I finished a new painting today, Garden of Eden.

“Garden of Eden,” oil on canvas, May, 2012, 40” x 30”. Click for a larger version of the image.

I started this picture over six weeks ago, on April 9, 2012. My usual partner in crime, Vernon Head, went out for an en plein air painting session with me on the bank of a stream that runs into the south end of Lexington Reservoir . It was a pretty spring day, and we daubed away. The one thing that caught my attention the most was a particular bend in the trunk of a tree overhanging the creek.

So that made it into my painting, but not all that much else about the actual scene. As I’ve mentioned before, Vernon (see his lovely and realistic paintings) always kids me, “Why do you even go look at anything outside, when you’re just going to end up painting a dinosaur and a UFO?”

Well, it’s fun. I worked on this painting much longer than usual—but there’s no rush. Now I just have to start another one. It’s soothing to be out in my back yard smearing around the colors. So non-digital.

Speaking of artists, I saw the legendary SRL artist, Mark Pauline last week, demonstrating his latest creation in a parking lot outside the funky Tenderloin Phoenix Hotel, where an art show was taking place. (That’s not the Phoenix in the background, that’s the Federal Building with the IRS and the FBI, cowed (one hopes) by Mark’s claw.)

A few of the old hipster faithful were there: Karen Marcelo, V. Vale, and the artist Kal Spelletich. (Karen and Vale shown above.) Mark spoke on a panel before the demo, and talked about “quasi-criminal art”—an inspiring phrase. Then we went outside and Mark did a demo of his new “Spine Robot,” accompanied by his young son, who was eager to play with the controls as well. Here’s a photo of them.

Otherwise I’ve been busy getting my Transreal Books into POD (print on demand) paperback editions as well as in ebook format. I’m almost there. I decided that a Word file doesn’t really look nice enough to be sold as a print book, so I took a big jump and began using Adobe InDesign typographer design ware.

I found InDesign to be the hardest program I’ve had to learn since tackling the Microsoft C++ debugger about fifteen years ago. A learning curve like the face of Half Dome. And the official documentation, as is so often the case, is rather cryptic or even, to put it bluntly, sucks. Googling my questions helped a little.

My basic problem with InDesign—which I still haven’t resolved—is that I don’t have a mental model of the logical space that the program is “thinking” in. It makes a distinction between the “pages” (like of your book) and the “text” (which is what you’re putting on the pages) and to spice things up it has “threads” (which connect some, but not all, of the pages to each other) and “spreads” of, ideally two facing pages (but when you add pages, the new pages sometimes end up being a toilet-paper roll of right-hand pages all stuck together). Here’s the Adobe help page that “explains” it. I’ve read this page, like, fifteen times, and still no joy. The catch, I’ve been learning, is that some of the statements made on this page seem to be untrue or in some way misleading, and if I act on these particular statements, I freeze up my machine.

Never mind. I’m working around the dodgy bits. And with experience the mysteries will slowly clear away like morning mist in the summer sun.

The bottom line, in any case, is the InDesign does really beautiful text layout with clean justification (straight right margin) achieved by varying the spaces between the words, the spaces between the letters (kerning), and even (if you like) a two-percent variation in the actual sizes of the letters. So when you’re done—shaking with fatigue, desperate with confusion, your eyes glazed from scanning obscure screens and Googled-up help pages, your back a knot of pain—when you’re done, the layout looks really slick.

I’ve laid out three books now, and I trust that, as I move forward, it’s gonna be easier.

Sylvia and I took an afternoon off to walk in a park near us where a lot of Canada geese live. Five goslings!

May 13, 2012. I’m proud to announce that my Transreal Books publishing company has scored the coup of bringing William J. Craddock’s classic psychedelic novel back into availability. I reached an agreement with Craddock’s widow, did a lot of computer work and now…

Be Not Content was available both as ebook and as a quality paperback, and used copies are still on sale. format.

Sadly, as of June, 2020, my contract to publish the novel expired.  Happily, as of December, 2020, the book is back in print from Jay Shore of Backtrack Publishing.

Note that used first edition paperback copies of Be Not Content start at $90 and go rapidly upwards from there, with hardbacks in the $500 range. This book is one of the most important documents of the Sixties.  And by now my out of print Transreal Books editions are getting pricey too.

By way of explaining about the book, I’ll print my full introduction to it below. See also my blog post “William Craddock and BE NOT CONTENT” of April, 27, 2007, for more material (some overlapping with today’s post), and for numerous comments by Craddock’s friends.

