online audience via Amazon, Ingram, and the Blurb Bookstore. 

In the Bookstore, you have your own author and book page where you can add your book blurb and links to your author website or social media channels (remember the octopus!). Through your dashboard you can set and change your profit margin and track your sales.  

Garner reviews

Build your book’s profile by providing a few early copies to people you trust, other authors, or industry-relevant experts, and ask them to review your book. The right words from the right person can boost customer confidence in you as an author. Make book reviews part of your self-publishing tool-kit with our handy guide.

Get the price right

A good markup can help you earn a sustainable income as an author, but setting a realistic book price takes research. You’ll need to understand your competition’s pricing strategy and consider the market value of your content. 

Of course discounts can attract more attention and more sales. One option is to offer a time-based discount, for example, for the first thirty days, then increasing the price over time. This prompts people to make their buying decision early on and rewards them for doing so. But be careful not to devalue your book in the eyes of your customers by selling it cheap.

Discover the recommended pricing formula for selling your book online.

As you can see, selling a book online doesn’t require a mountain of cash or special privilege, but a comprehensive plan where the success of your book doesn’t rely on a single channel. 

Finally, enjoy the process. Authors have been creating and selling books for generations. And with storytelling in our DNA this doesn’t look like it’s going to change anytime soon. 

The post How to Sell a Book Online appeared first on Blurb Blog.

Use this handy guide to help you design a back cover that will wow your readers.

Elements of a Back Cover

Most readers will only spend a few seconds glancing at the front and back cover of your book before making a decision, so every word and design element matters. If you can strike a balance between the two components below, you’ll be in great shape.  

Striking visual style: Everything from the font type to color scheme to imagery needs to look polished and professional. Aim for a clean, consistent aesthetic.

Fresh, compelling copy: This is your moment to entice the reader, so choose your words carefully. The writing should be concise, specific, and exciting or dramatic to read.

Here are the essentials that most authors and publishers choose to include when creating their book back covers:

1. Tagline:

What’s the first thing you want the reader to see when they turn to the back cover? A brilliant tagline. Draw them in with a catchphrase, a line from the book, a quote from a review, or a short, punchy description. Limit this tagline to one sentence. Think of it as a teaser, not a summary.

2. Blurb:

A back cover blurb offers a snapshot of the book and sparks curiosity. It should address the central topics or themes without being too vague, clever, or flashy.

• Keep it short. A fiction blurb for adult readers should be 175 – 225 words. A blurb on a children’s book should be 100 words or less.
• Make it descriptive. Use vivid details that will appeal to the book’s audience.
• Know your genre. The blurbs you write for a literary novel, a children’s book, a nonfiction book, and a poetry collection will each have different styles. A fiction blurb gives a glimpse of the character’s emotional world and immediate conflicts or drama. Nonfiction blurbs provide valuable knowledge, insights, or answers to a particular problem.
• End on a high note. Leave the description open-ended so they have to read more!
• Don’t pile on the adjectives and adverbs. It will feel inauthentic and over the top.
• Don’t use the same book description that appears on a bookseller page. That is designed to give customers an objective overview, whereas a back cover blurb should capture a distinct tone of voice or point of view.
• Don’t summarize the entire plot of your book. A book blurb is not the same as the three-page book synopsis you provide to a literary agent or publisher.

3. Testimonials:

Roll out the endorsements! This section gives you a chance to share the praise that fellow authors, experts, reviewers, or journalists have lavished on your book. These testimonial quotes on the back cover of your book can be very convincing for a potential reader who’s on the fence about buying a copy.

Select quotes from authors who are well-known and writing in the same genre as you. And see if you can get someone from a high-profile magazine or newspaper to review your book. It’s always easier to ask people you know, but you can send a query to established writers with a copy of the press release for your book.

4. Author bio:

The author bio on the back cover will likely be the shortest version that you create. In other words, it should be far more condensed than the author bio that appears on the last few pages of your book or in the “About the Author” section of your website. Two to three brief sentences will do (25 to 50 words max). Some fiction writers may choose not to have a bio on the back cover, but nonfiction authors should always include one to demonstrate expertise in their field.

5. Design Tips:

There are many different ways to make a book back cover design that is effective and inviting, but the best ones have a few things in common. Keep these tips in mind when creating and designing your back cover:

• Go for a clean, uncluttered layout to create the most visual impact.
• Use a consistent color palette and limit yourself to two or three different font styles to ensure a cohesive look and feel.
• Create a hierarchy for your text and images. The tagline and blurb should appear first and stand out from other back cover elements, either in a slightly larger font or in a different color.
• When it comes to text, less is more. It’s better to keep two strong quotes and present them in a neat, organized way than to have three quotes jammed into a small space.
• Make sure all the text is in a legible font style and color.
• Use margins and negative space around your text and images to help the design breathe. Overcrowded text that runs edge to edge, or lots of overlapping text and imagery is unappealing and looks unprofessional.
• Do not leave the back cover blank. This is a premium space for your marketing information and should not be wasted!

Ready to take the next steps toward launching your book? Check out our ideas for marketing and promoting your self-published book.

The post How to Design Your Book’s Back Cover appeared first on Blurb Blog.

In early March of 2020, during the onset of the Corona Virus global pandemic, photographer Cara Soulia and marketing consultant Kristen Collins decided to donate their time to raise funds — through family portraits – for their local food pantry. The scope and eventual outcome of their project was entirely unknown, but the duo decided to pool their talents, as well as those of several colleagues, by starting The Front Steps Project, a photographic study of families on their front steps in exchange for a donation to the Needham Massachusetts Community Council. Unbeknownst to Cara and Kristen, their project was about to land in a major way.

Within weeks, The Front Steps Project in Needham would document over 800 families and raise nearly $50,000. But this was only the beginning.  Photographers around the globe, inspired by Cara’s efforts and looking for ways to give back in their communities, began their own version of the project. By June 10^th over 500 photographers had raised over two million dollars for local food pantries, hospitals, animal shelters, local businesses, and more. 

Dan Milnor caught up with Cara and Kirsten to find out more about the pair behind this amazing project.

First off, congratulations. As we find ourselves in a challenging societal situation you found a way to make an impact, not only by collectively documenting a version of our situation, but you also found a way to contribute at a high-level through a spirit of philanthropy that recently passed the $1.950 million mark. Not too shabby. But let’s go back to the beginning and take a look at how it all began. I think many of us have specific days in early March etched into our calendars for a reason unlike any other in our lifetime. March 18^th was the day Cara posted the first Front Steps Project image, but how long was it between the first conversation and that first photograph being posted? Did you have any initial expectations? And how quickly did those expectations become realized or surpassed?

Even we have had to go back and try and remember exactly what happened each day that followed March 12, the day our town canceled school. Kristen had the idea to photograph families that weekend (March 14-15) and then the two of us discussed/researched details (such as hashtag availability, using GoFundMe etc.) on March 16. Cara took the first images of her family and a few others on March 17. Kristen wrote the first post and we set up the GoFundMe during the 16-17th. The first post was on March 18 on Cara’s IG handle and FB handle (under her photography business).

We knew we’d have interest in Needham. If nothing else, we have friends in town and our kids have friends. People love the Needham Community Council. Did we think: We might have too much demand. We might be flooded with requests. No. We didn’t overthink it from that perspective. 

The early days of the pandemic were uniquely challenging as there were so many unknowns. Was there any pushback from families or colleagues or were people on board from the word go? 

The experience in Needham was really positive. Hundreds of local families signed up, photographer friends offered to help (thank goodness!), media started calling and photographers from other communities reached out asking to replicate the idea. Having our peers respond and support the idea so positively shows how passionate and caring members of the photography community can be. 

And, in response, it was easy to choose to offer the idea (and How-To) to anyone who was willing to pursue the philanthropic spirit of TFSP. Our goal was to use our skills to unite our community and raise vital funds. We really appreciated that one of our Needham photographers is married to a physician at one of Boston’s top hospitals. She, along with the head of the Select Board in Needham, helped guide us during the early weeks, through our pause, and when we resumed the project in May. 

The donations were intended for the Needham Community Council. How did you decide on that and what was the reaction from the council? 

It was pretty simple to choose the NCC as the recipient for our local TFSP because they are so well-known and influential in Needham. We recognized that it was important to choose an organization that everyone knew and valued, thereby letting everyone who participated feel good about their donation. The NCC was amazed, grateful, and really fantastic to work with throughout the whole process. We feel lucky to have gotten to know them even better!

You made a decision early on to donate your time as the creatives behind the project. Was that a difficult decision? And why go this route? 

Not at all. It seems obvious to us that, in a time of crisis, people who can *need* to find a way to help others. That can be done in so many ways. The Front Steps Project was our way. 

We think the real testament to selflessness is the hundreds of photographers who also did #TheFrontStepsProject for philanthropy.

This is what keeps us going: The community of people who gave time. We want to celebrate and support their decency and goodness.

How quickly did the greater, international community begin to engage with the idea you put forth? And was there one identifiable reason so many photographers wanted to copy or become part of your efforts? 

It took a couple of weeks for the TFSP to go international, but it was really successful in Canada early on. Just like in the U.S., the photographers received media coverage so the idea took off quickly. Ultimately it also spread to the UK, Ireland, New Zealand, Australia, and more.

Many photographers told us that they were feeling the same paralysis that we ALL felt (everyone, not just photographers). Our regular day-to-day routines, jobs, and homes were shifting rapidly. Like overnight. Normal was over. ‘What do I do now?’ was a universal theme. Many of the photographers who did TFSP wrote to us and thanked us for giving them the answer: I can use my skills to volunteer, connect with others (from afar), spread some joy and “normalcy”, and raise funds. TFSP gave people a purpose, whether it was the photographer or the home waiting to have their image taken. MANY people told us they were happy just to have a reason to shower.

We live in the Digital Age, so anytime we see people make the commitment to print it makes us all very happy, but why was this such an important part of the project? 

Every photographer who participated in The Front Steps Project deserves to be really proud. In a time of crisis, he/she/they decided to volunteer — just like those who helped at food pantries, delivered items to neighbors, or shopped for the elderly — for their community. They donated time, talent, and skills and raised a boatload of money for organizations that desperately need it. They rallied communities and gave people brief moments of normalcy and joy.

Putting the images of TFSP into print creates a permanent, visually beautiful memory of that generosity. The book, at a minimum, represents a personal accomplishment of selflessness. It’s a moment of a person’s history to pass to his/her/their family.

But, even more, it can be an opportunity to rally the community again. We’d love TFSP photographers to create community-based books of their images and their local stories. Sell it to community members and donate the profits. Place them in restaurants. Sell them in local retail and home stores. Donate one to the town hall and library. Maybe even print, frame, and hang some historical images in community halls and public locations.

TFSP, while certainly a casual endeavor, has a place in history. Images don’t have to be perfect documentary-like items. Give them a permanent life so everyone can remember the moments of decency that erupted despite the crisis.

How did you land on Blurb and was there anything specific about the platform that seemed to connect to the project? 

Cara Soulia, the photographer who launched TFSP, uses Blurb for her personal family books and felt it was accessible for everyone. Our goal in asking Blurb to partner with TFSP was to ensure that every photographer – regardless of experience or location – had the option to create, market, and sell their own TFSP book.

What is the one thing you wish you had for the project? And what is the one thing you wish you knew on March 18^th? 

We wish we had a budget to hire some people to help us when things were really busy with the local growth. Cara and I worked 24/7 for over four months just to keep up.

In terms of what we wish we knew, the question is actually maybe best answered by what we discovered. Communities are different. What we assumed, communicated, and achieved in our Boston suburb was different than a town 15 miles away. And very different than a small community in the Midwest. And even more different than the fantastic crew in Louisiana. Canada had its own massive mission and vibe. And have we mentioned the amazing success and positivity in New Zealand?

By realizing that we all had the common goal of using skills and talent to help others, we were able to say: Go for it. Every single photographer ran their own TFSP and we’re so amazed at all the different ways they found success. We have learned more from them than we ever imagined.

What is next for you both?  

We are working on two books! The Needham TFSP team is designing our own Needham book using Blurb. And we’re working with West Margin Press to publish a book that represents the fantastic themes, people, and images we witnessed during the intense first 12 weeks of the COVID crisis. Both books should be done this Fall.

Personally, Cara is back to work photographing newborns and families in Boston. Kristen is back to work helping small business owners and non-profits with their growth and communications plans. Most importantly, we’re keeping our own families together, connected, and motivated during this next wave of the COVID era.

The post The Front Steps Project appeared first on Blurb Blog.

Learn how to write a poetry book and how you can create one yourself.

What makes chapbooks so popular?

It’s been said that if a chapbook is good enough, it could even start a revolution. Chapbooks have been the inspiration for literary masterpieces, music, film, and even love. These small books are collected by institutions and libraries around the world. Let’s take a look at why these tiny publications are so well-loved.

1. Short attention spans

We live in a world of dwindling attention spans. Wait, I need to check my Instagram feed. Okay, sorry, I’m back. One of the most enduring qualities of a chapbook is that you can finish the entire book in one sitting, perfect for that early morning lift, lunch hour break, or those few precious pages before bed. Short books are an art form in their own way. The fact that the book is so small means the editing, sequencing, and design are critical.

2. Unique writing styles

Chapbooks are also a great way to experiment with a style of content that might not have an audience in a longer format. Think about experimental poetry or writing styles that showcase the unique literary prowess of a new or unpublished author. So much of what gets published in the commercial publishing world has to fit everything from genre to character style to economics. Chapbooks are the opposite—free to flow in any direction the author chooses.

3. Easy self-publishing

These pocket-sized books are also the perfect object to self-publish and distribute. Historically, many of the best chapbooks were published by the author, passed around, and collected by avid readers. The perfect way to discover new talent. Also, chapbooks are inexpensive to produce but have proven highly successful even without being sold through a mainstream publisher. Plenty of authors sell their chapbooks through their own website, and if your book takes off it can be a great way to show a publisher that you have an audience ready to consume your work.

The next time you organize a small body of themed writing, think about this lo-fi, affordable approach to showcasing your work.

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If you have a stack of poems, stories, or flash fiction ready to go, what are you waiting for? Turn your collection into a one-of-a-kind chapbook you share with the world using Blurb’s free and easy-to-use bookmaking software.

The post What is a chapbook? appeared first on Blurb Blog.

I wonder if we can start with a little about your creative background? How did you become a photographer and what was it about photography that you found so inspiring? 

I started taking photographs while doing genealogy research for my family. I would document the old schools and churches that my ancestors had attended, cemeteries, and grave markers; anything that was connected to my family’s past. I began to see the beauty in the old buildings and started trying to capture it in a way that was more interesting than just documenting them. And I realized that many of them were in disrepair and wouldn’t be around much longer so I wanted to have the photographs for posterity. Many of the places I have photographed are already gone. From there I started photographing old barns, train tracks … everything I find to be beautiful here in the Midwest.

How about your bookmaking background? You have made several books with Blurb but when did you start putting your work in book form? 

The first book I made was with Blurb in 2008. It was called A Midwest Pictorial and consisted of my photographs of local landscapes and historic buildings. I have created 10 books in all. Five of them are of my photography and local “Hoosier” history and interest, and five are collaborations with a group of artists from around the world, about 9 different countries.  We formed a group called “The 21st Century Photography Group”. A copy of our first book in the series is in the library of the Rijksmuseum in Amsterdam. I also found that Malone University in Ohio carries that particular book. I’m not sure how it ended up at either library. The library here, New Castle, Henry County Public Library, a Carnegie library, carries several of my books. I love selling books with Blurb, but I am just as thrilled at having them available in libraries.

Why are books important in ‘The Digital Age’? 

In the digital age, books are in abundance and in various formats. You can find a book about anything and read it on your phone, laptop, or almost any device. There’s never been an easier or faster way to find any type of book in any genre. For me though, printed books will always be my favorite. I love holding them, dog-earing pages, even the smell of them. I have a room with wall to wall shelves for all the books I have collected over the years.  I love libraries and think they are important institutions for many reasons. I’ve been a reader on my own since the 6th grade when I discovered the books of authors like Jack London and James Thurber. History is the most fascinating subject to me and I’m afraid we are not teaching enough of it.

Congratulations are in order as you just had one of your books “Raintree County Memories” accepted into the Academy of Motion Picture Arts and Sciences Library in California. Well done. More specifically, the book will land in the Margaret Herrick Library which deals with books, documents, and other items that relate to the Oscars. Tell us about the subject matter of the book?

Thank you! The book is titled Raintree County Memories – Remembrance of an Epic Era. It’s about the novel Raintree County and its author, Ross Lockridge Jr. It was published in 1948 and adapted to film in 1957 in an MGM movie with some of the biggest movie stars of that era; Elizabeth Taylor, Agnes Moorehead, Lee Marvin, Eva Marie Saint, Montgomery Clift, and Myrna Hansen.

Lockridge wrote the novel about his Henry County, Indiana family where I was also born and raised. The story is told over the course of one day in 1890 as the narrator looks back to the Civil War and before. It’s been compared with, and I agree, Gone with the Wind, but from the north’s point of view. Henry County was a great Quaker and abolitionist stronghold. Raintree County is a sprawling book at over 1,000 pages but called by some the Great American Novel. Sadly, Lockridge took his own life at age 33, just as his book reached the #1 best-seller spot in the country.

My book is also about that summer in 1956 when all of Hollywood seemed to move to Danville, Kentucky to film the movie. The studio executives thought that Danville looked more like 19th century Henry County than Henry County did in 1956. I interviewed many of the actors, extras, and stand-ins who worked on the film and their stories are fascinating. The “movie stars” were in Danville for so long that year their names were published in the next year’s phone book. It was an exciting time and a great movie. It was also one of the first movie sets to use Camera 65.

The main theme of the original novel is man’s quest to find happiness, symbolized by the search for a Golden Raintree that was planted in Henry County by Johnny Appleseed when he made his trek across the Midwest. He carried with him one oriental seed of the Golden Raintree and planted it in a secret location in Raintree, Henry County. The legend goes that the finder of the tree in the vast swamps of Raintree County would be rewarded with the secrets of life’s happiness.

What was your initial goal with the project? How about the book? 

I fell in love with the story and wanted to keep the legacy of Raintree County alive in Henry County and beyond. Through writing the book I started corresponding with the Lockridge family, specifically Professor Larry Lockridge, son of the author and also an author himself. He actually wrote the biography of his father Shade of the Raintree – The Life and Death of Ross Lockridge Jr., author of Raintree County. The Lockridge children are passionate about keeping their father’s legacy alive and that of Raintree County. I thought I would love to help as I live here and know a lot about the history of the county.

In 2015 I had a fundraiser and erected a Raintree County Memorial marker on the lawn of our Henry County courthouse. The courthouse featured prominently in the novel where: “The clock in the Court House Tower on page five of the Raintree County Atlas is always fixed at nine-o’clock, and it is summer and the days are long.”

What does having your book in the collection mean to you as an artist? 

Having the book in the Margaret Herrick Library means a great deal to me. It’s a wonderful way to keep the Raintree legacy alive and I feel that the novel and movie should be remembered. It’s also a kind of validation, that my work is being recognized in such a prestigious library. A copy of the book was also on board the 2015 Lincoln Funeral Train reenactment in Springfield, Ilinois which was a great honor for me as well. Blurb sent the director of the project a copy of my book for that also.

Why did you use Blurb? Do you think this piece of work might also be viable for a mainstream publisher? 

I use Blurb because of the ease of creating a book and the freedom to make the book exactly how I envision it. I can create my own layout, my own book cover and even add backgrounds to the pages, from Blurb or my own designs. I can have as many pages as I want. With my most recent book about a local war memorial park, I started out with a publishing house but found it too restrictive for what I wanted to do. I wanted to use color photos and more than the page limit they allowed me. Also, with Blurb, I can set my own retail price.

I think Raintree County Memories is a viable book for a mainstream publisher. It’s a history of Indiana, a mini-biography of the author of Raintree County with information directly from the Lockridge family, and a great account of the filming of the movie in Kentucky by people who were there 64 years ago. That in itself is pretty amazing. It also has photographs of the filming behind the scenes that are not published anywhere else, some great stories about the filming of the movie, and of the movie stars involved. There were some shenanigans! It truly is a great novel and film and it was indeed an epic era. The original novel was translated into many different languages and still has mass appeal. For several years recently it was also the #1 most requested film to go to DVD/Blu-Ray.

What were your material choices for the Blurb book? 

I usually use the BookSmart tool and have produced photo books and trade books. When I buy in bulk, I usually choose the least expensive paper and bindings and have never had any problems. I also always buy a hardcover copy of each book to keep for myself. The trade books are great for affordable history and storytelling books and the photo book options make for some beautiful books.

What was the process for how the book was chosen for the library? 

I contacted the Academy and gave them the information about the book and made a pitch. I told them how special I think the novel and movie are and that the first-hand accounts of the filming were a fascinating look at an Oscar-nominated film. Then I contacted Blurb and proposed they send the library a copy and I’m thrilled that all agreed.

What’s next for you as an artist? Any new projects? 

I have started making notes for a new book, on the local folklore and legends in Indiana. For this next project, I will be learning and using Blurb’s desktop software BookWright. I will continue to exhibit my photography in exhibitions, galleries, and as set decor in movies and TV series. I’m not an actor but my photography has made its way into several projects including the United States of Tara TV series, produced by Steven Spielberg on Showtime. It’s something I love to do and hope to keep doing.

Feeling inspired? Turn your passion and knowledge into a beautiful book you can share and sell. Get started today.

The post Author Spotlight: Mark Orr appeared first on Blurb Blog.

 First off, congratulations on the new book. It’s been said that photography is a story best told in book form, and we are firm believers in this idea. Your book is titled “Late Harvest,” and covers the American South. Why this topic and why this title?

I’ve lived in Atlanta since 2008 after living in Maine and New York State for decades. The shift was disorienting in many ways. I use photography as my way of understanding the world and this continued during my first few years in Atlanta. I did photography projects on the customers and vendors at rural flea markets (American Flea), and African American rodeo cowboys (Black Cowboys and Girls). But I felt a need to delve deeper. In 2016, I got a small travel grant, enough to support a road trip and after the election that November, I assumed I would be photographing people and talking to them to try and understand the results of the election. I did do that, but on the very first day, I saw the picture that ended up on the cover of Late Harvest and I knew the project had to show more than just portraits.

The title refers to the dominance of agriculture in the areas I traveled to, but also to the fact that they’re past their prime. They’re surviving, but they’ve seen better days.

Let’s talk about time. From start to finish, from the spark of the idea to sending the book to press, what kind of timeline are we talking about and did you feel rushed or was this done on your own schedule?

I received the travel grant in the early fall of 2016 and took the first three-week trip through Alabama, Mississippi, Louisiana, and Arkansas that December. Although I initially thought an exhibition would be the only way to see the work, after spending time with the images for several months, I decided that the volume of images required a book to tell the complete story. A book also gave me a more effective way to integrate the portraits with landscapes and buildings.

I came up with a preliminary book design during a residency at The Hambidge Center for the Arts and Sciences in the North Georgia mountains in June 2017. It was then that I realized that the photographs were more downbeat than I felt they should be. This was partly due to the fact that it was cloudy for most of that first trip. So, I decided a second trip was necessary. In December 2017 I spent another two weeks on the road, this time in Georgia, North Carolina, South Carolina, and Florida. The extra time was definitely worth it. The pictures now had the variety and range I was looking for.

I spent the next few months working on the book design. I went through five or six Blurb iterations in the end. By the summer of 2018, I was confident enough to start showing it to publishers. Most of the time they wanted to see a PDF version only.

I first approached the RIT Press in October and things seemed to move quite slowly for a while. The Press had multiple staff members who needed to review and consider my proposal and they also sent it to outside reviewers for additional input. By January 2019, they were sending me emails expressing interest, but not making any commitments. It wasn’t until I sent my Blurb version to them in February that they committed to moving forward.

The next step was to plan the Kickstarter campaign that would fund the printing. I wanted to try for an April launch, but it quickly became clear that that was unrealistic. The months dragged on, as we finessed the Kickstarter and agreed on details for the book. We decided to scale the book down from the 12×12 in. version I’d created with Blurb, to an 11x 11 in. version based on the printer’s limitations. The Press used the design I had created with Blurb’s BookWright software. They redesigned the text pages, but the sizing, sequencing, and layouts are exactly as they were in the version I created with Blurb.

The Kickstarter launched in September 2019 and surpassed my fundraising goal by 17% during a 30-day campaign. We spent October and November working through the final details and Late Harvest finally went to press at Josten’s Printing in Tennessee in December. Final bound copies were delivered in the first few days of 2020.

