Gordon Woolf's Blog

Coping with long URLs

URLs are one the most difficult things to cope with in written material, whether that is text in printed form or on the Web.

One way to solve this in layout programs such as InDesign is to specify the URL as having "no language" (you can even set up a character style to specify "no language" as the language). InDesign will then only break the line when it has to and will not insert a hyphen.

But in most such programs, the way to deal with URLs has improved in the last couple of versions. The biggest problem is that if the URL is broken in a word which is in the program's hyphenation dictionary it will make it impossible to just select the web address and either click on it or copy it into a browser winodw. To a computer, the hyphen turns iot into aan entirely different address.

It is also common to use a "discretionary line break" linked with a character style to put the DLB after the @ sign or before the dot of .com

Some time ago (CS3?) InDesign's internal rules for line breaks changed to include the slash(/), back-slash(\), underscore(_), ellipse(...), commercial-at(@), any dash (en-dash, em-dash, etc). They also added some algorithms that allow breaks at periods within URLs but not abbreviations... that was definitely getting better at the time I stopped keeping track and is by no means easy to achieve.

There may now be even better ways to solve the problem and I would be surprised if it cannot also be done in the latest QuarkXPress.

My main point is that there are now ways to ensure that a web address is not broken by adding a hyphen and proofreaders should feel confident in marking bad URL breaks and perhaps even suggest some of the possible solutions. In checking proofs it is also worth ensuring that if an address does include a hyphen, it is one that is meant to be there and not one which may have been added because of a line break that no longer applies.

On web sites those responsible should also ask why they are using long URLs in a visible form, though I have to admit I have been guilty, as it does ensure that if web text is copied for use in other media that the URL is copied, and not just the text of a link. Where that is not likely, just embed the full address in the HTML code as an href attribute.

For MS Word the advice is to enter the URL in both the address and text-to-display boxes of the edit hyperlink dialog. You can then add a space within the text of the URL without upsetting the link, or better still, use the zero-width space character or a no-width optional break after a character in the URL such as a forward slash. This character has no shortcut key but you can allocate one in the insert special characters dialog if you need them often.

If you have a better way, let me know.

Create your own book on a Kindle

This article was first published in the July 2011 edition of PC Update, the magazine of the Melbourne PC User Group. The article refers to a Kindle-formatted file of this article, which can be Download here: Create your own book on a Kindle

Let us assume you have bought a Kindle, the best selling ebook reader from Amazon. In addition to some free classic novels and a couple of best sellers you may have bought. you would rather like to add the first draft of your own Great Australian Novel, or, more likely, the report you have been preparing for your local service club.

I looked at several methods and my first attempt used a page layout program I am used to, InDesign, which recently included abilities to output to ePub files that can be converted for the Kindle and other ebook readers.

That worked well, but it was complex and I am not about to tell MelbPC members that they should go out and buy programs in the four-figure price range.

Can it be done for nothing? The answer is Yes.

Firstly, what is a Kindle book file? As supplied by Amazon they usually have an .azw extension and appears to be a proprietary format though similar to the published .mobi format. which is the same as the Palm format with the .prc extension. Both of these are recognised by the Kindle.

All these formats are based on XML, eXtensible Markup Language, which brings us to the best known such language which is HTML, Hypertext Markup Language, as used by the vast majority of web sites. In fact, a restricted form of HTML, with a small number of extra tags, is as good a means as any to use for creating an ebook.

There is a very limited range of HTML tags which can be used for formatting a book to read on a Kindle. If you have ever formatted a web page then this will come as no problem to you.

The main ones you have to play with are the set of heading tags: <h1> to <h6> getting progressively smaller (and their associated closing tags </h1> etc; <hr /> for a horizontal rule; <i> and </i> for italics (or you can use the <em> tags for "emphasis"; <b> and /b> for bold (or use the <strong> set); and <blockquote> and close with </blockquote> for a long quotation inset from the left margin.

As well you can use a limited number of CSS (cascading style sheet) commands either in your HTML file or in a separate file that is linked as it would be for a web page and include that in the same folder. If you are used to working with CSS do not try anything far from the most common tags.

Among a very few specific mobi tags is <mbp:pagebreak /> for a page break (suprisingly this seems to be forgotten by many book converters -- a new page for a new chapter does make the whole production look professional). Note that there is a space before the ending slash.

