What They Fail to Understand…

… is that–in a free market–the customer is always right.

batteringram_18054_mdIt is a concept understood by many a small and large business alike across the globe, but–for some reason–when it comes to the book industry, this ‘golden’ rule is seen as brass, to be plucked from the wall, trampled upon and sneered at with startling alacrity.

The book customer, apparently, does not know what they want and cannot be allowed to choose for themselves. They must be told what to read, where and how they can purchase and how much they must pay, otherwise humanity is doomed.

In his rather well-researched blog post–consisting of many a prediction about the 2016 eBook market–Smashwords’ Mark Coker inadvertently joins forces with elitist relics of the traditional publishing world in decrying Amazon–and KDP Select indie writers–as the bane of the book industry:

“Yet despite the harm KDP-S and KU are causing fellow authors and the rest of the industry, indies continue to enroll in KDP-S to receive these privileged benefits,”

The above sentence surprised me, greatly. Smashwords was apparently founded on the premise of giving indies a place to publish and sell their work. Why not simply state the obvious: “Amazon’s KDP Select Program cuts out Smashwords completely, therefore I don’t like it.”

Coker then referenced a famous poem–on a subject that should not be trivialized by commercial comparison–inferring that KDP Select writers are likened to German intellectuals that ignored Hitler’s hideous path to power.

“No,” Coker wrote, “Amazon are not Nazis, but…”

It’s a free country; we can write what we like. Statements like the above quote, however, are why I’ve repeatedly taught my children that “bias” is the most honest word in the English language.

(I may be an indie writer without an editor on staff, but I think it’s “Amazon is not the Nazis…” or, perhaps “Amazonians are not Nazis…”)

I honestly don’t see how offering the consumer choices–in how or when they buy, or for what price–is somehow rendered as ‘fascist’ in appearance to those the free market has left behind. Neflix users are not considered ‘nazis’ but, somehow, Kindle Unlimited users are?

What many in the trad-pub industry fail to understand is that every revolution, political or otherwise, leaves some carnage in its wake. Admittedly, carnage is a terrible word and–like “hate” or “nazi”–it should not be used lightly. I’ll also allow that the rather vague notion of ‘change’ is not always for the better–as Neimoller and millions of others would no doubt attest–but in the case of the eBook revolution, I am biased in its favor.I am biased not only as a consumer of literature but also as an author.

Independent writers are now allowed to choose where and how their work is presented, as well as for how much; these are choices never afforded us before, let alone having our titles given equal billing with trad-pub authors. It is so, very sad that Amazon alone offers indies access to such options.

Who’s fault is that? Considering their collective years of experience in the industry and the amount of money they pour into advertising, I am astounded that big publishing firms haven’t invented a better mousetrap.

Consider this: I am merely an organic gardener who writes novels part time–with little more than a decade of business experience to my name–but even I know that in any free market one must adapt or go extinct. Perhaps trad-pub companies aren’t hiring creative people, aren’t firing incompetent people, are unable to change their ways or all of the above.

If trad-pubs are–as they are very fond of reminding their dwindling customer base–the backbone of the book industry, then they need to awaken from their slumber and procure new, young professionals to give them a swift spinal adjustment. They must build a platform that offers both the indie writer and the reader what no one else has. Only a re-invention of the market will attract attention away from the savings Amazon offers. And, they must do it soon. For, if they tarry any longer maybe Amazon will clone itself to Nile (with Congo to follow) in order to show some semblance of competition in the marketplace.

If Coker’s rather scary sentence regarding KDP Select writers is even partially true, then why would any writer sign up, or stay with it for more than a month? It’s elementary, Watson. The massive amount of Amazon website traffic is an enormous draw for indie writers… and something that Smashwords has yet to imitate, a fact I happen to have direct knowledge of.

