While this page primarily provides book facts, it is commonly also the most decorative display page in a book. As the rest of the book is devoted to the author’s thoughts, here the page is often used for expressions of design and graphics.

This is of interest to publishers as well as self-publishers. In addition, authors who hire their own book designers and pay for their own book design will have something to say about the way that their books are constructed.

In fact, throughout history these pages have provided a way for printers, publishers, book designers and authors to express the meaning or contents of the book in a decorative way.

William Morris, who began the book arts revolution at the end of the nineteenth century, would create a woodcut look for his title pages that covered the complete page, from edge to edge. He worked the name of the book, the name of the author and the name of his press into the designs, which were often floral in nature, with leaves and branches intertwined over the whole design.

The first printed books didn’t have title pages. They began on the first page of the author’s writing and were identified by those initial words instead of by a separate title. This may be why some consider the this page somewhat irrelevant; however, it does provide considerable information, including:

• Full title of the book
• Subtitle, if any
• Author’s name
• Editor’s name, in the case of anthologies or compilations
• Translator’s name, for works originally in a different language
• Illustrator or photographer’s name, for illustrated books
• Number of the edition, in the case of revised editions
• Series notice, if part of a series
• Name and location of publisher
• Year of publication

Setting the book’s tone

In addition to listing pertinent information about their respective books, title pages have also provided an opportunity for the author and book designer to paint a picture of what is to come in the body of the work. For example, the book designer may opt to include a ‘ghosting’ of a particular image reflected repeatedly throughout the book. Choosing typography for the title page that ties the cover and interior of the book together in subtle fashion results in a very atmospheric quality.

For a book updated regularly (i.e., a manual), the book designer may select a more modern typographic design that places emphasis in some way on the numbered edition of the manual. Besides being a clean, updated, professional image, it also immediately identifies the manual as the most current edition.

Make the Most of the Title Page – It’s Yours

While you as a reader may have taken the title page for granted, you as an author can utilize the title page in a variety of ways. Using the same book type fonts as for the title on the cover and the text of the interior helps integrate the various parts of the book, making for a more harmonious reading experience. And if you have illustrations, artwork for your cover, or thoughts of a bold typographic design, don’t hesitate to put them to use here.

In short, even though the title page is used primarily to share factual information about the book, take advantage of the opportunity to be creative. It’s yours!

Joel Friedlander has launched many self-publishers. Joel is an award-winning book designer, a self-published author, and blogs about publishing and book design. To learn more about self-publishing a book, book and cover design, and the intricacies of the publishing process, please visit Joel’s blog at http://www.theBookDesigner.com today.

Article Source: http://EzineArticles.com/?expert=Joel_Friedlander

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Among the many steps you still have to take is: page design.

Page design? Big deal you might say. What I need is a great cover for my book.

Your potential reader has perhaps 5 seconds to look at your cover. Maybe 10 seconds or more to read the back of your book, before deciding if they want to open it and scan the first few pages.

Consider the fact that your reader will spend the rest of the time ‘inside the book.’

Is it easy to read? Even though it may be all text, and no graphics, is it pleasing to the eye? Does the layout appear inviting? Are there ‘rivers’ running through paragraphs or improperly justified text?

Your readers do not want to struggle to read what you have to share with them. The proper page layout can give your book that crucial professional feel and look to a prospective buyer. They may look at the front and back covers, but if considering a purchase will almost always quickly skim a portion of the inside of the book as well. Don’t put yourself at a disadvantage.

Page design consists of many things: the font, the leading, kerning, character spacing, the styles applied to the text, the chapter headings.

There may be more decisions that need to be made in the interior than to the cover, depending on your project.

If you’re working with a publisher who allows you to furnish your copy, camera ready, or planning to publish under your own imprint, then consider finding a page designer who can work directly with you, helping you to find the right format, the ‘right feel’ for your words.

