Fiction Book Layout Using Adobe Indesign - Complete Guide

1. Introduction Skillshare: Hi, my name is Erin lens Tao. In this course I'm going to teach you how to do fiction book layout using Adobe InDesign. This class is targeted to the beginning student. You don't need any prior knowledge in Adobe InDesign to take this class Seal go from a complete beginner to a pro who knows how to do fiction book layout. I've used this program for a decade to lay out hundreds of fiction, non-fiction, art books, catalogs and magazines. In this course, I'm going to give you everything you need to know about how to lay out fiction books. We're going to start the class by showing you how to setup and design and get into quick how to lay out your first fiction book. From there, we're going to get into the heavy details on how to prepare your manuscript for book layout in InDesign, specifically, I'm going to show you how to take care of your Microsoft Word manuscript and your Google Docs manuscript, and whichever one you might have written your fiction book him from there, I'm going to show you how to layout the manuscript in InDesign and the fundamentals of layout editing. From there we're going to do paragraph style design. Where are we going to make you much more efficient and make your book look consistent? And then I'm going to show you how to take care of master pages so you can have multiple templates for the pages in your book. Then I'm going to show you all about fonts or different types of fonts and choices for you to use. Some are better than others for making your book layout look professional. Then from there we're going to get into taking care of problems in your layout because so often when you go from a manuscript to the book design, there are a lot of little niggling issues in this class is really special in that it shows you how to take care of those. And then finally, we're going to go into the PDF generation process. There are quite a few little details to take care of him that to make sure that you have a book that has camera ready and ready to print to go to your publisher and your print house. In the class project, you will actually receive a manuscript for you to work with so you can try out your layout skills. And you'll also receive in Adobe InDesign file, seek and compare your results to the ones in my document to see where you are and how far you need to go. I hope you enjoy this class and I look forward to seeing you inside on how to create fiction book layout for InDesign. Thank you very much. 2. Left and Right Mouse Click: In order to understand how I'm using InDesign to better understand what's going on. I'll move the mouse around and you can see that there's a little yellow highlight ring around the mouse. That way it makes it easier for you to see it on the screen. You will not see this ring in InDesign. This is just a visual aid for you to follow the mouse around the screen on your computer or on your mechanical mouse or on the track pad of your laptop. It supports both a left and right click. Refer to your computer, manual or manufacturer for more explanation of how to use the left and right-click on your computer. But in InDesign, left and right-click means something different. When I click into the nothing space here, I will deselect everything. And that was with a left-click. When I left-click on an object, say this text box, you'll see a little ring and you will hear a click sound. But when I click on the right mouse button, you'll see a completely different menu popup. You will hear a different more laptop touch sound and you will see a multi ring when I right-click on an object in InDesign. So this is just to help you understand, when I left-click and right-click, if I don't say left-click or right-click, and I just say click on something or you hear that click option, then you'll start to learn how I use InDesign and how you will use InDesign to with a left and right mouse click because they are different. 3. Setup Adobe Indesign: In order to set up InDesign, we need to go into the system and make sure everything is configured correctly. So are on the same page. So if you move your mouse over to InDesign in the Mac or go to settings and the PC. Click on InDesign, go to Preferences. And then we will start in general. As you can see, there are lot of options in the preferences, but don't worry, we only need a few to set up. Click on the View and make sure it is on section numbering that will be important later. In the interface. We don't have to worry about unless you like to have a different background other than dark slate gray, that's not that big a deal. The next thing that you go to is units and increments. And then this is really important, is make sure the origin is set to spread. If you click and you'll see page spine and spread, make sure it's on spread. And then the most important is the units that are for the horizontal and the vertical dimensions, depending on your installation of InDesign, it may be in pikas points, inches, millimeters. Who knows? For the purposes of this class we're going to use inches. So make sure that inches is selected in both the horizontal and the vertical. Next, you need to go down to grids. And in this field, again, you may have different units and everything. But what we're going to do is we're going to set increment every to 14. If it doesn't say 14, click in the box, click drag and highlight and type 14. And then click out of the box and hit Tab. And when you hit the tab key, 14 will appear correctly. The threshold should be set at 75 percent, and again, that will be apparent later. The next thing we need to look at on down on the left-hand side here is display performance. Click this. And if you're having trouble with your computer where things are running too slow, you can change the setting of the view. But typically with modern computers, that shouldn't be a problem. So click high-quality if it's not checked already. And then adjust few settings, again, high-quality, and that will give you the best resolution. And now that everything is set up, you go to click, Okay. And now InDesign is ready to go. 4. First Book Project Setup: In order to use InDesign and get everything set up, we have to create a project. This is a little bit different than most programs you're used to, like Word or a text editor or anything like that, where when you open the program, you are immediately ready to write because InDesign in its setup are a little bit different. So what we're going to do is there are two options. You can either hit the Create New option here, which may or may not be visible on your version of software. But you can always go to File, click New, and then we're going to choose document. There are two other options, book and library, but those are for different purposes and we won't worry about them right now. So just click Document. And this big set of options will come up for you. Now in order to create your book, you actually need to know the width and height of your book before you get started. And the reason for that is that once you completely layout your book and you decide, oh, instead of a six by nine book, I want a five by eight. It is a substantial amount of work to get everything changed. For the purposes of this class, we're going to use a six by nine inch book. And in another lesson I'll talk about different popular sizes for your book. So what you will do is if this doesn't say six or nine, you will simply click and highlight type six and then hit the tab key. And then if nine is not in here, you will type nine. Oops. There you go. Easy to make a mistake and hit the Tab key. You want to make sure the units are in inches and nothing else. The orientation is what's called portrait. You always want Facing Pages selected. And we're going to start off with 20 pages and our project, if you don't see 20 here, click and drag and type 200 and then hit Tab. And then you can scroll down. We're going to start on page number one. Make sure primary text frame is de-selected. We're only going to have one column of text in this book. And don't worry about the column gutter because we only have a single column. Right now we're going to work with half-inch margins in the inside, the outside, the bottom and the top. Don't worry about those for the moment. And then if the bleed and slug is visible, don't worry about that as well. In order to shrink all of these options, see this little arrow here. If you click it, you can shrink the bleed and slug and shrink the margins. Now once we've got everything set up, you come down to Create, click, Create. And now we have the first page of our book. And now we're ready to rock and do something to get the book laid out. 5. Configuring up the Interface: Now that we have our project open and we're ready to go, we need to configure InDesign. So it has all the different tools and is ready to use. Your version of InDesign may or may not come up with all of these panels on the right, the toolbar on the left, and anything on top. So I'm going to show you how to turn all the things we need on. First, go to Window. And you will see controls and tools selected. If they are not, you need to turn them on. Let's say if tools is off, you'll see that toolbar, that critical toolbar on the left is missing. So go back to Windows and turn tools on. Also under Window. Click Control. And then you'll hide the Control Panel up top. We need that control panels, so make sure to turn that on. The next set of tools that we need are under type. This is very different from other programs where all the controls are usually in view or window. But under type, we're going to need to have you turn on character styles and paragraph styles. Once those are on, you will see the panels appear over here, paragraph and character and character styles. Now interesting to note that some of the different tools are in different places and that can be a little bit frustrating defined. So on the computer what you do is go to Help. And then under search, type pair a graph. And then once you type paragraph InDesign will go find it for you. And if you hover your mouse over the word, you will see where the paragraph panel is. So if it isn't turned on, you can whip over, move your mouse, and turn on the paragraph panel C. You can see it. Once you have Character Styles, paragraph panels, paragraph and character setup. You'll also need to choose links, which is going to back to help type of links. And that is under Window and workspace. Now you'll notice some objects and panels are checked and not check. That can be a little bit confusing. So if you see windows and I go to links, I click this, you'll see the link selected. And you can hide it with links active. If you click the two right arrows here, the little chevrons, you can hide this panel because eventually this space become so busy. It's hard to manage. Now once you get that text wrap is also here. And then stroke for drawing is also here. Info is here, Effects is here. And then layers is also here, and then story is not here. And instead, story is over in type. Again, I know it's a little confusing, but you'll get used to it real quick. I promise. The last thing to find is pre-flight. So we will go use the Help tool again to our type pre-flight. And that's under output. And so that's under Window output and pre-flight. So if you go over to Window, go down to output, and pre-flight, InDesign is complicated enough to where it needs multiple layers of windows for tools to get everything open. Now please don't get discouraged. I know this is a lot of material, but it will be all important later. And you can always refer back to this lesson to figure out how to get everything set up if you need to. Once you get everything set up, you should have all of these different tool bars over here. Now it's possible that your version of InDesign might have left the tool bar floating and that's fine. Maybe it's open to story or layers or some such thing. You can click on the bar and drag it to the right. There will be a blue line that will appear and you can release it. And now they will be all docked. If you want any of these bars open again, you simply click them. Pre-flight effects, the most important are going to be paragraph styles and character styles. And this way you can keep everything under control and you can click and drag away character styles if you need it. Specifically open all the time. And if you want to read docket, you simply bring it back, drag it into the spot you want, and drop it there. You can also shuffle all of these items around until your heart's content. Now you should have InDesign completely setup. So we're ready to rock. 6. Managing Workspaces: Now that you have your workspace setup, you don't want it to get messed up or if you accidentally click and drag something or delete any of these items. So if you go into window, go to workspace, you will see all of these different options available. Topography essentials, book and advanced. Right now I'm using the book layout because that's the most useful for what we're doing in this class. But if I wanted to create my own custom workspace, let's say I added a few toolbars and I went to switch back and forth. I can go to New Workspace. And then we're going to type errands workspace, of course, substituting your name for this, and this will memorize the panel and menu locations and customizations. Click Okay. Now let's say in my workspace I never use stroke and I never use info or effects. Now when I come back into InDesign, this is how all of my panels will be set up. And if you go back to Window Workspace, you'll see that. But you can easily switch back to the book workspace. And this immediately gets back all those panels that we deleted. This is really powerful because as you get more and more into InDesign, you'll be able to adjust it to your liking. Now again, this doesn't seem important now, but trust me, it will be valuable later. If you decide that you don't want your workspace anymore and you just want to use the defaults. You can go back to window workspace and just decide, you know what, I'm going to trash this workspace. I messed it up or I can make a bunch of them. You go down to delete workspace and then move down here and you can choose to delete all or just your own. Make sure to only choose your workspace to delete. I click Delete, and now I go back to window and go to Workspace. And you can see my custom workspace is now gone and we're back to the default book workspace. 7. Adding a Text Box: In order to add text to InDesign, the process is a little bit different. Unlike programs like Word text edit and the like. There is no space and near as you see if you just click and you start typing, nothing happens because this is what's called a tool style interface, rather than what I would call a typing interface. So instead what you do it, you come over to the tool bar here and you select the type tool. Now if you notice, the type tool has a T beside it in parentheses. And the way to see these shortcuts is to hover over that tool. If you click on that tool, you can now add a text box. They come over to here, you click and drag and release. And that is how you create a textbox or an object. Everything in InDesign, in layout is an object. I know it's a little bit different than what you're used to with typing in Word, but don't worry, you'll get used to it soon. Now we're going to type our title page and we're going to do The Old Man and the soups, typing or own already Old Man and the Sea because we're working on our title page for our book. Now obviously that's not very exciting or anything, but we'll work on that in a moment. Now we can click in the middle of this box when it is selected. And you can see when a box is selected, when you have all these corners all lit up, if you click away from the page, you'll notice this box isn't selected anymore. But if you click into it, it'll drag around and it'll re-select. Now when you have multiple boxes, that's a whole other matter, but this is how you generate text inside of InDesign. 8. Text Box Manipulation: Now I'm going to show you how to move and manipulate the text box and InDesign. There are two tools that you're going to use basically in textboxes. The first, of course, was the text and type tool that you just use. But the other is the Selection tool. Now you can see two different arrows, the direct selection tool and the selection tool. We won't use the direct selection tool right now. This is the most useful and safe of all the tools. You don't make a mistake. So when you click on your box, you can see all of these different corner handles and they all mean something. The upper right, lower right, lower left, and upper left allow you to groups. And you can see rotate there. Allow you to click and drag and re-scale the box. Now the text will not rescale in this particular mode, but you can rescale everything. If you just want to expand the left, right, top, or bottom, you can click in one of the four middle handles and do the top to the right and do the bottom. And that's how you rotate or that's how you move the box around. Now as you see, I just said rotate that was in my head because if you hover over this corner, you'll see the mouse goes from a black little pointer to a diagonal, up right, or downright, mouse, cursor or up left. However, if you move the mouse slightly outside of the box, you'll see that the cursor turns to this 90 degree rotate style mouse. And you can see it here as I just accidentally demonstrated earlier. And what you do is when you pull them out slightly away, so you have to be quite accurate. This is a little bit challenging with trackpads on laptops or the Apple track pad is yet to be careful because you can easily, as I showed you before, click and rotate your box. So if you've ever seen rotated text in a book, this is how they do it exactly. And then you can say, oh crud, I accidently rotated my text and I can't get it back to the 0 angle. What do I do? You can actually come up to here, fix that mistake if you make it. Also, you can undo anything that you've just done. If you click and rotate and you feel a little bit lost, you can always go to Edit, Undo, rotate item. And you can see the shortcut here is Command Z on the Mac or Control Z on a PC. And you can undo your change. Again, you can rotate. And if you don't want to undo your change, you can always come back to the angle here, which is right here in this toolbar. Click the down arrow, come to 0, and that fixes your text box. Now you can see the mouse here In move mode, then in the corner, in scale mode, and then in just outside the box in rotate mode. And then if you move the mouse farther away, It's in selection mode. And that's what makes InDesign a little bit challenging, but I think you can get it. You can see inside cursor diagonal scaling, come out, rotate and then come away, click and do nothing with that box, and that's r. Those are the basics of how to manipulate and rotate your text box. So I want you now to rotate your textbox, click in the box and rotate it, and then go up to the left into the top control bar. And sudden angle, maybe one exactly 30 degrees. Or perhaps you want a 60 degree angle on your textbox wherever you like. And now come back and hit 0 degrees and square up your text box. 9. Font Basics: Now that we've got the text box here and we've got some text inside of our box. Let's align it in the page. Click into the box with the move tool, and then scale the box up. And you'll see that we can manipulate the box. Now, if I double-click inside of the box, there was a left double-click. I can get into text edit mode. Now to get out of text edit mode, you really want to use the Escape key and hit Escape because you don't want to spend a bunch of time moving your mouse over to the Selection tool. The escape key is the most valuable key in InDesign. Now when you come over and you get back into the box, and if you just click out of the box with the cursor or the mouse cursor in text mode and click away, the cursor will actually remain in text mode. That's a peculiarity of InDesign. I find it a little bit annoying, but that's how the program works. So we double-click back into our text box and what we're going to do is left-click and drag to highlight all of our text. And now we can manipulate the font. The font controls are located in the toolbar up here. You can choose your font, the style of the font, the point size of the font which you might be used to, and also the letting. We'll get into the letting a little bit later. But first, let's manipulate our fonts. So if you click down here, this is a much more complex fonts system than you might see in Word or TextEdit or anything else. And that's because InDesign is a much more powerful program and it gives you lots of capabilities. In here you can see Minion Pro times fringe, fringe script, Gill Sans, all sorts of fun and interesting fonts that I have on my system. Your font list will of course be different depending on your computer and operating system. I'm going to come down here and choose Adobe Garamond Pro. That's a very classic font Minion Pro, yours might be Garamond. One of those fonts or times is a good starting point. And now that I've chosen that font, I wish to increase my font size. There are two basic ways to do that. One is to use the click down menu and come up and you can rescale your font. And then the second way is to use the two arrow tools up and down. And that's pretty easy, just like regular, normal programs. Now, the other thing we can do is change the style of the font. Adobe Garamond Pro has six styles, whether it's italic, semi bold, semi bold italic, bold, or bold italic. Again, this will be different depending on your fonts. So you have to be a little adaptable here because each font has different styles. Let's compare this Adobe Garamond Pro to Minion Pro and check this out. Minion Pro has a lot more options where you go semi bold, full bold, semi bold italic, regular, bold, condensed. So there are all sorts of options and there are literally thousands of fonts that you can use in your book. Now there are some other caveats and again, we'll get into that in a later lesson about font laws and copyright laws. There's all sorts of things to it. But those are the basics of how to manipulate your font. Now to the right of the font controls, you will see six different options and these allow you to change your text even more. So what I'm going to do is go back to regular. So it's easier to see what I'm doing. And you will see the double tee if you hover over the double t, That's all caps. So if you want to automatically make your text all caps, you can do that. If you want to shut it off. Click that again. Now this is important because you might type everything in all caps and later realize, Oh, I want to change it. It's not that easy to do. You have to retype the text. If you type things out in normal capitalisation and then use these tools, you can make changes on the fly. The other front one for titles are small caps. And you will