Be Not Content is a coming-of-age novel set in San Jose, California, in the mid 1960s—describing William Craddock’s experiences as a young acidhead.

This is a deep and well-written book, a unique chronicle of the earliest days of the great psychedelic upheaval. It’s filled with warmth and empathy, tragic at times, and very funny in spots—reminding me of William Burroughs’s Yage Letters and Philip K. Dick’s A Scanner Darkly, two other wastrel masterpieces where laughter plays counterpoint against the sad oboes of doom.

Billy Craddock was born July 16, 1946, and grew up in Los Gatos, California, the son of William and Camille Craddock.  The family was well-off, with William Sr. an executive.  As a teenager, Billy said he expected to die at twenty-two, but that he wanted to be a Hells Angel and a published author by the time he was twenty-one.

At nineteen he was in fact a prospect for the Hell’s Angels, and he rode his chopper up to Oakland for a party in a bar.  A vicious fight broke out, with knives and chains.  Billy escaped out the bathroom window and decided not to be in the Angels after all.  Instead he joined the equally outlaw Night Riders motorcycle club of San Jose for a few years.

During his biker and acidhead times, Craddock was also an on-and-off student at San Jose State, an English major.  Early on, he managed to sell an article about motorcycle gangs to the magazine Easyriders—under the pen-name William James. And he wrote some columns for a local paper, the Los Gatos Times Observer.

But that was just a warm-up.  Billy finished writing his classic psychedelic  novel three months after turning twenty-one.  Be Not Content reads as if written by a mature professional. It’s as if all those trips aged Craddock by dozens of years, and he mentions this possibility:

 So much “lived-time” used up in so little “clock-time” and the world still pretty much the same and us still pretty much the same except for having grown even farther away from the straight-world and its children, having grown hairier on the outside and older-younger on the inside because of the passage of so much lived-time…

“Decrepit, old, tired minds,” said [the narrator’s friend] Baxtor, “being carried around in twenty-year-old bodies. A ludicrous spectacle. People have been conditioned to expect some sort of body-mind correlation. How will they react to the sight of a drooling, senile twenty-five-year-old being wheeled into the park by attendants? What excuse would you give? You couldn’t say, ‘Well, there’s nothing really wrong with him. He’s just old.’”

While we waited for senility we made treks back and forth, from San Jose to Sur, to San Francisco, to Berkeley, to L.A. and into Mexico … back to San Jose where we sometimes went to school or got jobs and then quit or got fired.

We talked for whole nights far into the next day, about experiences and religion, Zen, Tibet and the Tao, prison and our friends in it, philosophy and the stars, insanity and music, new drugs and ancient drugs rediscovered, love and cops, bullshit and its universal appeal, poets and dictators, power and the cosmos, and it was all so real and new.

Be Not Content appeared in a Doubleday Projections edition in 1970.  What would Craddock write next?

In a note written for Gale Contemporary Authors, he reported, “Doubleday tentatively accepted Be Not Content in 1968. While waiting for the anticipated wild joy of actual publication I wrote a second and much longer novel (intended as a sequel and wrap-up of Be Not Content) entitled Backtrack, which followed the first book’s main characters through the disillusioning reentry years immediately after the winter of 1967 and the death of hippie-hope. This grand opus was rejected after due consideration.”

In 1972, Doubleday instead published Craddock’s downbeat Twilight Candelabra, a novel involving coke, Satanism and a murder. Craddock may have been trying to write a novel more in tune with what his editors imagined the commercial market to be.   His next novel was The Fall of Because, “a satire overlaying a serious allegorical treatment of ‘modern magick.’”   This one was rejected by Doubleday.

Craddock finished the first draft of Be Not Content in September, 1967, and two months later he married Carole Anne Bronzich for a year and a half.  In 1975 he married for the second time, to Teresa Lynne Thorne, a native of San Jose.  Thorne’s father was a lawyer who’d represented George Jackson, the Soledad brothers, and the Hell’s Angels.  Her parents took Billy’s hippie/biker looks in stride.

Billy had dated Teresa for awhile, checking out if she’d be someone he could live with.  Teresa tells a story of Billy accompanying her to shopping mall.  “He told me he wanted to wait in the parking lot,” says Teresa.  “So I left him there in the car with a glass of water and the window open and when I got back from my shopping, he told me he was on acid.  You could never tell when Billy was high.  He didn’t show it.”

Craddock found a novel way to get engaged.  He gave Teresa a copy of Be Not Content, and when she asked for an autograph, he wrote his marriage proposal on the fly-leaf.

