If you are publishing your own book, you need a barcode on the back cover. The barcode, based on your book's ISBN, goes into a database and will identify the item when merchants scan it. It does not encode a price. It's simply an identifier used for inventory. If you want merchants to stock and sell your book you need a barcode.
I had paid for a barcode to be placed on the back cover of my current project, The Woman Who Values Herself, and when I got the final cover PDF it occured to me to print it and test it with a barcode reader app. It wouldn't work, although the app read other barcode labels. I kept trying, freaking out incrementally. Because the book is so small, the barcode had been shrunk proportionally and it was too small for the app to read. Online I found that there is indeed a minimum size for barcodes: 80 percent of the original, or about .825" high.
Having advised the cover designer of these facts I was in turn advised that she'd never had any problems with shrunken barcodes, but she'd enlarge it just for me, and so it was on the next proof. The barcode scanner could not read this barcode either. Feigning great patience (THIS BOOK HAS BEEN IN PRODUCTION SINCE JUNE for PETE'sSAKE!!) I advised her of this and asked her to test it on her end.
The project manager contacted me and swore it worked on their end, and it wasn't working for me because my proofs were electronic PDFs and low-resolution (high-resolution PDF proofs are so huge they'd crash a mailbox) although they didn't look it. So I chose to just drop the issue, now that I had his email saying it worked--in case it didn't. So ended this tiny nightmare, and I learned:
1. You need an ISBN and a matching barcode.
2. Test the barcode.
3. There is a minimum size for barcodes, and even if it is plug-ugly and out of proportion to the book's size or design, you still need one if you want stores to carry the book, and of course you do.
4. Understand that your electronic proofs are low-resolution.
5. Get written assurance that the darned thing really works so that if it doesn't, this can all be done over again at somebody else's expense.
6. Everything in publishing works far more slowly than you'd think.
I had paid for a barcode to be placed on the back cover of my current project, The Woman Who Values Herself, and when I got the final cover PDF it occured to me to print it and test it with a barcode reader app. It wouldn't work, although the app read other barcode labels. I kept trying, freaking out incrementally. Because the book is so small, the barcode had been shrunk proportionally and it was too small for the app to read. Online I found that there is indeed a minimum size for barcodes: 80 percent of the original, or about .825" high.
Having advised the cover designer of these facts I was in turn advised that she'd never had any problems with shrunken barcodes, but she'd enlarge it just for me, and so it was on the next proof. The barcode scanner could not read this barcode either. Feigning great patience (THIS BOOK HAS BEEN IN PRODUCTION SINCE JUNE for PETE'sSAKE!!) I advised her of this and asked her to test it on her end.
The project manager contacted me and swore it worked on their end, and it wasn't working for me because my proofs were electronic PDFs and low-resolution (high-resolution PDF proofs are so huge they'd crash a mailbox) although they didn't look it. So I chose to just drop the issue, now that I had his email saying it worked--in case it didn't. So ended this tiny nightmare, and I learned:
1. You need an ISBN and a matching barcode.
2. Test the barcode.
3. There is a minimum size for barcodes, and even if it is plug-ugly and out of proportion to the book's size or design, you still need one if you want stores to carry the book, and of course you do.
4. Understand that your electronic proofs are low-resolution.
5. Get written assurance that the darned thing really works so that if it doesn't, this can all be done over again at somebody else's expense.
6. Everything in publishing works far more slowly than you'd think.
Published in
Sanity Bubble 2011
After conducting and writing up scores of interviews, including literary interviews in Meet Me: Writers in St. Louis and on this blog, I now get my turn. Walrus Publishing requested an interview with me, out of the blue, and I took it as an honor. Here it is on Walrus's great new website: http://www.walruspublishing.com/feature/sitting-catherine-rankovic/.
I hope to soon be back to you writing regular entries here after a period of dawn-to-midnight work and adjustment to new routines!
I hope to soon be back to you writing regular entries here after a period of dawn-to-midnight work and adjustment to new routines!
Published in
Sanity Bubble 2011
Tagged under
Coiner of the phrase “conspicuous consumption” and author of Theory of the Leisure Class (1899), economist Thorstein Veblen built his own summer house and study cabin on Washington Island in Lake Michigan, at the tip of Wisconsin’s peninsula (its “thumb”) where he stayed every sum
mer from 1896 to 1926. In 2009 somebody moved the cabin to its current spot on Little Lake
with plans to restore it. On vacation I found it by chance. It’s not much to see, now or back then. It's built in Norwegian-immigrant style, boards and logs arranged vertically so as to channel wetness to the ground. He also made all his own furniture and a boat. He wrote nine books, all still in print. The photo of Veblen with his cabin was taken about 1915.
mer from 1896 to 1926. In 2009 somebody moved the cabin to its current spot on Little Lake with plans to restore it. On vacation I found it by chance. It’s not much to see, now or back then. It's built in Norwegian-immigrant style, boards and logs arranged vertically so as to channel wetness to the ground. He also made all his own furniture and a boat. He wrote nine books, all still in print. The photo of Veblen with his cabin was taken about 1915.
