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ArtThe Shock of the Newby Robert Hughes (1980)Hughes charts the story of modern art, from cubism to the avant gardeThe Story of Art by Ernst Gombrich (1950)The most popular art book in history. Gombrich examines the technical and aesthetic problems confronted by artists since the dawn of timeWays of Seeing by John Berger (1972)A study of the ways in which we look at art, which changed the terms of a generation's engagement with visual cultureBiography - Lives of the Most Excellent Painters, Sculptors, and Architects by Giorgio Vasari(1550)Biography mixes with anecdote in this Florentine-inflected portrait of the painters and sculptors who shaped the RenaissanceThe Life of Samuel Johnson by James Boswell (1791)Boswell draws on his journals to create an affectionate portrait of the great lexicographerThe Diaries of Samuel Pepys by Samuel Pepys (1825)"Blessed be God, at the end of the last year I was in very good health," begins this extraordinarily vivid diary of the Restoration periodEminent Victorians by Lytton Strachey (1918)Strachey set the template for modern biography, with this witty and irreverent account of four Victorian heroes.Goodbye to All That by Robert Graves (1929)Graves' autobiography tells the story of his childhood and the early years of hismarriage, but the core of the book is his account of the brutalities and banalities of the first world warThe Autobiography of Alice B Toklas by Gertrude Stein (1933)Stein's groundbreaking biography, written in the guise of an autobiography, of her loverCulture - Notes on Camp by Susan Sontag (1964)Sontag's proposition that the modern sensibility has been shaped by Jewish ethics and homosexual aestheticsMythologies by Roland Barthes (1972)Barthes gets under the surface of the meanings of the things which surround us in these witty studies of contemporary myth-makingOrientalism by Edward Said (1978)Said argues that romanticised western representations of Arab culture are political and condescendingEnvironment - Silent Spring by Rachel Carson (1962)This account of the effects of pesticides on the environment launched the environmental movement in the USThe Revenge of Gaia by James Lovelock (1979)Lovelock's argument that once life is established on a planet, it engineers conditions for its continued survival, revolutionised our perception of our place in the scheme of thingsHistoryThe Histories by Herodotus (c400 BC)History begins with Herodotus's account of the Greco-Persian warThe History of the Decline and Fall of the Roman Empireby Edward Gibbon (1776)The first modern historian of the Roman Empire went back to ancient sources to argue that moral decay made downfall inevitablethe History of England by Thomas Babington Macaulay (1848)A landmark study from the pre-eminent Whig historianEichmann in Jerusalem by Hannah Arendt (1963)Arendt's reports on the trial of Adolf Eichmann, and explores the psychological and sociological mechanisms of the HolocaustThe Making of the English Working Classby EP Thompson (1963)Thompson turned history on its head by focusing on the political agency of thepeople, whom most historians had treated as anonymous massesBury My Heart at Wounded Knee by Dee Brown (1970)A moving account of the treatment of Native Americans by the US governmentHard Times: an Oral History of the Great Depression by Studs Terkel (1970)Terkel weaves oral accounts of the Great Depression into a powerful tapestryShah of Shahs by Ryszard Kapuściński (1982)The great Polish reporter tells the story of the last Shah of IranThe Age of Extremes: A History of the World, 1914-1991 by Eric Hobsbawm (1994)Hobsbawm charts the failure of capitalists and communists alike in this account of the 20th centuryWe Wish to Inform You That Tomorrow We Will Be Killed with Our Familes by Philip Gourevitch (1999)Gourevitch captures the terror of the Rwandan massacre, and the failures of the international communityPostwar by Tony Judt (2005)A magisterial account of the grand sweep of European history since 1945JournalismThe Journalist and the Murderer by Janet Malcolm (1990)An examination of the moral dilemmas at the heart of the journalist's tradeThe Electric Kool-Aid Acid Test by Tom Wolfe (1968)The man in the white suit follows Ken Kesey and his band of Merry Pranksters as they drive across the US in a haze of LSDDispatchesby Michael Herr (1977)A vivid account of Herr's experiences of the Vietnam warLiteratureThe Lives of the Poets by Samuel Johnson (1781)Biographical and critical studies of 18th-century poets, which cast a sceptical eye on their lives and worksAn Image of Africa by Chinua Achebe (1975)Achebe challenges western cultural imperialism in his argument that Heart of Darkness is a racist novel, which deprives its African characters of humanityThe Uses of Enchantment by Bruno Bettelheim (1976)Bettelheim argues that the darkness of fairy tales offers a means for children tograpple with their fearsMathematics - Godel, Escher, Bach: An Eternal Golden Braidby Douglas Hofstadter (1979)A whimsical meditation on music, mind and mathematics that explores formal complexity and self-reference.Source : The GuardianPlease upvote if you found the answer helpful.

