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|
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<div id="master">
<div id="toc" class="toc">
<h3><a href="#main">Contents</a> <span class="smaller"><a href="javascript:openall();">(open all)</a> <a href="javascript:closeall();">(close all)</a></span></h3>
<ul><!-- master toc ul -->
<li id="l1"><span class="n"></span><a href="#h1"><b>1. Overview</b></a>
<ul id="u1">
<li id="l1.1"><span class="n"></span><a href="#h1.1">1.1 Description</a>
<ul id="u1.1">
<li><a href="#h1.1.1">1.1.1 Installation</a></li>
<li><a href="#h1.1.2">1.1.2 Licensing</a></li>
<li><a href="#h1.1.3">1.1.3 Credits</a></li>
<li><a href="#h1.1.4">1.1.4 Success Story</a></li>
<li><a href="#h1.1.5">1.1.5 Help Wanted</a></li>
</ul>
</li><!-- end 1.1 -->
<li id="l1.2"><span class="n"></span><a href="#h1.2">1.2 Important Behavior</a>
<ul id="u1.2">
<li><a href="#h1.2.1">1.2.1 Always UTF-8, No fontenc</a>
<ul id="u1.2.1">
<li><a href="#h1.2.1.1">1.2.1.1 Polyglossia Languages</a></li>
</ul>
</li>
<li><a href="#h1.2.2">1.2.2 Fonts Not Loaded by \usepackage or \RequirePackage</a></li>
<li><a href="#h1.2.3">1.2.3 LuaLaTeX, Open Type Fonts</a></li>
<li><a href="#h1.2.4">1.2.4 Standard TeX Size Commands Disabled</a></li>
<li><a href="#h1.2.5">1.2.5 Academic Style Commands Disabled</a></li>
<li><a href="#h1.2.6">1.2.6 Raster png/jpg Images Only</a></li>
<li><a href="#h1.2.7">1.2.7 Beware of Special Characters</a></li>
<li><a href="#h1.2.8">1.2.8 Avoid TeX Editors, IDEs</a></li>
<li><a href="#h1.2.9">1.2.9 Write Using Word Processor</a></li>
<li><a href="#h1.2.10">1.2.10 Think for Yourself</a></li>
</ul>
</li><!-- end 1.2 -->
</ul>
</li><!-- end 1 -->
<li id="l2"><span class="n"></span><a href="#h2"><b>2. Document Class Options</b></a>
<ul id="u2">
<li><a href="#h2.1">2.1 draft</a></li>
<li><a href="#h2.2">2.2 graytext</a></li>
<li><a href="#h2.3">2.3 shademargins</a></li>
<li><a href="#h2.4">2.4 cropmarks</a></li>
<li><a href="#h2.5">2.5 cropview</a></li>
<li><a href="#h2.6">2.6 closecrop</a></li>
<li><a href="#h2.7">2.7 xml</a></li>
<li><a href="#h2.8">2.8 coverart</a></li>
<li><a href="#h2.9">2.9 unblock (dev)</a></li>
</ul>
</li><!-- end 2 -->
<li id="l3"><span class="n"></span><a href="#h3"><b>3. Metadata, File Data, PDF/X</b></a>
<ul id="u3">
<li id="l3.1"><span class="n"></span><a href="#h3.1">3.1 Definitions of Terms</a>
<ul id="u3.1">
<li><a href="#h3.1.1">3.1.1 ISBN Metadata</a></li>
<li><a href="#h3.1.2">3.1.2 Printed Metadata</a></li>
<li><a href="#h3.1.3">3.1.3 File (PDF) Metadata</a></li>
</ul>
</li><!-- end 3.1 -->
<li id="l3.2"><span class="n"></span><a href="#h3.2">3.2 Rules for File Data</a>
<ul id="u3.2">
<li><a href="#h3.2.1">3.2.1 Required, Prohibited?</a></li>
<li><a href="#h3.2.2">3.2.2 Limited to Latin-1?</a></li>
<li><a href="#h3.2.3">3.2.3 TeX Escapes</a></li>
<li><a href="#h3.2.4">3.2.4 Forbidden Characters</a></li>
</ul>
</li><!-- end 3.2 -->
<li id="l3.3"><span class="n"></span><a href="#h3.3">3.3 File Data Commands</a>
<ul id="u3.3">
<li><a href="#h3.3.1">3.3.1 \SetTitle</a></li>
<li><a href="#h3.3.2">3.3.2 \SetAuthor</a></li>
<li><a href="#h3.3.3">3.3.3 \SetSubtitle</a></li>
<li><a href="#h3.3.4">3.3.4 \SetApplication, \SetProducer</a></li>
</ul>
</li><!-- end 3.3 -->
<li id="l3.4"><span class="n"></span><a href="#h3.4">3.4 PDF/X</a>
<ul id="u3.4">
<li><a href="#h3.4.1">3.4.1 Compliance Standards</a></li>
<li><a href="#h3.4.2">3.4.2 Output Intents</a></li>
<li><a href="#h3.4.3">3.4.3 Built-IN OI Codes</a></li>
<li><a href="#h3.4.4">3.4.4 Other Output Intents</a></li>
<li><a href="#h3.4.5">3.4.5 Embed *.icc or Not?</a></li>
<li><a href="#h3.4.6">3.4.6 Finding *.icc Files</a></li>
</ul>
</li><!-- end 3.4 -->
</ul>
</li><!-- end 3 -->
<li id="l4"><span class="n"></span><a href="#h4"><b>4. Book Size, Page Layout, Fonts</b></a>
<ul id="u4">
<li id="l4.1"><span class="n"></span><a href="#h4.1">4.1 Book Dimensions</a>
<ul id="u4.1">
<li><a href="#h4.1.1">4.1.1 Trim Size</a></li>
<li><a href="#h4.1.2">4.1.2 Media Size, TrimBox</a></li>
<li><a href="#h4.1.3">4.1.3 Advanced: Cropmark Gap</a></li>
</ul>
</li><!-- end 4.1 -->
<li id="l4.2"><span class="n"></span><a href="#h4.2">4.2 Fonts, Normal Font Size</a>
<ul id="u4.2">
<li><a href="#h4.2.1">4.2.1 Parent (Main) Font, Size</a>
<ul id="u4.2.1">
<li><a href="#h4.2.1.1">4.2.1.1 \SetParentFont</a></li>
<li><a href="#h4.2.1.2">4.2.1.2 \SetFontSize</a></li>
</ul>
</li>
<li><a href="#h4.2.2">4.2.2 Descendant Fonts</a></li>
<li><a href="#h4.2.3">4.2.3 Advanced: Deco Font</a></li>
<li><a href="#h4.2.4">4.2.4 Advanced: Mono, Sans, Math</a></li>
<li><a href="#h4.2.5">4.2.5 Advanced: New Fonts</a></li>
</ul>
</li><!-- end 4.2 -->
<li id="l4.3"><span class="n"></span><a href="#h4.3">4.3 Interior Page Layout</a>
<ul id="u4.3">
<li><a href="#h4.3.1">4.3.1 Margins</a>
<ul id="u4.3.1">
<li><a href="#h4.3.1.1">4.3.1.1 Gutter? Which?</a></li>
</ul>
</li>
<li><a href="#h4.3.2">4.3.2 Lines Per Page</a></li>
<li><a href="#h4.3.3">4.3.3 Global Header/Footer</a>
<ul id="u4.3.3">
<li><a href="#h4.3.3.1">4.3.3.1 H/F Style Choices</a></li>
<li><a href="#h4.3.3.2">4.3.3.2 Custom H/F Style</a></li>
</ul>
</li>
<li><a href="#h4.3.4">4.3.4 Tweaking Global H/F Style</a>
<ul id="u4.3.4">
<li><a href="#h4.3.4.1">4.3.4.1 Head/Foot Jump</a></li>
<li><a href="#h4.3.4.2">4.3.4.2 \SetHeadFont</a></li>
<li><a href="#h4.3.4.3">4.3.4.3 \SetLooseHead</a></li>
<li><a href="#h4.3.4.4">4.3.4.4 \SetPageNumberStyle</a></li>
<li><a href="#h4.3.4.5">4.3.4.5 \SetEmblems</a></li>
<li><a href="#h4.3.4.6">4.3.4.6 Header Text</a></li>
</ul>
</li>
<li><a href="#h4.3.5">4.3.5 H/F Exceptional Pages</a>
<ul id="u4.3.5">
<li><a href="#h4.3.5.1">4.3.5.1 \thispagestyle</a></li>
<li><a href="#h4.3.5.2">4.3.5.2 \SetChapterStartStyle</a></li>
</ul>
</li>
</ul>
</li><!-- end 4.3 -->
</ul>
</li><!-- end 4 -->
<li id="l5"><span class="n"></span><a href="#h5"><b>5. Chapter Structure</b></a>
<ul id="u5">
<li id="l5.1"><span class="n"></span><a href="#h5.1">5.1 Starting a Chapter</a>
<ul id="u5.1">
<li><a href="#h5.1.1">5.1.1 \clearpage, \cleartorecto</a></li>
<li><a href="#h5.1.2">5.1.2 ChapterStart Environment</a>
<ul>
<li><a href="#h5.1.2.1">5.1.2.1 \SetChapterStartStyle</a></li>
<li><a href="#h5.1.2.2">5.1.2.2 \SetChapterStartHeight</a></li>
<li><a href="#h5.1.2.3">5.1.2.3 Begin ChapterStart</a></li>
</ul>
</li>
<li><a href="#h5.1.3">5.1.3 Chapter Title, etc.</a>
<ul>
<li><a href="#h5.1.3.1">5.1.3.1 \SetChapterFont, \SetSubchFont</a></li>
<li><a href="#h5.1.3.2">5.1.3.2 \ChapterTitle, \ChapterSubtitle</a></li>
<li><a href="#h5.1.3.3">5.1.3.3 \ChapterDeco</a></li>
<li><a href="#h5.1.3.4">5.1.3.4 Chapter Epigraph</a></li>
</ul>
</li>
<li><a href="#h5.1.4">5.1.4 ChapterStart With Image</a>
<ul>
<li><a href="#h5.1.4.1">5.1.4.1 Text Over Image</a></li>
<li><a href="#h5.1.4.2">5.1.4.2 Text Within Image</a></li>
</ul>
</li>
</ul>
</li><!-- end 5.1 -->
<li id="l5.2"><span class="n"></span><a href="#h5.2">5.2 Continuous Chapters</a>
<ul id="u5.2">
<li><a href="#h5.2.1">5.2.1 Short ChapterStart</a></li>
<li><a href="#h5.2.2">5.2.2 \QuickChapter</a></li>
</ul>
</li><!-- end 5.2 -->
<li id="l5.3"><span class="n"></span><a href="#h5.3">5.3 Scene Breaks</a>
<ul id="u5.3">
<li><a href="#h5.3.1">5.3.1 \SetScenebreakIndent</a></li>
</ul>
</li><!-- end 5.3 -->
</ul>
</li><!-- end 5 -->
<li id="l6"><span class="n"></span><a href="#h6"><b>6. Text Size, Style, Position, Notes</b></a>
<ul id="u6">
<li id="l6.1"><span class="n"></span><a href="#h6.1">6.1 Text Sizes</a>
<ul id="u6.1">
<li><a href="#h6.1.1">6.1.1 Standard Sizes: Disabled!</a></li>
<li><a href="#h6.1.2">6.1.2 Local sizing: \charscale</a></li>
<li><a href="#h6.1.3">6.1.3 Environment: parascale</a></li>
<li><a href="#h6.1.4">6.1.4 Open Type Scale</a></li>
</ul>
</li><!-- end 6.1 -->
<li id="l6.2"><span class="n"></span><a href="#h6.2">6.2 General Styling</a>
<ul id="u6.2">
<li><a href="#h6.2.1">6.2.1 Italics and Emphasis</a></li>
<li><a href="#h6.2.2">6.2.2 Bold and Semibold</a></li>
<li><a href="#h6.2.3">6.2.3 Underlining</a></li>
<li><a href="#h6.2.4">6.2.4 Small Caps, Acronyms</a></li>
<li><a href="#h6.2.5">6.2.5 Local Tracking</a></li>
<li><a href="#h6.2.6">6.2.6 Local Font Selection</a></li>
<li><a href="#h6.2.7">6.2.7 Local Font Features</a></li>
<li><a href="#h6.2.8">6.2.8 Text Color (grayscale)</a></li>
</ul>
</li><!-- end 6.2 -->
<li id="l6.3"><span class="n"></span><a href="#h6.3">6.3 Positioning and Alignment</a>
<ul id="u6.3">
<li><a href="#h6.3.1">6.3.1 What to Avoid</a></li>
<li><a href="#h6.3.2">6.3.2 Some Useful Commands</a></li>
</ul>
</li><!-- end 6.3 -->
</ul>
</li><!-- end 6 -->
<li id="l7"><span class="n"></span><a href="#h7"><b>7. Interior Images, Cover Artwork</b></a>
<ul id="u7">
<li id="l7.1"><span class="n"></span><a href="#h7.1">7.1 Raster Images Only</a>
<ul id="u7.1">
<li><a href="#h7.1.1">7.1.1 Use PNG or JPG</a></li>
<li><a href="#h7.1.2">7.1.2 Saving the Resolution</a></li>
<li><a href="#h7.1.3">7.1.3 Removing Private Metadata</a></li>
</ul>
</li><!-- end 7.1 -->
<li id="l7.2"><span class="n"></span><a href="#h7.2">7.2 Interior Image Workflow</a>
<ul id="u7.2">
<li><a href="#h7.2.1">7.2.1 Line Art in GIMP</a></li>
<li><a href="#h7.2.2">7.2.2 Grayscale in GIMP</a></li>
<li><a href="#h7.2.3">7.2.3 Scaling After \Rework</a></li>
</ul>
</li><!-- end 7.2 -->
<li id="l7.3"><span class="n"></span><a href="#h7.3">7.3 Placing Images</a>
<ul id="u7.3">
<li><a href="#h7.3.1">7.3.1 \charscale Text</a></li>
<li><a href="#h7.3.2">7.3.2 \InlineImage</a></li>
<li><a href="#h7.3.3">7.3.3 Text Over \InlineImage</a></li>
<li><a href="#h7.3.4">7.3.4 \BlockImage</a></li>
<li><a href="#h7.3.5">7.3.5 \BlockImage With Text</a></li>
</ul>
</li><!-- end 7.3 -->
<li id="l7.4"><span class="n"></span><a href="#h7.4">7.4. Color Cover Artwork</a>
<ul id="u7.4">
<li id="l7.4.1"><a href="#h7.4.1">7.4.1 Begin with PNG</a></li>
<li id="l7.4.2"><a href="#h7.4.2">7.4.2 Get Some Software</a></li>
<li id="l7.4.3"><a href="#h7.4.3">7.4.3 CMYK at Ink Limit</a></li>
<li id="l7.4.4"><a href="#h7.4.4">7.4.4 Convert to PDF/X</a></li>
<li id="l7.4.5"><a href="#h7.4.5">7.4.5 Final Check</a></li>
</ul>
</li><!-- end 7.4 -->
</ul>
</li><!-- end 7 -->
<li id="l8"><span class="n"></span><a href="#h8"><b>8. Book Design</b></a>
<ul id="u8">
<li id="l8.1"><span class="n"></span><a href="#h8.1">8.1 Terminology</a>
<ul id="u8.1">
<li><a href="#h8.1.1">8.1.1 Sheet, Page, Leaf</a></li>
<li><a href="#h8.1.2">8.1.2 Folio, Spine</a></li>
<li><a href="#h8.1.3">8.1.3 Signature, Imposition</a></li>
</ul>
</li><!-- end 8.1 -->
<li id="l8.2"><span class="n"></span><a href="#h8.2">8.2 Book Manufacture</a>
<ul id="u8.2">
<li><a href="#h8.2.1">8.2.1 Perfect Binding</a></li>
<li><a href="#h8.2.2">8.2.2 Library Binding</a></li>
<li><a href="#h8.2.3">8.2.3 Other Bindings</a></li>
<li><a href="#h8.2.4">8.2.4 Paper, Cover Materials</a></li>
</ul>
</li><!-- end 8.2 -->
<li id="l8.3"><span class="n"></span><a href="#h8.3">8.3 Interior Structure</a>
<ul id="u8.3">
<li id="l8.3.1"><span class="n"></span><a href="#h8.3.1">8.3.1 Display, Chapter-Like</a>
<ul id="u8.3.1">
<li><a href="#h8.3.1.1">8.3.1.1 Display Pages</a></li>
<li><a href="#h8.3.1.2">8.3.1.2 Chapter-Like Sections</a></li>
</ul>
</li>
<li id="l8.3.2"><span class="n"></span><a href="#h8.3.2">8.3.2 Front Matter</a>
<ul id="u8.3.2">
<li><a href="#h8.3.2.1">8.3.2.1 Half-Title, i</a></li>
<li><a href="#h8.3.2.2">8.3.2.2 Blank, ii</a></li>
<li><a href="#h8.3.2.3">8.3.2.3 Title Page, iii</a></li>
<li><a href="#h8.3.2.4">8.3.2.4 Copyright Page, iv</a></li>
<li><a href="#h8.3.2.5">8.3.2.5 Dedication</a></li>
<li><a href="#h8.3.2.6">8.3.2.6 Epigraph</a></li>
<li><a href="#h8.3.2.7">8.3.2.7 Table of Contents</a></li>
<li><a href="#h8.3.2.8">8.3.2.8 Foreword, Preface, Intro</a></li>
<li><a href="#h8.3.2.9">8.3.2.9 Acknowledgements</a></li>
<li><a href="#h8.3.2.10">8.3.2.10 Author's Note</a></li>
<li><a href="#h8.3.2.11">8.3.2.11 Map</a></li>
<li><a href="#h8.3.2.12">8.3.2.12 Second Half-Title</a></li>
</ul>
</li>
<li id="l8.3.3"><span class="n"></span><a href="#h8.3.3">8.3.3 Main Matter</a>
<ul id="u8.3.3">
<li><a href="#h8.3.3.1">8.3.3.1 Half-Title in Main</a></li>
<li><a href="#h8.3.3.2">8.3.3.2 Part Separator</a></li>
<li><a href="#h8.3.3.3">8.3.3.3 Introduction</a></li>
<li><a href="#h8.3.3.4">8.3.3.4 Prologue</a></li>
<li><a href="#h8.3.3.5">8.3.3.5 Chapters</a></li>
<li><a href="#h8.3.3.6">8.3.3.6 Epilogue, Conclusion</a></li>
<li><a href="#h8.3.3.7">8.3.3.7 End Notes, Appendix</a></li>
</ul>
</li>
<li id="l8.3.4"><span class="n"></span><a href="#h8.3.4">8.3.4 At Very End</a>
<ul id="u8.3.4">
<li><a href="#h8.3.4.1">8.3.4.1 Back Matter? Not!</a></li>
<li><a href="#h8.3.4.2">8.3.4.2 About the Author</a></li>
</ul>
</li>
</ul>
</li><!-- end 8.3 -->
</ul>
</li><!-- end 8 -->
<li><i>Appendices:</i></li>
<li id="lA"><span class="n"></span><a href="#hA"><b>A. Emergency Rework</b></a>
<ul id="uA">
<li><a href="#hA.1">A.1 \ReworkTrimSize</a></li>
<li><a href="#hA.2">A.2 \ReworkMargins</a></li>
<li><a href="#hA.3">A.3 Example of Rework</a></li>
<li><a href="#hA.4">A.4 Limitations of Rework</a></li>
<li><a href="#hA.5">A.5 Scaling Images</a></li>
</ul>
</li><!-- end A -->
<li id="lB"><span class="n"></span><a href="#hB"><b>B. Six-Page Front Matter</b></a>
<ul id="uB">
<li><a href="#hB.1">B.1 Half-Title to Copyright</a></li>
<li><a href="#hB.2">B.2 Post-Copyright</a></li>
</ul>
</li><!-- end B -->
<li id="lC"><span class="n"></span><a href="#hC"><b>C. Shopping for Fonts</b></a>
<ul id="uC">
<li><a href="#hC.1">C.1 Licensing Issues</a></li>
<li><a href="#hC.2">C.2 Technical Issues</a></li>
<li><a href="#hC.3">C.3 Appearance Issues</a></li>
</ul>
</li><!-- end C -->
<li id="lD"><span class="n"></span><a href="#hD"><b>D. 240% Ink Limit</b></a>
<ul id="uD">
<li><a href="#hD.1">D.1 Bright Colors Preserved</a></li>
<li><a href="#hD.2">D.2 Natural Light Preserved</a></li>
<li><a href="#hD.3">D.3 Dark, Rich Colors Lost</a></li>
</ul>
</li><!-- end D -->
<li id="lE"><span class="n"></span><a href="#hE"><b>E. Fontspec Syntax</b></a>
<ul id="uE">
<li id="lE.1"><span class="n"></span><a href="#hE.1">E.1 Family vs. File Name</a>
<ul id="uE.1">
<li><a href="#hE.1.1">E.1.1 Set/New by Name</a></li>
</ul>
</li>
<li id="lE.2"><span class="n"></span><a href="#hE.2">E.2 Open Type Features</a>
<ul id="uE.2">
<li><a href="#hE.2.1">E.2.1 Scale Pseudo-Feature</a></li>
<li><a href="#hE.2.2">E.2.2 Color and Opacity</a></li>
<li><a href="#hE.2.3">E.2.3 Create Font Feature</a></li>
</ul>
</li>
<li id="lE.3"><a href="#hE.3">E.3 Local Font Modification</a></li>
</ul>
</li><!-- end E -->
<li id="lF"><span class="n" style="visibility:hidden"></span><a href="#hF"><b>F. Sample Document</b></a></li><!-- end F -->
</ul><!-- end master toc ul -->
<div style="height:1em"></div>
</div><!-- end toc -->
<!-- **************************************************************************************** -->
<div id="main">
<!-- **************************************************************************************** -->
<h1 id="h0">Document class <i>novel</i> - documentation</h1>
<p class="noindent">Version: 1.41, 2017/10/02. This is a complete re-write of the documentation, with the HTML in a single file, and many improvements.</p>
<p class="noindent" style="position:relative"><span style="position:absolute; top:-.1em; font-size:150%; color:#008000">☺</span> An example novel, text and cover, can be found at the <a class="external" rel="external" target="new" href="https://github.com/RobtAll/novel/">GitHub project page</a>, in the "other" folder. You will find its TeX source and the resulting PDF. The PDF text and cover meet submission standards for major American print-on-demand services.</p>
<p>A smaller example document is <i>novel-example.tex</i>, which can be found in the <i>extras</i> folder within this documentation.</p>
<p><b>Printing this file:</b> Some user agents have difficulty previewing this HTML file for print, or printing it. If you wish to print (to PDF or paper) then do this: Edit the HTML file, in a text editor that understands UNIX-type line endings. Look slightly below the top (around line 70) for a block of code that is commented-out. Remove the comment, so that the block is effective.</p>
<p> </p>
<div id="page01" class="page">
<h2 id="h1">1. Overview</h2>
<div class="d2" id="d1">
<h3 id="h1.1">1.1. Description</h3>
<div class="d3" id="d1.1">
<p class="noindent">The <i>novel</i> document class is intended for writers of original fiction, such as novels and collections of short stories. For this purpose, it provides easy-to-use settings that are pre-configured for the most common book Trim Sizes, according to publishing standards.</p>
<p>The class uses the advanced typographic features of LuaTeX, fontspec, and microtype, and has the built-in capability to produce files compliant with PDF/X. All these capabilities are accessed via simple front-end commands that do the work for you, thereby reducing the learning curve.</p>
<p>You will be using utf-8 encoding throughout, and Open Type fonts (or TrueType). That means built-in support for many languages.</p>
<p>PDF/A and other formats pertaining to digital publication (e-books) are not supported, and never will be. If that is what you need, then this is the wrong document class for you.</p>
<p>Bibliography, Floats, Tables, Math Mode, automatic generation of title page and table of contents... Forget them! Many of the TeX features used for academic work have reduced functionality, or are entirely disabled, in <i>novel</i> class. There is a reason for this. If you need those capabilities, find another document class. There is some support for page-bottom footnotes, but good support for raster (not vector) images.</p>
<p>The class makes typographic choices that are best suited to <em>original</em> fiction, where you can easily resolve problematic typesetting by re-writing your own work. Note that modern commercial publishing is often very tolerant of widows and orphans, so <i>novel</i> makes no effort to control them.</p>
<p>The <i>novel</i> class has a lot of possible settings, and a command structure that differs from other document classes in many ways. So, there is a lot of documentation. But you probably do not have to read most of it.</p>
<p>Before you panic, look at the <i>novel-example.tex</i> demonstration file, in the documentation <i>extras</i> folder. It uses mostly default settings. See how easy that can be?</p>
<p>If you are ready to typeset your great detective novel, or your collection of sci-fi short stories, then <i>novel</i> is for you. And, if you are unfamiliar with the terminology of commercial book publishing, have no fear! This documentation is here to help you.</p>
<h4 id="h1.1.1">1.1.1. Installation</h4>
<div class="d4" id="d1.1.1">
<p class="noindent">Your TeX installation must be based on TeXLive 2016 or later (including any recent MiKTeX). If you are on Linux and your distro is something such as Ubuntu 16.04 LTS (Xenial), then the distro version of TeXLive is too old. However, you can still install a more recent version of TeXLive manually, to your home directory, from <a class="external" rel="external" target="new" href="https://www.tug.org/texlive/">tug.org</a>.</p>
<p>The <i>novel</i> package is not (yet) included with default TeX distribution. Once you have TeX working, use its package manager to install <i>novel</i>. The TeX package will be placed in <i>(texroot)/tex/lualatex/novel/</i>, the documentation will be placed in <i>(texroot)/doc/lualatex/novel/</i>, and the included font will be placed in <i>(texroot)/fonts/opentype/novel/</i>.</p>
<p>Fonts from the <i>libertinus</i> package are required, and may be installed via your TeX package manager. Note that a <i>novel</i> document does not request the package, so you will not see an error if the fonts are not installed! Instead, if you have not manually specified which fonts to use, it will automatically look for pre-installed Libertinus fonts (or Linux Libertine O) as defaults.</p>
<p>Since you will be using LuaLaTeX, the font cache will be updated to include the newly-installed fonts, the next time you run this software. However, I recommend that you force a full cache refresh, by locating the <i>luatex-cache</i> directory, and discard its contents. The cache may be anywhere (sadly), so you will have to hunt for it. If you have never used LuaLaTeX before, it may not exist. If there are any updates to the fonts, then a manual cache refresh is necessary.</p>
</div><!-- end 1.1.1 -->
<h4 id="h1.1.2">1.1.2. Licensing</h4>
<div class="d4" id="d1.1.2">
<p class="noindent">The <i>novel</i> document class, including software, examples, documentation and supporting images, is distributed under the terms of the LaTeX Project Publc License, either version 1.3c of this license or (at your option) any later version. The exception is the included font NovelDeco.otf, which is distributed under terms of the SIL Open Font License, v.1.1.</p>
<p>To ensure that your book may be sold commercially, be careful to use only fonts that allow commercial usage. That may exclude some of the fonts in the LaTeX font catalog. See this documentation regarding fonts.</p>
</div><!-- end 1.1.2 -->
<h4 id="h1.1.3">1.1.3. Credits</h4>
<div class="d4" id="d1.1.3">
<p class="noindent">My method of "programming" largely involves using or modifying code provided by others under allowable license terms. Thus, within the TeX code files, you will find places where small or large pieces of code are the work of someone else. Names or organizations are credited in-place within the TeX code, according to license.</p>
<p>Various clipart graphics were obtained from <a class="external" rel="external" target="new" href="https://openclipart.org">openclipart.org</a>. The <i>NovelDeco.otf</i> font is partly derived from <i>Linux Libertine O</i>, using <a class="external" rel="external" target="new" href="https://fontforge.github.io/en-US/">FontForge.</a></p>
<p>I read popular fiction a lot, usually books from my local public library. Even if I do not read a particular book, I often look a how it is designed. Throughout this documentation, where I recommend a design or style, it is most often based on the preponderance of designs/styles as I have seen in softcover or hardcover popular fiction, from major publishers in the U.S.A. That does not include "mass-market paperback" versions (the kind seen at supermarkets, rather than at bookstores). I may mention several common alternatives.</p>
<p>I have also consulted the authoritative <i>Chicago Manual of Style</i> (CMoS) hardcover 16th Edition. In the case of fiction, <i style="cursor:help" title="Chicago Manual of Style">CMoS</i> notes that publishers sometimes don't do things the official way.</p>
<p>Although I have looked at a variety of web sites concerning book design, I give these the least credence, because (a) often they merely duplicate each other's opinions, right or wrong, and (b) they may simply echo <i style="cursor:help" title="Chicago Manual of Style">CMoS</i>.</p>
</div><!-- end 1.1.3 -->
<h4 id="h1.1.4">1.1.4. Success Story</h4>
<div class="d4" id="d1.1.4">
<p class="noindent">In August 2017, an original novel using this document class was published. The text block used nearly all the default settings, and was electronically submitted as PDF/X-1a:2001.</p>
<p>The color cover image was designed in RGB using <a class="external" rel="external" target="new" href="https://inkscape.org">Inkscape</a> and <a class="external" rel="external" target="new" href="https://www.gimp.org">GIMP</a>, coverted to CMYK at 240% ink limit using <a class="external" rel="external" target="new" href="http://www.graphicsmagick.org">GraphicsMagick</a> and the methods described in this documentation, then finally converted to PDF/X-1a:2001 using this document class.</p>
<p>Both files were automatically reviewed and accepted <i>on first attempt</i>, with the actual printed books for sale within a few days of file submission.</p>
</div><!-- end 1.1.4 -->
<h4 id="h1.1.5">1.1.5. Help Wanted</h4>
<div class="d4" id="d1.1.5">
<p class="noindent">Although this package works for me, and there are no <i>known</i> issues, bugs are always possible. You may file an issue at the <a class="external" rel="external" target="new" href="https://github.com/RobtAll/novel">GitHub project page</a>, or contact me by e-mail if you do not have a GitHub account. My e-mail address is towards the top of the <i>novel.cls</i> file.</p>
<p>I, the original author of this package, am a retiree who prefers to move on to other things. If you are of a mind to take up long-term maintenance, then contact me by e-mail. If you already are a package developer with a <a class="external" rel="external" target="new" href="https://ctan.org/contact">CTAN</a> login, also contact them. You will need to understand elementary LuaLaTeX, fontspec, Unicode, Open Type fonts, PDF/X, and the general needs of fiction writers in the printed (not e-book) market. However, Lua, XeTeX, TiKz, math, and physics are not required (possibly counterproductive).</p>
</div><!-- end 1.1.5 -->
</div><!-- end 1.1 -->
<h3 id="h1.2">1.2. Important Behavior</h3>
<div class="d3" id="d1.2">
<p class="noindent">There are several ways that <i>novel</i> is very different from other TeX document classes. Before you wonder why your document doesn't work, you need to understand the differences. All of these are features, not bugs. They are done with the intent of making <i>novel</i> best for its intended purpose.</p>
<h4 id="h1.2.1">1.2.1. Always Use UTF-8, Without fontenc</h4>
<div class="d4" id="d1.2.1">
<p class="noindent">You must create your document in utf-8 encoding. No OT1, no T1, no LY1, or other TeX font encoding that pre-dates cell phones.</p>
<p>Instead of typing TeX codes such as <code>\`{e}</code> you can simply paste <code>è</code> from a Unicode character map. Other alphabets such as Greek and Cyrillic are directly supported, as long as you choose fonts that support those character sets.</p>
<p>Do not call for <i>fontenc</i> in your Preamble. The <i>novel</i> class is pre-configured for utf-8.</p>
<p>If you use a plain text editor, or TeXWorks, or export plain text from a word processor, be sure that your text is encoded as utf-8, without byte order mark (BOM).</p>
<p>If you are on Windows, do not use Notepad! The free <a class="external" rel="external" target="new" href="https://notepad-plus-plus.org">Notepad++</a> (also <a class="external" rel="external" target="new" href="https://portableapps.com/apps/development/notepadpp_portable">Portable</a> version) is a suitable plain text editor. Configure it as specified, with utf-8 and without BOM. Does not matter whether UNIX or DOS line endings, as long as you are consistent.</p>
<h5 id="h1.2.1.1">1.2.1.1. Polyglossia Language Support</h5>
<div class="d5" id="d1.2.1.1">
<p class="noindent">The pre-loaded <i>polyglossia</i> package (not <i>babel</i>) provides language support. By default, <i>novel</i> is configured for American English.</p>
<p>If your document's language is something else, or if you will be writing in multiple languages, see the <i>polyglossia</i> package documentation regarding <code>\setdefaultlanguage</code> and other commands.</p>
</div><!-- end 1.2.2.2 -->
</div><!-- end 1.2.1 -->
<h4 id="h1.2.2">1.2.2. Do Not Load Fonts via <code>\usepackage</code> or <code>\RequirePackage</code></h4>
<div class="d4" id="d1.2.2">
<p class="noindent">The method for loading fonts is described elsewhere on this page. Be sure you read that! For example, you cannot load a font with <code>\usepackage{<em>fontname</em>}</code> in this document class.</p>
</div><!-- end 1.2.2 -->
<h4 id="h1.2.3">1.2.3. Use LuaLaTeX and Open Type fonts</h4>
<div class="d4" id="d1.2.3">
<p class="noindent"><img class="floatright" src="html-resources/doordie.png" width="279" height="300" alt="Thou Shalt"/> With <i>novel</i>, you will be using the <i>LuaLaTeX</i> engine, whether you like it or not. No <i>pdfTeX</i>, no <i>XeTeX</i>, no <i>dvips</i>. You do not have to understand <i>Lua</i> code, since the heavy lifting is already done for you. Just follow the instructions in this documentation.</p>
<p>The built-in <i>fontspec</i> package handles modern Open Type fonts, and is able to access their internal features. The syntax is easy to learn, and very powerful. And, you can directly include text with diacritical marks, Greek, Cyrillic, and most other utf-8 encoded characters in your document. All you need are the fonts, and you probably have them. You will wonder why you never did this before.</p>
</div><!-- end 1.2.3 -->
<h4 id="h1.2.4">1.2.4. Disabled standard text size commands</h4>
<div class="d4" id="d1.2.4">
<p class="noindent">Would you like to size text, using command such as <code>\small</code> or<code> \LARGE</code> ? Bah! They will be ignored. Write these commands, and the text will appear at its usual size, just as if the commands did not exist.</p>
<p>There is a reason for this behavior, related to the need for constant line spacing. Thus, <i>novel</i> provides its own capability to size text, using different commands.</p>
</div><!-- end 1.2.4 -->
<h4 id="h1.2.5">1.2.5. Disabled academic-purpose commands</h4>
<div class="d4" id="d1.2.5">
<p class="noindent"><img class="floatright" src="html-resources/fpaper.png" width="134" height="215" alt="flunked math"/> Commands such as <code>\section</code>, <code>\chapter</code>, <code>\abstract</code>, <code>\index</code>, <code>\tableofcontents</code>, <code>\maketitle</code>, and many other structural commands will not work with <i>novel</i>. Those are for academic papers. The results they would produce (if enabled) would be inappropriate for fiction. If you attempt to use them, you will either get an error message, or they will simply be ignored.</p>
<p>Novelists do not need many ways to distinguish chapters. With <i>novel</i> there are commands specifically created for the needs of fictional works. They are described below.</p>
<p>Also, the <i>float</i> and <i>table</i> environments are ineffective. In <i>novel</i> there are specific ways to place images or construct a table of contents.</p>
</div><!-- end 1.2.5 -->
<h4 id="h1.2.6">1.2.6. Images must be raster png or jpg</h4>
<div class="d4" id="d1.2.6">
<p class="noindent">You read that correctly. Sometimes fiction uses images, especially for the title page and chapter titles. With <i>novel</i>, do not use vector formats such as <i>eps</i>, <i>svg</i>, or <i>pdf</i> images. Use raster images in <i>png</i> or <i>jpg</i> format.</p>
<p>There is a reason for this, explained below, where the use of images is discussed in detail. Be sure to read it, as <i>novel</i> has its own way to place images, in a way that is most likely to work well with fiction.</p>
</div><!-- end 1.2.6 -->
<h4 id="h1.2.7">1.2.7. Beware of $, %, and Other TeX Special Characters</h4>
<div class="d4" id="d1.2.7">
<p class="noindent">This is standard TeX behavior. Just a reminder!</p>
<p><img class="floatright" src="html-resources/trdol.png" width="238" height="67" alt="dollar is math mode"/> TeX has a number of special characters. If you type them in a document, they will not appear as an ordinary printed character, but will do something else. These are:</p>
<p class="code"><code>$ % # _ ^ & ~ \ { }</code> and sometimes <code>[ ]</code></p>
<p>In most cases, an incorrect usage will provide an error message that can be easily deciphered. However, the dollar sign and percent symbol are tricky. Incorrect use of the dollar sign may either place your text in math mode (not your intent) or produce a baffling error message that points to an innocent package. The percent symbol normally produces no error, since it is a comment character. But then, whatever text follows on that line will be missing from your PDF.</p>
<p>Special characters, other than the backslash, are escaped by placing a backslash in front, thus: <code>\$</code> for the dollar sign, <code>\%</code> for percent. If you must print a backslash, <code>\string\</code> does it.</p>
<p class="noindent"><b>• Tip:</b> To avoid unforeseen problems, you should review your document in a text editor, prior to compiling. Search for any instances of special characters, particularly dollar and percent. Backslash them as needed.</p>
</div><!-- end 1.2.7 -->
<h4 id="h1.2.8">1.2.8. Avoid TeX Editors and IDEs</h4>
<div class="d4" id="d1.2.8">
<p class="noindent">You must create your document in utf-8 encoding. You may use a plain text editor (with or without TeX code highlighting), export plain text from a word processor (recommended), or use the minimal <i>TeXWorks</i> GUI. If you use <i>TeXWorks</i>, be sure that you are not running scripts that change the content of your document.</p>
<p>Do not use another TeX editor, such as <i>Lyx</i> or <i>TeXstudio</i>, or an Integrated Development Environment (IDE). Those programs are often capable of inserting standard LaTeX code from menus. However, <i>novel</i> does not necessarily use that standard LaTeX code. The result may be unexpected.</p>
</div><!-- end 1.2.8 -->
<h4 id="h1.2.9">1.2.9. Suggestion: Write Using a Word Processor</h4>
<div class="d4" id="d1.2.9">
<p class="noindent">I suggest that you write your novel in a word processor rather than in a text editor. <i>MS Word</i> and similar programs work. I use <a class="external" rel="external" target="new" href="https://www.libreoffice.org">LibreOffice</a> (also <a class="external" rel="external" target="new" href="https://portableapps.com/apps/office/libreoffice_portable">Portable</a> version). If you use <i>LibreOffice</i>, version 5.3 or later is much better than earlier versions.</p>
<p>Why begin with a word processor? These programs can automatically substitute curly quotes and other characters. Remember than since you are using utf-8 encoding, you don't need to use TeX code for that, since you can simply insert the character directly. And, word processors have much better support for spell checking (and sometimes grammar). Just be sure that the word processor does not <i>automatically</i> correct your spelling, because any TeX code won't be in its dictionary.</p>
<p>Remember that TeX closes paragraphs by skipping lines, or by <code>\par</code>. Also remember that in most word processors, the emdash is <i>two</i> hyphens, not the three used in TeX. You can always insert an emdash (or endash) directly. You can write TeX code into the word processor, where it will be treated like ordinary text, so use <code>\textit{<em>text</em>}</code> or similar command, rather than the word processor's italics menu.</p>
<p>In any case, be sure to export plain text as utf-8, then compile it with <i>lualatex</i>.</p>
<p class="noindent"><b>• Tip:</b> For the editing and proofreading phase, where spelling and grammar are carefully reviewed, I use a special font <i>CPmodified.otf</i>. This is my custom derivative of the <a class="external" rel="external" target="new" href="https://quoteunquoteapps.com/courierprime/">Courier Prime</a> regular font. <i>Cpmodified</i> can be found in the documentation <i>extras</i> folder. It is released under the SIL Open Font License v.1.1. To use this font for editing, install it in your <i>operating system</i>, not TeX. Then, call it from your word processor. The font includes Latin-1 and ANSI characters, and a few others. It is not quite monospaced (the em dash and ellipsis are longer). Punctuation is highly exaggerated, so you can see it more easily. My own experience is that most errors in the nearly-finished document involve punctuation.</p>
<p class="noindent"><b>• Tip:</b> Word processors usually make an incorrect substitution for certain English elisions (possibly in other languages also). When you type "Give 'em hell," the substitution may provide <i>Give ‘em hell</i>, but the correct rendition is <i>Give ’em hell</i>. Can you see the tiny difference in the direction of the single quote? Probably not on your computer screen, but it will be noticeable in print. The <i>CPmodified.otf</i> font makes the difference obvious.</p>
</div><!-- end 1.2.9 -->
<h4 id="h1.2.10">1.2.10. Think for yourself</h4>
<div class="d4" id="d1.2.10">
<p>When TeX processes a document on a paragraph-by-paragraph basis, it chooses the layout that has the least total "penalty." Penalties are assessed based on factors such as word spacing, inter-line spacing, hyphenation, widows, and orphans. You may choose the value of each penalty.</p>
<p>With <i>novel</i>, inter-line spacing is fixed, and there is no padding between paragraphs. No plus-or-minus. Hyphens are allowed, but strongly penalized. A reasonable amount of altered word spacing is allowed, and the built-in <i>microtype</i> package allows reasonable changes to letter spacing and the letters themselves. These choices achieve a high level of visual appeal and readability for flowing text.</p>
<p>However, there is little penalty for widows or orphans. When you process a document with <i>novel</i> you are likely to find widows and orphans on many pages. This choice was made for several reasons. First, attention to widows and orphans would reduce the effectiveness of the other, more important, layout penalties. Second, fiction often has numerous short paragraphs (especially with dialogue), and it is very difficult for software to deal with all of them. Third, a great deal of contemporary fiction has widows and orphans. Fourth, it's your book... You can rewrite it!</p>
</div><!-- end 1.2.10 -->
</div><!-- end 1.2 -->
</div><!-- end 1 -->
</div><!-- end page01 -->
<!-- ********************************************************************** -->
<div id="page02" class="page">
<h2 id="h2">2. Document Class Options</h2>
<div class="d2" id="d2">
