Keeping the world creative at Tate Publishing

Book design in a self-published world

2009-10-14T17:31:00.005-05:00

There has been a lot of talk in the news lately about big-name publishers opening up self-publishing opportunities under their same company. When a writer decides to self-publish, it's usually because he 1) can't get an agent, or get "discovered" by a big name publisher, or 2) he just wants to get a few books here and there for his close friends and family. No big deal. What about a third group? The die-hard writer who has true talent, and has the drive to get out there and market his book like nobodies business? That's where Tate comes in. We're not a self-publisher, (we don't accept every manuscript that is submitted to us, we offer no-investment contracts, every book is given the custom treatment, etc.) we're what we have coined a "partnership publisher". You, and us, we work together as a team to see the dream realized.

Where does book design come in to all of this, and why is it important? Well, we happen to really love book design. We also believe that custom book design can only help further your promotional efforts. In fact, we have an entire department dedicated to developing custom book covers and layouts- tailored to your specific needs. It is a pretty amazing thing that each author gets to have personal contact with their Book Designers (yes, plural!) and express what they have been dreaming all those years leading up to deciding to publish.

I wanted to share our Flickr page, so you can get a sneak peak into what the cover designers are currently working up. I've also attached some of the gorgeous layout designs that we're currently working on (these are from designer Stephanie Woloszyn). There are no hidden charges for custom cover design, or a custom layout, unlike many self-publishers. We do it because we love your book, and want its success!

Tate Illustrator takes 3rd in Digital Artist 2009

2009-09-17T14:33:00.004-05:00

Congratulations to Tate Illustrator, Kurt Jones, for his recent 3rd place win! Sharon Copeland recently stated regarding Kurt's piece, "Your work was hand-picked from the thousands of entries from all over the world, so congratulations!"

Here is the link to view the other top winners for this category. Judge Gregory Staples commented about Kurt's piece:
"Expertly rendered and executed, you can almost hear the silence in this piece." Well done Kurt!

Tate Design Department-

2009-08-24T20:16:00.001-05:00

http://okc.biz/industry/bestofbusiness.aspx

Help get Tate's Design Department recognized in the next OKC Biz magazine!

You can vote online starting now, through September 9.

In the first field that says " Advertising Agency and Graphic Design Firm", simply type " Tate Publishing Design Department".

Fill in your email address at the bottom, and you're done!! Winners get an article in the next magazine. It would be a great honor for our designers to be recognized here in our home state.

Tate Designer is in Semi-Finals for HP Video

2009-08-18T08:37:00.004-05:00

Tate Publishing designer, Chris Castor, is currently a semi-finalist for the HP 'You On You' video competition. The competition is to create a video for HP, but the creator cannot show his or her face. You can check out Chris' submission here.

To vote for Chris, give him a "thumbs up"! The more votes Chris gets, the better his chances of moving on to the next round!

Here is a link to the HP contest homepage.

Tate Publishing Illustration Department Paints Mural for local school-

2009-06-16T12:02:00.003-05:00

Tate Publishing's illustration department employees designed and painted a mural at Bishop John Carroll School in Oklahoma City. The mural shows the school mascot, an eagle, when entering the gym. The illustration department employees decided the mural fit within their talents. The design was created by Brandon Wood and Kurt Jones of Tate Publishing. The company donated materials and workers volunteered their time.

“The school was really happy to have us out to give the gym a much needed update. The illustrators did an amazing job,” said Brandon Wood, associate director of illustration.

Other Tate Publishing departments have volunteered in the community as well. The multimedia department read to Parkland Elementary students. Graphic designers visited Crossings Christian School and helped children create a tissue paper collage.

Tate Designer wins Award-

2009-05-07T12:25:00.003-05:00

Cole Roberts, a Book cover and TMG album designer at Tate Publishing/TMG recently won an "Award of Excellence" from the College of Arts, Media and Design at the University of Central Oklahoma. This distinguished award is handed out to only 1 recipient each year, and we are proud of Cole for such an accomplishment!

Using your Book Trailer for promotion!

2009-04-04T11:37:00.006-05:00

Since we first began offering book trailers to our Tate authors a couple of months back, one of the main questions I get is, "It looks great, but what do I do with it?" Book trailers are a relatively new way of promoting your book. The book industry is changing. The old school methods of attending trade shows is quickly going by the wayside. Our culture is quickly turning into one where exciting imagery and technology rules the day and makes the sale.

So where does one take his book trailer to be seen? For starters, I would recommend posting it to YouTube, which allows easy access for anyone to view and even leave a comment. If you have a Facebook or MySpace account, those are two other great social networking sites that have millions of subscribers. The accounts are simple to setup, and there are tons of great groups that you can join to help expand your networking. Make sure you place the direct link to your video page in all of your email signatures, and within the body of your email somehow.

Let's say you aren't so much into the online social networking. Is there hope for you? Yes! Every town should have a Chamber of Commerce meeting, where they allow residents to come and make presentations from time to time. This is a great place where you have an audience that is from your local area, will have a relationship with you, and be interested in finding out more about your book. The meeting room should have a setup that includes a projector, where you can play your book trailer (we can provide a DVD of your trailer for you to use), and then follow up with a short speech from yourself to connect even further with the other residents. Take a few books to sell, as well! In addition to the Chamber meetings, there are a ton of other meetings going on every day in every town. Rotary club, PTA, Optimist Club, etc.