In 1975 the newlyweds spent some time as the caretakers of an empty mansion above Los Gatos.  Billy wrote a somewhat autobiographical California novel, The Fading Grass.  For whatever reason it too was deemed unpublishable.  Finally, in 1976, aged thirty, Billy wrote one more novel, A Passage of Shadows, and that one also failed to sell.

At this point he abandoned his career as a novelist.  He drifted away from psychedelics. He made a little money writing for the Santa Cruz Good Times, a column a week.

“It’s not the publishing that matters,” Billy would gamely tell Teresa.  “It’s the writing.”

I got my first copy of Be Not Content in 1972, shortly after taking a job as an assistant professor of mathematics at a small college in upstate New York.  I think I may have found the novel in a hip bookshop at Dupont Circle, Washington, DC.  I quickly began to idolize Craddock. I had my own memories of the psychedelic revolution, and when reading Be Not Content I felt—“Yes.  This is the way it was.  This guy got it right.”

I wrote Craddock a fan letter, enclosing what was at that time my sole publication, a technical math paper on higher infinities.  As if.  Billy wrote a friendly note back, saying that he’d only passed his high-school geometry class by cheating wildly off the girl in front of him, but that he was happy to know someone was reading him “over on the other side of the island.”

The years went by.  In 1986, my wife, three kids and I moved to Los Gatos, California.  I had a job as a professor of math and computer science at San Jose State.   Soon after arriving I saw one of Craddock’s columns in the Good Times free weekly paper.

I learned that Craddock had grown up in my new town, had attended the same high school where my children were going, that he’d gone to the very same San Jose State college were I now worked, and that we’d been born within a few months of each other. My mystic double!  I thought of seeking him out, but I wasn’t sure how to start—and I had the feeling that, as writers, we’d inevitably meet without having to plan it.

More years went by.  I’d lent out my original copy of Be Not Content without getting it back, and in 2003 I decided I couldn’t live without it any longer.  I bought a used copy online for the exorbitant price of $140.

The fee hurt, but it was pure joy to reread this rewarding volume.  I recognized numerous teachings that by now I’d totally integrated into my worldview, and multiple headtricks that I’d used in the transreal science-fiction novels I myself had published.

And still I had some hope of meeting Billy Craddock.  But then it was too late. Here’s a note I made in my journals on September 25, 2005.

A fan who’d bought Craddock’s old motorcycle emailed that Billy had died over a year ago, on March 16, 2004.  Today I went to the all-new San Jose State library to look up his obit.  It’s on microfilm, from the San Jose Mercury News. It’s eerie searching out the microfilm, in a graphically uncluttered basement room that vaguely resembles a mausoleum — I feel like a reporter in Citizen Kane.

I pull open a huge flat metal drawer with ranks and ranks of microfilm boxes, my hand reaches in, plucks out the box with Billy’s obit.  I go to the microfilm reader, the same big clunky kind of machine as ever, and grind forward past March 16, 2004. I’m looking for a big article, but it’s just a little tiny thing on March 20, with a picture of Billy looking tired and sad, his eyes hidden in dark sockets, the obit written by, I think, his widow Teresa.  How little recognition my hero received.

And how bum, how alien, how weird it would have been for Billy to see this microfilm room in a flash-forward vision while walking careless and high around this San Jose campus forty years ago—what if he’d suddenly seen, whoah, a hand pulling out this very box of microfilm with its image of his weary, suffering future-shocked face.

I leave the library, and the bell on SJSU’s Tower Hall is ringing to mark an hour, tolling deep and reverberant, the sounds overlapping and forming beats.

We really die, nobody escapes, all of us on the one big trip.

The fan who’d bought Billy’s bike gave me Teresa Craddock’s phone number, and I talked to her about me trying to find a publisher for Be Not Content.  She encouraged me to try.  Nothing came of it—the publishers I talked to weren’t interested in Sixties acid books, they seemed to think the story had already been told.  I lost track of Teresa, posted some thoughts about Craddock and Be Not Content on my blog, and early in 2012, a reader of my blog put me in touch with Teresa again.

By this point, I’d started up my own small publishing venture, Transreal Books. I went ahead and made an agreement with Teresa Craddock that I’d republish Be Not Content myself.  I feel it’s a very important book that needs to be remembered.  Nobody ever wrote about the psychedelic revolution as well as William Craddock.

A key point that he makes is that taking psychedelic trips was never, or at least not for very long, fun, in the usual sense of the word.  There were three problematic areas: freak-outs, seeing God, and coming down.