That’s a very long answer to the question you asked. The short answer is, no, I was never rushed. Mostly, I had to keep reminding myself to be patient. Getting a book right is a long and exacting process. It takes a lot of time and a lot of eyes to make it right. But, at least in my case, I think it’s worth the wait.

You edited your project to 79 total images. but what was your total take, approximately?

The total take was over 5,000 images.

Was there a previous work by yourself or another artist that helped guide you or was this something outside your normal scope and scale in terms of the subject matter?

Portraiture is a story-telling technique I’ve used for a long time, but the other kinds of pictures in Late Harvest are not something that I’ve done a lot of in the past. I think those are influenced by many photographers. Certainly, the formalism of New Topographics is evident in some of my photographs of buildings. Using color as a way to experience the quotidian and banal is seen in the work of William Eggleston and Stephen Shore. And I’ve always loved the peeling paint of Aaron Siskind.

How was the response from the people you interacted with in the field? Were people open to the idea of photographing? You have quite a cross-section of humanity on those pages.

People were welcoming. Most of us want to tell our stories to someone and when I started asking questions, the pictures ended up as almost an afterthought. It wasn’t unusual for me to be with someone for a couple of hours, but only spend fifteen minutes on photography. Only two people said no, and one of those set me up with someone else to do a portrait shoot in a beautiful chapel. That one ended up being one of my favorite stories in the book.

The American South is a unique place and one that is often described in stereotypes. Was there something you learned about the region that surprised you or made you rethink your position on what you thought you knew about the place?

I was surprised by how devastated the economies of the towns were. Between changes in agriculture and the opioid crisis, there were towns that had practically disappeared. I went to several where there were twenty or more empty storefronts.

You created a Blurb book from this work, but was your intention to publish solely with Blurb or was it always the intention to go with a traditional publisher, in this case, RIT Press? Again, congratulations, finding a publisher is no minor thing.

I wasn’t sure about the project until I saw the Blurb version. Books are a physical, visceral experience. I needed to have that experience with Late Harvest before I made the decision to move forward. Since I found it doubtful that anyone would be willing to pay me what I would need to retail the Blurb version, I assumed that I would pursue a traditional publisher.

Did you utilize the Blurb edition as the maquette for the publisher? I’ve heard stories about some publishers loving this idea and others not so much so I’m curious the response.

I used the Blurb edition first as a way for me to understand how it would function. Since a vital component of a book is the physical experience, looking it at it on the screen of a computer doesn’t really tell you whether it works or not. Square or rectangular? 7x7or 12 x 12? Photos floating in white space or full bleed? Since I’m not a trained graphic designer I needed to see the object before I really understood the answers.

How about the book editing, sequencing, and design? Was that done by the publisher, did you hire a team or was it all done on your end?

The entire edit, sequencing, sizing, etc. are all mine, done with BookWright. RIT accepted that all. I had assumed that any publisher who picked up Late Harvest would redesign it. I was quite gratified that RIT Press liked most of what I had done.

What were your trim size and paper choice for the Blurb edition?  And how close were they to the materials used by RIT?

I used the 12×12 for my Blurb copy. I felt that the photographs were so rich in detail that they had to be large enough to see small things. Some of the prints in the exhibition were as large as 40×60, so the reduction to 12×12 was already significant. I went with both the premium paper with a lustre finish and the standard papers. I was concerned that the standard would have too much bleed through, but I was surprised that there was almost no difference between them in that respect.

There were two major differences between the Blurb edition and the final RIT Press edition. The first is that RIT Press used a matt paper with a gloss varnish over the pictures. This set the photographs apart and made them almost leap off the page. The other thing is that they used a matt lamination on the cover, thereby protecting it from scratches and fingerprints.

I was happily surprised by how well the photographs in the two editions matched. They were surprisingly consistent in color, saturation, and contrast.

Was there anything you learned about the book-making process that surprised you or anything you want to pass along to anyone how has yet to get that call from the publisher saying “We want to do your book?”

Although it’s every photographer’s dream to have a book of their work published, it needs to be approached with caution and care. There are many questions that need to be answered. Why a book? Who’s going to buy it? Is there an existing customer base, either for the subject matter or your work? Can you design it yourself or will you have to hire a designer? Do you know someone who can write a forward or essay? Is there a museum or other venue you can partner with to share the burden?

Traditional publishers generally require a financial commitment to fund design and printing. This can be a lot of money, as much as $40K. Where’s that money coming from? Kickstarter? For the record, Kickstarter is a wonderful platform, but TONS of work to make it successful. I was extremely happy to collaborate with RIT Press on our Kickstarter. We shared the burden on the creation of the campaign and its promotion and they handled most of the fulfillment, which was a huge endeavor.

It’s also important to educate yourself with the limitations of the printing process. You need to be comfortable with the idea that the four-color process is a translation of your vision, not the same kind of exact reproduction that fine inkjet prints have become.

I recommend seeking out experts in your personal network for their advice. Early in the design process, I showed a PDF to friends of mine- she’s a graphic designer and he’s a photographer with several books to his credit. This version had every photograph floating in white space, the same way you might see them on the gallery wall. My friends told me to consider cropping some to bleed to the edges of the square pages, or let some bleed across the gutter or let an occasional page stay blank. All of these techniques change the rhythm of a book and keep the layout from feeling like a boring flip book. I incorporated their suggestions into my design and suddenly Late Harvest sang! It made a huge difference.

What’s next for you?

I plan Late Harvest to be the first volume of a trilogy. I’ve already shot volume two, during six weeks on the back roads of Appalachia in 2019. I plan to have an edit ready in the next four months and do the first layout and design during a residency in June. And I’m planning part three which will be the back roads of the Black Belt of Alabama and the Mississippi Delta, hopefully shooting in the summer of 2021. Blurb will play an important part in bringing both of these books to life.

Late Harvest is available for purchase from:

RIT Press

Amazon

or direct from the author himself

The post Author Spotlight: Forest McMullin appeared first on Blurb Blog.

We’ll review the top five self-published book genres that get the most sales and don’t require too much lead time. With a bit of planning, you can ensure that your book is ready to sell in time for the holidays—especially ahead of the biggest times of the year: Black Friday and Cyber Monday. Add a little self-promotion, and you may even get your book on holiday shopping lists.

Let’s dive into the top five book genres!

1. Notebooks and journals

When thinking of low-effort, high-reward book sales, notebooks and journals top the list. Add in that the paper notebooks market is projected to grow by 16.55 billion USD by 2025, and you have all the reasons to create your own to match the growing demand.

According to the same report, fashion notebooks and composition books for students take up the most significant slice of the market. But everyone—from big dreamers to pragmatic planners, writers to designers, artists to entrepreneurs—needs a place to organize their ideas. This makes notebooks and journals popular for holiday selling and gift giving.

Before you begin creating, decide on your theme and audience. For many, the holidays represent a time of reflection and new beginnings, so you might try self-care and inspirational notebooks with quotes, life lessons, or meaningful illustrations. Maybe you want to create a playful idea journal or a daily personal planner for people to stay organized heading into the new year. Or you may choose to make a pregnancy journal or travel notebook inspired by your own experiences. Finally, consider creating a sketchbook that alternates your drawings with blank pages if you are a designer or illustrator.

Ready to start? Here’s how to make a notebook or journal to sell!

2. Children’s books

Perfect for illustrators, designers, and photographers looking to diversify their products, children’s books can be a fantastic way to expand your business. And at this time of year, books for kiddos of all ages are consistently popular holiday gifts. After all, what’s more heartwarming than spreading the joy of reading to the next generation?

Become part of this age-old holiday literary tradition by creating a visual book that speaks to a young audience. We’ve found that creators are most successful if they pick a niche. For example, if you are an artist specializing in painting animals, consider creating a counting book or an alphabet book featuring your artwork for zoo-obsessed little ones. Or, if you are a photographer with a knack for candid shots, put together a holiday-themed photo book to capture all the special moments of the season—childhood present-opening mornings, holiday family gatherings, or even unique festive traditions from around the world.

No matter what route you take, ensure that your illustrations or photographs are high quality, and lay it all out in a book dummy before you hit print.

Learn how to start writing a children’s book today!

3. Cookbooks

Food, family, and tradition are a huge part of the holiday season, so it’s easy to market cookbooks as a go-to gift. Creating a cookbook to sell is also a great way to share your love of delicious cuisine and your unique point of view. A cookbook is another fantastic way to supplement your income year-round if you have a cooking blog or food-related business.

Before you begin, make sure to choose a cohesive theme. Is it a collection of spectacular dessert recipes, seasonal family favorites, or dishes from a particular part of the world? Together, your photos and commentary will tell the whole story behind the recipes.

As seen so often in the explosion of recipe videos on social media: written personal anecdotes, travel stories, culinary tips, or cultural perspectives can add rich detail as well. Remember, people will be drawn to the storytelling and presentation as much as the food, so choose your book cover, layout, and theme carefully.

Pro tip: Photographing your food is incredibly important. Make sure you use the best food photography tips to get it right!

4. Photography books

If you’re a professional photographer or an amateur with a great eye, photo books make for excellent holiday sales for gifters. But there are so many to choose from! One way to stand out amidst the sea is by selecting a theme that’s unique to you. 

Got a camera full of travel pics? Turn your favorite travel memories into a professional-quality photo book to attract holiday shoppers. Travel books have broad appeal because they inspire lively conversations—whether your audience has visited the locales or dreams of them. Capture the full experience of your journey by including an introduction to add personal context, or include no-frills captions and let the images speak for themselves.

You could also turn your existing fine art photography into a new package for the season, like a limited edition run of your black-and-white portraits plus behind-the-scenes photos or a luxurious coffee table book of your best work and written reflections. No matter which route you choose, make sure your book stands out from the rest with a gorgeous book cover.

5. Holiday fiction

While certainly not low-effort, holiday fiction—especially romance and novellas (up to 20,000 words)—dominates winter sales. Whether it’s a heartwarming Christmas story, a suspenseful Hanukkah mystery, or something else entirely, this genre is always in season.

Some top-selling authors tie a new holiday-themed book to an existing fiction series to revive interest in the entire package. So you could set your beloved characters amidst snow and presents and let the new story unfold. Then build a holiday marketing plan with clever promotions—perhaps a buy-one-get-one—and sell your whole series together.

But don’t worry; you don’t need to rush to write an entirely new novel or novella to sell for this season. If a totally new book isn’t possible, adding a little holiday sparkle to your existing book’s cover can also recapture excitement. Introducing a simple gift bow to your cover or updating the colors to match the holiday that best fits your audience can do wonders to boost sales.

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Now that you have your eye on holiday gift trends, it’s time to self-publish and sell your book! What book genre will you choose?

The post 5 best-selling book genres to self-publish for holiday books gift lists appeared first on Blurb Blog.

In the digital age, why is it still important to create a print portfolio?

When done well, a print portfolio can have a massive impact on the viewer’s immersive experience of our projects. Showing work in print gives us the opportunity to make a long-lasting impression by offering physical materials which, in turn, will create micro-transactions. These micro-transactions are key to building meaningful relationships. It all starts with a physical connection to the book. Print projects provide a sense of ownership that is deepened through touch. Clever use of materials and textures can enhance the experience for the viewer, creating a greater impact than a digital portfolio.

In addition, many projects are created as print-based work and are therefore tailored for display in printed form. The power of the original format may be lost if the portfolio is shown digitally. Even though digital files are a fast and effective way to deliver projects to clients, print materials still have lasting value and are worth the extra preparation.

How did your team select and sequence the images for this portfolio? Why did you decide not to include captions or text?

One of our greatest passions is the exploration of techniques and design programs that we have not used before and incorporating them with our strengths. In addition, it was important that our portfolio book cover as many visually stunning projects as possible. So, rather than limit our portfolio to a specific theme, we selected projects that involved a range of techniques and skills to show that we are not afraid to tackle challenging, diverse project types that widen our horizon.

We avoided using captions or text in our portfolio book because we believe that the final images captured everything needed to showcase the work. Much of it is left to the audience or client’s interpretation, but we wanted the photos to convey the right mood and feel, and ensure that the main features of each project could be understood visually.

What made you decide to print your book with our Large Order Services team, and how did they support the creation of the book?

We send our portfolio book to different clients across the country, so we order in bulk to ensure we can easily distribute copies all at once. Since we had a set deadline, Blurb’s Large Order Services team offered solutions on timing to keep our project on schedule. They also provided a custom discount based on the size of our order.

How did you decide on the size, format, and paper type for this project?

After looking at the selection that Blurb offers, we decided to make a hardcover Photo Book with 28 pages, so it’s nice to keep on your desk or shelf and has a light, smooth feel. The 10×8 inch Standard Landscape size makes it accessible and easy to read. We used Blurb’s free desktop tool, BookWright, to design the layout.

What are the top criteria for creating an impactful portfolio?

First, clients tend to look for visually stunning portfolios with layouts that capture the eye. The colors, theme, and style of the book need to be aesthetically pleasing and consistent throughout. The appearance of the book should convey your personality and artistic taste and demonstrate a keen eye for detail and a history of self-initiated work. If the formatting is sloppy or any images appear disorganized, the client will immediately form a negative impression of the entire portfolio.

It is also vital to feature the best work at the beginning of the portfolio, where it will have the largest impact. From there, focus on displaying only your strongest work, even if that creates gaps in chronology.

Another factor to consider is how well the portfolio communicates the skills and experience of the artist/s. An impactful portfolio will clearly represent the creator’s role, responsibilities, and techniques used for each project. Try to find a balance between work samples that show experimentation, risk-taking, and applied skills—though all of these elements should be highlighted within the portfolio.

What are the most common mistakes beginners make in presenting their work?

What we often see is the need to present as much content as possible—essentially, showing off everything. Beginners need to be reminded that the best piece of work in their portfolio will be measured next to the worst thing that they show, so every piece needs to be as good as the last. Focusing on quality over quantity is important. There is nothing worse than seeing absolutely incredible work followed by an amateur piece.

Self-editing is a great habit to develop when building a portfolio. In addition to reviewing each project and selecting only the work you are most proud of, make sure that each project relates to the field in which you are applying. It’s great that you are multi-talented, but if you want to be considered for a specific role, then tailor your portfolio to match.

What factors should animators, videographers, and filmmakers consider when presenting their work as still images?

One challenge for animators and filmmakers presenting their work as still images is finding ways to showcase the sequence, movement, and design of the original work. Animation is full of movement, motion blur, colors, lighting, and effects, which all convey an important story, message, or emotion. It will always be difficult to capture that same feeling in a single still. One way around it is to create a storyboard comprised of multiple still images to show a sequence in printed form.

How do you preserve elements of storytelling when featuring multiple projects in a portfolio?

We carefully sequence our projects based on theme, style, color, size, and shape. Together, these elements improve our storytelling and guide the client/audience as they look through the portfolio.

We start by grouping similar projects together based on theme or category (characters in one group, product visualization in another). This creates a meaningful, organized structure for the entire portfolio.

Color and style are our next priority since a clear, visually impactful color palette can set a particular mood and enhance the client’s overall experience of the work. The challenge is finding a balance between the theme and color, so we may switch certain projects around (combining two different types of project themes together) if their color palettes work beautifully together. Getting just the right order and layout takes time and involves trial and error.

Finally, the shape and size of each print determine the layout and placement of projects within the portfolio. We use the spacing and flow of images on each page spread and throughout the book to create a cohesive story.

What is the best thing about collaborating on creative projects? What are some of the challenges?

When collaborating, we can bounce ideas off each other. That process of group reflection and feedback can reveal new solutions we wouldn’t have discovered on our own. By integrating all our strengths, experiences, and techniques, we can also take on more complex and challenging projects.

Communication is a vital part of working with other artists, but it can be challenging, depending on the location of everyone involved. When collaborating with artists in another country, different time zones can be an issue, and communication may not be as smooth when it’s limited to phone calls, Skype conversations, emails, and texts.

Working with other artists should be encouraged! A well-organized and structured team of collaborators is capable of achieving results that would otherwise take an unreasonable amount of time and resources for an individual artist to achieve.

Where does your team look for and find creative inspiration?

We look for inspiration every day. Encountering something unique might lead us to produce a similar design or, at the very least, inspire us to create something even better. Innovation can also come from the most mundane things, like breaking down the properties of how light interacts with a glass of water sitting on the table, then integrating that process into our own designs.

We try to keep an eye out for talented artists and seek out different sources and techniques. Sometimes looking at traditional art forms and craftsmanship, such as painting or sculpture, will inspire us. Other times we are influenced by experimental design or digital artists online.

Our most used platform for gathering inspiration is social media (Instagram, Facebook, and YouTube). We also stay up to date with VFX/CGI/film websites that showcase current news and techniques.

In today’s world, it’s good to stay open-minded and be ready to follow your creativity since inspiration can arrive at any time, in any form.

Ready to create a showcase for your best photos, drawings, designs, and creative work? Make a professional-quality portfolio book today!

The post Spotlight on Large Order Services | BOOM Portfolio Book appeared first on Blurb Blog.

If promoting your book far and wide is a top priority, consider the advantages of using Ingram as a distributor, and follow our easy five-step guide to list your book for sale on Ingram.

If your book is already for sale on Ingram, make sure you’re getting the most out of your listing by optimizing your metadata (step 2), adding categories (step 3), and setting your wholesale discount to 55% (step 4).

Expand the Global Reach of Your Audience

Selling your book through Ingram distribution can help increase your book visibility worldwide and maximize your sales. Books listed on Ingram are now available to retailers and libraries in more countries than ever before, including China, India, Spain, Germany, Italy, and Russia. When you sell your book on Ingram, people can shop for it in over 39,000 stores and libraries. That’s a lot of potential eyes on your book!

All Blurb Trade Books Can Be Sold through Ingram

Trade Books are ideal for Ingram distribution. This popular book format includes everything from novels, memoirs, poetry, and children’s books, to travel books, cookbooks, and nonfiction of all kinds. Blurb’s book-making tools also give you the option to print in black & white or in color, so you can combine text and photos without sacrificing any content. A lower print cost per page also means higher profit margins for you, making Trade Books a beautiful and economical choice.

Simplify the Day-to-Day Process of Book Distribution

If you choose to print on demand and sell-through Ingram, your book is only printed when a customer places an order. You don’t have to calculate the number of books you want to sell in advance. This model of book-selling has completely changed the game for self-publishers! You can design the book once, and see it delivered often. Ingram allows you to sell at scale, without the hassle and risk of managing book orders yourself.

When you sell your book in the Blurb Bookstore, people can also buy your book directly. There are no listing fees involved, and you never have to worry about packing or shipping your own orders. You select how many copies to print, set a unit price, and the bookstore takes care of the rest!

If you decide to sell your books through a personal website, you are responsible for keeping books on hand, tracking every order, and shipping books to your customers. This might seem doable at first, but it can quickly turn into a huge task requiring daily vigilance and organization when your book sales take off!

Setting Up Your Book for Sale on Ingram Is Fast and Easy

#1 Make a Trade Book with Blurb’s layout tools or upload a PDF
Ready to get started? Upload your existing manuscript, build your own book with our easy layout tools, or hire an expert.

#2 Create a book listing on Ingram to optimize your metadata
The next step is to complete your author profile and write an enticing description of your book (aim for fifty words or less). All of the phrases, words, and information in your book listing serve as metadata, so be sure to include keywords that readers of your book might search for. Descriptive rather than abstract titles can also help direct your audience to buy your book. Check out more tips on how to create strong metadata.

#3 Add categories to increase your book sales
Ingram allows you to list your book for sale under three categories, which helps it show up in more searches. Adding a second category to your book’s description could generate up to 10% more sales! Visit your dashboard now to update your book’s categories.

#4 Set your wholesale discount to 55% to improve retailer visibility
This is the magic number. The only cost for Ingram distribution is the amount you choose to share with retailers (wholesale discount). It may be tempting to select a lower percentage here, but keep in mind, a higher discount on your book means broader distribution possibilities and more potential book sales. Go for the sweet spot and get even more retailers to sell your book by setting your discount at the recommended level, 55%.

#5 Set your list price to determine profit margins
As a self-publisher, you decide how much to charge for a book and how much profit you want to make. You’ll start with the cost of your book or base price. This is determined by your book specifications, such as paper and the cover type, and the unit volume of your order. Then you’ll factor in the wholesale discount (see step 4) and the profit you want to make per copy. The resulting total is the retail price (what customers pay). Handy calculation tools let you see how changing the base price or wholesale discount affects your profit margin.

Once your book is ready to be sold on Ingram, all that’s left to do is get the word out!

Ready to sell your book on Ingram? Create your book listing today!

The post How to Sell Your Book on Ingram (and Why You Should) appeared first on Blurb Blog.

In this getting-started guide, we take the guesswork out of the publishing process and show you how to self-publish a book on your terms. First, let’s cover some self-publishing basics. 

What is self-publishing?

Self-publishing is the process of producing and publishing creative work without the support of a traditional publishing house. For authors, it means taking ownership of the writing and editing and the book’s design, formatting, printing, and promotion. And it’s in that journey where self-published authors can explore creativity without boundaries. 

With the rise of online publishing tools and distribution platforms in the past decade, self-publishing has become a viable and economical option for many authors. Writers and creatives prefer the self-publishing route for several reasons: Not only does it allow you to retain creative control and a greater share of the profits, but it’s a practical alternative for creators sharing perspectives on niche topics with very targeted audiences—the kind that wouldn’t get picked up by traditional publishers.

A brief history of self-publishing

Self-publishing has a long history that dates back to the 17th century when many authors printed and distributed their books and pamphlets without a publisher. Some early examples of these self-published greats include John Locke, Emily Dickinson, and Marcel Proust. Self-publishing was incredibly important because traditional publishers were selective and intense censorship was common, making philosophical texts like Locke’s Two Treatises of Government impossible to publish traditionally.

Later on, with the emergence of the vanity press (or “vanity publisher”) in the 1920s and 1930s, anyone could pay upfront and sign away their rights to have their “vanity” book published by these publishing houses. This option would inevitably earn a reputation for poor-quality books and deceptive publishing scams.

Self-publishing gained much more traction in the 1960s and 1970s when print-on-demand technology became a mainstream option. This enabled writers to print small quantities instead of paying for high-volume printing upfront. And in recent years, digital publishing and ebooks have made it even more accessible to self-publish a book. In addition to digital book creation platforms, access to online distributors like Amazon and Barnes & Noble make it easy for authors to market and promote their work.

Traditional publishing vs. self-publishing tradeoffs 

When it comes to traditional publishing versus self-publishing, there are advantages and disadvantages to each. 

In general, the traditional approach of working with a publishing house can be more lucrative for creators, often giving greater credibility and prestige to a published book. The backing of a book publisher also means you’ll have a professional team to support editing, branding, distributing, and marketing your book.

However, today’s publishers mainly work with experienced writers who’ve amassed a reputation or a large audience via blogging or other high-profile writing—or celebrity status. That’s mainly because publishing companies foot the bill to publish the book and bear the risk of funding, producing, and distributing the finished product. Because of this financial risk, publishing houses are highly selective in whom they work with and what they publish.

On the other hand, self-publishing provides greater creative control, editorial flexibility, and faster turnaround. It’s also a more accessible option for the vast majority of writers who don’t have an impressive track record to land a book deal with a publishing house. 

However, self-publishing can be more costly up-front as the bookmaker assumes all financial responsibility. There’s also no guarantee that a self-published book will become a bestseller, so it’s wise to have realistic expectations and goals for your piece once it’s out in the world.

How much does it cost to self-publish a book?

The cost of self-publishing a book depends on the services and options you need, as expenses are different if you need editing and design or formatting and printing. 

Based on estimates across various genres, the cost of self-publishing can vary greatly, with text-heavy books costing $3,800 to $6,000 or more to edit, design, and produce. But, of course, plenty of creators also create and print their books for less than $500. That’s why it’s essential to research, compare prices, and have a clear budget in mind before embarking on the self-publishing journey.

You can take two paths to self-publish printed copies of your book: print-on-demand (POD) and volume printing (offset printing). POD involves printing a specific number of books, including one at a time. While more expensive than volume printing, POD provides greater flexibility for self-publishers. POD is also quicker to get your published book, as books are created in the same facility without shipping components to different sites for assembly.

On the other hand, volume or offset printing is the traditional method of publishing books in large quantities. This process involves printing many book copies in a single run, which is usually more cost-effective—and can be the only option for books requiring special treatments like a unique size or specific paper type. But volume printing can be more costly upfront to self-publish a book, as you’ll need to pay for more copies and make sure you have zero errors before you print.