Selling your book is your business, and it requires a lot of hard work. Mark Mingle recently wrote a great blog about this. Your book is your "product", and the book trailer is similar to its "commercial". Do a good job of selling your product to as many people as possible, and you will see results!

Multimedia department participates in Community Event

2009-04-02T14:52:00.002-05:00

It's a super windy Thursday!

The multimedia crew recently went to a local elementary school to read children's books, and play the book trailers that went along with them. The kids had a great time, and they loved seeing Mark, our resident giant, read little kids story books to them! I wanted to pass along some photographs- thank you Janae for lending your camera again!

What is "whitespace", and how does it relate to Book Cover Design?

2009-03-04T16:23:00.008-06:00

Happy March! It is warming up outside, and seems to be the perfect day to talk about what "whitespace" is. Kellie Southerland, our Conceptual Book Design Associate recently did a presentation on this topic in one of our Design meetings.

Whitespace, or commonly referred to as "negative space", is the open area in a design that helps guide your eye to the focal point. Whitespace is a visual weight, just like objects and text, and by using the whitespace effectively, it creates balance in the design. Just to clarify, it is not necessarily "white" in color.

Tate Publishing designers use this quite a bit in our design work, and I like to say that effective use of whitespace is the trademark of an experienced and gifted designer.

The book "In Lumine Tuo", by author Robert W. Bitler, designer Amber Gulilat has captured the essence of how whitespace can benefit a cover design. In both the initial and final design, your mind wants to "complete" the story of the hand reaching out to touch the light. This cover would not have held this same impact, if the hand had actually already been touching the light. Where would the drama in that be?

Initial design:

Final design:

All this to say, Resist the urge to keep adding "things" to your book cover, just for the sake of wanting to fill space... more often then not, your book cover will lose its impact if there is not an adequate use of white space. In this day and age, we get enough competing visual stimuli, and your book's cover is not the place to add more.

It's Typography Tuesday at Tate Publishing!

2009-02-10T08:33:00.003-06:00

Each publishing house has their own House Style, that determines how a books appearance will be constructed. Some house styles are better than others- I'm sure we have all seen books that do not quite "have it", and miss the design mark. Tate Publishing's house styles have been adapted from the timeless work of Robert Bringhurst, in The Elements of Typographic Style.

As a book enters the layout department, several items are considered to determine the typeface that will be used to construct the words on the page. These include: the word count (we want to make sure the typeface- pointsize and x-height- does not extend a book unnecessarily, therefore inflating the retail price), the genre (There are fonts that are better suited to a novel, than a technical book. Likewise, a different type treatment must be used on a young reader, as compared to a book on advanced Biblical Theology.). Additionally, typefaces must be considered if there are images in the book, and how the overall effect of imagery and type will mesh.

Just as the written word communicates to the reader, the manner it is presented also communicates. Our desire for each book that Tate Publishing crafts is that it communicate to the viewer that "this book is a timeless piece, to be treasured and revered". The irony to this, however, is that a book with with strong typesetting shouldn't stick out. The type should just mesh and blend with the words, so the reader can enjoy why they purchased the book in the first place- to read a great story.

For more insight into Robert Bringhurst- here is an interview for your enjoyment!

Tate Publishing Design Show at UCO

2009-01-26T13:14:00.004-06:00

Last Friday our design staff went to UCO in Edmond, to participate in an event to help educate design and illustration students about "real life" after you graduate college. It was such a fun event- there was tasty treats, good conversation, and of course great eye candy from the design and illustration staff. My guys put on a great show! I've attached a few images...(and thanks to Janae Glass for bringing her camera!)

Here's to a more connected 2009!

2009-01-20T19:18:00.004-06:00

This year I am going to try something a bit different on my blog, and have a different focus each month as related to the creative side of book publishing. I want to be able to give you all a more in depth knowledge on each aspect, as opposed to random blogs here and there... I will be posting good links on twitter that supplement my blog, so be sure to get signed up if you are not already! The creative department is spreading our creative goodness out into the rest of the world as well! If you are on Facebook, join our Design team page, and search for me too! I would love to see you there. If you are on Flickr, we also have started a design page showcasing our freshest design work by our book designers.

Here is to a more connected 09!

Tips for a successful book cover design!

2008-12-24T12:11:00.003-06:00

If you are a regular reader of the Tate blogs, and have researched our company, you know that we operate completely differently than any other publisher out there. We here at Tate take great pride in the fact that we are partners throughout the entire publishing process. We want the author's input on every aspect of the book, from editing, to design, to marketing and beyond.

As Creative Director, I receive a lot of outside cover design submissions to review for publication. The majority of these, in the best interest of the quality of the book, have to be denied. Even though they may be denied based on quality, copyright issues, etc., we are still happy to receive a visual example of what the author has in their mind's eye for the cover design.

So what makes a good cover design? And how can you ensure that you have all of the right elements to give your book the best visual shot possible? When you begin the cover design process at Tate, your book designer researches your book, speaks with your editor, and will have ideas in mind before they place the initial phone call to you to discuss all options. Remember, a book is ultimately a product that you are trying to sell, and your book designer is helping you create the "package" for it. With 3,000 books published in the U.S. each day, this is a very tough market to get your product seen.

