There seems to be so many options? Where do I start?
Most confusion stems from the technical side of this equation seeming overly complicated, with multiple format options, differing electronic reading devices and a host of acronyms and jargon. But Kim and Anna both agree that even small publishers can get started on a small scale, with eBook production all a matter of starting with the right set up.
The most common question people ask Kim and Anna is around what format to start with. There is a range, but the most common formats are PDF, EPUB (becoming a worldwide standard for eBooks), and AZW (for Amazon's Kindle). Both Anna and Kim agree that for most books, publishers should concentrate on EPUB. “It’s become the de facto standard for eBooks and can be read on most eReading devices. It's also not that far from the AZW format so the EPUB can be used as the basis for the file for the Kindle.”
If that already sounds complicated don’t worry, Kim promises, “To have an eBook produced, publishers don’t have to do anything different as long as their designer/typesetter knows how to get things right from the get go. In fact a good designer can provide the options of standard print, EPUB or both at end sign off.”
So my Frontlist can go straight to eBook and print right now?
Yes. For text based novels and titles with limited images, designers can start the process in InDesign as soon as they get the edited manuscript.
What about my novels and text-heavy titles?
Kim says “EPUB is great for these titles as it provides the end user with the best experience. The text can flow from page to page while chapter headings and small images remain fixed. Publishers then get an eBook that still looks like the print book they commissioned but has the flexibility to work on a range of reading devices.”
This focus on the end user is the key to understanding the ePublishing landscape. Anna states “while publishers could traditionally control every detail of a book’s look and feel, digital formats means the end user toy can toy with the “book” so it fits their visual preferences. Users might change the font style and size, and the text reflows depending on the device and its software. But if the files are set up properly the “book” should still maintain its integrity.”
What about my image and design-heavy titles?
For titles where publishers need design to exactly mimic the print version, PDF can still be an option and PDFs look good on the iPad and standard computer screens. But without the ability to let the text reflow, PDF’s aren’t the answer going forward. Anna is enthusiastic about the possibilities that will come with the latest version of the EPUB format: it will allow more interactivity, including video and audio; drag and drops; location; navigation; is suitable for global languages; and is accessible, which is a major factor for publishers of educational material.
Kim adds, “some titles will always present better in print and may never be translated into an eBook. The printed book certainly isn’t dead.”
And my backlist?
Publishers are beginning to send their backlists off shore, often to India, to be converted to eBooks. This process is relatively straightforward, particularly for batch processing of large volumes of books, but can sometimes produce disappointing results. Kim says, “It takes effort and care to translate a PDF file for example into an attractive eBook that works well for the end user.” The good news is there are New Zealand firms that are able to streamline this process, “and with clear communication, the end result is an eBook that works well for the end user and publisher.”
How do I know my designer can manage the requirements for eBook set up?
Kim and Anna recommend asking the designer a few questions:
- Can they set up the InDesign file for dual digital and print use?
- Do they understand how to use styles semantically and structurally?
- Do they understand XTHML and CSS (the basis of EPUB)?
With schools in New Zealand beginning to require electronic reading devices in the classroom, ePublishing here is going to need to progress more rapidly. Happily the first steps are simply a matter of set up and clear communication.
Anna von Veh was invited to co-present a session on Agile Workflow and Integrated Digital Strategy at the O’Reilly Tools of Change for Publishing Conference at this year’s Frankfurt Book Fair. She is an experienced editorial and production professional who has worked for various multinational publishing companies. http://saybooksonline.com/, tweeting as @saybooks
Kim Dovey runs Carpe Diem | Book Design Ltd, an award winning book design studio based in Christchurch, with a new studio recently opened in Birkenhead, Auckland. Kim and her team have years of experience, and are responsible for designing and producing many of New Zealand’s most successful titles. http://www.bookdesign.co.nz/
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