<p class="noindent">As with other LaTeX classes, <i>novel</i> is called this way:</p>
<p><code>\documentclass[options]{novel}</code></p>
<p>As with other document classes, <i>novel</i> chooses a default paper size, and font size, if you do not make the choice. But there, the similarity ends. The default paper size in <i>novel</i> is 5.5" wide by 8.5" high, which is a popular book Trim Size for softcover fiction in the US, and close to the Demy Octavo (C novel) British size. And, the default font size is not an integer point size!</p>
<p>In fact, you <em>cannot</em> set either the paper size or font size in the class options. You set them via other commands, in the Preamble. The commands are explained on other pages of this documentation.</p>
<p>Still, there are a number of class options. As usual, options must be enclosed in braces and be separated by commas.</p>
<p>Note: The <i>debug</i> option, unique to version 1.38, has been removed.</p>
<h3 id="h2.1">2.1. draft</h3>
<div class="d3" id="d2.1">
<p class="noindent">The word DRAFT will appear at the upper left of each page.</p>
<p>In draft mode, a little black bar will be placed at the right side of text that didn't quite fit on the line. These locations are reported in the log file as "overfull hbox" warnings. The black bar is called an "overflow rule".</p>
<p class="centerimg"><img src="html-resources/overflowrule.png" width="525" height="155" title="draft mode, overflow rule" alt="overflow rule"/></p>
<p>Some packages take note of whether or not the document is in draft mode, and change their behavior accordingly. However, the included <i>microtype</i> package will always be in final mode, and the included <i>hyperref</i> package will always be in draft mode.</p>
<p>In draft mode, PDF/X compliance is turned off, no matter what you specify.</p>
</div><!-- end 2.1 -->
<h3 id="h2.2">2.2. graytext</h3>
<div class="d3" id="d2.2">
<p class="noindent">The <i>novel</i> document class is intended for black/white book interiors. Normally, any color command, even gray, will be ignored, and the text will be rendered black. This does not affect images.</p>
<p>The <i>graytext</i> option over-rides this restriction, and obeys grayscale color commands from the <i>xcolor</i> package, which is already loaded with the class. Non-grayscale colors will be converted to shades of gray.</p>
<p class="centerimg"><img src="html-resources/graytext.png" width="512" height="54" title="graytext" alt="graytext"/></p>
<p>Your book will not be printed with "gray ink." Instead, anything other than pure black will be emulated by a pattern of black dots. This is known as "halftone." It causes a reduction in resolution, so your gray text will appear somewhat fuzzy. Therefore, do not use very small text, or characters with fine lines.</p>
<p>Sometimes the halftone operation extends to nearby text that is not gray. So: Unlike the example shown above, it is a bad idea to mingle gray with the ordinary flow of black text. The most appropriate use of gray text is for special items such as chapter titles.</p>
<p>You may place darker text over a lighter background. But even though the resulting PDF meets standards, lighter text over darker background is unlikely to print as intended.</p>
<p>See also <a href="#h7.3.3">section 7.3.3</a>.</p>
</div><!-- end 2.2 -->
<h3 id="h2.3">2.3. shademargins</h3>
<div class="d3" id="d2.3">
<p class="noindent">This option is ignored unless using draft mode. It is not necessary to use the <i>graytext</i> option.</p>
<p><img class="floatright" style="margin-top:6px" src="html-resources/shademargins.png" width="132" height="205" title="shademargins" alt="shademargins"/> The <i>shademargins</i> option is simple: The margins will have a light gray background.</p>
<p>Note that <em>margins</em> refers to the area between the live text area (including head/foot, if any) and the TrimBox, which is the finished size of your book. If you are using <code>\SetMediaSize</code> to request paper larger than your book's Trim Size, the excess area is <em>not</em> considered to be margins; it is discarded paper, so it is not gray.</p>
<p>Some commands (in particular, images) allow their content to overflow the textblock area. With <i>shademargins</i> you can see where such object intrude into the margins.</p>
<p>Sometimes it is hard to see whether a centered object is really centered, because the left-right margins are not the same width. With <i>shademargins</i> you can more easily see centering.</p>
<p>Note that headers and footers are not part of the margins.</p>
</div><!-- end 2.3 -->
<h3 id="h2.4">2.4. cropmarks</h3>
<div class="d3" id="d2.4">
<p class="noindent"><img class="floatright" style="margin-top:6px" src="html-resources/cropmarks.png" width="205" height="265" title="cropmarks" alt="cropmarks"/> This option is ignored if the TrimSize is the same as the MediaSize (the usual situation). It works whether or not in draft mode.</p>
<p>If the PDF Media Size is larger than its finished TrimSize, you can place crop marks (also known as trim marks) to indicate where the paper will be cut. The <i>cropmarks</i> option makes the marks visible. If this option is not used, then no marks are placed, regardless of any other commands.</p>
<p>Note that most print-on-demand book printers <em>do not want crop marks</em>. The process flow is automated, and trim data is read from within the PDF. Crop marks may actually interfere with proper layout, if your PDF is re-formatted to share a large sheet of paper along with other pages. So, do not use <i>cropmarks</i> unless you must. For this reason, the built-in capability for cropmarks is very basic.</p>
<p><img class="floatright" style="margin-top:6px" src="html-resources/cropmarkgap.png" width="140" height="141" title="cropmark gap" alt="cropmark gap"/> There is only one configurable setting, which may be used in the Preamble:</p>
<p class="code"><code>\SetCropmarkGap{<em>length</em>}</code></p>
<p>The cropmark gap is the distance between the Trim Box and where the crop lines begin. The purpose of the gap is so that the marks do not show on the trimmed paper, if the cut is a little bit off. In all cases, the far end of the cropmarks is 0.5in from the Trim Area. The gap is marked G in this diagram. The length must be least 0pt, and is more typically 0.125in or 0.250in. The default is 0.125in. </p>
<p>If your Trim is placed off-center in the Media, then only one pair of cropmarks will be visible.</p>
</div><!-- end 2.4 -->
<h3 id="h2.5">2.5. cropview</h3>
<div class="d3" id="d2.5">
<p class="noindent"><img class="floatright" style="margin-top:6px" src="html-resources/cropview.png" width="132" height="203" title="cropview" alt="cropview"/> This option is ignored if the TrimSize is the same as the MediaSize (the usual situation), because it is unnecessary. Also, it is ignored unless using draft mode.</p>
<p>With <i>cropview</i>, there is an internal instruction to PDF viewers, requesting that only the Trim Size be displayed on the screen, rather than the whole Media Size. This is useful during the layout phase, because it is hard to visualize layout when you have a small finished size floating in a much larger paper size. Nothing else is changed.</p>
<p>The accompanying image is the <i>cropview</i> display of the same page that was used to illustrate the <i>cropmarks</i> command. However, you do not need to have cropmarks, to use <i>cropview</i>.</p>
</div><!-- end 2.5 -->
<h3 id="h2.6">2.6. closecrop</h3>
<div class="d3" id="d2.6">
<p class="noindent"><img class="floatright" style="margin-top:6px" src="html-resources/closecrop.png" width="110" height="186" title="closecrop" alt="closecrop"/> This option is only effective in draft mode. When used, the layout of your text is unchanged, but the surrounding margins are shrunk so that they just clear the live text area (which includes header and footer, if present). Also, the TrimSize is shrunk accordingly. The resulting PDF will be easier to read on a handheld device.</p>
<p>This does <em>not</em> produce an E-book, since the file will be missing some things that an E-book ought to have. The sole purpose of this option is to create a conveniently-sized file that you can carry around while you are thinking about edits and revisions.</p>
</div><!-- end 2.6 -->
<h3 id="h2.7">2.7. xml</h3>
<div class="d3" id="d2.7">
<p class="noindent">If you request your PDF to comply with PDF/X standards, it will automatically include XMP Metadata that can be seen as document properties in some (mostly professional) PDF reader software. The <i>xml</i> option exports this data with an xml header added, so that it can be independently viewed in software such as a browser.</p>
<p>This option is only for your information; the exported xml file is not necessary. Whether or not you choose this option will not affect the structure or content of your PDF. If you set PDF/X compliance to <i>off</i>, then there will be no exported xml file.</p>
<p>The exported file will be named <i>jobname-XMPasXML.xml</i>, where <i>jobname</i> is the file name of your *.tex document. If you wish to obtain the XMP packet, without the xml header, you can easily do that with a Unicode-compatible text editor. The necessary editing is obvious.</p>
</div><!-- end 2.7 -->
<h3 id="h2.8">2.8. coverart</h3>
<div class="d3" id="d2.8">
<p class="noindent">This option is only used for cover artwork. See section 12.</p>
</div><!-- end 2.8 -->
<h3 id="h2.9">2.9. unblock (primarily for developer use)</h3>
<div class="d3" id="d2.9">
<p class="noindent">A number of LaTeX packages are known to be incompatible with <i>novel</i>, because "the way those packages do things" conflicts with "the way <i>novel</i> does things." If you attempt to load one of those packages, then the results you get may not be in agreement with the formats and styles described in this documentation, because the other package over-rides some of <i>novel's</i> own macros.</p>
<p>Therefore, at the end of your Preamble, <i>novel</i> reviews the loaded packages, and throws an error message if you included any of them via <code>\usepackage</code> or <code>\RequirePackage</code>. That also applies if you call some other package that chain-loads one of the forbidden packages.</p>
<p>The odds that you will need a forbidden package are small, because they generally pertain to layout for mathematical and academic papers (tables, floats, equations, diagrams, etc.).</p>
<p>If you specify document class option <i>unblock</i> then the list of forbidden packages will be disregarded by <i>novel</i>. Use at your own risk! This option is really intended for the convenience of developers, rather than ordinary users.</p>
</div><!-- end 2.9 -->
</div><!-- end 2 -->
</div><!-- end page02 -->
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<div id="page03" class="page">
<h2 id="h3">3. Metadata, File Data, and PDF/X</h2>
<div class="d2" id="d3">
<p class="noindent">The commands described on this page are used only in the Preamble.</p>
<p>These commands write non-printing information to the PDF file. Some of the information is used to identify and classify the file. Other information is read by the printer, to assist it with printing choices.</p>
<p>Unfortunately, some of the terms have slightly different meaning, depending on whether they are used in the context of printing, book distribution, or ebooks. To avoid confusion <em>within this documentation</em> I will use different terms when they mean different things. When you are communicating with your printing and distribution service, take care to ensure that your understanding of terminology is what they really mean.</p>
<h3 id="h3.1">3.1. Definition of Terms</h3>
<div class="d3" id="d3.1">
<p class="noindent">This section is more detailed than it needs to be, because my review of various online forums (unrelated to TeX) shows a lot of user confusion.</p>
<h4 id="h3.1.1">3.1.1. ISBN Metadata</h4>
<div class="d4" id="d3.1.1">
<p class="noindent"><img class="floatright" src="html-resources/bookmanglerdashboard.png" width="500" height="309" alt="online form for ISBN metadata"/> When you obtain the ISBN for your book, either directly through the issuing agency or via your chosen print service, you will enter <em>ISBN Metadata</em> in an online form. This metadata will go into a database, and identify your printed book in distribution and sales channels. It neither knows nor cares about PDF. (If you were marketing a PDF ebook, instead of print, that would be a different story.)</p>
<p>ISBN Metadata includes title, author(s), subtitle if any, ISBN, other identifying information, and a description. The description is by way of advertising, and can usually be changed later; it need not appear anywhere in your book or PDF file, although some authors might use the description on the book's rear cover or cover flap.</p>
<p>Note: The ISBN refers to your <em>printed book</em>, not to the PDF file. You are not selling copies of the PDF.</p>
</div><!-- end 3.1.1 -->
<h4 id="h3.1.2">3.1.2. Printed Metadata</h4>
<div class="d4" id="d3.1.2">
<p class="noindent"><img class="floatright" src="html-resources/megatitlepagesm.png" width="165" height="256" alt="printed metadata, cover page"/> <em>Printed Metadata</em> refers to the information that can be seen on paper, in expected places: the book cover, the title page, and the copyright page. Whether your book was printed from a PDF file, or by some other method, is not relevant.</p>
<p>Your print service will insist that the title, subtitle (if any), author, and ISBN in these places exactly match what appears in the ISBN database. Of course, you can (and usually will) use styling or images to make the Printed Metadata more attractive than the plain-text ISBN Metadata.</p>
<p>Some print services may object to artwork that is too fancy, on the grounds that it is difficult to discern the title and author. Although this is very unlikely, it is better to ask before committing resources.</p>
</div><!-- end 3.1.2 -->
<h4 id="h3.1.3">3.1.3. File Data (PDF Metadata)</h4>
<div class="d4" id="d3.1.3">
<p class="noindent"><img class="floatright" src="html-resources/megadocprops.png" width="298" height="215" alt="PDF metadata"/> When your PDF file is produced, internal metadata will be automatically created for the benefit of PDF reader software. <em>To avoid confusion, this documentation uses the term "File Data" to mean this internal PDF metadata.</em> You can see some of the File Data when you open the PDF in any reader, and go to File>Properties. To see all of it, you need professional software (such as Adobe Acrobat Pro).</p>
<p>Be sure to read the rules for File Data, below. Some of it is generic, and some is particular to TeX or to the <i>novel</i> class.</p>
</div><!-- end 3.1.3 -->
</div><!-- end 3.1 -->
<h3 id="h3.2">3.2. Rules for File Data</h3>
<div class="d3" id="d3.2">
<p class="noindent">File Data must conform to several specifications, in terms of what you may or may not write. Some of the limitations are imposed by the book distribution industry, which stores information in its databases a certain way.</p>
<h4 id="h3.2.1">3.2.1. Required, Prohibited, Optional?</h4>
<div class="d4" id="d3.2.1">
<p class="noindent">If PDF/X compliance is required, then you <em>must</em> at least set the title in File Data, using the <code>\SetTitle</code> command. Note that this title is not styled in any way.</p>
<p>Some print services require a minimum amount of file data, particularly title and author, which must match the printed metadata and ISBN metadata for these fields. Other services may require that the book's ISBN number, with something like <i>_text</i> added, be used in place of the title (remember that underscore is a special character in LaTeX, so it must be preceded by a backslash). You will have to communicate with your service, and determine their requirements.</p>
<p>Many print services do not care about File Data, one way or the other. Your PDF is passed through production according to its file name, not its internals. In such a case, assume that title and author are required.</p>
<p>Caution: Be sure that any included images are stripped of their own image metadata. The procedure is described on farther along in this documentation.</p>
</div><!-- end 3.2.1 -->
<h4 id="h3.2.2">3.2.2. Limited to Latin-1?</h4>
<div class="d4" id="d3.2.2">
<p class="noindent">At least in the USA, your print service may require that File Data be limited to characters in the Latin-1 set. This is because their production and distribution software uses Latin-1 for the database. Note that Latin-1 does not include curly quotes or em dash. You will still be using utf-8 encoding in your document files, but your choice of characters is restricted.</p>
<p>If it were not for the database limitation to Latin-1, you could give your book a Greek or Cyrillic title, because <i>novel</i> can do it, and so can the PDF.</p>
<p>If your book has File Data using quotes, then use the special commands <code>\straightquote{}</code> and <code>\straightdblquote{}</code>. Be sure to use the braces, so that you don't have to worry about gobbled space. When you use these commands instead of typing <code>'</code> or <code>"</code> you eliminate the risk that your software will automatically convert them to the forbidden curly quotes. Example title:</p>
<p class="code"><code>\SetTitle{That\straightquote{}s Amore} % That's Amore</code></p>
<p>If you are limited to Latin-1 in File Data, you can still use curly quotes and em dash on the cover and title page, and in headings. In <i>novel</i> there is no <code>\maketitle</code> command, so you may (and should) apply styling to the printed title, even though the File Data title cannot be styled.</p>
</div><!-- end 3.2.2 -->
<h4 id="h3.2.3">3.2.3. TeX escapes</h4>
<div class="d4" id="d3.2.3">
<p class="noindent">In File Data, you must obey the same TeX rules that apply everywhere: Certain characters have special meaning, and must be preceded by a backslash, if you wish to use them as ordinary characters. These are:</p>
<p><code># $ % & _ { }</code> (hash, dollar, percent, ampersand, underscore, left and right curly brackets)</p>
<p>Example: The title <em>Doing 9% & Gone</em> is coded:</p>
<p class="code"><code>\SetTitle{Doing 9\% \& Gone}</code></p>
<p>The above characters are rarely needed in File Data. Sometimes they must be spelled out, in order to agree with your book's ISBN Metadata. For example, you may need to write "and" rather than the ampersand.</p>
</div><!-- end 3.2.3 -->
<h4 id="h3.2.4">3.2.4. Forbidden Characters</h4>
<div class="d4" id="d3.2.4">
<p class="noindent">• Do not use the backslash <code>\</code> except as described above.</p>
<p class="noindent">• Do not use the tilde <code>~</code> or the circumflex <code>^</code>.</p>
<p class="noindent">• Do not use TeX code, such as <code>\`e</code> for e with grave; instead paste <code>è</code> directly from a character map.</p>
<p class="noindent">• Do not use styling, such as <code>{\small text}</code> or <code>\textit{text}</code>.</p>
<p class="noindent">• Use only <code>\straightquote{}</code> and <code>\straightdblquote{}</code> if necessary, not TeX code for apostrophe or quote.</p>
<p class="noindent">• Do not use multiple hyphens to create longer dashes. Do not use em dash or en dash.</p>
</div><!-- end 3.2.4 -->
</div><!-- end 3.2 -->
<h3 id="h3.3">3.3. File Data Commands</h3>
<div class="d3" id="d3.3">
<p class="noindent">Now that you understand what File Data means, and how it may be written, you can use commands to write it.</p>
<h4 id="h3.3.1">3.3.1. <code>\SetTitle{<em>text</em>}</code></h4>
<div class="d4" id="d3.3.1">
<p class="noindent">If you do not use the <code>\SetTitle{}</code> command, or leave it empty or blank, then the resulting PDF cannot comply with PDF/X standards. In <i>very rare</i> cases, that is desirable.</p>
<p>This information is not automatically transferred to your book's title page. It will be used as default in certain page heading styles, but you can over-ride it. The information can be retrieved as <code>\theTitle</code> anywhere in your document.</p>
</div><!-- end 3.3.1 -->
<h4 id="h3.3.2">3.3.2. <code>\SetAuthor{<em>text</em>}</code></h4>
<div class="d4" id="d3.3.2">
<p class="noindent">This information is not automatically transferred to your book's title page. It will be used as default in certain page heading styles, but you can over-ride it. The information can be retrieved as <code>\theAuthor</code> anywhere in your document.</p>
<p>Use the name as it is spoken. Correct: Mary Smith. Incorrect: Smith, Mary. Possibly correct, if true: Mary Smith, Ph. D. (ask your print service).</p>
</div><!-- end 3.3.2 -->
<h4 id="h3.3.3">3.3.3. <code>\SetSubtitle{<em>text</em>}</code></h4>
<div class="d4" id="d3.3.3">
<p class="noindent">There is no file data for subtitle! The only reason for using this command is if you wish to later retrieve the information as <code>\theSubtitle</code> in your document.</p>
</div><!-- end 3.3.3 -->
<h4 id="h3.3.4">3.3.4 Advanced: <code>\SetApplication{<em>text</em>}</code> and <code>\SetProducer{<em>text</em>}</code></h4>
<div class="d4" id="d3.3.4">
<p class="noindent">The <i>Application</i>, also known as <i>CreatorTool</i>, is the program used to create your source document. Text editors, word processors, and page layout programs are the most common Applications (not specific to TeX). The PDF <i>Producer</i> is the program that converts the source document to PDF. In many cases, the Producer is a back-end, directly linked to the Application.</p>
<p>These details are automatically created when you compile your document, without any input from you. However, if you have the need to provide a custom text string for the Application or Producer, these commands will do it.</p>
</div><!-- end 3.3.4 -->
</div><!-- end 3.3 -->
<h3 id="h3.4">3.4. PDF/X</h3>
<div class="d3" id="d3.4">
<p class="noindent">Commercial printers are very likely to require PDF/X compliance. This ensures that your PDF meets a variety of criteria, by containing those things it must contain, and omitting those things it must not contain. Most perfectly valid PDF files are <em>not</em> PDF/X compliant, simply because they are not intended for commercial printing.</p>
<p class="code"><code>\SetPDFX[<em>OutputIntent</em>]{<em>ComplianceStandard</em>}</code> and starred version</p>
<p>If the <code>\SetPDFX</code> command is not used, it is <i>off</i> by default. Note that a non-compliant file is not a defective file! It complies with PDF standards, but not PDF/X standards. Some print services insist on PDF/X, and others don't care as long as the fonts are embedded (which they always are).</p>
<h4 id="h3.4.1">3.4.1. Compliance Standards</h4>
<div class="d4" id="d3.4.1">
<p class="noindent">The following choices are available:</p>
<p><code>X-1a:2001</code></p>
<p><code>X-1a:2003</code></p>
<p><code>X-3:2002</code></p>
<p><code>X-3:2003</code></p>
<p><code>off</code> (default)</p>
<p>The first of these is the one that is most widely accepted in commercial printing. Anything meeting X-1a:2001 necessarily meets the other standards. If your book involved complicated color artwork, then the correct choice might be crucial. But for a black and white book block, <span style="white-space:nowrap">X-1a:2001</span> is the preferred choice unless your print service says otherwise.</p>
</div><!-- end 3.4.1 -->
<h4 id="h3.4.2">3.4.2. Output Intent</h4>
<div class="d4" id="d3.4.2">
<p class="noindent">Unless compliance is <i>off</i>, an Output Intent is always required. However, <i>novel</i> treats this as an optional argument, because it will automatically use <i>CGATSTR001</i> as default Output Intent.</p>
<p>Output Intent informs the printer that you "intend" your PDF to be printed according to certain printer capabilities. If you took the trouble to soft-proof your PDF on a color-calibrated monitor using color-managed software, and if the printer's capabilities actually correspond to the intent, then the printed result will closely match what you expected. This is very important in commercial color printing (such as for cover artwork), but nearly irrelevant for a black and white book block. Nevertheless, an Output Intent is required to meet PDF/X compliance.</p>
</div><!-- end 3.4.2 -->
<h4 id="h3.4.3">3.4.3. Built-in Output Intent Codes</h4>
<div class="d4" id="d3.4.3">
<p class="noindent">There are three pre-defined choices:</p>
<p><code>CGATSTR001</code> (default)</p>
<p><code>FOGRA39</code></p>
<p><code>JC200103</code></p>
<p>The first of these, more properly named "CGATS TR 001" with spaces, is also known as "US Web Coated SWOP v2" in the USA, and is the most commonly-used American print standard for this kind of book. The second is widely used in Europe, the third in Japan.</p>
</div><!-- end 3.4.3 -->
<h4 id="h3.4.4">
3.4.4. Other Output Intents</h4><div class="d4" id="d3.4.4">
<p class="noindent">If you are required to use an Output Intent that is not one of the above three, then you have to code it yourself. Have a look at the three pre-configured Output Intents (files <span style="white-space:nowrap"><i>novel-CGATSTR001.clo</i></span>, <span style="white-space:nowrap"><i>novel-FOGRA39.clo</i></span>, and <span style="white-space:nowrap"><i>novel-JC200103.clo</i>).</span> Instructions are inside the files. There are several places where you can find the necessary data; the most comprehensive is at the <a class="external" rel="external" target="new" href="http://www.color.org/index.xalter">Inernational Color Consortium</a>.</p>
<p>In essence: If you create a custom Output Intent file named <span style="white-space:nowrap"><em>novel-MyFunkyPrinter.clo</em></span>, then you request <i>MyFunkyPrinter</i> (without the preceding <i>novel-</i> or the <i>.clo</i> extension) as Output Intent, and that file will be loaded.</p>
</div><!-- end 3.4.4 -->
<h4 id="h3.4.5">
3.4.5. Whether or Not to Embed *.icc</h4><div class="d4" id="d3.4.5">
<p class="noindent">Each Output Intent has a corresponding color profile, in the form of a file with extension <i>*.icc</i>.</p>
<p>You usually do not need it. In fact, unless your print service specifically asks you to embed the file, <i>don't do it</i>. When you use <code>\SetPDFX</code> in its un-starred form, the *.icc file will not be embedded.</p>
<p>If your print service demands that you embed the *.icc color profile, then use <code>\SetPDFX*</code> (with the asterisk).</p>
<p>Repeat: Do not embed the *.icc color profile unless specifically requested by your print service.</p>
<p>• If your printer requests "US Web Coated SWOP v2" and, as usual, requests that you <em>not</em> embed the corresponding *.icc color profile, then some software will read the Output Intent as "CGATS TR 001" instead of "US Web Coated SWOP v2". They are identical. But not everyone knows that.</p>
</div><!-- end 3.4.5 -->
<h4 id="h3.4.6">
3.4.6. Where to Find *.icc Files</h4><div class="d4" id="d3.4.6">
<p class="noindent">You do not need an *.icc color profile unless you choose to embed it.</p>
<p>Although many *.icc files are freely available, they usually cannot be distributed within an open-source project. You might already have them in your system, wherever such files are stored. Note that TeX uses forward slash in file paths, not backslash, even if the platform is Windows:</p>
<p class="isolate">
Windows: <code>C:/Windows/System32/spool/drivers/color/</code> [older Windows: system32 instead of System32]<br/>
Linux: <code>/usr/share/color</code> or hidden <code>~/.local/share/icc/</code> or other places<br/>
OSX: <code>/Library/Colorsync/Profiles/</code> or hidden <code>(username)/Library/Colorsync/Profiles/</code>
</p>
<p>If you do not have the files, look on the Internet <a href="https://www.adobe.com/support/downloads/iccprofiles/icc_eula_win_end.html" target="new">here</a> and <a href="http://www.color.org/profiles.xalter" target="new">here</a>. These links also have many other profiles, beyond the basic three. In a few cases, your print service may provide the necessary file.</p>
<p>You want printer profiles, usually CMYK. Don't worry about the files being "for Windows," as they are actually cross-platform.</p>
<p>If your system has the necessary <i>*.icc</i> file for your Output Intent, but <i>novel</i> cannot find it, then copy the file to the same folder as your TeX document.</p>
<p>Again: Do not embed the color profile unless the printer requests it.</p>
</div><!-- end 3.4.6 -->
</div><!-- end 3.4 -->
</div><!-- end 3 -->
</div><!-- end page03 -->
<!-- ************************************************************ -->
<div id="page04" class="page">
<h2 id="h4">4. Book Size, Page Layout, and Fonts</h2>
<div class="d2" id="d4">
<p class="noindent">In <i>novel</i>, you do not use class options to set the size or layout of your book, or font size.</p>
<h3 id="h4.1">4.1. Book Dimensions</h3>
<div class="d3" id="d4.1">
<h4 id="h4.1.1">4.1.1. Trim Size</h4>
<div class="d4" id="d4.1.1">
<p class="noindent"><b>Trim Size</b> is the finished size of your book, width and height (but not thickness). In the case of softcover books, it is the exact size. In the case of hardcover books, where the cover is larger than the contents, it is (usually) the cover size that is measured, with the internal trim size being slightly smaller than nominal (some of the margins shaved away).</p>
<p>Your print service has a list of standard trim sizes. For fiction, you probably want creme (off-white) paper, which eliminates a few of the choices. Choice of size may also be limited by the distribution channels you choose.</p>
<p>Trim Size is set using this command in Preamble:</p>
<p class="code"><code>\SetTrimSize{<em>width</em>}{<em>height</em>}</code></p>
<p>The width and height must have dimensions, such as <i>in</i> or <i>cm</i>.</p>
<p>If you do not specify the Trim Size, the default is <i>5.5in</i> wide, <i>8.5in</i> high. This is a widely-used "trade" size for softcover print-on-demand fiction in the U.S.A. If in doubt, leave the default.</p>
<p>If you ever need to <i>retroactively</i> change Trim Size, see <a href="#hA">Appendix A</a>.</p>
<p>Do not request a <em>mass-market paperback</em> Trim Size unless you really, truly, know what you are doing. Since you are not a major writer for a major publishing house, you don't know; so, don't do it.</p>
</div><!-- end 4.1.1 -->
<h4 id="h4.1.2">4.1.2. Media Size and TrimBox</h4>
<div class="d4" id="d4.1.2">
<p class="noindent">In PDF terminology, <b>Media Size</b> is the size of the PDF page. By default, it is identical to the Trim Size.</p>
<p>Some print services insist that the Trim Size be floated in a larger Media Size, which is likely to be U.S. Letter or A4 paper. This quietly happens when you print at home: The printout is at tray paper size, whether you like it or not.</p>
<p><img class="floatright" src="html-resources/mediasize.png" width="202" height="264" title="Trim Size floated in larger Media Size" alt="Trim Size floated in larger Media Size"/>This is illustrated at right, where the Trim Size (green border) is centered in a larger PDF Media Size. The green border, known as the <b>TrimBox</b> is invisible, and does not print. Anything outside the green border does not appear when the book is finished.</p>
<p>If you are required to float the Trim Size in a larger Media Size, here is the command in Preamble:</p>
<p class="code"><code>\SetMediaSize[<em>alignment</em>]{<em>width</em>}{<em>height</em>}</code></p>
<p>If the optional <i>alignment</i> is set to <i>edge</i> then the Trim Size will be placed at the edge of the Media Size, rather than vertically and horizontally centered.</p>
<p>Again: You usually will <i>not</i> set Media Size manually.</p>
</div><!-- end 4.1.2 -->
<h4 id="h4.1.3">4.1.3. Advanced: <code>\SetCropmarkGap{<em>length</em>}</code></h4>
<div class="d4" id="d4.1.3">
<p class="noindent"><img class="floatright" src="html-resources/cropmarkgap.png" width="140" height="141" alt="media size larger than trim size"/> This command is only effective if you use the <i>cropmarks</i> class option, as described in <a href="#h2.4">section 2.4</a>. Note that user-provided cropmarks are <em>very unusual</em> in the print-on demand market. <i>Do not use them</i> unless your print service specifically requests them. The built-in cropmark capability is very elementary, and cannot be easily enhanced by adding other LaTeX packages.</p>
<p>In the accompanying image with cropmarks, a corner of the Trim Size is at lower right. The invisible TrimBox has been drawn with a green line. The cropmark gap is G.</p>
<p>Default gap is <i>0.125in</i>.</p>
</div><!-- end 4.1.3 -->
</div><!-- end 4.1 -->
<h3 id="h4.2">4.2. Fonts and Normal Font Size</h3>
<div class="d3" id="d4.2">
<h4 id="h4.2.1">4.2.1. Parent (Main) Font and Size</h4>
<div class="d4" id="d4.2.1">
<p class="noindent">The <i>novel</i> class has its own way of specifying the main font. You do <i>not</i> write <code>\usepackage{fontname}</code> or <code>\RequirePackage{fontname}</code>. If you do that, then a warning or error will result, and in any case the font you get won't be the one you were expecting.</p>
<p>Choose only Open Type or TrueType fonts, not the ancient Type 1 (PostScript) or Metafonts. The font you choose does not have to be part of any TeX package, because you do not need any <i>*.sty</i> file or TeX metrics. All of that is built into the font itself. This is thanks to <i>LuaLaTeX</i> and the built-in <i>fontspec</i> package.</p>
<h5 id="h4.2.1.1">4.2.1.1. <code>\SetParentFont[<em>features</em>]{<em>fontname</em>}</code></h5>
<div class="d5" id="d4.2.1.1">
<p>In <i>novel</i> you set a parent font (<i>parentfont</i>), which is the ancestor of several pre-defined font styles, including the main text font. In Preamble:</p>
<p class="code"><code>\SetParentFont[<em>features</em>]{<em>fontname</em>}</code><p>
<p>The command uses <i>fontspec</i> syntax, which is reviewed in an Appendix here, and described in full detail by the <i>fontspec</i> package documentation.</p>
<p><b>Don't be intimidated.</b> If you don't use this command, then <i>novel</i> will attempt to use <i>Libertinus Serif</i> as the parent font family. It carries the SIL Open Font License, and was carefully chosen for its suitability in free-flowing text, such as a novel. It is a recent fork of the <i>Linux Libertine O</i> font family, which will be used as second choice default if <i>Libertinus Serif</i> is not installed.</p>
<p>The last-choice default is <i>Latin Modern Roman</i>, which really is not suitable for novels; but surely your TeX installation has it.</p>
<p>If you have the proper license, you can use a commercial font. For example:</p>
<p class="code"><code>\SetParentFont{Adobe Garamond Pro}</code></p>
<p><b>See how easy that is?</b> By default, <i>novel</i> will apply TeX Ligatures and Kerning to the <i>parentfont</i> and all its descendants. Common Ligatures and OldStyle numbers will be added for the main <i>textfont</i>. This is ideal for fiction.</p>
</div><!-- end 4.2.1.1 -->
<h5 id="h4.2.1.2">4.2.1.2. <code>\SetFontSize{<em>length</em>}</code></h5>
<div class="d5" id="d4.2.1.2">
<p class="noindent">In the <i>novel</i> document class, you do not set point size as a class option. Instead you use <code>\SetFontSize</code> in the Preamble. It applies to the parent (main) font, and is used as the basis for scaling font sizes.</p>
<p>The size may be any units TeX understands, including decimal values. So, <i>12.8bp</i> and <i>13.1pt</i> are acceptable. This is because you will be using scalable, Open Type and TrueType fonts throughout your document. They do not need TeX metrics.<p>
<p>If you insist on using ancient TeX fonts, then you may need to specify a convenient integer font size such as 11pt or 12pt. But why? Forget those fonts! Welcome to the Twenty-First Century.</p>
<p>The minimum normal font size is <i>8pt</i>, and the maximum is <i>18bp</i>. On a local basis, text may be larger or smaller than this.</p>
<p>If you do not use this command, the default font size will be set to <i>11.4pt</i> more or less. That is, the size is calculated from other layout settings. When there is less available text area, the default size is <i>11pt</i>. For larger books, the default is <i>12pt</i>.</p>
<p>Once you have set the Trim Size, margins, and parent font, set the font size for readability. Depending on whom you ask, each line of free-running text should average 60 to 66 characters (including spaces). If you use all of the <i>novel</i> default settings, including <i>Libertinus Serif</i> parent font, that's what you will get. But if you change anything, then do a test document to see what font size works best.</p>
<p>If you use the <code>\Rework</code> commands (<a href="#hA">Appendix A</a>), then the font size will be tweaked, whether you use the default size or set it yourself.</p>
</div><!-- end 4.2.1.2 -->
</div><!-- end 4.2.1 -->
<h4 id="h4.2.2">4.2.2. Descendant Fonts: textfont, chapterfont, subchfont, headfont</h4>
<div class="d4" id="d4.2.2">
<p class="noindent">The descendant fonts are automatically set, as variations of the parent font:</p>
<p class="centerimg"><img src="html-resources/font-tree.png" width="600" height="177" title="font tree" alt="font tree"/></p>
<p>For example, the main <i>textfont</i> uses the parent font family. It has TeX Ligatures and Kerning (inherited from the parent font), and also Common Ligatures and OldStyle numbers. The main <i>textfont</i> is not configured directly. Instead, configure the <i>parentfont</i>, then the <i>textfont</i> (and other descendants) will obey. For example, if you don't want OldStyle numbers:</p>