Here are a few tips I have noticed this past year, that the author can do to ensure that the book cover is a successful partnership, and the end result is a marketable product:

1. Have an open mind about the process. Your designer will take into account everything the editor says, what he/she reads in your book, and what you tell them that you would like to see. It is truly a meeting of the minds to take all of this information, and roll it into a beautifully designed cover.

2. Be willing to try something new! There may be new ideas that are just waiting to be discovered, and a good conversation with your designer can help bring these to the surface. The book designers at Tate have the best interest of your book as their primary goal, and they want to make sure it can compete with other books in the current market. They may suggest an idea that is a little out of the box, or different than what you may have originally had in mind. There is no harm in testing out new ideas, who knows, it may result in the perfect cover for your book!

3. Be able to clearly define what the "meat" of your book is about, and even have ideas of what you would like to see on the cover. Direction of what you have in mind, and any ideas you would like to share definitely help the cover design process. While designers love to make beautiful things on their own, the book design process is a partnership and if one partner is absent, they are just shooting in the dark as to what you had in mind. The designers want to make sure you are ecstatic about your book, and that it is a strong design product that can compete in the current market.

4. Resist the urge to ask your designer to put "too much" on the book cover. The end cover design will be 100 times more effective, if it is only sending one central message, and isn't mottled with several tag lines, a lengthy subtitle, too much imagery, etc. This one is probably the most challenging, and we completely understand the desire to want to portray every single element that your book is about on the cover. Think of it this way- if the cover design could be viewed as a person speaking, would you rather have "one" person speaking, or "several" people speaking at the same time at you? Obviously, with several people trying to speak at the same time, the voices all get jumbled together and nothing gets heard. Conciseness is king here.

5. Have fun! Cover design is a really fun process. It is when you get to see your book cover really come to life! Tate's book designers are the most talented in the industry. Period. I am no writer, but if I were to write a book, I would trust my "baby" to any one of them. Maybe it is because I get to see the behind the scenes view more than the average person, and I see how much time and thought they put into each cover, but I do know that pictures speak louder than words. Browse through our new releases on the bookstore, or see Leah LeFlore's blog entry here, for a visual guide through the process.

I hope you all have a very Merry Christmas, and we look forward to seeing you in cover design soon!

What is on your mind?

2008-12-10T15:43:00.002-06:00

Dearest readers: I would love to address specifically questions that you have about the Creative Department as a whole, book design, book trailer design, illustration, audio voicing, etc. that you have on your mind. Please feel free to contact me anytime, I would love to hear from you!

Meet the Design Associates at Tate Publishing-

2008-12-10T15:33:00.003-06:00

Brrr it's chilly today! Let's have some warm conversation from Kellie Southerland and Joey Garrett, our Design Associates. Each of these talented designers contribute to the design department at Tate Publishing in their own unique way, to ensure the overall design of each book is impeccable. Read on for more:

Q: What is your job title, and what role do you play in the book design department?
KS: Book Design Conceptual Associate. I help other designers develop the concepts for their covers and work with them to communicate visually through the cover. I help around the design office with special projects, help solve problems, review cover designs and design book covers as well.
JG: Book Design Technical Associate, my role is to review layouts and to assist designers with technical questions regarding layout or program questions.

Q: When did you first realize that you wanted a career in design?
KS: I have always loved art. I've been drawing since I could hold a pencil and love trying new ways and mediums to create art, but had no idea how to make a living at it until my Dad encouraged me to look into graphic design. I started taking classes back in high school at my Dad's suggestion to get college credit, but I really fell in love with graphic design in college.
JG: I realized my love for design shortly after high school.

Q: Kellie and Joey, your roles are very different, but how important is each of you to the final book design?
KS: The cover is the first impression that a reader has of your book. The cover sets the tone, the mood, and gives the reader an idea of the story at a glance. A good cover baits the hook for the reader and draws them in to pick it up and begin reading. Having a dynamic cover design is extremely crucial!
JG: Both our roles are very important, yet very different. My goal is to make make the layout of each book easy to read as well as visually interesting.

Q: Who/what is your inspiration?
KS: I get inspired by anything and everything. It may be a famous work of art one day, and then the next day, it's a left over pencil shaving. I love looking at what other people come up with as well. I will often go to the book store for fun and spend hours just looking at all the other covers and then get lost in the illustrations of a kid's book! I can't go to the grocery store without getting inspired; packaging design fascinates me.
JG: I really get inspired by other great designs and music I can tap my toe to.

Q: If you were to give first time authors one piece of advice, what would it be?
KS: Listen to your designer. Our goal is to make your book the best it can be! Their advice is not to push their own design, but to truly benefit your book. Hours of thought, training, and careful purpose have gone into the designs they present to you to make your book a success. Don't be afraid to trust them just because their design may be different then what you expected.
JG: I would advise first time authors to relax have an open mind and trust their designers. Your designer's main goal is to design a book that will be marketable.

Q: If you were to choose a piece of art that you felt described who you are as a designer and person, what would it be?
KS: I think it would be Cafe Terrace at Night, by VanGogh. Sitting down over a cup of coffee with a friend and listening to what's going on in their life is one of my absolute favorite things to do! I would love to go to that coffee shop that VanGogh painted and see if it's just as dainty and delicate as he depicted. The colors and the detail in that impressionistic painting are kind of like me: contrast that somehow balances out my personality and an eye for detail.
JG: I believe that Frank Lloyd Wright's Falling Water best describes me as a designer and person. He purposefully uses hard angles against the softness of water to make his house more interesting. I, as a designer, also strive to make my work more interesting by incorporating the cover design throughout the book's layout. The piece reflects me as a person because, I am flexible and adaptable like the water, but I'm also capable of being edgy and taking risks.