Most publishers, especially on-line publishers, may give you cookie cutter samples, if any, of page design, to match their cookie cutter covers.

This is your story, novel, memoir– your book. It should look and feel as if you were an integral part of it, not just another customer.

Whatever the genre, you may consider turning it over to a company that will process it as another business project: cover, page design, etc. Or you may decide to consult an editor to refine it, a graphic artist to design the cover, and a page designer for the interior.

And speaking of covers, consider your options there also.

Trying to discuss design issues with someone over the phone or by email can be frustrating. Such terms as bleed, CMYK, Pantone matches, blending and shading of elements, balance, font size and text effects may have you scratching your head. Will you own the rights to the artwork when it is completed? You spent all this time writing your book, now this?

It is ultimately your decision. Find the professional to help make your book everything it is meant to be. An expression of your self, a message, a story, that wants to be read.

Nancy Frederich is a writer and editor who does page, cover design and production for Sirena Press, an imprint of Murmaid Publishing in St. Petersburg, Florida. She has done layout, graphic work and written for several organizations and local newspapers, including her own weekly publication. She can be contacted at 727.403.1551 or murmaid@tampabay.rr.com.

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Reviewers expect this; librarians expect this. Indeed, an important reason for the poor reputation sustained by self-publishers is that they have not paid enough attention to the details of how their books look. Too many of those books appear amateurish—before their covers are even cracked.

Here are some guidelines you can follow if you want your books to look professional.

Book publishers in the United States generally follow the conventions found in The Chicago Manual of Style. The first chapter in the manual is titled “The Parts of a Published Work.” It tells you the order in which the front and back matter should appear, and it tells you how to set up those parts. For example, the manual describes the material that should appear on the copyright page—and how it should be laid out.

Only the main title appears on the half title page. On the cover and on the full title page, there should not be a colon between your main title and subtitle; instead, the two titles should appear on separate lines. The colon is appropriate when writing the title in running text, such as when you describe it for book reviewers or in your copy for Amazon.com.

The heading “Dedication” should not appear on the dedication page, and the dedication itself need not include the obvious words “This book is dedicated to . . .” A simple expression is enough: “To John, who made it all possible.”

The table of contents should be titled simply “Contents.” Do not list material that appears before the contents page. For example, the dedication page should precede the contents page and therefore should not be listed on it.

The foreword is written by someone other than you-by an expert in your field. And note the spelling of the word “foreword.” You can remember that spelling if you think of the meaning: the word that comes before. If you have a foreword, it comes first, followed by the preface and the introduction.

The preface and introduction serve different purposes. The preface tells why or how you wrote the book. The introduction tells about the subject matter. You don’t need to write a preface, but most nonfiction books do include an introduction.

The introduction may be part of the front matter, or it may be at the beginning of the text itself. Many readers skip introductions. If your book is for a general audience and it’s particularly important that they read your introduction, then consider changing it enough so that it becomes your first chapter.

Page numbers and running heads should not appear on blank pages or on the half title, full title, copyright, and dedication pages.

A book may be divided into parts. Chapters may be divided into sections with subheads. Chapters start on a new page. At least the preface, the first chapter, and the index should start recto (on a right-hand page). Traditionally, all chapters started recto. Although that is no longer required, it adds a nice touch; do it if you can afford the space.

If you’re serious about publishing, you would do well to invest in a copy of The Chicago Manual of Style, 15th edition. It covers much of what you need to know about how to produce a well-edited and professional-looking book.

© 2006 by Lisa A. Smith. Lisa A. Smith is an award-winning nonfiction writer, editor, and publisher with more than 25 years of experience. She also teaches advanced copyediting for the University of California San Diego, Extension. She offers developmental editing, rewriting, copyediting, proofreading, production editing, manuscript critique, and publishing consultation-all to help you produce nonfiction that is vigorous, clear, and marketable. Her Web site is www.writing-at-work.com. She can be reached at lisa@writing-at-work.com.

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