Communion Of Dreams

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

Turning words into books.

As I noted a couple of months ago, I found a printer to produce the pages for a hand-bound copy of St Cybi’s Well. This is a photo-essay of the process of turning those pages into finished books. This is not intended to be actual instruction on how to bind books.

My printer for Communion of Dreams had been bought-out and was no longer capable of doing the printing for St Cybi’s Well. I was able to source a new printer after some trouble. Everything was slowed down due to Covid, of course. Eventually I was able to drive over to Wichita KS to pick up the printed pages.

Printed pages and color cover stock. Note that these are oversize. This is necessary to make sure the ‘grain’ of the paper runs the correct way, so that the pages will turn properly once the book is bound. They get trimmed down after binding.

Each section (group of pages) has to be folded, then punched consistently to allow for sewing.

It’s easier to do the laser-design work on the section before binding. The design is that of the St Melangell Centre, of a hare, at Pennant Melangell. This is the location in the book where much of the action takes place.
Once the individual sections are all punched, they are gathered into books and then sewn. This style of binding is “sewn on tapes”.

Sewn text blocks. Note that these are oversize, using the full printed sheets.
The sewn text blocks, now cut down to finished size. This is done individually, using a c. 1915 guillotine.
I designed a simple thin-board jig using my laser, which allowed me to mark on the cut bookcloth where to mount the archival bookboard.
The marked sheets of bookcloth.
Mounted bookboard on the bookcloth.
Completed case, with the edges of bookcloth turned in and additional liners added. Those liners are needed to balance the strain on the boards cause by mounting the color cover stock label.
Exterior of the case, with color cover stock mounted.
Text blocks now lined with support paper along the spine, and endbands added at the head and tail. The outer page of the first and last section has been cut down to function as an additional hinge. This, combined with the sewing tapes, is sufficiently strong to mount the text block to the case covers.

Text blocks mounted into case covers, and allowed to dry under weight.
Finished books. If you look closely you’ll note a slight wedge shape to the text blocks. I wanted a flat spine to match the hand-bound copies of Communion of Dreams, but St Cybi’s Well is longer, and so required more sections. This made the swelling at the spine more noticeable. Once the books are opened and read once or twice, the wedge shape should disappear.
Finished copies.

If you would like your own hand-bound copy of St Cybi’s Well or Communion of Dreams, click the links. Each edition is limited to just 53 numbered copies, plus two Artist’s/Author’s proof copies. At either link you can also order one of the remaining copies of the Amazing Koob, as well as signed paperback copies. And of course, you can always download the books from Amazon (remember, they’re free on the first of each month).

That completes the next-to-last phases of my Kickstarter. The final phase will be the design and completion of the leather bindings.

Jim Downey

“Did we actually go there, or … ?”

One of the early reviews of St Cybi’s Well added this note under “TRIVIA”:

Most of the chapters start with information that looks like it came from Internet websites. I typed in some of the URLs, and they are exactly what they seem to be, lending credence to the book.

And several people have commented both on Amazon and on Facebook that the book could function as something of a travelog.

That’s very much by design. The chapter header URLs & info I used in the book are straight from real sites online, though I intentionally used versions which date back to ~ 2012 (the date in the novel) whenever possible. And likewise, each location specified in the book is real. As well as every bit of Welsh history or myth I used.

I did this to lend the book verisimilitude. I really want readers to wonder just how possible the story is, to feel that ‘thinness’ I describe between one reality and another in the book.  I want them to visit the sites mentioned, to feel what I have felt there.

I didn’t start writing the book with this in mind. I figured that I would simply use my own experience in traveling in Wales to ground the book in reality, and use what little I knew of Welsh history & mythology to help add color. But as I wrote, I found myself digging deeper and deeper, spending more time visiting sites virtually, until they became very well known to me.