In the harrowing final chapters of Be Not Content, our hero Abel Egregore becomes obsessed with the seeing-God and the coming-down issues.  He goes further and further on his peak trip experiences, and he does in fact talk to God, but it’s not enough.  Coming down becomes insufferable, and he begins going on nightmarish trips that last for days and days.

Acid, Abel imagines, has changed the rules to the extent that he should be able to obtain complete enlightenment and a fundamental understanding of the nature of reality.  But he’s not getting there. In a turning-point scene, Abel’s sage friend Baxtor describes his own end of the road.

We’re going to grow old and die. That’s all. That’s all there is. The enlightenment-game is just that . . . another game. It’s a variation manufactured to occupy the minds of those mortals foolish enough to overindulge in mental exercises directed toward seeing through the illusion. Beyond the illusion there’s nothing.  Now, I know that you maintain that the nothing behind the illusion is  the ‘Void’ and a perfect state of wise Buddha-being; but Abel, that’s only a more sophisticated variation on the old bullshit heaven concept. You’ve simply eliminated all the things that you can’t accept, can’t believe in—the harps and streets of gold and winged angels and benevolent old daddy God and all the rest—after which you had nothing, which is uncomfortable, so you ripped off some validation from the Tibetans and called your nothing ‘The Perfect, Empty Void.’ But it’s nothing, Abel. When you get right down to it, it’s nothing.

Yet our hero isn’t willing to view the Void or the One or the Absolute as an empty nothing.  The ultimate nothing is, if you will, filled with light and with a hum. Craddock puts it thus:

It’s the sound of the miraculous space between eternity—between paradise. You only have to listen to hear it.  And beyond the music of the earth is the music of deep within you.  It’s the magic you once knew existed.  It does exist.

Everything is perfect—OM—endlessly—OM—infinity is ours—peace, my friends.  I love you.  I am you.  We are simply IT.  There’s nothing else to know.

And, knowing this, ordinary life is enough. A classic mystic illumination.  And all of this was written by a man of twenty-one.  Incredible.

Nobody I’ve talked to seems able to locate Backtrack—Craddock’s sequel to Be Not Content.  One hypothesis is that the single typed manuscript was lost in a fire that destroyed the house where Craddock was living with his first wife Carole around 1969.  Or conceivably someone in Billy’s circle still has possession of the manuscript. Or, who knows, Mindless Eddie ate it, just like in the final chapter of Be Not Content.

In any case three other unpublished novels by Craddock survive—The Fall of Because, The Fading Grass, and A Passage of Shadows.  These are still in the hands of his widow Teresa—I’ve seen one of them—and they may yet appear in print someday, if not from Transreal Books, then from some other publisher.

My guess is that Be Not Content will remain Craddock’s lucky strike, the outstanding early success that overshadows the rest of a writer’s career.  My friend Nick Herbert of Boulder Creek, an aging hippie writer himself, puts it like this:

Be Not Content is a little-appreciated masterpiece. Craddock truly captures the idealistic intensity of those days when we all felt that enlightenment, wisdom, telepathy, alien contact and/or Childhood’s End was so close you could almost smell it. Where anything seemed possible and every encounter felt like it could be the door to another world. Where did all that wildness go?

Ah, Nick, the wildness is still here, if only we look.

Let’s close with my  favorite teaching from the good book of Be Not Content:

“But don’t you feel like you’re wasting time?”
“How can you waste time? Man, that’s ridiculous.”

Relax and enjoy this wonderful work. Read it slowly. You have time.

This is the last of four 2012 blog posts on the topic of how to make your own ebooks, and which I revised somewhat in 2016. In 2012, I combined, expanded and revised these entries to make, fittingly, an ebook called How to Make An Ebook, available from Amazon. Note that this ebook is a 2012 edition, and it does not include any updates of the material that I made to these blog posts in 2016.

My How to Make An Ebook includes quite a bit of additional material, it’s more tightly organized, and it doesn’t include the perhaps too distracting photos that tend to clutter my blog posts! But it do

And now let’s get down to some Heavy Metal…I mean Heavy HTML.

Advanced Level: Dreamweaver & HTML

For full control, our workflow is to go from DOC or RTF to HTML, and then from HTML to EPUB. We’ll edit the HTML extensively. As I mentioned before, I myself use Dreamweaver, which is a commercial product from Adobe, but it’s possible that you could do a lot of this with some free HTML editor.