Because I have so many books I look to make either a series or an individual book unique in it’s look. Every book earning it’s own look. I have lots of color design/theory outlines I’ve mentioned before buying large coffee table books of magazine covers and design books. Goodwill, by local colleges, is a great place to scour for books. what I’m trying to see is how someone else is thinking about form, color, images.There are several categories:Non Fiction BooksNon-Fiction Educational BooksSpecial ReportsKyle Phoenix BriefsFictionFiction SeriesSpecial Report BundlesSpecial Reports, Briefs and Bundles came from reading several books about designing products that were brief in content—-10 to 200 printed pages, but geared more towards being eBooks. I initially published 4 books in March-May 2013. I had all of this related materials left over but they were tangents.By tangents I mean that I was teaching workshops that were focused on sex, sexuality, relationships, relationship dynamics, etc. On another hand I was also teaching teachers to teach better throughout schools and teaching university level courses—-so I had a lot of binders of lesson plans, information, outlines and responses back from students/classes.I isolated my work into those first 3 non fiction books on sex, sexuality and relationship dynamics. The 4th book was a collection of short stories I’d punished over the years,This was the absolute first cover.KDP/Amazon offered it as a template and I chose it because the tri-image I thought folded well into the 3 positionalities in the title. Red is my favorite color and the gold/brown worked nicely as a complement to the body.Then I did this one about a few months later because the body/jeans were a bit raggedy in the first iteration. I used a picture of 3 guys that the template staggered and that was nice. Ironically both of those covers sold a HUGE amount of copies, so I rotated them back and forth between paperback and eBooks then I added the little blurbs because I created palm cards to give out for workshops, etc. advertising the books on either side.It then matured to the first singular man edition over about a year.What happened fro 2013 to 2015 is I really started learning about visual branding.The second book Multiple Orgasm Training looked like this fro 2013.Then it matured to the below.The third book looked like this briefly then shifted to thegolden color.You can see I was tipping toeing around theme with the tri template. But the Gold cover for GM4M I really liked, it was simple, fit the color theory about energy, trustworthiness—-gold/blue with a nice stock picture of a couple. It sold very well.MOT with the center body pic sold well too.Then I experimented with branding and as you can see I was trying to do the half cover/picture/bold color.And that;s where the singular model on Pleasuring came from….MOT’s image was a hit right off the back. Conveyed strength, sexuality, slightly graphic but not profane so it could be sold in several bookstores as well as online.Good Men was a bit more difficult because it had to be LGBTSGL obvious but also convey happiness, speak to multiple ages, races, etc.. I decided to go interracial and skew a little young and I really liked the clean lines of the white and simple, affectionate image.Putting out updated and revised editions about every 2 years gives me time—-if you look at them as I have, across a table representing a span of time, you can see a maturity of design.I’d taught MS Office to Advanced certification for years and taken Illustrator,m Photoshop, Quark, Premiere and several web programs to certification myself,. What I found was that I didn’t have a designer’s eye years before publishing so I did very good intermediate graphic design alongside my other duties in corporate world—-pamphlets, reports, newsletters, resumes, etc.. So I had intermediate level experience by 2013 but I had never formally done art school.Luckily, I love learning and firmly and comfortably occupy—-”I don’t know.” so I’m willing to buy books, invest in classes, watch videos to understand what I don’t understand.Again eBooks give a little more freedom and even allow me to have two different covers.I like the current PTBV cover but I want to tweak it a bit.GM4M is about to debut a whole new paperback cover.MOT