How to self-publish a book

If all of the above points toward self-publishing, it’s time to start! Whether your project is a personal memoir, expert field guide, or future bestselling romance, you decide how to create and self-publish your book. However, several best practices can help you go from a dream to success.

1. Research your genre and topic

Your self-published book’s success relies heavily on choosing a topic you’re passionate about and one that will resonate with others. It can be tempting to jump into writing without thoroughly researching the market, but doing so could make it more difficult to attract readers. Invest time learning who reads your genre and how they expect to find your book. This research will come in handy for writing and marketing your book once printed.

It’s a good idea to hone in on a reader need that current books on the market don’t satisfy. It may be a very specific niche or a topic that isn’t well represented. Just make sure you’re also choosing a topic you are knowledgeable about and interested in, as this will make the creation and production process much more enjoyable. Your passion will also be reflected in your writing, increasing the chances of your book resonating with your target audience.

Need help dreaming something up? Check out book ideas you can start writing today!

2. Write your book

Once you’ve defined your topic and found your genre, the next step is to start writing your book (if you haven’t already). Depending upon your goals and the nature of the book, the writing process can take anywhere from a few weeks to several years. No matter how long it takes, remember that writing a book is a marathon—not a sprint.

Organization and consistency are vital to writing a book. Try out tools like Scrivener and Vellum to outline your book and keep the components of your book streamlined and easy to reference as you flesh out each section. It’s also helpful to set a schedule and stick to it, whether writing a certain number of words per day or dedicating a specific time each day to writing. Set realistic goals and timelines, so you don’t become overwhelmed with the process.

3. Edit your work and get feedback

After you’ve finished writing the first draft of your book, it’s critical to edit your work thoroughly. Before you hand off your work to anyone else, work through a few drafts to iron out the flow and avoid any obvious grammatical errors. But you don’t have to do it alone. Many online tools and resources can help you check through and fine-tune your content.

Once you’ve made your initial revisions and feel good about your flow, send the manuscript to beta readers—or supportive friends and family. This is a great way to make sure there are no mistakes in your book while also getting feedback on how it reads and how it can be improved. Be open to criticism (and don’t forget to thank everyone who reads your work)!

Editing your work can be difficult, so consider hiring a professional editor or proofreader to help incorporate the feedback you get. This investment can pay dividends in helping to improve the quality of your book and increase the likelihood of it being well-received by your target readers. So many self-published books end up with negative reviews for simple copy issues.

4. Format your book

Once you write, edit, and proofread your manuscript, the next step is to format it for self-publishing. Formatting involves laying out the text on each page, placing images, and ensuring that all elements are consistent throughout the book. You’ll also need to decide if you’ll sell your book in hardcover, softcover, or ebook formats—and make a document for each format.

If you feel uncomfortable with the formatting process, there are professionals who can help. You can also try tools like BookWright, Blurb’s bookmaking software, Adobe Lightroom, and InDesign to streamline the process. If you’re formatting your book, check out professionally-designed downloadable templates to help get you started.

5. Design a book cover

If anything will make or break a potential book sale, it’s the front cover. A well-designed book cover can help your book stand out and attract potential readers. Your self-published book cover should be eye-catching and intriguing, giving enough personality to pique a reader’s interest.

You can hire a professional cover designer or use a cover design tool to create a front cover that reflects the content and voice of your book. Use high-resolution images and choose colors that complement your book’s theme. Of course, this applies to ebooks, too. 

We asked Alex Palacios, a Blurb art director, to share her top tips for a standout book cover. This advice applies to both designers and non-designers alike.

6. Set a distribution plan

Once you have a finished digital version of your book, you must decide how to print and distribute it. Again, think back to your research at the beginning of your journey. Where does your target audience find books like yours? Do they prefer ebooks or physical copies? 

Depending upon your answers, you might want to sell your book through your website or online retailers like Amazon, Barnes & Noble, and Apple Books—so you’ll need to figure out how to send copies to those readers. You can also consider if you’d like to sell in traditional brick-and-mortar stores and the process for distribution there.

Be sure to research your options before settling on a distribution plan, and remember that how you distribute your book will depend on where you want to sell, how much profit you’d like to keep, and how much effort you’re willing to put into marketing. 

7. Choose a self-publishing platform

Narrowing down the right self-publishing platform can be tricky—but it’s a little simpler with your distribution plan in mind. Do research to compare the different services available and how they align with how you plan to distribute your book, and how much profit you’ll get to keep from each copy.

Some popular self-publishing options include Blurb (that’s us!), Amazon, and IngramSpark. Compare each to find the sweet spot between format, distribution channels, print quality, price point, and printing timelines.

You’ll also want to choose whether to do print-on-demand (POD) or offset printing. POD is a favorite because you can print as many or few books as you need when you need them, and many platforms send those copies to each buyer as well. Offset printing requires a minimum order of several hundred copies and usually has longer lead times—but it typically offers lower per-unit costs for each.

There are a variety of approaches! Put in the time to research how each platform works, how much each service costs, how long it will take to get your book into readers’ hands, and how you’ll make money.

8. Self-publish your book

Once you’ve made a decision, it’s time to print! This is when you go from idea to book, so savor it.

Upload your digital book to your chosen platform and print a single proof first. You’ll be able to catch any formatting issues, copy errors, and quality discrepancies—and you’ll get to test how quickly your readers will receive your book. Then, it is time to publish your book when you are thrilled with the proof copy you have in your hands.

9. Market and promote your book

Once your book is published, it’s up to you to get the word out and promote it to potential readers. This can involve using digital means like social media, blogging, influencer outreach, and offline strategies like participating in book events and festivals. 

Creating an author website, writing a blurb for your book, building a mailing list, and utilizing ad networks are also effective ways to promote your book. You can leverage many different marketing activities to promote your book. Here are a few more:

• Add keywords to your book listings on Amazon and other bookselling websites to show up higher in the search results.
• Build your social media presence and online audience to establish an author profile and create buzz around your book. 
• Reach out to podcasters, radio personalities, and other media outlets to discuss your book.
• Approach local bookstores, libraries, clubs, or community groups to arrange readings and signings. 
• Connect with bloggers and digital publishers in your niche to contribute a guest post or land featured content opportunities promoting your book.  
• Ask for reviews to boost your self-published book and build trust with new readers.

Consider developing a budget for your book marketing and promotional campaign. While there’s a lot you can do organically at little to no cost, building awareness and getting in front of targeted audiences usually requires some monetary investment. Make sure to test, learn, and retest when spending money on marketing!

Ready to self-publish your book?

Before the advent of self-publishing, anyone looking to get their book out into the world needed to enlist the support and resources of publishing companies. Today, more and more authors are turning to self-publishing resources as a more feasible and fulfilling alternative.

Self-publishing a book may seem daunting, but you can turn your writing into a published book with the right tools, resources, and effort. We can’t wait to see what you make!

***

Self-publish a book with Blurb today.

The post How to self-publish a book: Guide to getting started appeared first on Blurb Blog.

Consider costs

You’ll need to account for not only print costs but production costs. Very few people start work on a magazine with all the skills they need to create what they envision. You may need to hire a designer to help you with the layout or a photographer to take and edit photos. Sometimes you can find visual collaborators and writers who are just as excited as you to get their work into the world. Other times you’ll have to purchase pre-made templates (or use a Blurb free magazine template).

For more insight on creating a magazine and working with collaborators, check out our interview with Paris Kim, creator of Marjorie magazine.

To help keep costs down, you may want to consider using print-on-demand, which doesn’t require a large upfront print run. Instead, copies are only printed when your readers order them.

For help raising funds to publish a book or magazine, consider running a Kickstarter campaign. For a look at how this has been done, check out the story of  Fake Geek Girls Like Us.
Perhaps initial funders could have their work featured in your first edition?

5 steps to create and publish your own magazine

Step 1: Do your research

Before you get started, ask yourself the following questions:

• Who is your competition, and how large is their following?
• How will your magazine be different and stand out?
• Who is your target demographic, and how can you appeal to them? How does your content match what they like? Which brands do they use, and how can any advertising connect with your readers?
• What components of other magazines do you like or dislike?
• What will your design and layout look like? Create mood boards and collect samples you like.
• How will you publish your magazine—traditional printing, self-publishing, or online? How will you get copies to subscribers?

Doing this research up front will help you create a successful self-publishing plan.

Step 2: Create your content

Don’t underestimate how long it takes to create quality content.  Some magazines can take as long as six months to put together. It may be helpful to create your first TWO issues, so you can build a window to create the next two while you release the completed set.

When self-publishing a magazine, focus on quality over quantity. Don’t be afraid to start small and slowly grow your page count over time. It is better to have 10 pages of excellent content than 20 pages of ‘OK’ content.  Also, more frequent publications will help you build your audience. If shorter publications mean more frequent issues, that use the shorter length to your advantage that way.

As well as creating content yourself, consider asking fellow creatives to submit their ideas. As your audience grows, you could also invite contributions from your readership.

Step 3: Lay out your magazine 

Now that you have all of your content, it’s time to decide on the layout, including which piece will earn the honor of being your cover story.

Magazines are known for their varied and dynamic layouts. You want to create layouts that show off the best aspect of each piece of content while also guiding the reader’s eye through the story. Do the images carry the story? Consider layouts with large image space and marginalized text. Is the story carried by text? Look for layouts that have a clear flow from one column and a text box to the other for easier reading, creating close connections with images without letting the images overwhelm them. Your best place to start is by copying page layouts you like from other publications and matching them to your content.

If you’re just getting started, why not use one of our pre-designed professional templates. They include everything you need to create a newsstand-quality magazine, from mastheads to editorial features.

Step 4: Proofread, proofread, proofread 

Proofreading is extremely important for any type of self-published magazine, especially so if you are printing it. Unlike a digital version, there is no going back to fix a misspelled word once your magazine has gone to print. In addition to any spelling errors, you will want to check things like text alignment, line breaks, and image placement.

After you have proofed your final product several times, pass your magazine off to someone else to check as well. A fresh pair of eyes will be able to catch small errors that you may have missed.

We recommend printing a single proof copy for this phase of the review. Errors show up in print that are impossible to catch on a screen.

Step 5: It’s time to publish your magazine! 

Now that all of the hard work has been done and your magazine is ready for the public eye, it is time to publish.  Make sure to promote your magazine using your social media channels and website if you have one.

Pro Tip: Keep an up-to-date database of your magazine subscribers. Grow your digital mailing list. This will come in handy when soliciting articles and allows you to track the growth of your self-published magazine.

Need some guidance? Visit our blog for tips on making a magazine.

***

Ready to put your ideas in print?  Create a newsstand-quality magazine—perfect for serial content or high-volume printing projects. Premium and economy print options are available.

The post How to publish a magazine appeared first on Blurb Blog.

Digital publishing can mean different things to different people. As a result, it is surprisingly hard to find a universal definition for the term. “Digital” refers to any online media available on electronic devices, including phones, e-readers, laptops and tablets. “Publishing” is defined by Merriam-Webster’s online dictionary as “bringing printed works (as books) before the public usually for sale.” Combine the two, and digital publishing refers to using online technology to digitally display information and stories (content) and disseminate it through electronic devices.

Companies have gravitated towards digital publishing and digital publishing platforms because it is more cost-effective and allows them to reach a larger audience. Writers who want to self-publish books have started to do so digitally because it gives them more control over when and how people see their content.

Examples of digital publishing:

• Newsletters
• Blogs
• Advertisements
• Company Reports
• Catalogs
• Books
• Magazines
• Scrapbooks
• “Stories” posted to social media
• Resource materials
• Ebooks
• Digital magazines
• Scientific journals
• Digital catalogs
• Digital brochures
• Presentations
• PDF files
• Mobile apps
• Portfolios
• User manuals
• Photo albums

The Pros of Digital Publishing

1. Web publishing is cheaper than traditional publishing. It helps to keep production and marketing costs low, extends visibility into new markets, and helps drives more sales. Many platforms let you start publishing content for free.
2. Practically any business can publish digital content and profit from it. Digital content can be measured and tracked by browser-based analytics, like time spent, bounce-rate, click-throughs, and orders. Never before has the impact of published content been so measureable!
3. Digital content, like newspapers and magazines, can be updated and distributed to the public at any time. Publication, itself, is nearly instantaneous.
4. By creating content and distributing it online, you can reach mobile and global audiences. You are no longer limited by physical proximity.
5. Online content is easier to edit. Typos, incorrect dates, or outdated information call all be fixed instantly and without having to pay to reprint anything.
6. Digital publishing gives you complete power over your content. You have control to decide when to publish an article, when to take it down and whether or not to charge for the content. There’s more flexibility in your revenue model. Because it doesn’t cost anything to publish, you have more leeway in deciding what to charge because there is very little, if any, overhead to cover.
7. Web content is interactive. Media such as videos, music, and photos can be embedded to draw more attention to your work.
8. You’re not limited to digital formats. You can create a print-digital hybrid, where print products can help you monetize your digital content, and you can build a digital following for your self-published, offline content.

The Do’s of Digital Publishing

DO: Follow your existing brand guidelines

Be consistent. You want your digital assets to be a seamless extension of your brand. Therefore, they need to feel familiar and easy recognizable to your readers. Regardless of the type of content you are creating, always keep in mind the overall message, style and tone of your brand. Be diligent about keeping the look and feel the same across all your channels.

DO: Be willing to trying new things

New trends in digital publishing are emerging every day. Sometimes it can feel like you are getting whiplash just trying to keep up with everything. In order to stay relevant, be open to change and willing to try new things. This can be as simple as incorporating videos into your online newsletters. Sometimes it’s easier or faster to build a following on a new channel than try to break into a really popular one.

DO: Monitor your metrics

One of the biggest advantages of digital publishing is that you have to be able to monitor your metrics in real time. That means that you can constantly see an accurate count of how many people are reading your content and where they are located. This then gives you the insight to determine what content is working for your audience and isn’t, empowering you to optimize.

DO: Promote your content

Your work isn’t finished when you hit the publish button. In fact, it is only just beginning. Now it is time to get people to read your content. Getting the word out is the best way to drive traffic, create buzz and ensure that people who matter see your content. Many marketers suggest following the 80/20 rule, where 80% of your time is focused on promoting your digital content, and 20% of your time is spent actually making your work.

DO: Choose quality over quantity

It can be tempting to want to post as much online content as possible. The more your readers see the better off you are, right? Unfortunately, that is not the case.

There is a reason they say that quality is better than quantity in digital publishing. It is better to spend your time creating a small amount of content that is more powerful than cranking out a large amount of content that says very little.

DO: Be an original

Don’t just copy what’s popular or trendy—do the work to find your own voice and create something authentically you. With everyone wanting to find his or her place in the digital publishing space, it can be hard to stand out. It’s ok to look and see what everyone else is doing, but then find a way to do it better and in a different way to attract more readers. Thinking outside the box and creating something entirely new—entirely you—is going to win you more readers in the long run.

Next step? Leverage your online following to sell and distribute your content in print.

The post All About Digital Publishing appeared first on Blurb Blog.

What’s more relevant is the cost of each necessary publishing component. The overall expense of publishing is ultimately determined by the cost of services like editing, formatting, cover design, and marketing. Also, the book’s genre and word count impacts the final bill.

Let’s compare two polar-opposite books. Self-publishing a novel with a 90,000-word manuscript may require substantial editing from professionals, which could rack up several thousand in fees. On the other hand, a simple photo book you design yourself may be dramatically cheaper. 

Unfortunately, the unsatisfying but honest answer to this common question is, “It depends.” But by assessing what’s required to bring your book to life, you can figure out a rough estimate of the overarching cost.

Estimating the cost to self-publish your book: what’s involved?

Self-publishing differs from traditional publishing in that the barriers to entry have been knocked down, but the upfront costs to you as a creator are higher. 

So, how much does it cost to self-publish a book? There are four phases of the process where you’ll incur costs to publish a book.

• Development: In addition to actually creating and developing the content of your book, the bulk of the development costs involve phases of editing, cover design, and formatting your book for production.
• Production: The actual printing costs of publishing a book depend on whether you choose print-on-demand (POD) or offset printing. Thanks to technology, POD has made self-publishing far more accessible and affordable.
• Distribution: If getting your book out into the world is an essential part of your bookmaking endeavors, expect some degree of investment depending on your chosen distribution channels.
• Marketing: Perhaps the most variable factor in determining your publishing cost, yet entirely optional depending on your objectives, is how much you want to spend on promoting and raising awareness about your book.

Remember that, with indie publishing, you retain the rights to all your content, but you must pay to produce that content. Traditional publishing produces the content for free, but you have to get picked up by a publisher, which can be a long, arduous journey that may sacrifice your creative control. And then the publisher owns your content at the end. So, while each has its advantages, you’ll need to understand the costs involved and establish a self-publishing book budget if you decide to go that route.

Book development costs

Transforming your content into a professional, marketable book means you will incur costs. There is, unfortunately, no cheap shortcut for preparing a book for print, mainly because there’s so much competition. Most people who choose independent self-publishing don’t have the expertise to launch a book successfully. Even if you’re a practiced photographer or designer, you’re still competing in a market where books are professionally produced. 

Successful book sales have everything to do with quality. People won’t choose your book without a standout cover. And they won’t keep flipping through or buy your next one if your images aren’t stellar and your copy is riddled with errors.

Development costs of self-publishing a book are generally the most substantial, making up most of the overall investment. But they’re also the most essential to ensuring a quality finished product. In addition to the time and energy of creating your book’s content, the primary fees associated with book development are editing, cover design, and formatting.

Editing costs

To ensure your book is polished and professional, there’s no denying the importance of editing as a crucial step in the self-publishing process. Based on Reedsy’s data, the average cost of professional editing services for a text-heavy book ranges between $2,400 and $3,400 for a 60,000-word book. 

This range assumes one round of developmental editing as well as a combination of both copy editing and proofreading. These figures are also based on editing a literary novel, as 60,000 words roughly equate to a 240-page book. So, it’s worth noting that certain types of books require far more editing than others.

Editorial assessment

As an ideal launching pad for an author finalizing their book’s manuscript, an editorial assessment is a cost-effective service that shed light on what to rewrite or restructure. Here, an editor is hired to read and analyze the book’s manuscript and evaluate all elements, from the story and structure to the overall quality and commercial viability.

An editorial assessment costs between $0.015 and 0.022 per word. The high-end price of a 60,000-word literary novel is around $1,320.

Developmental editing

For authors who’ve gone as far as they can with their final manuscript, developmental editing involves a more in-depth, start-to-finish structural edit of the book. This editing service includes specific suggestions to enhance major components of the book, like its plot, characterization, pacing, etc. It also involves detailed edits to improve the overall accuracy and delivery of content.

Developmental editing is the most expensive editing service, averaging between $0.022 and 0.036 per word. Based on our 60,000-word novel example, the fees would total about $2,160.

Copy editing

Think of this editing phase as polishing or fine-tuning your book’s manuscript. Copy editors make direct edits on a sentence-by-sentence level, correcting inconsistencies, repetition, or awkward dialogue while improving tone, word choice, and clarity.

Copy editing fees generally range between $0.018 and 0.035 per word. That can add up to $2,100 based on the high end for our 60,000-word novel example.

Proofreading

As a final stage in the editing process, proofreaders are recruited to help take a book’s manuscript across the finish line. Their services often involve correcting any overlooked grammar, spelling, and punctuation mistakes and making any final recommendations to ensure an optimal reading experience aligned with the publisher’s chosen style guide.

The cost of hiring a proofreader can vary between $0.013 and 0.016 per word, which comes out to $960 at the high end for a final copy edit of our 60,000-word book.

Other factors affecting the cost of editing 

Obviously, the length of your book is the most influential factor in determining the cost of editing it. And related to that is the genre, as a text-heavy literary novel will most certainly cost more to edit than a children’s book or photo book. 

Before investing in editing services, also keep in mind these cost-variable considerations:

• Where are you at with your book draft? An early-stage rough draft that hasn’t been reviewed for typos may require more of an editor’s time than a semi-polished draft that you’ve read and edited multiple times.
• How dense is your copy? Some creators, like textbook writers, need elaborate and detailed text, whereas others, like photographers with photo-only books, use only a few words. The former can often translate to more hours invested in copyediting.
• What level of editing experience do you need? As with any craft, hiring a seasoned editor with decades of experience will cost much more than an entry-level editor just getting their footing. 

Depending on what goals you’ve set for your book, investing in professional editing services can pay off. But also bear in mind that these development costs can be the most expensive. Find a happy medium that works within your budget and bookmaking objectives.

Photo editing

For visually-oriented books like portfolios and photo books, a significant portion of the editing fees can go toward hiring a photography editor. The cost of professional photo editing can be priced by hour or by word. Either way, the sheer number of photos will determine the overall workload or cost.

The talent pool is large, ranging from amateur freelancers to experienced editors who specialize in photo books. In turn, photography editors can charge anywhere between $30 and $150 per hour, with $90 being the sweet spot for professional-grade services. You can expect to pay between $3 and $50 per edited photo.

Cover design costs

The front and back covers are critical to your book’s overall presentation and can greatly impact its marketability. Based on Reedsy’s latest estimates, professionally-designed book covers can cost between $500 to $800, with most coming in at less than $750 all said and done.

But like editorial services, book cover design quotes depend on several variables. Factors that can influence the cost of cover design:

• Complexity of design: The intricacy of the cover design can affect the cost. If your book requires a simple and minimalist design, it will likely be less expensive than a cover with detailed illustrations, custom artwork, or complex typography.
• Designer’s experience and expertise: Highly skilled and experienced designers typically charge higher rates due to their track record and reputation. Their understanding of book cover design trends and market expectations can contribute to a more professional and appealing cover and boost your book’s curb appeal.
• Custom artwork and imagery: Requiring custom artwork or illustrations specifically created for your book cover is generally more expensive than stock images. Custom artwork involves significantly more time and effort, while tastefully-curated stock images can be licensed at a much lower cost.
• Number of design concepts: Some designers deliver multiple design concepts for you to choose from and critique. It may increase the cost if you want a range of options to consider. Conversely, the price may be lower if you have a clear vision and provide specific guidelines.
• Revisions and iterations: Requiring several rounds of revisions or making major changes to the design concept will likely result in additional charges. Clarify the number of revisions included in the initial cost and be aware of any potential extra fees for subsequent changes.
• Licensing and copyright: If the cover designer needs to obtain licenses for specific images or fonts, the cost may be higher. It’s important to ensure the designer has the rights and permissions to use any elements in your cover design to avoid copyright issues.

Remember to communicate your vision, genre, and specific requirements to the designer for an accurate cost estimate. It also doesn’t hurt to request quotes from multiple designers, review their portfolios, and consider their experience and style before deciding.

Book formatting costs

Book formatting focuses on the layout and appearance of your book, including specific elements like the organization of chapters, page numbers, paragraph spacing, fonts, line spacing, image placement, and margins. While this might seem like a heavy and costly lift, there are a lot of tools that help streamline this process. 

Formatting your book may or may not require the guidance of a professional. If you want to hire a pro for this work, Reedsy estimates a cost of between $250 and $750 for interior design book formatting. These are services that are most applicable to books that are graphic-intensive with a lot of images, such as cookbooks.

Most self-published authors can minimize book formatting costs by taking a DIY approach. Using tools like Bookwright, Blurb’s free bookmaking tool, allows you to design, format, and customize your book into a flawless, print-ready format. If you’re already familiar with Adobe InDesign or Lightroom, you can also use a plugin to turn your digital design into a print copy in a snap.

Between editing, cover design, and formatting, a lot goes into the development costs of self-publishing a book. Of course, all of this varies widely depending on the nature of your book and its industry. And we have data on that, too.

Average costs to self-publish a book by industry

Based on the various types of books by industry, self-publishing costs based on page count, editing, and printing are wide-ranging. For example, the cost of self-publishing a simple 20-page recipe book can be a fraction of the cost compared to an in-depth 200-page cookbook with lots of photos.

Here are general self-publishing cost estimates based on industry standards. 

As you can see, the cost of self-publishing a book varies greatly, ranging from under $1,000 to over $5,600. Total publishing costs depend on various book production expenditures, such as formatting, design, editing, etc. With services like Reedsy, you can add these additional book production services a la carte, depending on your self-publishing book budget. Once your final project is finished, you’ll have a file ready for print. And there are book printing options, too, which we’ll discuss below.

Book production costs

To get printed copies of your books, there are two paths you can take. The first is print-on-demand (POD), where books are printed only when ordered and can be ordered one at a time. The other printing option is volume or offset printing. Here we’ll show you the costs of both processes and the pros and cons of each.

