Communion Of Dreams


All’s well …

Just over a year ago I did a write up on completing the leather bindings for Communion of Dreams. This is going to be a similar documentation of completing the leather bindings for St Cybi’s Well.

Unlike the sewing structure for CoD, the sewing for SCW is exactly the same as for the hand-bound hardcover edition. Since I have already done a thorough documentation of that process, I see no reason to repeat it here. Instead, I’ll just refer you to that original post: Turning words into books.

And likewise, a couple of months ago I did a post about the actual design of the cover of the leather edition of St Cybi’s Well, so there’s no reason to go over all of that again. You can find that post here: Well, well, well …

The first thing in doing the full edition of 14 books, I needed to cut out sufficient “stones” of bookboard to form the relief on the front cover, and get those each laid out and mounted on the heavy bookboard. This was made possible by the use of my Glowforge laser to cut through the heavy bookboard. The “stones” were laid out such that one blank space was left for the mounting of a real slice of Preseli Bluestone from the quarry at Craig Rhosyfelin on the outside of the leather:

My Kickstarter backers selected what color leather they wanted for the cover of their books, and I ordered in the leather that I didn’t already have in stock. It’s all high-quality bookbinding goatskin:

I calculated how big of a piece of leather I needed for each book, and made a jig cutting those out:

Then those needed to have reference lines laid out, the corners cut and all the edges pared down:

The Communion of Dreams leather covers had the slight raised image of the Burr Oak tree, which was made using an archival board with a thickness of 0.02″. The archival bookboard I used for the “stones” of the St Cybi’s Well design were 0.10″ — five times as thick. Because of this, some additional work was needed to make sure that the leather conformed to the “stones”.

The first step was to saturate the outside of the leather with distilled water in the area of the front cover:

The the inside of the leather was pasted out with adhesive:

And the front cover was positioned. A barrier of plastic film was put on each side, then a sheet of foam core was positioned to cover the entire front cover. That was then placed between two press boards and the whole sandwich was put into my large nipping press. The press was cranked down, and the sandwich was left to dry overnight. The next day, this is what the end result looked like:

Then I mounted the rear board, as well as the spine liner, and turned the edges in (be sure to read my Wabi-sabi post about this):

After all the covers (the bookbinding term is “cases”) were finished, I mounted the text block as per usual. At this point, they were books, but they weren’t finished.

First, I wanted to get the endpapers mounted. Typically, this would just be done by tipping in the endpaper, then pasting it out and sticking it in a press for a quick nip. But I wanted these books to be a little more hand-fitted, so I pasted out the slightly over-size endpaper, then carefully by hand laid it out in position before pressing:

This makes the hinge joint a little more flexible, and the book friendly to open and read. A small thing, but with a book of this quality, an important one. Once the endpapers were mounted, I trimmed the excess off.

The next step was to mount the thin spiral cut from sparkly blue commercial glitterpaper using the laser. This was a visual reference to a similar image in the book. The trick was to mount the narrow, somewhat fragile, spiral of paper without distortion, damage, or excess adhesive. To do this, I first positioned the off-cut of the spiral using low-tack tape:

Then I pasted out a sheet of waste paper. Carefully laying down the thin spiral on top of the waste sheet, I lightly tapped the spiral so that a thin application of adhesive was transferred to the back. I carefully lifted the spiral off the adhesive, supporting it across the center with a micro-spatula. I was then able to position it into the void of the off-cut:

Using a narrow bone folder, I then pressed the thin spiral down along the entire surface, and then removed the off-cut:

This was then given a quick nip in the press to set the adhesive.

Once all the endpapers & spirals were mounted, it was time to mount the blue “water” inside the well design:

With the “water” mounted, I masked that area and did the title etching in the laser, using the same technique I developed for the titling on Communion of Dreams:

The titling done, I added a small tip-in sheet with the colophon and edition number:

I mounted each slice of Preseli Bluestone in the appropriate place on each book. Here they all are, arranged so as to re-create the “well” design with each stone in the proper location:

And they’re all done. 9 of the 14 bindings are going to their new homes, and one is staying with me. That leaves these four bindings still available for adoption:

If you’re interested in adopting one of these books, and perhaps a matching # copy of Communion of Dreams, feel free to contact me for the details: jim@communionblog

It’s likely that given my MJD, this will be the last edition of bindings I ever do. Not a bad place to end a career. But we’ll see.