When my husband and I first began to sell our indie-published Epic Fantasy series, we utilized the Smashwords platform. We were impressed with the stringent formatting standards (something Amazon could learn from) as well as the variety of proffered platforms on which we could sell our eBooks. Despite these choices, the small number of visitors was alarming; we made $143 dollars in three months, even with a sizable budget for google adwords, facebook ads, coupled with copious social media posts. We ended up in the red that quarter.

The next month, we signed up for KDP and its Select program, which required us to take our books off Smashwords… and we subsequently made $14,980 in royalties during the rest of the year (2014) with no further spending on advertising whatsoever. To this day we still make a cool $300 a month–on average–in spite the eBook “glut” and the various squabbles over Agency pricing. Like other indies we’ve felt the drop in readership in favor of more visual stimuli.

Money not only talks, but it happens to be the loudest voice in the room at the moment. Until there is a viable option to Amazon’s KDP platform, then most Select writers will (insert shocked gasp) likely stay where the customers are.

Put the issue of indie writers aside, the customer still is always right. In fact, the customer appears to dislike–very much–being told that they must give up choices for the greater good of an industry that largely turned a deaf ear towards them for decades  while simultaneously extracting huge fees for access to literature.

Not surprisingly, a mass migration has ensued. Customers turned in droves to Amazon and many indies, giddy with their initial success, began a short-sighted spiral down to the 99-cent book. Some books might be worth only 99 cents, but the majority of hard-working indie authors consider that number as much a slap in the face as charging $23 for an eBook is to trad-pub customers.

All that posts like Coker’s tell me is that the trad-pubs of the world didn’t learn a thing from the eBook revolution, one so recent the smouldering buildings are yet visible. The bandwagon they snootily refused to board marched merrily by them. Now, like a gaggle of disinherited adult children of Old Money–flung out into the real world of the free market–the trad-pubs sit and whine about the loss of their old life. A few of them might make a valiant show for the shareholders, using outdated methods to try to break back into the market, but so far none seem interested in going out and building a rival domicile.

I would like to see trad-pubs stop complaining about Amazon and try to outfox them. Maybe they could streamline and offer readers something other than another price hike. Maybe they could offer indies a free platform to upload their work for evaluation–including throwing out their obsolete elitist system of biased, redundant scrutiny–emphasizing to potential authors quality of service over Amazonian quantity.

Customers do want good literature, but they also want the best deal (especially in an economy that is barely recovering) and in such a market as this they will invariably flock to wherever the best deal is, regardless of past loyalties, nostalgia or the misapplication of the ‘nazi’ label.

The book market landscape will likely change again when the US economy begins to show signs of full recovery. For their own sake, may the trad-pubs be ready–in that moment–to emerge from their tired cocoons to display a wonderful inclusive, innovative platform with which to dazzle indie writers and readers alike.

~ ~ ~

L. R. Styles is a KDP Select author with Belator Books

To Each {Writer} Their Own

Writers That Cook.fwThere’s a very good reason why many a writer has–at one point or another–chosen to shrug on the mantle of “recluse” and then acted accordingly. Whether it was Hemingway closeting himself in an attic with a dozen cats and a few cases of booze, or Thoreau living off the grid, sleeping in fields, wandering and mulling lines aloud to himself, or the prose-wielders that merely shielded themselves behind pen names and wrote under the seemingly innocuous employ of “housewife”… writers know that they are susceptible to distraction. And–in this–I am no exception.

Being a recluse would indeed be a relatively easy solution to today’s distractions, but it has several unromantic drawbacks. One could disappear and refuse to answer emails, phone calls, or do anything else other than write, pretending the outside world does not exist… however, one then runs the risk of isolating/ignoring family and loved ones, possibly resulting in not being present for important occasions or–Heaven forbid–a tragedy. Hemingway–to name but one example–could probably have wallpapered the walls of his attic with several sets of divorce papers.

Also, there is the lack of accountability; left to one’s own devices, one could conceivably fritter away the time on non-writing endeavors. Against such arguments a writer must weigh the merit of a distraction-less environment to complete a book (which is by no means a guarantee). For me, the responsibilities of Family, Home and Garden are far more weighty than gaining a small amount of notoriety for myself, or even procuring more of the slim amount of the eBook market that my husband and I already possess (approx. $250 a month in repeating royalties).