A PDF of the tags which can be used is available from http://kindleformatting.com/ but here is a simple template which might get you going:

<html>
<head>
<title>My first Kindle book</title>
</head>
<body>
<h2>My first Kindle book</h2>
<h4>By firstname lastname</h4>
<p>&nbsp;</p>
<p>Based on a template published in PC Update, the magazine of the Melbourne PC User Group</p>
<mpb:pagebreak />
<h3>Chapter one</h3>
<p>Here goes all the text you need in as many paragraphs as you need.</p>
<mpb:pagebreak />
<h3>Chapter two</h3>
<p>Here goes all the text you need in as many paragraphs as you need. </p>
</body>
</html>

This is simple enough to edit in Notepad without getting lost in the tags, but you may find it simpler to use a Text Editor, most of which put the tags in a different colour to the text so that you can easily tell the difference. I currently use Gizmo but I have also used NotePads++ from http://notepad-plus-plus.org/ which is also free.

Calibre at http://calibre-ebook.com/ is a program which will manage an ebook collection for one or more ebook readers and will convert between formats as needed within the limits imposed by Digital Rights Management. But Calibre offers many options, often hidden from obvious control, so while it is a program I would recommend, it is easier for the beginner in this field (which was me a matter of a couple of months ago) to use simpler and more specific converters.

For this article I used the free Mobipocket Creator from http://www.mobipocket.com which is a French company that was bought by Amazon in 2005. It is simple to use in that you create a new blank publication and then drag in the HTML file and any required graphics files (plus the CSS file if you are using one), and then click on the Build icon. We will ignore the optional steps to add a cover page and a table of contents. Try these when you have achieved your first success. There is a clear Help file.

Once you have you file, you can then connect your Kindle and drag the completed file, which will have a .prc extension to the documents folder of the Kindle, ready to read.

This article is available as a PRC (Mobi) file at the link shown at the head of this blog post and is available as a Zip file with the complete article as an ebook ready to view on your Kindle and as an HTML file so that you may examine the original code.

Getting started with ebooks

The question: I prepare books for print and I'm wondering what are good resources for taking authors through the process of Kindle publishing; this seems a useful ability to pick up.

Getting in at what is still a relatively early stage would seem to be a good move -- and what Kindle books I've downloaded so far (admittedly mostly free) are, to put it mildly, not very well done. My first experiment a week or so ago of just a 2-page file was, at least in my view, well up to average standards. But the couple of print-prepared documents I've experimented with since have been disasters.

I found Joshua Tallent's site at kindleformatting.com very useful, but the free trials so far of various software to convert from pdf to epub and the mobi format (the latter being what the Kindle uses) have been disappointing. The best so far has been the conversion aspects of the Calibre ebook library and uploading/conversion program: calibre-ebook.com

A trial version of Adobe InDesign in the new CS5.5 edition holds out promise with its new Article palette to take a print file and reorganise the items into the order needed in an ebook and to leave out other items like running heads and page numbers. That will convert to Adobe's favoured epub format that Calibre and other programs can convert to .mobi. However getting InDesign for just e-publishing at its present level would seem an expensive outlay.

I would be interested in learning from others who have dabbled or more with Kindle or other e-publishing and what software they used.

My guess is that we have yet to see the software which will let us seemlessly change a print-publishing file into one for e-reading.

Would you cut your editing or layout rates?

Whether you are editing books or articles, do you have a flat fee per page or hour, or are you prepared to cut your rates?

I am not suggesting that you should work for less overall, but there is a case for having discussions about the scope of your editing.

An example of the circumstances which can arise is the work which is being done to a budget. There has been an allocation within the budget for the work of editing and for layout. Both of these categories can sufffer from being near the end of the process and finding that costs have overrun at previous stages so there are only these last stages where cuts can be made. This may not be fair but it happens.

Sometimes layout work can be reduced by a degree of automation -- making the publication fit templates that already exist and reducing the complexity of the layout so there are fewer places where text has to run around illustrations. It may also be possible to run a long work over fewer pages by reducing text size so that production costs are reduced.

There are fewer ways in which editing costs can be cut.

Ways in which such costs can be reduced include reducing the time which will be spent on rewriting or on fact checking provided others in the process are prepared to take responsibility for such things being done at an earlier stage. Some of this comes down to a decision by the overall editor or publisher on whether the author is trusted (Nearly all author contracts require the author to take this responsibility and to indemnify the publisher).

It can mean deciding that the copyeditor is to increase the number of pages or number of words processed in each hour. Is quality to suffer? It may but there are times when a decision has to be made that the end result is "good enough".