In all honesty, I should tell you that the process I’m about to describe is kind of complicated and probably not, in fact, a really good workflow to use.  As I’ll mention at the end of this post, I now use a much simpler pro-level process.  I import my books into InDesign and export my EPUB files from there.  But before I learned how to use InDesign, I found the “Heavy HTML” workflow useful.

Converting DOC to HTML. Preliminary cleanup.

For full control, our workflow is to go from DOC or RTF to HTML, and then from HTML to EPUB.

In “Do-It-Yourself Ebooks #2. The Simpler Paths” I talked about ways to clean up your Word file before using it for an EPUB. But now there’s another thing you want to do. You want to stop using the Word Normal style, and get rid of as many other Word styles as you can.

The first thing you want to do about your Word styles is to ditch as many of htem as you can, as otherwise they’ll show up as extra crap at the top of your HTML. For this, go to Developer | Templates | Organizer, and look at the list of styles in your document in the left pane of the Organizer dialog. Most of them are styles you aren’t using in your document, and you ought to delete them. You can select them all by clicking at the top, holding down the shift key and scrolling down. Before pressing delete look over the list and see if there are any special styles you defined and that you love and don’t want to lose. Then press Delete. Word won’t actually delete the most essential styles like Normal, Heading 1, and a few others. But most of them go away. Note, by the way, that if you delete a style and it was in fact applied to some text in your document, the text stays in place, but its style reverts to Normal. If you do in fact erase some style that was doing something useful, you can redfine it.

An optional second step is make a new Style called, let’s say, epubtext. To do this, select a normal block of text, right click and select Styles | Save selection as a new Quick Style, and name the new style epubtext. Now use Find and Replace | More | Format | Styles to set the Find what box to be empty but with the Normal Style, and the Replace with box to be empty but with the epubtext style. You might also make up other special styles for things like epubextendedquote, or epubtextnoindent, and so on. If this seems to weird and complicated you can do it later over in the HTML file, replacing MsoNormal by epubtext in the class specifications on the p tags for starters.

There are two ways to turn your DOC into an HTML.

(MAKE THE HTML YOURSELF) Use File | New to make a new HTML document in Dreamweaver, specifying that the Doc Type be XHTML. And then I select my whole DOC, copy the text of the full book to the clipboard, and paste it into the the Design View. Before doing this, go to Edit | Preferences | Copy/Paste and (a) set your Edit>Paste radio-buttons to the last option, “Text with structure plus full formatting (bold, italic, styles)”. For sure you want to keep your italic and bold formats. And you want to bring along your DOC styles, although you will now need to edit them a bit in the HTML doc. Also check the “Retain line breaks” box, otherwise the file will come through as one single giant paragraph.

Okay, fine, but now when you go to paste your DOC into Dreamweaver it may object and says the file is too big. So you have to teach Dreamweaver a lesson. This link describes a way to alter the default size of a file that Dreamweaver is willing to accept. To use this trick, close Dreamweaver, go to find InsertOfficeDoc.js, open it in the Text Pad editor, and add zeroes to the ends of the WarnThreshold and MaxThreshold numbers. Then open Dreamweaver again, and it’ll let you paste in a big book-sized file. Save your newly made HTML or XHTML (either file extension is okay) file in the directory where you’re keeping your files for this book. Now start cleaning up the file.

Note that pasting text into the Code view instead of the Design view is much trickier, and isn’t recommented, as pasting into Code view is likely to strip away all your formatting, especially your vital italics and, for that matter, your paragraph breaks.

(USE WORD TO MAKE THE HTML) In Word, save the Word file of your book as a “Web Page, Filtered” or filtered HTML file. Filtered means there’s less Word crap in the file. And I open this file in Dreamweaver and use Commands | Clean Up Word HTML… to get rid of more Word crap. By the way, when you saved the “Filtered HTML” file, Word made a directory of extra files in my directory, but there’s actually nothing in that directory that matters, and you can delete it. Word will put a lot of extra crap into your HTML file itself, and you will probably want to run the Dreamweave Commands | Clean up Word HTML tool. To remove more Microsoft crap, do a search and replace and delete all the style attributes from your paragraph p tags. Word will have jammed a bunch of unnecessary style specifictions into that attribute, and all the style you need is going to be in your class=”epubtext” attribute.

So okay, at this point, whichever method you used, you’ve got an HTML file of your book. Now you’re going to edit this file so you can make a nice EPUB out of it.

Tip: Stick to the Code view as much as possible. Dreamweaver lags and reacts slowly if you use the Design or the Split view. Now and then you’ll want to see the WYSIWYG views, yes, but stick to Code view most of the time and the program runs much smoother. And, oh yeah, Dreamweaver also runs faster in Code view if you close the Properties window.