Q: What is your favorite part about being a book designer?
KS: I love the first of the month and getting to see all the new books I get to work on. I love seeing the titles on the schedule and having the ideas flood to my mind. I wish there was a way to better capture those first ideas before they fade away.
JG: My favorite part about being a book designer is working along side the author and being able to make their dreams come true.

Q: What is one thing that you are really good at, other than being a designer?
KS: Singing. I love to sing, but I have terrible stage fright, so I only sing in my car! Haha!
JG: My next love other than design is working in the yard. I don't mow my lawn, I manicure it.

Q: How do you want to be remembered 100 years from now?
KS: I want to be remembered as someone who lived with a purpose. Someone who put thought into everything they did and somehow made an impact. I love working one on one with a person and so, to know that I helped bless their life in someway would be great!
JG: I want to be remembered as an extremely hard worker who always had a smile on his face.

Q: What is your greatest desire with each book you work with?
KS: That both the author will be pleased with the design and that the design markets the book well. When those two things are accomplished is when I feel I've done my job!
JG: My greatest desire is to go above and beyond the authors expectations.

Speaking at Events with the intent of selling your Tate book!

2008-12-09T09:05:00.005-06:00

We have quite a few authors who are accomplished speakers. Writing a book has often been the "next step" for them, and they then utilize their already established speaking circle as a way to further promote and sell their book.

What if you are already an author, and want to get your feet wet in public speaking? Here is a great article by Chris Brogan with some tips on how to go about doing so. Remember, as an author, everything you do should revolve around how to get your book out there and how to make it relate to people. Enjoy, and happy speaking!

http://www.chrisbrogan.com/how-to-start-speaking-at-events/

Meet the Illustration Associates at Tate Publishing!

2008-12-08T16:49:00.004-06:00

The illustration department at Tate Publishing would not be the same without the leadership and creativity of Illustration Associates Kristen Polson, and Kurt Jones. I sat down with them today to see what makes them tick... enjoy!

Q: What is your job title, and what role do you play in the illustration department?
KJ: Illustration Associate. I contribute ideas and work with a team of very talented artists. I contribute to the development of weekly exercises for the betterment of the illustration department on both a professional and artistic level. I try to come up with new ideas that can help us improve in certain areas that ultimately strengthen the team.
KP:Illustration Associate; Regular Illustration assignments, review Cover and Layout design for children's books, keep our supplies in order, assist others with conceptual and technical issues when needed.

Q: When did you first realize that you wanted a career in illustration?
KJ: High School
KP: I've always loved to draw, and dreamt of being a "famous artist" when I was a kid. I majored in fine art in college with an emphasis in graphic design and illustration (graphic design because I thought it'd be the easiest way to get a job, illustration because I liked it.) I never really thought I'd actually get to have a career in illustration, though. I was hired at Tate as a layout designer in 2004, and as the company grew, I got the opportunity to try it out for real. I've got more of a passion for paint than fonts, so I jumped on board quickly.

Q: Who/what is your inspiration?
KJ: Illustrators like William Eisner (love his graphic novels), Jack Kirby, Tim Sale, Jim Lee and many others. I read lots of comics as a kid
KP: Different things and people constantly inspire me. Dwight (husband) was my biggest inspiration to learn how to step away from what was "safe" and really take a leap of faith to tackle my dreams. I draw inspiration for my art from other artists in the industry and from nature itself. I never see a sunset without studying it and trying to figure out how the heck God can transition from orange to blue without it turning brown. It amazes me.

Q: If you were to give first time authors one piece of advice, what would it be?
KJ: Know that there are three key elements to a successful children's book. 1) The Story 2) The visual aid 3) The young readers imagination ( the element that bridges the first two, thus allowing for a refreshing reading experience each time they experience the story.) Consider these elements during the production of your book and how they can work together to produce a good product for the appropriate target audience
KP:Don't be afraid of us. We all want what is best for your book because our name is on it, too. We do a lot of research into the styles of illustration that are popular and doing well in the industry. It is good for you to look around at other children's books to see what is out there, and then, don't be afraid to trust us to lead you in the right direction.

Q: If you were to choose a piece of art that you felt described who you are as an illustrator and person, what would it be?
KJ: The Sistine Chapel Ceiling painting by Michelangelo. I remember looking up at the painting in the Vatican and thinking how vast and epic it appeared. Even though it is not an illustration, it is timeless, ever lasting, and holds a sense of beauty and romance to it. Truly a daunting task and an ultimate masterpiece by the artist himself. It is everything an artist or illustrator strives for on some level, I believe. We are constantly striving to create something outstanding with a piece that is defining of our creativity and individuality. Something that will transcend to others in our lifetime and beyond. It is something I will strive for my whole life.
KP: Tough question, probably something like Le Reve by Pablo Picasso. I chose this for the curvy lines, bright colors, and the use of patterns. These are all visual styles that I find myself drawn to. "Le Reve" means "The Dream." I've always been a bit of a dreamer. I always have big ideas and get excited about anything I'm involved in.