<p class="code"><code>\SetParentFont[<em>Numbers=Lining</em>]{<em>fontname</em>}</code></p>
<p>Then, Lining numbers will be used for the <i>textfont</i> (and other descendants).<p>
<p>If you don't like the defaults, you can address the other descendant fonts directly, in Preamble:</p>
<p class="code">
<code>\SetChapterFont[<em>features</em>]{<em>fontname</em>}</code> % <em>see section <a href="#h5.1.3.1">5.1.3.1</a></em><br/>
<code>\SetSubchFont[<em>features</em>]{<em>fontname</em>}</code> % <em>see section <a href="#h5.1.3.1">5.1.3.1</a></em><br/>
<code>\SetHeadFont[<em>features</em>]{<em>fontname</em>}</code> % <em>see section <a href="#h4.3.4.2">4.3.4.2</a></em>
</p>
</div><!-- end 4.2.2 -->
<h4 id="h4.2.3">4.2.3. Advanced: The Deco Font</h4>
<div class="d4" id="d4.2.3">
<p class="noindent">Open Type font <i>NovelDeco.otf</i> is packaged with the <i>novel</i> class. It is a special-purpose font that provides characters for the <i>\decoglyph</i> and <i>\acronym</i> commands.</p>
<p>Normally, you do not need to configure this font, as it is automatic. The only reason for changng it is if you are an advanced user, who wishes to use a substitute font with different decorations. However, you may <i>not</i> specify just any font! The substitute must be an edited version of <i>NovelDeco.otf</i>, with a different font name. If you don't know what that means, then don't do it.</p>
<p class="code">
<code>\SetDecoFont[<em>features</em>]{<em>fontname</em>}</code> % <em>see section <a href="#h5.1.3.3">5.1.3.3</a></em>
</p>
</div><!-- end 4.2.3 -->
<h4 id="h4.2.4">4.2.4. Advanced: Mono, Sans, and Math Fonts</h4>
<div class="d4" id="d4.2.4">
<p class="noindent">There are several pre-defined fonts that do not descend from the <i>parentfont</i>. In each case, an appropriate default font is selected. You will probably never need to use them; but TeX being what it is, default fonts are chosen "whether you like it or not."</p>
<p>The default sans-serif font will be <i>Libertinus Sans</i> if available. Second choice is <i>Linux Biolinum O</i>. Third choice is <i>Latin Modern Sans</i>. To choose your own, use this command in Preamble, with <i>fontspec</i> syntax:</p>
<p class="code"><code>\SetSansFont[<em>features</em>]{<em>fontname</em>}</code></p>
<p>The default monospaced font will be <i>Libertinus Mono</i> if available. Second choice is <i>Linux Libertine Mono O</i>. Third choice is <i>Latin Modern Mono</i>. To choose your own, use this command in Preamble, with <i>fontspec</i> syntax:</p>
<p class="code"><code>\SetMonoFont[<em>features</em>]{<em>fontname</em>}</code></p>
<p>If you need a math font, then may I gently suggest that maybe <i>novel</i> is not the right document class for you? Nevertheless, the (hopefully never used) math font will be <i>Libertinus Math</i>, or <i>Asana-Math</i>, or <i>Latin Modern Math</i>. You can choose your own in Preamble, using the built-in <i>unicode-math</i> package notation:</p>
<p class="code"><code>\SetMathFont[<em>features</em>]{<em>fontname</em>}</code></p>
</div><!-- end 4.2.4 -->
<h4 id="h4.2.5">4.2.5. Advanced: Defining New Font Commands</h4>
<div class="d4" id="d4.2.5">
<p class="noindent">You can define new font commands in Preamble. The syntax depends on whether the new font is part of a family (where you might have bold and italic variants), or just a single file (no variants). If part of a family, use <code>\NewFontFamily</code>. If alone, use <code>\NewFontFace</code>.</p>
<p>The <code>\NewFontFamily</code> command (or <code>\NewFontFace</code>) takes three arguments: First, the name you assign to the new font command is required. Second, font features are optional. Third, the font name is required. The <i>fontspec</i> syntax is used:</p>
<p class="code"><code>
\NewFontFamily<em>\pickaname</em>[<em>features</em>]{<em>fontfamily</em>}<br/>
\NewFontFace<em>\pickaname</em>[<em>features</em>]{<em>singlefont</em>}
</code></p>
<p>Note that if you define a font <em>family</em> when you should have just defined a font <em>face</em>, there will be complaints in the log file, because the font loaded cannot find the (nonexistent) other members of the family. But the document will compile. On the other hand, if you define a font <em>face</em> when you should have defined a font <em>family</em>, then commands for bold or italic will have no effect, since the other family members were not loaded. Again, the document will compile.</p>
<p style="margin-top:16px"><b>Example:</b> Suppose your work is science fiction, and one if its characters is a talking robot. You wish to depict its utterances in a robotic-looking font, which will be called using a new <code>\robovoice</code> command. You shop around, and find that the <em>Orbitron</em> font suits your purpose, except that it is too large compared to your <em>textfont</em>. So, you scale it.</p>
<p>In the Preamble, you define the new font command:</p>
<p class="code"><code>\NewFontFace\robovoice[Scale=0.8]{Orbitron} % not part of a family</code></p>
<p>After some experimentation, you realize that the \robovoice letters need to be spread apart a bit. Do not use the standard LaTeX <code>\textls</code> command. Instead, go back and change the font definition like this:
<p class="code"><code>\NewFontFace\robovoice[Scale=0.8,LetterSpace=<em>number</em>]{Orbitron} % pick a number</code></p>
<p>In the document body:</p>
<p class="code"><code>
``Want some oil?'' asked Captain Withens.\par<br/>
{\robovoice ``Is it Gamma-42 Special oil?''} asked the robot.\par<br/>
``No, I got it on sale at Cosmo-Mart.''\par<br/>
{\robovoice ``Forget it. I'm an oil gourmet.''}\par
</code></p>
<p>The result:</p>
<p class="centerimg"><img src="html-resources/human-robot-talk.png" width="483" height="127" alt="conversation, human-robot"/></p>
<p>Caution: If you are using a new font within body text (as above), then it is a bad idea to use Scale greater than 1.0. Reason: An excessively tall font will cause lines to spread apart.</p>
<p style="margin-top:16px"><img class="floatright" src="html-resources/fluffy-conspiracy.png" width="265" height="409" alt="the fluffy conspiracy"/> <b>Example:</b> Suppose that you wish to style the title of your book, in a font that is not used for other things such as chapter titles. You purchase a license for the <em>Bernhard Modern Std</em> fonts, in Regular and Italic.</p>
<p>In the Preamble:</p>
<p class="code"><code>\NewFontFamily\booktitlefont{Bernhard Modern Std}</code></p>
<p>The title page, using <code>\charscale</code> for size:</p>
<p class="code"><code>
\thispagestyle{empty}<br/>
\vspace*{7\nbs}<br/>
\begin{center}<br/>
\charscale[3]{\booktitlefont The \textit{Fluffy} Conspiracy}\par<br/>
\vspace{6\nbs}<br/>
\charscale[2]{Priscilla Milde}\par<br/>
\vfill<br/>
Nonexistent Publications • Portland, Oregon\par<br/>
\end{center}
</code></p>
</div><!-- end 4.2.5 -->
</div><!-- end 4.2 -->
<h3 id="h4.3">4.3. Interior Page Layout</h3>
<div class="d3" id="d4.3">
<p class="noindent">Everything is pre-configured, specifically for the purpose of fiction. You only need to write a layout command if you don't like the defaults.</p>
<h4 id="h4.3.1">4.3.1. Margins</h4>
<div class="d4" id="d4.3.1">
<p class="noindent"><b>Margins</b> are required on all four edges of the page. They do not have to be the same width. Generally the margin at the inside edge (spine margin) is wider. The <i>novel</i> class does not provide for marginal notes.</p>
<p>In the case of fiction, it is usually the case that the inside margin is the widest. But this is not a rule for all books. All that is required is that each margin be "wide enough" for the printing process.</p>
<p>Keep in mind that print services are not used to seeing books with exotic margins (such as bottom margin twice the size of top margin). They may think that there is a mistake in your PDF, or in the print job, if you do that.</p>
<p>Normally, your TeX document will be compiled to a PDF that is electronically at the exact Trim Size. And normally, print services want it to be that way. When you view your PDF, the text will shift from side to side as you move through the pages, due to the slightly increased margin at the inside edge.</p>
<p><img class="floatright" src="html-resources/margins-trim-media.png" width="202" height="264" title="Trim Size floated in larger Media Size" alt="Trim Size floated in larger Media Size"/>Margins are always relative to the Trim Size. If you are using a larger Media Size, the area outside the TrimBox is <i>not</i> counted among the margins; it is simply wasted area. This is illustrated at right, where a smaller Trim Size is floated in a marger Media Size. The margins are shown in gray.</p>
<p>Here is how margins are set in Preamble:</p>
<p class="code"><code>\SetMargins{<em>top</em>}{<em>outside</em>}{<em>bottom</em>}{<em>inside</em>}</code></p>
<p>Mnemonic for order of margins: "TOBI, or not TOBI, that is the question."</p>
<p>Each of the settings must have dimension, such as <i>in</i> or <i>mm</i>.</p>
<p>If you do not use this command, then margins are pre-configured. The minimum pre-configured margins are 0.5in at top, outside, and bootm, and 0.75in at inside. This meets the requirements of nearly any printing technology, unless your book is extremely thick. If your Trim Size is among the larger ones, then the pre-configured margins are larger than these minimums.</p>
<p>If your pages have header/footer, they sit inside the rectnagle bounded by the four margins. That is, they do <i>not</i> sit inside the marginal areas.</p>
<p>If you ever need to <i>retroactively</i> change margins, see <a href="#hA">Appendix A</a>.</p>
<h5 id="h4.3.1.1">4.3.1.1. Gutter? Which Gutter?</h5>
<div class="d5" id="d4.3.1.1">
<p><img class="floatright" src="html-resources/whichgutter.png" width="276" height="219" title="Which gutter?" alt="Which gutter?"/>Be aware that there is a lot of confusion regarding the word "gutter." In the accompanying diagram, it might mean any of A, B, C, or D, depending on who is doing the talking and which software is in use.</p>
<p>The <i>novel</i> class uses <em>inside margin</em>, also known as <em>spine margin</em>, to mean <i>C</i>. There is no setting for "gutter" as such.</p>
<div style="clear:both"></div>
</div><!-- end 4.3.1.1 -->
</div><!-- end 4.3.1 -->
<h4 id="h4.3.2">4.3.2. Lines Per Page</h4>
<div class="d4" id="d4.3.2">
<p class="noindent">Lines per page refers only to the textblock, and does <em>not</em> include header/footer. Lines are not stretched to fill short pages.</p>
<p>By default, a suitable number of lines per page are set, based on other dimemsions. You can change the default with this command, in Preamble:</p>
<p class="code"><code>\SetLinesPerPage{<em>integer</em>}</code></p>
<p> Any non-integer will be rounded. There is no direct command to set the <em>leading</em>, also known as line-to-line spacing or <em>baselineskip</em>. Instead, it is calculated from the textblock height and number of lines.</p>
<p>If the calculated leading is less than <i>1.2x</i> the font size, an error will result. It is difficult for TeX to honor all layout settings with such a small leading, which would normally be unacceptable for fiction in any case. If the calculated leading is at least <i>1.2x</i> the font size, but less than <i>1.25x</i> the font size, then the log file will have an Alert message, suggesting that you should consider using fewer lines per page. If the leading exceeds <i>1.4x</i> the font size, then the log will have an Alert, suggesting more lines per page. The Alert messages are friendly; you do not necessarily have to do anything.</p>
</div><!-- end 4.3.2 -->
<h4 id="h4.3.3">4.3.3. Global Header/Footer Styles</h4>
<div class="d4" id="d4.3.3">
<p class="noindent">Global choice of header/footer style is made in Preamble. Although some individual pages may have no visible header or footer, in reality the header/footer is "still there" in terms of occupying space, but has no content.</p>
<p>There are six pre-configured header/footer styles, numbered <i>1</i> through <i>6</i>. These address every style I have seen in fiction. When you choose one of these styles, it reserves space for a header (if any) above the main text, and space for a footer (if any) below the main text. You may <i>not</i> write multi-line headers or footers.</p>
<p>The default style is <i>1</i>, which has header, but no footer. Page numbers appear at the outside. Text (such as author or title) appears centered.</p>
<p>Style <i>0</i> has no header or footer. This is not used in fiction, but it is available.</p>
<p>Throughout the body of your document, you can use local commands to change the content of headers and footers, or blank them. But you may not change the overall header/footer style.</p>
<h5 id="h4.3.3.1">4.3.3.1. List of Header/Footer Style Choices</h5>
<div class="d5" id="d4.3.3.1">
<p> </p>
<img class="floatright" src="html-resources/headfoot1.png" width="276" height="219" alt="style 1" title="style 1"/>
<p class="overhang">
<code><b>\SetHeadFootStyle{1}</b></code><br/>
Only Header.<br/>
Page number at outside (left verso, right recto).<br/>
Optional emblem adjacent to page number.<br/>
Text centered. Default author verso, title recto.<br/>
<em>This is the default for the novel document class.</em></p>
<div style="clear:both"></div>
<img class="floatright" src="html-resources/headfoot2.png" width="276" height="219" alt="style 2" title="style 2"/>
<p class="overhang">
<code><b>\SetHeadFootStyle{2}</b></code><br/>
Only Footer.<br/>
Page number at outside (left verso, right recto).<br/>
Optional emblem adjacent to page number.</p>
<div style="clear:both"></div>
<img class="floatright" src="html-resources/headfoot3.png" width="276" height="219" alt="style 3" title="style 3"/>
<p class="overhang">
<code><b>\SetHeadFootStyle{3}</b></code><br/>
Only Footer.<br/>
Page number centered.<br/>
Disregards emblem, if coded.</p>
<div style="clear:both"></div>
<img class="floatright" src="html-resources/headfoot4.png" width="276" height="219" alt="style 4" title="style 4"/>
<p class="overhang">
<code><b>\SetHeadFootStyle{4}</b></code><br/>
Only Header.<br/>
Page number at outside (left verso, right recto).<br/>
Optional emblem adjacent to page number.<br/>
Text towards outside, instead of centered.<br/>
Text begins or ends 1em from the emblem.<br/>
Default author verso, title recto.</p>
<div style="clear:both"></div>
<img class="floatright" src="html-resources/headfoot5.png" width="276" height="219" alt="style 5" title="style 5"/>
<p class="overhang">
<code><b>\SetHeadFootStyle{5}</b></code><br/>
Header and Footer.<br/>
Page number centered in footer.<br/>
Disregards emblem, if coded.<br/>
Text centered in header.<br/>
Default author verso, title recto.</p>
<div style="clear:both"></div>
<img class="floatright" src="html-resources/headfoot6.png" width="276" height="219" alt="style 6" title="style 6"/>
<p class="overhang">
<code><b>\SetHeadFootStyle{6}</b></code><br/>
Only Header.<br/>
Page number at outside (left verso, right recto).<br/>
Optional emblem adjacent to page number.<br/>
Text towards inside, instead of centered.<br/>
Default author verso, title recto.</p>
<div style="clear:both"></div>
</div><!-- end 4.3.3.1 -->
<h5 id="h4.3.3.2">4.3.3.2. Custom Header/Footer Style</h5>
<div class="d5" id="d4.3.3.2">
<p class="noindent">Before you think about writing a custom header/footer style, be sure to try the above pre-configured choices. I have looked through a lot of fiction of all kinds. The pre-configured choices include every style I have seen, with the exception of the most highly decorative.</p>
<p>If none of the above are satisfactory, then you can write your own headers and footers using the syntax of the <i>fancyhdr</i> package.</p>
<p>• In the Preamble, you must use one of the above <code>\SetHeadFootStyle</code> choices to pick a starting point, in terms of whether or not there is a header and/or footer. <em>This is required, so that the layout engine knows how to calculate space.</em> After that, write the <i>fancyhdr</i> code for your custom header/footer in the Preamble. It will over-ride the numerical style in terms of appearance, but occupy the same space.</p>
<p>• You cannot use a header or footer with more than one line. No exceptions.</p>
<p>• See the file <i>novel-HeadFootStyles.sty</i> for how it is done in the pre-configured styles. In the file, the relevant portion follows <em>Look here for the pre-defined styles, for use as models.</em></p>
<p>• Particularly note that your own style will not automatically use the <i>headfont</i>, or add extra space between letters, unless you include the necessary code in your own definition. Do not use the <code>\textls</code> command.</p>
<p>• No cheating! If you choose a numerical style that does not have a header, then do not attempt to write a custom style that includes a header. Same with footer. Also, if you you choose a numerical style with both header and footer, then you cannot only customize one of them; you must customize both.</p>
</div><!-- end 4.3.3.2 -->
</div><!-- end 4.3.3 -->
<h4 id="h4.3.4">4.3.4. Tweaking the Global Header/Footer Style</h4>
<div class="d4" id="d4.3.4">
<p class="noindent">You may customize the appearance, and to some extent the content, of the various parts of the header and footer. These are global settings, in Preamble.</p>
<h5 id="h4.3.4.1">4.3.4.1 <code>\SetHeadJump{<em>number</em>}</code>, <code>\SetFootJump{<em>number</em>}</code></h5>
<div class="d5" id="d4.3.4.1">
<p class="noindent">These two commands control the separation between the header/footer and the main text. If your style does not have a header and/or footer, then the corresponding setting does not matter.</p>
<p>When you change the "jump," the header or footer remains in the same place. However, the inter-line spacing (baseline skip) of the main text is tweaked to fit, while maintaining the same number of lines per page.</p>
<p>Note that <i>novel</i> does not use arcane settings such as <i>headsep</i>, <i>footskip</i>, or <i>headheight</i>.</p>
<p class="floatright" style="text-indent:0px"><img src="html-resources/headjump1.png" width="158" height="125" alt="headjump 1"/><br/><img src="html-resources/footjump2.png" width="130" height="116" alt="footjump 2"/></p>
<p>The head and/or foot "jump" is a multiple of the normal baseline skip. When the jumps are set to <i>1</i>, the header (if used) will be where the textblock would be, if it had one more line on top. The footer will be where the textblock would be, if it had one more line at the bottom. Values of <i>2</i> would skip a line at top and bottom. In other words, integer jumps maintain the line grid.</p>
<p>Actually, the header and/or footer do not need to be on line grid. The defaults are <i>1.5</i> for each, which balances the need to separate the header/footer from the text, with the need to avoid wasting vertical space.</p>
<p>The maximum is <i>3</i>, minimum <i>1</i>. The two jumps do not need to be identical.</p>
<div style="clear:both"></div>
</div><!-- end 4.3.4.1 -->
<h5 id="h4.3.4.2">4.3.4.2. <code>\SetHeadFont[<em>features</em>]{<em>font</em>}</code></h5>
<div class="d5" id="d4.3.4.2">
<p class="noindent">The <i>novel</i> pre-configured header/footer styles automatically use the <em>headfont</em>.<p>
<p>If you would like to use something else as <i>headfont</i>, use <code>\SetHeadFont</code> to define it by its font name and Open Type features.</p>
<p>In the simplest case, you merely pick an Open Type (or TrueType) font, and <i>novel</i> automatically adds the default Open Type features, including Small Caps:</p>
<p class="code"><code>\SetHeadFont{Roboto}</code></p>
<p class="centerimg"><img src="html-resources/headfont-roboto.png" width="419" height="81" title="Roboto headfont" alt="Roboto headfont"/></p>
<p>The above is not best if your style has header text, because the <i>headfont</i> is too pronounced, compared to the main text. A more complex choice uses <i>fontspec</i> syntax to customize the Open Type Features:</p>
<p class="code"><code>\SetHeadFont[Scale=0.75,Numbers=Lining,%<br/>
Letters=SmallCaps,%<br/>
Letters=UppercaseSmallCaps,%<br/>
ItalicFont=Montserrat-ExtraLightItalic.otf]%<br/>
{Montserrat-ExtraLight.otf}</code></p>
<p class="centerimg"><img src="html-resources/headfont-montserrat-el.png" width="419" height="81" title="Montserrat EL headfont" alt="Montserrat EL headfont"/></p>
<p>Unless you change it, the <i>headfont</i> is the same as the parent (main) font. However, it is scaled to slightly smaller size, uses lining numbers (if available), and small caps (if available). This is a general-purpose style, widely used in fiction. It may not be the most artistic, but it is unlikely to cause visual distraction:</p>
<p class="centerimg"><img src="html-resources/headfont-default.png" width="419" height="81" title="default headfont" alt="default headfont"/></p>
<p>If you do <i>not</i> want SmallCaps to be automatically added, use <code>Letters=ResetAll</code> as a feature.</p>
<div style="clear:both"></div>
</div><!-- end 4.3.4.2 -->
<h5 id="h4.3.4.3">4.3.4.3. <code>\SetLooseHead{<em>number</em>}</code></h5>
<div class="d5" id="d4.3.4.3">
<p class="noindent">This command applies to both headers and footers, but its effect is most noticeable when the style has header text.</p>
<p>For best appearance of header text, its characters should be adjusted with a little extra space (tracking) between them, so that they are more easily distinguished from the main text. This is especially true if you are using small caps.</p>
<p class="centerimg"><img src="html-resources/looseheads.png" width="400" height="76" alt="loosehead 50 and 100"/></p>
<p>The argument of <code>\SetLooseHead</code> is a number from <i>0</i> to <i>200</i>. At <i>0</i> there is no extra space between the letters. Values from <i>50</i> (default) to <i>100</i> are most useful.</p>
<p>Page number tracking will be clamped at a maximum of <i>50</i>, even when a larger (looser) tracking is applied to text.</p>
<p>• Do not use the <code>\textls</code> command. It is disabled in <i>novel</i>.</p>
<div style="clear:both"></div>
</div><!-- end 4.3.4.3 -->
<h5 id="h4.3.4.4">4.3.4.4. <code>\SetPageNumberStyle{<em>code using \thepage</em>}</code></h5>
<div class="d5" id="d4.3.4.4">
<p class="noindent">By default, the page number is simply <code>\thepage</code>, styled using <i>headfont</i>. In most cases, leave it that way. But if you wish to change how the page number is displayed, you can use this command to style it. Examples:</p>
<p class="code" style="text-indent:0px"><code>\SetPageNumberStyle{\textit{\thepage}} % Page number in italics.<br/>
\SetPageNumberStyle{-- \thepage{} --} % En-dashes, style 3 or 5.</code></p>
<p>The <i>headfont</i> is applied automatically, unless you over-ride it in your code. For example, suppose the <i>headfont</i> is based on the parent (main) font, which is the default style. You would like the page numbers (but not anything else in header/footer) to be in a different font, which you have defined in Preamble as <i>yourpnfont</i> using <code>\NewFontFamily</code> or <code>\NewFontFace</code>. Then you could write:</p>
<p class="code"><code>\SetPageNumberStyle{{\yourpnfont\thepage}}</code></p>
<p>Avoid over-doing it. If you are tempted to use a macro that counts page numbers backwards, or writes them upside-down, be aware that your print service will likely reject it. Anyway, it has already been done in fiction.</p>
<div style="clear:both"></div>
</div><!-- end 4.3.4.4 -->
<h5 id="h4.3.4.5">4.3.4.5. <code>\SetEmblems{<em>verso</em>}{<em>recto</em>}</code></h5>
<div class="d5" id="d4.3.4.5">
<p class="noindent">If the style supports it, you may place an "emblem" that appears at a fixed distance (2.5em) from the outer margin. Thus, it will appear to the right of the page number on verso pages, and to the left of the page number on recto pages. In the case of style <i>4</i>, there will be a clearance of 1em between the emblem and the header text.</p>
<p>The font used for emblems will be the same as the <i>headfont</i>, unless you specifically code the emblem to use a different font, or unless you use one of the built-in <code>\decoglyph</code> codes.</p>
<p>Emblems are minor decorations that should not distract the eye from the main text. If the style supports emblems but you do not set them, then no emblems are placed.</p>
<p><img class="floatright" src="html-resources/emblembar.png" width="380" height="104" alt="simple emblems using vertical bar"/>• Most books do not use emblems. When they do, it is typically a vertical bar, or a bullet, like this:</p>
<p class="code"><code>\SetHeadFootStyle{4}</code></p>
<p class="code"><code>\SetEmblems{|}{|}</code></p>
<p>The verso and recto emblems may be different. Whether they are the same or not, you must set them both, if you use emblems. Blanks are allowed.</p>
<p><img class="floatright" src="html-resources/emblemdingbats.png" width="380" height="104" alt="dingbat emblems"/>• Emblems may be styled. For example:</p>
<p>The header emblems shown at right were produced using the code below. Dingbats from the NovelDeco font were specified, adjusted for size and position.</p>
<p style="clear:both" class="code"><code>\SetEmblems{\charscale{1.1}{\raisebox{-0.05em}{\decoglyph{l9825}}}}%</code></p>
<p class="code"><code>{\charscale{1.1}{\raisebox{-0.05em}{\decoglyph{l9826}}}}</code></p>
<div style="clear:both"></div>
<p>• You may also use images, or combined images and text. If you use images, they must be at the exact resolution required by your print service (usually 300dpi for gray, 600dpi for b/w), and at exact size without scaling. The <code>\InlineImage</code> command must be used. See <i>novel's</i> image documentation details. You may find that a vertical offset of <code>\nfs</code> (normal font size) is useful, as this will place the top of the emblem image at the top margin.</p>
<p class="code" style="text-indent:0px"><img class="floatright" src="html-resources/emblemimg.png" width="295" height="77" alt="emblem image"/>
<code>\SetHeadFootStyle{4}<br/>
\SetEmblems{\InlineImage[0pt,b]{spy.png}}%<br/>
{\InlineImage[0pt,b]{spy.png}}
</code></p>
<p>• At the small size of an emblem, it is difficult to use detailed artwork. A black/white image at 600dpi will print similarly to a font dingbat. Grayscale at 300dpi will probably not be satisfactory unless the emblem is a single shade of gray. For the above example, a character from the <i>Fontawesome</i> font was converted to a png image at mid-gray. It is less distracting than a black character from the font, but hard to discern. Note that "gray ink" will not be used for your book.</p>
<p>• Ask your print service whether the presence of a small image in each page header will affect production costs. Probably not, but if there is a different per-page charge when pages have an image... Oops!</p>
<p>• The layout calculation does not care whether emblems intrude into the margins. You will have to inspect your PDF to determine whether a header emblem is too tall, or a footer emblem too deep, for the allowed top and bottom margin clearance. Class option <i>shademargins</i> (in draft mode only) is helpful.</p>
<div style="clear:both"></div>
</div><!-- end 4.3.4.5 -->
<h5 id="h4.3.4.6">4.3.4.6. Setting and Changing Header Text</h5>
<div class="d5" id="d4.3.4.6">
<p class="noindent">If you are using head/foot style <i>1</i>, <i>4</i>, <i>5</i>, or <i>6</i>, it has text in the header. By default, that text is the author on verso pages, the title on recto pages. That is an accepted design for fiction, but it is not always the appropriate thing to do.</p>
<p>For example, in exotic cases you may use something such as <code>\SetTitle{ISBN9780123456789TEXTBLOCK}</code>, instead of the book's actual title, if required fr the printer's database. Obviously you do not want that to appear in page headings!</p>
<p>This is solved using these commands:</p>
<p class="code"><code>\SetVersoHeadText{<em>text</em>}</code><br/>
<code>\SetRectoHeadText{<em>text</em>}</code></p>
<p>Unlike other settings, these commands can be used <i>both</i> in Preamble <i>and</i> in the document body. Whatever you set will take effect immediately (for pages that have header text) and remain in effect until changed by repeating these commands. For example, you might want to do that for a collection of short stories, or if your book has a Preface.</p>
<p>You may use ordinary LaTeX styling commands for the text:</p>
<p class="code"><code>\SetRectoHeadText{The \emph{Bad Boy} Chronicles}</code></p>
<p>You may also do more complicated things, such as setting certain words in a font other than the <i>headfont</i>. This is not advised, because you do not want to distract the reader from the main text; but it can be done.</p>
<p>• Avoid bold. Avoid underline. Really. Don't do it. No, no, no!</p>
</div><!-- end 4.3.4.6 -->
</div><!-- end 4.3.4 -->
<h4 id="h4.3.5">4.3.5. Header/Footer Exceptional Pages</h4>
<div class="d4" id="d4.3.5">
<p class="noindent">There are a number of cases where a specific page must have a header/footer style that appears to differ from the global style. The key words are "appears to differ." The global header/footer is always there, in terms of vertical space. But either or both may be blank, or have unusual content, on certain pages.</p>
<h5 id="h4.3.5.1">4.3.5.1. <code>\thispagestyle{<em>choice</em>}</code></h5>
<div class="d5" id="d4.3.5.1">
<p>Command <code>\thispagestyle</code> is used in the document body, not Preamble. It changes the appearance of header/footer, only for the page on which the command appears. Ideally the command is used immediately after <code>\clearpage</code> or <code>\cleartorecto</code>, so that the applicable page is certain.</p>
<p>However, the command will be effective if used anywhere on a page, as long as you are certain <i>which</i> page is current. So, if you know that a particular section is exactly two pages long, you can use <code>\thispagestyle</code> at the beginning and end of the section, so that it applies to both pages.</p>
<p>The choice of page style is <i>not</i> one of the numbered global head/foot styles. Instead, choose from the following list. These are more versatile than the choices available in other TeX document classes. They are: <i>fancy</i>, <i>empty</i>, <i>footer</i>, <i>forcenumber</i>, <i>dropfoliobeneath</i>, and <i>dropfolioinside</i>.</p>
<p class="overhang"><code><b>\thispagestyle{fancy}</b></code><br/>
This applies the default (fancy) page style, so it is not normally needed. Only use this command to over-ride some other <code>\thispagestyle</code> command, or to over-ride the <code>\SetChapterStartStyle</code> setting.</p>
<p class="overhang"><code><b>\thispagestyle{empty}</b></code><br/>
Header and footer are both blank.</p>
<p class="overhang"><code><b>\thispagestyle{footer}</b></code><br/>
Ignored if the style has no footer. If it does, then the usual footer appears. Note that this does <i>not</i> cause a page number to appear, when the style has no footer. Header, if any, is blank.</p>
<p class="overhang"><code><b>\thispagestyle{forcenumber}</b></code><br/>
If the style has a footer, then it appears as usual, and the header (if any) is blank. If the style has a header but no footer, then the outside portion of the header (which is presumed to contain the page number and emblem) appears, but the text portion of the header is blank.<br/>
• The <i>forcenumber</i> choice is non-standard. Use it only if you must have a page number, and no other choice is suitable.</p>
<p class="overhang"><code><b>\thispagestyle{dropfoliobeneath}</b></code><br/>
In this context, "folio" means page number. The header (if any) is blank. If there is a footer, then it appears as usual. But if there is no footer, this command creates a one-page fake footer, which contains the centered page number. The fake footer is located where the next line of text would be, if the textblock were one line longer than its actual value.<br/>
• For the fake footer to be acceptable in print, the bottom margin must be wider than the minimum amount required by your print service. For example, suppose that the minimum bottom margin is 0.5in, but you set the bottom margin to 0.75in. That gives you 0.25in wiggle room, into which the fake footer will probably fit, because typical baselineskip is 0.2in to 0.25in.<br/>
• The document class does not know whether or not you have extra space available in the bottom margin. It is your responsibility to know.</p>
<p class="overhang"> <code><b>\thispagestyle{dropfolioinside}</b></code><br/>
In this context, "folio" means page number. The header (if any) is blank. If there is a footer, then it appears as usual. But if there is no footer, this commands temporarily reduces the number of lines per page by one. At the bottom, where the last line of text would normally be, the page number is centered. Thus, there is no intrusion into the bottom margin.<br/>
• This command may only be used following <code>\clearpage</code>. Thus, it may be used at the start of new chapters, or on pages that do not flow from a previous page. If you use it elsewhere, the print will have incorrect layout, but there will be no error or warning, since the compiler is not sure what you are trying to do.<br/>
• If used on a page with <i>ChapterStart</i> environment, you must place <code>\thispagestyle{dropfolioinside}</code> <em>before</em> <code>\begin{ChapterStart}</code>. Reason: The <i>ChapterStart</i> block has a disposable blank line at its top, which is removed when <i>dropfolioinside</i> is used (instead of removing a line from the following text block).<br/>
• With this style, the specified height of <i>ChapterStart</i> must be <i>4</i> or more. This command will reduce it to 3 or more.</p>
<div style="clear:both"></div>
</div><!-- end 4.3.5.1 -->
<h5 id="h4.3.5.2">4.3.5.2. <code>\SetChapterStartStyle{<em>choice</em>}</code></h5>
<div class="d5" id="d4.3.5.2">
<p class="noindent">The first page of each chapter, or of a section that is styled like a chapter, is usually an exception to the global page style.</p>
<p>If you use the <i>ChapterStart</i> environment to begin them, <code>\SetChapterStartStyle</code> sets the style that will be applied at the starting page. This global setting is in Preamble, but may be over-ridden locally.</p>
<p>The choices are the same as available for <code>\thispagestyle</code>. Default is <i>footer</i>.</p>
</div><!-- end 4.3.5.2 -->
</div><!-- end 4.3.5 -->
</div><!-- end 4.3 -->
</div><!-- end 4 -->
</div><!-- end page04 -->
<!-- ************************************************************ -->
<div id="page05" class="page">
<h2 id="h5">5. Chapters and Chapter-Like Sections</h2>
<div class="d2" id="d5">
<p class="noindent">This section describes how chapters are designed. The <i>novel</i> class has commands specifically for this purpose. Do not use the ordinary TeX <code>\chapter</code> command, or any other TeX partitioning such as <code>\section</code>.</p>
<p>This also applies to content that is styled like a chapter, regardless of what it is called or where it appears. For example, if your book's front matter has a Preface, it is probably styled like a chapter. Something such as Acknowledgements might or might not be styled like a chapter, depending on length. Advice can be found in this documentation, in the part regarding Book Design.</p>
<h3 id="h5.1">5.1. Starting a Chapter</h3>
<div class="d3" id="d5.1">
<p class="noindent">Unlike most other TeX document classes, <i>novel</i> does <i>not</i> honor the <code>\chapter</code> command. And, <i>novel</i> does <i>not</i> automatically start chapters on a new page.</p>
<h4 id="h5.1.1">5.1.1. <code>\clearpage</code> or <code>\cleartorecto</code></h4>
<div class="d4" id="d5.1.1">
<p class="noindent">Unless your chapters run continuously without page break, begin a new chapter using <code>\clearpage</code> or <code>\cleartorecto</code>. The first of these provides a new page, which will be verso or recto, without skipping a page. The second forces the chapter to begin on a recto page, if necessary inserting a blank verso.</p>
<p>Note that the common modern practice in fiction is to allow new chapters to begin either verso or recto, once you get past Chapter One. The only recent book I've read (from a major publisher), where chapters always started recto, had about 20 blank pages throughout the story. I believe the reason was to pad the book, so that it looked bigger. If you are using an American P.O.D. service, such padding might knock about $0.10 (estimated) from your profit, for each copy sold. So it's up to you to think about the tradeoffs between style, profit per book, and expected sales.</p>
<p>Prologue (if any), Chapter One, Epilogue (if any), and other special sections always begin recto.</p>
<p>Don't worry about using <code>\clearpage</code> or <code>\cleartorecto</code> twice. The compiler is smart enough to understand that you only meant to do it once, as long as there is no other code in between.</p>
</div><!-- end 5.1.1 -->
<h4 id="h5.1.2">5.1.2. ChapterStart Environment</h4>
<div class="d4" id="d5.1.2">
<p class="noindent">The ChapterStart environment creates a block of white space, with a fixed height (number of normal lines). If you do not place much inside it, or even if you place nothing inside it, the space is the same.</p>
<p>If you place too much inside it, the space does not grow. Instead, the excess material overflows the bottom of the environment. There, the excess will underlie the main text. This is usually undesirable, but can sometimes be used for special effects.</p>
<h5 id="h5.1.2.1">5.1.2.1. <code>\SetChapterStartStyle{<em>choice</em>}</code></h5>