I think stands well on it’s original cover—-it sort of sums it up. But just for marketing purposes I have several other versions.This iteration of covers I wanted it to be more directly personal in visuals—-faces.Faces are a big part of certain kinds of book covers. Also I’ve changed the physical size of the books which gives me a different space to work upon. Originally they were all 6 x 9 but now I’ve expanded to 8.5 x 11. A lot of that had to do with filling the books with more images. The previous editions were dense with material and information but not as visually exciting as I’ve learned over the years to make nonfiction. I generally aim for an image every page or three for the MOT and PTBV books. Also more interior text boxes where I can nutshell information. The larger physical size gives me more room on the page as well. Plus I can include pages for notes by the reader or when I’m teaching from them in workshops, whatever I might say.Special Reports and Briefs I specifically made the covers sort of direct and in your face, closer to magazine covers of faces or bodies but they’re shorter materials.After years of selling them (digital sells way better than paperback about 65/35%)—-we worked out that instead of publishing and tracking 60+ reports and briefs and to simply the containment of ideas like Sex,Money, Relationships, etc—-we’d consolidate into Bundles, related topics.Thai came about from workshops on Life Stages, 4 Special Reports that covered 4 stages of a man’s lifetime being combined into one book. And then 4 different fetishes that are Special Reports being combined into a single book. (Ironically Fetishes was the very first workshop I taught that would become a book in 2003—-but not until 2016 or later, the other proceeding it.) Again, in doing the workshops, I get a lot of feedback about the books, the ideas, what to alter, improve, upgrade.Further ironically I found in marketing that I was selling well but not getting Amazon reviews. I was getting hails and likes and direct mentions of men having the book on Blogger, YouTube,in emails, Facebook pages (a whole other entanglement), selling on Amazon and eBay, but not reviewing well. So I asked a couple of people and found that reviewing on Amazon for Black and Latino men potentially would “out” them. If the covers were exclusively geared towards them, they might buy it but they wouldn’t review it. Which meant that mainly Out or not happy customers would review even as I see steady profits.Which meant that I had to redesign the books to be more racially diverse in future editions. It works, it sells but my works are unique in having to speak to a demographic that may not wholly want to be exposed. Marketing is a bitch on many levels.No More Book Templates from AmazonThen KDP stopped providing a myriad of templates, moved to KDP from Createspace and offers reasonably bland eBook worthy covers—-which I reserve for Special Reports and Briefs.What I now have to do for the actual books is design from scratch.In order for the books to go into stores they have to include the back ISBN, a back company logo. Two logos on the bottom spine and top spine. And title and author on the spine.What I do now is design and clean up in PowerPoint and Photoshop and others then save as PDFs, Jpegs, Gifs, etc. and combine into my own templates with all the legal stuff on a book cover full spread.Tranny morphed well. I loved the inter-sectional graphic cover which was the first edition then the eBook cover then KDP changed so I pulled it onto a very stern black cover but then pushed back into a strong cover with the same face but greatly expanded over the entire breadth of both sides.That’s about 3–4 years of “maturing”. Playing with space, colors, fonts, getting a Proof copy—-I’m actually really good at this now. lol I wanted to keep color repetition with the hair color and font color but I wanted to graduate it and play with the shadows some. Playing with the mystery, the hidden of a trans person. But I wanted it to also stay unabashed in your face, this identity, this personal because you’re reading essentially a journal. It had to be and stay a striking face shot. The lipstick, slightly enhanced i a nice color splash—-I try to maintain for some covers 3–4 colors only. The lips also create both a color extreme against the skin color but bold stand out against the other colors and yet still sits close in a complement.No Face Covers/Multiple Faces, Controlling Color and Text on CoversStay With Me has taken close to a year, with the eBook released and selling as we went back and forth on design from total concept to finally singular image to the shading/coloring of the image competing with the font itself to finally a consensus experiment as the