This is a generally accepted process on newspapers and on many magazines. The deadline is fixed. As it approaches, so the final editorial processes which might have included rewrites come to focus on avoiding errors which would make the publication look bad. As the hands on the clock rotate ever faster you might hear a call to check proofs for "heads and intros" maybe with an added check to see that column ends read on to the top of the next column.

Fortunate is the editorial desk where a second edition will allow for more corrections later.

Similarly with freelance editing, the worker may have to work to a specific deadline. Sometimes the copyeditor may feel that quality has been compromised to the extent that he or she would rather not have their name associated with the work. However the skilled editor will still be able to justly claim that the limited job done is still better than it would be if a less skilled person had been involved.

So, do you insist on working to the standards you set for yourself or are you prepared to work to a budget and still feel that you did a good job in the circumstances?

Worst-case scenario: plan for it

In your business or even in life in general, have you worked out a worst-case scenario? It should be essential but I suspect too many people are unwilling to face the prospect of things going wrong.

Insurance salespeople will encourage you to consider what might happen if you had a fire, but few take it further than that, and the effects are often not those you can insure against.

Several recent reactions to changes in government policies, changes in the dollar exchange rate and surveys showing changes in consumer buying habits lead me to wonder yet again whether many business people ever work out what they'll do if things start to go wrong.

Those good at selling often overestimate their ability to sell -- but worst case is not always a lack of sales. As in the example I gave in the book Success in Store, it is also possible for a worst case to be caused by sales being too good. (Do you have access to funds to buy what you have sold, or, in a manufacturing business, the cash and/or credit to buy the raw materials?)

A lot of this is done with a spreadsheet. Just take the figures a bit further to the extremes. Yes sales in the convenience store we bought were poor, and even our own mishandling of customers might have been unable to make them worse, but what if road works started in the street outside and took way longer than were planned? I've seen that happen to others, and after putting off the staff and allowing for the lack of a need to buy stock, the overheads were still at a level which drew on all resources. (In the case I'm thinking of, the local authority was prepared to make a substantial contribution to promoting the strip shopping area when the work was done, but the businesses still had to get through to that point.)

The advertisement rate calculator included with my book How to Start and Produce a Magazine or Newsletter makes it easy to work out what would happen to income if a periodical publisher found all orders coming in for full pages instead of a mix of small and medium ads. But that is the kind of calculation which should be done with any business. I'm sure you've heard the joke about the business owner who admits that they are losing a dollar on every sale "but we make up for it in volume".

Retailers in Australia are currently trumpeting the benefits of a high dollar in lowering prices on imported goods, especially electronics. But have they worked out what they'd do if, over say a three or six month period, the dollar conversion rate dropped to half its present level -- which was where it was only a few years ago.

Computer retailers used to stock computers. Now few do outside of the demo stock on the floor. Not only did they learn to cope with price fluctuations but also with continuing upgrades in specifications. But a lot of stores went broke or closed because it was just too hard to cope.

In another field I went through some basic costings with a couple planning a restaurant. If successful it would have been a goldmine, but the most likely scenario was that they would be working their butts off for less than a living wage. Then I discovered that none of their forecasts included the cost of borrowing the admittedly fairly small sum they would have needed to get started. So, unless they started with queues outside their door on the first days they would have been going backwards slowly but certainly.

So think now of what could go wrong, and what effect it will have. If you cannot cope with that, you will be unlikely to cope with success.

All those great unpublished books?

Having sold The Worsley Press to business consultant and fellow author Geoffrey Heard a few years ago, I've been slowly clearing out a lot of old paperwork.

Part of that was that I decided to rid myself of a stack of old manuscripts which I'd rejected, and not returned because they didn't come with a prepaid envelope or because return was not requested.

I decided to check a random sample by searching on Google for the authors' names.

Of about a dozen which produced some reference, only one was published (and by the larger publisher I suggested the author contact!) though it does not seem to have warranted a second edition in around 10 years.

Another came up with an author's site which featured her several successful novels but no mention of the book she submitted to me on how to run a low-cost wedding. Her novels have been published on three continents in several languages.

I was a just a little concerned that I might have rejected that major title which someone else picked up (after all I did listen to Brian Epstein extolling his new band which was to play at the Cavern club that night in Liverpool in the 1960s and did not take up the offer of a free ticket).