<div class="d5" id="d5.1.2.1">
<p class="noindent">This command may be used in Preamble. Its default setting is <i>footer</i>.</p>
<p>In most cases, a <i>ChapterStart</i> page has a head/foot style that differs from the global default. Instead of writing <code>\thispagestyle</code> commands for every chapter, use <code>\SetChapterStartStyle</code> to pick a style that will be applied wherever <i>ChapterStart</i> is used. The available choices are: fancy, footer, empty, dropfoliobeneath, dropfolioinside, forcenumber.</p>
<p>Regardless of the global header/footer style, and regardless of this setting, you can over-ride the style on a per-chapter basis, via an optional argument at the beginning of the <i>ChapterStart</i> environment.</p>
</div><!-- end 5.1.2.1 -->
<h5 id="h5.1.2.2">5.1.2.2. <code>\SetChapterStartHeight{<em>lines</em>}</code></h5>
<div class="d5" id="d5.1.2.2">
<p class="noindent">This command may be used in Preamble. Its default setting is <i>10</i>.</p>
<p>This command sets the default height of the <i>ChapterStart</i> environment, measured as an integer number of normal lines. The smallest value is <i>3</i>. However, if the chapter also uses <i>dropfolioinside</i>, then the smallest value is <i>4</i>, because one line is lost when processing the <i>dropfolioinside</i> command.</p>
<p>Regardless of this setting, you can over-ride the height on a per-chapter basis, via an optional argument at the beginning of the <i>ChapterStart</i> environment.</p>
</div><!-- end 5.1.2.2 -->
<h5 id="h5.1.2.3">5.1.2.3. <code>\begin{ChapterStart}[<em>lines</em>][<em>style</em>]</code></h5>
<div class="d5" id="d5.1.2.3">
<p class="noindent">The <i>ChapterStart</i> environment takes up to two optional arguments.</p>
<p>The first optional argument over-rides the default height of <i>ChapterStart</i>, for just this chapter. Its smallest value is <i>3</i>, except that its smalles value is <i>4</i> when <i>dropfolioinside</i> is used.</p>
<p>The second optional argument over-rides the header/footer style, for just this chapter. If you use the second optional argument, it must be one of the allowed choices for <code>\thispagestyle</code>, namely: fancy, footer, empty, dropfoliobeneath, dropfolioinside, forcenumber.</p>
<p>To use the second argument without the first, place an asterisk: <code>[*][<em>style</em>]</code></p>
<p>Whatever you place within <i>ChapterStart</i> will probably be higher on the page than you would like. To move it down, use the <code>\vspace*{<em>length</em>}</code> command (with asterisk) immediately after the environment begins.</p>
<p>As with all environments, this one must be closed using <code>\end{ChapterStart}</code>.</p>
</div><!-- end 5.1.2.3 -->
</div><!-- end 5.1.2 -->
<h4 id="h5.1.3">5.1.3. Chapter Title, Subtitle, Deco, Epigraph</h4>
<div class="d4" id="d5.1.3">
<p class="noindent">You can put anything you like within <i>ChapterStart</i>, including ordinary text and even images. All <i>ChapterStart</i> does is reserve a fixed space. However, there are special commands that make it easy to place a chapter title, chapter subtitle, and decorative element.</p>
<h5 id="h5.1.3.1">5.1.3.1. <code>\SetChapterFont[<em>features</em>]{<em>font</em>}</code><br/>
<span class="dbloc">5.1.3.1 </span><code>\SetSubchFont[<em>features</em>]{<em>font</em>}</code></h5>
<div class="d5" id="d5.1.3.1">
<p class="noindent">These global commands may be used in Preamble. They create font commands <code>\chapterfont</code> and <code>\subchfont</code> that may be used to style text anywhere in your document, like this:</p>
<p class="code"><code>{\chapterfont <em>text</em>}<br/>
{\subchfont <em>text</em>}</code></p>
<p>The <i>chapterfont</i> is automatically applied to text in <code>\ChapterTitle</code> commands, and the <i>subch</i> font is automatically applied to text in chapter subtitles (see below).</p>
<p>These fonts are pre-configured, based on the document's parent font. They have TeX ligatures and kerning, and use Lining numbers instead of Old Style. The <i>chapterfont</i> is scaled at 1.6, and the <i>subchfont</i> is scaled at 1.2, compared to normal font size. Ordinary (common) ligatures are not used, because such ligatures are best avoided with enlarged text.</p>
<p>If you don't like the pre-configured fonts, then you may specify your own, using <i>fontspec</i> syntax. Here is what the default codes look like:</p>
<p class="code"><code>\SetChapterFont[Numbers=Lining,Scale=1.6]{\parentfont}<br/>
\SetSubchFont[Numbers=Lining,Scale=1.2]{\parentfont}</code></p>
</div><!-- end 5.1.3.1 -->
<h5 id="h5.1.3.2">5.1.3.2. <code>\ChapterTitle[<em>alignment</em>]{<em>text</em>}</code><br/>
<span class="dbloc">5.1.3.2. </span><code>\ChapterSubtitle[<em>alignment</em>]{<em>text</em>}</code></h5>
<div class="d5" id="d5.1.3.2">
<p class="noindent">Text within <code>\ChapterTitle</code> is styled using the <i>chapterfont</i>, and text within <code>\ChapterSubtitle</code> is automatically styled using the <i>subchfont</i>. You can locally over-ride that, using font commands within the text.</p>
<p>The optional <i>alignment</i> is one of <i>l</i>, <i>c</i>, <i>r</i> (left, center, right). Default <i>c</i>.</p>
<p>You don't have to use either of these commands. Or, you can use either of them more than once! All these commands do is style the text.</p>
<p>The styled text is limited to one line (no wrap). If you have a long chapter title or subtitle, then break it into pieces of manageable size, by repeating the command(s). Example:</p>
<p class="code"><img class="floatright" src="html-resources/chaptertitlesubtitle.png" width="338" height="179" title="chapter title and subtitle, left aligned" alt="chapter title and subtitle, left aligned"/>
<code><small>
\begin{ChapterStart}
\vspace{2\nbs}
\ChapterTitle[l]{XV}
\vspace{\nbs}
\ChapterSubtitle[l]{In which Lord Withens, returned from his quest,}
\ChapterSubtitle[l]{encounters an Army of Gnomes at his castle gate.}
\end{\ChapterStart}
Following the dark and stormy night, it was a bright and sunny day. That did nothing to improve the demeanor of Lord Withens, who was still soaked from riding through the rain. ...\par
</small></code></p>
</div><!-- end 5.1.3.2 -->
<h5 id="h5.1.3.3">5.1.3.3. <code>\ChapterDeco[<em>alignment</em>]{<em>text</em>}</code></h5>
<div class="d5" id="d5.1.3.3">
<p class="noindent">Text within <code>\ChapterDeco</code> has no particular content, and no particular styling. This command is simply a way for you to remember that its content is neither the title nor subtitle of the chapter.</p>
<p>The optional <i>alignment</i> is one of <i>l</i>, <i>c</i>, <i>r</i> (left, center, right). Default <i>c</i>.</p>
<p>Many works of fiction have a decorative element below (or within) chapter titles. For your convenience, the <i>NovelDeco</i> font (included with <i>novel</i> has a few possibilities. they are accessed via the <code>\decoglyph</code> command. The list of available decorations, and codes to access them, are in the file <i>NovelDeco-glyphs.pdf</i>, which is in the <i>extras</i> folder within this documentation. Note that the decorations can be placed anywhere in your document, not just in <code>\ChapterDeco</code>.</p>
<p>When you use a decoration, it will almost certainly have to be up-scaled, using the <code>\charscale</code> command. You may have to adjust its vertical position using <code>\vspace</code>.</p>
<p>Example: More likely than not, the same decoration will be applied to any chapter that has one. Then, you can define the decoration as a macro in Preamble:</p>
<p class="code"><code><small>\newcommand\myctdeco{%<br/>
<span style="padding-left:2em"></span>\charscale[4]{\decoglyph{r9666}\decoglyph{n9591}\decoglyph{r9656}}<br/>
<span style="padding-left:2em"></span>}%
</small></code></p>
<p>Then use it wherever needed:</p>
<p class="code"><img class="floatright" src="html-resources/thelowdown.png" width="334" height="181" title="chapter title with decoration" alt="chapter title with decoration"/><code><small>
\begin{ChapterStart}<br/>
\vspace{2\nbs}<br/>
\ChapterTitle{3. The Low-Down}<br/>
\vspace{2\nbs}<br/>
\ChapterDeco{\myctdeco}<br/>
\end{ChapterStart}<br/>
I didn't hear the low-down until the following Saturday. By then, all hell had broken loose at Vinny's joint, and the boys were looking for me in trash cans, just in case that was where I was hiding. ...\par
</small></code></p>
</div><!-- end 5.1.3.3 -->
<h5 id="h5.1.3.4">5.1.3.4. Chapter Epigraph</h5>
<div class="d5" id="d5.1.3.4">
<p class="noindent">If you would like to place an Epigraph within <i>ChapterStart</i>, there is no special command for that purpose. You do it the same way you would do it anywhere else: Use the <i>adjustwidth</i> environment to limit the text width. You may use the <i>parascale</i> environment to scale the block of text, without disturbing the following line grid, as long as you are within <i>ChapterStart</i>. Example:</p>
<p class="code"><img class="floatright" src="html-resources/bookofbeirh.png" width="344" height="191" title="chapter title with epigraph" alt="chapter title with epigraph"/><code><small>
\begin{ChapterStart}<br/>
\vspace{2\nbs}<br/>
\ChapterTitle{16. The Great Incantation}<br/>
\vspace{\nbs}<br/>
\begin{adjustwidth}{4em}{4em}<br/>
\begin{parascale}[0.88]<br/>
In the third moon of the third raveling, in the third hour of the third day, Fingly shall come again.\par<br/>
\stake\hfill \textit{Book of Beirh}\par<br/>
\end{parascale}<br/>
\end{adjustwidth}<br/>
\end{ChapterStart}<br/>
In the latter days of the Dorf dynasty, a marvelous apparition sent the King's guard scrambling in terror. Elders soon declared that it was the return of Fingly, prophesized in the Book of Beirh. ...\par
</small></code></p>
</div><!-- end 5.1.3.4 -->
</div><!-- end 5.1.3 -->
<h4 id="h5.1.4">5.1.4. ChapterStart With Image</h4>
<div class="d4" id="d5.1.4">
<p class="noindent">You can use an image in chapter titles. If you place an image, use one of the image commands defined by <i>novel</i> elsewhere in the documentation. Any other method is likely to push the following text off-grid.</p>
<p>Be sure that you are licensed to use the image. Many clipart catalogs "for personal use only," prohibit usage in commercial books. One possible source is <a href="http://openclipart.org" rel="external" target="new">openclipart.org</a> (note the <em>.org</em>).</p>
<h5 id="h5.1.4.1">5.1.4.1. Text Over Image</h5>
<div class="d5" id="d5.1.4.1">
<p class="noindent"><img class="floatright" src="html-resources/ctimg35.png" width="79" height="196" alt="example of chapter title image, text over"/> You may position text over an image. It is best to use black text, or grayscale text that is much darker than the underlying image. Results are uncertain if you try to place light text over a dark image, because it depends on the print technology, which is not within your control.</p>
<p>Example, where the command <code>\unifrac</code> calls for the font <i>UnifrakturMaguntia.ttf</i>. Note that the font command is <i>outside</i> \charscale:</p>
<p class="code"><code><small>\begin{ChapterStart}<br/>
\BlockImage{sword.png} <span class="ap">% centered by default</span><br/>
{\unifrak\centering\charscale[3,0pt,4\nbs]{35}\par}<br/>
</small>\end{ChapterStart}</code></p>
</div><!-- end 5.1.4.1 -->
<h5 id="h5.1.4.2">5.1.4.2. Text Built Into Image</h5>
<div class="d5" id="d5.1.4.2">
<p class="noindent">If the text is not ordinary black, or not much darker than the background image, then it is better to include the text as part of the raster image. The reason is that "white ink" will not be used for your book. Also, you cannot use image transparency.</p>
<p>Although light text over a dark image may appear as expected in PDF, and print that way on some printers, there are many exceptions. If in doubt, ask your print service. In this example, the number is built into the image itself:</p>
<p class="code"><img class="floatright" src="html-resources/smfingerprint8.png" width="86" height="70" alt="example of chapter title image, raster text"/><code><small>\begin{ChapterStart}<br/>
\BlockImage[l]{smfingerprint8.png}<br/>
\end{ChapterStart}</small></code></p>
</div><!-- end 5.1.4.2 -->
</div><!-- end 5.1.4 -->
</div><!-- end 5.1 -->
<h3 id="h5.2">5.2. Continuously Running Chapters</h3>
<div class="d3" id="d5.2">
<p class="noindent">Standard book design calls for each chapter to begin on a new page. However, some books are designed with numerous short chapters that run continously, so that chapters may start anywhere on a page. There are two ways to handle this in <i>novel</i>, or you can simply design your own method.</p>
<h4 id="h5.2.1">5.2.1. Reduced-Height ChapterStart</h4>
<div class="d4" id="d5.2.1">
<p class="noindent">Since the <i>ChapterStart</i> environment does not automatically begin a new page, you can use it for continuously running chapters. In Preamble, set a short height, such as <code>\SetChapterStartHeight{4}</code>. Also use <code>\SetChapterStartStyle{fancy}</code> so that headers don't disappear.</p>
<p>Throughout the book, you can make local adjustments to the <i>ChapterStart</i> height, so that they don't fall at an inconvenient location (such as at the bottom of a page). Yes, I have seen this done in published works. If a particular chapter is sufficiently important that it deserves a page break, or a lot more space, you can do that easily.</p>
</div><!-- end 5.2.1 -->
<h4 id="h5.2.2">5.2.2. <code>\QuickChapter[<em>linelength</em>]{<em>chapter title</em>}</code></h4>
<div class="d4" id="d5.2.2">
<p class="noindent">The <code>\QuickChapter</code> command inserts two blank lines. In the gap, the chapter title is left-justified using <i>subchfont</i> (not <i>chapterfont</i>). It is slightly raised from the normal baseline, because this looks better; but the following text is back on-grid. By default, the start of the following text will be un-indented.</p>
<p>If the optional <i>linelength</i> is provided, then a dash will be written after the title, at the position and thickness typical of the em dash in <i>subchfont</i>. If <i>linelength</i> is specified in units of length, then that will be the length of the line. But if <i>linelength</i> is an asterisk, then the line will fill to the right margin.</p>
<p>Note that this command is probably too obtrusive for mere scene changes within a chapter.</p>
<p>Example:</p>
<p class="code"><code><small>Then he looked at me with a sneer, and barked, “You better haul your can over to Vinny's joint, before the Boss finds out.”\par<br/>
\QuickChapter[3em]{16. At Vinny’s}<br/>
So I took his advice, and hauled my can over to Vinny’s. It was everything I had expected, and worse.\par<br/>
The bouncer wasn't the biggest one I’d ever seen, but he was the ugliest. ...</small></code></p>
<p class="centerimg"><img src="html-resources/quickchapter.png" width="629" height="240" alt="quick chapter"/></p>
</div><!-- end 5.2.2 -->
</div><!-- end 5.2 -->
<h3 id="h5.3">5.3. Scene Breaks</h3>
<div class="d3" id="d5.3">
<p class="noindent">There are several commands dedicated to the purpose of scene breaks.</p>
<p class="code"><code><b>\scenebreak</b></code> inserts a one-line blank skip. The following line of text is not indented.</p>
<p class="code"><code><b>\sceneline</b></code> inserts a one-line skip, containing a short centered line. The following line of text is not indented.</p>
<p class="code"><code><b>\scenestars</b></code> inserts a one-line skip, containing three spaced, centered asterisks. The following line of text is not indented.</p>
<p style="margin-top:20px">Examples:</p>
<p class="code"><img style="float:right; margin-left:16px;" src="html-resources/scenebreaks.png" width="331" height="236" alt="scene breaks"/>
<code><small>
\noindent It was a dark and stormy night.\par<br/>
Lord Withens, the last of his line, hurried through the gloom to Castle McWhistle, where Lady McWhistle awaited.\par<br/>
\scenebreak<br/>
Well, maybe it was not very dark.\par<br/>
But to Lord Withens, it seemed dark enough. Or rather, he hoped it was dark enough. Lord McWhistle was suspicious.\par<br/>
\sceneline<br/>
Actually, it was not all that stormy, either. But the Withens clan never tolerated drizzle, much less a storm.\par<br/>
Who could blame them? It's not like they lived in Italy.\par<br/>
\scenestars<br/>
Ah, such ill fortune haunted the Withens!\par<br/>
Unfortunately, novelists of that era had so little to write about, or they would have chosen another family to pursue.\par
</small></code></p>
<p>If you are using <code>\scenebreak</code> and the gap occurs at the very bottom or top of a page, then manually substitute <code>\sceneline</code> or <code>\scenestars</code> there. This is a standard way to indicate that the gap is intentional. The substitution is not automatic.</p>
<h4 id="h5.3.1">5.3.1. <code>\SetScenebreakIndent{<em>true</em> or <em>false</em>}</code></h4>
<div class="d4" id="d5.3.1">
<p class="noindent">This global command may only be used in the Preamble. Default is <i>false</i>.</p>
<p>Normally, text begins without a paragraph indent, after each scene break. This is standard in fiction. If you prefer that each new scene begins indented, use this command. It works only with <code>\scenebreak</code>, <code>\sceneline</code>, and <code>\scenestars</code>.</p>
<p><small>Note: <code>\SetScenebreakIndent</code> is new in version 1.40.3. When set to <i>true</i> it is identical to the <code>\IndentAfterScenebreak</code> command from prior versions. The older command is still honored. The new command has syntax more consistent with other <i>novel</i> settings.</small></p>
</div><!-- end 5.3.1 -->
</div><!-- end 5.3 -->
</div><!-- end 5 -->
</div><!-- end page05 -->
<!-- ************************************************************ -->
<div id="page06" class="page">
<h2 id="h6">6. Text Sizes and Styling</h2>
<div class="d2" id="d6">
<p class="noindent">This section describes how to change the size of text, how to style text (such as italics), and how to move it around. It also describes some miscellaneous commands that are intended to modify text.</p>
<p>Information about how to choose the global, main text point size is described in <a href="#h4.2.1.2">section 4.2.1.2</a>. General information about choosing fonts and font features is in <a href="#hC">Appendix C</a> and <a href="#hE">Appendix E</a>.</p>
<p>There is no direct setting for normal baselineskip; it is automatically calculated from the size of the textblock and lines per page.</p>
<h3 id="h6.1">6.1. Text Sizes</h3>
<div class="d3" id="d6.1">
<p class="noindent">Be sure to read through this. In <i>novel</i>, standard TeX font size commands are disabled. There are new commands that address the limited needs for font sizing, in the context of fiction. These new commands are primarily for local adjustments of a few characters, or for display pages that are outside the main flow of text.</p>
<h4 id="h6.1.1">6.1.1. Surprise! Traditional TeX Font Size Commands Are Disabled.</h4>
<div class="d4" id="d6.1.1">
<p class="noindent">Ah, the simplicity of TeX font size commands, such as <code>\small</code> and <code>\LARGE</code>. But in <i>novel</i>, they don't work. If you write <code>{\LARGE text}</code>, then the included text appears at normal size. This is by design.</p>
<p>Why? In <i>novel</i>, the focus is on maintaining a constant baselineskip, so that facing pages have text aligned. This is impossible with the standard TeX commands. In particular, commands to increase font size will change the baselineskip, whether you like it or not, even if you try to code for a constant baselineskip. That's just the way TeX works.</p>
<p>The one exception is that <a href="#hXXXXX">footnotes</a> will appear with smaller than normal size and skip. But this is done automatically. You cannot manipulate it with a size command.</p>
<p>Fortunately, there are not a lot of occasions where fiction needs to change font size. In <i>novel</i>, there are new commands to address each situation.</p>
</div><!-- end 6.1.1 -->
<h4 id="h6.1.2">6.1.2. <code>\charscale[<em>scale,hoffset,voffset</em>]{<em>text</em>}</code> and starred</h4>
<div class="d4" id="d6.1.2">
<p class="noindent">The <code>\charscale</code> command may be used for a short amount of text, where there is no line break. The command will throw an error if the included text has <code>\\</code> or <code>\par</code> or any other command that breaks the line. Text within <code>\charscale</code> does not wrap. You may not place an image in <code>\charscale</code>.</p>
<p>When used without the option, <code>\charscale</code> echoes the included text. However, the text gains the magical ability to extend above or below the normal line of text, without pushing apart the baselines. This is useful if the text has some unusual character that is extraordinarily tall or deep.</p>
<p>Using the option, you may uniformly scale the text by any amount, and displace it horizontally and vertically. The text can overlie other text, or any previously-placed image.</p>
<p>With the unstarred command, the scaled width of the text will occupy horizontal space, even if the text is displaced far away. But with the starred command, the text does not occupy any horizontal space.</p>
<p>The single optional argument may include up to three comma-separated values. The first value is a number, indicating the scale. If a second argument is used, it is the length of horizontal offset (positive is right). If a third number is used, it is the length of the vertical offset (positive is up). Remember that if all you want to do is scale the text, without positioning it, then you only need to provide the scale.</p>
<p>• Note: <code>\charscale</code> does not commute with some other TeX commands. That is, the results of <code>\charscale{\othercommand{<em>text</em>}}</code> and <code>\othercommand{\charscale{<em>text</em>}}</code> may differ. That is just the way things are. Use the one that works for you.</p>
<p>Here is an example illustrating the command in all its glory:</p>
<p class="code"><img class="floatright" src="html-resources/badaboom.png" width="146" height="102" alt="badaboom"/><code>
Bada \charscale*[1.25,5em,1.3\nbs]{Boom} Bam\par<br/>
Bada Bam\par<br/>
Bada\charscale[1.25,5em,1.3\nbs]{Bang} Bam\par<br/>
Bada \charscale[1.25]{Bang} Bam\par
</code></p>
<p>In the result (above right), notice how the starred command leaves no gap where the word Boom would have been. The unstarred command leaves a gap where the word Bang would have been located. In each case, the baseline grid is maintained.</p>
<p>The most practical application of <code>\charscale</code> is styling the first character of chapter text. Drop capitals are out of fashion, but enlarged capitals (rising above the baseline) are in fashion. Example, also using the <code>\FirstLine</code> command (from package <i>magaz</i>, included with <i>novel</i>:</p>
<p class="code"><code>\FirstLine{\noindent\charscale[1.5]{I}t was a dark and stormy night. Lord Withens mounted his horse and rode through the gloom to Castle McDingle, where Baron von Feathering awaited. The pair had dirty deeds to do, but being members of the nobility, they commanded a high price.}</code></p>
<p class="centerimg"><img src="html-resources/mcdingle.png" width="559" height="121" alt="larger first letter"/></p>
<p>In the above example, the initial I is 1.5x its normal size. It appears larger than that, by comparison to the adjacent small caps letters.</p>
</div><!-- end 6.1.2 -->
<h4 id="h6.1.3">6.1.3. <code>\begin{parascale}[<em>scale</em>] ... \end{parascale}</code></h4>
<div class="d4" id="d6.1.3">
<p class="noindent">The parascale environment is used on a paragraph basis. More than one paragraph may be included. The scale is applied to the font size and to the baselineskip within.</p>
<p>Since the text within parascale generally will not occupy an integral number of normal baselineskips, the following text will be off-grid. This may not be a problem, if parascale is used in places where maintaining the grid does not matter (such as on a title page or copyright page).</p>
<p>• If parascale is used within body text, then it will be necessary to restore the line grid for the following text. This cannot be done automatically; you will have to make a preliminary run, look at the results, and adjust accordingly.</p>
<p>For example, suppose you use <code>\begin{parascale}[0.92]...text...\end{parascale}</code>. The preliminary run shows that the included text occupies 7 lines. The following baseline will then be 7x(1–0.92)=0.56 normal baselineskip too high. This can be fixed by adding <code>\vspace{0.56\nbs}</code>. For best appearance, the <code>\vspace</code> should be split above and below the parascale environment, but not nessarily in half.</p>
<p>• If parascale crosses to the next page, then you will need to make vertical adjustment for each page independently. For example, if a 7-line parascale has 3 lines at the bottom of a page, followed by 4 lines on the following page, then you need to restore only a 4 line deficit on the following page.</p>
<p>• Within parascale you may need to manually indent paragraphs, or remove indents if necessary.</p>
</div><!-- end 6.1.3 -->
<h4 id="h6.1.4">6.1.4. Open Type Scale (fontspec)</h4>
<div class="d4" id="d6.1.4">
<p class="noindent">If you will be using a font in a way that it will <em>always</em> be at a size different from the normal font size, you may use the <i>Scale</i> feature when you first define the font. This is defined by the <i>fontspec</i> package, which is automatically loaded with <i>novel</i>. Example:</p>
<p class="code"><code>\NewFontFamily\minifont[Scale=0.75,Numbers=Lining]{\parentfont}</code></p>
<p>A scaled font can be used anywhere. It is not limited to a single line, and it will maintain the line grid at scales not exceeding 1. However, scaled text may disturb the line grid if its scale is more than 1.</p>
</div><!-- end 6.1.4 -->
</div><!-- end 6.1 -->
<h3 id="h6.2">6.2. General Styling</h3>
<div class="d3" id="d6.2">
<p class="noindent">Many of these commands are directly from LaTeX, and are mentioned here because they are frequently used. Other commands are specific to <i>novel</i>.</p>
<h4 id="h6.2.1">6.2.1. Italics and Emphasis</h4>
<div class="d4" id="d6.2.1">
<p class="noindent"><code><b>\textit{<em>text</em>}</b></code> puts the text in italics, provided that the font family has an Italic font. If it does not have an Italic font, then the letters will remain normal, <em>not</em> fake slanted.</p>
<p>If the italicized text leans too far into the following space, try adding <code>\/</code> (back and forward slashes) just before closing the braces.</p>
<p><code><b>\emph{<em>text</em>}</b></code> changes regular text to italics, and italic text to regular. You may nest <code>\emph</code> commands. Many writers opine that this is the preferred way to specify Italics.</p>
<p>Sadly, the above two commands will fail if the styled text is in more than one paragraph. A more general command that is able to cross paragraphs is <code><b>\itshape{<em>text</em>}</b></code>.</p>.
</div><!-- end 6.2.1 -->
<h4 id="h6.2.2">6.2.2. Bold, Semibold, etc.</h4>
<div class="d4" id="d6.2.2">
<p class="noindent"><code><b>\textbf{<em>text</em>}</b></code> puts the text in whatever font you specified as the Bold font, when you defined the currently-used font family. If the text is in more than one paragraph, use <code><b>\bfshape{<em>text</em>}</b></code> instead.</p>
<p>If the font family has no Bold font, then it will <em>not</em> be faked.</p>
<p>The default main font used by <i>novel</i>, namely <i>Libertinus Serif</i>, has both Bold and Semibold weights. Given this choice, <i>novel</i> explicitly calls for the Semibold weight. If you intend to use a font such as Adobe Garamond Pro, which also has a Semibold weight, then you can request it instead of Bold when you define the font family.</p>
<p>What if you want both Bold and Semibold, or maybe even a Light weight? Only one can be assigned as the bold weight when you define the font. For the others, use <code>\NewFontFace</code> to assign the desired weight to its own font command, which you will use (but inside the braces) instead of <code>\textbf</code>.</p>
<p>Actually, you should not be using Bold in fiction. It <em>might</em> be the case that this weight is useful for titles, but you ought to consider a fancy-looking font for that purpose, rather than mere Bold. Or, make the letters big and bold, but balance the effect by using gray.</p>
</div><!-- end 6.2.2 -->
<h4 id="h6.2.3">6.2.3. Underlining</h4>
<div class="d4" id="d6.2.3">
<p class="noindent">Underlining is inappropriate for fiction. Don't do it. Besides, there are some issues regarding line grid and appearance, which are not a problem in academic works, but are noticeable in fiction.</p>
</div><!-- end 6.2.3 -->
<h4 id="h6.2.4">6.2.4. Small Caps and Acronyms</h4>
<div class="d4" id="d6.2.4">
<p class="noindent"><code><b>\textsc{<em>text</em>}</b></code> converts lowercase letters to small caps, leaving uppercase unchanged. The font's <code>smcp</code> Open Type feature will be used. But if the font does not have <code>smcp</code>, it will <em>not</em> be faked. If you need to corss paragraphs, use <code><b>\scshape{<em>text</em>}</b></code>.</p>
<p><code><b>\smcp{<em>text</em>}</b></code> is an alias for <code>\textsc{<em>text</em>}</code>.</p>
<p><code><b>\allsmcp{<em>text</em>}</b></code> places both uppercase and lowercase letters in small caps. If the font has the <code>c2sc</code> feature, it will be used; if not, the letters will be converted to lowercase first. Then, <code>smcp</code> is applied.</p>
<p>• If you require small caps, but your font does not have them, you can fake them by scaling uppercase. But this is usually unattractive. A better method is described in the <i>fontspec</i> package documentation: You may appoint a different font that will provide small caps.</p>
<p>• If you insist on using old-fashioned TeX fonts, which do not have the <i>smcp</i> Open Type feature, then you may need to write this code in the Preamble:</p>
<p class="code"><code>\let\smcp\oldscshape\relax<br/>
\let\textsc\oldscshape\relax<br/>
\let\scshape\oldscshape\relax</code></p>
<p>The above code sends you in a time machine back to the Twentieth Century.</p>
<p><code><b>\acronym{<em>text</em>}</b></code> is special to <i>novel</i>. If the <i>NovelDeco</i> font is installed, uppercase letters in the text will be converted to "mid-size capitals," and lowercase will remain lowercase, but with ascenders slightly reduced. The purpose of this command is so that acronyms such as NASA and NATO blend well with surrounding text. I have found that whereas ordinary uppercase is too conspicuous, small caps also looks wrong. Example:</p>
<p class="code"><img class="floatright" src="html-resources/acronym2.png" width="192" height="89" alt="acronym"/>
<code>
The NATO alliance...\par<br/>
The \acronym{NATO} alliance...\par<br/>
The \allsmcp{NATO} alliance...\par
</code></p>
<p>Whether or not to use the \acronym command, is up to you. Since its letters are drawn from the <i>NovelDeco</i> font, rather than your main font, there may be some stylistic differences if your <i>parentfont</i> is not Libertinus Serif.</p>
</div><!-- end 6.2.4 -->
<h4 id="h6.2.5">6.2.5. Local Tracking Adjustment</h4>
<div class="d4" id="d6.2.5">
<p class="noindent"><code><b>\squeeze{<em>text</em>}</b></code> narrows the text by one percent.</p>
<p class="noindent"><code><b>\crush{<em>text</em>}</b></code> narrows the text by two percent.</p>
<p>These commands are for emergency use only. They temporarily apply a horizontal scale to the letters, so that they are very slightly narrower than usual. Inter-word spacing is not necessarily changed (it can even grow larger), because spacing is calculated during paragraph layout. The enclosed text may span paragraphs.</p>
<p>The commands do not compound. That is, placing one crush inside another will not narrow the text by four percent. But any adjustments made by <i>microtype</i> will still apply, and may compound with these commands.</p>
<p>The only application for these commands is when a paragraph does not quite fit where you would like it to be. For example: Perhaps one short word, or part of a word, dangles to an extra line. Try <code>\squeeze</code> first, then <code>\crush</code>, for all or most of the paragraph. These do not always produce a useful effect, since the actual paragraph layout depends on other factors. But <em>if you are lucky,</em> then the paragraph re-flows to a better layout.</p>
<p>• If the commands do not help, then <em>be sure to remove them</em>, or the typography will be worse than it was before!</p>
</div><!-- end 6.2.5 -->
<h4 id="h6.2.6">6.2.6. Local Font Selection</h4>
<div class="d4" id="d6.2.6">
<p class="noindent"><code><b>{\<em>fontcode</em> <em>text</em>}</b></code> where <i>fontcode</i> is a previously-defined <a href="#h4.2">built-in</a> or <a href="#h4.2.5">user-defined</a> font command.</p>
<p>You locally change the font in use, by calling its font command. For example, <code>\subchfont</code> is a built-in command, automatically used in certain macros. You can use it yourself:</p>
<p class="code"><code>{\subchfont <em>text</em>} % Note that the braces go on the outside.</code></p>
<p>Likewise, if you used <code>\NewFontFamily</code> or <code>\NewFontFace</code> to define your own font, giving it the command name <code>\mynewfont</code>, then you would use it like this:</p>
<p class="code"><code>{\mynewfont <em>text</em>} % Again, the braces go on the outside.</code></p>
</div><!-- end 6.2.6 -->
<h4 id="h6.2.7">6.2.7. Local Feature Changes</h4>
<div class="d4" id="d6.2.7">
<p class="noindent"><code><b>{\addfontfeature{<em>feature</em>} <em>text</em>}</b></code> for changing Open Type features.</p>
<p>If a font is already defined, you can locally add one or more <a href="#E.2">features</a>. For example, suppose that you defined <code>\mynewfont</code> without using its Open Type feature <i>ss03</i> (we will assume that the font actually has this feature). In a particular place, you wish to activate <i>ss03</i>. The code looks like this:</p>
<p class="code"><code>{\mynewfont\addfontfeature{RawFeature=+ss03} <em>text</em>}</code> % Note + sign. Braces outside.</p>
<p>That limits the scope of the feature to the included group, in TeX terminology.</p>
<p>You can modify features used by any defined font, whether you defined it yourself or it is one of the <i>novel</i> built-in font commands. You can add more than one feature. If the requested feature does not exist in the font, then your request will be ignored.</p>
<p>What about removing a feature that is already present in the font definition? Suppose you defined <code>\mynewfont</code> so that <i>Numbers=OldStyle</i> is used. On a local basis, can you change the style of numbers? Usually, yes. You could use <i>Numbers=Lining</i> to over-ride the feature. Sometimes it depends on how you chose the features, as a matter of syntax. See the <i>fontspec</i> documentation.</p>
</div><!-- end 6.2.7 -->
<h4 id="h6.2.8">6.2.8. Color Text (actually, grayscale)</h4>
<div class="d4" id="d6.2.8">
<p class="noindent">For this effect, the <a href="#h2.2"><i>graytext</i></a> class option must be used, or any color command will be ignored, and its included text will be rendered in black (even if the requested color is white). Images are unaffected.</p>
<p><code><b>\color{<em>name</em>}</b></code> or <code><b>\color[gray]{<em>scale</em>}</b></code> is used within a group. All text will be in grayscale, from where the command is placed, until the group ends. If the command is not at the beginning of the group, it does not affect prior text. Example:</p>
<p class="code"><code>
\begingroup<br/>
This text is unaffected by the following command.<br/>
\color{lightgray} % Alternative: \color[gray]{number 0 to 1}<br/>
This text is in lightgray, until the group ends.<br/>
\endgroup
</code></p>
<p style="margin-top:10px"><code><b>\textcolor{<em>text</em>}</b></code> or <code><b>\textcolor[gray]{<em>scale</em>}{<em>text</em>}</b></code> affects only the included text.</p>
<p class="code"><code>\textcolor{gray7}{This text is in color gray7, a medium-light gray.}<br/>
\textcolor[gray]{0.32}{This text is in 32 percent gray.}</code></p>
<p style="margin-top:10px">Whether you use <code>\color</code> or <code>\textcolor</code>, there are two ways to specify the color: by name, or by scale, using package <i>xcolor</i> syntax.</p>
<p>• The following color names are accepted, and will be converted to some shade of gray (from dark to light): black, blue, violet, darkgray, purple, red, teal, olive, magenta, gray, brown, green, orange, cyan, lightgray, lime, pink, yellow, white.</p>
<p>The above names are often not helpful, so <i>novel</i> also allows you to use these: black, gray1, gray2, gray3, gray4, gray5, gray6, gray7, gray8, gray9, white. The scale is not uniform (gray5 is not 50 percent gray), but the values are usefully spaced.</p>
<p>Other names "known to dvips," such as <i>Apricot</i>, do not work. An error will result.</p>
<p>• To specify color by scale, follow the color command with <i>[gray]{<em>scale</em>}</i>, where the scale is a number between 0 (black) and 1 (white). Example:<code> \color[gray]{0.63}</code>.</p>
<p>• If you use <i>xcolor</i> syntax to request an rgb color, it will be converted to 1-channel grayscale.</p>
<p>• Absolutely no transparency!</p>
</div><!-- end 6.2.8 -->
</div><!-- end 6.2 -->
<h3 id="h6.3">6.3. Positioning and Alignment</h3>
<div class="d3" id="d6.3">