final. For now.The two male image was the original choice and as you can see it went through 10+ iterations and printings of Proofs. The experiment of the cover with the text is to find the best font to relay that the book itself is servicing across a multiverse of possibilities. Again always experimentation.The problem is the image itself doesn’t enlarge well. It starts to bleed so it stays tighter and clearer smaller. Which means the text itself has to create speed, immediacy, intensity. However I’m not crazy about the font itself however with spacing it’s difficult to use other fonts because gain bleeding in color. So I’m going to compare with text and without text and decide in the next couple of weeks as I receive copies.There are at least another 10+ drafts in PowerPoint slides for all the other books. To really find something, to really find art you’re constantly fiddling, taking new pictures, incorporating things. I even took a baby picture of myself, blew it up then threw broken glass and glitter on it to capture an effect for a cover. I later found I could do it slightly better digitally.I had 2 other covers for Puzzle—-printed up a strong Proof with one cover but then I took a break and took another go around to try and capture the puzzle aspect of the title and the story itself and then really play with the letters. Really p[lay with how we cognitively recognize words even jumbled. That was fun.In other covers I try to avoid or start with a strong color background—-white, black, gold, red, blue and work from there. Have a color theme in mind.I liked the 1st Hush cover, it’s like the 7th iteration of choices. But I wanted a white book cover. The above eBook cover happened by accident with the staff image jangling the name in a fascinating way. Right now we’re working on repeating that for the paperback. There can be good accidents and experiments. How to keep the accident and perhaps draw the text in tighter on the title or there’s another version where the title keeps wrapping around the book itself that I might want to try and incorporate. Then there’s some real insanity of a tetrahedron and a burning building that plays in the book with yes, cover iterations including them—-I’ll try to find and post later. lolI’ve done some paintings and one in particular where I was trying to capture Picasso’s ability to draw a complex image in one stroke without taking the brush off of the surface. I wasn’t able to do that but I surprisingly created this beautiful erotic image that I want to professionally frame and find a book cover to put it on. It’s rough, simple, erotic, discernible yet clearly almost casual.I also bought the huge Klimt book with all of his works in it. Sometimes I sit and just flip through the pages, meditating on the patterns, the colors, the intensity. I do the same with Basquiat and Van Gogh, Manet,Monet, Caravaggio.Explore artists!!!!! And over time you’ll find a deft eye, a surer hand. My next journey is fully immersing myself into InDesign—-I have literally broken MS Office in all of the layout and design work I've forced it to do.What will be interesting is in 5 to 19 years using inDesign and Photoshop what the above covers will mature to….?#KylePhoenix#TheKylePhoenixShow

Yes, it gets easier if you sit down and outline your steps/Process. Michael Gerber wrote E Myth and essentially teaches business owners how to assemble a Process system and then apply it.I published as not a lark but closer to an experiment on the advice of the premiere adult educator, Stephen Brookfield. I was going on a sabbatical of sorts from school and he encouraged that it was the perfect time to collect the past decade’s worth of teaching workshops, classes, professional developments and compose them into books.My 1st Book turned into 4 BooksI’d written and published fiction for years, in magazines, around the country and had been back and forth with two publishers over several fiction manuscripts but I was particularly attracted to 100% ownership of my materials.I did an inventory and headcount of my highest attended workshops around sexuality and started very specifically—-Pleasuring Tops, Bottoms and Versatiles: A Manual for BI, Gay, and Same Gender Loving Men.But in the process, I discovered books worth of materials to pull together. Multiple Orgasm Training for Men and Good Men for Good: A Guide for Finding Keeping and Being Loved By One——both workshops I’d taught for years—-were knocking right at the mental door too. By having three books, of closely related material to focus on—specific sex, general sexual training for all men and a relationship self-help book I was able to far easier divide up my notes from workshops. While I hadn’t planned it while I was a program facilitator I would