The last ten years—even the last five—have seen game-changing developments in printing technology. Even if print-on-demand has been around longer than that, we’re now seeing exquisite quality coming from these digital machines. Advanced inkjet technology now creates pages and covers nearly identical to those made with traditional offset printing, offering incredible advantages to self-publishers.

Print-on-demand books

Print-on-demand (POD) has become a popular self-publishing model where books are printed after orders are placed, making it possible to print single or small quantities without committing to large orders. It’s a great way to minimize the cost of self-publishing a book, especially for aspiring authors or those pursuing bookmaking as a personal project.

POD books are usually printed at a fixed rate per copy, regardless of the order size. While this makes it possible to print small jobs quickly and cheaply, POD doesn’t offer the same level of bulk discounts that offset printing provides with large-quantity print runs. Yet, POD typically makes the most sense for most self-published authors.

Here’s how print-on-demand works.

• You choose your format. From coffee table books to magazines to trade paperbacks, print-on-demand is compatible with any format in a bookstore. The more copies you order, the more cost-effective customization becomes—a higher volume order makes it possible to try different end sheets, ribbon markers, or cover styles—but standard commercial sizes and papers are readily available across printers.
• You create a properly formatted book file. Your PDF or other print-ready files will stay on hand with the printer and can be called up whenever an order is placed for your book.
• Digital printers print and assemble your book. The newest machine innovations have consolidated printing and binding, so your book comes off the line ready to ship.

Print-on-demand advantages

It’s less expensive to self-publish a book upfront

In the past, self-publishing meant printing 1,000 copies and an expensive proofing copy. If there were errors with the first proofing copy, you’d pay again for the second. The book proofs alone could cost anywhere from $100 to $500, plus printing thousands of copies of your self-published book could outpace a down payment on a Ford Focus. For print-on-demand, your only upfront cost is the price of one copy of your book, which could be as low as $10. You’ll see the entire book, and you can do several rounds of proofing for a big order for the same price as one round offset.

It’s fast

Digitally printed books are created in the same facility without shipping blocks and covers to different sites for assembly. Not to mention, commercial digital printing machines are incredibly fast and getting faster. This means even larger orders could be done and in hand in as little as a few weeks, not a few months.

Storage and fulfillment are handled by someone else

Print-on-demand eliminates having thousands of books in the basement that you’ll need to address and ship yourself. The printer or retailer ships the books directly to your customer without effort from you.

Niche books stay in print longer

Digital printing allows for smaller runs, which means books that don’t sell to a wide audience can still come into being without printers suffering major losses. Small-run titles can stick around more.

No pulping waste books

This is better for the self-publisher, the printer, and the environment. Books are printed as they’re ordered, so there is no waste.

Offset printing books

Before POD’s emergence, offset printing was the gold standard in the publishing industry for many years. In addition to being the go-to production method for publishers needing large quantities of books, offset printing produced the highest quality finished product. 

Offset printing involves fabricating metal plates that transfer an image onto a rubber “blanket,” which then transfers the image onto paper. This method allows for a wide range of paper types and sizes and special inks and finishes. It’s called “offset” because the ink is not transferred directly onto the paper but the plates first.

Because offset printing is more analog and resource-intensive, it comes at a much steeper upfront cost. That’s why it typically requires a minimum order of several hundred or even several thousand copies, depending on the printer. For this reason, offset printing is not always feasible when self-publishing a book, especially for authors just starting. But offset printing provides significant advantages for experienced authors and trade publishing companies due to its economies of scale.

Offset advantages

So many variables affect the cost of an offset order, such as customizations and overseas printing, so comparing print-on-demand versus printing offset costs for the same book is challenging. However, printing offset can reduce your per-copy cost by as much as 40%. There are also more opportunities to design and shape the book in unique ways.

Lower cost per copy

Printing offset can mean ordering at least 1,000 copies of your self-published book. But this way of printing, especially with an overseas printer, is hands-down the lowest possible cost-per-copy. You just have to finance a large order. Without negotiating warehousing and fulfillment with your distributor, these tasks are also up to you. Printing offset means the highest possible margin, but you also bear the most significant burdens for up-front cost and distribution.

More customization

Printing offset follows the older printing methods of page creation, cover creation, and assembly. Your printing plates will be custom created, so the creation and setup of plates are factored into your book-proof copy.

Because the plates, trimming, covers, and even materials are individually set up, these large orders make it more cost-effective to make your self-published book look and feel exactly as you like since the setup fees have already been costed out. This means more possibilities for specialty trim sizes, paper types, and cover types. Cost-effectiveness (and therefore feasibility) for customizations increase as orders exceed 1,000 copies.

Brick-and-mortar consignment retail possibility

Self-published books come with their challenges when contending for shelf space, but an offset order creates enough inventory for stocking local establishments. You might not be able to get on the shelves of national chain brick-and-mortar stores, but you can approach local bookshops or other relevant stores to carry your book on consignment (for a portion of your sales).

Possibility for in-person and event sales

Offset orders yield the inventory to follow up speaking engagements or events with a printed-take home piece for your audience and a built-in bookselling opportunity for you.

Control over distribution

If you’d like more options to manage the distribution of your book, or if you would like to offer signed copies and do your own fulfillment, an offset order puts you in charge and stocks you up.

Is the offset price difference worth it?

People enjoy the customization capabilities of offset printing but are really compelled by its effect on the cost per copy. You can estimate the single copy price through Blurb with your paper type, page count, and cover type with the pricing calculator.

Print-on-demand has done many exciting things for bookmakers, creating more options for finding the best fit for your project. Don’t overlook self-publishing because of the high upfront costs for offset printing. And don’t overlook print-on-demand, which offers greater speed, quality, and innovation than what has been available at any other time in print history.

Book distribution cost

How you choose to print and sell your book will determine the cost. For the sake of comparison, we’ll work with the printing case studies above. But first, some terms you need to know.

• Base Price: This is the non-negotiable cost of producing copies of your self-published book. The first step when pricing your book is balancing cost and quality. What choices can you make to get the lowest possible base price while maintaining your vision? This may mean choosing cheaper paper, cover, or format types to control costs.
• Wholesale Discount: This is the cost of distribution—how the distributors make their money in distributing the book. The Blurb Bookstore doesn’t charge a distribution markup, but if selling your book online via Amazon or a consignment in a local shop means factoring the markup into the price.
• Profit: The Blurb system is unique in that you set your book price by how much profit you make. The lower your base price, the more room you have to put your book at a competitive price and keep more of that book price for yourself.

As you figure out your distribution costs, you’ll also need to figure out your book price. Check out our ultimate guide to pricing for self-published creators.

Distribution with print on demand

Printers like Ingram have relationships with Amazon and Barnes & Noble. Blurb’s trade books are printed and distributed with the help of Ingram. Amazon commands almost a third of book sales, so listing your self-published book there comes with its advantages and even credibility. You don’t have to convince customers to go to these sites, and once they do, getting your book into their hands is pretty simple.

• Your book is listed on major bookselling sites.
• Someone orders your book.
• The book is shipped to the retailer, who forwards it to your client.
• Your client pays the retailer, who sends net revenue to you.

Distribution through these sites doesn’t come free, however. Both Amazon and Ingram charge distribution fees and do their own markup, referred to as a “Wholesale Discount.” The “discount” is the markup amount distributors add to your book. It’s usually a percentage of your retail price and any fee.

Let’s look at what your cost might look like.

Example 1: Professional photography book 

Archival-quality photo books have the richest color printing and highest-grade papers and covers. A standard landscape photo book through Blurb, with an ImageWrap hardcover ImageWrap and 30 pages printed on Mohawk ProPhoto Pearl paper, will cost $60 to print. Amazon’s fees for that book are $1.35 plus 15% of the retail price. If your markup is $10.00, that photo book would be $60.38 on Amazon.

$60 print cost + $10 profit + $1.35 distribution fee + 15% wholesale markup = $82.05 retail price

Example 2: Children’s book

You have to balance quality printing with the cost for children’s books. Trade books offer the same quality of printing but more economical paper and cover options. For a portable 6-by-9-inch trade book with a softcover and economy color printing, the print cost is $4.99. Amazon’s fees are $1.35 + 15% of the retail price, as they were above. If your markup is $2, you’d sell your children’s book at a reasonable $9.59 on Amazon.

$4.99 print cost + $2 profit + $1.35 distribution fee + 15% wholesale markup = $9.59 retail price

Example 3: Hardcover novel

If you’re selling a novel, you likely want to start with a hardcover option and then do a softcover release. For your launch, a 6-by-9-inch trade book with an ImageWrap hardcover and 350 economy, black-and-white printed pages will cost $13.99 to print through Blurb. Ingram’s fees for that book are 36% of the retail price. If your markup is $5, your book would be $25.82 per copy in the Ingram catalog for book retailers.

$13.99 print cost + $5 profit +36% wholesale markup = $25.82 retail price

Distribution with offset

Distributing an offset run is as unique as the books it prints. Most of the time, authors who opt for a large print run estimate the number of copies they believe they can realistically sell. These distribution costs are harder to determine, but for large runs, part of the cost becomes warehousing and fulfillment unless you do the storing and packaging yourself.

Consider doing a smaller POD print run to test your market and get feedback. You must know your market well and how to reach them to effectively estimate distribution costs with an offset run.

Book marketing costs

The final step in the process also incurs self-publishing costs, but this is the most variable—and arguably most important if you’re trying to sell your book. As self-publishing becomes easier, the market becomes increasingly saturated. That’s why saving some funds to get your book promoted is a good idea. Start by figuring out where and how to sell your book with this definitive guide.

While it will take you a bit of time and research to have a good idea of your marketing costs, to begin you’ll want to factor in the costs of three things.

• Your creator website. This includes development, maintenance, and hosting. You can learn some of this without a web background, but as with a book cover, professional help is also recommended here. This can be upwards of $1,000.
• Your launch plan. Reedsy lists various services, but you can connect with a media plan and do a paid launch with a book launching service. This can range from $50 to $1,000, depending on how well you leverage social media and local opportunities. It involves Amazon paid ads, paid ads on social media, and paid search ads with Google. It might also include paying for advertisement design.
• Your launch events. Sometimes, cultivating a good relationship with an independent bookstore can give you space for a launch event. But if you do book promotion and launch events, speaking engagements, and more without a publisher, the costs are on you. They are great opportunities to distribute large offset orders, so be ready!

The bottom line

Independent publishing means you can call the shots and set your budget. There is so much freedom in self-publishing your book. If you don’t have the resources to purchase top-of-the-line help or promotion right now, you can get started and grow your following and sales organically. You can learn what works and what doesn’t for you, work through trial and error, and recycle earnings from your first round into your subsequent indie publishing. You will find your own way to streamline self-publishing costs and maximize profits. Know that most authors find their success after a few self-publishing tries, so whatever it costs today will be different next time around.  It’s a journey, so enjoy all the learning as you go!

Self-publish your book with Blurb

When you’re ready to self-publish your book, Blurb makes it easy to design, organize, and sell it across multiple distribution channels. Assemble your book using Blurb’s free templates and intuitive bookmaking tool BookWright, or use integrated software like Adobe InDesign, Lighthouse, or Photoshop. Blurb also has a PDF-to-book uploader that allows you to turn PDF content into publish-ready material.

Whether you’re creating a comic book, children’s book, or a photo book, the cost of self-publishing doesn’t have to be a financially-draining endeavor. Blurb simplifies the pricing model of publishing while taking the guesswork out of the creation process. Best of all, you receive a bookstore-quality finished product that rivals the books produced by major publishing houses.

Ready to get started on your self-published book? Our free desktop software, BookWright can help.

The post How much does it cost to self-publish a book? appeared first on Blurb Blog.

How did you get into blogging?

The blogging aspect of my business plays more of a supporting role to everything else. It’s a great way to give my audience a more personalized perspective of what I’m working on.

How did you get your start in creative content?

Featuring my artwork on Instagram. Back then, I only thought of it as artwork to share for fun, but as more and more brands started contacting me for the production of image and video content, it eventually turned into a creative business—a content studio. As for my style, I think it’s just something that developed both organically and accidentally. It’s a mixture of photography, styling, and some digital manipulation. I’m a pretty resourceful creator, and some of my production tricks are responsible for my signature look. I also do pay attention to what performs well on social media, and what kind of pieces my clients are always requesting, so I tend to lean in those directions when I create as well.

What’s the difference between creating for a blog and creating for a print book?

The content I feature on my blog is short-form, fast-output content. It’s more about creating a relevant and up-to-date feed of current information. Creating a book is very different because you’re looking for that one special topic that will be timeless both visually and as a story.

How do you think digital and print can work together for someone’s brand?  

The traditional side of me will always love a print product. No matter what kind of artist or brand you are, it’s definitely a mark of achievement to have your work published in a book. I sell mine in my shop along with some other branded artwork. I may be a digital artist, but I certainly still have an appreciation for the physical.

It becomes more difficult every day for a print product to find its relevance in the digital world; however, I do think, that a branded book or print product has a place.

How did it feel to unwrap and see your Blurb books for the first time?

Very exciting! During the creative process, I did a lot of closing my eyes and imaging size, weight, texture, etc. You have your fingers crossed while you wait and hope that everything will look good. When you receive the tangible product, it definitely makes the effort feel worthwhile.

I don’t have any experience with other self-published products; however, in comparison to any other book I’ve ever held/read, my Blurb book looks and feels equally sound. I’ve designed several as gifts for friends and family because I know the quality is top-notch.

How did you decide on the format of your book?

I chose a tiny square book as a tribute to the format of my Instagram account! In regard to paper types and other options, I wanted my product to look and feel as elevated as possible, so I went with a thick pearly paper and customized the flyleaf to match the book.

What was it like to make your book?

I created my book using Photoshop because that is my software of choice when it comes to designing. The advice I’d give to anyone else would be to do the same: Create in whatever software where you feel most comfortable, and then use the Blurb upload guidelines to make sure all your technical specs are in order. If you’re new at designing, Blurb’s very own software BookWright is probably the best starting point.

If you could go back and talk to your 5-years-ago-self about your creative business, what would say?

I would tell myself to stay focused and be patient, but not to take everything so seriously. I would remind myself of certain things I’ve learned (and was probably experiencing then), mainly that while hard work and dedication do pay off, moments of failure are inevitable on the journey. Sometimes you lose a job, or you are unsure about whether or not you pleased your client. Unlike what I may have thought back then, bumps along the way aren’t the end of the world.

When you were a small child, what did you want to be when you grew up? How does what you’re doing now compare?

Well, I’m not a veterinarian or a spy, but at some point, I did want to be a fashion designer, so that’s kind of close! Haha, who knows? A big part of my mantra is just believing that I’m exactly where I should be at this very moment. At some point during my teen years, I started spending summers in NYC. That’s when I found myself becoming really drawn to fashion and photography. I leaned in that direction, and after years of art school and working freelance, you just become who you are. And here I am.

What are the best parts of your job? What are some challenges?

The best part of my job is being able to work with my favorite subject matter—shoes, bags and clothes! As an art form, I will never be sick of fashion, and so I’m lucky to be able to work with it. Obvious challenges are creative burnout, and the task of keeping your work relevant, and your clients happy.

What’s one creative project you’re dying to do?

I’ve done so many amazing projects recently! I’ve done collaborative fashion collections with top brands, my work (image and video) is being featured in various storefronts worldwide this holiday season, I published my first book, my studio has expanded, I’ve worked on campaigns that a few years ago I could have only imagined, I’ve designed shoes that are coming out in 2019… I’m so grateful for all of this, and what I’m absolutely dying to do now is take a vacation!

BookWright
Ready to get started on your own project? Our free desktop software, BookWright can help. Learn more today!

The post Passion for Fashion—A Peek Inside The Collecteur’s New Book appeared first on Blurb Blog.

1. Do I need to take risks?

Being creative and working in a field that is viewed by the general public as being both completely artistic and somewhat fringe, is the perfect opportunity to take creative chances.  Breakthrough moments come when chances are taken. Normally, these chances come about after extensive experimentation or even frustration. But what is great art without risk? If you look at pioneers of the creative fields, most were shaped by walking away from what was safe or comfortable.

2. Should I be worried about failing?

No, embrace failure. It’s been said many times by many different people, “If you aren’t failing on a regular basis then you simply aren’t trying hard enough.” I am a true believer in this. In baseball, if you hit .300 you are considered a genius, all the while failing the majority of the time. The same thing applies to creative work. As a photographer, for example, the vast majority of images you make won’t work. You ARE going to fail, so instead of attempting to hide this, embrace it. Heck, celebrate it. High-level people in the creative fields, whether they be editors, agents, art buyers, etc. they know everyone fails. It’s how you deal with failure that will set you apart.

“If you aren’t failing on a regular basis then you simply aren’t trying hard enough.”

3. Where does history fit in? 

You need to know your history and reference it.  This is such an essential part of working in any creative field. An expression you will hear all the time is “Well, everything has already been done.” This isn’t true, but even if it was, it doesn’t mean you can’t do something that has already been done. But to do so, you need to know your history, and how you are going to ADD to the creative conversation.

People in positions of power in the creative world tend to know their history. So when you sit down and show your work, thinking you have done something original, and they say “Oh, this reminds me of so-and-so,” it’s critical that you’re able to respond, “Thank you, I’m aware of so-and-so and their work, and I’m building on what they have already done by doing such-and-such.” Responding, “Oh, I’ve never heard of that person,” will usually end the conversation, and your chances, quickly.

4. How influenced should I be by the work of others? 

Once you know your history, and where your work fits in, then forget about everything and everyone else and listen to your inner voice. These days, it’s very easy to spend copious amounts of time online looking at an endless amount of work. There is an upside to this and it’s an important part of getting to know your industry, but at some point, you are going to be left with decisions to make, and that inner voice will be key. You can’t connect with your inner voice, or vision, if you are caught up in the noise of the modern, creative world. Trends are fleeting, things go viral, but when the noise dies down the only thing remaining is what is true to your creative heart.

5. Should I just work more than everyone else to get recognized?

Work smarter, not harder. We live in an “always on” culture, but this is a short-term play while your career is a long-term strategy. You must unplug. You must take time away from whatever it is you are attempting to do, or whoever you are attempting to be. After taking a year to “do nothing,” Einstein came up with three of the most important scientific breakthroughs in human history. Need I say more? A long-term strategy often requires the ability to take in and digest long-form content, something that can be incredibly difficult if your brain has become rewired by a frantic or exhaustive work style. A career in the creative fields is a marathon, not a sprint.

6. What are your thoughts on collaboration? 

I know my limits. I have zero design background, I don’t like social media, and when I write, I need an editor. So instead of hiding from these facts, or attempting to create a smokescreen, I embrace these shortcomings via creative collaboration. It took me far too long to understand how important, entertaining, and educational it would be to collaborate with other, oftentimes more talented, fellow creatives. Collaboration is like opening a door into another world. It brings a wider audience, more diversity, and is even a great way to see your own work in a new light. Over the past five years, I’ve done numerous collaborations, all of which have resulted in the best projects I’ve ever done. It’s that simple, and that wonderful.

7. Should I share everything I’m doing?

Ah, no. Speak when you have something to say. Social media is all the rage and can be an incredibly important tool, but it can also be an annoying pest. Most people in positions of power don’t have time to wade through a barrage of nonstop posts. If you look at things like Instagram, one of the rapidly rising genres is curated content. What this means is people need help to digest the volume of what’s out there, so by going to ONE account, they will see only curated work. I think this is a good indication of how you should use these platforms.

When you limit your conversation and post only when you have something to say, it indicates to high-level industry folks that they should pay attention. One of the best photographers in human history, will at times, seemingly disappear for up to ten years, but when you finally see his name once again, you KNOW he’s emerging because he has something very relevant, timely, and important to say. He is strategically, not relentlessly, asking for our attention. You should do the same.

8. Do I need to be more well-rounded?

Absolutely. Be more than a creative. Personally, I don’t think it’s enough to be just a creative. I think the world has changed too dramatically, but oddly enough, I think this is a good thing. You need to be far more than a creative to craft a real career. You need to know more, do more, and understand more. Politics, sport, literature, art, adventure, culture, international relations, etc. Being a well-rounded human being is so important now. There are a lot of people who can make good work, so what else is going to separate you from the pack? Clients will size you up in meetings or portfolio reviews, and sometimes they aren’t spending much time looking at your work. Once they know you are competent with your skills, they will want to know who you are beyond your portfolio. Are you a good conversationalist? Would you be good at dealing with clients? Can you talk about something outside of your genre?

9. Should I give away my work to get a foot in the door?

Don’t sell yourself short. If you are a creative, the general public considers you an artist. They do. And artists have tremendous liberty, so take advantage. Not everyone can do what you do, so you need to charge accordingly. You might be an artist, but you are also a business. Selling yourself short can negatively impact you for years down the line. Clients, the good ones, actually respect you more when you stand up for yourself. Be confident, not cocky, refine your business chops, and stand up for your work.

10. What is the single most important thing I can do to stand out? 

MAKE ORIGINAL WORK. I saved this point to the very end but I could have easily ONLY included this one point. This is critical. Making original work is what gives you value. If you are making something that hundreds of other creatives can make, then what is the value of your work? For me, one of the most important signs of being a successful creative is when someone can see your work and say, “I know who made that.”  Your work should be like your fingerprint, unique. If a client can ONLY get a specific kind of work from one person, then that work will hold value. Now, here is the disclaimer. Learning how to make original work can take years, but that’s okay. This is normal. This is what it takes. You will make mistakes. You will make derivative work. But if you stay with it long enough I’ll bet you make a breakthrough and discover who you truly are. Making original work is the ULTIMATE way of standing out, and something to be truly proud of.

Thanks, Dan for such an inspiring set of answers!

How will you stand out? Start carving your creative path today.

The post How to Stand Out as a Creative appeared first on Blurb Blog.

1. Tell us about the concept for your Layflat photo book. How did you choose your images? How did you pair your spreads? 

I wanted to create a book that showcased my range of skills and abilities as a creative person. I also wanted to create a book with work that I’m truly passionate about. Whether it be design or photography, I always focus on communicating a narrative. I feel like good design should tell a story. I pair my spreads by mood, color, tone, and narrative. Both images need to have aspects that connect and bind them.

2. How does architecture catch your eye? What does it take? What do you usually notice? 

Patterns, scale, math, grids, light manipulation, and environment—all of these things attract my attention. Also, the sheer fact that every piece of architecture began from a single thought or idea that was then shared and collectively supported. Everything derives from creative thought. I’m blown away by what the mind can manifest into physical form. From skyscrapers to the ancient pyramids, all of these structures were a collective effort, stemming from one single creative thought. And it could have happened in the shower, or over a cup of coffee. It’s amazing—hence the title, Visions.

3. Why is Layflat a good choice for showcasing your work? 

With so many intricacies in design and photography, especially architecture and landscape photos, it helps to have a seamless presentation for spreads. The gutter in a spread can be disruptive to the viewer’s experience. Layflat Photo Books create a consistent experience throughout and allow me to make a bigger impact. I also enjoy the paper quality. Having a heavier paper stock helps the images to lay flatter and have a higher quality texture and feel. It’s a great investment, especially when working with photography.

4. What tools did you use to design your book and why? 

I use BookWright sometimes, mainly for quick Photo Book projects. Mostly I use Adobe InDesign and Blurb’s plug-in so I never have to leave my regular workflow. I work professionally as a designer so I prefer to use programs that enable me to take my book design as far as I want to go. InDesign gives me more options and flexibility when creating layouts and type treatments. The Blurb plug-in works great for project setup.

5. What do you use to take your photos? Why?  

Just my iPhone. I don’t consider myself a “photographer” because I don’t invest in the actual craft of photography. I’ll capture visuals using my phone because I always have it on me and I can get hi-res images with that tool alone. I try not to use “filters” and just let the natural light do the work. I’m just a designer who likes to collect and use images taken with my phone.

6. What impact does paper choice have on your work?

I love using the Mohawk proPhoto Pearl Paper. The print has a metallic tint and sheen to it that brings out the lighter values in photos. It brought the images in the first iteration of Visions to life much more than I expected. It really elevates the presentation of the work. Seeing the printed book for the first time was like looking at someone else’s images.

7. What role does a print piece like this play in a designer’s portfolio?

Printed pieces are a powerful, tangible way to showcase your work. Everyone likes to “hold” printed examples of work and it serves as a great “leave-behind.” The purpose of this book is to showcase my range of skills and abilities and to promote myself as a multi-disciplinary creative.  Although most portfolios are viewed online, it’s always nice to have physical examples in meetings with friends, clients, and potential employers. Having a book, as well as an online portfolio, shows how dedicated you are to your craft and how much you consider your presentations.