Now we need a few more tweaks so that the HTML can be used to build an EPUB.

* Fill in the Title field for your HTML in Dreamweaver.

*Delete the body attributes link and vlink if they’re present.

*Remove all the align attributes of the p tags

*Remove all the clear attributes of the br tags

*You will have some anchor tags that make your Word-built Table of contents and in-document links work. The EPUB standard likes the id attribute but not the name attribute, and either one works. If your anchors have both name and id attributes, remove all the name attributes. If your anchors have only the name attributes, change them to id attributes doing a search and replace to change every occurrence of <a name=somenumber to <a id=somenumber

*Look at your span tags. Many of them are doing much for you, they’ll be things like span style=“font-family:’Georgia’,’serif’; font-size:12.0pt; color:black; “. It’s pretty safe just to search for all span tags with a style attribute and remove the tags (but not the contents of the tags). If you want to style your text you’ll do it with a class attribute on your p tag or, if necessary, a class tag on a span tag.

And now you want to work on your styles some more, which deserves a separate subsection.

Styles

You will see some code like this in between the <head> and </head> tags at the top of your HTML file. The contents of the style definitions will be different, but you’ll see something like the following, which is called an “internal style sheet.” (We will soon switch to an “external style sheet”.)

<style type="text/css">
p.epubtext
{ text-align: justified;
text-indent: 1.5em;
margin-top: 0px;
margin-bottom: 0px;
font-family:"Georgia", serif; }

h1 {
text-align: left;
font-size: 1.5em;
font-weight: normal;
font-family:"Georgia", serif;
margin-bottom: 0.67em;
margin-top: 0.67em;
page-break-before: always;
}
</style>

As I mentioned above, you might have erased most of the Word file styles, but if you didn’t you’ll see a lot of them here as part of the inernal style sheet. You can simply delete most of these, although you can use a Search command to check if they’re being used in your document. Many of them have “Mso” at the start of their name. You can eleminate them from your HTML document now.

If you haven’t yet changed from the Word Normal style will be called MsoNormal in your HTML. Search and replace to change “MsoNormal” to “epubtext” everywhere.

At this point you can also the Commands | Clean Up Word HTML, but if you made your HTML by cutting and pasting rather than letting Word save as HTML, you don’t really need this tool.

By now you’ll see that most of your paragraphs start with the tag </p class=“epubtext”. And the chapter headers should have a tag like </h1 class=“epubh1″

When you converted the Word DOC to HTML, the Heading 1 styles automatically changed to h1. You can simply change the style of h1, as in the sample code above, or you can define an epubh1 style and apply that to the h1 tags as a class attribute.

At this point you really want to switch to an external style sheet.

To make an external style sheet, put a line like this into in between the <head> and </head> tags at the top of your HTML file.

<link href="../Styles/epubstyles.css" rel="stylesheet" type="text/css" />

And now make a new file called epubstyles.css in the Styles directory. Just a text file, you can ask Dreamweaver to make a new CSS file if you like, it might have a @namespace or info line at the top, but this doesn’t much matter.  Here’s So fool with these in Sigil, flipping between your style.css pane and a pane showing your text, until you see what you like. Then Verify your epub file one more time and save it and it’s done.  As an example, you can look at my file rudyebookstyles.css of the style definitions I like to use.

And now you put style definitions into the epubstyles.css file. The general rule is that styles start with a . in the style sheet, but you don’t use the . in the code.

Here’s a really good “cheatsheet” link about CSS.

HTML for EPUB and MOBI

There’s a lot of specialized things about tweaking HTML so it looks good on an ereader. I’ll just mention a couple of things here.

Never set margin-left to anything but 0. Otherwise you can, for obscure reasions, end up with an indent that shoves your text halfway across the reader screen.

If you want to set off your text, use blockquote, which is a really great HTML tag. It indents your text a little on the left and and right and skips a half-line or so before and after your block of text. You can put <p> tags inside a blockquote block. Some advise against this practice but it works well for me.

I like to format my extended-quote or blockquote text a little differently. I like to make the font a little smaller, and to use a left alignment with a ragged right edge instead of the default justified alignment that goes for even left and right edges. I have to put in the class=”epub_extended_quote” attribute by hand on the <p> tags inside my blockquote.