The man was eccentric; he has been called the Frank Lloyd Wright of economics. An American with his name of course had to be a Norwegian from Wisconsin, which explains his progressivism and contempt for non-productive activity. Until I visited the cabin, all that had never crossed my mind.
We have Veblen to thank for his contributions to the theories of consumerism and the business cycle, and in the Gilded Age he accurately foresaw a U.S. economy that would benefit mainly the very wealthy. He taught at Mizzou for seven years, hating it and calling Columbia “a woodpecker hole of a town.” For a year he was one of the editors of The Dial, which became a litmag that first published the likes of Marianne Moore.
When Veblen first came to Washington Island he stayed in a boarding house and looked for people who could teach him to speak Icelandic so he could translate an old epic poem. In 1957, for her master’s thesis, a graduate student collected islanders' memories and stories about the great man, and incidentally was given the books and papers left in the study. Veblen wore really old clothes, people said. But he was generous with money and liked anybody who could teach him anything.
This month marks my 25th anniversary as a teacher of writing (and sometimes Afro-American Studies). It is my 14th year at Washington University evening school (University College), my first year as an online instructor in the MFA program at Lindenwood University. I have twice taught graduate creative nonfiction writing at UMSL (which seriously needs a creative-nonfiction prof), three times in the Washington University Summer Writers Institute, taught undergraduate composition and creative writing at St. Louis Community College, Wash U and Syracuse University, and taught for the first five years of the St. Louis Writers Workshop, plus half-day workshops in UMSL's "Just Write" program and various and sundry guest teaching and lecture spots at OASIS, Lifelong Learning, Lindenwood U, Webster U, and Poets in the Schools.
I've got a lot to share. So if you want to take a course or workshop with me--you will not be sorry! And thank you for letting others know, too!
Fall 2011: Washington University, University College (online registration is now open)
I've got a lot to share. So if you want to take a course or workshop with me--you will not be sorry! And thank you for letting others know, too!
Fall 2011: Washington University, University College (online registration is now open)
- U11-225, "Introduction to Creative Writing," Thursdays, 6-8:30 p.m. Try out poetry writing, fiction writing, and creative nonfiction writing in this workshop class. Class 15 weeks, 3 credits, begins August 31. Half-price for over age 60. University College
- U11-320, "The Art of the Essay," Wednesdays, 6-8:30 p.m. Write and workshop essays and read historic essays. Class 15 weeks, 3 credits, begins August 30. Half-price for over age 60. University College
- "Online Graduate Creative Nonfiction Workshop" at Lindenwood University begins in September. You need not be enrolled in Lindenwood's Online MFA program. For details or to enroll click here.
- St. Louis Poetry Center Workshop, "Liberty Hall" Freewriting and Creativity workshop, Saturday October 1, 2011, 10 a.m. to 4 p.m. at my home in the woods about 35 minutes southwest of St. Louis. Hosting a day-long workshop at my home is a first! Includes lunch for the group.Cost is $50 for members, and $60 for non-members. Space is limited so send in your reservation ASAP to feeworkshop@
stlouispoetrycenter.org. - Women's Writing Weekend, Sept. 9-11, to be held at Lafayette Square; details TBA. The people running this event are first-time organizers and not quite focused--but I am!
Published in
Sanity Bubble 2011
The first thing I believed about artists, and I don't know how I got this idea, is that artists are sensitive, especially poets, and if that was so I had to be sensitive, which I'm not good at except in relation to myself. But I didn't know that, so I dabbed on some Sensitive and wore black. At 24 and pale from hanging out in basements and libraries, I went to listen to poet Denise Levertov, who seemed an impatient and not-so-pleasant woman, and she declared to her audience, as if it were a retort, "Poets are not more sensitive than other people; just more articulate." And I thought, Denise is sooo wrong.
About five years later I meet and talk with famous poets and see them just about every day. They were the most insensitive, self-absorbed, preening, neurotic, swaggering, and jealousy-ridden candyasses I had ever seen outside of high school. (Think not that I was unaware that it takes one to know one.) I met some other famous poets: brilliant, hard-as-bunions cynics, spouters of poisonous jokes and legendary put-downs, authors of some of the most gorgeous and sensitive poetry of their time. And I thought, Denise was right.