assemble essentially work binders that might contain a season’s worth of workshops—-reference materials, videos, etc. so all I had to do was pull out binders and I could turn them into full chapters.I’d done about 20 hours a week of group workshops for a total of 10+ years at universities, non-profits, consulting, so that made it easy to have a deep sense of my topics. I also have a really extensive library on sexuality (I’m currently prepping books to move and I’m up to about 125+ banker boxes full of books…and counting). They hold about 20 books per box and my mover, who I’ve had through multiple states for almost 20 years, actually has a system he has me and my book collection on, for easier moving. I read about 5 books on average a week so I’m generally increasing my collection by about 200+ books a year.Layout and Proof CopiesI’m lucky that I have some experience, call it Intermediate level, I have certifications in MS Office, Page Maker, Illustrator, Photoshop, Quark and I’ve worked for several magazines and chapbooks and owned and produced one as a teen. I also did this intensive graphic designer training several years ago to work at financial institutions (Goldman Sachs, Lehman, etc.) preparing presentation books (I was technically okay but lacked an artistic sense/schooling, I realized as I learned more and more programs easily but didn’t have an “eye”.)Also over the course of a decade, I’d made pamphlets, newsletters, reports, presentations, catalogs, a host of things consulting and working at several jobs. So I have some design experience.The above helped immensely with getting basic cover and formats done to the point where I could send for Proof copies.Having charted my Production Process—-I’ll post binder pics—-I have a system of what it takes for a book to be “ready”—-how long, how many copies, what I’m looking at during each stage. That’s important, you have to regiment the whole system so that someone else can come in and do it because optimally at some point, someone will—-if you want to make money at this.In 2013 I did about a 3 Stage Process, now I’m closer to a 16 Stage process (with several steps repeated if need be).I know what works and doesn’t work—-like the horrendous review I got about the layout of Good Men for Men in 2013——and he was right! I looked at it and saw that I was trying to make the book physically “easy” to read rather than factoring in the size, weight, font size to finding a balance. I contacted him, thanked him, re-did the whole book and sent him a free copy.One of the things that taught me was to have a book similar in page size, fonts, etc that I look at as a dummy version of a book. Now I can pretty much see a book/Proof in my mind’s eye and dive into the process, whether on KDP, on my own programs and fix things and more importantly experiment with size, color, etc.. It becomes insane when you’re playing with an 8–9 font as 8.5, 8.2, 8.7 because you’re balancing it against headers, page numbers, rows per page, amount of text and sometimes I’m flashing through this stuff, clicking away—-pushing Word past its parameters—-I’ve crashed it several times and now working into InDesign skipping right over MS Publisher (which I used for about 2 weeks before it became obsolete in my experience/work lol).Time will increase your production skills so that you have a reasonably attractive manuscript to send back and forth to an editor. But it’s like becoming a good lover, the only way you get better at sex is having sex. In publishing that means you’ll have several Proof copies that are wrong, bad, no good, for a thousand micro reasons that you will swear on your left hand had no errors when you submitted the file for a Proof copy.I generally have about 3–7 Final Proof copies before a book is ready for sale—-this all entailing editing, copy editing, restructuring, layout, and finally….the cover.Covers of Books Is a Skill Unto ItselfThe first covers were horrid.KDP was cool—- they had templates. Click here, type there, upload this way and boom it was a cover. Of course, then you have to figure your way through their system as they offered about 20 template choices (and still do) and you have to choose to arrange, pics, colors, font, etc.For the first 2 years—-I went a little batty after the first 3 books—-I thought—-hey, what about all my published short stories?