see when I chose small caps, the capitalize letters automatically become a larger t. And the regular text or the regular letters are smaller case capital letters. Not all fonts again support this option, and that's important to note that small caps gives your text a real stylized look and is actually different than if you clicked and selected and played with the font size of each letter. You really don't want to do that. Instead highlight and use small caps. You can also use superscript and subscript underlining and strikethrough. I'll show you those underlining course superscript and subscript don't have any meaning when we're doing a title, and that's how you do your titles. So we will convert this to all caps and we're, well on our way to getting fonts under control for your book. 10. Text Alignment: The next activity to do with our text is to change the alignment. There are two types of alignment in InDesign. One is horizontal and one vertical. If you double-click in your text box, you'll notice that this portion of the control bar actually changes and you'll see options that you might be familiar with. Left align, align center, align, right. Align towards spine. Justify with last line left. Justify with last line centered right? Justify, all lines. And a line away from spine. For the title of our book or the half title page that we're actually working on. We're going to simply choose Align Center. And you can see that the text moved ever so slightly. Let me highlight all of the text, will drop the font size down just a bit. And now you can see when I go left align, center, or a line right, you can see how to manipulate the text. Now, in your textbooks, you can see that the text is at the top, so I will hit Escape. And now you will see the tools up here. If you have a small screen, you may have trouble seeing these because depending on the size and resolution your screen, some of the far right controls and InDesign may disappear. So I'll show you how to use these and I'll show you where to find these controls if they're not visible on the screen. In these set of tools, you can align your text to the top which it is. Or you can click Align Center. And you will see the text come to the center of the box. Or you can choose a line bottom, and then the text will drop to the bottom of the box. There is also justify vertically, and we generally don't use that in fiction by just wanted to let you know. So ideally we will align the text in the middle of a box for what we're doing. Now, if you do not see these vertical alignment tools, what you do is you go over to the Object menu, click here, go to object and then go down to text frame options. Or can Command B on the Mac and Control B on the PC. Click here. And now when we bring this over here, you'll see the option for vertical, vertical justification. A line now has top, center, bottom, and then justify we generally do not use. So this is the way we'll go back to center to hit Okay, and see the adjustment in here. That's a thing. Some screens don't have a lot of resolution. The higher the resolution of your screen, the easier it is to use InDesign because all of the tools show up. And that is how you do horizontal. Double-click in the box and choose horizontal alignment whether you go left, center, or right, we'll deal with the others later. And then you hit escape. And then you can do the vertical alignment tools as well. Again, remember that if you do not see these tools, go over to Object, come down to Text Frame Options. And then you're guaranteed to be able to see the vertical justification tools in InDesign. Click OK, and we're done. 11. Snap and Smart Alignment: Now in order to align our text box so it's perfectly aligned on our page. You may have a box, it's moved around, shrunk and all those sorts of things. You can see your margin here and it's in this magenta purply color. And depending on how your computer was set up, you may click the box and it may be very hard to align it to the margin. The way to take care of that is to go to view and scroll down to Grids and Guides. And what I want you to do is turn on Lock Column Guides, snap to guides and Smart Guides. And when these three are turned on, what happens is when you click and drag your box, you'll notice, see this vertical line that momentarily appears here when I drag my box. That tells me my box is centered on the page, guaranteed. And that's a very nice feature. Now if you drag your box up and down, you'll see that the other smart guide turns on the horizontal alignment guide momentarily. And now you're guaranteed that your boxes in the center of the page. Now when you click and drag your box left and right, when you drag your box to the right, you'll see that it jumps exactly to the margin. And if we click and drag here, you'll see in It's more of a feeling in your mouse or your trackpad that your box jumps to the margin alignment there. So the View Grids and Guides, the snap and Smart Guides. Snapping is where the right side or left side or top and bottom of the box goes to a margin. And then the smart guides brings up those handy dandy sintering tools. Now that we've got that done, we can click and enlarge our box to take up the whole margin space. And now we've got a perfectly centered title to our book. Now, there's something peculiar about centering text in a book is that it actually appears to be too low. And I know this is a peculiarity of layouts, but if you actually click and drag this up a bit, you'll raise the centering of the text. Choose to the ideal point where you really want this text to be. 12. Presentation Mode Preview: Now in order to preview what your book actually looks like without the distractions of all these tools. What I want you to do is hit the Escape key and then hold shift and just tap W. You can see what the page actually looks like in your screen. So I'm a maneuver it over here so you can see it. And this is literally how your page will be looking when it is actually printed. Now, I'm going to hit Escape again. And you'll see, you'll remember that I adjusted the centering on the page. If I drag the box down, so fits some margin, I click out of here and I hit Escape. So I don't accidentally leave a character in my text hit Shift W. You'll see as soon as I pinch it down here. But the text actually though centered, appears slightly below the center of the page. And that's why I gave you that little trick of even though you've centered the text on the page, tweak and drag it up a bit. That's a real good advanced technique. So again, hit Escape and you can go back to preview. Now, if you don't hit the Shift key, makes sure to hit Escape and just hit the W key. What the W key will do is it will remove the margin marks, the alignment, and everything else. But it won't remove all of your other screen Tools. Hit the W key again, and all of your tools come back. Now, the another way to get rid of some of the onscreen viewing is to hit the Tab key. And that will get rid of some of the things. Hit the W key. And you'll won't go into full screen mode, but you will see the text without any of the other tool distractions. So I hit the W key and the Tab key again. And that brings back my screen. So there are multiple view options in InDesign. Now if you go to view and go down to screen mode, you'll see that shift W, this little up arrow here. And the w is what's called presentation mode. Let me zoom out so you can see my page. And this presentation mode is the best way to view your page to make sure it looks okay before you move on. Because for some reason when I hit Escape, looking at your page with all of these other distracting elements here makes it so for some reason, it's always easy to miss your mistakes. So using the escape key combined with Shift W will get you in business and helping you understand what your page looks like much quicker. And I promise you always hit the Escape key because you might not notice your cursor blinking. You'll hit W and then, oh, I made a mistake, hit Escape shift W. And lo and behold, I left a little w here. This is very obvious on a title page. But in the main body of your text, I absolutely promise you, as I've done hundreds and hundreds of books layouts, that it's super easy to leave a W there. So don't make the mistake of the rookie, hit Escape. Get rid of that W and now you can be safe. 13. Navigating the Display: Now at this point in your lesson, you've actually created the half title page of your book. Let me realign that just a bit where I suggested. And there you are. Congratulations. It's definitely a step in the right direction of getting your book to a PDF. Now, you might see that if you scroll up and down, there are more pages to your book, and that's pretty good. But let's say you want to see more if you don't have the pinch zoom trackpad on your computer, what you need to do is go to view. And then you can use these zoom in and zoom out options where you can zoom out or zoom in. Shortcut keys of this are really important because you don't want to have to come up to the menu all the time. In order to zoom in. You'd use Command or Control equals on the PC. And then to zoom out, you would use command minus or Control minus on the PC. So let's try that. I'll hit Escape. I will hold the command key down and I will tap equals. And that will zoom in. And I will hold the Command or Control key on the PC down and just tap minus. And I can zoom out, and that's how I can navigate around on my screen very quickly. Now, depending on whether you have a mouse with a scroll wheel or two fingers scrolling on your trackpad, depending on what type of computer you have, you can begin scrolling up and down through your book. Now you'll also see here that there is a slider that you can drag up and down to use your book. But it's not very efficient because coming over to the slider, pulling down and coming back to your text, overtime eats up a lot of time. And the whole goal of this activity is to get your book done as quickly as possible. So that's how you zoom in and zoom out of your book and scroll around to see where you are. 14. Page Navigation: Now in order to navigate around your book, instead of just scrolling around and you might have hundreds and hundreds of pages of your book. It's very easy to get lost. So what I want you to do now is go to Window and turn on pages. And this brings up the page navigation tool. You can see that mine popped up in the left-hand side of the screen. Yours may appear on the right, but I recommend highly dropping it into the left, just to the left or to the right of the rulers. And by the way, if you don't have your rulers on, go to View and then hide or show rulers and there's a command key or control key for that as well. Hit Escape. And now with the pages navigator, you can get a very good quick overview of your pages. There are master pages here that we'll cover in another lesson. But the active pages in the page panel I'm scrolling up and down, shows us what our book looks like. In order to navigate through this, the act of pages, what you have to do is not just single click. You have to double-click in order to go to that page. Because if I single click on Page 5, nothing happens other than me selecting it. I have to double-click in order to go to page 5. So that's a pro tip that'll get you around real quick. Now you can see the slider here is much longer and you can move around faster in your book by zooming up and down. Now we can go to page two. And as you can see here, prepare for the next step. 15. Title Pages and Nomenclature: Now that we've created our half title page on the next right-hand page or recto page, that is where we will put our full title page. Let me scroll to the top. And you might say, hey, this is my title page. When in fact, in a traditionally published fiction book, there is always or almost always, I have titled page. And then on the next physical page, there is a full title page and that's where you put all of your info. Now again, the right-hand side is called recto, the left-hand side is called verso. Those are the Latin terms for left and right, and that's always used in book publishing. I know it's a bit of a technicality, but if you ever come across that now, you know, now we're going to create our full title page. So again, we will go to the text or type tool, click this, and we're going to click and drag. And we will generate our title, Old Man. And the, oops. And the C. There we go. Now as you recall, we double-click in here and we used, at least I used Minion Pro Regular and 19 font. Traditionally, behalf title is slightly smaller than the full title. So I will hit Escape. Scroll down to the Old Man and the Sea. Double-click on the box here, highlight all of my text. And now I'm going to crank up the text using the font Adjustment tool. And we're going to crank that up to maybe 24. We'll see how it fits. And as you did before, I'm going to convert this to all caps. And then I'm going to center align the text. And now we have our full title. Now it looks like I can enlarge the text a little bit. And I'm going to want to do that just to make it look impressive. Good, I've enlarged the text about as far as you want to do for a title, you don't generally want to push your full title to the margin. Now hit Escape. And what we're going to do is we're going to shrink this text down because I don't want it to overlay and make things more confusing. Now, after I click out of that box, we need another textbox for your author name. You can either go to the T tool here or hit Escape and simply hit the T key. And that will convert the cursor into text. And this allows you to work faster. Now click and drag the box. And now we're going to type your author name. Joe Smith. For Joe Smith. And now we're going to select the text. We're going to center the text. And now we're going to enlarge the font to 20. That's just fine. And then you have to do this by your site. There's no or there are no hard and fast rules of how to do this. Again, hit Escape. Drag the author name down. Perfect. And now we'll click out and generate the publishing company. So again, use the T type tool or go over to the toolbar. Click here and drag another box. And we'll say my publishing company. And again, we will center align the text. And we will make this very impressive. We will make it small caps and enlarge the font a couple of clicks. Now traditionally the Maya publishing company, I will drag it down and that's where it will sit. The styles of title pages are huge and varied, but traditionally it has the title of the book. And if your book has a subtitle, the subtitle would go here. Let's add a subtitle just to give you an idea. All right, line Quran, so title and the subtitle is traditionally always smaller than the main title. It can be in caps or no caps, that's up to you. But it is traditionally always centered. Now I hit Escape. And now you can see I've got my title, my subtitle, my author name, and my publishing company. I will click and drag my author name down just a bit so it doesn't get confused with the title here. Now I'm going to hit Escape again. I'm going to click out here. I'm going to hit Shift W. And I'll zoom out just a bit so you can see it. And now we've created our title page, and the title page is always on the right hand or recto side. You've got your title, your subtitle, your author name, and your publishing company. Hit Escape. And now we come back to the view. And there you go. Congratulations. You've made your first title page. And scroll up with your half title page. And we're well on your way to making your book. 16. Copyright Pages: Now we need to add a copyright page to the book. And that is done after the title page. And traditionally that is always done on the left-hand side or verso side of the page. Now you can make up whatever copyright info you want or you're not even required to add it. But it always makes your book look much more professional. If you add this sin, you're welcome to use this information copyright in as you please. No problem. So what we're going to do is whatever texts program you're using. I'm going to click and drag and highlight all of the text in my program. And then I'm going to go to Edit and Copy and my texts that IT program yours may be different, referred to your computer software manuals or whatever you need to do this and then click into InDesign. And now this is how are we going to paste basic text into InDesign. So now we're going to go to Edit and then Paste. And what that will do is it will drop the text in the page frame. Now note, it is super-important that no other boxes were selected when you do this because it could overwrite that text. So it's very important when you paste is to make sure to click out. See that no other boxes selected are selected, and then do your pasting. Now as you can see, this text looks pretty messed up. We'll fix that momentarily. What we will do is we will click and drag to the upper left-hand corner and then click and drag down to the right. Oh crud. This makes everything look like a total mess. Well, what do we do? You can double-click and begin editing. Printed in USA, United States, first printing or a cred. So all sorts of things can go wrong. When you paste text from a file. You may have to do this and fix things up Main Street anywhere. Gosh darn this thing end up being a total wreck, isn't it? Okay, there we go. Now that's the big risk of bringing in texts from outside files is you may get all sorts of crazy results. And this is totally normal and this is part of the class, is figuring out how to deal with pasting and copying and text. Now, obviously, this text looks like it's pretty large for a copyright page. So what I want you to do, oops, I lost my company. Why there is, we're going to select all of the text. Now normally you could click and drag and highlight and select. But there always is the possibility that you're going to miss the TI, you highlight it, and you don't even know. Instead what I want you to do is go to edit and select All. And that will select all of the text in this box or what's called an InDesign a story. And if you hit escape and you hit the Command key or Control a on the PC, double-click on the text box and hit that. That will select all of your text, guaranteed, it's faster and much safer. Now normally, copyright is never centered, just don't do it. It looks really, really awkward. But we're going to do is I brought in the text and pasting, and it brought the Verdana font, and that's not too helpful. So I'm going to scroll back up to my handy dandy Minion Pro. And now we're ready to go. Now two, you'll see that this actually looks pretty large. So I'm going to hit Command a, and we're going to drop the point size of the font down to pretty small, because traditionally copyright text is there for legal and filing purposes and such. But it's not going to be as big as the text in your book. So now we have something that looks a little bit more normal. However, if you notice here, the spacing in-between all of these lines looks really awkward. What I want you to do is hit Command a or Control a on the PC. And we're going to fix the letting. Now this is, looks like it's spelled leading, but this is called Letting and this is where we learn to do this. Click the down arrow and choose Auto. And you'll let InDesign choose the o would have said be the recommended letting spacing. And you'll see that that fixes all of the interior line spacing, so everything looks better. Now, depending on the file you put in here, there may be carriage returns or maybe all sorts of messages. So we're going to fix that momentarily. But now hit Escape. And traditionally too, this isn't always lined up at the very top. Instead, we're going to use the Align Center. And that is more traditional. The only thing you're technically required to do is add copyright with the copyright symbol, copy, either option and the option key on the Mac or I can't remember what it is on the PC. Now you need to refer to the US Copyright Office for the current laws about copyright pages and what's required. And if you need to register your book and all these sorts of things, that's way beyond the scope of this instruction. But definitely know that there's a lot more to the legal process of copyrighting. But that's all you need to create your copyright page in your book. 17. Dedication Pages: The next step in your fiction book creation is to create a dedication page. Now you are not required to add a date, occasion page. Some people do, some people don't, some people add some crazy stuff. This one is completely up to you, but I'm going to just generate a general safe dedication page. And what we do again is use the type tool or hit the T key. Click and drag a little space here. And I'm going to simply put dedicated to my dearest parents. And there you go. Now, traditionally again, this dedication is centered left to right. I've seen sometimes it's aligned to the right. That's really up to you. Also, this often is italicized. So we will go and italicize the text. Hit Escape. And we'll drag this down to somewhere not quite in the middle. Now you don't need to use the vertical alignment because the box is small and you can just simply drag this up and down. Now let's click out of that space. We'll hit escape and we'll hit Shift W. And let's see what my dedication looks like. I've got my copyright page on the left-hand side or the verso side, and my dedication page on the right hand or recto side. Now we're actually starting to look like a book. And we'll get out of this view. And there you go. We've now got our dedication page installed into our book. 18. Generated Text: Once we get the dedication page setup as following the copyright page, we now actually add the text of our book. The text of your book always, always, always starts on the right hand or recto side of your book. Unless you're writing a book in Japanese or Hebrew or maybe Chinese, I'm not exactly sure. This is important to make sure to start your text always on the right side of the book. Now, what I'm going to do in this lecture, get some generated text for you, see you can get confidence, build your PDF. And then in subsequent sections we'll get more texts in here and work on things. But the goal of this is to build your confidence that you can do this. So again, what we're going to do is get the type tool, hit T. And we're going to click and drag from one margin corner to the other. And now we've got a margin in here. And now what we're going to do is go up to type. And then we're going to go to fill with placeholder text. And what this will do is this placeholder text actually is just as random Latin looking gibberish, but it helps you build up your book quickly so you don't have to deal with other issues. Now, as you can see, the formatting doesn't look very attractive in here. So we're going to show you how to do formatting. But the whole idea is just to get this PDF out. So we've got something for you to work with and know that you're ready to go. 19. Basic Text Formatting: Now