All compare and contrast of writers in isolation aside, less-extreme measures do exist; several of my fellow authors embark on writing ‘trips’ once or twice a year, during which they blog almost constantly and–more often than not–return refreshed, with a fair amount of real work accomplished, as well as an impressive slew of photographs. Not everyone can afford such inspirational trysts, however.

My husband and I frequent a nearby Panera restaurant, once a month or so when our oldest daughter  can get away to babysit for a few hours. In an empty corner, we sip hot coffee and munch pastries, sharing a set of earbuds and listening to my recording of the latest book-in-progress (we use Audacity to record). Doing so allow us to edit, prune and graft more quickly and with less distraction than simply reading a word file out loud. In lieu of taking our attention away, the people in the restaurant around us merely galvanize us to work harder; they might be fans, after all… or future types thereof. Our presence acts as a curiosity in of itself; a few discreet inquiries by members of the nearby knitting club moves the needle of hourly web stats a bit further to the right.

In my daily writing grind, however, I cannot boast of rising early in the morning in order to write. Indeed, we do often awaken in the dawn-lit hours, but at that time of day it is difficult for me to form spoken sentences, let alone written ones that would successfully pass the hawk-like gaze of our editor.

The house must be routed from bed, fed and sent on their way, whether for schooling or to work. My ample vegetable garden requires a morning watering schedule and weeding that eats a good hour up. Then comes laundry, washed carefully and hung outside to dry in keeping with our smaller-carbon-footprint goals (which saves us $50 a month in electricity)  and then comes vacuuming, dusting and mopping. I have found that I rather like having a clean home, for not only ourselves but the odd impromptu guest, which seem to appear in tandem with the tomatoes ripening.

Finally, I come to the writing hours. Each day I get 3-4 hours of uninterrupted writing moments. It is then that I delve into the carefully-woven realms, spiced with humanity and action, tears and laughter, work and play all wound about  a column of reality… but not quite touching it. It is absorbing work, and if I did not glance at the clock every so often, my family would arrive back home to find me still under the pergola typing away, with the cleaning not completed, the laundry half-done, the garden wilting and dinner not even begun.

It is with reluctance that I stop writing to work with my hands, but it is essential to the books that I do. My main characters are nearly always common, working folks that are frankly familiar with rain, dirt, sweat, discomfort and disappointment. None know what it is like to be idle, and likewise none are arrogant. If writing what you know is essential to good fiction, then I could not know, unless I worked alongside such imagined companions with my own two hands.

Call my other work distraction, call it experience… call it what you will. I remain yet unashamed of not being able to devote all my time to writing. The books my husband and I write are few and far between; indeed, it takes us a year or more to produce one, but each title is sprinkled with reality, real experiences and poignant, tangible details that most folks–regardless of age, culture or creed–can relate to.

They are written with care and envelope within their twists and turns many a weekend discussion on the merits of one plot point or another, before both writers arise from the booth to return to the role of Parents, Husband and Wife.

To each his own. What works for you, so do… and let neither the scorn nor scoffs of another deter you.

~ ~ ~

L. R. Styles is an author and co-author of fiction with Belator Books

What is it about Books, really?

I read a particularly heartfelt essay in early 2011 that explored a writer’s personal book memories, expounding on the many reasons why paper books were important in spite of the modern-day acceptance of their digital counterparts. The essayist listed some of her fonder memories of packing books in a suitcase to read over the summer and climbing a tree with a paperback wedged in her back pocket.

After I finished reading the essay, I noted how the writer’s musings paralleled my own experiences. Nearly everyone I know–who has ever read a good book–remembers when they first read it, where they were sitting (or standing) while they read it and most remember all the characters and (most of) the minute details the good author penned.