—-so that became a book/collection of short stories, Escapades—-I actually one night at work with the four books just holding them and smelling them and arranging them, on my desk, and looking at them—-they were MY BOOKS!Then I had all of these other binders of workshops that were specialized topics that were important but perhaps not a 300-page book but a bit more than a 20–50-page chapter in a book. What to do?Then I started noticing all of these “short form” books. Legally to be in a book store shelf the spine of a book has to be a certain width so that the title, author and publishing house are apparent. It works out to about 136–150+ pages as a minimum.This was perfect to these mini-books so I published 52 of them as cheaper supporting text to the main three books around sexuality. It also brought me full circle to book covers where I got more and more practice than just a handful of books would’ve initially given me.I bought art books, took art classes, bought lots of books on artists and immersed myself in color theory, etc. to get an idea of what I didn’t understand. I even have books of great magazine covers, great book covers—-getting insight into what works, what people like, what represents well, how to be creative.I have lots of graphic design books, advertising, marketing—-you want to get them to just sometimes flip through to see new ideas, ways of color working, try to figure out how you could reproduce something.People buy book covers. Particularly when it’s leading your text online so you really have to spend some time—-a month perhaps—— on trying out covers—-walking away, trying new ones.Often to the last Final Submission time, I’m within a week or a few days of altering a cover. It could be the cover font size, color, font itself, where the company logo goes, how text rests over pictures. I have a book out now that there are three images, including text, on the cover and they are aligned to the cover when you lay it out flat to publish 9.5 and 12.25 inches—-there’s some cropping involved—-but when assembled to the manuscript and looked at as one front cover, it’s not all centered because the pages”pull” the images slightly.Yes, I have to change it.I have to, it literally drives me crazy.Of course, the realignment process is maybe an hour long back and forth.Another book, Stay actually has 7+ cover drafts. Of them maybe 5 are strong contenders.Hush has at least 6 versions on its Proofs and I’m working on #7 which sort of answers the cacophony/abstract I want from what the text, the story contains. I try to capture like a photograph a “picture” of the plot.A book cover should be a snapshot of time travel.You see it, it interests you, you read the blurb, you buy the book. You then read the book and in the reading or by the end you then SEE the cover as “Oh, that’s why——I get it.” The cover should be a deeper illumination, suggestion, playful touch, snapshot of the text itself.But it’s got to be playful, suggestive, entrance, illustrative—-it’s too easy to be the hammer to nail, you want a flirty playfulness about it. Or you want to give the reader an idea of a character or place.Hush’s covers have tended to be abstract choices or shapes, including a tetrahedron, which plays intrinsically to the end of the book. So I’m going to Proof a copy with the design and see if in physical form it works.Those two books probably are within the ballpark of their finish line for a cover but it’s only because as I do all the interior work, textual, layout, etc, I’m constantly looking for the cover that will work, stand out, hold up, sell well, is color coordinated, looks good.Lots of small publishers skimp on cover work because they believe the story is the bomb. It’s not. The cover is sometimes half of the sale. Or more.Selling/MarketingThen you have to sell the damn thing. I’ve done pretty well in some respects and there were other market forces/demographics that I didn’t consider which affected outcomes.For instance, another inspiration for publishing from the get-go was that there was very little credible material for me to use when I was teaching those workshops for a decade for men of color. I was often cobbling together information from multiple sources (White sources) to fit, omit or include the audience I was presenting it to. Some advice is universal in regards to the male body, dating, sex but identity and sexuality are different for people culturally.Pointedly, non-heterosexual Black people have a differing view and experiencing sexuality than White gay men or women do. I was able to market to that demographic—-however that demographic for multiple reasons include race and sexuality are intentionally invisible.I immediately shot up in sales and rankings and popularity because there’s Essex Hemphill, E Lynn Harris, and James Baldwin…. and then out of nowhere, me!It wasn’t that hard to become an authority—-I already had thousands of workshop participants and a TV show here in NYC so I could just say author on Amazon and places started inviting me to do workshops and book signings. That meant that my product had to be on point. One signing in Brooklyn, I was so dissatisfied with the 