that we have some placeholder text here, we can actually do some work and make our book look more like a book. What we're going to do is double-click inside of the text field that doesn't matter where it is. And I want you to hit Command a on the Mac or Control a on the PC that selects all. If you struggle with that, you can always go to Edit and select all. This, selects all of the text. Now in traditional book layout, it is very important to have justified text. You never want to have what's called a ragged, right? You can see the right side of this text looking ragged. So what we're going to do is choose justification in the formatting section of the control panel. And we're going to choose the bottom left, which is basic left justified text. And you can see that now the text is all aligned to the left. Perfect. Now the next thing we're going to do is add some indentation to our texts, just like traditional text. Now this is where you go to here, which is the indentation or first-line left indent. And you will click the up arrow, should choose your indentation. Now traditionally in mass publications from very large billion-dollar publishers, they use about a quarter of an edge. Often. I'll use point 12, 5, an eighth of an inch, maybe pulling 85, but definitely never more than a quarter of an edge. The old school typewriter style of a half-inch indent. That is definitely out. You don't wanna do that. That makes your book look very unprofessional. Plus eats up a lot of unnecessary space. And now we're going to drop this down to a quarter of an inch to match the traditional formatting in most books. Now we have a problem here is once I shifted this text, you can see at the very bottom we have an error. And that is from the text being what's called overset. Let me hit the escape key. And you can see this tiny little red square with a plus on it. That means there's overset text because I took the texts that we generated, added indentation and all this text shifted to the right. So to fix this problem just for the moment, we're going to double-click here, select and hit the Delete key on your computer. And we'll just delete that text until everything is sitting here. Now. Everything looks good there, but there's an issue. The right side of the text still looks a little ragged. And how can I see that? If I click outside of the text and I hit the W key to get rid of the margins. As you look down the right side, the edge, you can see everywhere where there are hyphens. When I pull back and you pull your head back, you can actually see that the edge of the text does not look correct. So what I'm going to do is hit the W key again. Click on the box. And this is where we go to the story panel. And this item alone will differentiate your book from being unprofessional because a lot of other courses, they don't show the story alignment. And that is a huge tell that your book was not professionally laid out. So what we're going to do is click story. And you will see this optical margin alignment. And what I want you to do is click the box. And this caused the texts to shift here. So I will click out. I'll hit the W key. And you will see that these hyphens and the commas. And think again, there are any periods here, But the hyphens and commas, they slightly hanging out of the edge of the margin. And this is important because now if you look at the right edge of the text, it looks perfectly justified. This is not something you can do in Word or any other program, maybe Photoshop. But optical margin alignment is super-important for getting your book looking professional. So what I will do is I'll close that back up. And you'll always double-check to make sure the story is set, but it's so easy to see that difference. Let me turn on story, select the box, and then click, turn it off and then on. And you can see the text shift. That subtle shift is a difference between a professionally laid out book and one that is not. Now I will hit Escape and I will hit W to bring back my normal view. And now all of our text is basically formatted and ready to move on to the next step. 20. Text Box Duplication: In order to copy a text box and move it to another page. The copy and paste operation is just like most other copy and paste operations on your computer. If you go into this textbox and single click it, not double-click it. Because if you double-click, you'll go into text edit mode. So if you accidentally do that, hit Escape and new, new single click this text box, you'll see the corner handles and control show up. And then you can either hit Command C or on the Mac, or Control C on a PC. Or if you're not familiar with that shortcut key, you can go to Edit and then Copy, and then move to the next page by scrolling down. And then you can go to edit, paste and the shortcut for paste, Command V on the Mac and Control V on a PC. Click paste. And now you drop the textbox that you just copied onto the page. And now you can just click this over and align it to the margin. And there you go. And what we're basically doing is just building up a little bit of a book. So that way you can generate a PDF and get confidence that this whole process works. Now the other way to copy text boxes or anything else is to use the Option key on the Mac and the Alt key on the PC. If you look at the mouse here, and I hold the Option key down, and I hover over the text box, I release the Option key. And I touched the Option key, you'll see that the mouse changes. And what this indicates is you're going to copy. So whether you using the Option key on the Mac or the Alt key on the PC. This allows you to copy. So now you can hold the Option or Alt key down. Click drag, and then hold the Option key down, keep holding it down and then release the mouse, and then release the option key. And that is how you copy. So there are multiple ways to copy and paste items. The Option or Alt Option to copy and move items is much faster than the command C command V maneuver. And InDesign is designed to be quick and efficient, but you need the secret little tips that make you faster. 21. Pages Panel: So now I'm going to show you how to add and delete pages. In the book. You can see all these pages are blank here. So what we want to do is we're going to delete them. To delete the pages you left-click on the first page you want to select. Then hold the Shift key down and click on the last page you want to delete. Then you come down to the trash can and you hit delete pages. Now in a book, every time you have to make sure the book ends on the left hand side. In order for this book to be printed. All books have a requirement that there are an even number of pages. So let's say, Oh, you move along, am Dang, I need to add some pages. If you click on the last page that you need to add two, you can either click here to create a new page, and click here to create a new page. You can march along or can right-click and Insert Pages. And then you can say how many pages you want to add. Let's say I need to add 10 pages. And then you can end insert the page wherever you want. On the current page we've selected before the page at the start or at the end of the document. We're going to add it to the end of the document, and we're going to add ten pages. Don't worry about the master yet. We'll get to that in a moment and hit. Okay. And now you can see that we've added ten pages to our document. So that's how you insert and change around pages in InDesign. Going to double-click here and look at our book. And again, there you go. So now I want you to click on these last pages here. Scroll down, hold the Shift key, and then click. And then I'll show the other way to delete pages is to right-click on one of the pages and going delete spreads, because these are spreads. Delete the spreads. And now again we end up with the same situation. Indesign gives you multiple ways to add and delete pages and generally to do everything. Now this is a good point to note. This is a page, but this is what's called a spread. So that we can do, don't get confused. If you choose an individual page and right-click, you'll see delete page. But if I hold shift down and click and select two pages, you'll see delete spread. For some reason they always only do Insert pages, but you can delete a spread or you can click and select and delete a page. Now do note, if I click this page and then I hold Shift and click Page 9, you'll notice that if I individually now click eight or nine, it won't de-select the other page. It's a peculiarity of InDesign. So once two pages or a spread is selected, you need to click outside and then don't worry about the highlighting. And then reclaimed to select an individual page. If you go to the other pages, you can select it. But it's not highlighted because it's not in view. So double-click and now that pages in view, if you scroll down and you see this page, the highlighting doesn't change until you click in the page. And then the 89 or 67, or scroll up and page 4 and 5 are selected. And that's just how the Pages fly-out and the panel work is. It's a little bit different than most programs because you click to select, but you double-click to go to. And it's important to make sure to do that because it's super easy to make a mistake when you think you've selected something, you copy and move and change, and realize you actually haven't gone there. It's super, super easy. So avoid that mistake at all costs. 22. Generating PDFs: Before we do anything, I need to make sure to save my work. I just saved it in the background. But you want to go to File, click Save. And then we're going to go the desktop. I just called this test. You can make the filename, whatever makes sense to you. I'm going to save it in an InDesign CC 2019 document format. There are other formats that we'll talk about later, but that's how you want to save it. And you hit click Save, and I will replace my existing file just like you would with your computer. And now we can do the export. You go to file and then scroll down to export. And we're going to drop our PDF onto the desktop just for convenience. And you'll see the format here. You click that there are a lot of different formats. Epubs InDesign, JPEG or thing. We're going to make a PDF for print. That's what we're after. And then use the InDesign document name as the output filename. That's fine. You can click this and then use some other name if you want. And then you hit Save, and now you come to the PDF interface. Now, depending on the requirement of your printing company, whether you using an offset, a large production, kVp from Amazon, Ingram spark from Ingram or smash words or anybody else, you need to get the standard that they require. Pdf x dash one, a colon 2001 is a great standard. It's the most primitive, but it works just about everywhere. Most everybody can use PDF X3 2003. So that's what I go with here. And that generates compatibility. The lower the compatibility, the more likely you will have less problems with your file. Then the description here is generated from this setting and this setting. Now you're going to want to, for our version, export all pages, not the range. You want to export them as pages and not spreads. This is incredibly important because if you export a spreads, it will totally mess up your file. So make sure it's chosen as pages. Use your layout as default. Don't open as full-screen mode right now. It's very convenient to check the View PDF after exporting. So you can just see the PDF instantly. You have options here, embedded page thumbnails optimized for web view, create tagged PDF. Export layer is visible and printable. There's a lot of stuff. But if you just make the checkboxes look like mine, it will work just fine. Don't bother with including non-printing objects because we're not doing that and you have no interactive elements. The next thing you need to do is go to compression. Now because I don't have any pictures in here, this shouldn't be a problem. But I just wanted to show you that if you use these settings for other pictures, generally you shouldn't have a problem. If you go to marks and bleeds. We're not going to add any printers marks. That's an advanced topic. Don't worry about that. If your printer requires them, they'll tell you what to do. But make sure to turn on use document bleed settings, make sure this is checked. Even though we don't have a bleed in our document and we'll discuss that in another lesson. It's safer just to leave this checked and don't worry about the slug, your output. We won't have any color conversion because there is no, there are no pictures in this. So you don't have to worry about the ink manager profile or any of that Advanced. Don't mess with anything in here unless you're adding pictures. And then if you're using a picture, make sure to go to the high resolution flattener that works the best. Security. Do not put a password in your book is a mistake. I promised you that. And then go to the summary and then you can read all of that exciting material. And now you click export and our book immediately pops up. If you had a bigger book, there's a little indicator here that will move up and down indicating the book is exporting. But now I will shrink this down so you can see it in preview on the Mac or Adobe Reader on the PC. And we can see our book. There we go. Now I can see this page by page which isn't that exciting. So if you go to View and then command where we sorry, You go to here view and then Command 3, which is VW. Two pages there it is, sorry, few two pages now. And this is only available on the Mac and Adobe Reader. They have a different software, a command interface, but you just want to make sure to view the book as spreads. And now if I scroll to the top, you'll see the single page. But when I hit the down arrow, you can see exactly what the book is going to look like. And then I hit down arrow, hit the down arrow. And then I get my copyright page on the left. My dedication to my dearest parents. On the right, I hit the down arrow and there's my first page in my book. And then that's the second, third page at the down arrow. And finally, the last page in my book. So the book is 10 pages long. You are ready to go. Congratulations. You've just made a PDF out of all of this stuff in InDesign, and you're well on your way to completing your entire fiction layout or your book. Obviously there's a lot more to it. But hopefully this gives you the confidence to know that you can at least do this process. And I'll take you through it in subsequent lessons. 23. Removing Paragraph Styles in MS Word: In order to prepare your Microsoft Word document to be imported into InDesign with a minimal amount of problems, you need to make some changes. The first thing is to remove or neutralize all of the paragraph styles in the document. Now if you're familiar with these, it works pretty well. But when you do an import into InDesign, InDesign will bring in these styles and it can cause you a lot of work. So if you are using a modern version of Word after 2007, and you go to the Home tab, you'll see this ribbon here. And these here are what are called Paragraph Styles. Now, if I come down and I click into this paragraph here, and I click the normal style, you'll see that the change happens with the font size, the layout, and everything. I'm going to go and edit and undo, apply quick style. And what you need to do is you really need to eliminate all the different styles in these paragraphs. Do note though that you can select your entire document by clicking into it and hit Command a to select everything or go to Edit and select all either Command K on the Mac or Control a on the PC. And that will select the entire document. So when you go to the ribbon interface and you choose Clear formatting, that will clear the formatting of your entire document all in one shot. So it's not as though you have to click every single paragraph and you document that would be pretty mind numbing to do. In order to remove these paragraph styles. What you do is you click into your single paragraph here. Then you go up to the ribbon or interface and you'll see this little down arrow. You click that down arrow, you come to clear formatting. And you click Clear Formatting. And what that will do is remove all the other formatting marks and everything in the particular paragraph. Obviously, this is going to be a lot of work to remove if you've already done this. But it does save you time later as you get into InDesign and you had to get rid of those paragraph marks and everything there. One thing to note though, is I'm going to go to Edit, Undo clear formatting just to give you an idea of what you might run into, I'm going to highlight these few words here. And I'm going to make them italic just to simulate something that you might run into in your manuscript. Now I will click back into the paragraph. I will go up to the ribbon interface and with the paragraph styles, and I will click Clear Formatting. Now here you can see no one gave a thought is still italicized. So when I import this document into InDesign, the italics will be carried forward. And that's a big thing because often they're italics in your manuscript for whatever reason you might have. So that's something you need to confirm with the current version of Word that you might be using is how to remove the paragraph styles without removing all the formatting. Again, you do not have to do this, but this saves you down the line from doing more work in InDesign when you import your Word document with all these paragraph formats in it. 24. Handling Special Characters in MS Word: In order to remove the hidden characters that might be all over your manuscript without you knowing, you need to turn on Show invisible characters. And the way to do this in Microsoft Word is to click on the Home tab showing the Home ribbon. Expand your window enough so you can see all these controls. And then this little paragraph symbol here, the Show Hide paragraph. If you click that, you will see all the sudden all these little blue marks all over the place. And what these are, they are the non-printing characters that can affect your layout and InDesign. Now the reason that you usually want to do this in Microsoft Word is it's generally easier to see these things and see the impact. Once you get it in InDesign, I'll show you how to find those characters as well. But it's better to make a clean manuscript if at all possible, because you end up with characters like this non-breaking space or this forced line return. That's not a carriage return. You'll also see tab marks that shouldn't be there. All sorts of things that can impact your view and understanding and cause trouble later down the line in your importation, should you not be able to find the paragraph symbol showing, Show, Hide. I'll shut that off. What you do is you go into Word and Preferences on the Mac, or you go into file and preferences are properties on the PC. Please refer to the current documentation of Microsoft Word to get it right. And then you go into Preferences. And then under Preferences, whichever version of Word you're using go into view. There, you'll be able to see the show non-printing characters if you just simply click All and then hit the back button, all the sudden you will see these non-printing characters as well. And that way you can see if you've got all sorts of other stuff that you really had no idea about. Things like double spaces before a paragraph, or just triple spaces or spaces and tabs that can all cause problems in your layout. Now, yes, it does take some time to go through them, and it depends on how many you have, but it will save you time later down the line if you can fix things as you're going along in your Microsoft Word document to make sure your layout process goes smoothly. 25. Removing Tabs in MS Word: In your word manuscript, you want to make sure to remove the tab marks that you might have accidentally put in your document prior to importing your Microsoft Word document into InDesign. This helps save you trouble down the line because tabs have a slightly different meaning in InDesign than they do in Microsoft Word. In order to see these tab marks that are here, make sure to go back to the lesson on finding and removing special characters. Go and turn on the show and hide hidden marks here. And then if you have any tab marks, you'll see them right here. They have a little right arrow that's highlight or it is in blue. And so if you don't see them, you'll just wanted to check for them. You actually can just simply, I'll put a tab mark in here. I will hit the tab key, and this will generate a tab mark. Now I will click and drag and highlight that tab mark. And then I will either hit Command or Control C on the PC or Mac, or go to Edit and then Copy. And then in search document, I will click in here, and then I will select Paste. Now you cannot see the mark or the tab mark. But as you can see in the Microsoft Word document, you can see all these tab marks highlighted. And those need to all be eliminated if at all possible prior to importing into InDesign. And then in order to search and find these tab marks, you can use the left and right arrows to March through and fix them. It's often people aren't familiar with indentation controls and tab marks and paragraph controls. So people just use tab believing that it works just fine visually in Microsoft Word, yes, but in book layout where you're generating a PDF and all these tabs mean something. These actually cause you problems later. So make sure to go through and take these guys, click here and delete them. Now obviously, you might see that, hey crud my indentations disappeared. In another lesson, I'll show you how to manage paragraphs so you don't have all of these different issues hanging around and you have a clean import into InDesign. 