While I enjoyed reading the essayist’s delightfully varied book memories, she came just short of really explaining why many folks cling to the paper medium in a sort of desperate nostalgia. I’ve heard the “book smell” argument, the tactile-feel-of-the-page rebuttal, the defense of the cover, the full-page illustrations argument, the ease-of-use pleas and the cases presented for paper books being one of the last “unplugged” items. I have not, however, heard or read about why a physical hold-it-in-your-hand paper book really appeals to humans.

To me, it is because the contents of a paper book defies the physics of its appearance. Without the aid of electricity (and with little to no fanfare) what seems to be a bunch of squiggly lines–on pieces of pressed wood pulp, slapped together with industrial glue—is in actuality an invisible treasure chest, just waiting to let that golden glow out onto the face of the reader upon being opened. A good book is the closest thing to real magic that a logical person can experience. Opening this unassuming recyclable shape sets the imagination loose… no film, soundtrack, digital screen, online platform, remote or batteries needed. It is a self-contained, self-perpetuating parallel universe that can contain knowledge, opinions, poetry… or an entire realm of fictional creatures entirely consumed in their own lives, waiting to begin or continue their respective journeys.

Just the act of reading provokes the most profound memories, which is something I’ve not only witnessed in others but have experienced, myself. My first memory of books was of my father reading The Hobbit out loud–to my brother and I–by the flickering light of a campfire (a thing which just made the trolls and goblins all the scarier.) The Lord of the Rings followed in the summers—and winters–to come, interspersed with the Chronicles of Narnia, The Princess & The Goblin, Robinson Crusoe and many other tales. My parents gave us paper and colored pencils to draw with while we listened at home, or laundry to fold; my mother would knit or sew as the stories filled the air, while the television–in the corner of the room–sat dark and silent.

In middle and high school–during which I discovered how heartily I disliked the company of my fellow youngsters—my parents remedied my abject loneliness with piles of books; Austen and Forester; Peters, Wodehouse and Shute; Stevenson and Defoe; Doyle, Dumas and Durrell… such minds were these! Such stories did they write on this strangely bland medium of paper and ink. I began to look upon these writers first as visionaries, and then friends, teachers and finally, muses. Like the essayist at the beginning of this piece I, too, began carefully selecting books to take with me various places and even scaled (numerous times) a nearby alder to sit among the breeze-blown branches and read.

That is the reason many are so disinclined to stop regarding paper books as “real” books despite the advances of technology, social movements toward anything labeled “green” and the very real threat of younger generations growing up with all-digital libraries. It is not a thing so singular as ‘smell’, or ‘touch’ but it is rather the entire experience of opening printed paper pages—with no flash animation–and yet one is still able to ‘see’ a full realm billow out of the object, the details of which (if the writer knows their stuff) engage all of the senses… and is powered only by the brain.

Books are literally the stuff dreams are made of, only tangible.

Can eBooks ever really capture that unique experience? As an eBook writer and proponent I can only say “I hope so.” EBooks continue to sell globally in the billions of dollars, so I assume at least a few million folks-with-money think they come “close enough.” It is true that most eBooks need assistance in order to make up for the loss of paper smell and physical page-turning, such as swiping animation, music, digital bookmarking, images, re-flowable text and other bells and whistles.

But, hope is not lost, for there be one more asset in the digitized book industry’s arsenal… a transition between the old and the new: the audio-book.

It is a category within publishing that seems to still sell extraordinarily well, and in this I am not surprised. The voice carries a weight to it, soulful inflections that digital text (nor computers) cannot plausibly imitate… yet. Handy to load on one’s music player/phone and listen to during commute/ travel/ waiting-in-line, audio books seem to be the most popular when read by someone with a voice that can spark the imagination… one that re-captures that ethereal, memory-laden notion of “real” books being read aloud.