After a while, I started to lose track of whether I had actually visited some of the sites in person, or had only visited them online. This led to the very surreal experience during a trip we took in 2017 where in going to Craig Rhosyfelin I was absolutely certain that we had visited the site previously … but also absolutely certain that we never had (the latter which was confirmed by my wife). I had spent so much time exploring the site virtually, working through the descriptions and history of it, writing the interaction of characters there, that it really did feel like I had my own personal memories of the place. Bizarre.

The same is true of several other locations in the book, to the point where my wife and I now joke about it. “Did we actually go there, or … ?” has become a standard in our travels.

And of course now, with the limitations imposed by our own real pandemic, such virtual travel is all we have at present. So if you need a vacation, maybe spend a little time in my novel. The links included on the website will help.

Jim Downey


Easy to predict.

In Communion of Dreams, I have “experts” who are A.I. assistants. As I describe them in that book when I introduce one as the character ‘Seth’:

His expert was one of the best, one of only a few hundred based on the new semifluid CPU technology that surpassed the best thin-film computers made by the Israelis. But it was a quirky technology, just a few years old, subject to problems that conventional computers didn’t have, and still not entirely understood. Even less settled was whether experts based on this technology could finally be considered to be true AI. The superconducting gel that was the basis of the semifluid CPU was more alive than not, and the computer was largely self-determining once the projected energy matrix surrounding the gel was initiated by another computer. Building on the initial subsistence program, the computer would learn how to refine and control the matrix to improve its own ‘thinking’. The thin-film computers had long since passed the Turing test, and these semifluid systems seemed to be almost human. But did that constitute sentience? Jon considered it to be a moot point, of interest only to philosophers and ethicists.

In the world of 2052, when Communion is set, these “experts” are ubiquitous and extremely helpful. Seth is an “S-series”, the latest tech, and all S-series models have names which start with S. I figured that naming convention would be a nice way to track the development of such expert-systems technology, and in the course of the book you see earlier models which have appropriate names.

So when the time came to write St Cybi’s Well, I figured that I would introduce the first such model, named Andi. Here’s the first bit of dialog with Andi:

“Hi, I’m Andi, your assistant application. How can I help you?”

“Andi, check local restaurant reviews for Conwy and find the best ranked Fish & Chips place.”

“You’re not in Conwy. You’re in Holywell. Would you rather that I check restaurants where you are?”

“No, I’m not hungry yet. But I will be when I get to Conwy.”

“Very good. Shall I read off the names?”

“Not now. It can wait until I am closer.”

“Very good. Shall I track your movement and alert you?”


“Very good. May I help you with something else?”

“Not right now.” Darnell shut off the app, then the phone, and dropped it back into his pocket. The walk back to his car was uneventful.

Now, I wrote this bit almost eight years ago, long before “Siri” or “Alexa” were announced. But it was predictable that such technology would soon be introduced, and I was amused as all get-out when Amazon decided to name their first assistant as “Alexa”.

Anyway, I also figured that since the technology would be new, and unsophisticated, that Andi would be slightly annoying to use. Because it would default to repetitions of scripts, be easy to confuse, et cetera, similar to encountering a ‘bot on a phone call. And you can judge for yourself, but I think I succeeded in the book — the readers of early chapters thought so, and commented on it.

So this article in the morning Washington Post made me chuckle:

Alexa, just shut up: We’ve been isolated for months, and now we hate our home assistants

“I’m not a bad person,” Angela Hatem said. “I’m so nice to people.” But Alexa, the voice of Amazon’s home devices, isn’t a person, despite how hard “she” tries to emulate one. And coronavirus/self-quarantine/2020 has Hatem feeling a bit stressed out.

“I say things to Alexa that I wouldn’t say to my worst enemy, if I had one. And I don’t know why. She makes me crazy. … I curse at her. I call her names. I’m very, very mean to her,” said Hatem, who lives in Indianapolis with her 1-year-old son. “There’s really few things I can vent at or vent to, and I’m making Alexa my virtual punching bag.”


Heh. Nailed another prediction.