Here’s what I do in my epubstyle.CSS to define epub_extended_quote. I include four styles here, epubtext, epubtext_noindent, epub_extended_quote, and epub_centered. A nice thing in a CSS file is that you can get styles to share some attritube properies by listing them separated by commas in an initial group definition. And add modifications to the attributes in separate blocks. I’ll print some code here, and just for fun I’ll format with the <code> tag like I’ve been doing, and I’ll put it inside a <blockquote> tag as well, although I’ll leave the text style as epubtext for now.


.epubtext, .epubtext_noindent, .epub_extended_quote, .epub_centered {
display: block;
font-family: Georgia, Times, "Times New Roman", serif;
margin-bottom: 0;
margin-left: 0;
margin-right: 0;
margin-top: 0;
text-align: justify;
text-indent: 1.75em
}

.epubtext_noindent {
text-indent: 0in
}

.epub_extended_quote {
text-align: left;
font-size:0.9em;
}

.epub_centered {

text-align: center;
}

And here’s a paragraph inside a blockquote tag and with the text in epub_extended_quote style.

And that’s all I have for you right now. But I found out a lot about HTML for EPUB and MOBI from this great link.

Synching your EPUB with your HTML and CSS “Source Code”

You want to save your big big HTML file and your epubstyle.CSS as a kind of source code. Once you have your HTML in a reasonable state, you can open it in Sigil and it will drag the Images and the CSS along, making copies of them within the container EPUB file.

Sigil will not save a file as HTML or XHTML, so you have to use a trick to move your “source code” HTML file back and forth. When you have it open in a code window Sigil, you can use Ctrl+A to select all of the HTML file code contents, then Ctrl+C to copy it to the clipboard, then go over to Dreamweaver with your source code HTML open in a window there and then do a Ctrl+A to select the contents of the source code file and then to Ctrl+V to paste the clipboarded code from Sigil onto your Dreamweaver file. You can edit the file for awhile in Dreamweaver, then bring it back into Sigil by reversing the procedure. Select the whoel file in Dreamweaver, copy to clipbaord with Ctrl+C, go over to Sigil, select the whole main HTML code and use a Ctrl+V to overwrite it with the source code HTML from Dreamweaver.

By the same token you will have a source code epubstyle.CSS file and one that’s inside the EPUB file in Sigil, and you can edit this file either in Sigil or in Dreamweaver, making sure to use Ctrl+C and Ctrl+V to move it back and forth, keeping the EPUB in synch with your “source code” HTML and CSS.

You can either edit your file in Sigil, or you can copy the file back into Dreamweaver and edit it there. Editing a lot in Sigil is a little bit flaky. Two issues. As of the May, 2012, release of Sigil if you do a big Search and Replace in Sigil it sometimes crashes. Not all that often, but often enough to matter. It’s safer to do those big mass replace moves in Dreamweaver. Another flaw in Sigil is that it’s an imperfect WYSIWYG editor. Editing the code view window in Sigil is fine, but if you try and edit in the Book View window, you’ll get “turd-bit” characters in the code view after deleting characters in the book view. So: (a) always save your EPUB before doing a big Search and Replace in Sigil, (b) only edit in the Code View window of Sigil, and (c) if you want to do a whole lot of editing, copy your Sigil EPUB HTML or XHTML file over to your “source code” file in Dreamweaver.

Images

While you’re in HTML, look at the image links, and make sure they all point to file-names to the images subdirectory that you made. You may need to use the Edit | Find and Replace dialog to get things set.

You’ll have at least one image, your cover. It’s better not have the size of the images hardcoded. That way you’re free to force in larger images if you want. Use the Edit | Find and Replace dialog and for the Search: field select Specific Tag and set to img, then for the Action: field select Remove Attribute and set to width. Then do the same for height. Then do the same for border.

Regarding the images you want to include, even if you inserted them into your Word DOC from somewhere else on your hard drive, put copies of all the images that in a subdirectory of your project directory and name the subdirectory Images. Use some photo editing software to adjust the sizes of these images to be, let’s say, 700 pixels across so they can fill up an iPad reader page. This way you have control of what images get used. The thing to keep in balance is, on the one hand the size of your EPUB file and, on the other hand, the quality of your images. Maybe 600 pixels across is enough. A 700-pixel image uses forty-percent as much memory as a 600-pixel image. On the other hand, people don’t mind big files these days, so maybe 10 Megabytes instead of 6 Megabytes is okay.

One crucial thing to keep in mind. I mentioned it before but I need to say it again: DON’T let any width or height attributes sneak into your image tags, or the image may not resize well. Your tag should be clean and simple like.