Q: What is your favorite part about being a book illustrator?
KJ: The opportunity to create something original. To bring a visual to life.
KP: I love the excitement that comes at the beginning of the month when we've got a new set of books to read and get started on. There are always so many ideas bouncing, and the air is just filled with potential. When someone asks me what my favorite book is that I've done, it is usually one I'm working on that month. I like finding a particular element of each story to really get excited about. It's my personal connection with the "reason" that book needs to be great. I use that as my fuel to keep going the rest of the month. That is the moment when anything could happen. When I sit down to a blank page in my sketchbook, everything is perfect. Everything works. There are no revisions in my imagination at that moment. Anything can happen, and this is going to be the best book ever.

Q: What is one thing that you are really good at, other than being an illustrator?
KJ: Perhaps communication. Listening to others.
KP: Music

Q: How do you want to be remembered 100 years from now?
KJ: I want to be remembered as someone who saw things different. Someone who contributed new ideas that were useful and productive for others in a positive fashion. Someone who was fearless.
KP: I want to be remembered as a kind and giving woman who loved her family and did everything she could to take care of them by being a bit stubborn and never giving up.

Q: What is your greatest desire with each book you work with?
KJ: Each book I work on I treat as something special and unique. My goal is to make it the best it can be.
KP: My greatest desire with each book is that God's will be done. I will do my best work. I want the author to be pleased, and then I leave it to God from there.

Q: Kristen, among you and Kurt, you are the only one with a child so far. What are ways that you have shared your love of illustration with your son?
KP: I stick a crayon in his hand every chance I get. He usually tries to eat them, though. On a more serious note, I read books to him all the time. We don't just read through the words, though. We take time to point to different elements in the illustrations and I ask him questions or try to get him to repeat words. Now, whenever he picks up a book, he opens it and starts pointing. With my nieces and nephew, I like to have them make up a story based on the pictures.

Q: Kurt, what do you see as the future for children's book illustration?
KJ: I think the future holds many avenues that can and will be taken. I see the future as being innovative as well as very creative. There are always stories to be told and everyone has a unique way of telling one. I see the bridge between multimedia and children's books becoming closer.

Thoughts on Self Publishing vs Traditional Publishing

2008-12-05T08:43:00.004-06:00

I have come to the realization, I am terrible at wrapping gifts. Folding the paper in neat triangle edges, holding it down with one hand while ripping a piece of tape with my other hand (and sometimes teeth!) has become my arch nemesis. Now, realize that I can decorate a gift like nobodies business. I've totally got that part covered. It's the preciseness of making sure each fold is crisp, and the left matches the right that I just cannot for the life of me get right! My husband, on the other hand, who doesn't have a creative bone in his body is a master at wrapping gifts and is able to hand off this perfectly folded piece of origami goodness (and totally show me up in the meantime).

It is a good thing I do not have a career in wrapping gifts. I am happy to hand off this job to my husband, and I am a firm believer that when in doubt, you should let the "pro" take over.

As Creative Director at Tate Publishing, I have the honor of being able to work closely with authors who have self-published before, and are now joining the Tate team to re-release their book. I want to make sure that these authors have a much better "second chance", and that we help them to produce a truly marketable product. The great majority of books that I see have been poorly put together by an arbitrary company that has no personal contact with the author and has not studied even the basics of good book design. Their main goal is to just "get product out", and it has nothing to do with making a lasting product that can stand the test of time, nor does it represent the true desire of the author's vision or the message of the book.

There is the chance that self publishing may serve your needs perfectly. You may want to just get some product, and have no desire for marketing, professional editing, or custom book design. If that is the case, then certainly I wish you the best! However, for most authors that I speak with, their desire is to get their book into distribution, have product visibility, have professional editing and custom design, and have a real shot to make their name known. That is exactly what we deliver. Tate Publishing is your partner in this very tough industry, and is here to see you succeed with your product.

If I'm going to trust my gift wrapping to a pro, I am definitely sure I would trust my book with a company that is on the author's side.

Tate Publishing National Illustration Competition

2008-11-24T13:27:00.004-06:00

The Tate Publishing National Illustration Competition is underway! We are seeking the best illustration work from highschool and college students, to compete for cash prizes and publication. Click here for more information!

How is a Tate Publishing Audio Book created?

2008-11-12T09:03:00.005-06:00

Good morning! I am back from Missouri, and have an exciting blog from our Associate Director of Multi-media, Melissa Madole. She is sharing a bit on the audio book process, and what to expect. Enjoy!

________

Hi! I’m Melissa Madole, the Associate Director of Multi-Media at Tate Publishing. My division includes both the audio book and book trailer creation, but today I'll be sharing on how our voice talent helps bring your book to life in the form of an audio book. I just wanted to take a moment to take you through the audio book process from beginning to end.

For fiction and non-fiction authors who opt to have the audio book (out of the choices of audio book, book trailer, and the new option of website- which will be available in a few months) they typically hear from us when they’re still going through the editing process, so they have time to begin abridging their book and to chose a narrator's voice. Currently, only fiction and non-fiction books that are over 10,000 words are asked to abridge to 75% of their total published word count. The reason we ask authors to abridge is simple. The retail cost of an audio book is based on the number of 80-minute discs it takes to contain the book. Obviously, the shorter the book, the lower the retail price and the more likely the audio book is to sell. Also, with our fast paced lifestyle these days, a shorter audio book is more appealing to listeners.