<p class="noindent">By now, you already know: In <i>novel</i> there are new ways to position or align text, and some of the standard TeX methods are discouraged or disabled.</p>
<h4 id="h6.3.1">6.3.1. What to Avoid</h4>
<div class="d4" id="d6.3.1">
<p class="noindent">• The <code>\raisebox</code> command does not play well with novel. It can be used, but there is the great risk of disturbing the line grid. Use <code><a href="#h6.1.2">\charscale</a></code> instead.</p>
<p>• If you must use the <code>\vspace</code> command (or its relative, <code>\vskip</code>) be sure to measure the space in units of <code>\nbs</code> (normal baseline skip).</p>
<p>• Avoid the <i>minipage</i> and <i>parbox</i> environments. These are likely to disrupt the line grid. When that happens, restoring the grid is your own responsibility. You may find the <i>adjustwidth</i> environment to be a useful alternative.</p>
<p>• In most cases, do not use the center environment. You may use <code>{\centering ... \par}</code> instead, for a single paragraph. The center environment may cause the text to go off-grid. That's not a problem on some stand-alone pages where you don't care about the grid, but it is ugly in the middle of running text.</p>
<p>• Avoid positioning via the <i>textblock</i> or <i>textblock*</i> environments (package <i>textpos</i>). Actually, <i>novel</i> uses that code internally. But if not handled with more care than usual, positioned text can disrupt the baseline and position of surrounding text. You may use <code><a href="#h6.1.2">\charscale</a></code> to position small amounts of text safely, but not on a paragraph basis. Images have built-in positioning arguments, which may also be useful for positioned text.</p>
<p>• Do not use floats. If you try, then <i>novel</i> may intercept them with a nasty message.</p>
<p>• Do not use tables. Nasty message will result. But <i>novel</i> has its <a href="#h8.2.1.7">own provision</a> for a Table of Contents, and the code may be used for other purposes as well.</p>
<p>• If you use images, then use only the image commands provided by novel: <code><a href="#h7.3.2">\InlineImage</a></code> and <code><a href="#h7.3.4">\BlockImage</a></code>.<p>
<p>• There is no built-in provision for a two-column environment. However, you can place text <a href="#h7.3.5">alongside</a> an image.</p>
</div><!-- end 6.3.1 -->
<h4 id="h6.3.2">6.3.2. Some Useful Commands</h4>
<div class="d4" id="d6.3.2">
<p class="noindent">This is not a complete list. It merely addresses a few situations that you are likely to encounter, without the need for elaborate code, and without loading additional packages.</p>
<p style="margin-top:10pt"><code>\begin{adjustwidth}{<em>left</em>}{<em>right</em>} ... \end{adjustwidth}</code></p>
<p>This environment, from the included <i>changepage</i> package, is the most useful way to create block indents. The included text may have multiple paragraphs and span pages. The left and right arguments are lengths, being the amount to <em>increase</em> the respective margins from their normal values.</p>
<p style="margin-top:10pt"><code>\phantom{<em>text</em>}</code></p>
<p>Does not print the text, but leaves a horizontal gap as if the text were there.</p>
<p style="margin-top:10pt"><code>\mbox{<em>text</em>}</code></p>
<p>Prevents a specific word from being hyphenated, or to ensure that two consecitive words always appear on the same line. The box will not be broken across lines. However, it may overhang the margin, which is undesirable.</p>
<p style="margin-top:10pt"><code>\makebox[<em>width</em>][<em>alignment</em>]{<em>text</em>}</code></p>
<p>Puts the text in a box of fixed width (usually much larger than the text's own width) and aligns it left, center, or right in the box. If using this across the full textwidth, be sure to precede it with <code>\noindent</code> to prevent offset.</p>
<p style="margin-top:10pt"><code>\hspace{<em>length</em>}</code></p>
<p>Creates a horizontal space.</p>
<p style="margin-top:10pt"><code>\strut</code></p>
<p>Places an invisible box with no width, which has the height and depth of the font. Sometimes used as a placeholder.</p>
<p style="margin-top:10pt"><code>\stake</code></p>
<p>Placeholder like <code>\strut</code>, but does not occupy the height or depth of the font.</p>
<p style="margin-top:10pt"><code>\indent</code>, <code>\noindent</code>, <code>\forceindent</code>, <code>\backindent</code></p>
<p>Commands <code>\indent</code> and <code>\noindent</code> have their ordinary TeX meaning. Sometimes, the action of other macros will remove an indent that should be there, or add an indent that should not be there. If writing <code>\indent</code> and <code>\noindent</code> do not fix the problems, use <code>\forceindent</code> and <code>\backindent</code> as more forceful solutions.</p>
<p style="margin-top:10pt"><code>\hfill</code></p>
<p>Pushes the following text to the right end of the line. Actual effect depends on what precedes and follows. Sometimes a \strut is needed at the beginning of a line.</p>
<p style="margin-top:10pt"><code>\vfill</code>, <code>\vfill*</code></p>
<p>Pushes the following text to the bottom of the page. Actual effect depends on paragraph organization. Use the asterisk if there is nothing printed above this command, on the same page.</p>
<p style="margin-top:10pt"><code>\kern</code></p>
<p>Tweaks the spacing between consecutive letters. A tricky command, as it is always used without braces, and makes the surrounding text illegible in your source code. If you use it, the units of length should always be <i>em</i>, rather than <i>pt</i>. Example:</p>
<p class="code"><code>It wa\kern-.02ems a da\kern.03emrk and stormy ni\kern-.004emght.</code></p>
<p>The <code>\kern</code> command is not useful for globally changing kern values.</p>
<p style="margin-top:10pt"><code>\bigemdash[<em>yoffset,thickness</em>]</code></p>
<p>Simulates a "big emdash" of variable length. Horizontal width is from command to end of line marked by <code>\par</code>, or limited by a fixed width such as created by <code>\makebox</code>. If placed in other situations, the line may be missing or too long.</p>
<p>The line's normal position is at the typical height of an emdash, which is slightly above half the height of lowercase x. Its normal width is typical of an emdash width. Thus, the line is like an extended emdash.</p>
<p>You can tweak the line using its optional argument. The first value tweaks the vertical position by a scale factor, where 1 equals its normal position (so that 0.9 places it a little lower). The second argument, if used, is separated from the first by a comma. It tweaks the line thickness by a scale factor (so that 0.9 makes it a little thinner).</p>
<p>Since <code>\bigemdash</code> allows an optional argument, but no mandatory argument, you may not immediately follow it with text. If it is boxed, then first close the box; otherwise, end the paragraph.</p>
<p style="margin-top:10pt"><code>\straightquote</code>, <code>\straightdblquote</code></p>
<p>These insert the single quote (apostrophe), and double quote, as ASCII straight characters. Prevents TeX (or your software) from automatically substituting the curly characters.</p>
</div><!-- end 6.3.2 -->
</div><!-- end 6.3 -->
<h3 id="h6.4">6.4 Superscripts, Subscripts</h3>
<div class="d3" id="d6,4">
<p class="noindent">In <i>novel</i>, superscripts and subscripts are called "markers." Most book-quality Open Type fonts have markers in style sets (<i>sups</i>, <i>sinf</i>, <i>subs</i>).</p>
<p>In professional fonts, marker glyph weights are adjusted for consistent appearance compared to ordinary glyphs. However, many free fonts do not adjust marker glyph weights, so the markers may appear too small, or too light. You may choose whether to use a font's own markers, or allow <i>novel</i> to generate markers, depending on whichever you think looks better.</p>
<p>• <i>real</i> markers attempt to use the Open Type feature <i>sups</i> for superscripts, and the feature <i>sinf</i> (preferred) or <i>subs</i> (alternate) for subscripts. If the requested feature is not available for the font, then it will be automatically faked, by scaling/raising/lowering ordinary characters from the basefont (lining numerals will be used).</p>
<p>• <i>fake</i> markers ignore whether the Open Type features are available, and simply fakes them.</p>
<h4 id="h6.4.1">6.4.1 <code>\SetMarkerStyle[<em>real,fake</em>]{<em>asterisk, dagger, number</em>}</code></h4>
<div class="d4" id="d6.4.1">
<p>This command may only be used in the Preamble. It globally sets the kind of marker to be used. Default is <i>real</i> and <i>asterisk</i>.</p>
<p>The optional argument applies real or fake markers, as described above.</p>
<p>The required argument applies only to markers created by the <code>\footnote</code> command. It does not apply to endnotes, or to manually placed superscripts and subscripts.</p>
<p>• <i>asterisk</i> (default) uses symbolic footnote markers. The symbols rotate in order * † ‡ § ** †† ‡‡ §§ until reset.</p>
<p>• <i>dagger</i> uses symbolic footnote markers, but without asterisks. The symbols rotate in order † ‡ § †† ‡‡ §§ until reset.</p>
<p>• <i>number</i> uses numerical footnote markers. Due to possible conflict, the log file will have a "Big Bad Warning" if you use a numerical footnote marker in a document that also has endnotes, since endnotes always have numerical markers.</p>
</div><!-- end 6.4.1 -->
<h4 id="h6.4.2">6.4.2 <code>\realmarker</code>, <code>\fakemarker</code></h4>
<div class="d4" id="d6.4.2">
<p class="noindent">Within the body of the document, you may use <code>\realmarker</code> and <code>\fakemarker</code> to change your preference. The choice remains in effect until you change it again.</p>
<p>The option real/fake applies wherever superscripts or subscripts are used, not just for footnotes or endnotes.</p>
</div><!-- end 6.4.2 -->
</div><!-- end 6.4 -->
<h3 id="h6.5">6.5. Footnotes and Endnotes</h3>
<div class="d3" id="d6.5">
<p class="noindent">The <i>novel</i> class has <em>limited</em> support for footnotes, because they are rarely used in fiction. Nevertheless, I have seen them. The notes may be factual or imaginary.</p>
<p>If there are more than a handful of notes, then use endnotes to avoid a constant disruption of the text flow. You may use both footnotes and endnotes.</p>
<p>Footnotes and endnotes insert superscripts (markers) at the appropriate point in the main text. The actual footnote or endnote begins with the marker in ordinary text, not as a superscript.</p>
<h4 id="h6.5.1">6.5.1 Footnotes</h4>
<div class="d4" id="d6.5.1">
<p>Footnotes appear at the bottom of the page where they are placed. There is no option to accumulate them to another location. Very long footnotes might straddle pages, but that situation is uncommon in fiction (and not within your control).</p>
<p class="code"><code>\footnote[<em>option</em>]{<em>text</em>}</code></p>
<p>The <code>\footnote</code> command places a superscript "marker" at the place where the command is written. The included text is written at the bottom of the page, beneath a short line that separates it from the main text. The footnote text is at smaller size and line skip, and has the same marker placed before it (but not as superscript). All of this is automatic.</p>
<p>You may, if necessary, apply some style to the footnote text. For example, if you are referring to another work, its title might be in italics.</p>
<p>Normally, no option is used. If you use option <i>0</i> (zero) then no marker will appear in the main text, and the footnote text will also appear without a marker. The count of markers is not incremented. This applies whether the markers are numbers or symbols.</p>
<p>• Trick: If you are using footnote numbers, but wish to place a special footnote using a symbol, you can do it manually. For example:</p>
<p class="code"><code>He blinked.*\footnote[0]{* No, he didn't.}</code></p>
<p>• Avoid use of underlining, as it is considered bad style, due to visual distraction. If necessary, use italics.</p>
</div><!-- end 6.5.1 -->
<h4 id="h6.5.2">6.5.2 Endnotes</h4>
<div class="d4" id="d6.5.2">
<p class="noindent">Endnotes are sometimes used in fiction. In general, the endnotes are also fictional.</p>
<p>You may use both footnotes and endnotes, if you wish. However, if endnotes are used, then footnotes must be marked by symbols, rather than by numbers, to avoid confusion. The counts for endnotes and footnotes are independent.</p>
<h5 id="h6.5.2.1">6.5.2.1 <code>\endnote</code>, <code>\ResetEndnote</code>, <code>\memo{}</code></h5>
<div class="d5" id="d6.5.2.1">
<p class="noindent">The <code>\endnote</code> command inserts a numerical superscript in the text. A running count of the numbers is automatically updated. This command does nothing else.</p>
<p>The endnote numbers normally run continuously through the text, without reset. If you wish to reset the count (perhaps at new chapters), you have to do it manually, using <code>\ResetEndnote</code> at the appropriate location.</p>
<p>When you use <code>\endnote</code>, there is no provision for the actual note, at that place in the text. The <i>novel</i> class does not know, and does not care, whether or not you actually write the endnote later.</p>
<p>If you wish to write an in-place reminder to yourself, about why you put an endnote marker there, use <code>\memo{<i>text</i>}</code>. The argument of <code>\memo</code> will not be printed, and will not be remembered for later use. Note that <code>\memo</code> is not like the percent <code>%</code> comment, because anything following <code>\memo</code> will be honored. Also, don't use space both before and after <code>\memo{}</code>, because both spaces will appear when typeset:</p>
<p class="code"><i>Wrong:</i> <code>... in the sacred book.\endnote \memo{Dorf, VI} Afterward, Shange left for ...</code><br/>
<i>Correct:</i> <code>... in the sacred book.\endnote\memo{Dorf, VI} Afterward, Shange left for ...</code></p>
</div><!-- end 6.5.2.1 -->
<h5 id="h6.5.2.2">6.5.2.2 <code>\endnotetext{<em>number</em>}{<em>text</em>}</code></h5>
<div class="d5" id="d6.5.2.2">
<p class="noindent">The <code>\endnotetext</code> command is a simple way of styling endnotes. You do not have to use it, if you have your own method. These may be placed per-chapter, or at the final end. The <i>novel</i> class does not keep track of them.</p>
<p>The first argument is usually the endnote number. A period and following space will automatically be added, so that the text of the note is block-indented. You may use <code>\emph{<em>number</em>}</code> if you prefer the number to be in italics.</p>
<p>The text must be one paragraph. Be sure to end with <code>\par</code> or equivalent.</p>
<p>If the note needs more than one paragraph, then continue like this, with an empty note number:</p>
<p class="code"><code>\endnotetext{}{\indent <em>text</em>}</code></p>
<p>• In <i>novel</i>, you must create and style the page(s) with endnotes yourself! There is no provision for bibliography, and no provision for any other kind of automated styling. This is because the endnotes, being fictional, are more like the main text than any academic style. Think of the endnotes as just another chapter, but starting with something that identifies them as being endnotes. Pagination continues as main matter, with Arabic page numbers. This is recommended by <i style="cursor:help" title="Chicago Manual of Style">CMoS</i>, for both fiction and nonfiction.</p>
<p>• There is no track of which endnote number was placed where. You will have to keep track of them yourself. In the following example, the author knows that the endnote numbers are <i>9</i> and <i>10</i>, only after an initial typesetting run showed the numbers. Then, the endnote texts were added.</p>
<p>Example of an endnote:</p>
<p class="code">
<code><small>
\endnotetext{9}{Yang Sho-Nuff was the twelfth son of the elder god of the ancient Who-Zit Clan, with power over the forces of rust.\par}<br/>
\endnotetext{}{\indent However, since this was not yet the Iron Age, the terrible might of Yang Sho-Nuff was largely unrecognized.\par}<br/>
\endnotetext{10}{As Professor Withens notes in his treatise, \emph{When Sho-Nuff Was Not Enough}, the ceremony of daily human sacrifice had a devastating effect on the tribal population.\par}
</small></code></p>
<p class="centerimg"><img src="html-resources/endnotetext.png" width="447" height="151" alt="using endnotetext"/></p>
</div><!-- end 6.5.2.2 -->
</div><!-- end 6.5.2 -->
</div><!-- end 6.5 -->
</div><!-- end 6 -->
</div><!-- end page06 -->
<!-- ************************************************************ -->
<div id="page07" class="page">
<h2 id="h7">7. Interior B/W or Gray Images, and Color Cover Artwork</h2>
<div class="d2" id="d7">
<p class="noindent">If you intend to place a lot of images in your document, or if you need to have text wrap around floating images, then the <i>novel</i> document class is not well-suited to your purpose. This is because the methods of formatting, and the emphasis on maintaining a constant baseline skip, sometimes interfere with the behavior you expect from other document classes.</p>
<p>Yet you can place the occasional image. Most fiction does use imagery on the title page, and sometimes at chapter starts. Some stories include a map, or an image of ancient writing. In a detective novel, we might get a glimpse at handwritten evidence. The <i>novel</i> class has its own commands for easily dealing with these situations.</p>
<h3 id="h7.1">7.1. Raster Images Only</h3>
<div class="d3" id="d7.1">
<p class="noindent">You may place only raster images in your document. No vector artwork. No included <i>eps</i> or <i>pdf</i>. Forget about <i>pgf</i> and <i>TikZ</i>. Although you can "cheat" the <i>novel</i> commands, and circumvent these restrictions, <em>don't do it</em>. These restrictions are intentional.</p>
<p>You may think that the above paragraph is a mistake. Haven't you been told that vector artwork is always preferable to rasterized artwork, because vector artwork is scalable? The part about being scalable is true. But if you do not need scalability, vector artwork is worse.</p>
<p>How so? A PDF file can incorporate vector artwork, and if properly done it will meet commercial printing standards. <em>Sadly, it is often not properly done.</em> When vector artwork has technical errors, as it often does, then the appearance will depend on which software is used to view the image. The fact that it is within a PDF does not always help.</p>
<p>Also, commercial standards don't like vector artwork where bleed is emulated using control points beyond the MediaBox. You don't know what that statement means, do you? That's another reason to avoid vector artwork.</p>
<p>When you design a vector image, or perhaps acquire one, you approve its appearance based on what you see on your computer. The odds are good that a friend or editor, on a different computer, will be using the same software and thus see the same result. However, that is not true of the software built into commercial printing machines. That software may interpret erroneous or ambiguous vector instructions in a different way than you expected.</p>
<p>A good example is on pages 232-234 of the <i>Adobe PDF 1.7 Reference</i>. That's an enormous file, full of technical information. You don't need to read it. But Adobe provides an example of a vector drawing in the form of a five-pointed star, made with one continuous line that crosses itself. There are two possible rules for deciding whether the central pentagon should be filled or not. They produce different results. Adobe chooses a particular rule, and so should all compliant software. But is all software compliant? Without reading the Adobe spec, there is no particular reason to prefer one rule over the other. And, that's a simple example. Many vector drawings are very convoluted, in ways that make the artist's intent difficult to interpret.</p>
<p>You normally do not need to scale images. Your finished work will be viewed at fixed size on the printed page, not at variable size in a PDF reader. So, <em>scalability is not an advantage</em>. Your image is placed on paper at its exact size and resolution. You are in complete control. If it is purely black/white line art, its detail will be about the same whether it was placed as vector or raster. If it is grayscale, it is subject to halftoning, which reduces the resolution in any case.</p>
<p>• Do not attempt to place an image by including a PDF within your TeX file. The reason is that the included PDF may carry its own File Data, which will differ from the File Data of the main PDF. There's nothing you can do about that, and commercial printers don't like it. So, don't do it. Indeed, <i>novel</i> may ban it!</p>
<h4 id="h7.1.1">7.1.1. Use Flattened <i>png</i> or <i>jpg</i> Image Format</h4>
<div class="d4" id="d7.1.1">
<p class="noindent">The <i>novel</i> image-handling commands require the <i>png</i> or <i>jpg</i> formats, exclusively. If you already have a raster image in another format, such as <i>tif</i>, you must convert it. If you have a vector image, such as <i>eps</i> or <i>svg</i> format, you must rasterize it. This must all be done in an external graphics program, such as <i>GIMP</i> or <i>Inkscape</i>. It cannot be done from within TeX.</p>
<p>Both <i>jpg</i> and <i>png</i> images can store their resolution internally. When you export images from a graphics program, be sure that the resolution is stored. This may or may not be an option that you need to check, in an export dialog box.</p>
<p>Be sure to flatten the image before you export it to <i>png</i>. With <i>jpg</i>, the exported image is always flattened.</p>
<p>When using grayscale, be sure to convert the image to <i>only grayscale</i>, which has only one color channel. In GIMP, this is achieved with the <i>Image>Mode</i> menu. Note that an RGB or CMYK image "that only uses grays" is <em>not</em> the same thing, since these have three or four color channels!</p>
<p>When using pure black/white (<i>png</i> only), you can get there with GIMP's <i>Image>Mode>Indexed</i> menu.</p>
<p>Note that within the finished PDF file, images are stored in an internal format which differs from your input. If your image is in the wrong format, or contains transparency, it will not be detected by TeX.</p>
</div><!-- end 7.1.1 -->
<h4 id="h7.1.2">7.1.2. Saving the Resolution</h4>
<div class="d4" id="d7.1.2">
<p class="noindent">Image resolution is measured in dots per inch (dpi). In a graphics program, it may be called pixels per inch (ppi). And, if the software was written in Europe or Asia, it may be measured in pixels per centimetre!</p>
<p>When you prepare an image in a graphics program, you must first ensure that it is at the correct resolution. Most U.S. print services require <i>300dpi</i> for grayscale images (or color covers), <i>600dpi</i> for black/white line art. Then, it is a simple matter of multiplying the image dimensions (in inches) by the resolution, to get the image dimensions in pixels.</p>
<p>Example: A grayscale image that will print at 1.25" wide by 1.5" high, must be 375 pixels wide by 450 pixels high, at 300dpi. If the original image is at different dimensions, it must be cropped and scaled to the correct size. However, it is not enough to finish the image at 375x450 pixels. You must specifically set the resolution to 300dpi. If you fail to set the resolution correctly, then the image will not appear at its correct size in your PDF.</p>
<p>In GIMP, you can use the <i>Image>Scale Image</i> dialog box to ensure that the image is at the proper size and resolution. When you change any of the settings, others may change in response. Be sure that all settings are satisfactory.</p>
<p>When you export your image, you may be asked whether or not to save the resolution. Be sure to save it.</p>
<p>Example dialog boxes for grayscale png exported from GIMP:</p>
<p class="centerimg"><img src="html-resources/imgdialogs.png" width="600" height="192" alt="png image with resolution"/></p>
</div><!-- end 7.1.2 -->
<h4 id="h7.1.3">7.1.3. Removing Private Metadata</h4>
<div class="d4" id="d7.1.3">
<p class="noindent">Your image may contain "private metadata" that records how the image was created, especially if it was converted from a digital photograph. For example, EXIF and IPTC may contain a lot of private metadata. The image may also contain color profile data that is inappropriate for a grayscale or black/white image.</p>
<p>Many commercial printing standards require that such private metadata be removed from images. The PDF File Data should speak for everything, not the individual images.</p>
<p>The simplest way to remove private metadata is via a command-line program: Use either <i>ImageMagick</i>, or <i>GraphicsMagick</i>. These programs work on Windows, Linux, and (so I am told) OS/X. Specific code is shown in the workflow examples, below. If you ever re-work an image, you must once again remove its private metadata.</p>
</div><!-- end 7.1.3 -->
</div><!-- end 7.1 -->
<h3 id="h7.2">7.2. Workflows for Interior Line Art and Grayscale</h3>
<div class="d3" id="d7.2">
<p class="noindent">Two kinds of images may appear in a black-and-white book: <i>line art</i>, and <i>grayscale</i>.</p>
<p>Line art contains only black and white. Moreover, there cannot be any places where the black or white areas are very tiny, so you cannot emulate gray by dithering black/white.</p>
<p>Most print services request that line art be rasterized at 600dpi (dots per inch), and that grayscale images be rasterized at 300dpi. Grayscale images may be printed using halftone technology. Text that sits atop a halftoned image may itself be halftoned.</p>
<h4 id="h7.2.1">7.2.1. Workflow: Line Art in GIMP</h4>
<div class="d4" id="d7.2.1">
<p class="noindent">To create a suitable <b>line art</b> image in GIMP, with post-processing in ImageMagick or GraphicsMagick, follow these instructions:</p>
<p>(1) Open the image file in GIMP. If it is a vector format (such as svg or pdf), ensure that it is resolved to 600 pixels/in with anti-aliasing, and that its size is the same as your intended dimensions (measured in inches or mm). You can also use a larger size, if you intend to crop some of the periphery; or you can use a smaller size, if you intend to make it larger by adding white space.</p>
<p>(2) If you need to crop to a smaller size, or add to a larger size, do it now. <i>Image>Canvas Size</i>, with <i>Resize Layers:All</i>.</p>
<p>(3) If you need to edit the image, by adding or removing anything, do it now.</p>
<p>(4) <i>Image>Flatten Image</i>.</p>
<p>(5) <i>Image>Mode>Grayscale</i>.</p>
<p>(6) <i>View>Zoom</i> to an appropriate amount that shows the image at approximately its print size. That depends on your monitor's resolution. On my own computer, 25% is about right. Does not need to be exact.</p>
<p>(7) <i>Colors>Threshold</i>. If necessary, adjust the slider until the image looks best. It might be that the default 50% works for you. If you move it to the left, then black areas will become a little narrower. If to the right, black areas will become a little thicker.</p>
<p>(8) <i>Image>Mode>Indexed>(black and white, 1-bit palette)</i>. Remove unused colors from colormap. No dithering.</p>
<p>(9) <i>File>Export</i>. Use png (Portable Network Graphics) extension. When the dialog box appears, ensure that "save resolution" is checked. Use the highest level of compression offered. The exported image may look poor in some image viewers, because those viewers do not read the full resolution. Not a problem. The image will look good when seen in better viewers.</p>
<p>(10) Command-Line Terminal, using GraphicsMagick or ImageMagick:</p>
<p class="code">GraphicsMagick, Windows or Linux: <code>gm mogrify -strip nameofimage.png</code></p>
<p class="code">ImageMagick, Windows: <code>magick mogrify -strip nameofimage.png</code></p>
<p class="code">ImageMagick, Linux: <code>mogrify -strip nameofimage.png</code></p>
<p>(11) Sanity check:</p>
<p class="code">GraphicsMagick, Windows or Linux: <code>gm identify -verbose nameofimage.png</code></p>
<p class="code">ImageMagick, Windows: <code>magick identify -verbose nameofimage.png</code></p>
<p class="code">ImageMagick, Linux: <code>identify -verbose nameofimage.png</code></p>
<p>After a few moments, the Terminal will show some information. It should say that the depth is 1-bits per pixel, that the only color is gray (1 bits), that the resolution is 236.22 pixels per centimeter (which is 600dpi). The page geometry, divided by 600, will give you the image size in inches (thus, a page geometry of 900+1200+0+0 represents an image 1.5" wide x 2" high).</p>
</div><!-- end 7.2.1 -->
<h4 id="h7.2.2">7.2.2. Workflow: Grayscale in GIMP</h4>
<div class="d4" id="d7.2.2">
<p class="noindent">To produce a suitable <b>grayscale</b> image in GIMP, with post-processing in ImageMagick or GraphicsMagick, follow these instructions:</p>
<p>(1) Open the image file in GIMP. If it is a vector format (such as svg or pdf), ensure that it is resolved to 300 pixels/in with anti-aliasing, and that its size is the same as your intended dimensions (measured in inches or mm). You can also use a larger size, if you intend to crop some of the periphery; or you can use a smaller size, if you intend to make it larger by adding white space.</p>
<p>(2) If you need to crop to a smaller size, or add to a larger size, do it now. <i>Image>Canvas Size</i>, with <i>Resize Layers:All</i>.</p>
<p>(3) If you need to edit the image, by adding or removing anything, do it now.</p>
<p>(4) <i>Image>Flatten Image</i>.</p>
<p>(5) <i>Image>Mode>Grayscale</i>.</p>
<p>(6) <i>View>Zoom</i> to an appropriate amount that shows the image at approximately its print size. That depends on your monitor's resolution. On my own computer, 50% is about right. Does not need to be exact.</p>
<p>(7) Very dark grays are hard to produce accurately, and so are very light grays. If your image relies on areas that are nearly black and nearly white, then consider adjusting lightness and contrast so that they are not so close to black and white. GIMP's <i>Colors>Levels</i> might be more useful than <i>Colors>Brightness/Contrast</i>.</p>
<p>(8) Ensure that white areas are truly white, not light gray. Use GIMP's <i>Select By Color</i> Tool, with a very low threshold, to choose areas that should be exactly white, then clear them.</p>
<p>(9) <i>File>Export</i>. Use png (Portable Network Graphics) extension. When the dialog box appears, ensure that "save resolution" is checked. Use the highest level of compression offered. The exported image may look poor in some image viewers, because those viewers do not read the full resolution. Not a problem. The image will look good when seen in better viewers.</p>
<p>(10) Command-Line Terminal, using GraphicsMagick or ImageMagick:</p>
<p class="code">GraphicsMagick, Windows or Linux: <code>gm mogrify -strip nameofimage.png</code></p>
<p class="code">ImageMagick, Windows: <code>magick mogrify -strip nameofimage.png</code></p>
<p class="code">ImageMagick, Linux: <code>mogrify -strip nameofimage.png</code></p>
<p>(11) Sanity check:</p>
<p class="code">GraphicsMagick, Windows or Linux: <code>gm identify -verbose nameofimage.png</code></p>
<p class="code">ImageMagick, Windows: <code>magick identify -verbose nameofimage.png</code></p>
<p class="code">ImageMagick, Linux: <code>identify -verbose nameofimage.png</code></p>
<p>After a few moments, the Terminal will show some information. It should say that the type is grayscale, at 8 bits per pixel. The resolution is 118.11 pixels per centimeter (which is 300dpi). The page geometry, divided by 300, will give you the image size in inches (thus, a page geometry of 900+1200+0+0 represents an image 3" wide x 4" high).</p>
<p class="floatright"><img src="html-resources/pngcolortype.png" width="270" height="46" alt="png color type"/><br/><img src="html-resources/jpgcolorspace.png" width="296" height="46" alt="jpg colorspace"/></p>
<p>Most important of all: Scroll through the information. Near its end, you should see a line like this. The exact wording will depend on your software:</p>
<p class="code" style="clear:both">For png images: <i>png: IHDR.color_type: 0 (grayscale)</i></p>
<p class="code">For jpg images: <i>JPEG-Colorspace: 1</i> and <i>JPEG-Colorspace-Name: GRAYSCALE</i></p>
<p>The above codes are the only ones that matter. Even if other information claims that the image is grayscale, or lists the colors and they are all shades of gray, <em>that is not good enough</em>. When automated software reviews your PDF for compliance, it will look at the png <i>IHDR.color_type</i>, which must be 0, or the <i>JPEG-Colorspace</i>, which must be 1. Anything else fails. If the information is different, it means that you forget to change the mode from RGB to grayscale before you exported the image.</p>
<p>You may ask: If the image was not really grayscale, can it be converted to grayscale using a simple command line, with ImageMagick or GraphicsMagick? The answer is yes, but don't do it that way. The reason is that there are many ways to map colors (even "gray colors") to true grayscale, and an automated conversion may produce unexpectedly light or dark results. It is better to do the conversion in a graphics program, where you can see what you are doing.</p>
</div><!-- end 7.3.2 -->
<h4 id="h7.2.3">7.2.3. Scaling Images after <code>\Rework</code>.</h4>
<div class="d4" id="d7.2.3">
<p class="noindent">When you use one or both of the <code>\Rework</code> commands (<a href="#hA">Appendix A</a>), the font size and/or the baselineskip will change. However, it does not scale images. In many cases, there is no problem. But in some cases, an un-scaled image will disrupt the previous flow of text or pagination. The same Appendix shows you how to scale images when you use <code>\Rework</code>.</p>
</div><!-- end 7.2.3 -->
</div><!-- end 7.2 -->
<h3 id="h7.3">7.3. Placing Images In Your Document</h3>
<div class="d3" id="d7.3">
<p class="noindent">An image may be placed as an inline element, using the <code>\InlineImage</code> or <code>\InlineImage*</code> command. This allows the image to mingle with text, and even have text as an overlay.</p>
<p><code>\BlockImage</code> places the image so that <em>subsequent</em> text will clear the bottom of the image, and be on the baseline grid. You may also <em>accompany</em> the image with text in its own block space, if you wish.</p>
<p>If your book has a lot of images mingled with text, then you should consider using a page layout program (such as Scribus) instead of TeX. That's because the best strategies for an image-intensive picture book are very different from the strategies adoped by <i>novel</i>.</p>
<p>• Beware of image overlap. Images are not allowed to overlap each other, in the kind of commercial printing that is likely to be used for your book. However, since overlap is generally legal in PDF, TeX will not issue an error.</p>
<p>• Do not use the ordinary TeX commands, or environments, for floats or figures.</p>
<h4 id="h7.3.1">7.3.1. <code>\charscale[<em>scale,hoffset,voffset</em>]{<em>text</em>}</code> and starred version</h4>
<div class="d4" id="d7.3.1">
<p class="noindent">The <code>\charscale</code> command pertains to text, not images. It is mentioned here because it can place text almost anywhere on a page, even overlapping other text or previously-placed images. Thus, it provides an image-like effect.</p>
<p>The command is documented in <a href="#h6.1.2">section 6.1.2</a>.</p>
</div><!-- end 7.4.1 -->
<h4 id="h7.3.2">7.3.2 <code>\InlineImage[<em>hoffset,voffset</em>]{<em>imageFile.png or .jpg</em>}</code> and starred version</h4>
<div class="d4" id="d7.3.2">
<p class="noindent">This command places the image as an inline element, at 100% scale. The use of <i>png</i> or <i>jpg</i> images, with file extension, is required.<p>
<p>You may offset the image horizontally or vertically. Positive direction is to the right and up. If you use one offset, then you must use both (if necessary, <i>0em</i>). Any units of length may be used, but the preferred units are <i>em</i> or <code>\textwidth</code> for horizontal, and <i>em</i> or <code>\nbs</code> for vertical, because these are most compatible with the <code><a href="#hA">\Rework</a></code> commands.</p>
<p>By default, the <em>top</em> of the image is at the text baseline. If you prefer that the <em>bottom</em> of the image be at the text baseline, use voffset <i>b</i>. Example:</p>
<p class="code"><code>\InlineImage[0em,b]{imageFile.png}</code></p>
<p>Thanks to the included <i>calc</i> package, offsets may use <code>\widthof{<em>text</em>}</code> and/or <code>\heightof{<em>text</em>}</code> as lengths. The most useful of these is when you wish to align the top of an image at the X-height of surrounding text:</p>
<p class="code"><code>\InlineImage[0em,\heightof{X}]{imageFile.png}</code></p>
<p>You may also use <code>\heightof{\Aring}</code> for the tallest accented letter normally found in Latin-1.</p>
<p>Lengths <code>\imagewidth</code> and <code>\imageheight</code> may also be used for offsets. These lengths remain set, and can be used for other purposes (such as displacing text) until another image is placed.</p>
<p>Offsets may be written as combinations of lengths. If you use the baseline <i>b</i> as above, it must be the first character of voffset. If you use <code>\widthof</code> or <code>\heightof</code>, then its backslash must be the first character <em>unless</em> it is preceded by another length. Thus, an offset of <code>-\heightof{X}</code> is prohibited, but you can use <code>0pt-\heightof{X}</code>.