26. Remove Extra Spaces in MS Word: In your Word document, you want to make sure to remove the extraneous spaces that might be all over your document. In order to do this again, turn on the Show Hide paragraph marks. And then as soon as you do that, you'll see all of the little blue dots and in-between every word. However, you might see some extra dots that are littered all over the place. You want to go remove these from your document before you import into InDesign, just to make things a little bit easier. Because often as you can see, sometimes people use tab marks to indent. Other times people use spaces. Or let's see if we can find another example here. Oh, you only maybe, perhaps use two spaces to do the indentation. Whatever the case is, you do not want these extraneous spaces in there because they again will cause trouble with your InDesign import. And so often, back in the bad old typewriter days, people used to use double spaces after every period in order to space between the period and the next sentence. Some people do this, some people don't. This is an absolute do not do because this causes formatting problems in your InDesign layout. This is a throwback from the battle dying. So the typewriter, and you do not need these extra spaces in here. In order to find these extra spaces. What you do is you highlight and then click and drag, and then right-click and copy. And then go to the Find tool or search document, right-click and paste. And now as you scroll through everything that's highlighted will be an extraneous double-space. You might even see some of these non-breaking space characters. There's all sorts of stuff that can be littered through your manuscript. So you want to make sure and go take care of this. If you happen to do double-space after every sentence, what you can do is go to edit, find and then do the Replace tool instead. And then you can put space, space. And then in here just put a single space. And that will allow you to automatically marched through your document and find all these issues much more efficiently in just by clicking the replace. That way Microsoft Word can advance much faster than you having to click each individual item. That's a good time-saving trick is to use the Find and Replace. And after you do a single pass in the document, make sure that you do this again, because often when you end up with triple spaces and all sorts of things, the double-space check won't pick them all up. I've had documents where I had to make this pass five different times before I clear it out all these spaces. And by removing these double spaces before and after in paragraphs as well. That'll save you a lot of trouble later. As you can see here, this paragraph mark is followed by these spaces with an indentation. You don't want these spaces here again because it will make your document look like a mess once it's in InDesign. So any spaces before a paragraph, you don't want them in there at all because they simply cause more trouble. 27. Single Fonts in MS Word: Unless your manuscript has a specific requirement to have different fonts, whether you need a sans serif font or a serif font. You'll learn all about those in another lesson. Make sure that when you're making, in writing your manuscript, you stick to a single font. Because when you import into InDesign using your Word document, InDesign will see that this particular font and this particular font are different. And it will make a note of that and bring it into your book layout. And if you don't catch that, when you go to print your book, it will actually look like a mess or something's wrong because the difference between a serif font and a sans serif font in the particular manuscript that you have could actually convey a meaning to the reader. So make sure that whatever you're using here, like this particular text, has the Calibri body font. But when I click in this text, you'll see that this has the Times font. And this can really cause some issues. So unless you have a specific need to make sure you have different fonts for some offset text or special thoughts or something. Make sure to go through and fix the fonts before you import into, into InDesign. That way you can save yourself time and trouble later. 28. Paragraph Management in MS Word: In Word, if you're struggling with your indentations and controls and spaces and things, you can actually use the paragraph management tool inward to make your life a lot easier. Cdl end up with all of these extraneous tabs and double spaces and things. What you can do is right-click on any paragraph, go down in the flyout menu to paragraph. And here you can actually control the indentation, the right, left, and most importantly, the special tool here. The reason the special tool is so valuable is you can tell the paragraph to have a first-line indentation by a half inch or a quarter inch or whatever you need. So it's easier for you to write and edit your manuscript. Also, make sure you remove all extraneous spacing before and after your paragraph because that will import into InDesign and that will cause a lot of problems with your layout because you'll get these weird spaces before and after your paragraphs. It looks like that there is an extra carriage return here. But when in fact, I click in this paragraph and I hit the up key, Hey, wait a minute, there's no extra paragraph. And when I come down to this paragraph, I hit up and down. And all that's really weird. I wonder why that spaces there in InDesign, in book layout, everything actually matters. All these little spaces and everything can make your book look very unprofessional if you don't control them. So the best way to do that is to go into the paragraph tool and make sure and select all of your text. In fact, I'll do that now. I'll hit Cancel. I'll click into one of one paragraph and then I'll hit Command or Control on a PC and a that will select my entire manuscript. And then I right-click, go down to paragraph. And then before or after I will go to 0 spacing. And then I will click 0 spacing loops, not minus 0 spacing here. And now with special first-line indentation of, let's say just just under a quarter of an inch and I hit Okay. And all of a sudden, all that mess in my India or in my Word document actually gets fixed. So when I import this into InDesign, I don't have as many problems and spend far less time fixing these troubles that are really much easier to fix when you're in Microsoft Word. 29. Tracking and Comments in MS Word: When you're working with Microsoft Word, you may use track changes or reviews and markups to edit your document with your editor or for your own personal use. However, you want to make sure that all of the comments have been removed and the markups had been accepted and track changes or off and turn everything off and get rid of that stuff. Because depending on the version of Microsoft Word you have and the version of InDesign you have. It may be possible that InDesign will pull in your comments and everything. I've had this happen. And you'll see this comment may be important to InDesign in the design. I'm going to refer you to is look at the specific instructions for your version of Microsoft Word under the operating system, whether you're on a Mac or PC or anything else. In order to make sure to take care of these comments, track changes and markups simply because there are so many variations, I don't want to try and add that in and say, Oh, and year microsoft changes it. Just know that you need to go into the Review tab and look at the Ribbon interface and make sure it's all clear. C, you have a clean document to import into InDesign to prevent problems or seeing comments in your book layout. 30. Grammar and Spelling in MS Word: Before you begin importing your Word document into InDesign, make sure you do a last pass on the grammar and spellcheck tool, even though you may have used this tool constantly throughout your use and editing of your manuscript. Just give one more spelling and grammar pass before you import it. 31. Paragraph Formatting in Google Docs: In order to use your Google Docs manuscript with the least problems in InDesign, there are a few changes you need to make before you do the export to an RTF or a Word file and before you import it into InDesign, the first is removing as much of the paragraph formatting as you can. Because depending on the version that you're currently using, Google Docs and the version of InDesign that you might be using. All of these paragraph formatting items might get brought into InDesign and it'll make it tougher to do your book layout. So in order to change the format and paragraph styles, you simply click on Format and go to paragraph styles. You went to go to normal text and make sure applying normal text is selected. Because there are all sorts of options would defaults and styles and all sorts of things that people use in Google Docs. Now, depending on when you're watching this video. Over the years, Google may change the Google Docs interface, and they may change how the normal text and apply and title and subtitle and everything works. So I definitely refer you to their current documentation for that. But the goal is to make sure you using a normal text style paragraphs simply because it'll cause less problems down the road. 32. Special Characters in Google Docs: When you're using Google Docs, you may accidentally introduce invisible characters that affect formatting later, but they don't affect your text as writing as a manuscript. Now in Google Docs, that basic current design is that you can't see these special characters like you can in Microsoft Word or scrivener or anything else. However, Google Docs supports add-ons. And these add-ons can be found in the add-on menu. And there's a show tool or an add on. Let me show you here, go to Manage add-ons. And there is a show tool here. Now granted currently doesn't exactly have the best ratings. But this tool is very useful in that it can show you the special markups and characters that might be hiding in your document. So I will hit Show All and we'll see what sort of things are in my document. And you can see these little arrows that indicate I use tabs. Let's see what else is in here. Another tab there. Hey, check it out. Formatting a different type of character, line change, all sorts of stuff. Now show isn't that great? Because it doesn't show me other non-breaking spaces, spaces and such. And I also refer you to look at the current ad on documentation for Google Docs to see this. But your goal is you want to make sure to get rid of these extraneous, strange characters because they will impact your layout. Now, again, hopefully by the time you read this and listen to this, that Google Docs will have better tools for you to find all of these characters. Because even though you can't really see them in the layout without this special ad on when you go into your layout in InDesign, that is the layout and Google Docs transferred to InDesign, these things will actually start causing problems. And I know it's a bit of an odd concept of why should these paragraph returns and carriage returns and different characters mess stuff up. But believe me, once you get into the actual book layout and all the little technical niggling details that you get when you import a manuscript from Google Docs, believe me, you'll start to care. 33. Tab Removal in Google Docs: In Google Docs, you also want to make sure to remove any of the extraneous tab characters you may have introduced to indent the first line of the paragraphs. Now you may notice that this indentation does not match this paragraph indentation. But there's no indication of why that is on the ruler here you can see the left margin mark and the first line indentation mark. The current version of Google Docs has this indentation control where you can slide and adjust the indentation of a paragraph. This is the indentation you want to use and not the tab tool. In order to see the tabs, you need a special ad on, which is currently called show. But do look at the current documentation for showing special characters. And when I click Show All, all of the sudden some other special characters like line breaks. And then tabs show up. This little tab means something slightly different in InDesign for your layout. So when you're actually doing your layout, tabs can cause a lot of problems. So what you need to do is come in here and delete these tab marks in order to make your book look correct. Now you'll notice I'm hitting the backspace and there are all sorts of random spaces and strange things going on. You want to get rid of these spaces as well. That's a little bit harder to find in Google Docs because at least at the recording of this video, it doesn't have the advanced interfaces that other tools do. But hey, you can't complain because it's certainly a free tool and quiet powerful. So what I recommend doing is getting the show add on or other tool where you can see the extraneous characters and make sure you get rid of these extra marks. And then use Google Docs standard first-line indent tool. Because this first line indent tool is visual and it doesn't leave random characters laying around in your manuscript that will import into your InDesign book layout and cause you trouble later down the line. 34. Removing Spaces in Google Docs: Azure, nearing completion of your Google Docs manuscript, you want to make sure to start deleting all the extraneous spaces throughout the document. One of the challenges with the current version of Google Docs is it's really impossible to see if you've left any random spaces in the document. Like say I click here space, space, space, or I click here and add a few spaces for an indentation. There's no way to see that. However, when you bring this document into InDesign, it's going to cause a lot of problems with the layout and make your design look inconsistent and unprofessional. The best way to find these extraneous spaces right now in Google Docs is to go to Edit and then find and replace. And this Find and Replace tool, you can't move it around or anything because this is a web interface. But what you do is you hit space, space. And now you'll be able to see these random spaces, double spaces after a triple spaces after periods. And maybe some spaces you introduced in another paragraph or heading, all sorts of things. And then you can go through and replace them with a single space. Note that you should never have double spaces after a period. That's a throwback from the old bad typewriter days. And the computer software nowadays adds the correct spacing. So never use double spaces after periods, and also saves you a lot of time. So finding these double spaces in Google Docs is a bit more challenging, but you can do it. You can actually remove these things in InDesign, but it's better to bring in a clean layout and make life easier as you work with your manuscript from Google Docs. 35. Setting Single Fonts in Google Docs: Another thing you want to make sure to have is a consistent font throughout your entire Google Docs manuscript. Because when you export this to an RTF or a Word file to prepare it to import into InDesign. Indesign will pick up all of these different fonts and it'll just give you a lot more work to do. As you can see here, this paragraph, font is actually different than this one. It's very subtle, but you don't want these errors to creep in when you're in InDesign. So what you do is you click in your text and you come up here and say, Wow, okay, this is EV Garamond. That's what I like. But I click into this paragraph in this text, and all of a sudden I'm using Times New Roman right here. So even though it doesn't look very different when you go to print your book, believe me, it will be a big, big problem. Let me scroll to the top and show you a more dramatic example. This particular font is an aerial, and this particular font is n times New Roman. Now obviously this is much clear in the difference here, and that just causes more trouble. So you can hit the Command key or Edit and then select whatever you need to do. And then with the command a key, you can then go and change your font to Arial Garmin or whatever you need. Now, do note, if you have special demarcations with a different font to indicate something special or a thought or a different scene in your book, then obviously this function won't work. But if you don't have any of those considerations or font changes, just change the font to one particular one throughout your manuscript. And then when you import, you can fix everything up. It just makes life a lot easier with one consistent font used in Google Docs. 36. Spelling and Grammar in Google Docs: Make sure right before you launch your Google Doc into InDesign, you do a final check of the spelling and grammar. I don't know how many manuscripts I've received. Where I've had authors say, Oh yeah, I've, I've double and triple check this. I've run spent spelling and grammar check. I've had three people edit it. And I get the document and there are errors in the first or second page of the document. Just believe me, it's easy to think, Oh, you did this. But before you go to all the effort of going through and checking out everything and doing the book layout is just come and do a quick extra spelling and grammar check and marched through these issues. Because believe me, it was easy to accidentally type an extra W. And here you have a 100 thousand words and you have no idea, and you have a typo in your first paragraph, it's just easy to miss. So definitely do that before you import into InDesign. 37. Export for Indesign from Google Docs: There's no way to take your document directly from Google Docs into InDesign because InDesign is a program that runs on your computer. And Google Docs is a web-based browser application that exists in the Google document file system. In order to take your manuscript into InDesign, you need to export it or download it from Google Docs onto your computer. There's the only way to do this currently and read the documentation on Google Docs because this may change based on the recording data. This video is that you go to file and then download. There are multiple options here, but the two that I would recommend the most is using either Microsoft Word or Rich Text Format because these preserve all the italics and Bolds that you might have used in your document. Also, if you had any special indentations or font changes and everything, even though I recommended going with a single font, your manuscript may have required that you use a different font. So if use plain text that will strip all of the italics and formatting out. Open document files are open document format is good too, because that is a free program. If you don't own Microsoft Word, you won't be able to see your document so if there are problems. So the safest bet I recommend is always rich text format, because that will always work into InDesign, at least for now. So you click Rich Text Format and you can see the document is downloaded here, depending on what web browser you're using and what operating system on a PC or a Mac. This is where you going to need to look at your computer documentation to see where this file is downloaded. And once you get this file downloaded, then you can get it into a folder and start doing the importation process into InDesign. 38. Placing Manuscript Files: In this lesson, we're going to place a manuscript in RTF file into our InDesign document using the skills we've learned. The first thing we're going to do is to create a new document so we can start fresh with the document that you've got from the resources file that you can download. And what we're going to do is make this a six by nine inch book with orientation and everything's set up as you see here. One column. And we're going to make the top margin one-inch, the bottom margin, 0.75, the n-side 0.88. And I'll explain that in another lesson. And the outside 0.75, the bleed and slug are left at 0 because for the fiction book, we don't need to do anything with that. And once you get this whole setup, then you'll be ready to rock. So what we do is we hit Create and we get a blank book. Now as you can see, the margin doesn't look balanced because this is the spine area of the book. And there's a reason for that that we'll get into later. There are several ways to place a document into the book. I'm going to demonstrate the most classic way to do it. And that's using the place tool in file. If you go to File and then go down to a place which is Command D or Control D on the PC is a shortcut and click place. Then you can search around on your computer and find your document. Here we've got Pride and Prejudice by Jane Austen. This is a good sampler. It's out of copyright, so it's completely legal for you to play with in use, and it's no big deal. So what we're going to do is we're going to select this file. And then we're going to go to Show Import Options and click that just so I can show you how to deal with that. And then you simply click Open and then you are presented with this interface. You can include the table of contents, index, sex, footnotes, typographer quotes, and then either remove or preserve styles and formatting in your text. And then this is something you're going to have to experiment with, because depending on what you've done with your manuscript, you may have Italics, Bolds, who knows what. So you have to experiment with your particular manuscript. I'm going to leave preserve styles and formatting from tables and text. There aren't any tables and text, but there are some italics in the text and leave everything else as you see here. Traditionally when I do an import, I don't ever referred to this unless I've got something special going on. And then you simply click OK. And now you move your mouse around, you'll see the mouse cursor has dramatically changed. And what this is is the text in your book. Normally what you would do is simply go up to the corner and click here, and this would drop the text into the margins space. However, this book is going to be a couple of 100 pages long and we don't have to keep clicking and clicking. So what you do This is a good quick pro shortcut. If you come to the very corner here and place your mouse, and then you hold the Shift key. And then when you hold the Shift key, you'll see that the little text area there turns into this sideways S with an arrow. And again, I'll turn on my shift key. So you can see that change. And by hitting the shift key, what will happen is the book will auto create as many pages as it needs to fill this space to allow the text to land. So instead of having to click hundreds of new pages, click, click, click, click, click with the new page tool. We're simply going to use this quick pro tool to get you going. So you just simply hold Shift, place your mouse exactly in that corner, click, and then wait for a moment. And depending on the speed of your computer, the book will auto fill the entire manuscript. Now, as you can see here, we've got Jane Austen's Pride and Prejudice, prejudice sarin, and you've got some titling and everything. We're going to move that to another page. And as you can see in the pages panel you scroll through here. We ended up at least straight away with a 334 page manuscript. So if I double-click on that last page, had been the means of uniting them. That's it. So now, that is the easiest and quickest way to place manuscripts into your InDesign document and generate all the pages automatically, rather than you having to worry about how to do this manually. 