So there's the quotation (two entries down) by Pearl Buck, Nobel-winning novelist now dismissed as a pulp-fiction writer, and it seems to me that hers is a quite 19th-century view of creativity as a sort of rare, terrible and wonderful spiritual commodity, like being born with a caul, permitting the owners to exist in perpetual spiritual infancy. I still buy what she says, believing it's true of everyone, particularly in this highly self-aware day and age. Name somebody you know who sees everything from a balanced, reasonable point of view, whose injuries and transports are merely physical. Those are the rare ones now.
About five years later I meet and talk with famous poets and see them just about every day. They were the most insensitive, self-absorbed, preening, neurotic, swaggering, and jealousy-ridden candyasses I had ever seen outside of high school. (Think not that I was unaware that it takes one to know one.) I met some other famous poets: brilliant, hard-as-bunions cynics, spouters of poisonous jokes and legendary put-downs, authors of some of the most gorgeous and sensitive poetry of their time. And I thought, Denise was right.
So there's the quotation (two entries down) by Pearl Buck, Nobel-winning novelist now dismissed as a pulp-fiction writer, and it seems to me that hers is a quite 19th-century view of creativity as a sort of rare, terrible and wonderful spiritual commodity, like being born with a caul, permitting the owners to exist in perpetual spiritual infancy. I still buy what she says, believing it's true of everyone, particularly in this highly self-aware day and age. Name somebody you know who sees everything from a balanced, reasonable point of view, whose injuries and transports are merely physical. Those are the rare ones now.
Published in
Sanity Bubble 2011
The right Kindle for me hasn't been made yet, but in the meantime I envied the Nooks and Kindles friends and acquaintances had, knowing too that I did not really really need one and had other things to spend money on, and I might drop or lose it. Sometimes I even have to use my landline to call my cellphone so it'll ring and I can find it. And I am still somehow loyal to good old-fashioned books.
Until it came down to looking online for an Abraham Lincoln speech. Imagined there'd be an open Lincoln archive of all his works, but the most you can find is his famous speeches and quotations, and the one I sought wasn't famous. Drove to library (12 miles, one way), checked out thick book of Lincoln's speeches and letters. Took it home and searched. What I wanted wasn't in there. Contemplated driving to another library (27 miles, one way) and said, well, maybe when I'm next around there I will stop in. But that didn't happen and I realized I should probably just stop fooling with libraries and go online and buy other collections of Lincoln speeches and letters, maybe even the 7-volume set of his collected writings, and thumb through for the one thing I wanted. So I went to Amazon to see what that'd cost; maybe someone was selling it used.
There it was on Amazon, the 7-volume set in Kindle version for 99 cents. No joke. Lincoln's whole mind for 99 cents! Immediately I downloaded the free Kindle for PC--not as cool and nuanced as the Kindle, but it let me buy the books. And in one minute I had it. The collection was indexed and had live links. There are 900,000 other ebooks I could buy as well. And some Kindle users tell me they never pay for books; they download only what's free and in the public domain and they love it.
P.S. Abraham Lincoln was not only an admirable man but an admirable writer. (Those traits so often go together!)
Until it came down to looking online for an Abraham Lincoln speech. Imagined there'd be an open Lincoln archive of all his works, but the most you can find is his famous speeches and quotations, and the one I sought wasn't famous. Drove to library (12 miles, one way), checked out thick book of Lincoln's speeches and letters. Took it home and searched. What I wanted wasn't in there. Contemplated driving to another library (27 miles, one way) and said, well, maybe when I'm next around there I will stop in. But that didn't happen and I realized I should probably just stop fooling with libraries and go online and buy other collections of Lincoln speeches and letters, maybe even the 7-volume set of his collected writings, and thumb through for the one thing I wanted. So I went to Amazon to see what that'd cost; maybe someone was selling it used.
There it was on Amazon, the 7-volume set in Kindle version for 99 cents. No joke. Lincoln's whole mind for 99 cents! Immediately I downloaded the free Kindle for PC--not as cool and nuanced as the Kindle, but it let me buy the books. And in one minute I had it. The collection was indexed and had live links. There are 900,000 other ebooks I could buy as well. And some Kindle users tell me they never pay for books; they download only what's free and in the public domain and they love it.
P.S. Abraham Lincoln was not only an admirable man but an admirable writer. (Those traits so often go together!)
Published in
Sanity Bubble 2011
The truly creative mind in any field is no more than this:
A human creature born abnormally, inhumanely sensitive.