* * *

It’s the first of the month. That means that both novels and our care-giving memoir are available for free download, as they are the first of each month. If you haven’t already, please help yourself and tell your friends.

Jim Downey



A light in the darkness.

It’s … been a while.

And a lot has happened. Mostly good.

* * * * * * *

Many years ago, a friend got involved in something called “The Jesus Seminar“, which eventually produced (among other things) The Gospel of Jesus.

My friend commissioned Cheryl Jacobsen, well-known calligrapher and friend of mine from my UI Center for the Book days, to do a hand-lettered edition of the book as a gift for Robert Funk, the founder of the Seminar. The work was done on calligraphic vellum, and when it was completed, I did the binding. This is it, which I have used as the main image on my business homepage for at least a dozen years:

And here’s the descriptive text from my site:

The Gospel According to Jesus:  Full leather contemporary case binding, shown here as tooling is being done.  Collaborative work with calligrapher Cheryl Jacobsen of Iowa City.  Sewn on linen tabs, cover mounted to text block using adhesive.  Covered full in burgundy Chieftain Goatskin, blind tooled using a hot brass folder.

It’s a lovely, but very simple and traditional binding.

* * * * * * *

Continue reading

Scotland 2018: 7) Spirits of stone. Spirits of growth. Spirits of hunting.

Being a photo-heavy travelog of our 2018 trip to Scotland.


Friday, May 11.

We left Tain, headed south and through Inverness. On the east side of the city we stopped at the Battlefield of Culloden, the site where the Jacobite Rising ended. But since neither Martha nor I are particularly knowledgeable of or interested in this episode of history, we decided to just look around a bit and then move on.

But not far from the Battlefield, there was something we did particularly want to see: the Clava Cairns. This is a group of burial cairns and standing stone circles dating about 4,000 years ago, during the bronze age. It is a wonderful, magical, site:

Martha in one of the passage graves.


Part of one of the stone circles.


Stone circle around one of the cairns.


The other two major cairns beyond the closest one.

The ring cairn.


The Culloden Viaduct in the distance.

From the Culloden area we decided to drive east, taking the A96 more or less parallel to the coast. Our eventual goal was Aberdeen, but the idea was to enjoy getting there.

It was, as you can see form the image above, a grey and cloudy day. It was also windy. Crazy windy. So much so that where farmers had plowed their fields, the wind kicked up clouds of dust so heavy that it was impossible to see through. Some of these clouds obscured the roads at time, making driving even more fun that usual.

We decided to leave the A96 and take local roads out to the coast through the town of Kinloss and out to Findhorn.

Findhorn. Ring any bells?

Perhaps you remember it from the classic arthouse movie My Dinner with Andre (one of my favorites), where Andre discusses the remarkable spiritual community founded there in the 1960s, renown for the exceptional harvest of oversize vegetables, which was attributed to help from spiritual entities known as devas (catch the reference in Communion of Dreams?). I remember reading about Findhorn back in the 70s as a New Age settlement, and friends and family had visited there to experience the alternative cultural movement themselves. Having a chance to drop in for just a taste of the place was something I couldn’t pass up. So we did, and spent some time walking through the community, checking out the Original Garden, which still has a special place in my imagination. And unlike many things you see after so many years of anticipation, this one wasn’t diminished by reality. See for yourself:

One of several entrances.

That’s the founder’s caravan — what the Brits call a mobile home — which was the first shelter at Findhorn, adjacent to the garden.

Leaving Findhorn, we kept close to the coast, to the small village of Burghead. Why? For the Pictish Fort which is there on the point of the peninsula, which is still quite evident:

The Visitor’s Center, which also has an observation room for watching the sea life.

We headed further east. Got back on the A96 briefly, but then were again on local roads heading for the coast. To the small town of Banff. Why Banff? Because of another arthouse film from the early 80s which I love: Local Hero. The small town bar in that movie is actually a *really* small local pub called ‘The Ship Inn‘ in Banff. Where we stopped in for a bite of lunch and a pint. And were greeted by two local dogs, three patrons sitting on stools sipping their beer, and the landlady. There wasn’t room for much more.

