Most printed books contain these raw elements: title pages, copyright page, table of contents page, foreword (optional), introduction, the main body, epilogue (optional), afterword (optional), index (optional), and of course, front and back covers. Depending on the subject matter, it may include graphics in the form of photographs and illustrations.

Typically when I begin a book project, the author and I meet and we talk extensively about the book. The author will discuss its concept, meaning, audience, research, and history. I ask many, many questions intended to find out as much as possible about the author’s vision of his book and to get a feel for his personality, which is vital in helping me envision what the author wants, both in words and design. We also talk about book specs, sizes, printing options, and quantities for an initial print run.

Once I have some working knowledge of the author’s intentions, I sit down with the manuscript and do a quick read-through, without editing. Only when I have completed this stage do I begin editing or design, as I want to have a thorough understanding of the work before I begin.

The actual editing is done closely with the author, with frequent querying, discussion, and feedback. Often concurrently, we also discuss design ideas for the cover and interior. I ask authors to bring samples of books whose covers and layouts they like, so I can get a more concrete sense of their preferences. We discuss color combinations, likes, dislikes. If possible, I may begin collecting and digitally processing any graphics involved, as well as proceed on any permissions work necessary.
At this stage we often have several threads going: editing, design, graphics, permissions. If the author has decided to print his book using a commercial printer, I usually start investigating printers and getting bids at this time.

Once the editing is done and the manuscript is pulled into shape, we are ready for the design stage in earnest. I do several trials to test different page sizes, layouts, fonts, and other graphical treatments. The author then chooses a layout or a combination of traits from several layouts. Once a final design treatment is chosen, then I proceed to create the entire interior of the book, page by page. This is my favorite stage, when I can literally see the book taking shape. Frequently a book is done in pieces; an author may write the introduction or epilogue while I am working on other sections.

Once I have completed an initial layout draft, the author reviews it and submits changes. This may go on for several rounds as we fine-tune the layout and graphics. While the author is proofing, I am often working on the cover design, creating multiple trial layouts and fonts. We do a similar process with the cover as with the interior book design. I will also procure ISBN and LOC (Library of Congress) numbers and barcodes for the book if necessary.

By the end of this stage, we have chosen which printer will manufacture the final book and settled on pricing, paper stocks, etc. After the last round of changes or revisions has been made to the interior and cover, the author and I proof the final book, and I prepare printer-ready files. I typically handle all printing coordination, communicating between the author and printer account representative to make sure all questions are answered and the process goes smoothly.

After receiving press-ready files, the printer generally takes about 10 days to two weeks to produce a proof. Once this is available, the author and I will then thoroughly review the proof and note any final changes as necessary. After making necessary corrections, I submit them to the printer, and we wait for the final product, which is usually shipped two to three weeks later.

Once the final printed book has been delivered to the author’s satisfaction, I prepare archival copies of all the files on CD or DVD for the author, so in the future any printer or designer can work with them.

With today’s technology, working from long distances is not a problem. In fact, I worked with one client who lived across the country, and throughout the entire process, from initial editing to the final press check, I met with him face-to-face only once. He did not even have a computer or a fax, and we communicated entirely via phone and regular mail. He was absolutely delighted with his printed book.

If we have decided to do your project on a projected flat-fee basis, I prefer to be paid in thirds: one-third down as a deposit at the beginning of the project, the next third half-way through, and the remaining third due upon satisfactory delivery of the final product.
If we do your project on an hourly basis, I usually issue invoices weekly, with the balance due at the end of the month. I am very flexible, and we can work out a payment plan that works for both of us.

I use Adobe InDesign for most layout work, although I do have extensive Quark Xpress experience and can use that if a client requests it. For illustration, I use either Adobe Illustrator or Photoshop, and for processing graphics, I use Photoshop. I generally use a Macintosh but I can use the same software on a PC if a client requests it. I have done layout work in Microsoft Word for rare projects when it was required.