8. What’s your favorite style of architecture and why?  

I know it sounds cliché, but mid-century modern. It has such a specific style that is heavily considered. It also has a timeless quality to it. No matter how much time has passed, the sophistication in the designs stands strong. I first started to notice and appreciate this style of architecture when I moved to Los Angeles some years ago.

9. What’s one print project you’d love to do one day?

Branding an airline would be a great accomplishment, as corny as it sounds. Imagine being a key contributor to the American Airlines logo for example…that would be a serious hammer to carry around in your portfolio. I would also like to design a vinyl album cover for one of my favorite bands one day. That would be a great personal accomplishment and one for the records (no pun intended!). Having the opportunity to contribute my design abilities to help promote and raise support for causes like health care, education, housing, and general wellbeing, in the U.S and abroad, would be very purposeful and fulfilling.

We’re inspired by Jarrod’s process and we’re so glad he took the time to talk with us! Get a peek at Visions in the Blurb Bookstore.

The post Layflat Visions from Graphic Designer Jarrod Bryan appeared first on Blurb Blog.

We caught up with him to hear the full story behind a book with some serious history.

1. Where did the idea or inspiration for Unthinkable come from?

After parting from a career as a commercial illustrator, I started making a series of montages utilizing printed matter from the 19^th century. They had a mysterious “tell me more” quality; I felt that they were illustrations to an unwritten story. My friend, actor and writer James Lecesne, envisioned an initial concept. Then I took the reins and over the next two decades what began as 10 images and 10 pages of outline, grew into a 176-page surreal fairytale, with over 100 illustrations. Other inspiration came from Penny Dreadfuls, Charles Dickens, Ogden Nash, The Grimm Brothers, and Steampunk.

2. How did you know when you were ready to turn your ideas into a book?

While I always thought of it as a book, thanks to Blurb I was able to print numerous editions in small numbers over the years. Each version would suggest further changes, edits, and new chapters. This process allowed the story to unfold naturally. Once it finally reached a point that it no longer woke me up at night, I knew I was ready to commit to printing a large edition.

3. Why do you think graphic novels continue to be such a popular format for storytelling?

The old saying that “a picture is worth a thousand words” comes to mind. In the case of Unthinkable, the illustrations guide the reader’s imagination and flesh-out the characters. Technically, I don’t think it would be considered a graphic novel per se since it isn’t in comic book format—but it’s certainly a heavily illustrated fantasy, with text and imagery sharing equal weight.

4. Which tools did you use to create your book and why?

My art is all hand cut paper montage from 19^th and early 20^th century books. I sometimes scan these into my computer to make large-scale prints, prepare for my website and social media, and create my books. I find Blurb’s software very easy to use. A few years ago, I realized Unthinkable would be better if I added color to my original black & white images. So, I painstakingly colorized the whole book using Photoshop. I added the writing directly into Blurb’s software from scraps of paper where I would jot down ideas.

5. How did you decide on elements of your book such as paper type and trim size? What factors did you take into account?

I knew I wanted an upscale book that would look good on a coffee table. It had to be large enough to allow the highly detailed images to read well. I found that even the standard paper supplied by Blurb was fine enough to give beautiful reproduction with no bleed through. Over the years, I’ve tried just about every option Blurb offers, including paperback, deluxe paper, Image Wrap hardcover, etc. Being able to print a few books at a time and hold the various options in my hands made it so much easier to make my final choices.

6. Which aspects of the process did Blurb’s Large Order Services team help you with?

Literally everything involved in printing a large quantity overseas, including making sure that my images were printed with a quality consistent with the originals.

7. Did you make use of any of the customization options available through Large Order Services? If so, why?

The Large Order Services team listened carefully to my concerns and helped me to arrange for a special kind of offset printing, which assured that the book would be luxurious, elegant, and free of moiré patterns (a real issue when reprinting printed matter). I was also offered a variety of end sheets, jacket finishes, and binding options. These are the subtle details that enhance the quality and thoughtfulness of the production. Being able to see proofs was also very helpful.

8. How are you marketing and promoting your book?

I immediately made Unthinkable available through my website and it’s also available on Amazon. I’m also approaching speciality retail bookstores and planning some reading/book signing parties. I will also make it available at various galleries where I show my art. And who knows what other avenues might open up.

9. As someone who works creatively every day, how do you stay inspired?

I make images because it gives me a great deal of pleasure and satisfaction, but I never force myself. It seems the more freedom I give myself, the more I desire to go into my studio. Also, since I work with old books, by flipping through some pages something is bound to grab my attention and set me on the road to a new piece. I usually have several in the works at any given time, so when I get stuck on one project, I put it aside and return to another. This way I always get a fresh perspective. As to writing, I enjoy playing with the sounds of words, their myriad meanings, rhymes, alliteration, etc. Much of that comes to me in the state between sleeping and waking, but if I don’t get up and write it down, it disappears before morning!

Thank you, Paul, for taking time to talk to us about your book. It’s inspiring to hear about the amount of work and thought that went into its creation. You can pick up your copy of Unthinkable on Paul’s website.

Printing 100+ copies of your own book? Talk to Large Order Services about your custom design, printing, and distribution options.

The post Made with Large Order Services │Unthinkable appeared first on Blurb Blog.

1. You take several trips a year. How would you explain how photography and travel work together for you?

Taking photos enables me to create a visual diary of my life. I spend so much of my days with words, that there is a freedom in photographs—especially ones I will revisit for years to come. As for travel, it is a way of life for me. From the moment I made my own money, I have gone to Europe every single year. Seeing the way other people live, what they eat, and how they enjoy their lives has inspired me to create a life of my own that sometimes looks different to the way others are living—one that is driven from a place of freedom and exploration, not security. Documenting these experiences makes them even more tangible and influential in my life.

2. What things do you love to photograph? Why?

So many things! Food, landscapes, all things colorful. I want my pictures to convey the way I feel, which is a complete and absolute appreciation for how lucky I feel to live in such a beautiful and wonderful world.

3. What kinds of photos make the best travel memories?

For me, they are the photos that showcase one thing and tell the story of many.

Seeing a book tells me a broader story of what was going on in my life at the time, and it also enables me to remember smaller moments or experiences that I may have otherwise forgotten.

4. You shoot mainly with your iPhone. What have you found works for you? What are some tips for shooting travel photos with your iPhone?

Taking photos is very in-the-moment for me. If I see something beautiful, I want to remember it and document it quickly. I am very aware that the quality of my photos would improve if I shot with better equipment, but then it would take away from the entire experience I value, which is documenting something as it is on the fly—not a staged or perfected moment.

I take landscape and square photos, giving me some flexibility to post across a range of places. Snapseed and Camera+ are good for photo editing, as well as VSCO for more arty-type (sic) filters. But the truth is, I mostly shoot and edit slightly within Instagram before posting. All this, so that at the end of the year, I can easily make a Blurb book, featuring my year in review by importing my Instagram feed.

5. How do those iPhone photos look when they’re printed?

Not as good as they look on the screen, which is a genuine concern. But I love them regardless. I would choose to stick with my enjoyment of the process of documenting, over higher-quality photos.

6. Why create a printed book when you have all those photos on your phone?

Oh wow, how could I not?! Being able to go back and look at each year is invaluable. One photo can remind me of so many moments and memories that contributed to the year. Seeing a book tells me a broader story of what was going on in my life at the time, and it also enables me to remember smaller moment or experiences that I may have otherwise forgotten.

7. What kind of travel photos work best with Layflat pages?

Great question. While I think most people value the expansive double-page spreads, I love the flexibility to work with different layouts—having some photos across the gutter and others not, all within the same spread.

8. If you could go back and tell your 5-years-ago-traveler-self some advice, what would you say? Any tips for traveling and taking more away from your experiences?

Probably the same thing I would tell myself now, and they are Anthony Bourdain’s words, not my own. “If I’m an advocate for anything, it’s to move. As far as you can, as much as you can. Across the ocean, or simply across the river. The extent to which you can walk in someone else’s shoes or at least eat their food, it’s a plus for everybody.”

9. Where’s one place you’re dying to go?

Iceland. It is completely different from anywhere I would ever think of going. It’s a colder climate, involves driving around and exploring more, and I’m not sure the food will be a win in my books. But in the same way, I am intrigued with the Faroe Islands, the landscape just looks unbelievable.

10. What’s one project you’re dying to do?

I’d love to launch a travel magazine or guidebook series. Seeing all of these places and learning about nearby gems from locals is everything, and I want to share those insights and experiences with others.

Take a look at Milena’s Layflat Travel Book, Mexicalirosa, and then create one of your own!

The post Travel Color in Layflat appeared first on Blurb Blog.

1. Where did the idea or inspiration for State Flowers of America come from?

I have collected many blank notebooks over the years and was looking for ways to fill one up while practicing my drawing skills. Botanical sketches seemed a great place to start since there are so many different shapes and styles to capture and they are a pretty forgiving subject. I was out-of-state on a trip to Oregon when I started drawing, and I came up with the idea to draw all the US state flowers, which seemed like an ambitious, but fun undertaking. I had no plans for the drawings, but when friends saw them, they encouraged me to make them into a coloring book, so that is exactly what I did.

2. How did you decide on the format and size of your coloring book? What factors did you consider?

I wanted the coloring book to be large enough to be a proper coloring book, but affordable as well. I test-printed several different papers and printing methods. The softcover 8×10″ Trade Book with Black and White printing ended up being the best fit. I didn’t need to splurge on color printing because it’s a coloring book! The color will be added later.

In terms of size, if the book were any smaller, it would probably be hard to keep it open and flat while coloring. The illustrations would have to be much smaller too. The softcover cover option helps keep the price down as well, and it is consistent with traditional coloring books.

3. Did the fact that this coloring book is meant to be used and added to by readers affect any of your design decisions? If so, how?

I have always felt it was easier and more enjoyable to write or draw on the right-hand page of a double-page spread, so I kept all the coloring areas on this side. Another benefit of this layout is that it leaves room for fun facts on the left-hand page and you won’t bleed onto another coloring page if you happen to be using a heavy marker or another wet medium.

4. Which tool or tools did you use to create your coloring book? Why did you choose those tools in particular?

I used Adobe InDesign and Blurb’s Plug-In for Adobe InDesign. I chose InDesign because I wanted this book to be very professional, organized, and consistent. InDesign’s Master Pages feature is very powerful and allows users to add professional details, such as page numbers and text styling across many different pages with just a few clicks. I also love Blurb’s Plug-in because you never have to wonder if your final production files are built properly. The Blurb Plug-In for Adobe InDesign has a built-in pre-flight check, which will flag potential production issues, such as low-resolution images or truncated text, etc. Additionally, you can upload your book to your Blurb dashboard directly from the InDesign interface.

5. How did you decide on the price of your coloring book?

My first instinct is always to make the book as affordable and accessible as possible. My second instinct is to make sure my work is being valued properly. To find a balance between those two priorities, I research the prices of similar products in the market and poll friends and family. I will ask things as simple as, “What would you pay for this?” or “How much do you think this would cost?” etc. I will usually get a range of responses and then pick something that I am comfortable with. Because I am going with the print-on-demand distribution option, there is a lot of flexibility for trial and error, and I can adjust my pricing at any point. I am still trying to figure out if there is a more formulaic way to do this and I’m open to advice.

6. What steps are you taking to promote and sell your coloring book?

I don’t have any budget set aside for marketing, so I will mostly be promoting it through social media and email channels.

7. Did you come across any challenges while making your coloring book? If so, how did you overcome them?

I have never made a book with this much content before, and it did feel overwhelming at times. I almost gave up on collecting all the facts for each state. The information is not particularly hard to find, but the sheer volume of data made the task feel very daunting. Luckily, I have extremely supportive co-workers and friends who helped me, in exchange for a copy of the book. I made a big spreadsheet with all the states and categories listed and asked people to help me fill it in if they had a few minutes to spare. Delegating that work helped me focus on completing the drawings. It also made me feel super supported and appreciative of my generous network.

8. If you were starting this project again, would you do anything differently? If so, why?

To be honest, I don’t think I would do much differently if I were to start this project again. It was a bit rushed at the end, but I am happy that things came together organically and naturally. Had I started working with a very rigid master plan at the outset, I probably would have psyched myself out of the project or gotten bored of it before completion. Once I got started putting the book together, things started moving pretty quickly and smoothly, but I am glad I had this project in the back of my mind for a while before finally acting on it. In the end, it helped me work smarter instead of harder.

9. Can you describe your creative process? For example, do you prefer working on one project at a time or switching between different pieces of work? Do you spend a lot of time in the planning stages or do you prefer jumping straight in?

When working on personal projects, I definitely like to switch around between different pieces. I am a graphic designer by day and am very strict with timelines and planning when it comes to my professional work, so it is a nice change of pace to be able to jump around to whatever is inspiring me for these personal creative projects. I try not to plan too much with my personal work because I feel like sometimes that can prevent you from pushing your work to new and unexpected places.

10. What would you say are the key elements of good book design?

An eye-catching cover will always be the first thing that draws people in, but I think it is equally important for the interior of the book to look polished. I am a stickler for consistency, and I believe that the best way to make your book look professional is to have the design be very organized and uniform. They are easy to overlook and take for granted, but subtle details like even margins, consistent line spacing, and uniform font styling are extremely important to good book design. Ironically, you might not even notice the design of a very well-designed book. On the other hand, sloppy book design can really distract from your content. If you really want your content to shine, spend the time making sure your design is clean and consistent.

You can buy a copy of Sylvie’s stunning coloring book in the Blurb Bookstore. And, if you’ve been mulling over a book project, why not get started today?

The post An Interview with Illustrator Sylvie Lee appeared first on Blurb Blog.

1. How do Layflat Photo Books work with your kind of content?

The wedding photography industry is predisposed to sell albums rather than books. We think in terms of spreads rather than pages. This means that the left and right page are often one continuous image, with important visual items ending up in the gutter of a traditional book. In a wedding album, the gutter is non-existent which gives us so much more flexibility in terms of album design. Our clients have really come to expect this kind of binding, but up to now, the only way to offer them this kind of album was to sell a much more expensive product. Sometimes that is not possible—sometimes the client is not in the market for an expensive album, but they still want a Layflat book.

Blurb’s Layflat Photo Books have made it possible to create a professional-quality wedding book, at an affordable price, with all the design flexibility of Layflat binding.

2. Did using a Layflat Book hold any surprises? Did you learn anything new?

If you are accustomed to wedding album design, Layflat books are nothing new to you. But the speed of design and the ease of ordering and purchasing (not to mention the affordable price) are very new to the world of Layflat Photo Books and albums.

3. How did you choose your layouts and decide on the size and format of your book? What factors did you consider?

Where a wedding is concerned, the size of the wedding book depends on who is going to have it on their coffee table. The bride and groom will want a 12×12, but the mother and father are usually going to want a smaller version. With Blurb Books, the more pages I can add, the better. Because the book is so affordable, I am encouraged to add more pages and more images to my clients’ albums. They love the extra images and making the book a little thicker gives it a much more substantial feel.

4. How do you think digital creatives can make print work for them?

Digital content is everywhere, there is no question about that. People consume the vast majority of their images in a digital format. But all you need to do is go into any client’s home and you will find bookshelves with printed books on them, coffee tables with books on top. Our clients even use books to decorate. Piles of books create levels and hold up lamps, or vintage typewriters. Books are still an important part of everyone’s lives, even if they are simple decor.

Now imagine if a photographer could provide his or her clients with those books. Expensive leather bound albums are not going to do it. But simple, beautiful, photographic, affordable books can be almost addictive for your clients. No matter how much people like to have their images in a digital form, turning the pages of a beautiful book will always be special to everyone who loves photography.

5. When did you first start taking pictures? How did you get into photography?

I first picked up a camera when I was 17 years old. I decided to prove how easy it was to take beautiful photographs. “How hard can it be,” I said, “just point a camera at something beautiful, and you have a beautiful image.” Little did I know how wrong I was. Yet, I came back that day with some great images and my teachers were very excited at the talent I had exhibited. It was all beginners luck, or maybe you could say it was raw talent or a natural eye, but I soon learned that this art was not as easy as it seemed that first day. I spent an entire year trying to figure out how I had made good pictures on that first day.

Maybe it was the instant success that gave me hope in my abilities, but it was the challenge and failures that made the art worth pursuing. I would never have spent my undergraduate and graduate years pursuing a BFA and an MFA in Photography, had it been easy. Easy is boring. I know now that photography is anything but easy, and that’s one of the reasons I love it.

6. What are the most important elements of a great image?

No matter how great technology gets, and how automatic the process of exposure becomes, the art of photography will still elude the vast majority of those who pursue it because the most important elements of the art are in the mind of the photographer, not in the processes of the camera.

SAYING SOMETHING:

First, a photographer without something to say will seldom create and images that say anything. The story we are telling every time we take an image is the most important aspect of the image we are making. Without the story, without the message, the image is weak at best.

FRAMING:

Second, no photographer will master composition without understanding the frame edge. It is the crop that gives emphasis to everything in the photograph. Cropping an image (in camera or in post) is critical to the mood and message of that image. Too many photographers are plagued by the accidental crop. Purposeful, well-thought outcropping takes any photograph to a higher level and there is no auto mode on a camera that will do that for you.

LIGHT:

Third, a photographer who doesn’t understand light and cannot control it is like a painter who has no brushes and doesn’t know how to mix colors. With skilled lighting, a photographer can emphasize and obscure the subject and even the message of the photograph. The story is enhanced through the lighting, like a musical score in a movie or the very dialogue itself.

Anyone of these three items alone will elevate a photograph, but when a photographer masters the skills of framing the image and controlling the light with the intent to say something significant, that photographer will find themselves light-years beyond his or her peers. Most people are just accidentally telling stories and accidentally framing them and stumbling upon light, when all three of these can and should be delivered on demand by a great photographer.

7. What are your favorite parts of your job? What are some of the challenges?

I have always loved the fact that my job is constantly changing. Even when I am photographing a wedding for the 25th time in a year, the people are different and the stories are unique. Every day at the office presents a new and interesting challenge. I have always enjoyed the fact that photography is a daily challenge to solve problems in light.

I also love getting to know people and my particular genre of photography gives me the opportunity to engage with people on a regular basis. The challenge is that it is also a business, and that can get in the way of the day-to-day love of creating. It is tempting to focus solely on creating because it is fun and avoid the business and accounting and such because it is less fun. Alas, one must grow up even when they are a photographer.

8. As a professional creative, how do you stay inspired and motivated?

Dreaming big and challenging myself on every job, no matter how simple it is, keeps me motivated and excited about my work. Even on a simple pro-bono portrait job, I go the extra mile, add more lights, and challenge myself to make the images more exciting. When a simple child’s portrait is turned into a Vanity-Fair-style cover, that makes life and work much more interesting.

9. What’s one project you’re dying to do?

I am a documentary photographer at heart. Everything else I do to pay the bills! I want to tell people’s stories. The one “project” I am dying to do is to be the US White House Lead Photographer. I know… dream big. But think about the stories I could be telling, no matter what administration I work under. But back here, in reality, I have a lot of personal stories to tell. Most of them have to do with people who do important jobs, like teachers and doctors.

10. What would your advice be to aspiring professional photographers?

To be a professional photographer requires a lot of tenacity. It’s a long road to own and run any business, and an even longer one to make that business all about art. Learn how to run a business! Then treat it like a business. Then you can enjoy the fruits of your labor. And when things get stale and monotonous, go to something kind and good and full of challenges with your art—that will get your artistic head back in the game.

Thanks Jared for sharing your thoughts with us! Don’t forget us when you’re in the White House!

Give your favorite images the showcase they deserve—make a beautiful Layflat Photo Book.

The post Love in Layflat with Jared Platt appeared first on Blurb Blog.

I. Audience
II. Planning & Research
III. Book Contents
IV. Book Design
V. Marketing

I. Audience

Considering your audience up front means you’ll be able to create a book they’ll like and want to buy. It will also give you places to talk about your book as you’re creating it, so people are excited for it. Make a plan for getting in touch with them

1. Who will read, receive, or buy your book?
2. What other types of professional books or magazines, even blogs, does your audience receive or read?
3. Do they buy books online? In stores?
4. How will you communicate with your audience? On your blog? Over email?

II. Planning & Research

Flesh out the details of your book by researching others like it that are already in-market. That way, you’ll have the specs for your project, which will be a great start!

1. Book type: What genre is your book? What categories and keywords describe your book? (e.g. “cooking,” “fashion” “portfolio” “documentary” “editorial”)
2. Cover type: Find 4-5 books like the one you’re trying to make. See anything in common between the covers?
3. Length: How many pages do books like yours usually have?
4. Price: How much do books like yours cost? How much are you willing to pay for a book like yours? How much do you think your friends, fans, and followers would pay? Try asking them.
5. Format: What type of format works for your price range and your vision? Do you need expensive paper in a Photo Book? Could your idea work as a print magazine?

III. Book Contents

Use this checklist to ensure your book design matches professional industry standards. Not sure what they are? Check the opening and closing pages of a few different books to see the formatting patterns.

1. Title page, with publishing info
2. Copyright page and date (usually the back of the title page), original year, original author
3. Table of contents
4. Dedication page
5. Introduction (Possibly a Preface or a Foreword, if someone else wrote it.)
6. Acknowledgements page (at the very back)

IV. Book Design

Use this checklist to proof your book, not only for spelling errors and typos, but for design inconsistencies and professional industry standards.

1. Pages numbered correctly, appearing in the same place and the same way on each page, with no number on the first page, or first pages of sections or chapters.
2. Consistent, identical margins page to page, consistent look and alignment of text and images
3. Chapter/section title pages, section headings formatted consistently
4. Title and Subtitle on the front cover
5. Author/creator on the front cover (Don’t use the word “By”.)
6. Main Title and Author on the spine, check for even spacing. (Don’t use the word “By”.)
7. Back cover description of the contents—make it enticing, so people want to read the rest!
8. Reviews for the back cover showing other people’s praise for your book.

V. Marketing

Selling your book means talking about it and sharing it often and effectively. Prepare these things up front so you’re always ready at any opportunity!

1. A 2-sentence description of your book (not more than 25-30 words.)
2. Keywords that will help people find your title when you try to sell it.
3. Author photo.
4. Author bio of about 100 words (to be used on the inside of the dust jacket, if that’s your cover type. Otherwise, much smaller on the back of the book.)
5. Bookstore Sales info: How do you want your book listed and described? (not more than 50 words)

There you have it! There may be more things you can do to line up your book with professional industry standards. Keep a book like the one you want to make nearby as you create yours. You can certainly add your own creative flair, but the key is to make your project match the structure of other books like it, because your audience is trained to move through a work by things they have already seen. You’ll be able to get closer to that pro look and feel and have something that’s truly ready for market!

Did we miss anything? What do you think gives a book a professional edge? Share your suggestions in the comments below!

The post Checklist: How to Make a Professional Looking Book appeared first on Blurb Blog.

Listen to the interview here.

For more expert support promoting your self-published book, talk to the publishing experts at Reedsy.

The post Dispatches: An Interview with Book Publicist Jaki Arthur appeared first on Blurb Blog.

Control plays a massive role in my life. When harnessed positively, it can be my best friend. It helps me have a vision and stay prepared; it directs important decisions, and it aids me in creating opportunities for myself and others. It’s also a big part of what enables me as an artist, playing a role in curation and intentionality.

But on the flip side, control is a rigid container that narrows my vision, forms unreasonable expectations, and takes me completely out of the creative process by focusing too heavily on results. The more I work with control in my personal life, the more I experiment with the concept in my work.

A couple years ago I found myself in the middle of a serious creative drought. I was bored of my work, feeling creatively insecure, and questioning if I even had any business creating art. It was pretty obvious that I needed to make a change, but for months I was paralyzed by the unknown. I couldn’t see what my next step would be, and after a number of years of making art that was formulaic, I felt lost without that sense of certainty.

During that time, some of the only art I managed to make were Blind Contour portraits scribbled inside notebooks—a habit started when I first moved to LA to work as a graphic designer. The portraits are drawn with one continuous line, without looking down at the page. That practice of letting go of the results and appreciating the ‘mistakes’ was the process that ended up guiding me out of my funk.