Then it was further up the coast for another film location from Local Hero: the tiny seaside village of Pennan, which played the part of Ferness in the movie. Here ’tis, red phone box and everything:

So you can see just how little of a town as there is. That’s it. All of it.

From there we made our way to Aberdeen, where we had hotel reservations. In the oddest Hilton (Doubletree) I’ve ever stayed in. We were in what was ostensibly a “handicapped accessible” room, and which did indeed have the appropriate safety bars and call buttons fitted out in the bathroom for someone in a wheelchair. But which literally required us to go up two flights of stairs and down one to get to — there was no other way to get to the room. Seriously — there’s no way someone in a wheelchair could have gotten to the room without being carried there. Crazy.

But we had dinner in the hotel, and crashed early.


Jim Downey


Hawking’s Conundrum

From Chapter 3 (page 50 of the paperback edition) of Communion of Dreams:

Apparent Gravity was the third major application of the theories set forth in Hawking’s Conundrum, the great opus of Stephen Hawking which was not published until after his death in the earlier part of the century. He hadn’t released the work because evidently even he couldn’t really believe that it made any sense. It was, essentially, both too simple and too complex. And since he had died just shortly before the Fire-Flu, with all the chaos that brought, there had been a lag in his theory being fully understood and starting to be applied.

But it did account for all the established data, including much of the stuff that seemed valid but didn’t fit inside the previous paradigms. Using his theories, scientists and engineers learned that the structure of space itself could be manipulated.

In the news today:

Stephen Hawking’s ‘breathtaking’ final multiverse theory completed two weeks before he died

A final theory explaining how mankind might detect parallel universes was completed by Stephen Hawking shortly before he died, it has emerged.

Colleagues have revealed the renowned theoretical physicist’s final academic work was to set out the groundbreaking mathematics needed for a spacecraft to find traces of multiple big bangs.

Currently being reviewed by a leading scientific journal, the paper, named A Smooth Exit from Eternal Inflation, may turn out to be Hawking’s most important scientific legacy.

I frighten myself sometimes.


Farewell, Professor Hawking. Challenged in body, you challenged us with your mind.


Jim Downey

Forward, into the past.

I sewed up a book yesterday.

* * *

It’s been a rough year.

Oh, a good one, in many ways. The delightful trip to Wales was certainly wonderful. And I was pleased to finally wrap up our two-year work on the brick walkway; I recently used it, and it was nice to see how it has settled solidly after a couple of months weather. There have been other highlights, time spent with those I love, sharing & caring.

But it’s been a rough year. Mostly, because back in early spring I started my slow bipolar descent, and then got stuck stumbling along the bottom of my personal trough for the last six weeks or so. And, while I haven’t talked about it (or anything else) much here, the political situation has been extraordinarily depressing. It’s been a weird combination of things I have long dreaded and things I was writing to warn people about in St Cybi’s Well, and after significant effort to re-write the draft of that book to reflect the new political reality I found myself without the energy or inclination to continue. I felt paralyzed.

* * *

But, as these things go if you are lucky, the wheel continued to turn.

Even if the progress is steady, and consistent with my previous personal experience, it’ll be some 4 – 6 months before I completely climb out of the depressive part of my bipolar cycle.

But I sewed up a book yesterday. This one, for the first time in at least a year and a half:

Yeah, it’s one of the premium leather bindings of Communion of Dreams.


For whatever reason, completing those books got mixed up emotionally with completing the writing of St Cybi’s Well. I think I understand it, but I don’t think that I can explain it. Well, I understand it now. At least part of it.

That’s how you solve art, sometimes. And how you walk out of depression: one part at a time, one step at a time.

The writing wants to start again.

In the meantime, I sew books.

Happy New Year.


Jim Downey