The website (www.tatepublishing.com/narration) features our different narrators reading three different kinds of books. Once we have the abridged manuscript for a book and a narration selection from an author, we’re ready to begin our production and help bring the book to life!

The actual production process of a fiction/non-fiction audio book lasts for three months.

The first month, the narrator voices the audio book. Our narrators send each author a sample of their reading and talk to the author by phone for help on difficult pronunciations and other suggestions before continuing the narration of the remainder of the book.

The second month, the narrator edits out any mistakes made during the narration (misspoke words, unnecessary pauses, etc.) and sends the author a link to their edited audio files. This is where the author gets to hear their complete book for the first time! Much like the process of “proofing” their written copy, an author is asked to use their ears to “proof” the audio version. Our authors’ ears are the last ones to hear the book in its entirety before it is manufactured.

In the third month, our narrators make any needed corrections to the audio book as noted by the author and put the final touches on the audio, before sending it forward in the production process.

The final step in the audio book production process is in our graphics department, where a designer adapts the book’s original cover to fit an audio book case.

So, there you have it! That is how our wonderful team of producers makes your audio book.

While I have the floor (or the blog in this case!), I also wanted to take an opportunity to let you know what to expect in your audio book.

Our audio books represent story-telling at its best! We want our listeners to be entertained by what they’re hearing. We try to think of ourselves as teachers reading to a group of students or parents reading a story to their children. At the same time, they are not an old-time radio drama, with actors playing the different parts of a novel. While we will use different inflection, tone and sometimes accents to differentiate between characters when necessary, we try to steer clear of taking any characters in the book to extremes. Many authors request their entire book be read in a particular accent, especially if they are from a certain area of the country or even the world, however, we’ve found that narrating the entire book with an accent takes away from our efforts to tell the story.

I hope this has given you some insight into what to expect as your book enters the audio book phase at Tate Publishing.

We look forward to working with you!

~M

eLive, a Special Delivery by the Tate Publishing Audio Department!

2008-11-05T21:05:00.004-06:00

Next week, Associate Director of Multi-Media Melissa Madole will share a bit of information regarding the audio book process. In the meantime, I'd like to share a bit on what eLive is, and how it benefits children's book authors!

eLive- "Listen, Imagine, View, Experience", is just that. It comes standard with all of our children's books, and brings the world of imagination to a whole new level. Our audio book producers are the best in the industry, and really know how to bring your book to life! eLive books include a free digital download of the audio book. Audio books typically retail for $9.99-$49.99 and even higher depending on the disc length and the type of book itself. This is such an incredible value that is added to the children's books.

Recently, we have begun offering the eLive function to new release Fiction and Non-Fiction titles that have an audio book. Imagine being able to purchase a book for $12.99, and receive the audio book for free. I am proud to say that Tate Publishing is always ahead of the curve in the value that we are able to give to not only our authors, but the readers who purchase their books.

Have a great night, and happy reading!

What happens in the Tate Publishing Illustration Department?

2008-11-05T12:27:00.003-06:00

Good afternoon! This weeks insider view is brought to you by Brandon Wood, Associate Director of Illustration. I know you will enjoy getting to learn a bit more about what it takes to produce illustrations for the children's books at Tate Publishing.

_________

Hello! Just wanted to give a quick look into what happens behind the scenes during the one month production time frame of illustration provided to our authors. The reason for this post is to provide a candid look at the process our illustrators use in providing the very best imagery possible for our authors’ books- so let us begin!

During the first week of illustration, every project goes through pre-production. It begins with the illustrator sending a welcome message to the author, to get acquainted and provide a timeline. The email also has a link to our illustration website to view more specific information and examples of work completed by our talented Tate Publishing illustrators.

Next, the illustrator reads the story and jots down initial notes and sketches for reference to be used later. It may be necessary at this point as well to research more in depth on the book (if there is a certain era in history that needs to be illustrated, or a certain style of clothing needs to be used, etc.). After the initial read, the illustrator will call the author to discuss the book. This is where the fun begins! This discussion is a free exchange of ideas, but ultimately focuses attention on character designs that will set the style and tone of the entire book. The illustrator takes notes regarding character attributes, personality traits, and any other relevant information that will help direct the design of the book. From that point, the illustrator begins designing any main characters directly involved in the story line. It generally is not necessary to focus a lot of attention at this point to second-string characters in the book, as they will simply mimic the style and feel of the characters that the illustrator and the author directly discuss.

So... now we've got the character styles and the overall direction of the book underway. This is now the point when we really go behind the scenes! Though our authors are partnered with one illustrator, that illustrator is partnered with three to four other professional illustrators who help to generate ideas, research, and offer feedback concerning the technical and conceptual direction of the book. We believe that when a group of highly trained and creative individuals come together to discuss an author's book, this is truly the best way to grasp the full potential of the imagery, and portray the author's vision on paper.

The author sees character designs only after it has gone through a review process with the illustrator's team. Once okayed by the team, the author is sent the character design for the real approval – the one that matters. If there is any adjustment to the character required, the author may request it be made and resent for approval. The designs usually are right on the mark the first time, but it is not uncommon for one or two revisions be made to a character design before it is approved. Once characters are approved, the author’s involvement in the illustration process is complete. Now it is time for the illustrator to take the direction of the book that has been set, and really make the magic happen!