<p>Here are some examples of allowable code:</p>
<p class="code"><code>
\InlineImage[2.3em, -0.4em]{imageFile.png}<br/>
\InlineImage[0pt-\widthof{eee}, b+\heightof{X}-0.2em]{imageFile.jpg}
</code></p>
<p>The image occupies zero vertical space. So, it will not push apart baselines. The next line(s) of text may overlie the image. In some cases, this is desirable. If you do not want that effect, then you can either insert a suitable number of <code>\null</code> lines after the image, or use the <code>\BlockImage</code> command instead.</p>
<p>With the un-starred <code>\InlineImage</code> command, the image occupies its natural horizontal width. That is, text following the image will (if it fits) continue from the right edge of the image. But with the starred <code>\InlineImage*</code> command, the image occupies zero width. In this case, text following the image will continue from the left of the image, and overlie the image.</p>
<p>Having text overlie the image is allowable, and can create some interesting special effects. But when your print service sees what you have done, they may think that it is a mistake. Be sure that you discuss this with them.</p>
<p>If you do allow text to overlie an image, be sure that the image is very light. Repeat: <em>very light</em>. Depending on the printing technology, an image may print darker than you see on your computer screen, and that would make text hard to read. At low print volume, your print service will probably use a technology that is like an industrial-strength home inkjet printer, which can make very sharp text over images. However, if your book goes to volume production, then the technology will be different. Volume printing will use halftoned images, and the text overlay may also become halftoned, which will reduce its sharpness considerably.</p>
<p>Note that an image may be placed in a way that prints some of the image in the margin. That's allowable if your margin is wider than the minimum required for printing clearance. But even if it is not allowable, there will be no complaint or warning from TeX. Use the <a href="#h2.3">shademargins</a> class option to ascertain position.</p>
<p>Do not place an image so that it approaches or goes beyond the page edge. That requires a "bleed box" which is not part of <i>novel</i> capabilities. If your book needs that kind of image handling, use a page layout program instead.</p>
<p>Do not place images so that they overlap. Although that is allowed in the PDF, it is likely to be flagged as an error by your print service.</p>
</div><!-- end 7.3.2 -->
<h4 id="h7.3.3">7.3.3. Text Over <code>\InlineImage</code></h4>
<div class="d4" id="d7.3.3">
<p class="noindent">As noted above, an <code>\InlineImage</code> (or its starred version) can be used as the background to any subsequent text. Just as with any other text, whatever sits atop an image must be pure black. If you need text in gray, then you must integrate the rasterized text with the image in an external graphics program, instead of typing the text in your document.</p>
<p>When text overlies an image, it retains its identity as vector paths, as far as the PDF is concerned. In some printing processes, particularly those for very low volume production, the result will be as sharp and dark as ordinary text. However, if your book sells well (or is being prepared to sell well), the image will be converted to halftone, and the text that lies above it may also be converted to halftone. This will reduce the sharpness of the text. It is not necessarily a problem, unless your text is very small or has fine details.</p>
<p>If the text-over-image is part of a title, then the text is naturally large and dark, and will easily withstand halftoning.</p>
<p>Be aware that not all print services will accept text over images. It's not that they <em>cannot</em> do it; after all, your home and office printers can easily do it. The reason they object is because the pages of your book will be handled in small volume by persons who are unfamiliar with the book. Text over an image may be flagged as a printing error or a bug in the PDF. In the advertising world, text over image is routine. But in the world of fictional novels, it is unusual. Don't imagine that they will decide what you meant to do, by reading your book. Also, very sharp image/text, at low printing volume, will not appear as sharp when the technology changes for higher volume production. They know that, but are not sure if <em>you</em> know that.</p>
<p>An inline image occupies zero vertical space. If you place its top near the bottom of the textblock, then the image will happily flow into the lower margin and perhaps off the bottom of the page, without an error (but the print service will reject it). The reason that TeX does not provide an error message is quite simple: Technically, it is not an error! It is just not what you meant to do. The software cannot read your mind. This is where the <a href="#h2.3">shademargins</a> class option helps.</p>
<p>Example:</p>
<p class="code"><code>
\noindent\InlineImage*[0pt,1.2\nbs]{gavel.png} Lord Withens took a seat at the rear of the courtroom, attempting to be inconspicuous. Yet his effort was in vain, as he was the only person there with a riding crop and spurs.\par<br/>
He would have taken the car, had it not been stolen. But that was why he was here, at the arraignment of the person charged with the theft. It was most unfortunate that the accused was his own elderly father; but then, theft ran in the family line.\par
</code></p>
<p class="centerimg"><img src="html-resources/inlineimagest.png" width="651" height="249" alt="example of InlineImage*"/></p>
</div><!-- end 7.3.3 -->
<h4 id="h7.3.4">7.3.4. <code>\BlockImage[<em>alignment,hoffset,voffset</em>]{<em>imageFile.png or .jpg</em>}[<em>text</em>]</code></h4>
<div class="d4" id="d7.3.4">
<p class="noindent">Note that <code>\BlockImage</code> has an optional argument that <i>precedes</i> the mandatory image file name. It has another optional argument that <i>follows</i> the file name. If this second option is used, there must be no space between <code>}[</code>.</p>
<p>The first optional argument has up to three comma-separated values. The first is alignment: <i>l</i>, <i>c</i>, or <i>r</i> for left, center, or right. The second and third values are hoffset and voffset. Unlike the <code>\InlineImage</code> command, do not use <i>b</i> to indicate vertical position relative to the image bottom; it is always at the top with this command. The default alignment is centered, without offsets.</p>
<p>An automatic calculation clears the height of the image. Subsequent text will be on grid. This is the right thing to do when the image and included text fit on a single page. But if they cannot both fit on a single page, an unusual layout will result.</p>
</div><!-- end 7.3.4 -->
<h4 id="h7.3.5">7.3.5. <code>\BlockImage</code> with Accompanying Text</h4>
<div class="d4" id="d7.3.5">
<p class="noindent">The second optional argument of <code>\BlockImage</code>, following the image file name, may contain text that will accompany the image in the same block of space. The text is left-aligned like ordinary text, no matter which alignment you use for the image. The text may be in more than one paragraph, and may use <code>{\centering ...\par}</code> or <code>\begin{adjustwidth} ... \end{adjustwidth}</code> for positioning relative to the image. The text may overlie the image, using <code>\charscale</code>. You may need to use <code>\forceindent</code> or <code>\backindent</code> to control how the text appears. Note that you cannot automatically "flow" text around an image in <i>novel</i> class.</p>
<p>Example:</p>
<p class="code">
<code>
It was a dark and stormy night. Lord Withens mounted his horse and rode through the darkness, accidentally trampling some petunias in Her Ladyship's garden.\par<br/>
\BlockImage[l]{gnome.png}[\begin{adjustwidth}{8em}{0pt}\forceindent Suddenly he was confronted by an irate gnome, who expressed an opinion in the crudest of language, even for a gnome.\par<br/>
Lord Withens was taken aback. How dare this mere gnome speak to him in such a tone of voice? But then he remembered that the gnomes had gone to college, where swearing was routine.\par\end{adjustwidth}]<br/>
\charscale[1, 5\nbs]{CENSORED}\forceindent Lord Withens shrugged, and rode on. There was nothing to do but remain silent, this time taking more care. He would speak with his wife about the gnome situation when he returned.\par
</code></p>
<p class="centerimg"><img src="html-resources/irategnome.png" width="639" height="423" alt="example of BlockImage with accompanying text"/></p>
<p>In the above example, the text to the right of the image happens to have just the right number of lines to fill the available area. But that is only because I wrote it that way. If I had written less, then there would be one or more blank lines before the subsequent text ("Lord Withens shrugged..."). If I had written more, then the subsequent text would have been pushed down by the necessary number of lines, and there would have been more white area underneath the gnome.</p>
<p>Thus, this technique requires careful inspection, particularly if there is the danger that the image or accompanying text may overflow the bottom of the page.</p>
<p>Note that I used the start of the following text as a reference point for placing CENSORED over the gnome. That is not the only way it could have been done, but it was easy to discern the necessary offset.</p>
<p>• In general, avoid using accompanying text with an image, with the possible exception of titles and other special layouts. There is little need for it in the flowing text of a novel. If you find that you need to use it frequently, then perhaps your book would benefit from a page layout program such as <i>Scribus</i>, instead of TeX.</p>
</div><!-- end 7.3.5 -->
</div><!-- end 7.3 -->
<h3 id="h7.4">7.4. Color Cover Artwork</h3>
<div class="d3" id="d7.4">
<p class="noindent">This portion serves a limited purpose. It is for the benefit of those who need to submit color print cover artwork in the form of a PDF/X-1a:2001 file, with the artwork as CMYK and 240% ink limit. This is the format required by some American print-on-demand services. It is also generally acceptable to others, whose requirements are less restrictive.</p>
<p>Example cover artwork can be found at the <a class="external" rel="external" target="new" href="https://github.com/RobtAll/novel/">GitHub project page</a>, in the "other" folder.</p>
<p><b>Before you begin:</b> Do you really need to do this? Many print-on-demand services are perfectly happy to accept something such as an ordinary RGB jpeg image, as long as it has the correct size (with bleed area). They can easily process it for print production in a few moments, using professional software. If they do it, then whether or not you are surprised by the resulting colors, will depend on whether or not your original image is within the printer gamut. In other cases, the print service prefers (or insists) that you do the image print production processing yourself. Then, you get to see an emulation of the print colors <em>before</em> you submit the file, and can change your artwork if the resulting colors are disappointing.</p>
<p>The <em>novel</em> document class does not provide any support for creating the original artwork, either image or text. In fact, TeX is not the best way to do that. Use a graphics program (such as the free GIMP) to do your artwork, including text. In the end, your text will be rasterized, just like any background image. For this reason, avoid using small text, or consider using a sans-serif typeface on the cover (even though there is no sans-serif in the book itself).</p>
<p>DO NOT PLACE A BARCODE. If your print service requests a white rectangle where the barcode will go, then include it in your image. Almost every print service is willing to create the barcode from your ISBN, and place the barcode image into your PDF during post-processing. Most of them even demand that they do it themselves. Do-it-yourself barcodes are incompatible with the following instructions.</p>
<p><b>DISCLAIMER:</b> This documentation, and its accompanying software, is offered AS-IS, WITHOUT WARRANTY EXPRESS OR IMPLIED. USE ONLY AT YOUR OWN RISK. The author is an amateur who does not profess expertise in these matters. The best I can say is, "It works for me."</p>
<h4 id="h7.4.1">7.4.1. Begin With PNG</h4>
<div class="d4" id="d7.4.1">
<p class="noindent">Create your artwork, including all text (but not barcode or barcode text) using whatever means you have. How you do it is not relevant. To follow these instructions, you must provide the artwork as a flattened (no transparency) PNG format image, at correct size (including bleed area) and resolution (dpi).</p>
<p style="margin-top:8px"><b>Example:</b> Suppose your book is 5.5" x 8.5" softcover, a typical size for American fiction. Based on its page count and paper, you are told that the spine width must be 0.62". The required bleed width, on all four sides, must be 0.125".</p>
<p>Then, the image is 0.125 + 5.5 + 0.62 + 5.5 + 0.125 = 11.87in wide.</p>
<p>The image is 0.125 + 8.5 + 0.125 = 8.75in high.</p>
<p>At 300dpi resolution (a typical value) the image must be 11.87 x 300 = 3561 pixels wide, and 8.75 x 300 = 2625 pixels high. In case of fractional pixels, round upward. The exact pixel count is important.</p>
<p style="margin-top:8px"><img src="html-resources/example-adobergb.png" class="floatright" width="445" height="328" alt="example rgb image"/> It is best to use the AdobeRGB1998 color workspace, or equivalent. But you can also use sRGB, or equivalent, and in many cases you will not notice much difference. It is helpful to attach (embed) the workspace color profile in your PNG image, especially if it is something other than AdobeRGB1998 or sRGB. Note that the workspace is NOT the color profile of your monitor (if you have it). If you do not attach (embed) the workspace color profile, then remember whether you were using AdobeRGB1998 or sRGB. If you make a mistake here, it is not fatal. It merely means that some colors (particularly bright greens and blue-greens) will print somewhat brighter or duller than you were expecting.</p>
<p>When done, export it as a flattened PNG.</p>
<p>If you are provided with an image other than PNG, you have to convert it to PNG. No alternative. It is easy enough to use GIMP to convert most image formats. If you have a PDF (which is not already in the required format), GIMP can probably open it as an image. Be sure you import it with the correct resolution. Again, the pixel width and height are important.</p>
<p><b>Cover Text:</b> These instructions assume that your cover text is rasterized, and is part of the image rather than vector text. In many cases your graphics program has enough text capability to do what you need.</p>
<p>If you wish to use TeX to typeset the cover text, do it this way: Use TeX to create one or more PDFs of the cover text, without images. You can create several blocks of text at different pages sizes, if you wish. Open your background artwork in GIMP. Add a new transparent layer above it. Open a text PDF in GIMP. Choose resolution 300dpi, full antialiasing, grayscale or color. The opened text is now a raster image. Copy it, and paste it atop the transparent layer. Anchor it. Use Color: Color to Alpha: white to alpha filter. That removes the white area from the PDF image. Finally, move the text to where it should go. You can rotate the text 90 degrees, but do not resize it! If you would rather the text be at a different size, then either change it in TeX, or use a different resolution when you open the PDF in GIMP. Note that even when you open the PDF at a different resolution, it will still be at 300dpi when you place it over the 300dpi background image; but its size will change.</p>
</div><!-- end 7.4.1 -->
<h4 id="h7.4.2">7.4.2. Get Some Software</h4>
<div class="d4" id="d7.4.2">
<p class="noindent">Get the 238% total ink limit color profile from <a href="http://www.newselfpublishing.com/TotalInkLimit.html" rel="external" target="new">Aaron Shepard</a>. Direct link to <a href="http://www.newselfpublishing.com/TotalInkLimit.zip" rel="external" target="new">zipped profile</a>. This does the magic of ensuring that you comply with the 240% ink limit (the profile provides a little headroom, which seems useful). It can also be used for softproofing, if you know how to do that. That's not the only possible profile, but it seems to me that it is the best of several available. A good alternative is from <a class="external" rel="external" target="new" href="https://indesignsecrets.com/force-color-images-cmyk-240-ink-limit.php">David Blatner</a>. Direct link to <a class="external" rel="external" target="new" href="http://indesignsecrets.com/downloads/SWOP%20Coated%20240%25%20Ink%20Limit.icc">icc profile</a>.</p>
<p>Included in the <i>novel</i> documentation <i>extras</i> folder is an open-source color profile for sRGB (file <i>srgb.icc</i>). There is also an open-source Equivalent to AdobeRGB (file <i>crgb.icc</i>). You will be using these when you convert your PNG image to a JPG in CMYK color space. These are re-named, cross-platform files obtained from <a class="external" rel="external" target="new" href="https://ninedegreesbelow.com">Elle Stone</a>. I can think of no technical need to use the "real" profiles that may be lurking somewhere in your computer.</p>
<p>Get GraphicsMagick or ImageMagick. On Linux, you can install it via your system package manager. On Windows, get GraphicsMagick Q16 binaries for your system (32 or 64 bit) from <a href="https://sourceforge.net/projects/graphicsmagick/files/graphicsmagick-binaries/" rel="external" target="new">SourceForge</a>. I am told that versions for Mac are available via homebrew and macports, but again, I do not have a Mac, so I cannot check that. Or, get ImageMagick Q16 for various platforms from <a href="https://www.imagemagick.org/script/download.php" rel="external" target="new">here</a>.</p>
</div><!-- end 7.4.2 -->
<h4 id="h7.4.3">7.4.3. Convert Your Image to CMYK at 240% (or less) Ink Limit</h4>
<div class="d4" id="d7.4.3">
<p class="noindent"><img src="html-resources/example-cmyk238.png" class="floatright" width="445" height="328" alt="example cmyk238 image, back to rgb"/> At right, you can see an emulation of the above image, softproofed to CMYK at 238% ink limit. It is not the CMYK file itself, but an RGB image that is supposed to help you visualize what happens during conversion. The original image contained colors that didn't fit the gamut of the printing process. Nevertheless, it is very close, because (in the original) I avoided using much color that I knew would not convert well.</p>
<p><b>Get ready:</b> Make a copy of the above 238% (or 240%) ink limit color profile, and re-name the copy as <i>240.icc</i>. I will call your original PNG image <i>yourimage.png</i>. Put this image, the <i>240.icc</i> file, and files <i>srgb.icc</i> and <i>crgb.icc</i> in a single working folder.</p>
<p>I will also assume that the image resolution is <i>300dpi</i>. If it is something else, then modify <i>300</i> to the other number, when you see it below.</p>
<p><i>Note: Each of the following boxed commands is a single command line. You may need to scroll the box to the right, or the text may wrap, depending on how you view this file.</i></p>
<p style="margin-top:16px"><b>Step 1:</b> Open a Terminal (Command Prompt) and navigate to that folder.</p>
<p>In the following commands, the initial "gm" calls GraphicsMagick (same code Linux and Windows). If you prefer ImageMagick, then eliminate the initial "gm" on Linux, or change the "gm" to "magick" on Windows.</p>
<div class="codeblock">
<p><code>gm convert yourimage.png embedded.icc</code></p>
</div>
<p>The above command may return the message "No color profile available" and generate a zero-byte embedded.icc file. Not a problem. Discard the zero-byte file. But if it generates a non-zero embedded.icc file, keep it.</p>
<p style="margin-top:16px"><b>Step 2:</b> Next (note the file extensions):</p>
<div class="codeblock">
<p><code>gm convert -strip yourimage.png yourimage-stripped.tif</code></p>
</div>
<p style="margin-top:16px"><b>Step 3:</b> At this point, there are three possibilities:</p>
<p><b>(a)</b> You have a non-zero embedded.icc file. In this case:</p>
<div class="codeblock">
<p><code>gm convert -profile embedded.icc -profile 240.icc yourimage-stripped.tif yourimage-temp.tif</code></p>
</div>
<p><b>(b)</b> No embedded.icc, but you know that the artwork was create using AdobeRGB1998 workspace, or equivalent. Then:</p>
<div class="codeblock">
<p><code>gm convert -profile crgb.icc -profile 240.icc yourimage-stripped.tif yourimage-temp.tif</code></p>
</div>
<p><b>(c)</b> Neither of the above. The image is probably sRGB (default). Then:</p>
<div class="codeblock">
<p><code>gm convert -profile srgb.icc -profile 240.icc yourimage-stripped.tif yourimage-temp.tif</code></p>
</div>
<p style="margin-top:16px"><b>Step 4:</b> Now, regardless of which possibility you used above:</p>
<div class="codeblock">
<p><code>gm mogrify -strip yourimage-temp.tif</code></p>
</div>
<p style="margin-top:16px"><b>Step 5:</b> And finally:</p>
<div class="codeblock">
<p><code>gm convert -units PixelsPerInch -density 300 -quality 100 yourimage-temp.tif yourimage-cmyk240.jpg</code></p>
</div>
<p style="margin-top:16px"><b>Step 6:</b> Now verify your work:</p>
<div class="codeblock">
<p><code>gm identify -verbose yourimage-cmyk240.jpg</code></p>
</div>
<p>The report should show that the image is CMYK, that it is at 300 pixels/inch, and that there is NO entry for "Profile-color". It will not have anything to say about ink limit, or SWOP.</p>
</div><!-- end 7.4.3 -->
<h4 id="h7.4.4">7.4.4. Convert your CMYK Image to PDF/X.</h4>
<div class="d4" id="d7.4.4">
<p class="noindent">Up to now, you did not need TeX. Now you do. Be sure that you have a working TeX installation, with the <em>novel</em> document class package.</p>
<p>In folder (your TeX root)/doc/lualatex/novel/extras you will find file "novel-cover-template.tex". Place a copy in the same working folder as your image, and modify it as needed.</p>
<p><code>\SetMediaSize</code> refers to the full size of the image, with units (usually in). This includes the bleed box. For example, <code>\SetMediaSize{11.87in}{8.75in}</code>.</p>
<p><code>\SetTrimSize</code> refers to the trimmed image, without bleed. For example, <code>\SetTrimSize{11.62in}{8.5in}</code>.</p>
<p><code>\SetPDFX[CGATSTR001]{X-1a:2001}</code> will get you "US Web Coated SWOP v2" output intent (most common the USA), and PDF/X-1a:2001 compliance. The Output Intent *.icc color profile will NOT be embedded, because this is almost always the way that print services want it. The PDF contains a code identifying the intent, so there is no need to embed the color profile (and disadvantages to embedding it). In the unlikely event that they demand the Output Intent color profile embedded, put an asterisk on the command.</p>
<p>For compliance you need to use <code>\SetTitle</code>. The title for this file might not be the title of your book, because this file isn't your book. Ask you print service what they want. Same with <code>\SetAuthor</code>.</p>
<p>You can use <code>\SetApplication</code> and <code>\SetProducer</code> to change internal identifiers. Don't use these unless you have a reason.</p>
<p><code>\SetCoverImage</code> is self-explanatory. Must have file extension jpg, jpeg, JPG, or JPEG. Must be CMYK. Note that TeX cannot verify whether the image is in correct color space. It will compile, even if the image is wrong. Beware!</p>
<p>Do not attempt to write anything between <code>\begin{document}</code> and <code>\end{document}</code>. If you erroneously put some text there, the document will probably compile, and it may even be a valid PDF/X file. However, the resulting text color will almost surely be wrong. If so, the problem will be detected when you submit your file (wrong ink limit or color space).</p>
<p>Compiling may take a little longer than expected. If your TeX system opens a PDF viewer automatically, the image might be missing (or partial) until a few seconds after the viewer opens. Be patient. The file size is large.</p>
</div><!-- end 7.4.4 -->
<h4 id="h7.4.5">7.4.5. Final Check</h4>
<div class="d4" id="d7.4.5">
<p class="noindent">Open the PDF in Adobe Reader, which does a trick that no other free software will do, to my knowledge. If your platform does not have Adobe Reader, then find a friend who has it. May be a different platform.</p>
<p>In Adobe Reader, go to Edit, Preferences, Documents. Check "Save As optimizes for fast web view." Then go to Edit, Preferences, Page Display. Check "Show art, trim, and bleed boxes." Then OK.</p>
<p>Open your PDF. You should see a light green box, just inside the image boundary. This shows the Trim Area. This box does not print; it is only for visualization. Go to File, Properties, Fonts. There should be no fonts listed.</p>
<p>Then, "Save As" the same file name (or another one, if you prefer). This will optimize the file. You probably do not need to do that, but it does not hurt, and a few services expect it.</p>
<p>There will always be some difference between color as viewed on your monitor, and color as printed. This is due to the difference between emitted light (your monitor) and reflected light (print). In professional use, the monitor will be calibrated, and operated at a specific screen brightness. The print will be viewed under lighting with a specific color temperature and illumination. Your own colors are not that critical, are they? If you have a calibrated monitor, and view the PDF and images in color-managed software, then what you see on your computer will be reasonably close to what prints. If your monitor is not calibrated, or you are not using color-managed software, then the printed cover may have its greens a bit more colorful than you were expecting. That doesn't mean there will be a greenish cast. It merely means that things such as spring leaves and shamrocks will be a bit greener (in print) than you expected.</p>
<p><b>Remember the Disclaimer!</b> Your PDF file should now be ready for submission. Only "should," not "is," because this documentation and its accompanying software comes without warranty. Submit at your own risk!</p>
<p>All I can say is that it "worked for me." Screenshots:</p>
<p class="centerimg"><img src="html-resources/workedforme.png" width="860" height="275" title="worked for me" alt="worked for me"/></p>
</div><!-- end 7.4.5 -->
</div><!-- end 7.4 -->
</div><!-- end 7 -->
</div><!-- end page07 -->
<!-- ************************************************************ -->
<div id="page08" class="page">
<h2 id="h8">8. Book Design</h2>
<div class="d2" id="d8">
<p class="noindent">Most authors in P.O.D. use an ordinary word processor, particularly MS Word. For that reason, many print services, and most online user forums, refer to the terminology and settings of MS Word, rather than to the meanings in traditional book publishing. In the case of images, Photoshop settings are often described.</p>
<p>Since you are neither using MS Word nor Photoshop, you must understand the terminology of printed book design. Then, you can apply that knowledge to the physical layout and internal design of your book, using <i>novel</i> document class.</p>
<h3 id="h8.1">8.1. Terminology</h3>
<div class="d3" id="d8.1">
<p class="noindent">You <i>must</i> understand these terms, as used in printing.</p>
<h4 id="h8.1.1">8.1.1. Sheet, Page, Leaf</h4>
<div class="d4" id="d8.1.1">
<p class="noindent">A <b>sheet</b> of paper is a single, physical piece of paper, regardless of whether anything is printed on it, or where. Often, paper starts out as a large sheet that will subsequently be cut into smaller sheets. The size doesn't matter. A sheet of paper is, in ordinary understanding, a piece of paper.</p>
<p><img class="floatright" src="html-resources/page-leaf.png" width="490" height="155" alt="page, leaf"/> In a finished book, a <b>page</b> is one side of a <b>leaf</b>. Thus, there are always exactly twice as many pages are there are leaves. From the manufacturer's point of view, a 240-page (double-sided printing) book has 120 leaves, regardless of whether or not anything is printed on the pages, or how they are numbered.</p>
</div><!-- end 8.1.1 -->
<h4 id="h8.1.2">8.1.2. Folio, Spine</h3>
<div class="d4" id="d8.1.2">
<p class="noindent">Imagine a single sheet of US Letter 8.5"Wx11"H paper. It has two pages, since you can print on both sides (even if one is empty).</p>
<p>If you fold that sheet in half across its width, it is still one sheet. But now you have a <b>folio</b>, consisting of two leaves of size 5.5"Wx8.5"H. Each leaf has two pages, so you now have four pages. The fold is at the <b>spine</b>.</p>
<p>Caution: The term "folio" has several different meanings, even in the narrow field of book publishing. It may refer to folded paper, as mentioned above. Or it may refer to a particular sheet size of paper ("foolscap"). Or, it may simply refer to the number printed on a page. This last use of "folio" is discussed in the context of headers and footers.</p>
</div><!-- end 8.1.2 -->
<h4 id="h8.1.3">8.1.3. Signature, Imposition</h4>
<div class="d4" id="d8.1.3">
<p class="noindent"><img class="floatright" src="html-resources/signature.png" width="133" height="102" alt="signature"/> When a book is commercially manufactured, folios are nested to form <b>signatures</b>. The number of folios in a signature is typically 6 to 16 (that would be 24 to 64 pages). If you were hand-making a single book at home, you might use only one folio per signature.</p>
<p>Now, think about how those pages must be ordered. Suppose a book contains a single signature of 4 folios. The outermost folio is printed with pages 1 and 16 on one side (before folding), and pages 2 and 15 on its other side. The next nested folio has pages 3/14 and 4/13. Nested inside is 5/12 and 6/11. Innermost is 7/10 and 8/9.</p>
<p>Re-arranging the page order is part of the <b>imposition</b> process. The process may involve tweaking the position of each page slightly, to account for offset due to paper thickness when the folios are grouped into signatures. If numerous folios are printed on a larger sheet of paper before cutting, the process may involve rotating folios so that they waste less paper.</p>
<p>Your home printer software can probably do imposition for a single-folio design (four pages). Anything beyond that is left to professional software. You don't need to do it. The print service does it for you, automatically.</p>
</div><!-- end 8.1.3 -->
</div><!-- end 8.1 -->
<h3 id="h8.2">8.2. Book Manufacture</h3>
<div class="d3" id="d8.2">
<p class="noindent">In many cases, when you choose how your book will be manufactured, you will have <at most</i> these choices: Trim Size, interior b/w or color, paper, binding, cover finish. The <i>novel</i> class does not address the particular requirements of color interiors (grayscale is OK, since it is emulated by black and white). When you choose the Trim Size, other options may be limited.</p>
<h4 id="h8.2.1">8.2.1 Perfect Binding</h4>
<div class="d4" id="d8.2.1">
<p class="noindent"><img class="floatright" src="html-resources/perfectbinding.png" width="160" height="290" alt="perfect binding"/>Most modern softcover books (and some inexpensive hardcovers) are manufactured using a process named <b>Perfect Binding</b>.
<p>In Perfect Binding, the signatures are clamped together, and the folded area is removed by a cutting machine. Then there are no longer any folios, just individual leaves.</p>
<p>The leaves are glued together at the spine, possibly with reinforcement. Note that the glue is not merely at the edge of the leaves; it penetrates the paper slightly, for better strength. Finally, the cover is attached.</p>
<p>The Perfect Binding method is inexpensive, and is more than adequate for a book that will not receive rough handling. Whether using P.O.D. or a major mass-quantity publisher, most softcover books have been made this way for a long time. Unless you know that your book will be acquired by libraries for addition to their long-term literary collection, there is little reason to have your book manufactured by any other process. The possible exception would be books for small children, which receive rough handling under all circumstances.</p>
</div><!-- end 8.2.1 -->
<h4 id="h8.2.2">8.2.2 Library Binding</h4>
<div class="d4" id="d8.2.2">
<p class="noindent">Libraries rarely purchase Perfect Binding books (regardless of soft or hard cover) due to lack of durability in a library environment. The exceptions are popular books of no lasting literary value, and how-to books for evolving technologies. These may be obtained by libraries in the cheapest softcover version, because such books will be discarded long before they wear out.</p>
<p>Unless you are sure that your book will be acquired by numerous libraries for long-term addition to their collections, there is little reason to produce a quality hardcover version. Not all P.O.D. services offer hardcover. If you do need a hardcover version, then be sure to carefully inquire regarding its manufacture, and preferably obtain a copy of someone else's book manufactured that way.</p>
<p><img class="floatright" src="html-resources/smythsewn.png" width="177" height="141" alt="perfect binding"/> The best hardcovers, suitable for library use, are made using the <b>Smyth Sewing</b> process. A Smyth Sewn book has signatures of (typically) 12 or 16 folios. But instead of removing the creases after folding, each signature is sewn through its crease using strong thread, onto a durable spine material. The pages will remain attached, even with hard usage. If the spine material is sufficiently flexible, then the book will lie flat when opened.</p>
<p>Be sure to ask about spine flexibility. The most flexible methods have a soft, curved spine, and are best suited to thick novels. There is also a variety that has a square (flat) spine, which will not quite lie flat when opened. Square-spine Smyth Sewn books seem to be the fashion for documenting intellectual property.</p>
<p>If a major publisher is producing a book that is sure to be ordered by many libraries, due to its author's popularity or maybe a movie tie-in, then it is likely to be released as a Smyth Sewn hardcover. That's because the production method is affordable in quantity. But on a P.O.D. basis, it is a significant expense.</p>
<p>Different bindings must have different ISBNs, because they are different products. If you need to change the dimensions of Trim Size or Margins, the <a href="#hA"><code>\Rework</code></a> commands are your friends.</p>
</div><!-- end 8.2.2 -->
<h4 id="h8.2.3">8.2.3 Other Bindings</h4>
<div class="d4" id="d8.2.3">
<p class="noindent">A Perfect Bound softcover cannot be retroactively converted to a Smyth Sewn, Library Bound hardcover. However, it is possible to convert a softcover book to some other kinds of hardcover.</p>
<p>In the simplest method, the soft cover is removed, and a hard cover is glued on. The pages may be shaved in size, so that they don't edge beyond the new cover; or the new cover may be slightly over-sized. Part of the soft cover may be pasted onto the hard cover. That won't look the same as original manufacture, but it avoids creating a dust jacket. Such a hard cover book is no more durable than the softcover, no more flexible at the spine, and no more resistant to losing pages. It simply has a harder cover.</p>
<p>A more advanced method involves adding strength to the glued spine, by sewing it <em>sideways</em>, before adding the hard cover. This results in a book that is less flexible at the spine, but less likely to lose pages. Sometimes, small (page count) books are made this way, when there are a limited number stored for archival purposes, rather than reading. In other words, it does not concern novels.</p>
<p>I only mention this because there are services that will create a hardcover book from an existing softcover copy. This is how they do it. Not very useful to you, except possibly as a personal souvenir. If you want a "real" hardcover book, you want a Smyth Sewn Library Binding with hard cover and curved (flexible) spine. Those must be made directly from PDF, not by re-working an existing book.</p>
<p>Also, the original ISBN is not valid for a book with changed binding.</p>
</div><!-- end 8.2.3 -->
<h4 id="h8.2.4">8.2.4. Paper and Cover Materials</h4>
<div class="d4" id="d8.2.4">
<p class="noindent">The interior paper may be white or "creme" (off-white). White paper is generally used for nonfiction, and must be used if there are interior color images. Creme paper is generally used for fiction. The idea is that white paper creates an air of authority, whereas creme paper is more comfortable for lengthy reading. I agree. I recently read a novel that was (mis-) printed on white paper, and it was hard to read in a bright area. So, for your novel, choose creme paper.</p>
<p>The cover of a Perfect-Binding softcover book may be produced with a glossy or a matte finish. The fashion is to use glossy for nonfiction, matte for fiction. Again, the idea is authority versus comfort. But you may choose what you wish. "Instant Best-Seller" mass-market paperbacks often have an embossed texture, and maybe even metal foil. In the print-on-demand market, forget it. Don't even think about it.</p>
<p>If you do request a hardcover edition, then it may or may not have a dust jacket (costs extra). The general rule is that books for libraries have a dust jacket, which will be encased in plastic by the library. Books for documentation generally have no dust jacket, with the title and other info embossed in the cover material, for permanance.</p>
</div><!-- end 8.2.4 -->
</div><!-- end 8.2 -->
<h3 id="h8.3">8.3. Interior Structure</h3>
<div class="d3" id="d8.3">
<p class="noindent">This section discusses how a book is designed, in terms of its component pages, where they are placed, and how they are styled. The emphasis is on popular fiction. Some sections that would be required in a dissertation or other nonfiction, are much rarer in popular fiction, or are entirely missing. There is also considerable "wiggle room" in terms of structure, particularly for genres that <i>pretend to be</i> a truthful report of someone else's writing.</p>
<p>The advice you are about to receive is <em>not</em> authoritative. It is combined from <i style="cursor:help" title="Chicago Manual of Style">CMoS</i> (which focuses on nonfiction) and on actual practice, as I have seen by looking through numerous professionally-published works of popular fiction at the local public library. There is a certain amount of variation.</p>
<h4 id="h8.3.1">8.3.1. Display Pages vs. Chapter-Like Sections</h4>
<div class="d4" id="d8.3.1">
<h5 id="h8.3.1.1">8.3.1.1. Display Pages</h5>
<div class="d5" id="d8.3.1.1">
<p class="noindent">A <em>Display Page</em> has its own design, and stands by itself. Examples are Half-Title, Title, Copyright, Dedication, Epigraph, Table of Contents, Map, Part Separator, and of course Blank.</p>
<p>Half-Title, Title, Dedication, and Part Separators are always single-page recto. A Table of Contents begins recto, but may continue verso. An Epigraph is single-page, and may be recto or verso. Maps are one per page, and may be recto or verso. If you intend to create a large map that spreads verso-recto, be aware that the technology you will be using does not allow continuous image through the spine area; there will be inside margins that break the image into two separate maps. A Blank page is almost always verso; the only exception is when multiple blanks appear at the very end of the book.</p>
<p>Each kind of display page has its own style, and position. What they have in common is that all of them lack a header or footer (and thus, lack a printed page number). Use <code>\thispagestyle{empty}</code>.</p>
<p>If a display page extends to a second page (such as Table of Contents), then use <code>\thispagestyle{empty}</code> at its begining and end, to ensure that both pages omit header and footer.</p>
</div><!-- end 8.3.1.1 -->
<h5 id="h8.3.1.2">8.3.1.2. Chapter-Like Sections</h5>
<div class="d5" id="d8.3.1.2">
<p>A <em>Chapter-Like Section</em> includes things that are styled like a chapter. This includes Foreword, Preface, Introduction, Author's Note, Acknowledgements, Prologue, Chapters, Epilogue, Conclusion, Endnotes.</p>
<p>A Chapter-Like Section begins recto, with one exception: Chapter One must begin recto, but any subsequent Chapter may begin recto or verso.</p>
<p>The first page of a Chapter-Like Section section has no header, but <i>may</i> have a footer with page number. See the available choices for <code><a href="#h4.3.5.1">\thispagestyle</code></a>.</p>
<p>Remaining pages in the section will have such header/footer style as pertains to ordinary chapters in the book. Exception: If a Chapter-Like Section in front matter is only two pages long, then you may optionally omit the header, or footer, on both pages. Then, use <code>\thispagestyle</code> at the end of the section, with choice that matches its beginning.</p>
<p>When a Chapter-Like Section appears in front matter, its page headers (if any) do <em>not</em> show the author and title of the book, the way they would appear in main matter. Instead, they show the name of the section (such as Author's Note) both verso and recto. Commands <code><a href="#h4.3.4.6">\SetVersoHeadText</a></code> and <a href="#h4.3.4.6">\SetRectoheadText</a></code> are your friends, as they permit you to dynamically change header text as you move through the book.</p>
</div><!-- end 8.3.1.2 -->
</div><!-- end 8.3.1 -->
<h4 id="h8.3.2">8.3.2. Front Matter</h4>
<div class="d4" id="8.3F.2">
<p class="noindent">The <code><b>\frontmatter</b></code> command must be written immediately after <code>\begin{document}</code>. This sets page numbering to lowercase roman, and performs some other actions.</p>
<p>A book's front matter is <em>about the book</em>. It is not part of the story. The only mandatory front matter is the Title Page and its verso, the Copyright Page. On a practical basis, six pages of front matter are the minimum, and this minimum is often used, even by major publishers. See <a href="#hB">Appendix B</a> for how to construct basic six-page front matter.</p>
<h5 id="h8.3.2.1">8.3.2.1. Half-Title, page i</h5>
<div class="d5" id="d8.3.2.1">
<p class="noindent"><p>Some book manufacturers (particulary in hardcover) place a blank or decorative <em>flyleaf</em> before any part of the book interior. A flyleaf (if present) is added at the bookbinding factory, and is not part of your book's interior PDF file.</p>
<p>Your book's first interior recto page is a Half-Title. It is a <a href="#F.1">Display Page</a>. Historically it was a protective page for the full title page, in the era when a printed interior was not immediately bound. That tradition lives on.</p>
<p>The Half-Title contains nothing but the book's title. No subtitle. It should be styled in the same manner as is used on the full Title Page, but typically smaller. You can place the title anywhere it looks good. It is almost never placed upper left.</p>
</div><!-- end 8.3.2.1 -->
<h5 id="h8.3.2.2">8.3.2.2. Blank, page ii</h5>
<div class="d5" id="d8.3.2.2">
<p class="noindent">Verso page ii is a <a href="#F.1">Display Page</a>. In most cases, it will be blank. This is achieved by using <code>\cleartorecto</code> at the end of the Half-Title page. But if you wish to manually create a blank page, verso or recto:</p>
<p class="code"><code>
\clearpage\thispagestyle{empty}\null\clearpage</code></p>
<p>Instead of blank, prolific authors may show a list of their books. However, even if you wrote other books, many print services won't allow you to list them, unless the same service exclusively carries all of them.</p>
<p>Major publishers may provide an advertisement for the related movie. In the good old days (looong ago) an expensive book might have a high-quality illustration, known as Frontispiece. Unless you truly know what you are doing, avoid these, and just use a blank page.</p>
</div><!-- end 8.3.2.2 -->
<h5 id="h8.3.2.3">8.3.2.3. Title Page, iii</h5>
<div class="d5" id="d8.3.2.3">
<p class="noindent">The Title Page is a recto <a href="#F.1">Display Page</a> It shows the title, subtitle (if any), and author. These elements are often very decorative, and may involve imagery. They must exactly match the information you provided when you obtained the book's ISBN. Exception: Some services allow the author's name to use initials.</p>
<p>If there is a publisher's imprint, it goes at the base. This is achieved by using <code>\vfill</code> just above it.</p>
<p>Remember that a self-publishing service is not the publisher; <em>you are</em>. That's why it is called self-publishing. If you don't have anything else to put there, and don't like leaving the base of the page empty, you might use "Independently Published in Your City, YourState" or something similar.</p>
<p>• Note: Others have written (and I agree) that the surest sign that a book was written by an amateur, is when the Title Page simply uses the book's main text font (perhaps bold and larger). That has "term paper" written all over it. Instead, be creative.</p>
</div><!-- end 8.3.2.3 -->
<h5 id="h8.3.2.4">8.3.2.4. Copyright Page, iv</h5>
<div class="d5" id="8.3.2.4">
<p class="noindent">The Copyright Page is a verso <a href="#F.1">Display Page</a>. It is primarily legalistic in nature, providing essential details about the book, as an item in commerce.</p>
<p>Some nations require specific information to appear on a Copyright Page. That is your responsibility to know, and is beyond the scope of this documentation.</p>
<p>At least in the U.S.A., the nation where the book is printed must be indicated, either on the Copyright Page or some other allowed location (such as the final verso). Many print-on-demand services use multiple printers, which may be in various nations, depending on who purchases your book. With the services I have used, this is solved by omitting "Printed in the United States of America" on the Copyright page, because it may not be true. At the printing factory, the necessary information is added by them, as a Colophon on the final verso page. This is one reason why that final verso page must be blank (in your PDF). Ask your P.O.D. service.</p>
<p>A Copyright Page is in ordinary text, perhaps using minimal styling such as italics or small caps. In all cases, its overall page style must differ from the page style of main text. Almost always, the content of the Copyright Page is forced downward, so that excess white space is on top, and the final line appears at the base of the textblock. This is achieved using <code>\null\vfill</code> at the beginning of the page.</p>
<p>The <i>legalese</i> environment prevents hyphenation, aligns paragraphs ragged-right (instead of justified), and omits paragraph indents. This style is widely used for a Copyright Page. Be sure to use <code>\null</code>, or a similar vertical spacing command, to separate paragraphs. If you nest the <code>center</code> environment within <i>legalese</i>, it will over-ride the ragged-right alignment.</p>
<p>The <i>adjustwidth</i> environment can be used to set the width of the lines at less than the full width. This is especially helpful if you have little to say, and choose to center the content.</p>
<p>Always review where lines break, if necessary insrting manual line breaks, to ensure that the meaning is sensible.</p>
<p>If you use them, certain words or phrases such as <span style="text-transform:lowercase; font-variant:small-caps">FIRST EDITION</span> are traditionally set in all small caps. Use <code>\allsmcp{FIRST EDITION}</code>.</p>
<p>Numbers, such as date and ISBN, may be Old Style or Lining. The text default is probably Old Style. If you prefer Lining (looks more legalistic), then use <code>\lnum{<em>numbers</em>}</code>. Anything other than digits (and related characters) will remain unchanged by the <code>\lnum</code> command.