39. Fixing Overset Text: Let's say for instance, you go to do the File Place and you fail to use the Shift-click method to place the text and it just generates one page. Let me illustrate that. I will go to file and place and then I will take our document, the Pride and Prejudice volume one. And I will hit Open. And I'll just accept the settings as is not very important for this lesson. And you come to the corner here and you simply click place the first page of text. Now you can see that this huge manuscript is only stuck on one page. However, there are two things to note. One, this little red box with a microscopic plus and it is an indicator that you have what's called overset text. That means there's more text to be displayed then can be shown in this box. Also in the very bottom, there's an error. So if you hit the down arrow next to the air and bring up what's called the preflight panel. This preflight panel will show you that a and there is a problem. See you simply click on this little chevron a, I got a warning overset text. And then you click on this and it shows you the preflight panel shows you what text frame on what page is the problem. And I just double-clicked on that and it shows me, Hey, there's a problem and oh yeah, there is the issue. You can also click info here to get more problem. And the problem says overset text, 680 thousand plus characters are overset, meaning I completely missed my entire book. And this also gives you an idea of what to do. Edit the story ad text frames to the story thread, resize. So you've got some certain options. So if you do that and you don't want to go back, you can simply do this trick. All you do is go to the pages panel here. Click on the new create, new page. We've got a single new page here. And we've got this new page. And what we do is we go over to this box, click once, and you may have to click a few times. You will single click once to select the box, and then single click again. The red goes away and you'll notice this text here. Placement as a placement cursor. You'll come over to the next page and you will click into the edge of the margin and InDesign will drop the text. Again, we have the same problem of 0. We've got an error here. We still have an error in the overset text. So we'll have to keep doing this. Instead of doing this for three or 400 pages. Instead, what we'll do is we'll click a new page. We'll scroll back here and do the same process of selecting the overset text. And because the box is already selected, I only needed to click once. Make sure not to double-click because that's another action. Come up to here into the corner of the margins. And now we will hold Shift down. And you'll see the cursor, mouse cursor changes a little bit to this little squiggly S, and then you click with the mouse holding the Shift. And depending on the speed of your computer, InDesign will rapidly add all of the pages necessary to contain the manuscript. In this case, Jane Austen's Pride and Prejudice. And that is how you handle the overset text air. And now you can see in the air indicator here, there are no errors and you're good to go. So that's how you deal with overset text and it's important to do an error check before you launch your book out because it's so easy not to see that tiny little square there that's red. You'd best to go look here and do a quick brief flight check. And that will keep you out of a lot of trouble when you're doing your book layout. 40. Adding Text with Copy Paste: It is actually possible to just copy and paste text into InDesign as well. Let me pull up the document here. I will pull my screen over. And you can see we can just open Pride and Prejudice and double-clicking. And it comes up in my text edit window or whatever software you have on your computer. And I can simply click into the text with a double there, the cursor blinking. You come to Edit and you do select all. And then if you're familiar with shortcut keys, you can do that on your own, but I'm trying to illustrate it, so it's easy to follow here. But then you go to Edit and Copy. And now the entire manuscript is copied onto the computer's clipboard. It's invisible, but don't worry, we'll be able to show what it's going to do momentarily. Then we're going to go into InDesign, click here. And then all you do is simply edit and paste. And now the entire book is set into this text box. Now as we learned in a previous lesson, you know how to move text boxes around and line them up. As long as the handle or control corners are visible. You can click into the box and drag it into the corner and it should snap into the corner. If it doesn't snap, meaning it feels like it just jumps into the corner a bit. Make sure to refer to the lesson on snapping to fix that. Then you simply drag this corner out. And now your first page is placed into your document. And as you can see here, we have an overset text air. And with this tiny little square we can see we've got a problem. So what we're going to do is simply go over and create a new page by clicking the Create New page item. And we'll have a blank page. You come back to the first page that we're working on. And you click once on to the box and then a second time slowly so you're not double-clicking and this is an important point. Don't click click because the selection action will be different. And then you click on this little red box again, scroll to the second page, and then again hold Shift down, click into the corner of the margins. And then depending on the speed of your computer, it'll take a moment and then voila, all of the pages in your book are set, so it's very easy to get text into InDesign. Even if you don't have a compatible program. Like say you're using OpenOffice or Apple Pages or some other thing, you can actually bring text directly into InDesign without having to have a compatible file type. Now, you don't get the options that you did if you go to file place. And then let's just select our manuscript again with the Show Import Options. By hitting Open, you have a lot of options here that you can choose from if you so desire. But if you don't need them, you don't have any formatting marks, then it's no big deal. But if you have text that has italics and things like that, you do have to be little bit more careful that way. You don't make an error and then trash all the italics and everything else that you've done to make sure your manuscript looks good. So that's how you take text out of a document and literally do copy and paste. So whichever option you want to use, you've got multiple ways to get text into your InDesign document. 41. Linking Files: As you're working on your InDesign document, you may discover that you need to make some edits as you've gone along, it is possible to link your document back to the original file. So if you want to make some changes in here, save them, and then have them reflected in your InDesign document. You can do that. However, the big risk is if you do a lot of effort in changing and preparing your InDesign document, and then you go back to your original manuscript to edit it. Because let's say you're using Word or Google Docs or Scribner. And it has a better spell checker and a better grammar checker. Once you do the changes in here, and then update them into Manuscript, all the formatting and adjustments you've made in the InDesign manuscript where the layout will be lost. So you've got to debate if it's worth it. So I'm going to show you how to create a link to your original document and then you have to decide what you wanna do. Pass that. What you do on the Mac is go to InDesign preferences and file handling. And on the PC you would go to Edit and Preferences and then File Handling. And then you feel remember this interface from a previous lesson. You go down to File Handling here and then you can click what's called create links when placing text and spreadsheet files. If you do that, check that box and hit Okay, what we're going to do is now demonstrate in a new document what happens. So again, we're going to go to file and place. And this, by the way, only happens with place. It doesn't work with the copy and paste method of landing text in your document. You will again hit the RTF file. You will hit Open. Same sort of process where we're going to go and land our text in the corner. And you'll again, of course, hold Shift click down to save yourself a lot of work. You'll click in the corner and weight. And now, once your computer is done processing, you might notice this little chain symbol in the upper left-hand corner of that textbox. That link indicates that the textbox is linked, so some other file or object. And the way to see that is to go to the Links panel, which is right here. And you can see our document LinkedIn to what we're working on. Now. The danger of that is if you need to go make edits and come back and change things, like I said, you're going to have some problems. If you don't see the links panel. By the way, you can always go to Window and links and then link it up. So once you've decided that you're all done, it's actually very important to make sure and unlink your document. Because as you move your InDesign file around, this file could get separated from the original manuscript. And if the original manuscript disappears, you're going to have a problem exporting your file. It'll create errors. Let me create the situation. One moment please. So I'm going to rename my file. And now I'm going to come into InDesign here. And since I renamed the file on the computer, let me show you that. You can see that I've renamed this Pride and Prejudice Volume 1 a. Now that I've hit a, I come back into InDesign and you can see this air. You can see the link error here and an error in the corner. This is going to cause me trouble later because InDesign is going to potentially complain about I can't link, I can export. So once you're done with all the changes and everything that you need to make, you definitely want to make sure to unlink it. So what I will do is I will go back to my Finder or File Explorer and we'll change the name back to what it originally was. We'll come into InDesign and hopefully in a moment it will pick it up and sure it did. That error went away. So it's still inDesign, still knows where my file is. And then the key thing here is once you've done these changes and you're all set to de-link. Make sure you do. In order to do that, click the file here, and you can right-click and go to unlink. Or you can go to these four little hash marks and click what's called the flyout panel. And then click unlink and watch. Over here. What happens? I click on Link and I wait a moment. The file disappears from here. The link disappears from here. And now, if I go to my file, click volume, and we're going to rename my file a no big deal, just something else that InDesign won't know. And then you'll notice I don't get any errors. So if you want to do the linking method of linking back to your document, so you can work on both. Then you're going to have to make sure to unlink the file before you launch. Now it doesn't seem like a big deal now that hey, I've got my manuscript, I've got my file, I'll never unlink them. Come six months, a year or two later and you need to make changes. I promise you, you might lose that file. Or if you send this InDesign document to someone else, they will have the InDesign document, but they'll have that error. And it's very annoying and difficult to clear. I've got a YouTube video on that. It's a whole side process by just want to let you know that you're going to set yourself up for problems if you use links and you're not careful. So that gives you the ability to link to old files or current files and then make your InDesign edits and layout. Just again note that if you do that and you make edits in your document here, and you've done layout work here. In InDesign, all of your work will disappear and be overwritten. That's why I don't use that method anymore, but I want to let you know that you do have the ability to do that in InDesign. 42. Moving Manuscript Text: As is often the case, you might end up with your title, your name, your publication, or some other notes before the beginning of your chapter. You don't want to get this stuff mixed into the chapter because it makes it much more difficult to edit and work on your layout. So what we're going to do is we're going to add some pages before this first page and remove this text. That way. That way it's completely clear and we don't have any more problems. So what I want you to do is on the left-hand side here in the panels page, you will right-click on the first page. You'll choose Insert Pages. And then we're going to add six pages before our first page. And you must choose the before the first page. Otherwise, this will make a mess. You hit. Okay. And now we've shuffled our document, so we've got some blank pages to work with. And so what we do now is we come down to the text, double-click into the box. The new click and drag and highlight your text. And then you go and go to Edit and cut. And that will cut that text out of this box. Now you can see the cursor blinking. Make sure that you hit the Escape key. Because otherwise it's very easy to accidentally re-paste this text in or make a mistake. And then what we'll do is we'll double-click and go to page one. You click into the page. And now we go to edit, paste. And then the texts that we cut is dropped into the first page. I will simply move it up and shuffle it around. And that way, I just did. There we go. And now I've removed all the header and tidal and all that information from the book layout, as you can see here. So now we can start working on our chapter material and get everything ready to go. 43. Threading Text: In a book layout, It's not totally obvious how text goes from one page to another. In a word processor, it's very obvious because you just assume that text marches on. But as you can see here in the title page, there is no way that this title is now going to connect to this chapter page. And let me show you how to see that. You click once on the textbox here. Then you go to view, scroll down to Extras, and then click Show Text Threads. This Show Text Threads gives you the indication that any changes you make here will be reflected into this box, which will reflect into this box, so forth and so on. And that's the easiest way to see how your text threads throughout your document. Because if I go to my first page here and I click on this box, you can see that there is no threading of the text. So no matter what I type in here, it will now no longer up here into this text box. Also, the way to see that the box actually continues on is if you click onto a box and you see a little right arrow, that your other indicator that this textbox actually continues on in the document. Compare that to this particular document. And this textbox. You've seen no little right arrow here, meaning the text doesn't leave this box. So if you already have text threading on and you see all these blue lines and oh my gosh, there's too much visual noise going on. All you do is go to View Extras and hide texts threads. And that way you can clear that up as well. And that's how you can see how your text threads through your document once connected and what isn't connected in InDesign. 44. Adding Chapter Page Breaks: The next task that you need to take care of is breaking up your different chapters so your layout works properly. As you can see here, Chapter 1 begins on this first page, and that's all fine and good. But I scroll down to Chapter 2 and it's in the wrong place. Traditionally, a chapter opens on its own page. And if you want to go real, traditionally, chapters open on the recto or right-hand side all the time. We're going to break with traditional little bit and just put chapters, just whatever page they land on. But the chapter does mean to start on its own page. The way to do that is double-click into the text box. And then we're going to add a special character. If you go to Type and then scroll down to break character, what you will then go do is click Page Break. And what that page break does is that forces the text from the next chapter to fall on a new page. No matter what that way is, we adjust our text here. It doesn't bring back Chapter 2 into it. Now, obviously, there's nothing that indicates that a page break was added. So what I recommend is going to type and show hidden characters again and then hit Escape. So I don't make a mistake. If I scroll up here, I will zoom in with Command equals. And you will see this little dot with a little carrot or Chevron right here. That is the InDesign page break character. And that way you can know that no matter what you do in your chapter here, this Chapter 2, we'll not accidentally go and get stuck back in here and mess up your layout. So what I want you to do is take the manuscript that you downloaded and adjust it and change it up. That way you can start and test and work on another manuscript instead of messing up yours. So all you do is simply scroll through, double-click into here, go into the blank line, go to Type, Insert, Break Character, and then go to page break. And you just continue this process as you go through your book. Now, there is a special shortcut key on the Mac as well as the PEC. If you go to Type break character, and you'll see page break on the Mac keyboard that's function enter on the PC keyboard, do need to refer to the documentation to see what standard they're currently using. So it's easier to go through and find your chapters and add a break. But there's an even faster way to do this rather than scrolling through because it's really easy to make a mistake. Instead, what you do is you go to edit, find, and change, move the box over a bit and type chapter. And then simply click Find Next, find next, Find Next, find next. Find Next. Oh, hey, check it out. Now it looks like there's a page break here, but in fact there's a knot because as you can see here, there isn't a break character. So all you do here is go to Type, Insert, Break Character, and click Break Character, or use the keyboard shortcut. Now, it doesn't look like much of a change. But as you go into editing and adjusting your layout, it will make a big difference later. And so you just continue to find next. Go and add, oops, wrong place. Go in and page breaks and marched through your whole document. And this is the first thing you need to set up Azure go through document. And if you had page breaks in your RTF or Word or whatever file, they might get imported automatically and you'll be ready to go. But this is the first thing that you need to do as you're working to set your document up is break up the chapters. 45. Editing Chapter Titles: In order to make our texts look exactly how we want it, we're going to use the Paragraph Styles panel. You'll spend a lot of time in this panel tuning and tweaking your text. This is by far one of the greatest values of InDesign. Because as you go through your chapters in your text and everything like that, you may discover, oh, I want to make a change, instead of having to March through and change every little piece of text in your manuscript, like you would have done with your word processor. You can make changes in moments throughout your entire document with just a few clicks. So what we're going to do is we're going to adjust the text based on paragraph styles. So one thing about paragraph styles is as I double-click into this first line here, is that you do not have to highlight the text. All you have to do is be inside of your chapter or I'm sorry, your your paragraph here. So I'm in this paragraph. I'm in this paragraph, and that's the nice thing about this software. So what we're going to do is we're going to set up our chapter headers first. In order to do that, we'll use the paragraph styles interface. There are a lot of buttons and things here, but we really, what we're only going to focus on is creating new styles and then maybe deleting if something goes wrong. If you go crazy, you can create style groups are clear, overrides all sorts things, but we just want to focus on the things that will get you to the end result as quickly as possible. So what you do is you click on the Create New style icon. And when you do that, InDesign will create a style called Paragraph Style 1. Obviously that's not too helpful. So what we're going do is we're going to click in it. Now, if you click once on the word, nothing happens. You double-click twice on the words. That paragraph styles options will open. But if you click, click slightly slower than double-clicking, you can actually edit the name of the style here. And what we're going to do is call this chapter titles. So that's something to practice, is it's better not to click on the name because you might accidentally get into the edit and the name change. So I just simply double-click over here. So if the name change comes up, I don't have to FETS around. The first time this comes up. Let me move this so you can see what we have going on here. The first time that the paragraph style options come up is you want to make sure to double-check and click preview. Because as you make changes, you want to see what it looks like on the screen. Now for me, I recommend running based on no styles. You can actually do what's called linking styles and chaining them along. But I don't recommend that for a beginner because that adds a lot of complexity and frustration and things will change and you'll have no idea why they're changing C, you don't wanna do that. Same thing with next style. So the first thing we're going to do go to basic character formats. And here you'll see a very similar interface to the font adjust tool. Now you'll have to trust me and see later why this is all important. Now let's just say for argument's sake that the size 24 point is fine. The letting, it looks like leading, but it's called lending. Don't worry about that. That really shouldn't affect our design at all. Kerning is how the text is space tracking. If you want to space out your text as you see here, or shrink it down back to normal at 0. You can do that too. You can also adjust the case of the text, whether you want to go with all capitals or small caps, or some other open type caps, depending on the software and the font that you're using. For this particular one, we're just going to use normal. You can also adjust the position of the text. We'll just use normal again. You can use underlying if you want. But traditionally in most books, when nobody ever uses underline, strikethrough, obviously won't work. Ligatures are pretty slick, will show you that in the font section and don't worry about changing the brakes. Now. And you can see it doesn't look like we've done anything because we're going to change the font. I really don't like the Times font and that's just a personal opinion. Instead, what we're going to use is Minion Pro. Now again, you're going to need to go to the font lesson to figure out exactly what you want to use here. But Minion Pro is a good starter or Adobe Garamond or Bodoni are. Or any of those like that. And now you can go to advanced Character Formats, don't mess with that. And then indents and spacing. This is where the magic starts to happen. As you can see, all of these different settings, right indent, left indent is all the same as up here. Just trust me on this one. What we're going to do is we're going to center this chapter text and we're going to remove all the line dense. So the chapter title is where it's supposed to be. Now, ideally, you'd have a little bit of space after the chapter title. So instead of hitting carriage return, carriage, return, carriage return, That's not the way you want to do it. Instead, you add space after the chapter here. And then if you want the chapter title at the top, that's fine. But let's say I want to move it down just a little bit like this. Now I can control where the chapter header starts. Don't worry about a line with grid. And now we'll click out and see what we've got. As you can see here, I've got an extraneous carriage return. I want to click in there and hit the Delete key or function Delete on the Mac. And that will bring the chapter header back up. Once you've adjusted the Chapter 2 where you need it to be, he hit Okay, and you might notice this extraneous carriage return here. You want to go and delete that so you can either hit the Delete key on the PC or function Delete on the Mac. Now you've got this space between your chapter number and the first text, which is ideal. Now you can go back into the style. And you might say, I want to drop this chapter number further down the page. Unfortunately, in InDesign, no matter how much you adjust the space before nothing happens, It's a peculiarity of the rules of space before which means space before a paragraph. When another paragraph is there, it's a mild annoyance, but this is one of the tricks I'm going to show you in InDesign. Instead, what you do is you go to Paragraph Rules. You click rule above, and then you turn rule on. You set the weight to 0, color to none. Type doesn't matter. Gap color, width, column, everything's here the same. But this offset is the magic. This is actually a difficult thing to find online. When you say, Hey, I wanted to drop my chapter number down. I don't want to mix with text frames and all that. This is the magic secret trick or hack as they call it, to adjust your chapter height or position with the chapter number relative to the page. That way this control goes along for the ride. And that way when you've got this chapter number here, we scroll, you can see it here in Chapter 2. And then a check it out in Chapter 3. We haven't applied the chapter style yet. So we dispatch. With that carriage return, we simply click chapter titles. And now the chapter title position is set. So what you should do now is go through and delete all of those extraneous carriage returns, create the chapter titles, paragraph style, and apply this to the document. And hopefully you end up with my sample saying are indicating in the filename, chapter titles applied. 