The illustrator will begin storyboarding the book, which allows one to see how a scene is laid out with imagery and text and gives a holistic view of the book. The text is evenly paced out along with imagery so there is a consistent flow throughout the book. What we don't want happening, is for there to be large sections of text with no imagery, and then many pages in a row of just illustrations. The storyboard is very important to nail down the flow of the book in its entirety. Once complete, the storyboard is then “pitched” to their team. The team is looking for any visual disruptions in the storyboard such as compositional weaknesses or inconsistent perspectives. The team may also discuss lighting, color schemes, environmental developments, and scene details that will improve the illustrations. Again, the illustrator receives an okay from the team and is ready for production.

Production consists of the illustrator creating the final artwork for the book. Pre-production has already taken care of the style, tone, character design, and storyboard for the book so all that is left to complete is the illustrations. It is a very focused time when the illustrator is free from the interruption of review processes and receiving approvals for the illustrations. During this time, we understand that authors may feel left out of the loop- so the illustrator will send weekly updates letting the author know how the process is going. This focused time allows the illustrator the freedom to alter compositions, colors, values, and details so the most effective illustration is produced. I know from experience, an idea will be discussed during the storyboard phase, but the reality of it working is not known until the final illustration is being produced. For example, if I place a boy with an orange shirt in front of a yellow bus, the boy suddenly gets lost in the scene. However, if I change the color of his shirt to purple, he pops out again.

Once the work is complete, the illustrations are scanned, cleaned up and put through one last review with me before they are set and prepared for cover and layout. A final email is sent to the author to let them know illustration is complete. Whew! A lot has happened in one month, but with the author's input at the beginning to help set the direction of the characters, and the team here at Tate that helps each illustrator push the illustrations, we are confident that our children's book illustrations are second to none.

The author then enters into the cover and layout process for one month, with one of our talented Children's Book designers. It is at this time, when the text is placed with the imagery, that the author sees the book come together. This is truly an exciting day!

I hope this information has been helpful and has given you a sneak peak into the illustration process. I look foward to being involved in your children's book projects soon!

Cover process by Leah LeFlore-

2008-10-29T08:32:00.008-05:00

Good morning! Over the next couple of weeks, my associate directors will be sharing real life examples of what goes on behind the scenes as your book is being published. This week, Leah LeFlore, Associate Director of Book Design, has first honors! Enjoy her insights....

_______

Have you ever wondered what goes on “behind the scenes” in the design department as your designer is creating your cover? Well, now is your chance to find out!

The cover process takes one month total and begins with the designer giving the author a call to discuss the design. This first phone call is very important because it gives the author a chance to influence the design of their cover. It also helps the designer to get a better overall picture of what the book is about, the target audience, and what the author would like to achieve as a result of publishing the book.

After this initial conversation, the designer will sit down and gather their information and ideas before proceeding with the design. To give you a better idea of how the process works, here is a real life example of a book cover that I worked on a few months ago. The title is “The Couch Potato Diet” by Gregory J.E. Ladas.

I began the month by talking with Greg on the phone. He had some great ideas for marketing the book and he really seemed to understand his target audience and what they would be looking for on the cover.

He wanted to focus his book towards snackers in particular because the Couch Potato Diet offers some great, healthy alternatives to the fattening snacks people so often eat while watching TV. From this information, I knew that the cover would need to incorporate the ideas of TV, snacking, and sitting on the couch. Furthermore, he told me that his target audience would be the young adult to middle aged group who come home from work and sit down in front of the TV to unwind. From this information, I knew that the cover would have to be clever and eye catching to really catch the attention of this demographic.

I began the design process by making a list of ideas and searching out relevant photography and graphics. My list included,

• Self-help
• Nutrition
• Snacks
• Remote Control
• Watching TV
• Junk food
• Shopping list
• Chip bag design
• Nutritional information panel
• Food on a conveyor belt
• Food on grocery shelf
• Lounging/relaxing
• Mr. Potato Head

As you can see, a designer’s thought process pulls from a lot of different sources when we’re coming up with ideas!

With those ideas in mind, I met with a few other designers to exchange ideas and discuss the design. From there, I was able to move on and create the first set of cover options.

This first set of options was introduced at the final cover critique design meeting which usually happens mid month. All of the designers bring in all of the ideas they are working on for a particular cover and the group offers suggestions and helps them to narrow it down to the 2-3 designs that we typically send an author.

The first five covers made the cut while the other two didn’t. The cover with the measuring tape was eliminated because the designers felt that the tape was too bright and put too much emphasis on the subtitle instead of the title. The second was omitted because the text was too
small to be read from a distance (we try to keep text readable out to at least three feet).

I sent the first five to Greg with my suggestions and thoughts behind the designs. He responded that he thought design #3 with the silhouette figure on the couch had the most potential, but he wanted a few changes to make the figure more appealing. We both agreed that the figure should look relaxed, but not lazy or overweight as the point of the diet was to encourage choosing healthy snack substitutes. Greg also wanted to see a few snacks added on to the cover, again to reinforce the central theme of the diet.

I took his suggestions and did a little more searching to try to find another silhouetted figure that looked a little more alert and healthy. Luckily, I was able to find a perfect solution that seemed to address all of the issues we had been discussing.

