Books and other creative works rarely exist in isolation. Older works often inspire authors, their characters, and the stories that surround them. Many authors also quote a poem, mention a song, reproduce a photograph, or include a short passage from another writer. These references can add context and setting, illustrate an idea, or make a book more engaging, but they can also raise copyright and licensing questions.

Do you need permission to quote song lyrics, poetry, or photos in your book? Usually, yes. The main exceptions are works in the public domain, uses that qualify as fair use, and references that name or describe a work in your own words. Because poems and songs are short, even one line can be too much, and the US Copyright Office says no number of words is automatically safe.

You did it: after months, or perhaps even years, of writing, rewriting, and staring at the same pages, you have finished your book. You might even have typed “the end” with a dramatic flourish or, at the very least, let out a satisfied sigh.

You should be proud; finishing a book’s first draft is a major accomplishment. However, it is only the beginning of the publishing process. A book that looks complete to the author can have plot holes, uneven pacing, confusing passages, inconsistent details, or simple spelling and punctuation errors. Because you have spent so much time with your own words, it can be surprisingly difficult to spot those problems yourself.

That is where editing comes in. Professional book editing is an important part of preparing your book for publication. But it is not just a single pass through your manuscript to make sure your i’s are dotted and your t’s are crossed.

Building a few simple tracking habits into your writing process can help you maintain momentum from the first outline through the final draft. The good news is that tracking systems don’t have to be complicated, but they do need to reflect your vision for the book you’re writing. In this guide, we offer practical strategies to help you stay organized and focused throughout the writing process.

First Book Foundations

Tracking word counts and organizing research notes are helpful, but first you need to establish a few basic parameters for your project. Knowing what you’re writing, why you’re writing it, and what you want the finished book to accomplish sets a strong foundation for any decisions you make along the way.

Define Your Core Promise

First, define your book’s core promise. What should readers understand, learn, experience, or be able to do by the time they finish reading?

For nonfiction, this might be a specific problem your book will help readers solve or a question it will answer. For fiction, it could be the central experience or emotional journey you want the story to deliver. Your core promise doesn’t have to appear word-for-word in the finished book, but it should guide your choices throughout the writing process.

Every chapter and section should contribute to your book’s core promise. Even research should point to your book’s overall goals; while some of what you discover may never appear in your manuscript, it should help you better understand the subject or develop the book. If it doesn’t, it may not be worth your time.

Craft Your Elevator Summary

Once you know what your book aims to deliver to a reader, condense that idea into a short paragraph. This “elevator summary” should explain what the book is about, who it’s for, and what makes it worth reading.

Keep this summary somewhere easy to find, and revisit it as the manuscript develops. If the book starts changing direction, update the summary rather than continuing to work from an outdated description. A living summary can help you recognize when the manuscript has evolved, and when a new direction may be taking you too far from the original purpose.

Set a Deadline for Your First Draft

Set a target date for completing the first draft. Make sure that the date you choose is realistic and reflects the amount of work involved. Consider the time you have available to write, the length and complexity of the book, your research requirements, and other responsibilities like work and family.

A single deadline several months away can feel abstract, so break it into smaller milestones. For example, you might set interim deadlines for completing the introduction, each major section, or a certain number of chapters. 

The goal with a first-draft deadline is to create forward momentum, not to produce a perfect manuscript on the first attempt. Leave room for revision. A realistic schedule is one you can keep even when your initial enthusiasm wears off. 

Keep Track of Progress

Once you’ve established your goals and a first draft deadline, create a simple system for measuring progress. You don’t need to track every possible metric. Simply choose a few that give you insight into whether your book is moving forward.

Create a Weekly Writing Target

A weekly writing target gives you something concrete to work toward without requiring you to write every day. Depending on your project and schedule, your target might be a certain number of words, pages, scenes, sections, or hours of writing.

For example, a writer with limited weekday availability might set a goal of 2,500 words per week rather than trying to meet a daily word count. That lets them stay flexible throughout the week, writing when they have time and making up the difference with a longer session on the weekends.

You’ll want to choose a target that is challenging enough to create progress, but realistic enough that you can meet it consistently. If you set the bar too high and repeatedly miss your target, it can be discouraging. Simply adjust the target to something more attainable.

Log Your Time After Each Writing Session

Each time you sit down to write, make a note of your time and what you accomplished. Even a simple note such as “Tuesday: 45 minutes, 600 words” can provide useful information over time.

Tracking your sessions can help you identify patterns in your writing practice. You may discover that you write more efficiently in the morning or that certain types of work take longer than expected. You could also discover that a seemingly ambitious weekly goal is much less intimidating when it’s split into several shorter sessions.