30 book copies, I received Proof copies rather than Sale copies the day before the signing, I gave them away for free for people staying so long. (there was also a rainstorm and two cabs to get to this place far out in Brooklyn from where I live/Columbia in Manhattan).I’m now taking several marketing classes to learn how to sell better as we have scheduled a revamping and new editions of books, another 30+ fiction books coming out and 200+ nonfiction ones, over the next couple of years.The E Myth teaches through the allegory of a pie shop and how a one-woman pie shop has to learn how to become a bakery in order to survive. That’s what you have to do if you publish more than one book or if you want that one book to become something.The challenge is you’ll be acting as multiple departments within your own publishing house and often times the writer is the first employee in and the last one needed once the book is finished. I see lots of people publishing who really, really, really want to be writers. That’s akin to really, really wanting to chop up onions—-that’s not a chef.I would say the learning curve for me was 4 years plus until I got to the E Myth systems design and then I took an entire year and sieved my whole company through it, reorganized, questioned, looked at what worked and what didn’t. Doing so made it infinitely easier to then re-do, update and publish new books. It also gave me mental space so that I am not overwhelmed by how many actions and people are involved, it’s normal to me now.I now have better control of my own work and work Process. I also have better schedules and plans for doing things—-and most importantly space, gaps, time off, the ability to see how long something really takes, how much energy something else really takes. Before I was doing a lot of everything and then near collapsing or feeling like I had to stop a project because I couldn’t get it done (there are still two books that have officially gone into my life as year-long writing projects because they were so complex, I wanted to do them “right”.)You get better with a lot of time focused in particular areas in segments.I’m better at covers—-I have a whole binder of ideas and now I can do much more sophisticated things with images to a flat or wraparound book face.Self Editing to Send to the EditorI’m near advanced skill level at the interior layout—-I got one Proof copy so beautiful, page by page, I nearly wept when I got it a few months ago. That doesn't mean that I don’t have three or four dozen post-it notes—-I color code layout to yellow, story issues pink post-its, and grammar as blue and then green as new ideas—-I even have the multi-colored pen with colors. But I’d gotten one aspect of the book done really well from the gate. That’s what Mastery, the whole Ericcson thing is—-getting it great from the gate rather than needing so much warm-up time.It sounds and looks like a cacophony but what it really is is my slicing the book apart by those contexts so that I can look at them very specifically, fix very specific things. Some days the issue is pagination—-it has to be under 500 pages—-everybody, everything in the book must now be geared towards the layout working and reducing the book to under 500 pages. That's about 10 different things I have to micro and macro change, including pieces of the story/text, to achieve that outcome.Does that mean changing chapter headings?Let’s look at the blank space on pages?What about long lines, therefore more words to a page? Widows and orphans?Can I shave a point off of the font size and still be readable?Can I still have the spacing be 1.5 so it looks clean?What about if I cheat and take it down to 1.3? 1.15?Your goal is to get it to the point of the least amount of noticeable errors as possible.I was ready to cry because it was a perfect page by page layout, text justified properly, easy read to the eye at arm’s length, title and name centered/justified and proportionately perfect to the body text.For 600+ pages it came out in its first Proof copy perfect in those respects. Now there were two cock-ups with chapter pages and it still has to go through at least two more edits but it was readable.By the way, there are always errors that you notice as the publisher. There are some cheats I’ve had to make into products because the computer simply could not bend reality the way I needed it to. I had to back off. The computer felt harassed.You might wonder at the length and depth of this post and others like it that describe the process…but here’s what you don’t consider, by combining all of these musings over time into—-yes, a book about publishing/writing.See, Daddy doesn’t play, it’s all grist for the (money making) mill.#KylePhoenix#KylePhoenix#TheKylePhoenixShow