Creatively burned out? Grab a pen (or crayon)

Photo by clarita at morguefile.com

If you’re suffering from serious stress, so much that stringing sentences together feels impossible, try taking a purely visual route to writing. Pick up your favorite writing utensil and doodle instead. It can be a wonderful way to brainstorm elements of your story.

The images don’t need to be great art. Go as silly or serious as your mood dictates. The goal is to get in touch with your the intuitive part of your mind. The jury is still out regarding whether certain kinds of creativity are consigned to a particular side of the brain (studies now challenge a right brain/left brain dichotomy when it comes to artistic, musical and literary skill), but research has consistently shown that drawing can improve memory, increase intuition, reduce stress, and raise levels of helpful brain chemicals. So, let's draw!

Exercises

Doodle floor plans and maps of your settings
Doodle building exteriors from your settings
Doodle interiors of important rooms
Doodle images of key scenes as panels in a storyboard
Doodle a key scene or image from an unusual angle
Doodle characters in their most typical pose and expression
Doodle a range of character expressions
Doodle characters’ wardrobes
Doodle favorite things for each character
Doodle family portraits and family trees
Doodle key memories for your characters
Doodle tattoos and graffiti your character might choose or create
Doodle characters’ dreamworlds
Doodle characters’ pets or livestock
Doodle chapter header images

Have you ever used doodles to brainstorm? Which visual brainstorming (aka doodling) exercise might you try? 

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Interior art basics for Indies

After picking up a book that includes pretty pen drawings, like Nina LaCour's Hold Still  (see image below) or Kristen Hubbard's Wanderlove, the thought may occur to you indie authors: I could do that.

photo by amberinblunderland.blogspot.com

You could. But there are a few things you ought to know about the technical side, especially for producing a print version of your book.

I've worked directly with printers on everything from full-color magazines to posters and brochures (as a managing editor and a graphic designer). One important lesson I learned is that every set of equipment has its own vagaries in terms of how it lays ink on the page and how it handles paper. It's almost impossible to have quality control over images when you can't work directly with vendors. But you can get better results if you make design decisions that take certain issues into account.

Below are a few key concepts you need to know about one-color printing (black ink on pale paper) so you (or any designer you hire) can create designs that consistently reproduce well in a print-on-demand environment.

dot gain

Every printed image is made up of a series of ink droplets. Some machinery has the tendency to be overwet in feeding ink, so the dots can spread (or the dot pattern can enlarge going from computer to press). That's called "dot gain" by the industry pros. Other machinery can be a little stingy with ink, resulting in "dot loss," or a less intense, somewhat washed out look.

Dot gain illustrated (image: underwaterphotography.com)

When dealing with solid blacks, dot gain is often not noticeable to an untrained eye. And dot loss is something most printers vigilantly check for.

But when it comes to what are called grayscale images--like black and white photographs, pencil drawings, or pen-and-ink illustration that has shading created with pointillism or fine cross-hatching--dot gain or loss can seriously mar the final printed product.

Bold line art will hold up better across a variety of machines than grayscale images. Thick lines and less detail should yield the very best results.

If you're working with clip art, you want an EPS file or what's called a "vector graphic," rather than a TIFF (tagged image file format), because it won't pixelate if you enlarge it.

Any hand drawing should be done on the smoothest, whitest paper you can buy. When scanning the image, follow these helpful tips.

bleed tolerance

A "bleed" in printing is an image that extends off the edge of the page. CreateSpace allows you to have interior images that bleed and gives very specific instructions for doing that, which I quote below:

Does your book contain images?

If you want your images to bleed to the edges of your book, ensure that they extend at least .125" beyond the final trim size from the top, bottom and outer edges and submit your PDF .25" higher and .125" wider than your selected trim size to accommodate the full bleed area.

Keep in mind all live elements must be at least .25" away from the trim lines, so if your file is formatted to be full bleed all live elements should be .375" away from the edge of the page.   

© CreateSpace, 2014

But here's the rub: not every copy of your book will necessarily print on the same press; print on demand means it typically prints closest to where it will ship. Some presses have a marginally different "tolerance" (an "allowed quantitative difference" aka wiggle room, slip, what have you; see an example here). CreateSpace tries to account for this by having relatively large bleed areas and trim tolerances (.25 compared to .125 of most printers). That way you'll never end up with an image that floats with white space around it when it's supposed to hang off the edge of the page. But you could end up having an image trimmed more severely than you anticipated.

Bleed tolerance example  (image by 48HourPrint.com)

All that to say, be mindful that any image that bleeds could cut off just a bit differently than it looks like it will in your page layout software. Make sure detailed bits, like lettering, are well inside the safety area.

What do you think of adding illustrations to books? Too scary or worth the effort?

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