<img src=“../Images/fabsnap.jpg”>

This assumes that you are using the directory structure I mentioned before, with three directories, HTML Text, Images, and Styles, with your source HTML in HTML Text, the jpg files in Images, and your CSS file in Styles.

Breaking up the HTML

I mentioned before that you ought to put hard page breaks into your DOC after each chapter. When you convert the DOC into an HTML web page, these page breaks will show up as a break or br tag like this

<br style="page-break-before:always;" />

What you want to do in the HTML file now is to replace these tags by “horizontal rule” or hr tags like this:

<hr class="sigilChapterBreak" />

Sigil can read these tags and convert them into Sigil chapter breaks for shattering your monolithic HTML file into small files. But postpone shattering in Sigil at the last minute, as you want to keep a single big HTML or XHTML file as your EPUB “source code”.

A hard page break in a Word file becomes the following code when you transform the DOC into an HTML

So you can do a search and replace, changing the Word-generated page break code with the Sigil “shatter here” code

<hr class="sigilChapterBreak" /> An alternate approach is the following: To make a separator, insert the symbol <hr /> where hr stands for horizontal rule and you get a nice looking line like below.

---

You can use an attributes to make the horizontal rule take up only some percent of the page, have it be centered or on the left or on the right.

Validate with EPUBcheck & Build MOBI.

Install the EPUBcheck ware on your computer, it probably ends up in Program Files\EPUBcheck. Make a sample subdirectory of the EPUBcheck directory and put a copy of your current EPUB file there. Suppose it’s called betterworlds.epub.

Then go to the Command Line interface for your computer, navigate into the directory where epubcheck lives, like to Program Files\EPUBcheck. Now run a command like this:

java -jar epubcheck-3.0b2.jar sample/betterworlds1.epub

Of course the letters and numbers after epubcheck depend on which version of the software you have. And the name of the epub file depends on what file you’re checking.

If all goes well, epubcheck will either print a “No Errors Found” message, or it will spew out a lot of error messages. You can scroll up and down to see them all. Most common causes of errors are (1) you forgot to build a table of contents using the Sigil Table of Contents window, or (2) you didn’t fill in the Name, Title and Language fields using Sigil Meta tool, or (3) the EPUB ware is confused because you gave your epub file a name with spaces in it. If you see an error you can’t understand, try copying into the Google search bar to see what other people say about it.

As before, do the fixes in Dreamweaver, save the fixed HTML, reload in Sigil, save off a fresh EPUB and try epubcheck again. Then save your perfect EPUB.

And now you can use Calibre to turn your EPUB into a MOBI, or use the Kindle Previewer, as I discussed in “The Simpler Paths.” When you use Calibre for a conversion of your EPUB file, be sure to put the contents of your CSS file into the Convert Books | Look and Feel | Extra CSS box so that Calibre keeps your styles. (Remove the very first line of the CSS file, but keep the style definitions).

Back to DOC

If you load a shattered EPUB into Calibre and save as HTMLZ you’ll get a kind of ZIP file that has a single merged HTML or XHTML file in it plus the images, and the CSS stylesheet The zip file has the extensions HTMLZ, which most unzippers don’t recognize. In Windows you can open it with a free program called 7-zip that you can find on the web.

Word won’t open an XHTML file, but it will open an HTML file that you can then save as a DOC or as a PDF. You can change an XHTML file to an HTML just by changing first line. Look at a pair of HTML and XHTML files to see what you need to change.

One reason you’d want to get Word to open you final EPUB text is that then you save it as…a DOC file whose appearance you can tweak so as to save the book as PDF and publish it in paper as well. I won’t get into the whole paper thing here, but for now, I’ll just say that from what I’m reading online, it seems Createspace (yeat another Amazon subsidiary, it’s a bit sad to say) let you sell print-on-demand paper books at the lowest price per book to you.

Pro Level: InDesign

In 2016, I’m exclusively using InDesign to build my ebooks.  Reason is that I’m also making paperbacks of all my ebooks, which menas I need to use InDesign anyway, so as to get a goodlooking PDF image of the printed book.  I send the PDF to Amazon’s subsidiary CreateSpace and also to Lightning or to IngramSpark.  And InDesign has a very good EPUB export feature.

Learning to use InDesign was a long process with many, many gotchas.  And getting the EPUB export to work right took awhile too.  I’ve made a lot of notes on this process, and I’ve posted a roughly edited version of these notes online as “Using InDesign for Print and Ebooks.”

Go for it! Self-publish your ass off! And let a thousand flowers bloom.