Fortunately, or unfortunately, according to your point of view, it seems that did not happen with these manuscripts.

Jack's an artist. That's what we need for the layout

It is a common question: The illustrator for my book is a talented artist, but should I ask him (or her) about doing the book layout?

It may also be suggested with magazine layout: he's a good artist, we should ask him to do our newsletter.

The real question should be to ask whether he has any experience and whether he wants to do the work. Then the publisher, or self-publisher, should ask himself or herself if they have time to cope with problems.

In a recent case the artist was being honest, and would have been prepared to put the time in (at his cost) to find out all the technical information he needed to know. However, there should be at least one person who has the professional knowledge of what makes a good book or magazine layout in the team.

The danger lies in the fact that publication layout and file preparation for printing is detailed, systematic work, and the skills for that are seldom those needed to be an artist and illustrator.

There are a few who manage to combine both skills but they are a minority and deserve every cent they can command. They will, for example, know that the uses of a book cover for thumbnails on the web or in catalogues and ads and possibly for posters as well as for the cover itself, puts severe restrictions on artistic talent.

More common are those designers and layout people who can take other people's illustrations and turn them into good looking and good working covers and pages and produce files which will print without problems. The person who creates good publication files and the illustrator and graphic artist may use much of the same software, but they tend to use it in vastly different ways.

The kind of questions one could ask someone who may be able to do this work could be whether he or she knows the common standards for relative margin widths, on the differences in specifications for different binding methods, and, for example if this includes, as is most likely, an all color cover, the maximum ink levels according to the printing process and paper stock.

He or she may not know the detailed answers but should know what you are talking about (even if you do not). Then (especially if there is time to go elsewhere if necessary), by all means give him or her a go.

Get ready for the ISTC - a new book identifier

ISTC (International Standard Text Code) is likely to come into use in the book industry worldwide late this year or early 2011. Basically it goes beyond ISBNs (International Standard Book Numbers) to identify content rather than edition.

Different editions of a work, even from different publishers, should have the same ISTC.

It will look something like:

ISTC 0A9-2010-12B4A105-7

and may appear on the back cover but is more likely to be referenced just on the copyright page and will be listed in database information about the book.

In this way, you'll be able to tell instantly whether a trade paperback, a hardback, an audio book or an ebook have the same content. It should also help end the confusion on whether different presentations of the same book should have the same ISBN. They should not. They should have the same ISTC.

The issuers of ISTCs will almost certainly be the same as the issuers of ISBNs, in other words the biggest players will be Bowker and Nielsen under the supervision of the ISTC Agency and using a single, global XML database system.

Items covered are described as "creative works" such as prose, peotry. lyrics, original screenplays, audio and stage scripts. Photographs, although they can be part of such works, are not in themselves covered and while graphic novels would be, the registration would cover only the text elements of these.

The registration agency will run a computer test to check whether the content has already been registered.

Works can be registered by an author, publisher, agent, library, rights management or collection agency or distributor. It is not yet clear what the fee structure is likely to be. The present ISBN structure is commonly a price per code which reduces with quantity, although there are provisions is some countries for free issue of ISBNs, especially single registrations.

The ISTC identifier is a 16-character code (using numbers 0-9 and letters A-F, i.e. the hexadecimal system) in four sections to identify the registration agency, the year of registration, the identifier and a check digit.

It has no section for registrant, so the same content can be published by diffreent publishers but would have only one ISTC. That's a major difference to the ISBN which identifies primarily a publisher.

A work that is translated, abridged, annotated, a compilation, criticism, excerpt, expurgated, revised or adapted, will get a new ISTC but the metadata for that must state the original ISTC and just what its relationship is.

This will also be a problem for authors and publishers of non-fiction works which have frequent editions. New ISBN are usually adopted if there is anything but superficial changes but often there are substantial changes between editions, and all degrees inbetween. It seems it will still be a matter of opinion with the publisher making the decision whether to use the same ISTC or gain a new one with a reference to the original.

There will be internet search engines to identify works from the ISTC and for prospective publishers etc to search on title, author etc to establish whether a work has been registered. They will not link to ISBN data and it would be normal for a work to be registered for an ISTC well before it gains an ISBN, such as that an author might register it before submitting to an agent or publisher, or an agent might register a work before submitting it to publishers.

No one will own any single ISTC once it has been created and an ISTC will not imply any rights to the material. (To my mind, however, it may discourage plagiarism).