<p>The Copyright Symbol © is pasted from a Unicode character map. Avoid using TeX code.</p>
<p>I have never seen a Copyright Page extend to a second page. Never. If you have that much to say, it may be that some of the information may be moved to an Author's Note or Acknowledgements section. Or, if necessary, you may use the <i>parascale</i> environment to slightly shrink the text and baseline skip.</p>
<p>If you have a Cataloging-in-Publication data block (probably you do not), then be aware that its content may be provided to you in MS Word format. Pay attention to indents, as they are part of how the data is presented. Use <code>\forceindent</code> or <code>\backindent</code> to over-ride the normal indentation (or lack thereof). Use the <i>adjustwidth</i> environment for block indents, but be aware that nesting one <i>adjustwidth</i> inside another may cause problems. It is better to end one <i>adjustwidth</i> before beginning a new one.</p>
<p>Also, CIP data uses emdash in places. MS Word may represent an emdash with <i>two</i> hyphens, whereas TeX uses <i>three</i> hyphens. Better to simply paste the emdash from a Unicode character map, which will appear the same in both MS Word and TeX.</p>
<p>If you need straight apostrophe or straight quotes, use <code>\straightquote</code> and <code>\straightdblquote</code> to insert a character that won't be converted to curly. These commands gobble the following space, in usual TeX fashion.</p>
</div><!-- end 8.3.2.4 -->
<h5 id="h8.3.2.5">8.3.2.5. Dedication</h5>
<div class="d5" id="d8.3.2.5">
<p class="noindent">If you use a Dedication, it is a recto <a href="#F.1">Display Page</a>, and must be placed immediately facing the Copyright Page.</p>
<p>A Dedication is not required. But sadly, nowadays many authors write a frivolous Dedication, which detracts from the book. If you feel that you need a Dedication, why not put it on your web site? Then you can always edit or remove it, if the subject of your affection runs off with someone else (or, you do). Keep it simple.</p>
<p>A Dedication is centered. If it is more than a few words, use the <i>adjustwidth</i> environment to keep it bounded, as you would for an Epigraph.</p>
</div><!-- end 8.3.2.5 -->
<h5 id="h8.3.2.6">8.3.2.6. Epigraph</h5>
<div class="d5" id="d8.3.2.6">
<p class="noindent">If you use an Epigraph, it is a <a href="#F.1">Display Page</a>, which may be placed verso or recto.</p>
<p>An Epigraph is optional. It is a short quotation, traditionally from a work by someone else. Its purpose is to set the tone of your own book, or shamelessly imply that your own talents resemble that of the person quoted. However, even though it is short, do not place copyrighted material there, unless you have the necessary legal permission. You probably don't, so forget about quoting a famous contemporary author or performer. Quotations from the Bible, Shakespeare, and Nineteenth-Century authors are popular; but even then, a more recent translation may be still under copyright.</p>
<p>Alternatively, you can quote from your own book, or make up something entirely new. One famous Epigraph is used in J.R.R. Tolkien's <i>Lord of the Rings</i> trilogy, in which each book uses the long form of the Ring's incantation as its Epigraph.</p>
<p>One possible use of an Epigraph is on recto page v, in books that lack a Dedication, a Table of Contents, or other important front matter beyond the Copyright Page. Alternatively, if a book has both Dedication and Table of Contents, an Epigraph may be placed on the otherwise-blank verso page vi between them. Or, an Epigraph may appear in some later convenient place in front matter.</p>
<p>In general, an Epigraph is set as a centered block, not occupying the full page width. The <i>adjustwidth</i> environment serves this purpose. You will have to manually adjust the widths at left and right, for best visual effect.</p>
<p>The source of the quotation should be right-justified within the block, and may be preceded by an emdash. Typically, names of people are not italicized, but titles of books are. It is not necessary to give elaborate details; this is not a bibliography.<p>
<h6 id="h8.3.2.6.1"><span class="n"></span>Example Epigraph: Real Quotation</h6>
<div class="d6" id="u8.3.2.6.1">
<p class="noindent">This might be used for an action adventure:</p>
<p class="code"><img class="floatright" src="html-resources/shakepi.png" width="131" height="208" alt="sample epigraph: Shakespeare"/>
<code><small>
\clearpage<br/>
\thispagestyle{empty}<br/>
\vspace*{10\nbs}<br/>
\begin{adjustwidth}{7em}{7em}<br/>
Cowards die many times before their deaths;\\<br/>
The valiant never taste of death but once.\par<br/>
\stake\hfill---Shakespeare\par<br/>
\end{adjustwidth}<br/>
\clearpage
</small></code></p>
<div style="clear:both"></div>
</div><!-- end 8.3.2.6.1 -->
<h6 id="h8.3.2.6.2"><span class="n"></span>Example Epigraph: Imaginary Quotation</h6>
<div class="d6" id="u8.3.2.6.2">
<p class="noindent">This might be used for contemporary fiction with a humorous style. The fictional speaker will appear as a character in the book:</p>
<p class="code"><img class="floatright" src="html-resources/dorfmcnorf.png" width="131" height="208" alt="sample epigraph: imaginary"/>
<code><small>
\clearpage<br/>
\thispagestyle{empty}<br/>
\vspace*{10\nbs}<br/>
\begin{adjustwidth}{7em}{7em}<br/>
Let me tell you, there's nothing more exciting than the brouhaha at Mickey's Pub each Saturday night in April.\par<br/>
\stake\hfill---Dorf McNorf\par<br/>
\end{adjustwidth}<br/>
\clearpage
</small></code></p>
<div style="clear:both"></div>
</div><!-- end 8.3.2.6.2 -->
</div><!-- end 8.3.2.6 -->
<h5 id="h8.3.2.7">8.3.2.7. Table of Contents</h5>
<div class="d5" id="d8.3.2.7">
<p class="noindent">If you use a Table of Contents, it is a <a href="#F.1">Display Page</a>, beginning recto. If a second page is needed, add <code>\thispagestyle{empty}</code> after the table completes, but before you clear that page.</p>
<p>Most fiction does not have, and does not need, a Table of Contents. It is more useful when the story consists of discrete episodes with distinctive names, not just numbers. Or, if the book is a collection of short stories, a table of contents is suggested. If your book is a critical edition, or has sections by different authors, then a Table of Contents is mandatory.</p>
<p>Avoid any of the table environments that come with TeX or its packages. These do not provide the most attractive presentation for fiction, without a lot of work on your part.</p>
<p>A Table of Contents has no header or footer, and no printed page number. Use <code>\thispagestyle{empty}</code>. If it continues to a second page, add <code>\thispagestyle{empty}</code> at the end, if you don't know where the page breaks.</p>
<p>Anything preceding a Table of Contents is not listed in the table. Neither is the table itself. An Epigraph is normally not listed, even if it follows the table.</p>
<p>You may or may not list maps or other illustrations in the table. Fiction rarely has more than a map or two, easily located in front matter by the reader, so there's no need to mention them. Use your judgement. That's different from the practice in nonfiction, especially academic works, where the illustrations convey factual data rather than artistry.</p>
<p>A basic Table of Contents uses the <i>center</i> environment, so that the Table's title and each entry appear centered on the page, without any fancy layout. So simple. So effective. However, if you prefer a more rectangular table, <i>novel</i> has commands for this purpose.</p>
<h6 id="h8.3.2.7.1"><span class="n"></span>8.3.2.7.1. The <i>toc</i> Environment</h6>
<div class="d6" id="u8.3.2.7.1">
<p class="noindent">Unlike some other TeX document classes, <i>novel</i> will not automatically build a Table of Contents. Also, LaTeX commands related to tables are generally disabled; adding other packages does not help (and may hurt).</p>
<p>You may create a Table of Contents in your own style, or use the <i>toc</i> environment for <i>novel's</i> own style. The choice is yours.</p>
<p class="code"><code>\begin{toc}[<em>extra entry separation</em>]{<em>extra margins</em>} <em>...</em> \end{toc}</code></p>
<p>The table is not indented, and text within it is not indented.</p>
<p>The optional argument is a number. It is the portion of normal baselineskip that will be added beneath each <code>\tocitem</code> entry. Default is 0, meaning that there is no extra skip between items, and normal baselineskip is maintained. A value greater than 0 spreads the entries, which could be attractive if there are only a few chapters and you'd like to use more space on the page. For example, a value of <i>0.25</i> means that a gap of 0.25 normal baselineskip will be added beneath each entry. A small negative value will crowd the lines together, but there is a limit (approximately -0.1) before the lines cannot be squeezed any tighter.</p>
<p>Note that the optional argument only applies to <code>\tocitem</code> entries, not to any other text within the environment.</p>
<p>The required argument is a length, which will be the amount of extra margin added at left and right of the table (using <i>adjustwidth</i>). A value of <i>0em</i> allows the table to occupy the full width of the textblock. A value of <i>2em</i> adds 2em to the margin on each side, so that the width of the table is 4em less than the width of the textblock.</p>
<p>It is best to specify horizontal lengths in units of <i>em</i> or the proportional <code>\parindent</code> or <code>\textwidth</code>.</p>
<p>Place at least one empty line above the Table's title, using <code>\null</code> or <code>\vspace*</code>. This will prevent the title (which is normally enlarged using <code>\charscale</code>) from encroaching into the top margin.</p>
<p class="code"><code>\tocitem[<em>chapter number</em>]{<em>description</em>}{<em>page number</em>}</code> and starred</p>
<p>Use this command for entries in the Table. Do not use it for non-Table text on the page.</p>
<p>The optional argument is the <i>chapter number</i>, at most two digits. The number will be left-aligned, with a period automatically added. Following the period will be whatever amount of space is needed to keep the following description aligned.</p>
<p>If the optional argument is omitted (or empty), then the <i>description</i> will align to the left of the table.</p>
<p>If the optional argument is the tilde character ~ then no number or period is printed, but the space for <i>chapter number</i> is occupied, so that the following <i>description</i> aligns as if you had entered a <i>chapter number</i>.</p>
<p>The <i>description</i> is usually the chapter title. If it cannot easily fit on one line, then use an additional <code>\tocitem</code>, because the text cannot be wrapped. The following example shows how this can be done.</p>
<p>Without the asterisk, <code>\tocitem</code> fills the area between the description and the page number with empty space. The more popular, starred <code>\tocitem*</code> command fills with a dotted line, and is very attractive.</p>
<p>You may use ordinary style commands, such as <code>\textit</code>, in the entries.</p>
</div><!-- end 8.3.2.7.1 -->
<h6 id="h8.3.2.7.2"><span class="n"></span>8.3.2.7.2. Example Table of Contents</h6>
<div class="d6" id="u8.3.2.7.2">
<p class="noindent">This content of this table is a spoiler, in that you can figure out where the story is going. Sometimes that's desirable, but usually not:</p>
<p class="code" style="text-indent:0px; font-size:small"><img class="floatright" src="html-resources/toc.png" width="264" height="408" alt="toc example"/>
<code>
\cleartorecto % because ToC must start recto<br/>
\thispagestyle{empty}<br/>
\vspace*{4\nbs}<br/>
\begin{toc}[0.25]{5.5em}<br/>
{\centering\charscale[1.25]{Contents}\par}<br/>
\null\null<br/>
\tocitem*{Prologue}{1}<br/>
\tocitem*[1]{The Evil Weeds}{5}<br/>
\tocitem*[2]{A Plan of Attack}{18}<br/>
\tocitem*[3]{Lady Withens Objects}{35}<br/>
\tocitem*[4]{Back-Hoe to the Rescue}{48}<br/>
\tocitem*[5]{Invasion of the Dandelions}{63}<br/>
\tocitem*[~]{\emph{Interlude}}{90}<br/>
\tocitem*[6]{Army of the Gardeners}{94}<br/>
\tocitem*[7]{Too Much Rain}{113}<br/>
\tocitem*[8]{To Nuke, or Not to Nuke?}{145}<br/>
\tocitem*[9]{Revenge of the Zucchini}{162}<br/>
\tocitem*[10]{Lady Withens Sneezes}{180}<br/>
\tocitem*[11]{The Concrete Lawn}{206}<br/>
\tocitem*{Epilogue}{228}<br/>
\end{toc}<br/>
\clearpage
</code>
</p>
<div style="clear:both"></div>
</div><!-- end 8.3.2.7.2 -->
</div><!-- end 8.3.2.7 -->
<h5 id="h8.3.2.8">8.3.2.8. Foreword, Preface, Introduction</h5>
<div class="d5" id="d8.3.2.8">
<p class="noindent">A Foreword, Preface, or Introduction is a <a href=#h8.3.1.2">Chapter-Like Section</a>, beginning recto.</p>
<p>A <i>Foreword</i> is written by someone other than the author. It is essentially a marketing tool, by which the publisher addes credence to the work, or mere publicity, by having an expert or celebrity write something in front matter. Introductions are common in nonfiction, but extremely rare (I have never seen one) in fiction, except for critical editions of older works (where the new, original material is essentially nonfiction).</p>
<p>A <i>Preface</i> is written by the author, speaking as author, and may include a general discussion of this and that about how the author came to write the book. It may also include acknowledgements, if they are not in a separate section. A Preface is rather formal, and very rare in popular fiction. If you wish to address the reader, the less-formal <i>Author's Note</i> is better for your purpose.</p>
<p>An <i>Introduction</i>, when used in front matter, is written by the author. Its purpose is to provide sufficient background for understanding the material that is to follow. Thus, an Introduction is sometimes seen in the front matter of historical or technical nonfiction.</p>
<p>An Introduction in front matter is inappropriate for popular fiction, but I suppose it <i>might</i> be used for the purpose of world-building in that genre, where the main story assumes that the reader is familiar with the setting. In such a case, the setup is described by the author (as author), but <i>not</i> by a character in the story. Also see <i>Author's Note</i>.</p>
<p>A Foreword, Preface, or Introduction is a "chapter-like" section. That is, its style is the same as if it were a chapter, in terms of how it is titled, and the use of page header/footer. But there is a significant exception: If your book design uses header text, you do <i>not</i> write the author and title in headers. Instead, you use <code>\SetVersoHeadText</code> and <code>\SetRectoHeadText</code> to write Foreword, Preface, or Introduction in both. See the example Author's Note, below, for how this is done.</p>
<p>A Foreword or Preface is often signed at the end by its writer, with place and date. A lengthy Foreword might instead place its writer's name and credentials under the Foreword title.</p>
</div><!-- end 8.3.2.8 -->
<h5 id="h8.3.2.9">8.3.2.9. Acknowledgements</h5>
<div class="d5" id="d8.3.2.9">
<p class="noindent">If you use Acknowledgements, it begins recto. If very short, style it as a <a href=#h8.3.1.1">Display Page</a>, possibly even using limited text width (as with an Epigraph, above). Otherwise, it is a <a href=#h8.3.1.2">Chapter-Like Section</a>.</p>
<p>Most fiction doesn't need acknowledgements. Don't write Acknowledgements just because you can. Acknowledgements are for those who provided real assistance. If you want to provide a shout-out to your friends for their encouragement, consider doing it on a web page.</p>
<p>If you have a Preface or Author's Note, you can often include acknowledgements there (if you wish), rather than in separate Acknowledgements.</p>
<p>If styled like a chapter, in a book that has page headers, the verso and recto head text is set to Acknowledgements, not the author and title. See the Author's Note, below, for how this is done.</p>
</div><!-- end 8.3.2.9 -->
<h5 id="h8.3.2.10">8.3.2.10. Author's Note</h5>
<div class="d5" id="d83..2.10">
<p class="noindent">If you use an Author's Note, it begins recto. If very short, style it as a <a href=#h8.3.1.1">Display Page</a>, possibly even using limited text width (as with an Epigraph, above). Otherwise, it is a <a href=#h8.3.1.2">Chapter-Like Section</a>.</p>
<p>An Author's Note directly addresses the reader, from the author. It is often signed with name, place, and date at the end. There is no particular content. Some authors point out that a particular element of the story, which seems fictional, is actually based on a real historical event. Others babble their life stories, and how they came to write the book. Others use it as a catch-all, including acknowledgements and whatever else fits. In the "lost manuscript" genre, authors may (fictionally) tell how the manuscript came into their hands; but a lengthy tale of discovery is better placed in mainmatter, as an Introduction.</p>
<p>If an Author's Note is two pages long, then on the second page use the same page style that you would ordinary use to start a chapter. Normally, this is <code>\thispagestyle{footer}</code>.</p>
<p>If an Author's Note is three or more pages long, then a header is permitted (if the book's main style has header). You may allow author and title to appear in header text, but it is better to indicate that this is <em>not</em> the main story, using <code>\SetVersoHeadText{Author's Note}</code> and <code>\SetRectoHeadText{Author's Note}</code>.</p>
<h6 id="h8.3.2.10.1"><span class="n"></span>Example Author's Note</h6>
<div class="d6" id="u8.3.2.10.1">
<p class="noindent">In a book of historical fiction, based on the author's own travels and expertise:</p>
<p class="code"><code><small>
\cleartorecto % begins recto<br/>
\SetVersoHeadText{Author's Note}<br/>
\SetRectoHeadText{Author's Note}<br/>
\begin{ChapterStart} % because chapter-like<br/>
\null\null<br/>
\ChapterTitle{Author's Note}<br/>
\end{ChapterStart}<br/>
After many years of studying the late Roman Empire... \lipsum[1]<br/>
The Third-Century burial practices of the Alemanni... \lipsum[1-2]<br/>
I have taken great liberty with the likely behavior... \lipsum[1]<br/>
The battles with Roman forces are entirely imaginary... \lipsum[1-2]<br/>
Finally, I would like to thank... \lipsum[1]<br/>
\null<br/>
\stake\hfill \textsc{Dirk Hardcase}\par<br/>
\stake\hfill Springfield, September 22, 2016\par<br/>
\clearpage<br/>
% Be sure to re-set the verso and recto head texts!
</small></code></p>
<p class="centerimg"><img src="html-resources/authorsnote.png" width="813" height="415" alt="sample author's note in frontmatter"/></p>
<div style="clear:both"></div>
</div><!-- end 8.3.2.10.1 -->
</div><!-- end 8.3.2.10 -->
<h5 id="h8.3.2.11">8.2.1.11. Map</h5>
<div class="d5" id="d8.3.2.11">
<p class="noindent">A Map is a <a href=#h8.3.1.1">Display Page</a>, which may be verso or recto. You may use more than one Map, but be aware that in the printing technology available to you via <i>novel</i> class, a single Map cannot be continued as a spread across the spine; you must break it into two independent Maps, allowing for the inside margins.</p>
<p>Many works of fiction have a map or other diagram. It might be the map of a real or fictional geographic area. It might be the map of a crime scene. It might be an inheritance chart. Even though fictional, it is usually placed in front matter, presumably because a map does not actually tell any part of the story.</p>
<p>I have seen maps placed very early, or very late, in front matter. The general rule seems to be, "put it where it fits." However, do not place a map where some other item <i>must</i> be located, and do not place a map on the final verso that faces the beginning of main matter, due to its visual distraction.</p>
<p>A single map, or maybe two, need not be mentioned in a table of contents or illustrations. If you have a lot of them strewn around the book, then they should be listed in such a table; but this is very rare in fiction.</p>
<p>As with all images, a map must be placed using <i>novel's</i> own <a href="#h7">image placement methods</a>.</p>
<h6 id="h8.3.2.11.1"><span class="n"></span>Example Map</h6>
<div class="d6" id="u8.3.2.11.1">
<p class="noindent">Typically, there will be nothing but the single image on a Map page, with all text self-contained. But in this example, the image only occupies part of the page. It is followed by ordinary text for the numbered locations:
<p class="code"><img class="floatright" src="html-resources/map.png" width="178" height="274" alt="sample map"/>
<code><small>
\clearpage<br/>
\thispagestyle{empty}<br/>
\BlockImage{areamap.png} <span class="ap">% 600dpi b/w</span><br/>
\vspace{2\nbs}<br/>
\begin{center}<br/>
1. Alice Springs\\<br/>
2. Tuktoyaktuk\\<br/>
3. Pflugerville\\<br/>
4. Pucallpa\\<br/>
5. Kolwezi\\<br/>
6. Dushanbe\\<br/>
7. Mittenwald\\<br/>
8. Sanya\\<br/>
9. Ice Station 414\par<br/>
\end{center}<br/>
\clearpage
</small></code></p>
<div style="clear:both"></div>
</div><!-- end 8.3.2.11.1 -->
</div><!-- end 8.3.2.11 -->
<h5 id="h8.3.2.12">8.3.2.12. Second Half-Title</h5>
<div class="d5" id="d8.3.2.12">
<p class="noindent">In many cases, front matter has very little content. After the Copyright Page, there is nothing else to say. But it is visually bad practice to go directly from verso Copyright Page to the start of the story on recto page 1. This can be solved by repeating the Half-Title as recto page <i>v</i>, with blank verso page <i>vi</i>. I've seen it with major writers and major publishers.</p>
<p>You can do the same thing with longer front matter, if it would otherwise end on a verso page.</p>
<p>When there is a lot of front matter (no particular amount), it is customary to use a second Half-Title to mark the boundary where front matter finally ends.</p>
<p><i style="cursor:help" title="Chicago Manual of Style">CMoS</i> recommends that a second Half-Title be the first page of main matter. Thus, it would be page 1, with the actual story beginning on page 3. But it acknowledges that a common practice is for a second Half-Title and its verso to remain part of front matter, so that main matter begins with the story on page 1. Although I have seen a few books that follow the recommendation, it appears that the great majority of them follow the common practice.</p>
<p>If your book has Part Separators in main matter, then you can do without a second Half-Title.</p>
</div><!-- end 8.3.2.12 -->
</div><!-- end 8.3.2.1 -->
<h4 id="h8.3.3">8.3.3. Main Matter</h4>
<div class="d4" id="d8.3.3">
<p class="noindent">Main matter begins with the <code>\mainmatter</code> command. It forces its page to recto, changes the page numbering to Arabic, and sets the count to 1.</p>
<p>Main matter is <i>the story itself</i>. In some cases, this also includes a fictional setup (Introduction or Prologue) that leads to the longer story line. It also includes material in the aftermath of the story, such as Epilogue, Conclusion, and end notes.</p>
<h5 id="h8.3.3.1">8.3.3.1. Half-Title in Main Matter</h5>
<div class="d5" id="d8.3.3.1">
<p class="noindent">The <i style="cursor:help" title="Chicago Manual of Style">CMoS</i> prefers that a second Half-Title page (if used) mark the beginning of main matter. Thus, it would be page 1 (number not printed). Then, the story begins on page 3.</p>
<p>However, <i style="cursor:help" title="Chicago Manual of Style">CMoS</i> also notes that this is not the regular practice, especially with fiction. In fact, among the many popular fiction books I have inspected, when a second Half-Title is used, it is <i>almost</i> always the last recto page of front matter, followed by a blank verso; then main matter begins with page 1 of the story.</p>
<p>The choice is yours. I suggest agreeing with regular practice: If you use a second Half-Title, keep it in front matter.</p>
</div><!-- end 8.3.3.1 -->
<h5 id="h8.3.3.2">8.3.3.2. Part Separator in Main Matter</h5>
<div class="d5" id="d8.3.3.2">
<p class="noindent">If used, a Part Separator is a recto <a href=#h8.3.1.1">Display Page</a>.</p>
<p>Some books are partitioned into distinct sub-books. A sub-book is of substantial length, not individual chapters or short stories.</p>
<p>If your book has distinct sub-books, then each of them has its own recto cover page, known as a Part Separator. Its verso is blank or an Epigraph. Then the accompanying story begins recto.</p>
<p>A Part Separator is <i>always</i> main matter. So, the first Part Separator is <i>always</i> page 1 (number not printed). Then its text begins on page 3. Do not re-initialize the page count when you get to the next Part Separator.</p>
<p>Part separators could be simply <i>Part I</i>, <i>Part II</i>, and so forth. They could be <i>Book I</i>, <i>Book II</i>. Or, they could have distinctive titles, such as <i>The Northern Front</i> and <i>The Southern Front</i>. If your book is two novelettes in one, then the Part Separators would be the title (and subtitle, if any) of the individual novelettes. Sometimes a Part Separator has a brief description of its purpose, as in <i>Book I. On Earth</i> followed by <i>Book II. On Mars</i>.</p>
<p>Unless your book has a very complex structure, do <i>not</i> use both a second Half-Title (whehter in front matter or main matter) and a Part Separator. Combine them as the recto main matter page 1: <i>The Withens Chronicles. Part I</i>, or simply <i>Part I</i>. Then the next Part Separator would be <i>Part II</i>.</p>
<p>In one book I recently noticed, there were five parts, each of which corresponded to one calendar day. The Part Separator showed the day, as in <i>Monday, September 25</i>. Then within each part there were several chapters, each of which took us to some different event in a different setting, all on that same day.</p>
</div><!-- end 8.3.3.2 -->
<h5 id="h8.3.3.3">8.3.3.3. Introduction in Main Matter</h5>
<div class="d5" id="d8.3.3.3">
<p class="noindent">An Introduction is a <a href=#h8.3.1.2">Chapter-Like Section</a>. If the book is nonfiction and the Introduction is factual, it belongs in front matter, as described above. But in fiction, where an Introduction is a fictional lead-in to the larger story, it belongs in main matter.</p>
<p>A main matter Introduction is typically used in the "lost manuscript" genre, where some fictional adventurer or archaeologist describes how the manuscript was found and translated. Usually the narration is told in the first person. Sometimes the author pretends to be the adventurer or achaeologist. Often the narrator is someone else. Following such an Introduction, the various chapters will reveal the contents of the manuscript. If the voice of the Introduction returns at the end, it is called a Conclusion, and is in main matter.</p>
<p>If an Introduction is in main matter, its header text (if any) is whatever is used throughout the main story. Typically that's author verso, title recto. The reason is that such an Introduction is actually part of the overall story.</p>
</div><!-- end 8.3.3.3 -->
<h5 id="h8.3.3.4">8.3.3.4. Prologue in Main Matter</h5>
<div class="d5" id="d8.3.3.4">
<p class="noindent">A Prologue, even if one page, is a <a href=#h8.3.1.2">Chapter-Like Section</a>. It belongs in main matter.</p>
<p>The purpose of a Prologue is to provide a quick lead-in or setting for the story, and get the reader's attention. It is confined in place and time (one scene, one perspective). The narrator may be first-person or third-person.</p>
<p>Do not use a Prologue for the voice of the author speaking about the book, as author; that goes in front matter, as an Author's Note.</p>
<p>If a book has a Prologue, then it is likely to have an Epilogue after the main story ends. An Epilogue also belongs in main matter.</p>
<p>I do not know of any fiction with both a fictional Introduction and a Prologue. If so, Introduction precedes Prologue.</p>
<p>Note: I have seen some web pages advising that a Prologue should go in front matter, and be narrated by a character who appears in the following story. Based on <i style="cursor:help" title="Chicago Manual of Style">CMoS</i> and actual books, I do not think that is correct.</p>
</div><!-- end 8.3.3.4 -->
<h5 id="h8.3.3.5">8.3.3.5. Chapters</h5>
<div class="d5" id="d8.3.3.5">
<p class="noindent">Finally, you have arrived at Chapter One! Not surprisingly, it is a <a href=#h8.3.1.2">Chapter-Like Section</a>. Chapter One is always recto, whether or not preceded by an Introduction or Prologue.</p>
<p>Subsequent chapters may begin recto or verso. Or, the book may be designed so that each chapter always begins recto. In the majority of novels I have seen, recto/verso is used. The <code>\clearpage</code> command starts a new page (recto or verso), and the <code>\cleartorecto</code> command will (if necessary) insert a blank verso, so that the following material is always recto.</p>
<p>In the case of short stories, especially if they are by different authors, it is customary to begin each one as recto.</p>
</div><!-- end 8.3.3.5 -->
<h5 id="h8.3.3.6">8.3.3.6. Epilogue, Conclusion</h5>
<div class="d5" id="d8.3.3.6">
<p class="noindent">If your book has an Epilogue or Conclusion, it begins recto as a <a href=#h8.3.1.2">Chapter-Like Section</a> in main matter.</p>
<p>An Epilogue is structurally like a Prologue, but tells the aftermath of the story. A Conclusion is like an Introduction, in which we step outside the main story. I am not aware of any book that has both; but if so, Epilogue precedes Conclusion.</p>
</div><!-- end 8.3.3.6 -->
<h5 id="h8.3.3.7">8.3.3.7. End Notes, Appendix, etc.</h5>
<div class="d5" id="d8.3.3.7">
<p class="noindent">If used, End Notes begin recto, as a <a href=#h8.3.1.2">Chapter-Like Section</a> in main matter. The same applies to an Appendix and like material.</p>
<p>Page numbering continues Arabic. It may surprise you to learn that this is still main matter, but <i style="cursor:help" title="Chicago Manual of Style">CMoS</i> says so, and that's what was done in the few fictional books that have them, among those I have seen.</p>
<p>The reason is that this kind of material, which is fictional, is actually the original author's writing, entwined with the main story. It was always intended to be part of the book. Never mind that it "looks like" academic material added later.</p>
</div><!-- end 8.3.3.7 -->
</div><!-- end 8.3.3 -->
<h4 id="h8.3.4">8.3.4. At Very End</h4>
<div class="d4" id="d8.3.4">
<p class="noindent">Just prior to <code>\end{document}</code>, use <code>\cleartoend</code>.</p>
<p>The final page of your book is necessarily verso. P.O.D. printers (and many others) require that it be completely blank, because they will add some manufacturing information to that page. So, if the text of your book finishes on a recto page, <code>\cleartoend</code> adds one blank page. But if the text of your book finishes on a verso page, then <code>\cleartoend</code> adds <em>two</em> blank pages, so that the final page is blank verso.</p>
<h5 id="h8.3.4.1">8.3.4.1. Backmatter? Not!</h5>
<div class="d5" id="d8.3.4.1">
<p class="noindent">
Once upon a time, when printing was not so electronically automated, it was difficult to add material to the end of a previously-typeset section of front matter. So, if there was a subsequent printing of the book, with new material that ought to go in front matter, the problem was solved by placing the new material in "back matter." Then, the original pagination did not have to be altered. To stress that the added material was not part of the original, it would have non-Arabic page numbering, which might be a continuation of lowercase roman numerals from where the front matter left off, or might begin with uppercase Roman numerals.</p>
<p>A similar situation applied to critical editions of earlier works, which added material from different authors. The added material was never part of the original book.</p>
<p>That is a situation you are never likely to address. When most authors speak about "back matter," what they mean is explanatory material that follows the end of the story. That is, anything after the final Chapter, Epilogue, or Conclusion. A good example can be found in J.R.R. Tolkien's <i>The Return of the King,</i> which has quite a bit of material following the end of the story. That material discusses the language and history of the Elves, and a variety of other things. But its page numbering continues Arabic. It looks like critical commentary, but it is part of Tolkien's original, fictional structure for the book. Thus, it is main matter.</p>
<p>So, your book is unlikely to have true back matter. If you use the <code>\backmatter</code> command, it does nothing. If you really wish to change page numbering, then you must code it manually. This is not advised for P.O.D. books, as it many confuse someone performing quality inspection; true back matter is so rare.</p>
</div><!-- end 8.3.4.1 -->
<h5 id="h8.3.4.2">8.3.4.2. About the Author</h5>
<div class="d5" id="d8.3.4.2">
<p class="noindent">A hardcover book often has "About the Author" on the inside flap of its dust jacket. Softcover doesn't have a dust jacket, so one strategy is to add a leaf after the story finishes (but before <code>\cleartoend</code>) and place "About the Author" on its recto. That avoids repagination of the original. It is still treated as main matter, with continued (non-printing) Arabic page number. Thus:</p>
<p class="code"><code>
.. and they rode off into the sunset. % end of story<br/>
\cleartorecto<br/>
\thispagestyle{empty}<br/>
\begin{ChapterStart}<br/>
\ChapterTitle{About the Author}<br/>
\end{ChapterStart}<br/>
Dirk Hardcase is a former... etc.\par<br/>
\cleartoend<br/>
\end{document}
</code></p>
<p>• I suggest that if you wish to tell about yourself, you can put it on a web site instead, where you can easily edit or delete it.</p>
</div><!-- end 8.3.4.2 -->
</div><!-- end 8.3.4 -->
</div><!-- end 8.3 -->
</div><!-- end 8 -->
</div><!-- end page08 -->
<!-- ************************************************************ -->
<div id="pageA" class="page">
<h2 id="hA">Appendix A. <img src="html-resources/amb.png" width="30" height="22" alt="emergency icon"/> Emergency Clinic: Rework Layout</h2>
<div class="d2" id="dA">
<div style="padding: 6px 0px 6px 0px; margin:0px 32px 6px 16px; background:#ffe7e7 none">
<p class="noindent">Situation: Your book is designed for Trim Size 5.25x8, one of several widely-used American sizes. You have put many hours of work into getting just the right line breaks within paragraphs, and just the right pagination. It looks beautiful. But then you get an e-mail from a British distributor. Could you change to British size B novel format, essentially 5.06x7.81 Trim Size?</p>
<p>Sure, you say. Just needs a little math. Knock 0.095" off each margin. What could be easier? So you try that, but the printer rejects your file. It seems that your original margins were as narrow as they could be, per the printer's specifications. You cannot make them any narrower.</p>
<p>But if you re-size the book and don't knock the margins down, then the text width and height won't be the same. Your text doesn't fit the way it used to. All your lines re-flow, the page breaks are different, and all that work you put into getting just the right appearance must be re-done.</p>
<p><em>Oh, nooooo ...</em></p>
</div>
<p>Relax. Here is all you need to do: add <code>\ReworkTrimSize{5.06in}{7.81in}</code>. That's it. Your existing margins will be preserved. The font size, and line skip, will be cleverly re-scaled to fit the new dimensions. Paragraphs and pagination are the same as before.</p>
<p>There are two Rework commands available. One changes the Trim Size without changing the margins. The other changes the margins without changing the Trim Size. If you wish to change both Trim Size and margins, you may use both commands.</p>
<h3 id="hA.1">A.1. <code>\ReworkTrimSize{<em>width</em>}{<em>height</em>}</code></h3>
<div class="d3" id="dA.1">
<p>This command changes the <em>existing</em> Trim Size. If you do not use the <code>\SetTrimSize</code> command, then the existing Trim Size is the default. But if you do use <code>\SetTrimSize</code>, then you must leave that command as-is, and place <code>\ReworkTrimSize</code> later in the Preamble.</p>
<p>If you used <code>\SetMediaSize</code>, you may leave that command as-is, or change it if you wish; the Trim Size does not care.</p>
</div><!-- A.1 -->
<h3 id="hA.2">A.2. <code>\ReworkMargins{<em>top</em>}{<em>outside</em>}{<em>bottom</em>}{<em>inside</em>}</code></h3>
<div class="d3" id="AF.2">
<p>This command changes the <em>existing</em> margins. If you do not use the <code>\SetMargins</code> command, then the existing margins are the defaults. But if you do use <code>\SetMargins</code>, then you must leave that command as-is, and place <code>\ReworkMargins</code> later in the Preamble.</p>
</div><!-- end A.2 -->
<h3 id="hA.3">A.3. Example of Rework</h3>
<div class="d3" id="dA.3">
<p>Here is an example of the Rework commands in use. When the layout is reworked, the font size and (if necessary) baseline skip is scaled to fit the new dimensions, in a way that preserves the original paragraphs and pagination. This is done in a single pass: The method simultaneously works and re-works the layout.</p>
<p>In the following example, the original font size is 11pt, and the baselineskip (calculated based on other factors) is 14.377pt. After rework, the font size is automatically re-calculated to 10.468pt, with lineskip 13.883pt.</p>
<p class="code">
<code>\documentclass{novel}<br/>
\SetTrimSize{5.25in}{8in} % Original. American.<br/>
\SetMargins{0.36in}{0.4in}{0.38in}{0.65in} % Original. American<br/>
\ReworkTrimSize{5.06in}{7.81in} % New. Equivalent to British 129mmW x 198mmH.<br/>
\ReworkMargins{12mm}{12mm}{12mm}{15mm} % New. British.