When Bl­urb asked me to share part of my creative process, I knew it was a perfect way to honor the sketchbooks that taught me to embrace the experimental and the messy. Blurb is a self-publishing platform that lets you create (and sell) your own books, and their new Layflat format was perfect for an art book like this, giving me seamless, edge-to-edge printing.

I had been dreaming of pulling seven years worth of portraits into one place, but sifting through twenty-two Moleskine notebooks was a pretty daunting task to consider. Luckily, Blurb’s BookWright software (a book-making / layout tool) made the process of designing my Layflat book super simple. They also offer a plug-in for Adobe InDesign, if you want a little more flexibility.

As I thumbed through hundreds of portraits, I remembered exactly what it felt like to draw my first Blind Contour portraits as a kid. I recalled the strange type of anxiety that filled my arm and pooled at the tip of the pen, hovering just above the empty page, waiting to make my first clumsy marks. Disoriented and even aimless at times, I had to ignore the fact that I was confused in order to keep going. Tension gave way to levity when I noticed my twisted face and furrowed brow. I relaxed and a sense of play showed up. Discomfort turned to curiosity. When I looked down at what I had blindly created, the joy of being surprised by what I had made topped every feeling of satisfaction that often follows the creation of pieces that had been controlled every step of the way.

The process of creating my book Seeing Without Looking helped me appreciate the dance with control on both sides of the coin. I got to really appreciate how important surrender and curiosity are in my creative process. And when my book arrived in the mail, all 110 double-thick pages of full-bleed beauty, I was grateful for every tiny detail I got to tweak to make it just right.

Got any book projects in the back of your mind? Special thanks to Blurb for encouraging this opportunity to dig into my process in a new way.

A version of this post originally appeared at www.allisonkunath.com

The post Seeing Without Looking: Guest Post from Artist Allison Kunath appeared first on Blurb Blog.

2018 will be no exception. Expect big developments and changes in publishing and self-publishing as we discover the ever-increasing effects of the digital world on the print world. Keep an eye on these trends

CONTENT

1. More Non-Fiction 

Politics and current affairs have taken hold of people’s consciousness, as well as burgeoning cultural upheaval. As celebrities and people who were normally part of the entertainment world participate, entertainment and awareness meld together. While 2016 and 2017 didn’t have any “blockbuster” books by industry standards, the top-sellers were non-fiction books and biographies by authors like Ta-Nehisi Coates, Ed Asner, and Hisham Mattar. This means the market for thoughtful, real-life discourse is expanding.

2. More Visual Books

People are looking for what they can’t get online. Digital fatigue is real. As camera phones and digital photography mean images are everywhere, print pieces become both an antidote, and a coffee-table status symbol. Publishers like Tacshen find their way into retail establishments like Neiman Marcus, indicating the value of books as objects of beauty. 2018 will see the luxury status of books increase, as people encounter them out in the world and off the traditional shelf.

3. Hybrid Digital-Print Content

The key 18-35 demographic has either never seen, or barely remembers, life before digital media. As a result, the most successful content will span both realms. Books will have a digital element—links to supplemental video content, subscription-based email content, access to discussion and fan forums, etc. The converse is also true. You’ll see those who gained audience and influence in the digital space turn to print as a way to not only monetize content, but build credibility and authenticity.

MARKET

4. More Books than Readers

This comes from a few things. It used to be that shelf footage in brick-and-mortar stores determined what stayed in print. Books that didn’t sell were taken off the shelf to make room for ones that did, limiting the competitive field. Only so many books were available to buy. Ebooks changes that. They never go out of print. It may be easier and cheaper to enter the ebooks arena, but that digital advantage is rapidly diminishing. As the number of books exponentially increases, readership does not. It could be that by the end of 2018, we see the competitive advantage in both arenas level out.

5. Kindle Unlimited

This is also threatening digital advantage. With ebooks available for free with this subscription model, books that enter into Kindle Unlimited have a margin that can be one-tenth what it used to be. Furthermore, ebooks with traditional ebook pricing won’t be able to compete with the free, unlimited books available with Kindle Unlimited. This further diminishes the ebook advantage of the last 5 years.

6. Subscription Models

The success of Netflix, Amazon Prime, and even paid Medium shows that people are willing to pay for good, even serialized content. The resurgence of bespoke magazines like Kinfolk and the launch of the new Airbnb Magazine with Hearst Publishing, suggests that print is holding fast as part of that revenue model.

7. Hybrid publishing

This will only continue to grow. This fusion of self-publishing and traditional publishing is hard to define, in part, because it keeps changing so rapidly. Publishing expert Jane Friedman identifies what to look for in a hybrid publisher, and those traits show some real market evolution in the book world, where companies sell not only their design and marketing services, but access to their following and demographic. Niche publishing with a higher profit share and a more dedicated market becomes a viable and legitimate way to find success.

DESIGN

8. Professionalized Approach

As the competition gets more ferocious, so do the efforts to stand out. Cloud-based collaboration apps and design tools mean that book covers and marketing have a sleeker look and cost more. As design services become more available and accessible, so does the need to use them.

9. Cover Trends

Bold typography, the color pink, photography; some of the design trends we saw surface in 2017 aren’t going away any time soon. Take a look at this list and get inspiration for your own project.

10. Minimalism

Neutral colors, high contrast, plenty of white space; marketing materials and book design will continue to find innovative ways to use as little as possible. For a contemporary, of-the-moment, relevant look for your project, make the most of clean lines and that less-is-more philosophy.

11. Authentic Photography

Highly stylized, overly-filtered, or artificially-lit images are staying in the past. Photo sites like Unsplash, with gritty, authentic lifestyle photography are making their mark on the design world, where the look and feel of standout projects takes a less-polished approach.

PROMOTION

12. Connection is Everything

To sell your book, you’ll need to build your following, which can’t be done in a vacuum. 2017 saw a growing connection between self-published authors, who supported each other through reviews and giveaways. This grass roots marketing will become ever more prevalent as the competition grows. We’ll see cross genre and cross-product book promotion, as writers take cues from digital creatives with brick-and-mortar retail partnerships. Collaboration projects between digital influencers were common in 2017. We’ll see authors, bloggers, and influencers in both the print and the digital space continue to work together, leveraging each other’s audience for mutual benefit.

13. Live Seminars and Webinars

Facebook and Instagram Live have taken static content and brought it to life in a new, engaging way. People are hungry for it, and the engagement numbers show it. Look for video and live seminars and webinars to build an audience with print pieces acting as viable commercial supplements to that exciting, but transitory content.

14. Responsive, Mobile-friendly Web Presence

For the first time last year, mobile engagement with content surpassed desktop engagement. Not only will authors need a powerful presence in the digital space with a website, but it needs to look its best on a mobile device. When developing content or marketing in 2018, think mobile first.

15. Amazon Marketing Replaces Facebook

This is perhaps the single biggest shift we saw in 2017, and it will only become more important in 2018. You don’t have to convince people to shop on Amazon. You have to convince them once they get there. Amazon launched its own internal advertising, with the ability to promote products and visibility in its search. Amazon also commands more than a third of all book revenue, and 70% of ebook revenue, so these developments can’t be ignored. Ad dollars from major players will shift from Facebook to Amazon, and while yours may not have to, it will be helpful to tie your books, if you can, with the products that are optimizing Amazon’s internal ad opportunities.

Self-publishing trends have always favored the savvy, business-minded authors, but what we’re seeing in 2018 is that other cultural and media trends are informing the markets and methods. There’s a familiar illustration when it comes to self-publishing. Self-publishing is like re-modeling the kitchen. Sometimes, you win the lottery and someone comes to do it for you, as in traditional publishing. This is part diligence, but also a lot of luck. Short of that, when it comes to installing the cabinets, you can buy them pre-built, pay to have them installed, or you can buy the supplies and do the work a little bit at a time, according to your expertise. 2018 offers more tools, more access to instruction, more materials than ever before. What you do with all of this is more up to you than ever.

The post 15 Self-Publishing Trends to Watch in 2018 appeared first on Blurb Blog.

With each of these classes, you get:

• Lifetime access, anywhere, anytime
• Streaming and downloadable files
• Available on desktop, mobile and tablet
• Watch offline with iPhone & iPad
• 100% satisfaction guarantee

Online book creation courses

1. Making a Magazine: Photographer Dan Milnor walks you through the entire process of creating a magazine using Blurb’s InDesign Plug-in, including creating master pages, content placement, and pre-flighting your files.
2. Creating a Photo Book: In this class, you’ll learn how to set up your book in Adobe Photoshop Lightroom, working with text and backgrounds, and customizing page layouts.
3. Creating a Trade Book or Ebook: See how to create layouts, learn best practices for workflow, and understand typography and licensing for ebook fonts.

Online photography classes

4. Fundamentals of Photography: By taking this course, you will learn how to bring together the elements of manual mode to create an evocative image, how to choose the right gear, and develop efficient workflow as well as how to recognize and take advantage of beautiful natural light.
5. Adobe Lightroom Photo Editing: The Complete Guide: You’ll learn how to import and organize your images; optimize your photos, using all levels of adjustments; make your images searchable within the program; and optimize your workflow, including exporting, printing, and troubleshooting.
6. Apple iPhone Photography Tips: In this beginner-friendly class, Julia will help you understand how light behaves and how to take advantage of it when composing a shot. You’ll learn about the hidden options in your Apple® iPhone® camera and how to make adjustments to get great images.
7. Natural, Realistic Retouching in Photoshop: Learn how to use Photoshop efficiently to create beautiful and realistic retouched images that look natural.

Online design courses

8. Basics of Adobe: Photoshop, Illustrator, and InDesign: Integrate Adobe Photoshop, Illustrator, and InDesign into a more streamlined and easy-to-follow workflow and learn some basic actions in each.
9. Thinking Like a Book Designer: Take this class to learn about the elements that go into designing a book, including how to create a successful book cover, book anatomy, typography, design grids, and best practices in book design.
10. Building a Brand Book: When, Why, and How: Create a book that establishes brand guidelines for large and small businesses, get pointers for setting the standards for the design look and feel for your brand.
11. Creating Your First Web Page (with code!): This course will walk you through the process of evaluating, planning, and creating a web page from a design comp. We’ll explore strategies for setting up your HTML, slicing and saving web graphics, and applying CSS rules that will re-create your design vision in a browser.

Marketing and self-publishing courses

12. How to Write and Publish an Ebook: Take content you’ve already created and turn it into a book fast. Learn about formatting and different selling platforms.
13. Sell Your First 1,000 Books: Book sales depend not only on the quality of your work, but also on the strength of your marketing. You will learn how to develop a strategic outreach plan to engage your current audience and introduce yourself to the right new communities.
14. Write Your Story: Learn conflict, character, and scene building, create a strategy that will help any writer build characters and plot, and find out how to grow a scene to reach its full potential.
15. Market, Launch, and Sell Your Next Big Thing: In this class discover how to use email and social media in a smart, strategic way that will grow a devoted audience of happy, buying customers. You’ll also see how to do this in a way that feels authentic to you and your book.

The post 15 creative classes that will help you make and sell your book appeared first on Blurb Blog.

Tell us a little about yourself, what you do for a living, and what you do for fun.

I’m a designer. Professionally, I work in product and user experience design for a news and media company and personally, as a blogger, indie-mag producer, and concrete poet. I’ve been dabbling in creative outlets since I was young, falling in love with computers, which allowed me to create in ways that suited my sensibilities: building websites and dabbling in digital photo manipulation.

My, albeit undisciplined, approach did bring me a lot of enjoyment. By the end of high-school, I had decided I wanted to be a graphic designer and pursued that. While my career has led me down a more pragmatic, product-oriented path in software, my hobbies allow me to express myself in other forms—photography, blogs, book-cover design, and print projects, such as Caffeine & Concrete.

Some of my other interests include music, film, reading, and writing (everything from book reviews, to career-orientated articles on LinkedIn, as well as poems). I’m a big geek, enjoying the science-fiction and fantasy genres and feel I’ve earned the right to say that, now that they are mainstream, which certainly makes things interesting.

Caffeine & Concrete is one of my all-time favorite Blurb publications. How do you describe this publication to others, and what was your primary goal in creating it? How many issues so far?

Caffeine & Concrete can be described as “conversations with people over coffee” and was born from an epiphany I had listening to a friend as they told me all about how they had created a career which blended their passion project with their profession. I suddenly realized that we often don’t credit people we know as much as those we idolize from afar, as if the familiarity dampens their achievement.

On quick reflection, I noted a dozen or so people I knew, either friends, family, or colleagues who had similar stories, having shaped unique lifestyles for themselves. I suddenly felt an itch to hear all their stories—of entrepreneurship, of working in the arts, or finding their ways in other uncommon careers. This, coupled with discovering Blurb’s (at the time new) magazine service, I thought it would be worth asking them if they’d been interested in being interviewed so I could transcribe and present their stories online and in a magazine. They all agreed, we had some fun and it’s just gone on from there.

While I originally released them as a single 32-page interview edition, once I got to around the fifteenth interview, I decided it would be better to release them as collections of five interviews, of which there are currently five available from Blurb.

You are what I call a “five-tool player” to use a baseball analogy. Photograph, design, write, edit, interview, and heck we could even add print to this. But is there one discipline you are most proud of?

My training in design was quite broad before focusing on graphic design and some of my early jobs really threw me in the deep end, which was quite good. This meant that I’d been in positions where I had to get things done without many resources. While it can be annoying at times, the limitations taught me how to be resourceful and forced me to be creative. I dabbled in animation, web, and photography, and I never really had any fear to try different things and put them out there, especially with new technologies.

Today things are getting easier and easier, so where I used to sit and stitch paper together to make a book, I can now utilize services like Blurb—which is mind-blowing. The same goes for photography, which has become so much more convenient in the digital era. Social media too, of course, enables us to get out work out there to larger audiences and connect with people of shared interests and mindsets.

What I’m most proud of, however, is not so much any particular mastery but rather my ability to access what is required and produce whatever is needed, applying my foundational design skills and layering different mediums and formats to best suit the problem or idea in front of me.

Several years ago you did a book titled Green Man Taught Me To Walk, which receives a constant barrage of compliments when people see it on my coffee table. This book is a beautiful blend of high end materials and low end materials. What was the genesis of this book?

First, thank you for keeping it on your coffee table—that’s amazing! The genesis of Green Man Taught Me To Walk really starts with my love of poetry which is something that really kicked into gear when I moved to Sydney after high school. Being new to a big city and having a lot of time to myself, I’d often write a little here and there and dabbled with laying them out in some way to match their theme. However, it wasn’t until the Caffeine & Concrete idea started in 2015 that I thought I could sort of blend the two, interviews with creators, taking their best quotes and working up some concrete typographic layouts, and then filling in the in-between with some of my poetry. Before I knew it, I was producing many poems, often one a day for long stretches, and found that they were relatively popular on Instagram.

Once I had quite a few done it seemed quite obvious that I could leverage Blurb to compile them into a book. It wasn’t the plan from the start. If I set out to produce 200 odd poems, I probably wouldn’t have, but over a year and a half, there they were.

You recently did a follow up to Green Man. Tell us about the new book and how it works in tandem.

Well, the first poem I wrote in this resurgence of writing a few years ago was a simple two liner I came up with while standing at the traffic light waiting to cross the road on my way to work (most of my poems were written during this commute). The poem Green Man, Red Man goes:

Green man taught me to walk,
Red man stopped me in my tracks.

It was short enough to tweet which I think was what I was trying to do with it, tweet a poem. So, once I had this whole collection of them and it came to packaging them up, Green Man Taught Me To Walk felt like the right name for the book, it was also ambiguous but would make sense once someone started reading the first poem. However, choosing that as the name meant I’d need to close the loop at some point so I started packaging all the poems written after Green Man into the follow-up, Red Man Stopped Me In My Tracks.

The books work together as a natural set, I even re-released Green Man once Red Man was complete to give them a better sense of togetherness in terms of the covers. However, while it features fewer poems than Green Man, like its name, Red Man is a little more passionate; the poems, a little more provoking and alarming. The layouts became more and more emotional with less focus on legibility, force the reader to spend a little more time absorbing them.

What would you love to see from Blurb in the future?

I can’t ask too much from Blurb—the service being so good—however, noticing how much quicker and easier it is to get the Trade Book options here in Australia, I’d like to see the something similar for the magazines.

The post Dispatches with Caffeine & Concrete appeared first on Blurb Blog.

I’ve done many books over the years, but like all the rest, this one was unique. I’ve learned something from every publication I’ve ever done, but I did a few things on this project that made the entire process much easier and much more enjoyable. First, by making several designs and editing decisions early on, I was able to mock up roughly thirty pages of the book before I even left on the trip. I wrote several essays, collected old family photographs, chose my fonts and also settled on an overall design.  I could have changed any or all of these items later, but ended up sticking to them, which made finishing the book so much easier upon arriving home. Second, when working in the field, I tried to think about “one spread at a time.” I tried to make ONE great photograph per day with ONE great piece of copy, like a quote or an observation or personal note, which I could then design over the top of the image.

This technique allowed me to design spreads each night while on the road.  In effect, I was “live-bookmaking.” Also, because Blurb now offers Layflat paper, I was able to put key elements of my images directly in the center of the page, something I’ve always done, but now with layflat I don’t lose ANY part of those images. This is a real game changer when it comes to running a single image across two pages. Finally, because this book was only intended for family, I took full advantage of keeping the book loose and personal and didn’t worry about this book being a representation of my skill as an artist or an item that would somehow impact my career in any way.  In short, I made sure to keep it fun. (highly recommended)

As for the ingredients, you are looking at an 8×10 portrait photo book with an ImageWrap cover, black end sheets, Layflat paper, and approximately 100 pages. I used the Blurb’s plug-in Adobe InDesign for my design needs but could have easily done this book in BookWright. Some of the imagery was created by scanning or photographing historic photographs, while the rest of the images were made with a Fuji XT2. Even though this book won’t be made public, I feel that this project was one of the most important things I’ve done. Fun, strategic, educational, affordable and offered me yet another chance to take my work full circle, from image capture to print.

What more could I want?

The post Layflat Spotlight: Glimpses appeared first on Blurb Blog.

Today’s creative self-publishing platforms are capable of creating beautiful books, and auxiliary platforms like Reedsy can help you fill in the rest with marketing and PR. You can now piece together so many of the professional book publishing services offered by a traditional publisher, that the disadvantages of self-publishing are falling away. If all that’s stopping you is the ancient stigma of self-publishing, consider these classics you may not even know were self-published. Each one has something to teach the book-maker who has something to show or something to say.

Beatrix Potter’s Peter Rabbit

After years of doing scientific illustrations, Potter had earned a reputation for excellent work but struggled for recognition because she was an upper-class woman. When she sought to compile some stories and illustrations she had created for a young boy in her household, she was rejected by several publishers. She published the first run of The Tale of Peter Rabbit herself, and an editor noticed its success. The second run was traditionally published, and The Tale of Peter Rabbit is now one of the world’s most famous children’s books. When it came time to publish the next story in the series, her publisher wouldn’t print the books to her specifications—that is, cloth-bound and small enough for children’s hands—so she published this one herself as well. Eventually, her publisher caved and picked up the books in the series and printed them the way she wanted. Because she stuck to her vision, Beatrix Potter revolutionized the way children’s books were printed, published, and merchandised.

Lesson: If you want something done right, be fearless about doing it yourself.

Thomas Paine’s Common Sense

This small publication is often credited for igniting the American Revolution. At one point in American history, it was the single most popular book in the world, surpassing even the Bible. It was printed in nearly ten languages, and it was part of 250,000 American home libraries—a staggering number given the 18^th-century American population. The thing is, Thomas Paine (who was fired from his first printing job for printing incendiary materials), never made a dime on the work. He sold the work for cost and printed it at a lower price to get it into as many hands as possible because he believed in what it said. Its success is attributed not only to its content but that it was so inexpensive, that everyone could afford it. Excerpts from the work are ubiquitous in texts that study politics, democracy, and history, and it’s still a widely read political text.

Lesson: Self-publishing is power when the math is more about a big audience than big profit.

Walt Whitman’s Leaves of Grass

When Whitman published this work in the 19^th century, the gatekeeping in the publishing world was slightly less stringent. Authors could get their work printed and sold in bookshops without many of today’s hurdles. The trouble is that they couldn’t get the reviews and recognition that was often needed for literary success. This didn’t stop Whitman when it came to this world-famous collection of ground-breaking poetry. Whitman posed as a critic and printed his own reviews in magazines like Harper’s and in newspapers. He spun his own rigorous PR campaign that’s striking in its shamelessness. Whitman stopped at nothing to get his work the recognition it deserved. Eventually, his ploy worked, and he caught the eye of critics and traditional reviewers who helped his book take its place in the American canon.

Lesson: Your are your own best marketer for your work. There’s no shame in doing what it takes to get your book in the spotlight.

Virginia Woolf’s To the Lighthouse

Woolf is famous in her own right as one of the foremost women in literature, but getting there wasn’t easy. Getting someone to print her work the way she wanted it done, even less so. She and her husband Leonard were frustrated by the creative restraints of traditional publishing. They wanted to produce books that traditional publishers might ignore because they were too costly to produce or too ornate to be viable in the mass market. Woolf and her husband formed Hogarth Press to print just such books. She’s responsible for some of the most beautiful books of that era, including volumes of T.S. Eliot’s work with ornate, art-deco woodblock print covers. This story is near and dear to Blurb’s heart because Blurb was started in a similar way: Our founder Eileen Gittins couldn’t find anyone to print her photography books the way she wanted them printed, so she found a way to print beautiful books herself and make way for like-minded creatives to do the same.

Lesson: You really can make the book you want. Where there’s creative vision, there’s a way.

Irma Rombauer’s The Joy of Cooking

This cookbook has been continuously in print since its first edition in the 1930s, which was self-published as a Depression-era business venture. After the death of her husband, author Irma Rombauer sank nearly all of her $6,000 savings into getting her collection of recipes printed. She peddled them out of her house and survived on the sales of the book until a mainstream publisher picked it up in 1936 when millions of copies found a home in three generations of kitchens.

Lesson: Your book means business! Self-publishing puts the profit plan in your hands.

There are dozens of more well-known books that started out as self-published works or gambles by the author. Both traditional publishing and self-publishing have their perks and their limitations, but if these examples show us anything, it’s that where there’s a will, there’s a way and anything’s possible.

Ready to publish your own? Get started today with a trade book.

The post Lessons from Surprising, Self-Published Classics appeared first on Blurb Blog.

The most important thing is to be fearless!

This book is quite different to your other pieces of work—what inspired you to create a mood journal?

Although the tone of the finished product is playful and light-hearted, the concept for this book actually comes from a more serious place. As I’ve gotten older, more and more friends have opened up to me about their struggles with anxiety and depression. In speaking with them and researching little ways to help, I learned that tracking your mood and journaling regularly can be beneficial. While this book is in no way intended to replace professional help, I created it as a self-care tool for me, and for my friends who struggle with anxiety, depression, or just plain moodiness.

Feelings was designed to be inviting, with simple, straightforward questions that are fun and easy to answer. I think a quick, daily check-in is less intimidating and overwhelming than committing to a more stringent mindfulness regimen (though I definitely admire anyone who can stick to those!).

Are you planning to sell Feelings over the holidays? How do you plan to promote and market it?

Yes, I am! I’ll be selling the book through the Blurb Bookstore and promoting it by posting about it on social media. I will probably create an Instagram giveaway to drum up excitement and encourage my friends and followers to spread the word. I’m also on the lookout for any opportunities to share the journal with bloggers or influencers who are excited about the idea and want to help amplify it. Many sites put together “Holiday Gift Guides” at this time of year, so I’m going to do my best to make it onto those lists.

If the book does well, I’d like to take the earnings to do a larger offset run. The upfront costs will be more, but the per unit cost will be significantly lower. And, I’ll be able to sell it on Amazon and take advantage of Blurb’s warehousing and fulfillment services.

What are 10 things that excite and inspire you? Ideas, objects, places, colors, people, books, music, articles of clothing or jewelry, art tools or gear, anything.

In no particular order:
– Painting—especially watercolor, acrylic, and gouache
– Calligraphy and hand lettering
– My extremely talented co-workers
– Visiting my favorite outdoor spaces: the ocean, thick redwood forests, colorful sunset skies
– Cooking and baking
– Walking around museums
– Exercise—especially swimming, yoga, and strength training
– Spending time with friends and family
– Going to the movies
– Collaborating with people with very different skills and backgrounds

How do you keep the creative ideas flowing? Do you have a practice, a routine, or a mindset that you employ every day?