Greg then had a good idea to replace the title text with the text from the original option #4. I added that on there and placed it at an angle to really energize the cover and create a sense of movement. I also added an endorsement sticker since Greg wanted to highlight their products in his book. The sticker really helped to enhance that “snack bag” look.

We were very close to the final cover at this point. I made one more color change to enhance the yellow a bit more.

The final design:

The cover process can seem long and complicated at times, but it’s such an important aspect to your book that you can’t afford to not actively participate in it. We, as designers, work best when our authors come to us with reasonable expectations and an open heart and mind. If both parties can approach the process as a partnership, there is no limit for the quality of the end result! All of the designers here at Tate are so talented at what they do, and it’s a blessing for us to work with so many wonderful authors on a daily basis.

Why do I care what our authors think about their experience with Tate?

2008-10-27T12:38:00.004-05:00

I really can't remember the last time I have been asked to comment on my experience with a business after using their services. I think a waiter or two has left a comment card on my table before, but seriously, if I fill it out negatively can I really expect it will make it back to the manager? And any change come from it? I would much rather have someone who can actually make decisions come and ask me personally how my experience was. Even if the idea is not implemented, I know that I was heard and considered. I would also know that the people "at the top" really are in tune with what goes on at the customer level, and do care about making it the best experience it can be.

I, as well as the other Directors at Tate Publishing, regularly take random polls with authors as they are nearing the end of their time in our specific department. My preferred method of choice is a direct email to that author, so they can answer at will and take the time they need to think out their responses. I love it when an author gets the email, and takes time out of their day to pick up the phone and give me a call to rave about their experience, and can specifically name the individuals they have worked with. I am baffled by self publishers who just push you through a system, with no personal contact. Everything is done by preset templates and methods, and done in a way that "just gets the job done". That is certainly not the way I would want to have my dream handled.

I seek out information from our authors on the process because I want to be sure that they are as pleased with the progression of publishing their book as we are. Here are some of the responses I've received this month:

Hi Melanie,
Joey Garret is my designer for both cover and layout. I find him to be genuinely interested in both the creative and business end of my book. This was a true surprise: to be able to work with someone who wants success for my work. Therefore, I feel fortunate to have had the opportunity to work with Joey. He is prompt and attentive to all my requests, phone calls, and ideas. Author Anita Bryce

Melanie, Stephanie Woloszyn- definitely a 10! Stephanie listened to me and with her design, was able to capture exactly what I was trying to express. Stephanie is very talented and creative. I immediately appreciated the way she incorporated my ideas, yet understood what I really wanted to convey and took it to another level. She did exceed my expectations! Author Helen Kay Wynworth

Melanie, Kurt Jones was my illustrator. I rank him as a 10 plus. He was prompt in returning e-mails and didn't make me feel like any question was a bother to him. The technical work that he did to complete the book was outstanding. I was very happy with this stage of the process and would like to work with Kurt on other projects. He is top notch! Author Julie Federico

Hi, Melanie, I wanted to respond with feedback for you from my experience with the Creative Team. My illustrator was Benton Rudd and he did a phenomenal job of communicating with me during the entire process. My initial phone call from him was prompt and he really tried to get a feel for how I saw my characters and what I felt the tone for the book should be. He called me a few more times with updates and communicated weekly about how things were progressing. Now that I am in the layout stage, I love the illustrations and am very happy with my overall experience with Tate. I would give your team a 10! Thank you for all of your hard work and God bless your ministry! Author Jennifer Cox

A behind the scenes look at Cover Design with Tate Publishing

2008-10-16T21:33:00.004-05:00

Today the cover designers at Tate had their monthly critique meeting. They get together for an all day session to hash out all of the cover design mock ups they are working on for that month. It can be intense at times- designers defending their work, while the others in the group trying to convince that it could be better... I am very proud of them when I hear them discussing their designs, for they do not settle on mediocrity.

So what exactly happens when your book is in cover design? Let's start at the beginning....

The cover design process begins with each designer researching their book they are assigned to- they look on the internet for inspiration, speak to the editor, read portions of the book, and then talk to the author. I think it surprises authors a bit when the designer calls them, and asks them to talk a bit about their book. They've done all the research, but they want to hear from the author to say in their own words what they feel the cover should portray, and what the root meaning behind the book is. This is what sets us apart from other publishers- we actually care what the author thinks, and involve them in the process.

After the designer has spoken with the author, the designers will all meet together for a conceptual development session. It is usually at a local bookstore, so they can browse the rows and look at what the competition is going to be for their specific book. Of course, there is usually lots of Starbucks involved as well! Several original mock ups are then created for each cover, and then presented at the all-designer cover critique.

There are a few last changes done to the cover mock ups after the big critique meeting, approvals from Creative Directors, and then they are off to the authors! There may be a few more minor changes after this point, as the designer and author tweak to design perfection.

Nothing is taken lightly here on the cover design- for we know that it is the design of the book that will either turn off or capture one's attention. Our cover designers are continually examining the market, to make sure their designs are competetive with the covers in their genre. Niche marketing, which you can read about on Mark Mingle's blog, plays a large part in how the cover design turns out.

This month in the design department has been great so far- the designs today were fresh and innovative, (as always!) and I am contantly amazed at the level of service our designers provide to our authors.