It is that still-burning desire for paper that led several of our epic fantasy series fans to request that we offer our series in paperback. Once considered a daunting quest–for a small operation like ours–the POD system proffered by CreateSpace made this dream fulfill-able, helped along by the somewhat recent decrease in printing costs. For about $11 retail we were able to put out the first of our Kingdom Isle series in a 304 page paperback last week, doing the formatting with InDesign and Fireworks for the cover art. We are not only pleased with the result as it appears online, but once the first proofs made it to our doorsteps, we experienced that unique sensation of holding the full weight of our work in our hands.

You can see (and buy) our very own out-of-book experience Here.

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L. R. Styles is an author at Belator Books

Amazon VS Hachette, Round 7

prime parry~ August 9th, 2014 ~

Like many a KDP author, my husband and I checked our emails over a Saturday morning cup of coffee. A lengthy email from the Amazon Books Team took center stage among the others and we dove in. Impromptu messages from our global distribution partner are rare, unless something is amiss or some new program has been launched. A “reader” version of this email can be viewed here.

The email began with a well-worded history lesson, harkening back to the birth of the paperback and likening its poor reception to today’s ongoing issue with Hachette. Apparently, the traditional publishing industry has prior offenses in marshaling authors to exclude a particular reading medium which it views as a threat. The paperback–now the bread-and-butter darling of the paper book industry–was once painted with leper-like status and bookstores refused to sell them, saying that it would cheapen literature as a whole. Several independent publishers, however, rejected that idea and printed them anyway–as they were very cheap to produce–and sold them at news-stands and drug stores. A huge demand for the humble paperback ensued and–contrary to the book industry’s dire predictions–literacy rates exploded. Yes, garbage was printed along with the good stuff, but the point Amazon’s email extrapolated from its mini-history-lecture was that the price of the paperbacks was in proportion to its production cost.

My husband and I glanced at each other over our coffee cups. My raised eyebrow was answered by his sage nod. A familiar scenario, indeed. As authors we, naturally, don’t want to see eBooks get so cheap that it doesn’t make business sense to keep writing them. To us, charging less than $2.99 would not just be insulting, it wouldn’t be worth the effort considering the amount of time the average writer spends on the actual writing (6 months-1 year per title) let alone the expensive editing services ($900-$1200 per title) and artwork/formatting services, as well as the subsequent website/marketing.

Our books are on the lower end of the scale simply because we self-market and utilize high-quality software for formatting; if we hired those services out we’d have to charge a little more per book. Though we like the control aspect of setting our own prices, we agree that prices should not be raised or lowered across the board, as if they are all alike. Books, like every other commodity is subject to supply and demand. We also strongly feel that $.99 for a full-length novel is just too low, unless used on a temporary promotional basis… which is another thing consumers seem to like, so it stays.

Whether or not you agree with Hachette’s argument or Amazon’s–or have a foot in both camps–most folks agree that the eBook revolution came about because of one industry’s blatant refusal to evolve. The demand for eBooks is there because consumers want them. End of story. Consumers also don’t want to pay paper prices for digital books. Folks are smart, publishers… they know eBooks are far, far cheaper to produce than paperbacks. Consumer knew this long before Amazon’s Saturday email… and yet Hachette seems to be insistent that consumers pay $9.99-$14.99 for their eBooks.

I admit I let out a rather mocking snort upon reading that bit of information, knowing full well I could walk into any bookstore right now and purchase a tangible, paper book for that same price. Having made and formatted my own eBooks for some time, I know that the cost of self-publishing an eBook–for us–is about $2. For Hachette to charge such ridiculously high prices for eBooks brooks of greed.. and arrogance; even worse, it is the kind of arrogance that appears deliberately ignorant of the lessons other companies were able to learn over the last ten years: 1. eBooks are here to stay, 2. publishers must evolve or go extinct… and 3. the customer is always right.

The entire argument boils down to this: in the past traditional publishers refused to give consumers what they wanted… so, they migrated. Amazon was more than wiling to extend a hand to self-published writers in order to meet demand, and then went a step further in letting said writers control what prices they wanted to set their books at. Consumers responded in droves, and still do… and are likely to continue to flock to the mega-online retailer for some time to come, despite its rather mysterious PR system and cloaked industry data.