It may help in book searches, since once a particular example of a work has been found, that will provide the ISTC which is what is needed to identify the work in other formats, even if they have a different title. It may also help avoid duplication of axquisitions by libraries.

The usefulness of ISTC will increase with time, more rapidly if the registration agencies and especially those who already maintain databases used extensively by the book industry decide to start entering past works. There seems to have been some indications that this will happen though that may depend on what they see as possible financial benefits.

For an author or small publisher I would suggest that ITSC is not something they need to act on instantly, but they do need to watch what is happening. Once the codes start to appear for new works by major publishers in your genre then that will be the time to act.

In the meantime you may like to delve further:

ISTC: http://www.istc-international.org/ (see resources page for a link to the user manual)

Book Industry Study Group discussion paper:
http://www.bisg.org/contentweb/papers/the-international-standard-text-code-istc-a-work-in-progress/

A 2009 overview by Andy Weissberg, VP of Identifier Services at Bowker: http://www.myidentifiers.com/multimedia/pdfs/ISTC_overview_ISQv21no3.pdf

'Large print' is not just type set larger

An interesting suggestion I saw on a publisher forum a while ago was to produce a large print edition and to just reduce the pages of this to make the standard edition. The logic was that some of the readers for which the book was intended were sufferers of diabetes, which often brings sight problems.

Unfortunately the internationally researched standards for large print books, are not just an enlarged form of normal typesetting. And there is a big difference in producing books for those who are substantially sight impaired, and books for those of us who may have a slight deterioration in sight within the normal ranges of variation with age.

A chapter in the current edition of Type & Layout (the book by Colin Wheildon republished by The Worsley Press) -- although this is a chapter in the additional material by Geoffrey Heard -- does describe how preparing a book for the non-fluent reader is different to preparing a book for a fluent reader who may have minor sight problems, or no problems at all.

Just one quick example: although Wheildon's research showed that for reasonably fluent readers, justified serif type is by far the most readable, that is not true for someone who is less fluent, either through education or sight.

The chapter also includes information on the alternative of "Clear Type", a standard developed by the Royal National Institute for the Blind, with standards which, while being acceptable to a wide range of those with site problems, is more acceptable to others. While tending towards sans faces it does accept fonts with a good serif definition such as Bookman.

I would therefore warn against producing a smaller version of a large type, or even "Clear Type" book as a normal edition.

If the text of a book is correctly tagged in its preparation it would be a very simple matter to run it through with alternative layout specifications. I'd estimate an hour or two in a program such as InDesign, maybe even less in an entirely tag based layout program such as TeX.

There will need to be an entire new round of research into legibility on ebook readers.

Libraries: a story of hope

I wrote the following in 2005, and it disappeared in a blog reorganization. It is just as current now as I've recently read several anti-library comments, mostly from publishers:

A couple of times in recent months I've read stories of libraries in the USA just not buying books any more. One recent discussion list post asked "Imagine if you could walk into your public library and it looked like Barnes and Noble, or Borders, or your independent book store."

Well, despite there being tales of constant budget cuts and pressure for funds to be transferred to the electronic services of libraries, it gave me hope that local libraries at least near me in Australia do look bright, with comfortable seating, helpful staff, and no shortage of custom.

When the latest Harry Potter book was released here, it wasn't the local bookstores putting on a major show, it was the local public library. The release time here in Australia was 10am and, at 11am they had the books arrive, a dress-up contest, a reading of the first chapter, displays of other recommended children's books and names could be added to the waiting list of those who wanted the HP copies. Of course the other recommended books by other authors, including several local authors, were available for instant loan.

And I should add that authors and publishers get paid an annual fee for books in public libraries -- a little over a dollar a book for authors, a small fraction of that for publishers. It's done on a random sample basis so payments aren't absolutely accurate but that does keep admin costs of the scheme down. I have a book published more than 10 years ago which still shows up in the survey so I've received around $10 per copy in libraries as the author of that... It will almost certainly go below the 50 copy national threshold this year but that book would have almost been worth writing for library sales alone.

I just hope that the USA realizes the importance of public libraries and adopts the way of the UK, many European countries, Canadian, Australian, New Zealand, etc. See http://www.plrinternational.com/

I've seen comments from small publishers that library sales could be hurting their other sales. I just cannot see that. It is not uncommon for the letters or emails we get at Worsley Press from people who order direct to say things like "I borrowed the book from the library but I want a copy for myself" and I'm sure that is only the tip of the iceberg.