I like listening to 5-10 minute guided meditations on the train on the way to work. I think of it a bit like clearing the mental cache. When your mind is storing too many ideas, thoughts, and feelings, it can be really hard to focus on the task at hand. When my mind is clear, it’s so much easier to get things done. I find it much easier to communicate my ideas in a straightforward visual design as well.

What do you do when you want to finish a project but feel stuck?

I am always working on a dozen different projects at once, so I deal with this dilemma in two opposing ways. I either take a break from it and work on something else or I set a deadline for myself and don’t allow myself to work on any other projects until I finish the project in question.

What is your favorite thing to do or make?

I love to make things with my hands. I feel most accomplished when I’ve made something beautiful and tangible. This applies to both art and food!

Who are two artists you enjoy and what do you like about them?

I love Richard Tuttle’s work, especially his paintings. I love the way he mixes bright, whimsical colors with neutral tones and commonplace objects in a way that feels beautiful, effortless, random, and thoughtful all at once. His philosophy on art is also very inspiring and validating—senseless beauty as a response to a senseless tragedy, art as a means to process grief and suffering.

I also love the quiet precision of Agnes Martin’s drawings and the way Alex Katz is able to breathe life into his portraits while simplifying his subjects into texture-less colors and shapes.

How would you describe your style? What influenced you?

My style is very playful, colorful, loose, and abstract. My grandmother was a classically trained Chinese watercolor artist and gave me a few lessons as a child. I’ll always be grateful to have seen her talent and skill firsthand.

How do you find time to balance work, play, and your many different creative projects?

This is a tough one! I love what I do so much that “work” often feels like “play,” but I could always use more hours in the day. I take advantage of my long commute by working on the train, but I do have to set limits for myself as well. I try to maintain a consistent sleep schedule, stay away from the computer for at least one day on the weekends, and log off social media. You can’t do quality work if you’re sleep deprived, working non-stop, or constantly comparing yourself to others. The rest of it comes down to planning ahead and knowing how to prioritize your projects.

You can’t do quality work if you’re sleep deprived, working non-stop, or constantly comparing yourself to others

What would be your one piece of advice to other creatives looking to develop a side hustle?

When you’re first starting out, really challenge yourself to know when “done” is better than “perfect.” I’ve seen so many talented people sitting for way too long on projects that are 95% there. You might not ever feel ready or good enough, but sometimes just the act of getting your work out there is where the value and learnings lie. Start small if that feels more feasible to you, but get your work out there! You can always refine your product and find ways to improve on future iterations. The feedback and insights you get from putting your work in front of real people will build your confidence and be more valuable than any hours spent perfecting your kerning or tweaking color palettes. Once you have an understanding of what’s working for you, you can spend more time really refining those last few details. In short, the most important thing is to be fearless!

If you think you, or someone close to you, could benefit from a little daily self-reflection, you can find Sylvie’s journal, Feelings, for sale in the Blurb Bookstore. BUY YOUR COPY TODAY.

Inspired to get your own creative side-hustle up and running? Find out just how quick and easy it can be to set your work up for sale with Blurb.

The post Self-Publishing Spotlight with Sylvie Lee appeared first on Blurb Blog.

I’m trying to figure how to explain David Burnett because he doesn’t really fit anywhere and that my friends, is a compliment. Let me start here. Iranian Revolution. Vietnam. Bob Marley, The Olympics,  Politics. Oh, and when everyone went digital he went right to the 4×5. The people I know who know David just refer to him as “Burnett.” Kind of like Don Johnson in Miami Vice. Just “Crockett.” Actually, come to think of it, Crockett’s code name when dealing with the bad guys was……BURNETT. Go figure.

David represents something I hold in the highest regard: a real career as a witness, journalist, photographer, and “newsman.” I don’t want to say people can’t do this today—they can, but things are just different now. I got a chance to sit down with him and talk social media, the industry, and a little about this thing we call photography. Thanks, Burnett.

Listen in as David Burnett and I discuss the state of photography from social media to the way stories are told in this fantastic conversation.

About Dispatches Series

Dispatches, a production of Blurb’s Creative Evangelist Daniel Milnor, is an in-depth look at those living artistic lives. Each episode will feature photographs and audio conversations with artistic pioneers who have devoted their lives to the arts. From artists to authors, photographers to philosophers, Dispatches will reveal the faces and foundations of those who lead the creative way.

The post Dispatches: An Eye on Photography with One of The Greats appeared first on Blurb Blog.

The expansion of the self-publishing industry has empowered creative professionals in all industries to get their work out into the world the way they always envisioned it—without compromise.

Signing up with a traditional publisher means you relinquish this creative control—your creative vision becomes subject to the agenda and priorities of your publishing house. You also usually forfeit the rights to your content. A publisher owns the work once they’ve purchased it, and they get to determine what becomes of it—how, when, and how much it’s printed, etc. As a self-publishing author, you are the only person with any say over your title, cover design, layout, and content destiny.

2. Speedy set-up

Traditional publishing takes a long time. Many projects have been in the works for two years or more. Self-publishing creates copies for your fans much faster, and you are also free to move on to your next project whenever you’re ready. Once you’ve put the finishing touches on your self-published book, all that’s left to do is upload your file, choose where you want to sell, and your self-published book can be available within days or weeks (maybe months if you go with offset printing) for your fans and followers to buy. On the other hand, taking a traditional publishing route can mean you wait years for your book to appear on the shelves, depending on how long it takes to find a publisher, contract negotiation, and the editing and revision process.

3. Global reach

As a self-published author, you retain all rights to your work, meaning you (and only you!) can set your book up for sale on any channel, in any country, in any format—audio, ebook, and print. You decide where and when to sell your self-published book and how to promote it, empowering you to reach as many people as possible. No one knows your friends, fans, and followers as well as you do, so you can market to them the way you see fit and reap all the rewards. You keep all the profit from your efforts and are in charge of how far your project goes.

Read more about your legal rights and responsibilities as a self-publishing author—Protect Your Work.

4. Insider insight

You might find that traditional publishers decide your book’s subject is too niche for them to take on, but you know you’re not alone in your passion. As a self-published author, you can make and sell a book on any topic you choose, from Meji Japanese Art to mustaches, as one stroll through the Blurb Bookstore will demonstrate. There’s an audience who shares your passion—and you can find them by self-publishing. Once you find that niche, it’s all yours!

5. New skills

Self-publishing a book means you’re responsible for every element of the publishing process, from editing, proofreading, and book design, to marketing and order fulfillment. You may be an expert in your content, but you’ll get a chance to build new self-publishing muscles in fields like book design, social media, and marketing. There’s no denying self-publishing takes hard work, but it’s also an excellent opportunity to take on a new challenge and beef up your skills portfolio. Whether you’re a seasoned pro or embarking on your first self-publishing project, there’s a wealth of help, support, and advice available to help you go from a great idea to self-published book in no time. Consider outsourcing more significant tasks like PR, Marketing by connecting with Reedsy.

Self-publishing a book is not simply the domain of hobby authors. It’s a professional option for people from all walks of life who want to share their work and ideas, promote their business, and even make a profit! New developments such as print-on-demand technology mean it’s easier than ever to self-publish the book you want and set it up for sale. So what are you waiting for?

Have any tips for first-time self-publishers? Share them in the comments below!

The post 5 reasons you need to self-publish a book appeared first on Blurb Blog.

Okay, now that we have the official language and description out of the way, I can move on to giving you the real skinny:

Darius Himes is a guy who should have an ego. He earned it. And yet, he doesn’t have one. He’s cool. He works at the highest level in his fields of photography, publishing, art, galleries, etc. He does it well, but also with a sense of humor—I can’t tell you how great this is. Darius also co-wrote How to Publish your Photography Book with Mary Virginia Swanson, one of the best books about publishing you are ever going to find.

Listen to the interview here.

About Dispatches Series

Dispatches, a production of Blurb’s Creative Evangelist Daniel Milnor, is an in-depth look at those living artistic lives. Each episode will feature photographs and audio conversations with artistic pioneers who have devoted their lives to the arts. From artists to authors, photographers to philosophers, Dispatches will reveal the faces and foundations of those who lead the creative way.

The post Dispatches: Interview with Darius Himes on Publishing Photography Books appeared first on Blurb Blog.

Tell us about your books. What motivated you to make them?

My motivation to make books definitely comes from my parents; my mother is a librarian and my father has always faithfully documented life, creating family photo albums by hand, cropping the old fashioned way with a ruler and blade.

Fellow book-makers are a constant source of encouragement, and occasionally I get a small group of photographers together for a Photobook Club. I’m thankful that Ursula Hechenberger-Schwärzler first introduced me to Blurb, and I’ve been known to compete with Sarah Abad and Debbie Gallulo to see who can make the most books before a particular Blurb discount code expires! A talk by Daniel Milnor initially sparked my experimentation resulting in 3X300, a comment from Kent Hall inspired The David Hockney of Books, and Garry Trinh encouraged me to make a flip book, which became Bicubic.

Books on my shelves give me something to aspire to, my favorites include Paul Graham’s Films, Jungjin Lee’s Unnamed Road, and anything Irma Boom designs.

How do you connect your books to your audience?

First of all, I create books for an audience of one—me. Once I have a book on my shelf, I am satisfied. Sharing my books with others is just a bonus.

My work often exploits the tactile nature of books, therefore most of my designs need to be held to be truly appreciated. I’ve shown my work at Melbourne Art Book Fair and Volume Art Book Fair in Sydney, Australia. In the future, I would love to travel to art book fairs around the globe.

What factors go into your design and format decisions for your books?

Price is a huge factor when designing experimental books because I’m not always sure how things will turn out. Until I’m holding the finished product, my books are just theoretical, intangible bits and bytes.

I’ve found the affordability of Blurb’s trade formats to be liberating. I’m especially fond of the economy black and white printing which has a low-fi look, and I don’t have worry about conserving my page count.

What’s the thinking behind your designs? How do you know what to put where?

I work very instinctively, often resolving concepts in my mind before I sit down to design. French writer Antoine de Saint-Exupéry’s words usually come to mind when I’m finalizing a work, “perfection is attained, not when there is nothing more to add, but when there is nothing left to take away.” However, I don’t actually strive for perfection, instead, I embrace the Japanese concept of wabi-sabi, referring to things imperfect, impermanent, and incomplete. My work often highlights things which I consider to hold wabi-sabi, like traces of light and shadow, as well as digital artifacts like pixels and code. I’m also of the belief that done is better than perfect, I’d rather press print today, than never get around to finishing something!

How long have you been taking photos? When did you first pick up a camera and why?

My first memory of consciously composing photographs was at age nine in Paris, with the Eiffel Tower as my muse. I had a disposable camera, with three aspect ratios; standard, wide & panorama. Susan Sontag wrote, “to collect photographs is to collect the world.” Two decades on, my compulsion to collect still drives my passion for photography, travel, and book-making.

Your style for your books has evolved to become less and less figurative—more patterns, light, abstract renderings. How did you get here? What thoughts and ideas are guiding you to create in this unique way?

I’ve long sought to simplify the world through my viewfinder, seeking beauty, removing distractions. I think abstraction is the ultimate manifestation of this. As I have become more confident in my practice, my work has evolved to become more “me”. I concern myself less with others what others are doing, have done, or will think.

Why black and white?

Some might consider it an addiction; it’s not just my books that are black and white. I think a monochromatic color scheme is timeless and provides a nice contrast to our technicolor world. That said, I love bold color too— my home is predominantly black and white, which serves as a great backdrop for all the colorful books and travel mementoes I adorn it with.

Has there been a book you’ve made that’s your favorite? Which one (or not) and why?

Whichever book I’ve designed most recently is usually my favorite, that said 3X300 will always be special, as it signaled a turning point in my thinking about what a book could be.

Is there a project you dream of making and haven’t made yet?

I dream of designing a limited edition run of deluxe photobooks, with stitched spines, custom headbands, printed end sheets, and foil stamping.

Any advice you’d give to a new photographer? Or to someone who wants to take a hobby to the next level?

Practice your practice relentlessly, and don’t forget to love what you do.

We’re so thankful Chloe took the time to chat with us, and we’re taking her advice on going with prolific over perfect. Have any tips for dodging the perfectionism and getting to work? Share them in the comments below!

The post Prolific over Perfect: Spotlight on Chloe Ferres appeared first on Blurb Blog.

She is direct in regard to making art and seems to live by one simple rule: just create. She is equally talented as both a designer and photographer and she is one of the most creative people I’ve met. Her publications are immediately recognizable, something I find wildly impressive, and they are designed to be cut, folded and experienced as opposed to just viewed. If you want to get inspired, have a listen and remember the name. Thanks, Chloe.

Listen to the interview here.

About Dispatches Series

Dispatches, a production of Blurb’s Creative Evangelist Daniel Milnor, is an in-depth look at those living artistic lives. Each episode will feature photographs and audio conversations with artistic pioneers who have devoted their lives to the arts. From artists to authors, photographers to philosophers, Dispatches will reveal the faces and foundations of those who lead the creative way.

The post Dispatches: Interview with Chloe Ferres appeared first on Blurb Blog.

Haviv has produced an unflinching record of the injustices of war, and his photography has had singular impact. His work in the Balkans, which spanned over a decade of conflict, was used as evidence to indict and convict war criminals at the international tribunal in The Hague. President H.W. George Bush cited Haviv’s chilling photographs documenting paramilitary violence in Panama as one of the reasons for the 1989 American intervention.

Haviv is the central character in six documentary films, including National Geographic Explorer’s Freelance in a World of Risk, in which he speaks about the dangers of combat photography, including his numerous detentions and close calls. He has provided expert analysis and commentary on ABC World News, BBC, CNN, NPR, MSNBC, NBC Nightly News, Good Morning America and The Charlie Rose Show.

Listen as I talk with Ron about his book, The Lost Rolls, a peculiar project made of recently discovered unprocessed rolls of film from 20 years go—a project that speaks of history, memory, the analog era, conflict, politics, and even family. Listen to the interview above or here.

About Dispatches Series

Dispatches, a production of Blurb’s Creative Evangelist Daniel Milnor, is an in-depth look at those living artistic lives. Each episode will feature photographs and audio conversations with artistic pioneers who have devoted their lives to the arts. From artists to authors, photographers to philosophers, Dispatches will reveal the faces and foundations of those who lead the creative way.

The post Dispatches: The War Photography of Ron Haviv appeared first on Blurb Blog.

Pete Escovedo is a well-known musician and artist who grew up in the San Francisco Bay Area. Blurb’s Large Order Services Rep, Melissa, had the great pleasure of working with Pete and his team to help plan, print, and deliver his volume book order with our offset printing process. Melissa caught up with Pete and his team to ask him more about his forthcoming memoir, My Life in the Key of E, and the experience of self-publishing through Blurb.

Tell us about your book! What inspired you to publish it now?

My memoir is revealing. I share a lot of intimate parts of my life—from childhood through the present. It explores a lot about family—my family of origin, the musical families I’ve been in through the years (in terms of working with bands and fellow artists), and the family that my wife and I were blessed enough to create. I also share many of the challenges that came along with my choice to become a professional musician. It’s a wonderful career, but also a difficult one. My memoir is a deep-dive into what it means to make music—any art, really—your life.

I chose to write and publish it now because of my age, frankly. I’ll be 83 in July, and I suppose I figured, If not now, then when? While I want my fans to know more about me and where I came from, I also really wanted to write something for my family. A kind of expanded and personalized family-tree. I want my kids, grandkids, great grandkids, future great-great-grandkids, etc., to know about my life. I have a lot of unanswered questions about my parents and their parents. That’s actually something I share in my memoir. The pain, regret, and confusion that comes along with all that mystery. I want my relatives to have the sorts of answers I didn’t have.

There’s a lot that people know about my life from the internet and interviews I’ve done. But what’s really exciting is now readers will have a chance to learn about me from a cohesive narrative—my story. Plus, there’s some never-before-seen photographs of me with family and other artists, as well as some high-quality print-images of my artwork. It’s more than just a written story: it’s a visual story as well.

As I look forward to turning 83 next month, when I’ll be performing shows in celebration of my birthday, I can’t help but think, how much longer will I be able to play music? How much longer will I be on this earth? So putting this book out next month feels like a celebration of my birthday, but also a celebration of my life, my career, and my greatest accomplishment: my family.

I ultimately chose to self-publish because it just seems like the wave of the future. You get to make your vision come to life. I wanted the creative control that isn’t always available to you when you work with a traditional publishing house, and Blurb made that possible.

What made you choose Blurb to self-publish your book instead of trying a traditional publishing house?

We did some research, had some meetings, met with some companies, and thought long and hard about various options—traditional publishing and other self-publishing companies. But when my wife, Juanita, my business advisor, Jason Hofmann (co-founder of the non-profit 51Oakland as well as co-founder of my daughter Sheila E.’s non-profit Elevate Oakland), and my daughter-in-law Sarah (who is the with-writer on my memoir) walked into the Blurb offices in San Francisco, we felt an immediate connection. The Blurb team was so helpful, positive, professional, creative, and talented. The quality of their books also impressed us. We also appreciated how open they were to our ideas for things like lay-out, design, special visual elements, etc. And they had some great ideas that we were really open to. Right away, it felt like a partnership.

Plus, they have offices in the San Francisco Bay Area. I live in L.A. now, but the Bay Area will always feel most like home.
I ultimately chose to self-publish because it just seems like the wave of the future. You get to make your vision come to life. I wanted the creative control that isn’t always available to you when you work with a traditional publishing house, and Blurb made that possible.

How did you decide on size, quantity, cover type, and paper type?

Blurb was quite generous in terms of walking me through the process and the options. They showed us various samples and swatches and gave us some great suggestions based on the look and feel I was after. I wanted the book to have both a sophisticated and modern look. My artwork and my development as a visual artist are important parts of my life. So, it was crucial to me that my memoir have the right visual quality, color, tone, and that the paper quality be high, especially since I’m including samples of my paintings. I want the reader to feel that they’re getting something special, something worth their hard-earned dollars. Blurb understood that, and we all collaborated really well as a team. They also worked closely with my friend Rony Armas, who did the design and layout. I’m so pleased with the way the book looks and feels.

What was the book creation process like for you?

The process of writing this book was challenging. I write about that challenge in the introduction of the book itself. It’s easy for me to talk about someone else. But talking about myself, particularly in such an open way, where I include a lot of my shortcomings, disappointments, and personal and professional obstacles and mistakes, was really difficult. I wanted to put myself in the reader’s position, to imagine what things they might want to know. I also wanted to convey a message. Ultimately, my message has to do with the connection between family and music.

It took me awhile to write it. Years. There were bits and pieces I had to put together, journal entries to read through, and some pretty big questions to try to answer. I’m glad I kept a journal all these years. It helped me to remember the specifics as well as how I felt at certain points of my life.

Like many of my creative projects, this one was a family affair. My daughter-in-law, Sarah Spinner Escovedo, was extremely helpful in this process. She’s a very talented writer, and helped me explore and expand areas she thought would be interesting to readers. It was wonderful to share this experience with her.

How did Blurb help you complete your book project?

Working with Blurb was just a great experience, all around. I’m new to writing and book publishing. I can write songs and put out albums, but writing and publishing a book was a new endeavor. The team was always available to, answer questions, make suggestions, and walk us through the process. They guided us through what might have otherwise felt like an overwhelming process.

Their communication and availability was extraordinary—returning calls and emails immediately, providing lots of individualized support, consultation, and suggestions. They’re pros, and I knew from the very beginning that I was in great hands.

What do you plan to do with your books once they are printed?

The first thing I’m going to do is put my arms around that book, hug it tightly to my chest, and say, “Here it is!” It’s so exciting to know that it will be available to fans, family, and even those who don’t know anything about me, my music, or my art work.

It’s a blessing to know that family will read it and learn what an important part they played in my life.

Is there a place where your fans can purchase a copy for themselves?

My book will be available for purchase at all my live shows starting in July. It’ll be great to meet-and-greet friends and fans and sign copies of the book for them before and after shows. The first live show where my book will be available for purchase will be at my birthday shows at Yoshi’s in Oakland, California (July 15^th and 16^th). Yoshi’s has always felt like home to me, so it’s a perfect venue to officially make the book available.

It will also be available for purchase on my website, Petescovedo.com, on the Blurb website, and on Amazon.

I also plan on doing speaking engagements and book readings around the country where I can meet folks and sign copies for them.

What do you want people to take away after reading your memoir?

I hope that readers will take away the feeling of what it’s like to be a musician. To live the life of a musician while keeping a family intact. And I hope people will get a sense of where I came from. Of my parents, and the challenges of my childhood. They’ll see, I hope, that the challenges helped to shape me, and were instrumental in my goal-setting and passion for music and art.

The challenges made it interesting. Having music in my life, and raising a family—a family of musicians—has many rewards as well as some inevitable struggles.

The first thing I’m going to do is put my arms around that book, hug it tightly to my chest, and say, “Here it is!”

There’s also some cool extras in the book, including some journal entry excerpts showing what it’s really like to be on the road. You get to travel the world, but you don’t often get to see where you’re actually traveling. It’s airplane to hotel to venue to hotel to airplane to next city, over and over again. It’s a fast life, with few days off, and it can be mentally and physically draining. You have to act like it’s opening night on each stage, each night, because to the audience, it is the opening night. But to you, it could be the 30^th night in a row of the same show. It takes a lot. I think readers will enjoy getting a real glimpse beyond the perks of world travel, glitz, and what’s perceived as “making it.”

Aside from learning about me as a musician, father, and artist, I hope people get a sense of who I am as a man. The boy who became a man. I hope that my journey is something readers will be able to relate to, learn from, or find inspiration from. It’s a blessing to be able to share my story within a memoir. And I hope readers find something important within it for themselves.

We’re thankful Pete took the time to share the story behind the creation of his book which you can check out here.

The post Music and Memoirs: Interview with Pete Escovedo appeared first on Blurb Blog.

As you channel your artistic energy into crafting the perfect book, you’ll encounter many decisions. The genre, cover design, distribution channels, and one crucial yet often underappreciated aspect: the book’s trim size. This term refers to your book’s dimensions once printed, bound, and cut down to its final size. But it’s not just about the physical form; the trim size significantly determines your book’s charm, reading appeal, and even the cost of production.

For all the visual creators out there looking to strike a balance between artistic representation and audience expectations, this guide is for you. We aim to simplify the concept of book trim size, giving you the tools to make an educated decision that doesn’t sacrifice your innovative spirit.

Trim size defined

Trim size refers to the physical dimensions of a book—the width and height of a finished copy. It is the final size of a book after its pages are cut from the printed sheets.

This term originates from traditional publishing, where larger paper sheets are printed, bound, and then “trimmed” to their designed size. Trim size is always in inches or centimeters, with width mentioned first before height.

Why does it matter?

The trim size of a book is often the first thing your audience notices, even before they read the title or creator’s name. It sets the tone for their expectations and the book’s perceived value.

For visual creators, trim size is especially crucial as it serves as a canvas for your work. Depending on your chosen size, it can enhance or detract from your artwork’s impact.

Trim size comes down to four things: experience, aesthetics, costs, and marketability. Let’s explore each.

• Audience experience: The trim size dictates the size of your font, how much content you can fit on a page, and the amount of white space you can offer. All these elements can significantly affect how your audience engages with your book.
• Aesthetics: The trim size sets the tone for your book’s visual appeal. It can convey a sense of intimacy, grandeur, or even quirkiness. For example, a larger trim size can enhance the display of visual content in art books, cookbooks, or photographic collections—and a smaller one is easier to tote around to read on the go.
• Costs: The trim size of a book impacts its production costs. Smaller sizes require fewer materials, thus reducing the cost. However, large trim sizes can be eye-catching and make a statement, so balancing cost and appeal is essential.
• Marketability: Some trim sizes are more popular and widely accepted in the industry, increasing their chances of being picked up by retailers or libraries. Of course, unique trim sizes can differentiate your book from a crowded market. It all depends on your target audience and the genre of your book.

What are standard sizes in publishing?

Most books fall into a few standard trim sizes, offering practicality and marketability. They typically are broken into genres, so that’s where we’ll start. 

Psst. Are you printing with Blurb? Jump to our trim sizes here.