Review Your Progress Every Week

At the end of each week, set aside a few minutes to review your progress. Look at what you’ve completed, what remains unfinished, and whether your current schedule is still realistic. Use this review to plan the following week. If you marked off every item on your to-do list, decide what comes next. If you fell behind, identify what got in your way before you set a new target.

A weekly review not only turns your writing schedule into an ongoing process, but it also gives you a chance to define and redefine your goals each week. That helps ensure that you never sit down to write without knowing your next move.

Keep Track of the Books and Sources

If your book requires substantial research, it’s easy to become overwhelmed by source information. Multiple books, articles, interviews, websites, and other sources can quickly pile up on your desk or in your hard drive.

The key is to create an organizational system before your research becomes more than you can manage. All of your notes and bibliography information should be saved in a single, easily referenced file. Some authors use a spreadsheet. Others keep their notes and sources in a text document, citation manager, or other system.

Start by listing all of the books you use for research. Note the author’s name and any publication information you may need later. This list can become the foundation of your bibliography. It also makes it easier to locate a source when you need to verify the information you’ve already gathered.

Don’t rely on your browser history, scattered notes, or memory to reconstruct your research later. Recording source information as you go is considerably easier than trying to recreate it at the end of the writing process.

Every time you note something that you may cite in your finished book, record the relevant page number right away. If you’re working with a digital source, save the corresponding location or other identifying information. For websites and social media, you might even take a screenshot of the information you’re noting. These pages are far less stable than print media, so build an archive of clipped information that you can reference later.

Organize your notes according to where they are most relevant to your manuscript. You might use chapter numbers, subject tags, or both. This allows you to easily pinpoint key information when you start a new chapter or section of your book.

How Many Books to Read for Research

There is no universal number of books that an author should read before writing a book. Your total research needs will depend on your subject, the complexity of your arguments, and how much original research you are conducting. 

The amount of research you need will also vary by genre and subject. A historical novel, for example, may require extensive source material, while another fiction project may rely primarily on the author’s own creative development.

Start by estimating the minimum number of substantial sources you need for each chapter. Then prioritize sources that directly support the chapter’s subject or your central argument.

Be cautious about adding too many books to your research pile. More sources are not automatically better, and continuing your research when you have all the information you need can simply delay your draft with minimal value added. Once your reading begins to produce fewer and fewer useful insights, it may be time to stop researching and start writing.

Nonfiction Workflow

A nonfiction book particularly benefits from a clear writing process that connects its arguments, evidence, and examples. Tracking these elements as you work can help prevent unsupported claims from appearing in your manuscript and reduce major revisions later.

Outline Argument Arcs for Each Chapter

Before drafting each chapter, identify its central argument, how it fits into your core promise, and the progression of ideas that will support it. Think about where the chapter begins, what you need to establish, and what you want the reader to understand by the end.

The purpose of a chapter outline is to give you a structure to work from so that individual sections don’t begin pulling the chapter in unrelated directions. It doesn’t have to be rigid, but it should help you lay out your chapter in a way that makes sense.

Map Evidence to Each Claim

Presenting clear evidence is an important part of crafting a compelling argument. Start by laying out your claims, then identifying the sources and information that support them. This could include published research, statistics, expert commentary, interviews, historical records, or other primary and secondary sources.

Mapping evidence while you draft makes it easier to spot gaps in your logic. If a significant claim has no supporting evidence, you can address it before the manuscript reaches the final editing stage.

Schedule Interviews for Primary Research

If your book relies on interviews or other primary research, schedule them early enough that they don’t become a bottleneck later in the writing process. Keep track of who you’ve contacted, who has agreed to participate, when interviews are scheduled, and which chapters may use the resulting material.

After each interview, record useful quotations, ideas, and follow-up questions while the conversation is still fresh. Store your interview notes with other sources, noting who you spoke with, when, and their credentials.

Draft Case Studies Early

If case studies are an important part of your book, drafting them early can help you determine whether your broader arguments are clear and whether you have enough evidence to support them. Early case studies can also reveal where additional research or interviews may be necessary before you complete the surrounding chapters.

Verify Facts Before Finalizing Drafts

Build fact-checking into your workflow by verifying statistics, names, dates, quotations, citations, and other important factual details as you work. This helps you avoid the mistake of building whole arguments around unverified information.

Mark anything you still need to verify so that unresolved questions don’t get lost during the revision process. This is particularly important when your manuscript draws from many sources or covers technical, historical, or rapidly changing subjects.

Keep Track of the Book’s Structure

A manuscript can change substantially between the initial outline and the finished draft. Your outline should evolve alongside the manuscript. As you add, remove, combine, or rearrange sections, update your chapter outline rather than continuing to reference the original version.