Dislike or like Amazon as you will. Agree or disagree with Hachette’s many gripes. From the perspective of actual writers, however, my husband and I love getting 70% royalties from our own work, something I bet a Hachette author would just love to have for themselves, and this despite pressure from their contracts/agents forcing them to voice a feeble opposition.

I admire Amazon Book Team’s endeavor to garner the ire of its vast array of indie writers by pointing out anti-trust-like collusion between companies and encouraging both writers and readers alike write to Hachette’s CEO and voice said feelings. I doubt it will do any good. History shows us that most mega-publishers have an ingrained habit of not listening to consumers until its almost too late.

I am certain many self-published writers view the entire Amazon VS Hachette debate with a ponderous grimace. They give a rueful shake of the head, let out a half-sighed remark on the stubbornness of human nature and then move on to check their latest hourly sales figures… whereupon the smiles return once more.

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L. R. Styles is an author of The Road to the King series, On the Way to America & The Inheritance

Indie Writer & The App

Way back in March of 2012, Forbes columnist Alex Knapp wrote an article called “Are Apps the Future of Book Publishing?” in which he voiced marked enthusiasm for ground-breaking eBook apps. 80,000+ hits on said article notwithstanding, there isn’t much being penned these days about throngs of authors diving into the app fray.

One may very well still ask: “will apps indeed take over the ePub/Mobi mainstays of individual eBook titles?” Many an author on my considerable list of contacts wonders if the effort/expense of making their titles into apps is even worth it.

Take, for instance the most popular apps downloaded on the iPhone, free or otherwise. According to several websites I visited (Googling “most downloaded apps 2013”) a few apps that find free eBook titles for you were among the top ten. There are apps that categorize eBooks, read eBooks and promote eBooks, but I had a hard time locating eBooks-turned-into-apps on any general popularity list. I did, however, notice a blurring of the already-thin line between “enhanced” eBook ePubs and eBook apps, a trend that seems to be gaining strength among younger consumers.

A handful of traditional publishers have branched out into creating apps from books, from re-doing classic novels–with manuscript notes and author interviews–to redefining novels entirely by including story-board like images, interactive pages and audio along with the prose. Authors with Amazon already have a kind-of, sort-of app for their titles via the Kindle-for-PC app, Kindle-for-iPad app and others.

As an indie author, I love the idea of making each book title into an app. Such individualization—to me–really helps focus on the feel and tone I envisioned for each book when writing it. Just being able to include a soundtrack, font and old-school decorative printing flourishes makes my mind whirl with ideas, and such is the case for many of my fellow authors. Feedback excitement for branching out into Novel Apps is almost palpable when I send ’round my queries on the subject, but the tangible evidence for such work being done is sadly lacking.

I’d love to get my ebooks into apps!” a fellow writer wrote back. “Tell us how that goes!”

Another wrote: “I’ve heard of companies that can do it for you—for a truckload of casheroo. Let me know if you find a good DIY app maker…”

Truckload of “casheroo” indeed…

I found several dozen companies that can take my eBooks and make them into apps for me at a hefty price. The cheapest reputable company I found was approx $350 per title (extras like interactivity aside) and only if I did ten titles. That’s approximately $4K out of pocket–which might be nothing to a publishing house–but is actually quite a bit of coin for a couple of virtually-unknown indie writers using free-yet-time-consuming services like WordPress & Twitter to market themselves.

That being said, what are some options for cash-poor, plot-rich indie writers that want to leap into app-making?

To start, you’ll need to take stock of your current sales and download data, free and paid alike. A platform I’ve found lately—that does just that—is App Annie. I was able to link my Amazon Kindle storefront and Kindle novels to this platform and get a one-glance graph by title and month to help me determine the most popular novels and the most active weeks. And…. it’s free. (Huzzah!)

Once you’ve soaked in the myriad data you can determine which titles should be apps and which you can feasibly ignore ’til later.