Visual books: popular sizes

• Photography books: Often within the 10×8 to 13×11 inch range, photography books need a large canvas to showcase detailed images effectively. Remember, the trim size should enhance, not diminish, the visual impact of your photographs.
• Coffee table books: Designed to be displayed, they generally are square or landscape and have larger dimensions, ranging from 12×12 all the way to 19×13 inches. This big size gives ample space for striking visuals and makes a strong statement.
• Art books: Usually fall in the 13×11 to 11×14 inch range. Large dimensions are crucial to display artwork in its full glory and detail. However, it should still be easy for your audience to handle and flip through.
• Children’s books: This genre has a wide range of sizes, from 7.5×7.5 to 10×8 inches. The size depends on the target age group—board books for infants are usually tiny squares, while picture books for kindergarten-age kids are larger.
• Comic books: Traditionally, comic books are around 6.625×10.25 inches. This size is ideal for displaying panels and graphic storytelling while still being comfortable for holding and reading.
• Graphic novels: These books typically use the 7×10 inch size. It’s a good compromise between showcasing visual detail and maintaining reader comfort during extended reading periods.
• Cookbooks: These typically range from 8×10 to 8.5×11 inches. A medium or large trim size can beautifully display food photos and detailed recipes, making the book more visually appealing and practical as the pages stay open in the kitchen.
• Notebooks: Sketchbooks, journals, and notebooks come in various sizes, depending on their intended use. Small pocket books can range from 3.5×5.5 inches to 5×8.25 inches, while regular-sized notebooks are usually around 8.5×11 inches.
• Magazines: Periodicals usually follow standard sizes, with the most popular being 8.5×11 inches for US publications and A4 (8.27×11.69 inches) for international ones.

Text-heavy books: popular sizes

• Fiction and memoir: Mainstream fiction often uses a 5.5×8.5 or 6×9 inch trim size. This size is comfortable for reading and practical for printing and distribution.
• Nonfiction: These genres are often found in 5.5×8.5 or 6×9 inch sizes, but this can vary based on the book’s content and purpose.
• Poetry and short stories: These books and anthologies often use smaller trim sizes like 5.5×8.5 inches, creating an intimate reading experience that aligns well with the nature of this work.
• Novellas: Due to their shorter length, novellas commonly use a trim size of 5×8 inches. This size is compact yet provides sufficient space for the story.
• Young adult: The most popular trim size for young adult fiction is 5.5×8.5 or 6×9 inches. This lets younger readers hold and read the book comfortably.
• Business books: These books often go for a 5.5×8.5 or 6×9 inch size, considered professional and easy to carry.
• Textbooks, academic texts, and reference books: Due to their comprehensive content, textbooks often require a larger trim size of around 8×10 or 8.5×11 inches to accommodate detailed diagrams, charts, and wide margins for notes.

Remember, while these are standard sizes, they’re not hard-and-fast rules. The beauty of book design lies in its flexibility. Your trim size should ultimately serve your book’s content and your target audience’s preferences. It’s your book, so let your creativity shine through your choice!

Your step-by-step guide to choosing a trim size

Now that we have the basics down let’s get into the specifics. Here’s exactly what you need to do to pick your self-published book’s trim size.

1. Consider your content

First and foremost, take a step back and evaluate the content you have. For visual creators, you’ll need to consider the aspect ratio and resolution of your images. And if you’re an author, the length and structure of your text should guide your choice.

Here are a few questions that can guide you as you consider:

• Spend time on your artistic vision. How does it affect size?
• What is the nature of your content—text-heavy, image-heavy, or a combination? And are you planning on a series or sequel?
• Is your book intended to be displayed or carried around? Where do you imagine it in a bookstore?
• Will any images lose impact or clarity if they are scaled down?
• How would a larger or smaller trim size impact the readability of your text?
• Think about extras like charts, graphs, diagrams, footnotes, references, or glossaries—how will they show up?

2. Research your genre

Stroll through your local bookstore or browse online platforms to see what successful books in your genre look like. Pay particular attention to the trim sizes of the top-sellers or popular books within your genre.

For instance, if you’re writing a graphic novel, study the trim sizes of bestsellers in that genre. Does a larger trim size enhance the visual experience? Or does a smaller, more portable size strike the right balance between its convenience and visual impact?

Remember, while it’s important to understand industry norms and audience expectations, don’t let this limit your creativity. If a unique trim size complements your content and meets your audience’s needs, it could differentiate your book in a crowded market. Just ensure it is a conscious, well-researched decision.

3. Know your audience

Understanding your audience is crucial in the book design process, especially when deciding on the trim size. Consider your audience’s reading habits, preferences, and the context in which they’ll likely consume your content. Here are some tips and tricks to know your audience better.

• Surveys and direct feedback: Connect directly with your audience through surveys or social media platforms. Ask about their preferences—do they enjoy larger books for a more immersive reading experience, or do they favor smaller, more carriable sizes?
• Analyze existing data: Use data from your website, social media platforms, or other customer touchpoints to glean insights about your audience. Are your fans primarily young adults who might appreciate a trendy, unconventional trim size, or are they more traditional readers who prefer standard sizes?
• Consider the context: Where and when will your book be consumed? If it’s a cookbook, a larger size could be preferable so the pages stay open in the kitchen. If it’s a travel book, a more portable size might benefit on-the-go reading.
• Value perception: The trim size can influence how your audience perceives the value of your book. If you’re looking to sell your art book for a premium price at a gallery, you might want to offer an oversized book that screams luxury—while a serial comic might require a lower price point and economy trim size to go along.
• Test and iterate: Consider creating prototypes of your book in various trim sizes and ask for feedback from a test audience. This can provide valuable insights and help you make a more informed decision.

4. Evaluate your budget and pricing strategy

You want a book that looks good and aligns with your budget and audience expectations. Trim size of a book can significantly influence production costs. Here’s what to consider.

• Production costs: Generally, larger books are more expensive to produce. They require more paper, increase printing costs, and might also incur higher shipping fees due to their weight. Conversely, smaller books can be more cost-effective to produce—but remember to balance cost considerations with the impact on readability and aesthetic appeal.
• Pricing strategy: The production cost of your book will directly impact its retail price. A higher production cost might necessitate a higher retail price to maintain profit margins. However, this could impact your book’s competitiveness in the market. What price point is your target audience willing to pay?
• Profit margins: When evaluating your budget and pricing strategy, always consider your profit margin. Remember to account for the wholesale discounts you might offer to retailers or distributors (most call for 50 percent!). You must also factor in the cost of unsold copies, shipping, marketing, and other overheads.
• Print-on-demand or offset:  Print-on-demand (POD) allows you to print books as needed, but it is often more expensive per unit compared to offset printing and you typically must choose standard sizes. Offset printing allows you to print a large run, reducing per-book price and allowing you to print unique sizes, but you’re tasked with storage, shipping, and returns. Knowing your budget and potential sales volumes can help determine whether POD or offset is the better option for your book.
• Ask for quotes: Request print quotes for different trim sizes from several printers and self-publishing platforms. This step will give you a clear understanding of how trim size impacts cost. It’s also an opportunity to discuss your project with professionals who can offer advice based on their experience.

5. Check the supported trim sizes of your distribution platform

Before deciding on a trim size, consult your distribution platform’s guidelines. This critical step will prevent surprises during the publishing process, ensuring your book is built right from the start. Here are three popular platforms to research.

Blurb

Blurb is known for archival-quality photo books, making it a fitting choice for photographers and visual artists. We offer diverse trim sizes, including unique square formats, affordable standard trade book sizes, and even popular notebooks and magazine trims. Find every size offered by visiting Blurb’s format page or jumping to our favorite trim size per genre below!

Amazon

Amazon is a popular distribution choice for self-publishers. You can sell your books in a variety of trim size options, both standard and non-standard. The trim size you select impacts the printing cost, so balancing creativity with economic practicality is important.

Did you know? If you build and print a photo book with Blurb, you can distribute on Amazon.

Ingram Spark

Ingram Spark is known for its vast distribution network, making your book accessible to a global audience and physical bookstores. They can distribute books in three trim sizes in paperback and hardcover, with specific guidelines for different genres and book types. 

If you’re a Blurb creator, you can also distribute your Blurb trade book or notebook to 39,000 online and physical bookstores globally via Ingram, too!

6. Experiment, print a proof, and finalize

Now that you’re armed with all the information you need, it’s time for the fun part: making a choice! Remember, selecting the trim size of your book is not just about the numbers—each book has its unique personality, just like its creator!

Be bold and experiment with your trim sizes. This is a creative endeavor, so try popular, tiny, and even out-of-the-box sizes! But remember, while straying off the beaten path can be exciting, it should always be a calculated risk. Weigh your creative urges against the practical aspects of cost, audience preferences, and platform guidelines.

Once you’ve made your choice, go ahead and print a proof copy. Hold it, flip through it, and immerse yourself in the physical manifestation of your work. Get feedback from trusted advisers and your target audience. How does the trim size fit with your content? Does it enhance your audience’s experience? If the answer is an enthusiastic yes, congratulations! You’re on your way to creating a beautiful and engaging book.

Don’t worry if you need to refine your choice—remember, great things often take time and a few iterations. What’s important is that you’ve embarked on this creative journey and are committed to creating a book that truly reflects you, your content, and your audience’s expectations. You’ve got this!

The final cut

Selecting the right trim size for your book is a crucial detail that can elevate your work to new heights. Though it may seem daunting at first, with a little research and creative experimentation, you can find the size that perfectly complements your content and resonates with your audience. Remember, your book is an extension of your creative vision—don’t be afraid to go big (or tiny). 

You’ve got the tools, the knowledge, and the creativity to craft a book that’s as unique as you are. So go out there, make bold choices, and let the world see your vision in print. After all, we need more creators like you!

Printing with Blurb?

If you’re printing with us, you’re probably wondering which size is best for your book. Here’s the scoop.

Photo books

• Mini Square 5×5 in. (13×13 cm): Best for photo albums, memory books, travel books, and gifts.
• Small Square 7×7 in. (18×18 cm): Best for children’s books, short volumes in a photography collection, illustrations, and gifts.
• Standard Portrait 8×10 in. (20×25 cm): Best for cookbooks, comic books and graphic novels, how-to guides, history books, textbooks, and photography and illustration books.
• Standard Landscape 10×8 in. (25×20 cm): Best for photography books, art books, coffee table books, and children’s books.
• Large Landscape 13×11 in. (33×28 cm): Best for art books, photography books, fine art portfolios, coffee table books, and wedding and family albums—especially when you make them layflat.
• Large Square 12×12 in. (30×30 cm): Best for coffee table books, art books, photography books, and children’s books.

Trade books and notebooks

• 5×8 in. (13×20 cm): Best for novels and novellas, short-story and poetry collections, and pocket-sized notebooks.
• 6×9 in. (15×23 cm): Best for all kinds of fiction (novels, YA, essays) and nonfiction (memoirs, business books, illustrated field guides)! Plus, portable notebooks, sketchbooks, and journals.
• 8×10 in. (20×25 cm): Best for affordable cookbooks, travel books, guides, history books, textbooks, how-to guides, children’s novels, graphic novels, and serial photography and illustration books.

Magazines

• Premium Magazine 8.5×11 in. (22×28 cm): One size for any type of magazine or serialized content!

***

Blurb is an empowering platform that puts the power of self-publishing right at your fingertips. Choose from tons of trim sizes, design your book with our free software BookWright, print it on demand, and even sell it via our no-fee bookstore. Get started today.

The post The art and science of book trim sizes: A comprehensive guide for visual creators appeared first on Blurb Blog.

Zoë Sadokierski is a voice that comes through in surround sound. For ANYONE with an interest in books, design, writing, or blazing new trails this interview is for you.

A designer of over 250 books and president of the Australian Book Designers Association, she is at the forefront of all things book culture.

Zoë is a maker. She writes, illustrates, designs and publishes on a regular basis, using new technologies as tools of experimentation and exploration. Not to mention, she writes a column on book culture and reading for The Conversation, and also established Bookwork Press, an independent publisher of visual essays, artists’ books, and other creative using print-on-demand publishing platforms.

Is that all? Yes. For now.

Listen to this interview as we talk all things book, design, and inspiration. Like she did with me, she might make you want to run home and open InDesign. Listen to the interview here.

About Dispatches Series

Dispatches, a production of Blurb’s Creative Evangelist Daniel Milnor, is an in-depth look at those living artistic lives. Each episode will feature photographs and audio conversations with artistic pioneers who have devoted their lives to the arts. From artists to authors, photographers to philosophers, Dispatches will reveal the faces and foundations of those who lead the creative way.

The post Dispatches: Australian Book Designer of the Year appeared first on Blurb Blog.

This is creative self-publishing.

Self-publishing? You might be saying, “I am not a writer. I don’t want to write novels or poetry or essays. I’m a different kind of creative.”

 In that case, self-publishing a book is more than you might think it is. When you hear self-publishing, a common picture emerges of a basement (or garage, here in California) of books that you have to hock at every opportunity. It’s hard to say “self-publishing” and convey all that’s possible with making a book that you can sell.

Self-publishing is simply that: independently selling a book you’ve made yourself.

Myth #1: You have to be a writer to self-publish.

Anyone with something to say or something to show has a book to make and sell. Self-publishing can work for anyone. This means that there are infinite ways and reasons for who, how, and why it’s done.

• You could be a food blogger—you’ve agonized over perfecting recipes and shooting enticing food photos, and now you’d like a new way to monetize your content.
• You could be a comic book artist who has a story to tell and an entry into the zine community.
• You could be a photographer who has a series that found deep resonance on social media.
• You could be a jewelry maker whose materials and pieces have a story worth telling.
• You could be a pastor with a built-in following and without the teaching tool you need for your upcoming series.
• You could be a painter whose fine-art works sell for more than the average person can afford, but you have a following who would happily purchase a book of your work.

Myth #2: You have to buy 5,000 books up front to self-publish.

This is not true for two reasons. First, print-on-demand technology means you can print one copy at a time and sell it. You can print 5 copies or 10 and sell them. The more you buy up front, the greater your profit can be, but it’s true that you can make one book, print one book, and sell one book and still have a profit.

Second, self-publishing is not necessarily about numbers. If you make and sell 20, 50, 100, or 200 books total, it counts as self-publishing. Consider this: The profit range for creators of traditionally published books is between 7-18%. When you self-publish with Blurb, you manage your own costs of production (with your book design), and you set your profit margin. You can sell a book that’s printed offset or with a volume discount that costs $7.99 to produce for $18.99. This gives you more than 50% profit, so to make the same money, you have to sell fewer books.

Myth #3: You have to be a best-seller in bookstores to have a “real” book.

This is like saying you need a gold medal to call yourself a runner. To make and sell a book, to run a 5k or a half-marathon, you do not need to be Usain Bolt.

It’s incredible to see your work out in the world, and this goes for books as much as it goes for any other creative work. But there’s more to having a book of work in the world than a bookstore bestseller. Consider this: 90% of traditionally published books sell fewer than 2,500 copies, and that number is actually reached by only a handful. If you’re a blogger with 2,000 unique site visits a month, and even 10% of your followers buy your book or even join your list to get an ebook excerpt, you’ve made some serious headway.

How does it work?

Self-publishing is as much of a hustle as any side-hustle, and there is a lot that goes into doing it well. But it doesn’t have to be confusing! Here are some basic terms you’ll encounter as you go about setting your book up for wider distribution.

Terms to know:

Profit: This is your take-home earning after the cost of the book and the cost of the distribution have been factored in. You’re trying to maximize this per copy.

Base Cost: This is the cost to print your book. Design your book with a balance between the price and the look and feel to keep this as low as possible and still stay true to your vision.

Wholesale Discount: This term is a bit counter-intuitive. This is the markup of distribution fees for putting your book in certain sales venues. This is the discount for the distributor like Amazon off the retail price or the discount for the local store if you sell your books on consignment. It costs both to print the book and to distribute it, and you cover that in your Wholesale Discount.

Retail Price: This is the highest price the book-buyer sees. The distributor, such as Amazon or a store, may discount off this, but your profit stays the same. The retail price is the official price of the book.

Offset Printing: This is printing a large run of books the traditional way. It takes longer and requires a fairly large up-front cost, but it significantly reduces your cost-per-copy (maximizing profit) and increases personalization options like cover embossing and ribbon markers.

Volume Printing: This is the high-numbers digital print-on-demand. When you print up to 100-500 copies, you get all the benefits of digital print-on-demand at a reduced price.

Warehousing Order Fulfillment: This is how you keep books out of the garage or basement. Keep an eye out for your book printer’s programs to warehouse and fulfill your orders for you. If you don’t do this with your printer, you’ll have to manage your orders yourself. The good news is that you can save some money per copy; you’ll just be doing it yourself if you sell through your own site.

Ingram Catalog: Ingram is the largest wholesaler of print books. The Ingram Catalog is a monthly print catalog distributed to booksellers, libraries, and specialty retailers worldwide. Any book you’re distributing should get a spot in here if you can make it happen. Blurb trade books are distributed here, which is how they find their way to Amazon and other online stores.

Why not go for it?

Creative self-publishing is a relatively new thing, as it came with digital print-on-demand technology. If you have a niche market, unique, hybrid content of words and pictures, or you want to experiment with a printed guide to your work, you’re still in the running to make a book that can bring you profit. Why not give it a shot? The possibilities are endless!

The post Demystifying self-publishing: busting the myths appeared first on Blurb Blog.

That was all luck. I didn’t deserve that success.

What if people find out I’m actually really bad at this?

What if people can see that I don’t know what I’m doing?

Who do I think I am? Am I kidding?

I don’t have what it takes to do this.

Impostor syndrome is that feeling of making it, but then feeling like you faked it. It’s a form of extreme, debilitating self-doubt. And It’s much more common than you think. From personal bloggers to high-powered CEOs like Sheryl Sandberg, from women chairing the P.T.A. to comedian and actress Tina Fey, the tendency to undermine our work and our success is almost universal.

When my sister graduated from Law School, she and her roommate high-fived as they were coming out of the ceremony—not for finishing, but for, in their words, “Pulling off our biggest con yet. People actually think we’re going to be lawyers.”

They were being funny, but they were also too early in their careers to be dismissing their success as a con. It wasn’t a con. They graduated near the top of their class. They have degrees from renowned institution. They have, arguably, the highest form of legitimization and qualification a person can seek: a degree, on paper, declaring them qualified. And they still feel like con artists.

They are not con artists. They are lawyers (which could be a punchline, but isn’t). If a conferred degree and professional recognition can’t save a person from impostor syndrome, then it has to be something else. It requires a tougher mental game, and reversing some common beliefs. Let’s explore five ways you can learn how to overcome imposter syndrome.

1. Talk back to that inner voice

This is about separating feelings from fact, and doing the hard work of flipping the script that is automatic or sneaks in. Keep a list of your accomplishments, screenshot positive feedback, and have a friend on speed dial who can remind you of what’s true when you’re struck by fear and unworthiness. Force yourself to return to those real, on-record things that disprove those self-doubts. You can say, “No. I am not going to play along with the suggestion that I’m not enough or that I don’t deserve this. I am not going to play along with feelings of not belonging here.”

That same sister who thought she was a con artist is also the person I call when self-doubt strikes. I’ll call her and say, “I don’t think I can do this,” or “I don’t know what I am doing here,” and she’ll rattle off a list of things I did (and did successfully) to get wherever I am. An old saying about “swimming with sharks” advises not to “bleed in the water,” and it’s true enough that you don’t have to show fear and insecurity to everyone when you feel it. Be selective about your authenticity, but getting out of your head and letting someone rally with you will make a huge difference.

Check out our blog to learn how market yourself!

2. Done is better than perfect

Often, impostor syndrome stems from an innate perfectionism. Without meaning to, we second guess ourselves because the work isn’t up to our own standards. Sometimes our work disappoints us, but the key to not letting that disappointment define us is to do more work. It’s normal for your creative work to disappoint you because you got into this work altogether out of a love for the good stuff. Finish more things. For a long time, for most of us, a fully-finished project is a good one. You did it. Which makes you a real person who does the thing.

3. You’re not actually that lucky

Be careful about dismissing success as luck. You may have gotten a break, or a stroke of good favor, but even if it was were luck, luck favors those who show up and work hard. Sometimes even showing up—showing up to yourself, to the challenge, to your goals and ambitions, to critics and naysayers—is hard work. You had a hand in your success, you earned the skills you have, and the work was yours. So was the courage to show up. It’s tough to feel like a fraud when you give all these things the credit they are due.

4. Failure is not the same as fraud

Yes, you miss all the shots you don’t take. But even the highest pros miss a lot of the shots they do take—think of the NBA guy on the free-throw line during the finals. You’d think there would be no reason that the highest-caliber athlete can’t make a basket when no one is in his way, but it happens all the time. Guys making millions upon millions of dollars are still one-for-three from the line. Does that mean they don’t have the right to be there? Certainly not! Failure is part of the game—for them, for you, and it still would be, even if you were making millions of dollars. So if you miss the mark, drop the ball, forget something, or do something the hard way, focus on what to learn and move on from there. It is the farthest thing from proof you don’t deserve to be wherever it was where you made the mistake.

5. Comparison will kill you

You will never know what it took for someone to accomplish what he or she has accomplished, and you’ll never fully know why someone failed. When you look to other people to show you where you “should be” or what “could go wrong, if x, y, and z,” you have faulty data. It’s only ever part of the story. And even if you had the whole entire story, that person wasn’t you. Fight the urge to compare with all you’ve got.

This may sound obvious, but there is another kind of comparison that’s more insidious: What you could have done instead of what you actually did. “I could have done more” is a common belief that fuels impostor syndrome. Because you think you could have studied more, worked harder, spent more time, brought in someone else, or done anything else, you think you don’t deserve the success or recognition you get. This is unrealistic and unreasonable. A host of things could fuel your belief that you could have done more, but try believing this instead: If you really could have done more, assume you would have. If you still believe that’s not true, assume you will be the person who will do more next time, and figure out what concrete steps you can take to make that happen. But it’s hard to feel like a fraud when you know that working your hardest is how you move through the world. If you need to step up your game, you won’t feel like a hack when you’re keeping your promises to yourself.

You’re not a hack. You’re not a fraud. You’re not a failure.

You’re not here to save the world or to run the world. You’re here to do what you came to do. To make what you came to make. To add value where you can. To step with courage toward big things, and through real unknowns.  You’re here to do all of that better than you did it the day before. And that’s enough for today.

When you do this, you’re legit.

The post How to overcome impostor syndrome appeared first on Blurb Blog.

What is this thing? In her words, “Gratuitous Type is an occasional pamphlet of typographic smut.” This has to be the best subtitle in history, and this magazine is flat-out beautiful—not to mention filled with the kind of things that make me what to make, style, design, shoot, show, etc.

There are a lot of people out there who don’t think this is possible. Elana proves it is, and does so with a publication that is intensely personal as well as popular. Even the folks at MOMA have it in their collection (always a sign you might be on to something). There are many points to take away from this interview. Have a listen and just do.

Listen to the interview above or here.

About Dispatches Series

Dispatches, a production of Blurb’s Creative Evangelist Daniel Milnor, is an in-depth look at those living artistic lives. Each episode will feature photographs and audio conversations with artistic pioneers who have devoted their lives to the arts. From artists to authors, photographers to philosophers, Dispatches will reveal the faces and foundations of those who lead the creative way.

The post Dispatches: Interview with Elana Schlenker appeared first on Blurb Blog.

Frank Jackson is a Los Angeles-based photographer known for his narrative stories and whimsical imagery. Frank works primarily in black and white and spends much of his time on the road exploring things that require time, patience and a quiet mind. What follows are my notes from our session.

Corner cutter. Handheld embosser. Fountain pen. Paper. Tangibility. Jazz. Good, good Jazz.

Such a thoughtful guy. A guy with feeling and kindness and knowledge. Did I mention Jazz. The house we are in is one of royalty. The black and white legends hang from the walls and the bloodline I cross over as my shadow darkens the door is the top. The best. Pure. Residue. I don’t put two and two together until Frank shows me the way. “No way,” is all I can say. The light is working, showing itself to me, showing off even. White hot, colorless Los Angeles filtered through the Spanish style and stucco. It works. My mind says stark, dark, graphic and unclear. It’s so f%$#$%$ obvious. It comes from doing this again and again, year after year. You know it and you know it FAST.

There are dual conversations. The one actually happening and the other in my mind as I tile the story together. I love being here, but I’m perpetually frustrated because we never just get to hang. Talk. Listen without speaking, even to each other.

Listen to the entire interview above.

About Dispatches Series

Dispatches, a production of Blurb’s Creative Evangelist Daniel Milnor, is an in-depth look at those living artistic lives. Each episode will feature photographs and audio conversations with artistic pioneers who have devoted their lives to the arts. From artists to authors, photographers to philosophers, Dispatches will reveal the faces and foundations of those who lead the creative way.

The post Dispatches: Interview with Frank Jackson appeared first on Blurb Blog.