Give major sections and subsections clear numbers or labels, and briefly state the purpose of each one. A simple description such as “introduces the problem,” “provides historical context,” or “supports the main argument” can help you evaluate whether the section is doing necessary work.

This is especially useful when a manuscript becomes long or complicated.

Keep a running list of structural problems that need to be addressed. You might note that a chapter needs another example, that two sections repeat the same information, or that an argument needs additional support. Address some problems immediately, but collect others for a dedicated revision pass. Separating drafting from certain types of problem-solving can help you maintain momentum.

Use a Book Club to Test Ideas

Early readers can provide useful feedback before your manuscript is finished. If you don’t have access to a formal book club, you can simply engage a small group of readers who represent your intended audience. These early readers help you identify confusing sections, unanswered questions, and ideas that resonate.

Choose readers who are reasonably close to your intended audience. Give them a specific portion of the manuscript to review, such as early chapters. 

Rather than asking readers whether they “liked” a chapter, use specific questions to guide the discussion. Explain what kind of feedback you’re looking for, such as whether the chapter was easy to follow, where their attention dropped, or which ideas they wanted explained further. Ask what they understood, what surprised them, what felt unclear, and what questions remained unanswered. 

Use the same set of questions for each round of readers. This makes responses easier to compare and can help you identify recurring issues.

As you gather your reader feedback, make sure to keep it separate from your own revision decisions. While your readers can be invaluable in identifying problems in the manuscript, only you can decide which changes are best for the overall book.

Tools to Keep Track: Apps and Journals

There are many apps, tools, and approaches to tracking your writing progress, each with its own pros and cons. The good news is that you don’t need specialized software to keep a book on track. You can manage a book writing project effectively with a spreadsheet, word-processing document, project-management app, paper notebook, or dedicated writing software.

Ultimately, the best tracking system is one you will actually use.

Complexity can become another form of procrastination. A simple system that you update consistently is more useful than an elaborate system that you abandon.

Your system should make it easy to see deadlines, writing goals, research tasks, and outstanding revisions. If you use an app to track your writing, choose one primary system rather than moving between several. 

A reading journal is a great corresponding tool that allows you to capture ideas, questions, quotations, and connections you discover while researching. Include the source and location of important information so you can find it again later. Your journal might be paper or digital, but it doesn’t need to be polished. Its whole purpose is to preserve useful thoughts while you’re doing the work.

Back Up All Files to Cloud Storage

Something as simple as a hard drive failure, accidental deletion, coffee spill, or damaged device can quickly wipe out months of work. Always back up your manuscript, bibliography, and research with up-to-date copies stored online or in a secure physical location. 

For especially important projects, you might also consider maintaining more than one form of backup. 

Once a month, export and save a dated copy of your manuscript and major project files. Use clear filenames and dates so older versions are easy to identify. These files create a record of the book’s development while providing a reference point if you decide that a major change isn’t working and you need to return to a previous version.

Recover When Off Track

Even with a good writing system in place, you may fall behind. A missed deadline or unproductive week doesn’t mean the project is finished. It simply may mean that you need to reassess your plan and find a manageable way back into the work. 

Instead of trying to make up for lost time all at once, identify what interrupted your progress and create a manageable way back into the work.

Identify Reasons for Falling Behind

Before you try to get back on track, look at what actually caused the delay. Was the writing target unrealistic? Did research take longer than expected? Did another responsibility take priority? Did you get stuck on a particular chapter?

Answering these questions matters because the solution depends on the problem. If the schedule was unrealistic, adjust it. If you’re stuck on one section, determine what information or decision is preventing you from moving forward.

Prioritize the Next Three High-Impact Tasks

When you get stuck in a project that feels overwhelming, simply make a short list of the three tasks that will move the manuscript forward most significantly. Focus only on three tasks, and avoid filling the list with minor things to do simply because they are easy to complete.

Your goal is to reduce the distance between where the manuscript is now and where it needs to be, and sometimes just getting started will help to move the project forward again.

Set a Micro-Deadline to Restart Writing

It can be tempting to try to simply catch up, piling your missed deadlines on top of your current progress deadlines. Realistically, this rarely works, and it can only lead to more frustration. Instead, choose a small, specific deadline for getting back to work. Decide that you’ll write for 30 minutes tomorrow morning, finish one section by Wednesday, or complete a particular chapter by the end of the week.

Once you’re moving again, you can establish a new sustainable schedule. Keeping a book on track isn’t about maintaining perfect progress. It’s about having a system that makes it easier to notice when you’ve drifted and to find your way back.

Quick Checklist for Custom Book Specs

Before you choose the specs for your book, establish where you will sell your book, what formats you wish to see, and what you want your book to accomplish. Understanding your goals can help narrow your options.