Jim Downey



Machado-Joseph Disease: Hilarious

Wait, how can MJD be “hilarious“?

Well …

… so this morning (4/9/22), I got a call from a book conservation client. Since I screen my calls, he left a message, identifying himself, and said he was someone in the University administration. The call was otherwise fairly routine, asking if I could refer them to someone else for a small job they needed done, since I am not accepting new clients. [My website says it’s due to arthritis, which I do have in my hands, but it’s really due to the problems with the onset of MJD. I’ll change the website once I have an official diagnosis.]

I called the fellow back, as I would for anyone who called and left a message. We discussed what the client has, what he thinks he needs, etc. As is commonly the case, he didn’t really need conservation work done (the book is more valuable leaving it alone), but instead just needs a proper archival storage box. Since he’s here in town and associated with the University system, I ask if he is familiar with Special Collections at the University library, since they could easily make a custom box for him (and would likely welcome the chance to do a favor for someone in the administration). He admits that he’s only been in town for a year or two, and was mostly involved with the Medical School. So I tell him who to contact, and what to ask for, and to say I referred him. Easy, simple solution, but the sort of thing that makes people very happy for the help provided and has earned me many references and additional clients over the years.

Then, in chatting a bit, he asked why I was no longer taking clients. I explained that it was due to arthritis, and just left it at that. I told him I’d send him a text with the contact info again, just as a courtesy (as I would do for any client).

After I hung up, I looked again at the name he’d given me. It was a little unusual, and for some reason rang a bell. Then it hit me — he’s the attending physician in the Neurology Clinic I have an appointment with to evaluate my MJD in about six weeks.

I mentioned that I had an appointment with him in my follow-up text with the info I’d promised. We had a bit of a chuckle back & forth over how it’s a very small world sometimes …

Jim Downey



Well, well, well …

Last May, I wrote about the process of designing and executing the artistic leather bindings of Communion of Dreams. Now that all of my Kickstarter backers have made their choices, I thought I’d give a preview of the process of designing and executing the artistic leather bindings of St Cybi’s Well.

I had a piece of Preseli Bluestone from the quarry at Craig Rhosyfelin (which is the source for the Stonehenge Bluestones in the inner ring). This site appears in a scene in chapter 8. Well, I had the stone cut into 14 slices (two times the magical number 7). Which I then used to construct a “well” as the cover design. The center of the well has thin blue leather to represent the water in the well. Like this:

Actual stones on the right, laser-cut ‘stones’ under the leather on the left.

Each of the 14 leather-bound copies will have one actual slice of the stone mounted on top of the leather, and thirteen ‘stones’ of bookboard under the leather for bas relief. In this way, all fourteen copies of the leather-bound edition will be connected into one “well”. Here are two examples:

I’m offering a choice between curvilinear and rectilinear water in the well.

As with the titling for Communion of Dreams, the letterforms are etched using my Glowforge laser, then infilled with real gold leaf.

The other major design decision was what to do for the endpapers. Communion of Dreams had marbled endpapers. For St Cybi’s Well I wanted something different. Thinking through the various visuals in the book, one recurrent image I used was of a Celtic spiral. A symbol of whirlpools and infinity, but also of the transition between realms of reality. Combine that with the ‘healing energy’ in the novel characterized as being a luminous blue. So this is what I came up with: a thin sparkly blue spiral, cut with the laser from commercial glitterpaper stock. It will be mounted onto black endpapers, one each on the paste-down sheets front and rear. Here’s an example:

Technically tricky to mount it without smearing the adhesive, but also making sure the spiral is uniform.

I do have all the text blocks sewn up and ready to use. I’ve ordered the leather, and soon will be completing these bindings. There are five text blocks and five stones (numbers 1, 4, 5, 6, and 11) still available. If you’re interested in one, you can still choose your color of leather. Details here. Once I finish the nine books for my Kickstarter backers, I’ll just finish the remaining five in leather of my choosing (and raise the price).

I’ll post pics when I have the first batch finished.

Jim Downey



At long last …

It’s been five years since I last wrote about my efforts to come up with a satisfactory cover design for the premium leather edition of Communion of Dreams. Well, needless to say, a lot has happened since then. Not the least of which was getting, and learning to use, my Glowforge laser.

And now I’ve finally resolved the many different design and execution issues to my satisfaction, to the point where I’m completing the promised leather-backed copies for my Kickstarter supporters. Here it is:

This is going to be a bit about this binding, and how it differs from the hardcover cloth binding.