</code></p>
<p>Result with original layout (above Rework commands commented out):</p>
<p class="centerimg"><img src="html-resources/originalspread.png" width="726" height="544" alt="original spread, before rework"/></p>
<p>Result after Rework:</p>
<p class="centerimg"><img src="html-resources/reworkedspread.png" width="700" height="531" alt="spread after rework"/></p>
</div><!-- end A.3 -->
<h3 id="hA.4">A.4. Limitations of Rework</h3>
<div class="d3" id="dA.4">
<p>• The technique has been tested, but it might not always work. Be sure to inspect the result carefully.</p>
<p>• If you use Rework to make a radical size change, then the resulting font size or line skip might be unattractive.</p>
<p>• If the reworked pages have one less line than expected (or one more), this is due to roundoff in the calculations. It can usually be fixed by adding or substracting as little as <code>0.001\nbs</code> from the top or bottom rework margin.</p>
<p>• The biggest obstacle occurs when you specify some internal length in terms of absolute units (such as pt). It is always best to use relative units (such as <i>em</i>, or sometimes <code>\nbs</code>), so that they can be scaled along with the text:</p>
<p class="code">
Bad: <code>\hspace{6pt}</code> Good: <code>\hspace{0.5em}</code><br/>
Bad: <code>\kern1pt</code> Good: <code>\kern.08em</code><br/>
Bad: <code>\vspace{0.5in}</code> Good: <code>\vspace{2.4\nbs}</code>
</p>
<p>• When you use Rework, images are <em>not</em> scaled. Thus, they will have a different relationship to the surrounding text than they did before. In many cases, this is not a problem. However, an un-scaled image may disrupt the flow of text, or the number of lines in a page, or overlap text that was previously cleared. Look in the log file for an Alert message, which suggests an appropriate image scale, depending on how an image was placed. Problem areas can often be fixed be scaling the related image(s) in an external graphics program (see <a href="noveldocs-08-images.html#a8.3.3">Page 8</a>) then re-compiling with the scaled image(s).</p>
<p>• Note that you may see the Alert whether or not there are problem images, so scaling images will not make the Alert go away. It is a friendly message.</p>
<div style="clear:both"></div>
</div><!-- end A.4 -->
<h3 id="hA.5">A.5. Scaling Images after <code>\Rework</code>.</h3>
<div class="d3" id="dA.5">
<p>When you use one or both of the Rework commands, the font size and/or the baselineskip will change. However, it does not scale images. In many cases, there is no problem. But in some cases, an un-scaled image will disrupt the previous flow of text or pagination. If you look in the log file, you will see an Alert message, which suggests (only suggests) appropriate values for scaling problem images, depending on whether they are placed inline or block. Then, you should re-work the image in an external image editor. When you scale the image, be sure that the revised version is at the correct resolution of 300dpi or 600dpi, or whatever is necessary.</p>
<p>It is best to go back to your copy of the original artwork, before you exported it to <i>png</i> or <i>jpg</i>. But what if you do not have anything but the 1-bit or grayscale images that you created earlier? Then do this (in GIMP):</p>
<p>(1) If the image is 1-bit, change to Color>Mode grayscale.</p>
<p>(2) Use Image>Scale Image to get new dimensions, at 600 or 300 pixels per inch. Careful: Sometimes when you change size, it auto-changes resolution, or vice-versa. Click back and forth in the dialog box, to ensure that both the dimensions and resolution are correct. Use Cubic interpolation or better.</p>
<p>(3) Change View to something that puts the image at its approximate print size.</p>
<p>(4) If desired, play with Filters>Enhance>Sharpen.</p>
<p>(5) Image>Flatten.</p>
<p>(6) If the image is to be 1-bit line art, then use GaphicsMagick or ImageMagick as described in section 8.3.1.</p>
<p>(7) Export as png, then use GraphicsMagick or Image Magick as described in section 8.3.2.</p>
<p>The above does not take too much time, and will provide superior results. Note that when an image is placed within text, the calculation for text positioning is different than the calculation for image positioning. It is possible (although unlikely) that a <code>\Rework</code> situation will cause an unexpected page break, due to roundoff error in the placement of the final line on a page. This can be fixed by subtracting (or, in some cases, adding) as little as <code>\vspace{-0.001\nbs}</code> before or after the re-scaled image.</p>
</div><!-- end A.5 -->
</div><!-- end A -->
</div><!-- end Appendix A -->
<!-- ************************************************************ -->
<div id="pageB" class="page">
<h2 id="hB">Appendix B. Basic Six-Page Front Matter</h2>
<div class="d2" id="dB">
<p class="imgcentered"><img src="html-resources/sixpage-frontmatter.png" width="740" height="189" alt="Six-page front matter, with Epigraph on page v." title="Six-page front matter."/></p>
<p class="noindent1">In many instances, six pages of front matter are all you need for fiction. This is often true for major publishers, not just self-published P.O.D. authors.</p>
<p class="noindent1">You can use six pages, provided that:</p>
<p class="overhang">• Your front matter does not contain material written by someone else (such as a Foreword), no matter how short. Exception: You may use an Epigraph.</p>
<p class="overhang">• Your front matter contains at most one of the following, limited to a single page: Dedication, Epigraph, Table of Contents, Acknowledgements, Author's Note, Map.</p>
<p class="noindent2">If both of the above points apply, then your front matter is organized as follows. Be sure that your document begins with the <code>\frontmatter</code> command, and that each page begins with <code>\thispagestyle{empty}</code> and ends with <code>\clearpage</code>.</p>
<h3 id="hB.1">B.1 Half-Title to Copyright</h3>
<div class="d3" id="dB.1">
<p class="noindent">The first four pages (i - iv) are the same for nearly every book.</p>
<p class="overhang"><b>Page i. Half-Title.</b></p>
<p class="overhang"><b>Page ii. Blank.</b> Alternatively, if you wrote numerous books, you can provide a list of them. However, many print/distribution services will not allow such a list, unless they carry everyhing on the list.</p>
<p class="overhang"><b>Page iii. Title Page.</b></p>
<p class="overhang"><b>Page iv. Copyright Page.</b></p>
</div><!-- end B.1 -->
<h3 id="hB.2">B.2 Post-Copyright</h3>
<div class="d3" id="dB.2">
<p class="noindent">After the copyright page, there may be some variation.</p>
<p class="overhang"><b>Page v. Varies.</b> One of: Dedication, Epigraph, Table of Contents, Acknowledgements, Author's Note, Map. If you have none of them, then repeat the Half-Title.</p>
<p>Don't be afraid to simply repeat the Half-Title. Even major publishers do it, when they have nothing else to say in front matter.</p>
<p class="overhang"><b>Page vi. Blank.</b> Exception: If Page v does not have an Epigraph or Half-Title, you may place an Epigraph here, provided that it does not visually detract from the story that begins on the facing page.</p>
<p class="noindent1"><b>The TeX code looks like this:</b></p>
<div style="margin-left:32px">
<p class="code"><code>
\begin{document}<br/>
\frontmatter % Sets page number to i.<br/>
\thispagestyle{empty}<br/>
% Half-Title Page.<br/>
\clearpage<br/>
\thispagestyle{empty}<br/>
\null % Necessary for blank page.<br/>
% Alternatively, List of Books.<br/>
\clearpage<br/>
\thispagestyle{empty}<br/>
% Title Page.<br/>
\clearpage<br/>
\thispagestyle{empty}<br/>
% Copyright Page.<br/>
\clearpage<br/>
\thispagestyle{empty}<br/>
% Dedication or Epigraph or TOC or Acknowledgements or Author's Note or Map.<br/>
% Alternatively, repeat the Half-Title.<br/>
\clearpage<br/>
\thispagestyle{empty}<br/>
\null % Necessary for blank page.<br/>
% Alternatively, Epigraph if it does not detract from facing page.<br/>
\clearpage<br/>
\mainmatter % Sets page number to 1 for following material.
</code></p>
</div>
</div><!-- end B.2 -->
</div><!-- end B -->
</div><!-- end Appendix B -->
<!-- ************************************************************ -->
<div id="pageC" class="page">
<h2 id="hC">Appendix C. Shopping for Fonts</h2>
<div class="d2" id="dC">
<p class="noindent1">Since the <i>novel</i> class uses only <i>LuaLaTeX</i> and <i>fontspec</i> with utf-8 encoding, you may use any Open Type or TrueType font, subject to licensing. You are not limited to TeX fonts.</p>
<p>Many TeX fonts are only available in older Type 1 format (PostScript) or even as bitmap metafonts. <i>Do not use them.</i></p>
<p>In some other cases, a TeX font package provides both the older format, and a newer Open Type (*.otf or *.ttf) format. The different formats will have different font names. Sometimes the difference is very slight. Carefully look at the font name for the Open Type format. Remember that most on-line discussions will refer to the older fonts, simply because they have been around longer. For example: <i>Linux Biolinum</i> is a sans-serif font available via TeX as a PostScript font. But <i>Linux Biolinum O</i> (note the O) is an Open Type font. If you need this font, then call for <i>Linux Biolinum O</i>, not simply <i>Linux Biolinum</i>.</p>
<p><b>Important:</b> Do not attempt to load a font by the <code>\RequirePackage</code> or <code>\usepackage</code> commands. Instead, if you choose to use fonts other than the defaults, load them via the font setting commands described in this documentation. If you attempt to load a font the wrong way, you may get an error message.</p>
<h3 id="hC.1">C.1 Licensing Issues</h3>
<div class="d3" id="dC.1">
<p class="noindent1">Presumably, you are writing your novel for commercial value, and do not intend to give anything away for free. For that reason, avoid any font licensed under the GPL (GNU Public License) unless it has the <em>font exception</em> clause. Some TeX fonts, and some non-TeX free fonts, are licensed under GPL. Be careful!</p>
<p>Beware of fonts "free for personal use" from download sites. Your commercial application is not "personal use." Of course, if you like the font, you may purchase its commercial license.</p>
<p>Also beware of fonts generically labeled as "freeware" with no particular designer name. If you don't know who created the font, then how do you know that it can be given away for free? Even if there is a designer name, some of them had second thoughts about "freeware." They intended the fonts to be free only if you give your own work away for free. But they didn't mention it. Maybe they have no legal recourse, but you don't want them making anonymous negative reviews of your book.</p>
<p>You have numerous fonts already installed in your operating system, and perhaps others that came bundled with a particular application. If you intend to use those fonts, carefully read their licenses. It is often the case that fonts bundled with an application may <em>only</em> be used for documents created within, or processed by, that application. Or, the fonts may be OK to use for printing directly by your own home printer, but not for embedding in a PDF that will go to a commercial printer.</p>
<p>Although it does not pertain to TeX, another issue can arise if you later publish an ebook version. Fonts licensed for printing are often not licensed for an ebook. Indeed, the ebook distributor may ban them.</p>
<p>Always look for a Copyright notice, which can be identified with a particular person or organization. Copyright is good! It means that someone is claiming authorship of the font software. Only the Copyright owner has the right to give the font away for free, or license it to you after payment (often through an intermediary).</p>
<p>If you prefer free fonts, the most widely accepted license is the <em>SIL Open Font License</em>. This allows you to use the font for commercial purposes, embed it in PDF, modify it to suit your needs (if you change the font name), and even re-distribute the modifications. The recommended default <i>Libertinus Serif</i> bears this font license.</p>
</div><!-- end C.1 -->
<h3 id="hC.2">C.2 Technical Issues</h3>
<div class="d3" id="dC.2">
<p class="noindent1">Many fonts have technical errors, even among professional fonts. Some of the errors are so minor that they are not worth fixing.</p>
<p>However, beware of fonts based on traced artwork. The late 1990s had an explosion of amateur dingbat and decorative fonts produced this way, by scanning images from old books and digitizing the scan. The resulting vector glyphs rarely meet standards, and often are quite awful. The problem is that when a commercial printer renders your PDF to print, the printer's software is very different from what you have on your home computer. A technically erroneous glyph might look OK at home, but be rejected commercially.</p>
<p>If you have the knowledge, you can open a font in font editor software (such as <i>FontForge</i>) and ask it for validation. Missing extrema are rarely a problem, even if a lot of them are missing. Self-intersecting glyphs are not a problem if the the glyph is composed of two elements stuck together, such as Ç composed of C with separate cedilla. However, a self-intersecting glyph may be a problem if its lines criss-cross each other. Open paths, and outer paths drawn the wrong way, are often a problem. If the errors are confined to glyphs that you will not be using, then it can pass.</p>
</div><!-- end C.2 -->
<h3 id="hC.3">C.3 Appearance Issues</h3>
<div class="d3" id="dC.3">
<p class="noindent1">There are general expectations for book fonts, in terms of character sizes and shapes, and weights. Many of the widely-used TeX fonts, including Latin Modern, are unacceptable in fiction for this reason. Times New Roman is not quite acceptable for fiction; but it is often mis-used by amateurs with a word processor.</p>
<p>The best way to assess a font is to print it to paper. Computer screens rarely show details, except at large magnification. Depending on whom you ask for an opinion, fiction is most easily read when there are about 60 to 66 characters (including spaces) per line. To evaluate a font for the main text, print out some paragraphs about 4" to 4.25" wide, and scale the font's point size so that you get an average number of characters per line in that range. Be sure to do that: Adobe Garamond Pro at 12pt, Libertinus Serif at 11.4pt, and Libre Caslon Text at 9.6pt (!) provide about the same number of characters per line of text. At the proper point size, some fonts will look too dark, and others will look too light.</p>
<p>Things to look for: (1) Are the lowercase letters too tall? If they are, then it is hard for readers in many Western languages to find where sentences start, by looking for capital letters. Also, there is less white space between lines, which makes the text appear dense and harder to read. (2) Is the shape of the characters so natural that you don't notice them? That's good! It is your writing, not the font, that is to be noticed. (3) Remember that some fonts are designed for use at large size, in posters; such fonts tend to look mechanical in fiction. Other fonts are designed for computer screens; the letters will be too widely-spaced in fiction. Nearly all modern fonts have decent kerning and important ligatures, so that's not usually a decisive factor.</p>
<p>The prevailing rule: If you notice the font, it's wrong.</p>
</div><!-- end C.3 -->
</div><!-- end C -->
</div><!--end Appendix C -->
<!-- ************************************************************ -->
<div id="pageD" class="page">
<h2 id="hD">Appendix D. The 240% Ink Limit (TAC) Color Gamut</h2>
<div class="d2" id="dD">
<p class="noindent">The <i>gamut</i>, or range of available colors, is not the same for your computer monitor as it is for a printer. Obviously that depends on the technology of your monitor, and the technology of the printer. By and large, a good CMYK commercial printer can provide blue-greens that your monitor cannot accurately display. And, your monitor can display purple-violet colors that cannot accurately be printed. The monitor's advantage in purple-violet largely disappears for inexpensive LCD flat panels, which is what most of us have.</p>
<p>However, the full CMYK gamut is only realized when each ink channel can act independently. That is, each spot on the paper must be able to retain as much as a full dose of each ink. At 0%-100% ink per channel, a spot of paper would have to hold up to 400% ink. For a variety of reasons, most printing technologies cannot apply that much ink. Or rather, if they did try to apply that much, the resulting print might smear, fail to dry, lift off, or soak through to the opposite side of the paper. Subsequent lamination might fail to adhere.</p>
<p>Quality books and magazines, using coated paper, can typically hold 300%-360% ink (the technical name is TAC, Total Area Coverage). However, the color cover of a print-on-demand book might be produced by a method that holds less ink. The operative word is "might." Common P.O.D. printers are industrial-strength inkjet machines, capable of very high quality when used with suitable paper. However, the print job will be sent out to any number of different print shops, who may use other technology. Therefore, P.O.D. services may require that the color gamut be limited to those printable by a "lowest common denominator" process. One widely-used "lowest common denominator" is 240% ink limit.</p>
<p>At 240% ink limit, brightly colored areas are generally unaffected. Deep, rich colors cannot be produced, since they would require too much ink. You will be required to provide an image with colors that fit within the ink limit, or the P.O.D. service may quietly alter your image for you.</p>
<p>Print simulation, or <i>softproofing</i>, is a method of viewing an image on your computer, "as if it were printed" to some standard. GIMP can do this, as long as you provide the necessary *.icc color profile for the printer. Then you can decide whether or not the result is acceptable. The actual CMYK image is produced by the methods described in <a href="#h7.4">section 7.4</a>.</p>
<h3 id="hD.1">D.1. Example: Bright Colors Preserved</h3>
<div class="d3" id="dD.1">
<p>Below is a painting from the Middle Ages (photo by me) on display at the San Francisco Legion of Honor museum. The photo, at left, is as originally seen on a computer monitor. At right, the image is softproofed using the SWOP 238% ink limit color profile mentioned in Chapter 13. You can see that the brightest blue is about the same, The brightest reds and greens are almost the same. But the images differ in the dark areas. Especially look at the lion's leg (lower left corner) and the writer's hair and beard (right foreground).</p>
<p class="centerimg"><img src="html-resources/medieval-painting.jpg" width="707" height="321" title="Medieval Painting, monitor and softproof" alt="Medieval Painting, monitor and softproof"/></p>
</div><!-- end D.1 -->
<h3 id="hD.2">D.2. Example: Natural Light Preserved</h3>
<div class="d3" id="dD.2">
<p>Below is a photograph taken on a dull day along the California coast, near Bixby Creek. Whether in monitor color or softproofed, the results are almost exactly the same. With the exception of some tiny shadowed areas in the foreground (hard to notice), just about everything in the picture can print with not more than 238% ink.</p>
<p class="centerimg"><img src="html-resources/bixby-compare.jpg" width="738" height="340" title="Medieval Painting, monitor and softproof" alt="Bixby Creek, monitor and softproof"/></p>
</div><!-- end D.2" -->
<h3 id="hD.3">D.3. Example: Dark, Rich Colors Lost</h3>
<div class="d3" id="dD.3">
<p>The biggest problem occurs when the artwork is naturally dark. That might occur in night scenes, or with dark-skinned humans. For copyright reasons I cannot show you the original image by Hyacinthe Rigaud, on display in a European museum. But if it is reduced to a map of 256 colors (as with GIF images), you can see the effect. The original, at left, has many rich browns and reddish-browns. When softproofed, those become nearly gray. The original image still is attractive when softproofed, but its muted dark colors might be surprising if you were unaware of the ink limit effect.</p>
<p class="centerimg"><img src="html-resources/colormap-brown.jpg" width="674" height="305" title="Medieval Painting, monitor and softproof" alt="Dark color map, monitor and softproof"/></p>
<p>You might wonder why the ink limit caused rich browns to appear <i>darker</i>. That's because a blend of yellow, magenta, and black (with too much ink) was changed to one with much less yellow and magenta, but more black (and not too much ink).</p>
</div><!-- end D.3 -->
</div><!-- end D -->
</div><!-- end Appendix D -->
<!-- ************************************************************ -->
<div id="pageE" class="page">
<h2 id="hE">Appendix E. Overview of <i>fontspec</i> Syntax</h2>
<div class="d2" id="dE">
<p class="noindent">Much of what follows is a digested portion of the full <i>fontspec</i> package documentation. There are many more features, and ways to use them, than will be described below.</p>
<h3 id="hE.1">E.1. Font (Family) Name vs. Font File Name</h3>
<div class="d3" id="dE.1">
<p class="noindent">A <em>font file</em> is an individual file, with its own <em>file name</em>, including file extension. For example, libertinusserif-regular.otf and libertinusserif-italic.otf are two different font files. This much is obvious.</p>
<p>A <em>font family name</em>, often merely called <em>font name</em>, refers to one or more font files that are variations of the same basic font. Some fonts are so unique that the family consists of just one file. For example, the <i>NovelDeco</i> font family consists of the one file <i>NovelDeco.otf</i>. Typically, a font family has four files, consisting of Regular, Italic, Bold, and BoldItalic variants. Even though there are four font files, there is a single font family name.</p>
<p>Many font families have more than four files, including Semibold and Light weights, and Condensed tracking. It is up to the font designer to decide whether a Condensed variation of the "Bubble Turble" font should be treated as a member of the "Burble Turble" family, or as a separate "Burble Turble Condensed" family.</p>
<p>The font (family) name can be learned by opening font files in your system font viewer. Currently, the Windows 10 font viewer uses "Font name" and the Ubuntu font viewer puts the font name in more prominent type. A font (family) name may contain more than one word, with or without spaces, and may contain a general classification such as <em>serif</em>, <em>sans</em>, or <em>mono</em>, because those are actually different families. But it will not contain words such as <em>regular</em>, <em>medium</em>, <em>semibold</em>, <em>bold</em>, or <em>italic</em>; those are for individual members of the same family. Within TeX, some of the older PostScript fonts have been re-worked as newer TrueType and Open Type fonts. The family names are slightly different, so pay attention.</p>
<p class="centerimg">
<img src="html-resources/win10libser.png" width="268" height="184" alt="Windows 10 font viewer"/>
<img src="html-resources/ublibser.png" width="431" height="176" alt="Ubuntu font viewer"/>
</p>
<h4 id="hE.1.1">E.1.1. Set/New by Font Name vs. File Name</h4>
<div class="d4" id="dE.1.1">
<p class="noindent">When you set an existing font, or create a new font command, you can use either the font (family) name, or the specific font file name. However, there may be a big difference in results!</p>
<p style="margin-top:10px"><b>By family name:</b></p>
<p><img class="floatright" style="padding-top:12px" src="html-resources/fontbyfamily.png" width="338" height="42" alt="font family defined"/> When you use the <em>font family name</em>, you configure all of the Regular, Italic, Bold, and BoldItalic variants. The usual TeX commands will be applied:</p>
<p>Preamble:</p>
<p class="code" style="clear:both"><code>\NewFontFamily\rway{Raleway}</code></p>
<p>Document Body:</p>
<p class="code"><code>{\rway I came, \textbf{I saw}, \emph{I conquered}, \textsc{I left}.}</code></p>
<p style="margin-top:10px"><b>By file name:</b></p>
<p><img class="floatright" style="padding-top:12px" src="html-resources/fontbyfilenamei.png" width="335" height="44" alt="font file defined"/> However, if you specify a single <em>font file name</em>, then <em>only</em> that font file will be used, regardless of requests for bold or italic. Small caps will be honored, if the specific file has them:</p>
<p>Preamble:</p>
<p class="code" style="clear:both"><code>\NewFontFamily\rwayi{Raleway-Regular-Italic.otf}</code></p>
<p>Document Body:</p>
<p class="code"><code>{\rwayi I came, \textbf{I saw}, \emph{I conquered}, \textsc{I left}.}</code></p>
<p style="margin-top:10px"><b>File Name Combinations:</b></p>
<p><img class="floatright" style="padding-top:12px" src="html-resources/frankenfont.png" width="312" height="41" alt="frankenfont"/> What you write is what you get. You can customize a font family by individually selecting its members. Here is the syntax.</p>
<p>Preamble:</p>
<p class="code" style="clear:both"><code>\NewFontFamily\frankenfont[% note the % at linebreaks<br/>
ItalicFont=BaskervilleF-Italic.otf,%<br/>
BoldFont=libertinusserif-semibold.otf,%<br/>
BoldItalicFont=texgyrepagella-bolditalic.otf,%<br/>
]{Raleway-Medium.otf}</code></p>
<p>Document Body:</p>
<p class="code"><code>{\frankenfont I came, \textbf{I saw}, \emph{I conquered}, \textsc{I left}.}</code></p>
<p style="margin-top:10px"><b>Semibold, Light, etc.:</b> The above syntax is especially useful when you wish to specify semibold (if available), rather than bold. It is also a way to select something such as light versions:</p>
<p class="code"><code>\NewFontFamily\rwlight[% note the % at linebreaks<br/>
ItalicFont=Raleway-Light-Italic.otf,%<br/>
BoldFont=Raleway-Medium.otf,%<br/>
BoldItalicFont=Raleway-Medium-Italic.otf,%<br/>
]{Raleway-Light.otf}</code></p>
<p>Note that the font file in braces is the one used as the "regular" font, in this definition.</p>
</div><!-- end E.1.1 -->
</div><!-- end E.1 -->
<h3 id="hE.2">E.2 Open Type Features</h3>
<div class="d3" id="dE.2">
<p class="noindent">Features are variations, contained within a single font file. In the bad old days, when you wanted true small caps, you had to load a separate font file that had them (and did not have ordinary lowercase letters). Now, if an Open Type font file has the <i>smcp</i> feature (most do), you obtain the small caps from within the same file, by asking for them. Requests for the feature may be made on-the-fly, or pre-loaded for global use.</p>
<p>Here are several of the most frequently-used features, relevant to fiction writing. There are many more, and most fonts have only a few of them. Even when a font has a feature, it may be limited to some portion of the characters. For example, it is common for small caps to be available only for Latin-1 letters, even though the font also contains Greek and Cyrillic. To put this another way: The availability of a feature does not tell you its breadth of coverage. Unless the font has documentation showing coverage of its features, the only way to find out is to create and print a test page.</p>
<table class="preconf">
<caption>
Some Frequently-Used Open Type Features
</caption>
<thead>
<tr>
<th>Description</th>
<th>Open Type code </th>
<th>fontspec code</th>
</tr>
</thead>
<tbody>
<tr>
<td><p>kerning</p></td>
<td><p>kern</p></td>
<td><p>Kerning=On<br/><em>enabled by default</em></p></td>
</tr>
<tr>
<td><p>common ligatures</p></td>
<td><p>liga</p></td>
<td><p>Ligatures=Common<br/><em>enabled: textfont, sansfont</em></p></td>
</tr>
<tr>
<td><p>Tex ligatures</p></td>
<td><p>tlig</p></td>
<td><p>Ligatures=TeX<br/><em>enabled by default</em></p></td>
</tr>
<tr>
<td><p>lowercase letters to small caps</p></td>
<td><p>smcp</p></td>
<td><p>Letters=SmallCaps</p></td>
</tr>
<tr>
<td><p>uppercase letters to small caps</p></td>
<td><p>c2sc</p></td>
<td><p>Letters=UppercaseSmallCaps</p></td>
</tr>
<tr>
<td><p>lining numerals</p></td>
<td><p>lnum</p></td>
<td><p>Numbers=Lining</p></td>
</tr>
<tr>
<td><p>oldstyle numerals</p></td>
<td><p>onum</p></td>
<td><p>Numbers=OldStyle<br/><em>enabled: textfont, sansfont</em></p></td>
</tr>
</tbody>
</table>
<p>• Kerning is the automatic adjustment of spacing between letters, so that they fit together nicely. The values are read from tables within the font.</p>
<p>• Common ligatures are substitutions, such as a combined <i>ff</i> character for two consecutive <i>f</i> characters. It is up to the font designer to determine which ligatures, if any, are common.</p>
<p>• TeX ligatures (such as replacing `` with “ and --- with —) are not actually an Open Type feature, but they are treated that way by the software. All of these are enabled by default. The <i>fontspec</i> manual explains how to disable them, if necessary.</p>
<p>• The SmallCaps feature applies only to lowercase letters; ordinary capitals remain ordinary capitals. UppercaseSmallCaps deals only with converting ordinary capitals to small caps. If you want both, use both. In most fonts that have them, small caps are slightly taller than lowercase, and slightly more widely spaced. What distinguishes real small caps from fake ones (obtained by scaling ordinary capitals) is that the weight and spacing are more compatible with surrounding text.</p>
<p class="centerimg"><img src="html-resources/smallcapsrealfake.png" width="478" height="43" alt="real vs fake small caps"/></p>
<p>• Lining numerals are the ones most familiar to you, from math or accounting. They sit on the baseline and have the height of capital letters. That's just right for doing calculations, and is acceptable for things such as page numbers and chapter numbers.</p>
<p>• When lining numerals are mingled with flowing text, they may stand out too much. OldStyle numerals are more like flowing text: Most of the numerals are at lowercase height, with ascenders and descenders. Compare the first number as OldStyle, the second as Lining:</p>
<p class="centerimg"><img src="html-resources/jollybeers.png" width="499" height="52" alt="oldstyle vs lining numerals"/></p>
<p>Most fonts use Lining numerals as their default. A few default to OldStyle numerals. Thus, you should explicitly call for the kind of numerals you wish to use.</p>
<p>• True OldStyle numerals have a flat top on <em>one</em>, and a very round <em>zero</em>: <img src="html-resources/10trueold.png" width="37" height="13" alt="true oldstyle 10"/> This may be a bit distracting. Some fonts use a transitional form, where the one has a tilted top (like big 1) and the zero is not so round: <img src="html-resources/10transold.png" width="37" height="13" alt="transitional oldstyle 10"/> Others offer you a choice, via an Open Type "style set." See the <i>fontspec</i> manual for how to code style sets.</p>
<p>• There are many more Open Type features, most of which are not useful in ordinary fiction writing. Fonts rarely have more than a few features. Some features (such as the ones shown above) have a specific meaning. Other features, such as "style sets", have whatever meaning the font designer assigns them; Thus the <i>ss03</i> feature of one font may do something very different from <i>ss03</i> in a different font.</p>
<h4 id="hE.2.1">E.2.1. Scale as Pseudo-Feature</h4>
<div class="d4" id="dE.2.1">
<p class="noindent">Although it is not an Open Type feature, <i>Scale=number</i> may be written like a feature. <i>Scale</i> globally adjusts the size of the font, relative to what it would otherwise be. If a local font size command is also applied, then the result is the compounded value.</p>
<p>If the font will be mingled with other fonts in the same place, Scale can tweak a font so that it does not stand out. If Scale does not exceed 1, then the baselineskip will not be affected. Over 1 risks spreading lines to accomodate the extra size; this should not be done for fonts that will appear in the flowing main text. But over 1 is acceptable for display fonts that do not wrap lines and do not mingle with main text.</p>
<p>Example: <em>Orbitron</em> is a special-purpose font with a mechanical or futuristic look. Its characters are much larger and heavier than would be found in book fonts. If I wish to mingle Orbitron with ordinary text, I might load the font like this:</p>
<p class="code"><code>\NewFontFace\orbitron[Scale=0.6]{Orbitron} % Preamble</code></p>
<p>Then in the document body, I could use it like this:</p>
<p class="code"><code>The message was brief: {\orbitron DIE, EARTHLING.} Captain Withens smiled as he oiled his ray-gun. But ray-guns don't use oil.\par</code></p>
<p class="centerimg"><img src="html-resources/charscaletext.png" width="522" height="63" alt="charscale text"/>
<p>Scale is more often used for fonts that are pre-defined to have a special meaning and location, such as chapter titles or page headers. There, the font is not mingled with ordinary text, and it is OK to use a larger Scale. Then, it is not necessary to use local font scaling commands each time the font is used.</p>
</div><!-- end E.2.1 -->
<h4 id="hE.2.2">E.2.2 Color and Opacity</h4>
<div class="d4" id="dE.2.2">
<p class="noindent">Even though the <i>fontspec</i> syntax allows you to set <i>Color</i> and <i>Opacity</i> as pseudo-features when you define a font, <em>the novel class blocks these features.</em> If you attempt to set them as features in a font definition, an error will result. The same applies if you attempt to add them, using <code>\addfontfeature</code>. However, you can still make use of grayscale using ordinary, local color commands.</p>
<p>When you use the <i>graytext</i> class option, you may write text in grayscale, using commands from the included <i>xcolor</i> package. You should only do this for text that is in special locations. For example, if you begin each chapter with a number that is very large, you might wish to make that number gray, so that it does not overpower the main text.</p>
<p>To avoid possible conflicts, the color specification should be chosen from a limited list of names. In order from dark to light: black, blue, violet, darkgray, purple, red, teal, olive, magenta, gray, brown, green, orange, cyan, lightgray, lime, pink, yellow, white. They will all be rendered in <em>shades of gray</em> (of course, black and white will be themselves). You may also choose from this more convenient list: black, gray1, gray2, gray3, gray4, gray5, gray6, gray7, gray8, gray9, white.</p>
<p>If <i>graytext</i> is not chosen as class option, then any color (even white) will be rendered as black.</p>
<p>• Placing light text over a dark background may produce unexpected results in print, even if it looks good in PDF. If you need this effect, it is better to build the text into the background, as a single image.</p>
</div><!-- end E.2.2 -->
<h4 id="hE.2.3">E.2.3. <code>\CreateFontFeature{<em>code</em>}{<em>substitutions</em>}</code></h4>
<div class="d4" id="dE.2.3">
<p class="noindent">Once in a while, a font has a glyph that you would like to use, but it is not included in any of the font's Open Type feature sets. So, how to you grab that particular glyph? For example: One well-known font has a glyph named <em>emdash.alt</em>, which is not as long as the font's ordinary <em>emdash</em> glyph, and looks better in text. Unfortunately, <em>emdash.alt</em> is not in any of the font's style sets. Without some trickery, only a program such as InDesign can grab that glyph.</p>
<p>Thanks to <i>fontspec</i>, <i>novel</i> has the necessary trickery. Command <code>\CreateFontFeature</code> creates a fake Open Type feature code, and assigns your list of substitutions to that code. Use comma-separated entries if there are multiple substitutions. For the case in question:</p>
<p class="code"><code>\CreateFontFeature{myem}{emdash=emdash.alt}</code></p>
<p>The code <i>myem</i> was randomly chosen as something that is not already defined among Open Type feature codes. Once specified, the fake feature may be used in any font definition, such as this:</p>
<p class="code"><code>\SetParentFont[RawFeature=+myem]{Adobe Garamond Pro}</code></p>
<p>Of course, the fake feature has no effect if the font does not have the substitution character.</p>
<p>This technique may be used for more complicated features, but that is beyond the scope of this documentation. See the <i>fontspec</i> manual if you need to do more.</p>
</div><!-- end E.2.3 -->
</div><!-- end E.2 -->
<h3 id="hE.3">E.3. Local Modifications to Open Type Features</h3>
<div class="d3" id="dE.3">
<p class="noindent">If you specify a particular Open Type feature, it will be generally used for that font command. So if you define a new font command with <i>Letters=SmallCaps</i> as a feature (and if the font actually has them), then small caps will be used for that font, whether or not you locally request them with a command such as <code>\textsc</code>.</p>
<p>Often, you can add (or sometimes remove) features on a local basis. For example, suppose that you defined the font without using its <i>ss03</i> style set. You can locally add that feature to some text, using a command that looks like this:</p>
<p class="code"><code>{\addfontfeature{<em>which feature</em>} <em>applied to this text</em>}</code></p>
<p>The above code assumes that you are already using the font in that location. You cannot apply <i>ss03</i> from one font to an entirely different font!</p>
<p>See the <i>fontspec</i> documentation for details of <code>\addfontfeature</code>.</p>
<p>As an alternative to changing features locally, you can define different font commands to call the same underlying font, but with different features.</p>
<p>Two ways to accomplish the same thing:</p>
<p class="code"><code>
\NewFontFamily\baskf{BaskervilleF}<br/>
\NewFontFamily\baskftab[Numbers=Monospaced]{BaskervilleF} % tnum feature<br/>
\begin{document}<br/>
Some text {\baskftab hello 123} is here.<br/>
Some text {\baskf\addfontfeature{Numbers=Monospaced} hello 123} is here.
</code></p>
</div><!-- end E.3 -->
</div><!-- end E -->
</div><!-- end Appendix E -->
<!-- ************************************************************ -->
<div id="pageF" class="page">
<h2 id="hF">Appendix F. Sample Document</h2>
<div class="d2" id="dF">
<p class="noindent">If you click on a command, you will be taken to its documentation.
Default values are shown in braces and brackets, where applicable.
There are many other commands available, but they are not specific to novel class.</p>
<div class="sampledoc" style="margin:1em">
<p style="text-indent:0">
<a href="#h1.2.3">% !TeX program = LuaLaTeX</a><br/>
<a href="#h1.2.1">% !TeX encoding = UTF-8</a><br/>
<a href="#h2">\documentclass{novel}</a><br/>
%%% METADATA (FILE DATA):<br/>
<a href="#h3.3.1">\SetTitle{}</a> % Default: empty.<br/>
<a href="#h3.3.3">\SetSubtitle{}</a> % Default: empty.<br/>
<a href="#h3.3.2">\SetAuthor{}</a> % Default: empty.<br/>
<a href="#h3.3.4">\SetApplication{LuaLaTeX with novel and microtype}</a><br/>
<a href="#h3.3.4">\SetProducer{LuaLaTeX with novel-pdfx and hyperref}</a><br/>
<a href="#h3.4">\SetPDFX{off}</a><br/>
%%% DIMENSIONS:<br/>
<a href="#h4.1.1">\SetTrimTize{5.5in}{8.5in}</a> % Sets width, height.<br/>
% <a href="#h4.1.2">\SetMediaSize[]{}{}</a> % Normally unused. Default Media Size same as Trim Size.<br/>
<a href="#h4.1.3">\SetCropmarkGap{0.125in}</a> % Cropmarks rarely used.<br/>
<a href="#h4.3.1">\SetMargins{0.5in}{0.5in}{0.5in}{0.75in}</a> % Default varies with Trim Size.<br/>
%%% GENERAL FONTS:<br/>
<a href="#h4.2.1.1">\SetParentFont[SmallCapsFeatures={Renderer=Basic},Kerning=On,Ligatures=TeX]{Libertinus Serif}</a><br/>
% Then, the main text font automatically adds Numbers=OldStyle,Ligatures=Common.<br/>
<a href="#h4.2.1.2">\SetFontSize{11.4pt}</a> % Default varies with Trim Size, Margins.<br/>
% <a href="#h4.3.2">\SetLinesPerPage{}</a> % Default: command not used. Calculated from other settings.<br/>
<a href="#h4.2.3">\SetDecoFont{NovelDeco.otf}</a><br/>
<a href="#h4.2.4">\setsansfont{Libertinus Sans}</a><br/>
<a href="#h4.2.4">\setmonofont{Libertinus Mono}</a><br/>
<a href="#h4.2.4">\setmathfont{Libertinus Math}</a> % unicode-math package.<br/>
%%% HEADERS/FOOTERS:<br/>
<a href="#h4.3.3">\SetHeadFootStyle{1}</a> % This style has headers only.<br/>
<a href="#h4.3.4.1">\SetHeadJump{1.5}</a><br/>
<a href="#h4.3.4.1">\SetFootJump{1.5}</a><br/>
<a href="#h4.3.4.3">\SetLooseHead{50}</a><br/>
<a href="#h4.3.4.5">\SetEmblems{}{}</a> % Default blanks.<br/>
<a href="#h4.3.4.2">\SetHeadFont[Letters=SmallCaps,Scale=0.92]{\parentfont}</a><br/>
<a href="#h4.3.4.4">\SetPageNumberStyle{\thepage}</a><br/>
<a href="#h4.3.4.6">\SetVersoHeadText{\theAuthor}</a><br/>
<a href="#h4.3.4.6">\SetRectoHeadText{\theTitle}</a><br/>
%%% CHAPTERS:<br/>
<a href="#h5.1.2.1">\SetChapterStartStyle{footer}</a> % Equivalent to empty, when style has no footer.<br/>
<a href="#h5.1.2.2">\SetChapterStartHeight{10}</a><br/>
<a href="#h5.1.3.1">\SetChapterFont[Numbers=Lining,Scale=1.6]{\parentfont}</a><br/>
<a href="#h5.1.3.1">\SetSubchFont[Numbers=Lining,Scale=1.2]{\parentfont}</a><br/>
<a href="#h5.3.1">\SetScenebreakIndent{false}</a><br/>
%%% CUSTOM FONTS:<br/>
% <a href="#h4.2.5">\NewFontFamily[]{}</a> % Optional.<br/>
% <a href="#h4.2.5">\NewFontFace[]{}</a> % Optional.<br/>
% <a href="#">\CreateFontFeature{}</a> % Optional.<br/>
%%% OTHER:<br/>
<a href="#h1.2.1.1">\setdefaultlanguage[variant=american]{english}</a> % polyglossia package.<br/>
<a href="#">\microtypesetup{config=novel-microtype,stretch=20,shrink=20,final}</a> % microtype package.<br/>
%%% EMERGENCY USE:<br/>
% <a href="#hA.1">\ReworkTrimSize{}{}</a> % Optional.<br/>
% <a href="#hA.2">\ReworkMargins{}{}{}{}</a> % Optional.<br/>
%%% BEGIN DOCUMENT:<br/>
\begin{document}<br/>
<a href="#h8.2.1">\frontmatter</a> % Required.<br/>
% Typically <a href="#hB">six pages</a> of front matter. <a href="#h8.2.1">Could be more</a>.<br/>
<a href="#h8.2.2">\mainmatter</a> % Required<br/>
% <a href="#h5">Chapters</a> go here.<br/>
<a href="#h5.5">\cleartoend</a><br/>
\end{document}
</p>
</div>
</div><!-- end F -->
</div><!-- end Appendix F -->
<!-- ************************************************************ -->
</div><!-- end main -->
<div id="finish"></div>
</div><!-- end master -->
</body>
</html>
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