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Random natterings
May. 12th, 2026 12:58 pmIt's my birthday today -- the first time in quite a while when I'm not going to Kalamazoo for my birthday. (The Medieval Congress) As a result, I don't really have standard practices for what to do to commemorate the day. There will be a family dinner on the weekend, but today it's just me.
So I started with a fancy-breakfast-in-the-garden, which I don't do as often as I could. (I prefer to start the day with my bike ride, which practice is incompatible with a leisurely breakfast.) Other plans involved a movie and going out for sushi. I half-heartedly dropped my movie plans (Sheep Detective) on facebook with a solicitation for company, but facebook is facebook, the day is a weekday, and unsurprisingly no one took me up on it.
In the past week I've moved into the next stage of learning skills for self-publishing by working on formatting The Theory of Related-ivity in Vellum. So far Vellum is user-friendly, in that every time I've had a question about how to do something, it's either easy to figure out, easy to find in the help files, or easy to determine that you just can't do the thing I'm trying to do. As one review of the program noted, it isn't really designed for complicated non-fiction books, but there are only a few places that's been frustrating.
I solved one issue not related to Vellum when I figured out how to get better resolution jpegs of my Excel graphs. (Something that was a bit of a "Doh!" moment once I'd solved it.) But it wasn't until I did a test-export of the project into ebook and pdf versions that I was reminded that the lovely multi-colored graphs that are so easy to publish online and in ebooks also need to work in black-and-white for the hard copy. (It isn't that I expect to sell all that many hardcopy versions, but I want to have the option.) So now I need to go back through a couple dozen graphs and select color sets that will provide good B&W contrast. (Tricky for the percentage bar graphs with 13 variables! But there are only two of those.)
I've also decided to put out my translation and commentary of the 18th century French appeal record of Anne Grandjean (gender and sexuality issues) as a published book. That one has me thinking about the complexities of designing layout for both ebook and print. For print, it might be nice to do facing-page text with the commentary at the bottom of the pages, but that's impossible for the ebook. (Also, I'm not sure it would be possible in Vellum, though I know exactly how I'd do it in InDesign.) I'm also thinking ahead to the LHMP book and some fun layout ideas that wouldn't work for both. I should probably take a look at some examples of print/ebook pairs that have complex layouts in print.
By "complex" I mean things like separate text boxes for sidebars. (One idea I'm toying with would be rather than having all my mini-biographies in a single section, inserting them as sidebars in the topical chapters that they're most closely relevant to.)
One of the secondary functions for publishing low-impact smaller projects is to explore these sorts of questions. But compared to the non-fiction projects, novels will be easy!
When I think about my writing catalog, it always brings me back to that ill-fitting advice that a writer should stick to focused "branding" even if it means having multiple pen names. But my writing projects don't separate out neatly that way. the Grandjean translation is directly related to the LHMP book. But the LHMP book is directly related to my lesbian historical fiction. And the historical fiction is closely connected to my lesbian historical fantasy. And there would be no point to distinguishing that from any of the other types of fantasy I write. I still have a twinge of regret for using a pen name for Baby Names for Dummies, because it, too, connects up with my historical research. And what would be the point in using anything other than my real name for the Related-ivity book, since my identity is solidly connected to the reason I was interested in the topic.
I am me. I contain multitudes. I refuse to be fragmented.
So I started with a fancy-breakfast-in-the-garden, which I don't do as often as I could. (I prefer to start the day with my bike ride, which practice is incompatible with a leisurely breakfast.) Other plans involved a movie and going out for sushi. I half-heartedly dropped my movie plans (Sheep Detective) on facebook with a solicitation for company, but facebook is facebook, the day is a weekday, and unsurprisingly no one took me up on it.
In the past week I've moved into the next stage of learning skills for self-publishing by working on formatting The Theory of Related-ivity in Vellum. So far Vellum is user-friendly, in that every time I've had a question about how to do something, it's either easy to figure out, easy to find in the help files, or easy to determine that you just can't do the thing I'm trying to do. As one review of the program noted, it isn't really designed for complicated non-fiction books, but there are only a few places that's been frustrating.
I solved one issue not related to Vellum when I figured out how to get better resolution jpegs of my Excel graphs. (Something that was a bit of a "Doh!" moment once I'd solved it.) But it wasn't until I did a test-export of the project into ebook and pdf versions that I was reminded that the lovely multi-colored graphs that are so easy to publish online and in ebooks also need to work in black-and-white for the hard copy. (It isn't that I expect to sell all that many hardcopy versions, but I want to have the option.) So now I need to go back through a couple dozen graphs and select color sets that will provide good B&W contrast. (Tricky for the percentage bar graphs with 13 variables! But there are only two of those.)
I've also decided to put out my translation and commentary of the 18th century French appeal record of Anne Grandjean (gender and sexuality issues) as a published book. That one has me thinking about the complexities of designing layout for both ebook and print. For print, it might be nice to do facing-page text with the commentary at the bottom of the pages, but that's impossible for the ebook. (Also, I'm not sure it would be possible in Vellum, though I know exactly how I'd do it in InDesign.) I'm also thinking ahead to the LHMP book and some fun layout ideas that wouldn't work for both. I should probably take a look at some examples of print/ebook pairs that have complex layouts in print.
By "complex" I mean things like separate text boxes for sidebars. (One idea I'm toying with would be rather than having all my mini-biographies in a single section, inserting them as sidebars in the topical chapters that they're most closely relevant to.)
One of the secondary functions for publishing low-impact smaller projects is to explore these sorts of questions. But compared to the non-fiction projects, novels will be easy!
When I think about my writing catalog, it always brings me back to that ill-fitting advice that a writer should stick to focused "branding" even if it means having multiple pen names. But my writing projects don't separate out neatly that way. the Grandjean translation is directly related to the LHMP book. But the LHMP book is directly related to my lesbian historical fiction. And the historical fiction is closely connected to my lesbian historical fantasy. And there would be no point to distinguishing that from any of the other types of fantasy I write. I still have a twinge of regret for using a pen name for Baby Names for Dummies, because it, too, connects up with my historical research. And what would be the point in using anything other than my real name for the Related-ivity book, since my identity is solidly connected to the reason I was interested in the topic.
I am me. I contain multitudes. I refuse to be fragmented.