46. Optical Margin Alignment: Now that you've applied the basic paragraph style to the chapter titles. Now what we need to do is adjust the paragraph style to all of our regular body text. The way to do this is to click into the paragraph just like you did with the chapter headers. And now we're going to create a new style. And again, InDesign always comes up with Paragraph Style 1 and it doesn't highlight it. It's a little weird, so just know that that is going to happen. Click into Paragraph Style 1 as you did before, and don't miss like I just did double-click. And we're going to call this body para, meaning body paragraph of our manuscript. We're going to come down here. Now, there's some flexibility we have into adjusting the size font and everything. I'm going to leave the font family as in times, hopefully that's on your system. If your text is all covered in pink, that means the font, the times one that is in the sample isn't on your computer, but that's okay. You can just choose another font to go and edit your manuscript. Now, I'm going to leave the size as 12 here, but the lettering I'm going to set to auto and I'm going to see what the computer thinks I should do. The computer thinks I should put this at 14.4. And you can see the text spacing here. I'm going to click this up to 15. So I have a fixed number because this is important. So now my font size is 12 and my lettering is 15. What I do is I go to hit Okay, and now I'm going to go to InDesign and preferences, or Edit and Preferences on the PC, and go down to grids. And in this preference, wherever your preference menu is on the version you're using, click on grids. And then you want to set the increment every for the baseline grid to the lending size. And we'll see why that is in a moment. So click increment to whatever the letting sides as you have. Click Okay. And now the next thing to do is go to View Extras and Show Text Threads. So Grids and Guides, sorry, show baseline grids. There we go. Now we're going to zoom in and you'll see that the text isn't quite aligned to the grid. And the reason this is going to become important as when you get your book printed, you want text that goes from one page to another to a line up perfectly. If you don't make this change, your text will end up all wonky and you don't wanna do that looks very unprofessional. So double-click back into your body paragraph. Go back to basic character formats member to double-check that you're letting matches the grid. Then go to indents and spacing, go to Align to grid, and then choose all lines. And what that will do is it forces the text to stay on those lines so the spacing is consistent. Also. If there's any spacing before or after, you want to remove that in paragraphs as well. Otherwise it will cause some problems in your document. Now I'm going to shift this down just a bit. And this is where we adjust the first-line indentation. And you can see as I increase the indentation, the indentation changes here. Now don't go using that half-inch indentation. It looks really bad. Most publishers run on a quarter. Sometimes I'll run a book on an 1 eighth of an inch, but won't point 18 or one-quarter, that's more than enough space. And now also make sure to choose left justify. And then we'll see why that is in a moment. I think everything else is just fine. Tabs, paragraph rules. Here we go. Hyphenation. We're going to allow hyphenation because we don't want some weird spacing in here. And we'll play with that in a moment. But the justification, this is really important. Make sure 80%, a 100 percent 133. But the letter spacing, this is a good hack as well. Set that to minus 3 and then plus 10 percent. What that will do is it will allow the spacing in the text shift around so it looks even better in your layout. So hit Okay. And now you can see that the single paragraph is fine. Everything else is messed up. So let's click into the next paragraph. Click body paragraph, into the next paragraph, click body, paragraph, so forth and so on. So obviously you probably have tens of thousands of paragraphs in your book and you don't want to be clicking along forever. So what you do is you click the mouse to the first, before the first character in your chapter. You scroll to the end of your chapter. And then you hold Shift down, click your mouse, release the mouse and then release shift. And now click body paragraph. And now that you will see, scroll up here. Now, but you'll see all this, the italic seven been deleted, no problems there. And the rest of my chapter now nicely lines up with this even spacing. When you go to the next page, you'll see that from page to page, the text will line up perfectly pseudo end up with is weird misalignments sort of thing. Now you hit the Escape key and then go to the Selection key or move tool. That's the safest tool possible. And now you can see what your text looks like. To get a better idea, hit Escape and tap the Tab key and the W key. And now we can see what our book looks like. If you use the up arrow and down arrow, you can't move back and forth in this view unfortunately. So you can only view the page here. So you need to hit the Tab key. And now you can scroll up and down. If, if you hit the Escape key and then hit Shift W, let me shrink it down here just a bit. Now I can see exactly what my book is going to look like. Now if you hit the up-down arrow, things work a lot better. Notice this definitely looks much better, but there is an issue right here. See this period, how it's indented. The hyphen is indented, the quotes are indented. Hit escape, we need to fix that. And so what we do is we scroll back up again, hit Escape and shift, or it's hit W, sorry. Click the Text Box 1. So it's selected. Then go into the story panel and click optical margin alignment and watch what happens to your text. There we go, the texts shifted ever so suddenly. Now let me zoom in here. You'll see that commas sit just outside the margin. Quotes that just outside the margin. I'm going to go the other page. We'll zoom in here and you can see the hyphens sit just outside the margins as well. The reason for that is now I will show you, I will shrink the story. I will hit Escape and I will hit Shift W. And now, when you look at the edge of the text with the small characters hanging just off the edge. Now your text looks like it's perfectly aligned to the right. This is what a lot of other people and non-professionals and other classes MIS is the story alignment here is critical. Now you'll see it's unchecked because I haven't selected a box. But if I click my text box, the Optical is on. And the reason I don't need to click every box is because remember the text threading. Remember go to View and extras and Show Text Threads. As long as you click one box for our optical margin alignment, and you click another, and then you click another, the optical margin alignment stays on. So you only need to do this once. And it's important to do this that when your book looks as professional as possible. 47. Additional Paragraph Styles: It's possible depending on your manuscript to have multiple body paragraph styles. Simply because as you can see here in this manuscript, there's an indentation section of a letter from one character to another. What I would do is I would simply hit Enter to demarcate this section of the letter. And then I'll begin selecting all of the text. Hold Shift down and click to do the shift clicked Selection. And I've already created a style called letter style. So we'll simply click the letter style and you can see all the text is now justified and aligned. Let's go checkout letter style real quick. Go into basic character formats. It uses the same font type. The letting, make sure the lending matches correctly. Because if it doesn't, then all the lines will be a little bit off. The indents and spacings are where the magic happens. You can see that the entire section of this letter is indented both on the left-hand side and the right-hand side. And the way I did that is simply using the left indent option in indents and spacing in the paragraph style. If I wanted to move this text to the right a bit, I will click and click and then reduce the right indentation just a little bit more. And just see what that looks like. I will click out, hit Escape. That looks pretty good. Now the text threading at this point starting to get a little bit annoying. So go into View, Grids and Guides or where is it edit and hide text threads. There we go. Hit Escape again. And now I can see the letter style here. So as you did in your assignment, you might have run into the problem of, hey, wait a minute, maybe I just messed up my whole letter style. And hopefully that gave you a pause for thought. And that's the whole idea of doing this exercise, is it's easy to make mistakes and mess up things if you're not quiet paying attention. So all I do is shift and click and then go apply my body paragraph. And I'm on the way. I always save with the command S. And that way now I've created a second style because this particular manuscript has a letter style that is different than the main part of the text. 48. Forced Line Breaks: You may have noticed as you're clicking around and adjusting the body paragraphs, when you run into this letter style and think, Oh great. You click here, you apply the letter style and everything works fine. But you notice this first sentence looks all messed up. The reason for that is the justification of these three letters or sorry words by themselves with a forced line break. Don't exactly look right. What you can do in InDesign is individually select Items. Click in here. And instead of justified with text, you can come and just left justify. Now as you see, that messed everything up again crud. So if you click back into this paragraph here, you right-click onto the letter style and you hit Apply letter style. You go back and forth. What's happening? Well, it's this forced line break here. That is the problem. Let me zoom in. And you can see this little sideways L, that little sideways L is meant to be a non-breaking line. It's one of those odd characters I warned you about. And sure enough, it's causing problems. So what we're going to do, go to the next line. Hit Delete, hit Enter, and this creates a new paragraph line. Now, this looks a little bit more like a letter. And we can set the left adjust to however we want it. So this breaks out the letter here from the text. Also, when you have this sort of thing, I would recommend clicking here and adding just a carriage return. You can do a lot of work and add more letters, styles, and headers and all sorts of stuff. But at that point you might be making more work for yourself than not. Because the whole goal is not to do as much work as possible. So this is something that's left up to you as the student to decide. Do I make another style just for the introduction of the letter? Or do I just tweak it out because there are only few letters in the book, that's your call. But as we march along, you can see the years, et cetera. And now I have the rest of the body paragraph to do by clicking here, coming to the end of the file, holding Shift click. I can apply the body paragraph. And now if I zoom out just a bit, scroll up, you can see all the body in this chapter 61 looks fine. The letter looks pretty decent. And the rest of the body looks decent here. So there are definitely some gotchas on the alignment and everything of just hail, do a body paragraph or a letter style, paragraph style. And that'll fix all my problems when in fact, there are some other little things here. So hopefully that explains why you end up with some messed up text is simply because sometimes with those special characters that I warned you about in a previous lesson, they can cause some problems with your layout. 49. Hyphenation Orphans: There are a few other things in the paragraph styles that I need to show you see a better control over how your book layout works. Let me turn on the Paragraph Styles panel, okay. And I've got a paragraph here that's got some hyphens and things going. But I need to shut off the baseline display so I can better see what's going on. If you remember, go to View and then Grids and Guides and then hide baseline grid. Good. Now I can see the edge of my text a little bit better, and I can see that there are three hyphens in this paragraph. Now that's not necessarily a bad thing. But I want you to have the choice to figure out, does this make sense or not? So what we do is we double-click into our text. So the cursor is blinking. We come to body paragraph, double-click there so we can begin making our choices. And then we're going to go down to hyphenation. Now watch. When I click hyphenate and I shut that off, the whole book shifts because all of those hyphenation to were removed. If I turn on hyphenation again, eventually the whole book shifts back. So this is a very powerful tool because all these hyphenation dramatically can shift the book around. Now, whether you say words with at least five letters after so many letters before, you can set up all of these rules here, if I start shifting and clicking and playing, you won't see anything happen here because I'm playing with a full manuscript. But I do this as a point this out as an assignment to you. A small amount of text, place it into a document, and then play with the hyphenation and see what you get. This is a very personal style. And if you're not a major publication or house, there's no hard and fast rule as to what you need to do here. Usually you don't want to go crazy with five or six hyphens per paragraph. That's a bit messy. So it'd be better to go with fewer hyphens versus better spacing. Do you want a high prophylactic capitalize word? Hyphenate the last word of a sentence. Do you want to hyphenate across the column? You don't need to worry about that. Those are all things that you need to play with in your manuscript. The other thing you need to consider, our Keep Options. If I screw only cancel one moment. If I scroll around and my texts and see if I can find one here. I'll shoot. Yeah, there's, there's nothing there that causes a problem. Another tool that you want to experiment with are the Keep Options. Because one of the problems is if you read this sentence and you come to the next page, you have a single word, Bennett, just sitting here out in space and that really doesn't look good. I'll show you some other tricks and later lessons. But one of the ways to deal with that is to go into body paragraph and go into Keep Options. And then this is something that I would highly recommend playing with as a short option of texts, because working with an entire manuscript, it really is hard to control. But you can control how many lines get kept together at the beginning and ending of a paragraph to prevent those weird sort of things hiding out there. And InDesign will do all the adjustments for you. So that is a very powerful tool to cause or eliminate what's called orphans and widows, or just random texts laying around. So you had to make a judicious decision on if that looks good because if you shut that off and just been it sits there on a page, trust me, that looks bad. You don't want to do it. But you can always turn the keep lines together option. And whether you have two or three at the beginning, or three or two or one at the end. As you can see, the changes happening here. This is something you got, you have to play with Mao. Do be careful because once you start playing with this, this really shifts around your manuscript layout in the PDF. So once you start adjusting the Keep Options, you're somewhat committed because if you turn this back off and the whole book shifts and you've done other things to it. You're going to cry. And I don't want you to do that. So it's something you've got to be cognizant of is that sometimes it's really tough to prevent these orphans and widows from a hanging out. And just randomly cluttering up your book layout. 50. Fixing Orphans and Widows: There's another method to also fixing this orphan and widow issue when you've got a single character or a single word or maybe three words here. And that's to adjust the tracking of individual paragraphs. So even though we made some changes to our body paragraph, and we'll go in here and I'll show you the justification minus 3 and plus ten allows the text to shift around a bit, but not enough to fix these random or femmes and Windows. So what you can do is look before this little poor orphan word and find the paragraph that's pretty long with only one word hanging out. Then what you can do is click and select that paragraph and go to Tracking here. And what tracking will do is that will actually shrink the spacing between the letters are between the words. And it might shrink it just enough to where it's not noticeable. But you recover that one poor lone word. Now note, you don't want to go crazy if you go to minus 30 or minus 40. Let me zoom in here and I'll show you what this chlorine looks like. You can see that the letters are really crammed up. You don't want to do that. So instead the general rule is good a 0 here and drop it to minus 10. I might go to minus 20 depending on the font and you had to do visually. And then if you need to add extra space, don't crank it up past 10. Because sometimes as I, ooh boy, that doesn't work, it looks strange. So again, this is more of an artistic decision. This absolutely must be done as the last thing you do. After you do all the other adjustments I'm going to show you because once you start adjusting and fixing the orphans and widows, and you make these subtle changes. If you go through your text and tweak more stuff, those will pop right back up and you've wasted a long time. This orphan and widow check. It usually takes about 15 minutes to get through, but once you start playing with it, you could easily burn an hour. So make sure you start at the beginning of your document and work through to the end. Don't go backwards, it doesn't work. This is very powerful. It does make your text look much better when you using the control of the tracking. But you have the risk of causing yourself a lot of work. So do be mindful about this, but don't leave random words on a single page. And also let's say we have a single word here. Let me just do an example. I'll show you. We'll just have a text box. I can create one. There we go. And she said, And let's just say for argument's sake, that the text here ended with a comma. And somehow she said ends up on the next page. And that's the only thing on a single blank page. You do not want to do that. It looks terrible when you have this hanging on a single page and maybe your chapter starts a new on another page. Figure out how to shuffle this around, squish some texts, make some adjustments, maybe shrink this paragraph a little bit, see if you can pull that in. So she said shows up here, but believe me, you do not want a single little bit or even two sentences on a page. I usually prefer to have three. If you have one whole sentence, make whatever adjustments you need to make to clear that off. Otherwise, it makes your book look really bad. And I don't want you to take this class and come out and having a bad looking book, my goal is to make sure that your book looks as good as it can be. 51. Adding Drop Caps: The next thing that you might want to do to your text is to add some possess and sexiness to it. Well, we're going to do is we're going to add a drop cap to the first letter of this paragraph. Now one of the reasons you might want to do it is just to give it that classic book or fiction book look. So the way to do that, and you'll see the effect in a moment, is to double-click in your paragraph. And we're going to create a new paragraph style from that using the new control here, we're going to double-click in our paragraph style. And we're going to call this body para first. And again, we won't do the no based on style just because it causes some problems. And now we'll go to indents and we will eliminate all the indents here to stay with me for a moment. And now we're going to go to Drop Caps. And once you find drop caps, I'm going to increase this to one to three lines. Check that out. That is how people use the InDesign paragraph styles to create this nice Drop Cap look. And it looks really good because now the first letter stands out and it's pretty sexy. However, it gets better. What you can do is select this single character. And now we're going to use the Character Styles, panel, click character styles. And right now we have no styles and that's what you normally want to run with. And click New. And we're going to call this just like