To him...
a touch is a blow,
a sound is a noise,
a misfortune is a tragedy,
a joy is an ecstasy,
a friend is a lover,
a lover is a god, and
failure is death.
Add to this cruelly delicate organism the overpowering necessity to create, create, create--so that without the creating of music or poetry or books or buildings or something of meaning, his very breath is cut off from him. He must create, must pour out creation. By some strange, unknown, inward urgency he is not really alive unless he is creating.
--Pearl Buck--
Published in
Sanity Bubble 2011
Tagged under
Boyfriend, who is good and kind, informed me via e-mail and out of the blue that unavoidable work will keep us apart the next two months. My response: Shock. Dismay. Then write and post an article titled "The Proper Way to Tell Your Girlfriend That You Can't See Her for Two Months," and send him the link. And mope. And wonder if it's really another woman.
It sure is! She showed up in his future in a Tarot-card reading as the Queen of Cups, the Creative Queen. She's an introspective, intuitive type, serene, always inspired. What's more, she's blonde! She lives comfortably, is probably an artist of some kind, surrounded by art and artists. I bet Boyfriend is especially intrigued because her focus is elsewhere and she's as busy as he. ("Men seem to like that," I said, merely to myself.) And she has a loving heart.
I was furious. I could not compete. About to post an article titled "How to Surf Match.com Just for Spite," I realized I could be the Creative Queen in his future. If I chose. So I chose. Every day I put on a dress and jewelry, and regally work on artistic projects. I'm not kidding. It feels great to rededicate myself. I have an appointment to have my hair dyed blonde (that, I'm kidding about).
It sure is! She showed up in his future in a Tarot-card reading as the Queen of Cups, the Creative Queen. She's an introspective, intuitive type, serene, always inspired. What's more, she's blonde! She lives comfortably, is probably an artist of some kind, surrounded by art and artists. I bet Boyfriend is especially intrigued because her focus is elsewhere and she's as busy as he. ("Men seem to like that," I said, merely to myself.) And she has a loving heart.
I was furious. I could not compete. About to post an article titled "How to Surf Match.com Just for Spite," I realized I could be the Creative Queen in his future. If I chose. So I chose. Every day I put on a dress and jewelry, and regally work on artistic projects. I'm not kidding. It feels great to rededicate myself. I have an appointment to have my hair dyed blonde (that, I'm kidding about).
Published in
Sanity Bubble 2011
Sunday, 24 July 2011 09:38
More About the Experiment with Voices and Chance
Written by Catherine Rankovic
I hope Kim Lozano will forgive me for using my letter to her as the basis of this blog entry. Others have asked much the same question: What's the Experiment with Voices and Chance about?
There used to be an art form often practiced in schools called "choral reading." It's still popular in Asia but in the U.S. it died out around WWII. I had learned of it in a Girl Scout Brownie Handbook as a kid. A group selects a text and then decides how to read it aloud as a group for hearers. It is like choir without music. Some call it "speech choir." At some points the whole group reads the text aloud together, then at others two voices read, or one, or four, male, female, loud soft fast slow, pauses, repeats, interplay of voices and so on, so as to give life to the text the way a poet does at a reading, but expressing it using multiple voices. "For Colored Girls," the "choreopoem" by Ntozake Shange, has certain scenes which serve as an example.
Honestly I decided years ago I wanted to try this way of approaching poetry to vary the "poetry reading" experience without music or poetry-slam theatrics. Now I have a group willing to do it. Decided also that by the group's reading not just our own poems but a piece built by multiple contributors from the St. Louis area, it could be awesome. In any case worth a try.
There used to be an art form often practiced in schools called "choral reading." It's still popular in Asia but in the U.S. it died out around WWII. I had learned of it in a Girl Scout Brownie Handbook as a kid. A group selects a text and then decides how to read it aloud as a group for hearers. It is like choir without music. Some call it "speech choir." At some points the whole group reads the text aloud together, then at others two voices read, or one, or four, male, female, loud soft fast slow, pauses, repeats, interplay of voices and so on, so as to give life to the text the way a poet does at a reading, but expressing it using multiple voices. "For Colored Girls," the "choreopoem" by Ntozake Shange, has certain scenes which serve as an example.
Honestly I decided years ago I wanted to try this way of approaching poetry to vary the "poetry reading" experience without music or poetry-slam theatrics. Now I have a group willing to do it. Decided also that by the group's reading not just our own poems but a piece built by multiple contributors from the St. Louis area, it could be awesome. In any case worth a try.
Published in
Sanity Bubble 2011