First thing, the sewing is different. Rather than just being sewn onto linen tapes, the books are sewn onto heavy linen cords:

Why the weird arrangement? So that those cords provide additional texture to the spine of the finished book, along the location of where the tree branches are (see the first pic above). Once the sewing was done, the text blocks were glued up and rounded slightly. All of that was very straight-forward.

However, as noted in that blog post in 2016, the problem I had was trying to achieve the raised texture of the tree for the rest of the cover. I played around with a bunch of different solutions, until I settled on using the laser to cut out a slightly abstracted version of the Burr Oak image:

That’s in the bed of the laser. The material is archival 50pt board. Trying to cut out such an image by hand would take me hours, probably. The laser does it in about four minutes. (Though I did spend some considerable amount of time coding the design so the laser would do it.)

Here’s the image free of the surrounding board:

That is then pasted onto a sheet of paper, and the book cover boards are mounted on the back in the appropriate location. Then it is time to mount the leather, and impress it such that the tree is in relief, with this result:

(Actually, that was a practice piece, not the final version pictured above. But I forgot to take an image of the final version at this stage.)

The edges of the leather are then turned-in, and the corners formed. This gives you a finished case (what bookbinders call the cover).

Next, need to do the titling. And this is where the laser once again comes in very handy, though it took me a while to get just the right technique worked out. After the design for the title is done, the leather is masked and then engraved with the laser to an appropriate depth:

Once that is done, the engraved areas are cleaned of residual charred leather, and gilding size applied:

Once that cures, then it’s time to apply the gold leaf:

Now, that’s real gold, in multiple layers, about $25 worth. This process is different than traditional gilding done by bookbinders, so I had to work up a whole different process to do it (based on my experience with traditional gilding). The result is very satisfactory, though, since I have a much greater range of options for the final design.

Once the titling work was done, it was time to prepare to mount the text block to the case. First, I tear the outer page of the outer signature, and trim the cords to the appropriate length:

This combination, with the two liner tabs, will make for a *very* secure mounting to insure the cover and text block stay together. Then, you fray out the linen cords, so that they will not present excess bulk inside the cover:

Then the whole thing is pasted out and mounted inside the case, similar to how the hardcover cloth bindings were done. Once everything is dry and secure, I added endpapers of hand-marbled paper I made:

Giving the finished product:

I tried a lot of different color combinations, and have decided that this is the one I think works the best (and echoes the original cover nicely). My Kickstarter backers have the option of choosing a different color, but henceforth this will be the only color option available for other collectors.

Next, after finishing these bindings: designing the premium leather binding for St Cybi’s Well.

Jim Downey



Let’s talk economics.

Last week I went through the mechanics of turning words into books. Today I’d like to talk a little bit about the economics of that, as well as being an author.

When I set up the Kickstarter for St Cybi’s Well lo these many years ago, a lot of my estimates in deciding on what goals to shoot for were based on … blind faith, to be perfectly honest.

I’d published Communion of Dreams, and had some sense of the possible income that could generate, as well as the amount of work that went into writing/editing/formatting it. But I really had no idea what the costs would be for printing and hand-binding copies of that book or the yet unwritten St Cybi’s Well. I had a pretty good handle on how much time it would take me to do the hand binding, based on my book conservation work. And likewise, what the cost of materials would be, other than the printing. Now that I’ve gone through all of that with both books, I have a much better idea of how costs break down, so I thought I would share all of that.

Based on 55 copies (edition of 53, plus two author/artist proof copies), the actual out-of-pocket expense runs about $50 per copy for the two different books. That covers the cost of the oversize archival paper (so the grain/drape of the pages is correct for hand binding), the printing, and going to collect the printed pages. It also covers the cost of archival bookboard and cover cloth. (The leather copies are two or three times as much, depending on the actual leather used.) Were I to bind a single copy, it would take me about 2 hours of labor. If I bind multiple copies at a time, that drops to about 1.5 hours of labor. (Leather is about 2x the labor.)

My Kickstarter goal was $17,000. Which succeeded. After deducting the fees paid to Kickstarter, and the costs of the different “rewards/premiums” for the backers, I wound up with about $12,000. Which, truthfully, isn’t a bad advance for a relatively unknown author.