paragraph styles, double-click into it. We're going to call, going to call this drop cap. Okay? And what I want you to do is find a different font, French script, turn on preview. That's a little bit hard to read. How much Charlemagne? Yeah, there we go. That's a little bit more reasonable. You want the font, if you're going to go crazy to look different, but still be readable. Sometimes there are those storybook style font you can add. Now you can see this and I've manually added that drop cap to the style. However, this won't work when I apply it to the next paragraph. And let me show you, I'll go back to paragraph styles and I'll click into the next paragraph. Okay, and you think, Oh, it's great, I'm ready to go. You click body paragraph first, and it's the regular font that's going to boring. How did we fix that? Easy. Double-click into your body paragraph, go to your Drop Caps. And now under your character style, you will click and select your Drop Cap. And now, every time you scroll through and you find the first, Let's just say this is another chapter. You click here. Now, every time you click the first paragraph of every chapter, you'll get this cool Drop Cap effect. Obviously you don't want to do this and all the different chair paragraphs, but just to give you an idea of what's going on here. So I'm going to shut those off because that's pretty dorky, but right here, now, let me escape and Shift W. Check that out. Now you've got this real classic opening Drop Cap look. Now typically, you don't want to go too crazy. Let's go back into the body paragraph first, double-click, and then we'll go to the drop caps. Do you really want to go for five? Looks a little bit extreme. I wouldn't do that. So instead, usually three characters is fine. If you really want to go nuts, you can even choose more characters. Now, typically I wouldn't do that because that just doesn't look, I would say good. Classically, just a single character here is what's dropped kept. There is the option create nested styles and add the first couple of words as, you know, like small caps, there's all sorts of ways to do it. But that's a more advanced thing. It's not really for this class, but just wanted to show you what your options are. You could if you want your text to stand out even more, just manually select this text and go to small caps. That's actually a very common style that was used for all sorts of classic books. Hemingway, I've seen books from Hemingway, Steinbeck, Jane Austin, all sorts of people in here. So drop caps give the option plus the small caps if you wanted to manually do it without going crazy on nested styles. This one isn't too bad to manually do because you gotta go through and do it. If you have 60 or 70 chapters, learning nested styles might be good. And I'll refer to you to put a link or find something for you on YouTube. It takes a little bit of work and for a beginning student, I wouldn't recommend it other than to tell you that you can do it to hopefully spark your imagination into creativity, to make your book layout the best it can be. 52. Creating Master Pages: Now that you've really gotten into your layout, you've got your chapter headings, you've got body text drop characters. What do you do? You need to add what's called this running header. Because in traditional books, there's always an author, there's a book title. There are page numbers, all sorts of things. Now, you can do that manually, but really we don't do that in InDesign simply because that's just way too much work. In the pages panel here is where we're going to make that adjustment. If you haven't opened your pages panel. Go to Window, scroll down and turn on pages. I highly recommend leaving this panel open the whole time so you can see what the heck is going on with your book. And what we're going to do now is we're going to work with the master pages and these are the templates. So what you're going to do is double-click into the master pages. If you single click into something, you've selected it, but you have not gotten into it. Because as you can see down here at the bottom of the panel, this still says Master. Rather than double-clicking and telling me I'm in the main body of the pages. So definitely click, but double-click into the master pages. Now, in a traditional fiction book, you will need to basic mastered templates. One are blanks because most of the chapter headings and title openings are going to be blank. And since we set up our book already and we've done a mountain of work. We don't want to go backwards and do things backwards. So what we're going to do is we're going to create a new blank template. And the way you do that is when you're in the master and you verify that you're in the master, you're going to come here to New. And this will create a new master page. Now this doesn't seem like a big deal, but it will in a minute. Hang on. And I'll show you. What we're going to do is right-click on this master and we're going to come down to master options for B master. I'll explain the lettering in a moment. Do not mess with the auto lettering system, please. It will cause you problems later. So now double-click in here and type this word called blank click. Okay? And now we're going to leave this as blank. And I'll show you why in a minute. Go back to the A-Master and double-click. And now we're going to create textboxes for our headers. Remember the textbox tool here, it's the type tool. Click the type tool, spread out and make sure this type box fits exactly on the margins. You might have to tweak it out. And now we're going to type your author name, chain Q author, okay? And we're going to be smart about this and make a paragraph style so we can change things easily. Go into your paragraph styles. And now that you've done this a couple times, I'll go a little bit quicker. We'll create a new style. Double-click in here. We'll call this running head. And basic character formats will make it o small caps. And then we'll come to indents and spacing. And we'll align the name of the author, okay, and that's about all we want to do at the moment. We'll hit Okay, this is great. Now we need the title of our book over here. So you can either copy and paste or if you want to work quicker, hold the Option key down on the Mac or the Alt key on the PC. Click drag, release the mouse, then release the Option or Alt key that clones and copies without having to do Command C, command V are going up into the menu. Now you need to put the title of your book on this side. And the call of the, oops, the wild. There we go. Now we've created a running head in our book that will show up throughout the whole book. To show you that this is true, I will double-click into the main set of pages and you will see the Call of the Wild and Jane Q. Author on all of the pages. I just covered the entire book with these titles and it's very nice and super efficient. Now, we need to put page numbers on our book because well, Weaver Buddy likes to have page numbers. So we double-click back into the master pages. And now we're going to create a new text box. So again, using the Type Tool and we're going to do it outside in just a minute. I'll show you. So now that you've created that type tool and you create this box here, what we're going to go do is go to Type. Scroll down. Into insert special character. Then we're going to scroll over to markers. And now we're going to choose Current Page Number. And we're going to click Current page number. Now, as you can see, the page number says a not the page number. Hang on. In-law, clear up in a minute. Now this is also going to need its own paragraph style because we need to do something a little bit different with it. You click and create a new style. Double-click in here and page numbers, okay? And Basic Character Formats. A, uh, no problem. The critical part here is the indents and spacing. We're going to click this box and we're going to choose away from spine. Now this is the style where you have outboard page numbers. If you did Center page numbers, you would typically do them on the bottom. Hit Okay, hit Escape. Drag this box down and till it lines up on the bottom, and then drag the box down again. And there you go. Now we've got the page number on the left-hand side set. And we're going to Option or Alt. Click to drag this over. Release the mouse released the Option or Alt key. And now because we chose away from spine, the page number is away from the spine on either side. It's pretty slick. Now the reason this is called a is because this correlates with the a master template. If we were working on the B pages, this would actually say B. Now, I know it seems confusing, but don't worry. As soon as I click in here, you'll see page one, page two, page three will go the text, so forth and so on. We're doing pretty well, not too bad. Now, one of the problems is the title page, the copier I paid all of this stuff is not supposed to have the running head in it. If you ever wanted to be a non-professional rookie type book layout, this is the way to do it. So instead what you do is in this page, you right-click, you go apply Master to Pages. And now we're going to choose the blank. And when I choose it, watch what happens here. We'll hit OK. And voila, that header is missing. And notice too that in the upper right-hand corner, we've gone to this little b instead of an a in the text of the pages panel telling us that the B master is now applied. So now we can continue doing that with all of the pages that need a blank. And what you can do is double-click into this page. And instead of doing this piece by piece, hold the Shift key down. Click, See you select all these pages. Right-click inside of that selected area. Go to apply Master to Pages, and go over to here to apply master. Choose be blank. And then instantly you will see that all of these pages now do not have that header. However, there's another gotcha. In the right-hand side of the page. The first page of the chapter never has the page number or the running header. Do not make that mistake. So again, click on the Page, Right-click. Apply Master to Pages, come up, Go to be blank because that's where we named it. Hit. Okay, and now you'll see this disappear. Now what I'm going to do is hit Escape and Shift W. And I'll zoom out just a bit so you can see everything here. Now I'm going to hit the up and down keys. I'm going to go to my half title page, full title page. And you'll notice there are no headers. Their page five, page chapter 53. And then voila, we've got the page numbers and the Running Headers on all of our pages. So as you go along, you'll find the next chapter page, maybe Jane Q author. You need to change that out. And again, very simple to right-click. Go to Apply Master to Pages. Go to be blank. And there you go. That's very easy. If you wanted to have centered page numbers, that's easy to just double-click on the A-Master. And instead of having the page number here, drop it down to the bottom and expand the box. And same thing with this box. Come over here and now double-click in here. And the page numbers in the Paragraph Styles panel. We're going to double-click on this, go to indents and spacing. And then instead of away from spine, we will choose center. Hit. Okay. And now the page numbers are center. Always make sure to hit the Escape key. It's very easy to make a mistake. Now we'll go into our book and you can see we've got a page number here. Now notice the page number is jammed right up against the text. That doesn't look very good. So instead what we'll do is we'll go back to our pages here in the master. We're going to click on our textbox and shrink it a little bit. Click on this box and shrink it a little bit and you'll see this green line appear indicating they're the same height. And now remember the tool for centering vertical alignment. If you don't see these tools, you can always come and select your box, go to object, Text Frame Options. And if you remember this section where it's vertical justification, go from top to center. And there you go two. Now, when we go into the book, double-click, you can see that looks pretty good in the center, I will hit Escape and Shift W. I'll zoom out. So you can see things here. One moment, we can do it. There we go. And now we've got the classic centered page number that Jane Q, author of The Call of the Wild. And now we're starting to look pretty good where you put the page numbers and how you format the text up top. That's up to you. But PR professional layouts always put the author's name on the left or verso, and the book's name on the right-hand side or recto, I hit Escape. And now we've achieved creating master pages with blank pages, with all of the layout and everything getting pretty correct. You're doing super great. I'm glad you've made it this far. There are some more details to take care of, but you're really getting close to knocking out your first book layout. 53. Adding Page Numbers: Now traditionally in your book, when you scroll to the first page of the first chapter, of course, there isn't a page number on here because there isn't supposed to be. But the second page of your text traditionally would actually say page 2. You can certainly leave it as page eight and that's completely up to you. But if you want to go traditional, what you need to do is alter the page numbering system of your book. The way to do that is to right-click into the first page in the pages panel, go to numbering and section options. And then the first part of the book, we're going to click and go to the Roman numerals, the lowercase r, their traditional style of books. Now you won't see anything here because we don't have page numbers. But if we go to this page here, you'll see these Roman numerals happily marching along. Now, obviously, we don't want Roman numerals in our first part of our body, part of our book. So that is easily fixable by going to Chapter 1. Right-click on this first page and again go to numbering and section options. And then we're going to click Start Page at number 1. And we're going to change the style back to regular numbers. Don't worry about document chapter numbers. That's a little bit beyond this. And we don't need to section prefix because sometimes messes up your PDF and simply hit Okay. And now on the left-hand side and the pages, you'll see the Roman numbers I, II, III, and so forth. And then you'll come, and you'll see page one here. But you'll also see this little down arrow that indicates a new section was created in your book. And as you can see on page 2, now you have page two, page three, page four, and so forth. So by doing this, by creating a new section, you can change how your book is numbered and make it much more professional and looking. If you have a lot of foreground or for material, let's say you have a dozen pages in here. You can actually add page numbers to it if you want. That's completely up to you. I'll leave that to the student to decide what you want to do. That said, traditionally, copyright pages, dedication pages, titled, blanks and subtitles, never have Roman numeral sub characters. If you have for some reason you have a list of, of illustrations or other documents, then those would have those numbers, the Roman letters. But for a traditional basic fiction book layout, you don't really need to worry about those. So now you have the ability to control your pages, your page numbers, your master templates, the Roman numeral structure, and where you want your page numbers and their traditional format to begin. 54. Parts of a Book: There are three major sections in books. The first is front matter. That's all the material that goes in the beginning of the book from the title page, the copyright, and a few other things. Then you get into the body of the book where the actual story happens. This is where you put the major part of your manuscript. And then the third part is what's called the back matter. Other materials that's in the back like an index, perhaps a glossary. So what I'm going to do is take you through each one of the different parts and give you a better idea of what they do for you in front manner. The first thing you'll learn is that there's a half title and this page only really has the title. And it's typically a little bit smarter, smaller than actual title page. And that's perfectly normal. The next page is the frontispiece. Now, mind you, these are arguably all optional Other than the title page and copyright page, everything else you can blow off or put it in as you need that. That's something you need to talk about with your editor in your publication company. The frontispiece is an illustration that would go on the left side or the verso page. This would typically been illustration or some sort of picture. Then the actual title page always happens on the right-hand side or recto page, just like the half title. And this is where you have the full title, the subtitle, the author name, the publishing company. Anything else that important to add, perhaps even in the illustration. The next page after that is the copyright page, which is traditionally again on the left-hand or verso side of the page. Check with the copyright. Check with the copyright organization or lawyer or the US Copyright Office for exactly what you need in there to make sure you book is correct. On the right hand or recto side is a dedication. You don't have to have a dedication at all. In fact, pretty much a lot of this is optional and not in a fiction book, but I wanted to cover it anyway. The dedications, whoever you want to dedicate the book to. And after that, you can also include an epigraph, which is a quote taken from wherever. Just be aware. You can't just pull a quote from anywhere. Often you need permission. Typically, a fiction book does not have a table of contents, but that would be the next item. And then after that, a list of figure and tables and sales call. This figure's just say get it right there. And again, these are not likely to being in a fiction book. Although in a fiction book you may have drawings or illustrations. Tables aren't too common in fiction books. The next thing is a forward. And that's actually written by somebody else, typically not the author. That is someone great and famous endorsing your book saying how great it is. Maybe in a fiction book, maybe not, it's, it's common enough. The preface is something the author writes about the book, talking about the goals of the book. Now, in fiction books, this would be pretty uncommon, but it does happen. I've seen them and that's perfectly fine. Then the next section comes in. The next section that comes our acknowledgments. Now, the acknowledgments are your dog, your half-brother, your teacher from third grade, whoever you want to acknowledge in your book. Now, do note that some publishers have begun moving the acknowledgements to the back of the book. Because in e-books, when you go online and you do the preview, if you eat up all this space, nobody will be able to read the beginning of your book. So this is one section that's traditionally in the beginning, but more and more authors have moved to the n. Then the introduction is a little bit different in that the introduction versus the preface. There, suddenly different. The introduction is more of the purpose and goals, whereas the preface tells the book is really going to progress. And then next is a prologue. And the prologue is a little work of fiction that sets the scene for a book. You may or may not require it. You may or may not need it. But that's up to you. And then if you have all of this material, often a second half Tidal is included right before the book. Now, when you get into the body of the book, if your book has a large number of pages and multiple sections, you may have a part where you can have part one, part two, part three, and so forth. Then the next thing that happens is a chapter opening page. This is always, always, always on the right hand or recto side of the book. Always. The epilogue is the after story, or I like to call it the after party. And then they afterwards is a discussion perhaps by another, another author and then nets. You have the choice on that one. And then the conclusion. If you have some brief salient points you wanted to make about the social implications of your fiction work. That's where you would put it is in the conclusion. Then the back matter of the book is a PostScript. And that's some addendum or after writing when you're done with the book and it's going to press, you might add some sort of postscript in here. Often there isn't an appendix or addendum to the book and a fiction. But if you have a large number of characters, maybe this is a fantasy or sci-fi novel and you need to put some extra material. You can put it in an appendix and they're often a chronology is helpful if you've got a historical romance or something tied into reality. Notes are literally this where you can have in notes to the book if you feel the need to add notes, not footnotes, but all the little notes in the book so you can read it easily. A glossary is what you cover in the language of the book. If you have especially some sci-fi but also fantasy, you may need a glossary to help readers along. Ideally, the story would help them along, but sometimes it doesn't hurt. A bibliography is the systematic list of other works that you're referring to. Again, though, to be dramatically uncommon in fiction. A list of contributors, well, if you're the single author of a book, chances are you are the only contributor and your names already in the front page. But if somebody else added to it, this is where you'd put it in index is just that. It looks like a textbook. That would be incredibly rare to have an index in a fiction book where you list different words that people can refer to. Air raid is if some sort of problem or screw up happened in your book, this is where it's added in. In a fiction book, you would just have the book corrected. Airway does more for educational material, textbooks and things like that. And then finally the Colophon, which talks about a brief notice of the font type, some history at typeface or anything else technical about the book. So these three things, the front manner, the body of the book, and the back matter comprising of all this stuff in your book is what can all be in the structure of your book. I know there's a lot of material, but there's actually very little you really need other than the title page, the copyright page, and the body of your book, everything else is arguably whatever you want if you want it in your fiction book, great. And if not, that's perfectly fine. You just need that not even a half tau, you could just go with a title page. You got to have that copyright page. And not legally talking, you just makes it look much better and that's what you want to have as a statement and then your book, and that's literally all you need for a fiction. But I wanted to cover this for you. See, you knew all the possible parts and the correct order that these parts should be in in your