DIY app-making is an industry still in its infancy. Platforms without strings are limited–to say the least–and sparsely populated. It seems—to the average indie writer—that this void in self-service is some kind of publishing house-led conspiracy… but there are good reasons why app-makers charge so much. The work is time-consuming and exacting. Folks that purchase apps want a svelte, professional product thus—as in DIY eBook producing—scathing “bad” formatting reviews appear like great gobs of guano let loose by the Seasgulls of Snark wheeling overhead, cackling to themselves as writers run for cover.

But, hope is not lost. Meandering around the net–looking for an answer to my app problem–I thought I discovered a “bridge” solution, for lack of better word. ePub Bud touts to be a free DIY platform for writers to create ePubs of their work, and convert it into various forms… not unlike Calibre, but–apparently–a little less complicated. The ePubs created with this system should resemble apps and–when formatted “correctly”–behave like apps on tablets. Albeit bare-bones in appearance, and only offering a slender array of fonts, ePub Bud seems to give indie writers a DIY solution to their “do we make an app” problem . Books are compiled in chapters. Drawbacks include a loss of formatting, which must be redone once each chapter is copied and pasted. I was however, able to keep my pretty little divider image at the end of each chapter, something that touched my old-school-publishing heart. Whether due to my being a novice at app creation, or the rudimentary nature of the platform, I was not really able to make anything that was better than the ePubs I generate with Calibre.

After tinkering around with Epub Bud for two weeks—working on one title—I stumbled across a generous loophole in the Adobe InDesign system.

Like most indie writers/designers I’ve often looked wistfully at Adobe products, dreaming of the day I could afford such gorgeously professional software. Someone brilliant at Adobe figured out that–while they make a lot of coin on the few folks that can afford their software–they were missing out on a greater pool of consumers willing to pay a monthly fee for cloud access to the Creative Suite. Students, high school or college, can get fairly cheap access to a lovely modern invention called Creative Cloud, for a mere $19.99 per month. My oldest daughter is a junior in high school and interested in a career she can tele-commute to. I suggested learning InDesign, bought her a Student pass to CC and an account with Lynda.com and promptly hired her to do an eBook layout . Under the periodically curious eye of her mother, she began converting one of our ePubs into an much-better enhanced ePub within in a matter of days, with embedded fonts, anchored images and the correct formatting for a polished eBook. The main issue was the ePub format itself; the chapters flow together,thus—as in Epub Bud—one is required to make separate documents for each chapter. InDesign further requires separate documents for covers, meta data, TOC (Table of Contents), copyright info and image files. I will say that the Lynda video course on using InDesign to make an ePub (while slightly outdated) still proved detailed and extremely helpful.

Apps however are a different animal. The Folio Producer part of Creative Cloud proved challenging, even for the combo of my savvy teen’s mind and my old-school-eBook mentality. After a week of tinkering and watching a library of you-tube how to videos, we got a workable app, with suave user-interface, a tasteful number of interactive photos and charming publishing embellishments, but the layout issues gave us pause. Before apps can be created on this system, they must be “approved” by the Adobe Folio Producer platform. Now, I agree with this , as no company would want inferior/ non-workable apps floating around with their name attached to it. The only frustrating part is the denial message does not tell which document(s) have the issues, thus requiring a hunt & peck type strategy which eats up a considerable amount of time.

But, Time—that capricious ally–is what I have to spend. When said issues are resolved, I will post the completed project links up for perusal.

~ L. R. Styles is a writer for Belator Books

Update: Since posting this article, a flurry of ensuing remarks have shown up in various parts of The Web, more against the idea of eBooks apps than those in the “pro” category. The quips and outright request of readers especially caught my attention, decrying the use or need for eBooks apps. An issue we’d not even considered came up as foremost in the arguments for giving up our app quest: storage space. Limited device storage space makes it a precious commodity, one that app designers would do well to consider. We have and after a series of grave discussion have put our eBook app plans into the “it was a good idea, but…” box on a dusty shelf in the closet.