It took me seven years of writing work to finish St Cybi’s Well, rather than the one or two years I originally expected. That was both embarrassing and stressful, since I made promises to people I didn’t fulfill. But it’s over, and everyone seems happy with the end product, so let’s just talk about the amount of labor that went into it. I’d conservatively guesstimate that I have something on the order of 2,000 hours of labor in writing, rewriting, editing, and then composing (the last is mostly thanks to my Good Lady Wife) the book. That *might* be as much as twice as long as it took me to do the same with Communion of Dreams, though spread out over a longer period of time. So, do the math, and I earned about $6 per hour.

That’s just the Kickstarter, of course. Now that the book is done, I’ll continue to earn money on purchases of the downloads, printed paperbacks, and special order hand-bound copies. How much is hard to say. I have had about 40,000 downloads of Communion of Dreams, though a big chunk of those are free downloads. Still, with Amazon’s system, 2/3 of every sale goes to the author (as opposed to like 5-7% for conventional royalties with a publisher), and that adds up. To date, I’ve only had about a thousand downloads of St Cybi’s Well, and most of those have been free downloads. Which has been a little disappointing, but we’ll see how things go over time.

As for the printed paperback copies, there I earn a bit more from Amazon than I would for the downloads, but not a lot. And they don’t amount to very many sales. The signed copies I sell directly do a little better still, but again, that’s just a handful of books per year.

As for the handbound books, there I do make a lot more, about $150 per copy. But my conservation labor is billed at $200 per hour, so at 1.5 hours of labor, I’m making half of what I would professionally. The return on the leather bound copies is even worse.

So, why do it? Why even offer those books on the websites?

Because I enjoy it. I enjoy knowing that the books that I create will be enjoyed, perhaps cherished. Read, and passed down to children and grandchildren. Like most artists, I’m willing to trade some financial reward for that satisfaction, and I can afford to do so. Maybe it shouldn’t be the case, and it wouldn’t be the case ideally, but we do what we can under the circumstances.

Finished product.

Anyway, my books will be available for free download tomorrow (the First of the month, as always). Give ’em a try. If you like ’em, you’re always welcome to either purchase a download or one of the physical copies later, if you can afford to do so. But don’t feel guilty if you can’t; as noted I can afford to give them away, and take joy in knowing people read them.

Jim Downey



Why yes, as it happens I *am* still alive …

The past few months have been … eventful.

* * * * * * *

A couple of weeks ago I got back to work on St Cybi’s Well. Yeah, the break since I finished Chapter 14 was much needed, as I had hinted in my last cluster of blog posts at the end of May.

Why? What happened?

Well …

… in no particular order:

  • Discovery, and subsequent treatment, of a major cardiac health problem.
  • Completion of a full course of cardiac rehab.
  • A substantial change in our financial situation resulting from the sale of property we owned.
  • A bunch of resultant legal and investment research, planning, and changes which every adult should do but few of us ever get around to actually completing. Something about almost dying tends to focus the mind on such matters.
  • A couple of extended out-of-state trips.
  • My starting to train someone from the MU library staff in proper conservation techniques a couple of afternoons a week.
  • A complete new computer system & software upgrade, with all the fun of transferring archives and working files.

And then there’s all the usual business of living and working. Having a couple of months of my life sucked up by dealing with the cardiac problems & treatment meant a lot of changes and trade-offs … but it sure as hell beats being dead from a massive sudden heart attack.

* * * * * * *

So, a couple weeks ago I went through and re-read the entire text of SCW to date, then started working to pick up the story again and bring it to a satisfactory conclusion. Here’s an excerpt from the next section:

Darnell looked out Megan’s bedroom window, across the little lane into the large field beside the Tanat. The field, where so recently cattle peacefully grazed, was now a small village of tents and temporary structures. Most prominent among them was a large marquee someone had found and brought from a nearby town. Make-shift walls had been constructed of large plastic-wrapped round bales of hay from down the road, their tough skin making them weather and even somewhat fire-resistant. The marquee was the main recovery center, where people would be brought from the church after healing, allowed to emerge from the deep sleep at their own pace.

He turned and looked at his sister, who was sitting on the side of her bed. “There’s no reason for you to get up. We can handle it. Go back to sleep.”

There was a faint blue-white shimmer to her skin which never left her now. It wasn’t like she was glowing, exactly, but more like she had a permanent echo of the healing energy which she had used so much in the past couple of weeks. She shook her head. Darnell wasn’t sure whether it was in response to his comment, or just an effort to clear away cobwebs of sleep. “It’s better if it comes from me. I’m known as the Guardian of the Shrine. That carries some official weight with the Church.”