fiction book. 55. Managing Fonts: Now in InDesign, you want to make sure that your fonts are all set before you head off into making your PDF. And the way they do that is go to the Type menu and then go down to words if fine font here, click on Find Font. And then this tool will show you all of the different fonts in your document. You may discover there are quite a bigger list of fonts and you even thought possible. And what you want to do is say click on Charlemagne standard bold. Go to find first and okay, I remember adding this, we did that in another lesson. That's perfect. What about Minion Pro? Did I actually use that in my document? Oh, yeah, I forgot this straggling little guy here, so I'm going to delete that because that really shouldn't be they're going to hit escape. So I'm not going to accidentally going to accidentally type into this box. Then I'll go back to type fine font and we'll see what else I have. I have Minion Pro Regular, find first. Oh cool. Okay, so my title is used this font. That's fine. But if I go two times irregular, find first, and there it is in my chapter and I've also used it in my text. That's one thing in books and layout that you don't really want to do is go crazy on the fonts. You have to really have a good reason to have more than three fonts in your system, simply because it's going to look like a mess. Just going font crazy really causes your problems. So even though it's tempting to do it, you really don't want to do it because it becomes distracting to the reader. Perhaps let me highlight this text. We're going to change this to Gill Sans, one of my favorite san serif fonts, I'll hit Escape. And let's see if the type Find Font tool finds it. And sure enough, there's my Gill Sans Regular. So in your manuscript, it's very likely that you'll have some random fonts hanging out that you didn't even know. They look similar, but when you go to print, they look bad. So you'll certainly go through figure out what to do. Do you need to make a change? Do you need to reset it? Perhaps apply a paragraph style. Who knows? If you come to your paragraph styles, you'll see this plus here. And that means that InDesign says, Hey, the material in this particular paragraph does not match the paragraph style. So what you can do is right-click and apply body styles. And you think, Hey, that didn't work. That's because we have an override here. So instead, right-click and then Clear overrides, and now things go back to normal. But you do have to be careful because if you had say an italics, let me show you that. Okay, great. So you type in this body paragraph and click in the paragraph. You go to body paragraph and it's not playlist. If I click into this where it's italicized, there's a plus. Okay, that makes sense. And if I highlight the text where the italics is, again, InDesign says, hey, you have something out of sorts. So again, if I hit Apply body paragraph, nothing changes to the italics. But if I right-click and hit Apply body paragraph, Clear overrides my italics disappear. So if you do have italics and they're important to your text for whatever reason, you do have to be careful about saying, Hey, I just want to apply my paragraph style and just go with that because you can wipe out your italics and you won't even know it. Till maybe somebody is reading and saying, Hey, the name of this book or ship or whatever is supposed to be italicized. And you've just printed a 1000 copies of her book, and you're going to cry. So it's very important to be careful about doing this with your fonts. But that font tool, that type fine font is very powerful to help you get control. And also if you have something you don't like, instead of manually going into the text, you can simply change it with a different font families straight away. But I would recommend being more careful and checking out your paragraph styles first before you just start winging away and replacing with, because it's very easy to blow away all the different work that you put into your layout and you won't even know it. So something to be mindful of. 56. Font Tools: On the Mac computer, there's a program called Font Book that you can pull up, look at the documentation for the operating system you're using and what you might need to pull it up. And if you're running InDesign and working on a PC, look at the information for Windows 7 or 10, or whatever incarnation you're using to pull up font information as well. But once you get that font information up, you can actually scroll through and look at the different fonts that are on your system. I happened to choose Minion Pro as it's a good example with a very complete character set. Because when you go to not just the text, but the glyphs set, it doesn't look much different here. But when I scroll to the bottom, there are all sorts of interesting symbols and fun things. Let me show you here what some of these fonts have built-in. So if you want some flowers or arrows or moons or what have you, you can actually add these into your text As graphic items or next to even your, even your page number is, is very common to use. So instead of having to use graphics and pictures and things like that, you can actually find them in the font. So I can literally copy this font by clicking onto the icon, hitting Command C and then going to InDesign, double-clicking here, Enter and then Command V for paste. And all of the sudden, I can place that what's called a glyph from the font into the text. And it's completely scalable. And sure, linkable and adjustable just like any other character. So these are really good tools. Now one of the problems is that if you just download a font off the web, you might not actually legally be able to use it in your documents. So what you have to do is you have to see if it's copy protected. And if your font as copy protected, InDesign will not let you export your documents. So what you wanna do is if you decide to download a font from online to use in your document, do a quick test. Place the font, type a few letters, and go to the PDF export to see if you have any problems. Because the last thing you want to do is do a huge layout. You think it looks gorgeous and you go to export. And you can't do it because InDesign won't let you. So if I go back to Font Book, this is something to watch for. And I have to warn you, I have had fonts as said, copy protected, no. But in InDesign, it wouldn't let me Export. Now I know it sounds silly and it seems irritating, but people do put a lot of effort into creating these fonts, and maybe that's how they make their money. So you definitely want to make sure to get a proper license for using your book because it needs to be for commercial use, not just personal use. Because if your book is out in the market and Amazon or Barnes and Noble or tattered cover or wherever that is, commercial use because you're making money from it. So please definitely follow the law and follow the rules. Look at your jurisdiction and make sure you've got that all correct. But this tool here in either the Windows system or the Apple system, allows you to look at your fonts and learn a lot more about them. 57. Font Family Types: One of the most difficult questions people asked me as which fine too, I use and I say, Whew, how well, what type of shoes do you like? That's a tough call. I've got a few samples of fonts that are very common and most popular right now for book layout, you literally can use just about anything you want. But you want to make sure you're choosing things that are readable. Fonts that are unreadable or Fancy will kill your book. Think Comic Sans. A lot of people use it, but if you want your book to be hated and not red, That's a great way to go. Here we've got a list of five different, a very common type fonts that are called Serif fonts. And then two very common fonts that are called san-serif. That's not to say you have to use any of these, but they are generally great choices if you've gotten nothing else to go with, do know that for the main body of text for fiction layout, you traditionally want to go with serif fonts. The san serif fonts, which I'll explain the difference in a moment, don't tend to read as easily. They feel more technical. So I would definitely recommend shying away from those. So let me zoom in here and I will show you the difference. If you look at Georgia, this particular font here. And you can see I've chosen Georgia at 26 points, nothing special on it. You'll see the letters have little flourishes and flicks and little dashes here, little spikes here. These guys, I'll zoom in even more for you. These little guys are called serifs, just like the little bars here and the spike up here. Compare that to Helvetica or Gill Sans. The text is very plain. It is very easy to read, but for some reason for human eyes and brains, the little flourishes in the serif type fonts are easier to read. You have to give a talk to a psychologist or psychiatrist or whatever about why that is true. But these fonts here, uh, definitely they're great for captions and everything. But I would recommend choosing one of the Serif fonts that have these nice little flourishes because it just simply makes it easier to read. Let me close up that and you can scroll through and look at Minion Pro. I've got Adobe Garamond Pro on my system. Adobe casts lawn pro, book and Tika and Georgia. Now as you can see as I step out here and we look at each of these fonts, even though they're served, they are definitely different. When you look at the queue or the FBI, or the R in each of the fonts, they are subtly different. Now, if you're struggling to decide, Garamond is probably the ultimate font. That font was made quite a few 100 years ago. And it was so good, people said there wasn't another font made for over a century. I know that's probably a story, but Garamond is such a good font. It's hard to go wrong. Does that mean you have to use it? Absolutely not. Use what makes you happy, but just remember, readability and ease and comfort of reading is everything to the success of your book. Now, if you want to choose, say Minion Pro, and you click on the down arrow on the Font tool and you begin scrolling around. You may or may not see Minion Pro. That can be a problem. But interestingly, when you've highlighted your text, you scroll through. You can actually automatically, if my computer keeps up with this, It's a little intense. You can actually see what your text looks like immediately in that particular font. Obviously, Acme secret agent probably isn't a good choice for reading. Neither is that aileron nope. Type. If you want to make it look like a typewriter, American typewriters, great. So in my system I have, I don't know, a lot of fonts, as you can see, plus a lot of foreign characters that have no particular use for, but they're there. However, Adobe has what they used to call Adobe Typekit. Now they just call it Adobe fonts. And if you click on the find more, and then you can filter by Sans Serif, Serif, Slab Serif, Script, black letter or Gothic, monospaced, handwritten, or all sorts of decorative fonts. You can go into this and find some really interesting options. Let's say for your drop caps, you want to choose the black letter of type fonts and aver berry or Baroque text. Hey, that looks pretty good. Let's go do Baroque text. And I'm just giving an example. We'll scroll back to my drop cap here. And now we're going to choose, let's see if I can find it again. Right? We're going to go for fancy fonts. And we're going to scroll down to where is it? Shoot, disappeared on me. Baroque text. Whoops. There you go. So I've chosen Baroque text. Now, by the way, when you choose this particular font, you have to make sure to install the font or activated on your system. And I'll refer you to Adobe's documentation on how to do this properly because it does change. So I don't want to make this class get outdated and heavy worry about, Oh, I can't do this simply because as you see sometimes things change. But you can see how cool all the options are here. Do note again that some of these fonts are restricted and you can't output them. So even though you think, oh, this is great, please, please, please test to make sure that the font works on your system. And you can export it before you commit to it. In your manuscript. 58. Fixing Hyphens: If you didn't know, there are at least three types of dashes in the printing world that you may be unaware of. The first is the classic hyphen isn't an over hyphenated word, over-hyped or whatever hyphenated word you want to choose. That hyphen is available on your computer keyboard under the underscore dashed next to the equals key, that classic hyphen is used all the time. The next one is the em dash. It is longer than the hyphen by almost twice as much. And the theory is this dash is supposed to cover the space of an n. This is traditionally used between numerals 2007 to 2014. You don't use the standard hyphen. The third thing is the em dash, which in theory is supposed to be as wide as the m. So in your sentence where blah, blah, blah, and they thought and you want to give a pause, not a period, just to pause. This was a major deal. Something something, something each of these has a different place. And I refer you to whenever you're like Strunk and White or some other document online or in a reference book where you can find the proper use of these. This is more just to illustrate that there are three types. I refer you to your computer documentation, whether it's Mac or PC, to figure out how to generate the hyphens, en dashes and the em dashes. But one thing that's really bad, and especially Microsoft Word is terribly guilty of, is using a double hyphen to indicate an em dash. Sometimes word will convert this double hyphen into an em dash. Other times it will not. Please do not bring in a double hyphen to mean an N dash into your InDesign layout because it'll make your book look terribly unprofessional when you have these two dashes, those technically don't mean anything in a layout. So the whole goal of this is to keep you from getting caught flat-footed with all sorts of little niggling mistakes in there. I want you to be as successful as possible and have a beautiful PDF for your print book that you're proud of. 59. Fixing Special Characters: Once you're pretty confident with your layout in that you've gone through and you've set everything up and it looks pretty good. You want to make sure to start hunting down all those extraneous characters. As I said in one of my previous lessons, you want to try and do this when you're working on your book inside of the software that you wrote. But InDesign has a lot of capability to find some of those problems to take. For instance, these paragraph returns, they're all good. But this guy is not because that can cause weird things with your lines setup. So what we're going to do is click before it and then Shift, and then click the right arrow once to select it or use your cursor. And then you're going to go to edit, copy. And then you go to edit, find. You'll delete whatever's in there. And you will right-click and paste. You will delete whatever you're changing into. And then you're going to hit F9 next. Find next, Find Next, and you'll start finding these things all over the place. I did. You can see some are even hanging outside the text. And what you want to do is all of these special characters that are causing you problems you want to hunt down and get rid of. Looking at this particular extra breaking space here. We're going to command copy that guy. We're going to command paste or do the right-click and paste option it escape, and then find next fun. And all of a sudden you're going to discover, even though you've cleaned everything up in your manuscript, in your writing software, there's a lot of junk in this book. Now it seems pretty surprising that there should be that much stuff in here, but that's just the way it works. So unfortunately, you're going to have to want to go through and do this. I do recommend doing this. I would say before you actually do the layout. But the reason I've put this lesson farther back is it's just one of those things. And oh my gosh, I really gotta do that. And yes, you do. I know usually getting rid of these little problem characters won't mess anything up except for when you hunt for widows and orphans. That could be a problem. So the Find and Replace tool, even these tab characters you can drag and highlight, right-click and copy. Come into the find and replace, delete that item, right-click and paste, and you'll find the tab. And you can start marching through and finding all of these issues. Also, I might notice a couple of warranted I see it. Say let's find some spaces before a paragraph or after a paragraph. You can also find those in the Find and Replace as well. If you hit space space, find next, you'll start finding these littered all over your document. But you can do the change to single-space, find, change, Whoa, check that out. Sometimes this works. Other times you end up deleting something that pulls in another font. So you have to be careful with this tool. It's powerful, but it can get you into a lot of trouble too. So that fine replaces something that often when you first start out under Edit, Find and Change to be gentle with them. When you find the next thing, go into your text and delete it. And as you get confident with your layout and everything you've got in there, it'll start working better for you. Do know, you can search forwards or backwards. And then also, if you click this Add character, it has tabs, force line breaks into paragraphs, all sorts of other crazy symbols that might have crept into your document. You can actually search for case sensitive. So if you were searching for the word chapped lips chapter and you say, Hey, I used the word chapter in my book a lot. I'm getting sick of finding this word chapter. Instead, if you capitalize the chapter and you choose K sensitive, you will only find capitalize chapters. So if you use this for your chapter, open pages, That's another way to do it. And you can explore different options in here as well. You can even find styles. You can delete this and look for paragraph styles like any of the paragraph styles that you created, like chapter titles. Let's see if I can find that. Nope. No match. Well, what if I just delete this text and just search for the chapter style loops, will that let me do it. Nope, I'm afraid not. So at least you had to find something in the format. So even if you search for the letter c, Check it out. So the chapter titles, that would explain why that messed up in my system. So it's just a key to go through and get rid of a lot of these problems and problem characters in your layout. That way you can save you trouble and time down the road. 60. Creating a Final PDF: You're done with your document. You've done all the layout work you can scroll through and you think your PDF is beautiful. Do me a favor and just go to Edit Spelling, Check spelling, and go through the document one more time just in case you accidentally, he didn't extraneous key random w or an S when you're previewing are saving. Believe me, it's very easy to do. Tons of people have done it. And this is just a quick sanity check to make sure everything's okay. You can see the tools here and if you're familiar with spellcheckers in your word processing program, it works just about exactly the same. And once you complete your spelling, you hit Escape. And now we're ready to generate the PDF. So you can go on to print, go to File, Export, and choose wherever you want your document to land. Give your PDF and name, and come in here and generate an Adobe PDF for print. Hit Save and thorough doesn't already exist, yes, because I've already done this a couple times. Where again, referred to your printing companies standard of what type of PDF they require. There are multiple types, X1, a2, 1000. One is the most common, most primitive, but most effective. I've converted to X3 2003. That's who my printer uses or what my printer uses. So just double-check and what the compatibility is. Make sure to select all pages for printing exported as pages and not spreads. Because otherwise if you generate a spread, each spread will become a page and cause you problems viewing default. It's always nice to view the PDF after exporting Credit tagged PDF and don't worry about that. Optimized for fast web view. Don't worry about all those things. Compression. We don't have any pictures in this document, so don't worry about these settings, marks and bleeds. Unless your printer requires printer marks or some such thing, then you'll have to contact them. For this specific setup. You have to have an InDesign beyond what your required. And typically you just use the document bleed settings. That way you don't have any problems. But again, referred to your printers manual for more information. Output. We don't have any color or pictures in here. And the pdf x, don't worry about that as well. We're going to do anything in advance because we don't have anything to flatten security. If you have the password option, don't do it please. You'll cause yourself in trouble later. And then if you want to read the exciting summary of your PDF, you can do so. Go back to general one more time and hit the Export button. And then you'll see up here momentarily the PDF export generation slider. And voila, Here you go. Now on the Mac, it has preview and on the PC you will need Adobe Reader DC. And what you can do on here, go to where is Command 3? Two pages. And then Command 3, you can actually scroll through and see what your book looks like. It's actually really exciting to go through. And obviously, I didn't do the layout on this one. I just did the sample file to show you what a mess it could be. And you can scroll up and down through the whole document and you can look at the 330 pages, two or 334 pages. Do know that Adobe reader may not show the first page on the right-hand side. Which means when you go to see the left and right, everything will be reversed. Don't freak out that unfortunately, I don't know why Adobe does that. Considering they're like the king of king or queen of layout. But just be aware, max a simple preview or actually views the PDF correctly. So in any case, make sure to double-check, scroll through your PDF, look at the whole thing. And you will be surprised as you scroll to the last page for the first time, you'll probably see errors. And that's not a negative thing. It's just really common that no matter how much time you spend in InDesign, looking over your layout. So often, I'll come to a PDF. I'll be scrolling through and just instantly see things that I didn't see before. And that's okay, That's part of the process of creating these PDFs and doing the InDesign layout is knowing it's an iterative process. It's going to take awhile. But hopefully this class is giving you the skills that confidence and the knowledge to know that you can create your own PDF for print from your word processing document.