* * * * * * *

I got my garden in late this year. No surprise, given how things went with spring and the early summer. So my tomato plants were not as far along as they could have been when the first waves of heavy storms hit in June. Since then we’ve had fairly regular poundings of storms. And it looks like the tomatoes are almost at the end of their producing for this year — a full month or so early. But between what I harvested, and extra tomatoes picked up at the farmer’s market, I’ve put up about 60 pints of chopped tomatoes. Not quite as much as I would normally like to have, but not bad considering the situation.

And my habanero plants seem to be doing OK this year. Won’t be a bumper crop, but it ain’t nothing.

* * * * * * *

The past few months have been … eventful.

And a lot of things which normally get done, didn’t. Or were handled in a more superficial way than I would usually do.

But that’s OK.

 

Jim Downey



Free books!

Just a quick note: both Communion of Dreams and Her Final Year are available for free download today! Go get ’em! Tell your friends! Tell your family! Tell your pets!

Except fish. Fish don’t like books. At least as far as I know.

 

Jim Downey



Living in the future.

Via Lawyers, Guns & Money, this passage from an article about current naval warship technology:

The biggest reason to build big ships may be the promise of electricity generation. The most interesting innovations in naval technology involve sensors, unmanned technology, lasers, and railguns, most of which are power intensive. Larger ships can generate more power, increasing not only their lethality (rail guns, sensors) but also their survivability (anti-missile lasers, defensive sensor technologies, close-defense systems).

Unmanned technology. Lasers. Railguns.

Tell me that ain’t living in a science fiction future.

And speaking of the future, tomorrow is the first of the month. And that means the Kindle edition of both Communion of Dreams and Her Final Year will be available for free download. Help yourself!

 

Jim Downey



Just one problem …

She stood there before the large table at one end of the closed hanger. The whole space was brilliantly illuminated by the lights high overhead, but additional work lights illuminated the piece of debris on the table from several additional angles, so that there were almost no shadows cast. The white paint had been abraded. There were smudges of something like algae here and there.  Barnacles were clustered along joints, where they could get purchase either on the flaperon itself, or on other barnacles which had attached before them. There were even bits of seaweed, still drying.

“It looks fine to me. I mean, just what I would expect after more than a year in the ocean.”

“Yeah.”

“So, it’s from Flight MH370. What’s the problem? Why’d you call me in?”

The man handed her a clipboard containing a paper report. She took it, glanced at it. “I don’t read French. What’s it say?”

“Well, among other things, the barnacles are dead.”

“I guessed that from the smell.”

“Yeah, but what’s interesting is that the lab determined that the barnacles were more dead than they should be. I mean, they had been dead longer than expected.”

“Oh? Why? What killed them?”

He reached out, as if he were going to touch one with his gloved hand, then thought better of it. He continued to look at the encrustations. “Starved to death. Seems they couldn’t digest the plankton there off of Réunion.”

“Why not? That’s where the barnacles are from, aren’t they?”

“Yep. That’s exactly the type found there.” He turned to look at her again. “Just one problem: these barnacles can only digest left-handed proteins.”

She sighed, looked down at the clipboard out of habit, even though she knew she couldn’t read what was there. Then she looked back to the man. “Mirror lifeforms. Dammit.”

“Yeah.”

“And they promised — PROMISED — that this wouldn’t happen again! OK, I’ll alert the Council.”

“Thanks.”

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Tomorrow is the first of the month, and both Communion of Dreams and Her Final Year will be available for free download all day tomorrow.

 

Jim Downey



Freedom First.

Playing a bit off of the title of my previous blog post …

Starting tomorrow, and until further notice, the First of the month for each month will mean that you can download Communion of Dreams and Her Final Year for free. Each month. Every month.

Why? Because offering free downloads is one of the basic promotional tools on the Kindle platform. It’s a way to generate sales and interest in a book. And also because it’s important to get the books to readers who may not be able to afford even the modest price of an e-book. For someone struggling as a care-provider, sometimes even a $2.99 price tag can be hard to budget for. Likewise for people who find themselves on hard times, and need a little hope and escape … something which I like to think Communion of Dreams can provide.

So we’ll give this a try. If you know anyone who might enjoy either or both books, let ’em know that they can download them for free tomorrow. And July 1st. And August 1st. And …

 

Jim Downey