• Identify your intended formats and distribution channels. Not every printer or distribution platform offers every trim size, binding style, or format.
• Decide whether you plan to publish a paperback, hardcover, or both. A paperback may suit a cost-conscious, portable book, while a hardcover can offer a more substantial presentation. Some books benefit from offering both formats.
• Set a target budget per printed copy. Your production choices affect the per-copy cost of your book. Establishing a target cost before selecting specifications can help you avoid creating a book that is expensive to produce relative to its intended retail price.
• Understand the sizes and formats common for your genre. Sizing standards vary by genre and audience. A child’s picture book will naturally be wider and taller than an adult paperback, but even a nonfiction book is often larger than a standard novel.

It’s also helpful to think about how readers will interact with your book. A novel that will be read cover to cover and set back on the shelf has different physical requirements than a cookbook, a photography book, or a workbook readers will return to repeatedly.

Book Trim Sizes and Book Sizes

A book’s trim size is the final height and width of its pages after the printed sheets have been folded, bound, and trimmed. In other words, it is the finished size of a printed book.

There is no single standard book size for every project. Common trade paperback sizes include:

• 5” x 8”
• 5.25” x 8”
• 5.5” x 8.5”
• 6” x 9”

Standard hardcover sizes for a fiction book include:

• 5.5” x 8.5”
• 6” x 9”

Nonfiction hardcover books are often a little larger, approximately 7” x 10”, while educational books and textbooks often come in around 8.5” x 11”.

Children’s picture books commonly include sizes such as:

• 8.5″ x 8.5″
• 8″ x 10″
• 8.5″ x 11″

While your book can be printed in any size, some choices may affect your distribution options. If you plan to use print-on-demand services or a particular retailer, be sure to check their current specifications before choosing the size of your book. Not every platform allows for every print size, and you may want to choose a size available on all of your intended platforms. 

A large trim size generally refers to books larger than common trade formats, although the exact definition can vary by printer and genre. In some cases, it includes any book wider than 6” and taller than 9”. However, for some genres, such as nonfiction and children’s literature, this may be on the smaller end of typical trim sizes.

Beyond printing considerations, standard-sized books may also be more likely to get space on a retailer’s shelves, since they fit established shelving and reader expectations. 

How Trim Size Affects Page Count

Trim size has a direct effect on the number of pages your finished book will have. Smaller pages hold less text, which generally increases the total page count. A larger trim size provides more space per page, which can reduce the overall page count.

For example, a manuscript formatted at 5” x 8” will generally require more pages than the same manuscript printed at 6” x 9”, assuming the same type size, font, margins, and other formatting choices apply.

Page count can impact the cost to produce each book as well as the width of the spine. Long books printed in small size may be uncomfortably thick for a reader to hold, while a shorter book printed with a large trim size may feel insubstantial. That makes balance key to finding the right trim size and page count.

No matter what size you decide on, you’ll want to finalize your trim size before formatting your manuscript. Changing the trim size after the interior has been designed can interrupt the flow of text, change the page count, move images and other elements, and ultimately require a complete reformat or review. 

Large Trim Sizes and Cost Implications

While large trim sizes make sense for many books, choosing a larger trim size can impact production costs. Larger books may cost more per copy to produce, though they can sometimes command a higher retail price.

For text-based books, increasing the trim size will usually decrease the total page count, as each page allows more space for text. For image-based books with a predetermined number of pages, changing the trim size may not change the total number.

The following table illustrates how trim size and page count can affect estimated per-unit printing costs, using figures from IngramSpark’s Print and Ship calculator:

Because the total page count of the text-based book varies, the per-book printing price actually goes down for larger sizes. This is commonly the trade-off between trim size and page count, although it is not always guaranteed. For a book with a set page count, the largest trim size significantly increases the per-unit cost.

However, that higher price may be worth it for a book where presentation and visual space matter. Art books, photography books, cookbooks, illustrated nonfiction, and other image-heavy projects benefit from a larger format, even when it costs more to produce.

Consider how the finished dimensions will affect the reader’s experience, retail price, shipping, and distribution options. Page count and price per book are only the starting point.

Paper Stock and Image Printing

Paper is another physical specification that strongly affects a finished book’s appearance and feel. Printers may offer different paper stocks, weights, colors, and finishes depending on the book format and printing process.

Uncoated paper is commonly used for text-heavy books. It provides a traditional reading experience and is generally comfortable to read. 

Coated paper has a smoother surface. It can reproduce photographs and other detailed images effectively. It is also slightly more resistant to handling and incidental moisture, making it a good choice for cookbooks and reference books. However, coated paper availability may vary by printing process and book format.

Paper weight and opacity also matter. Heavier stock can give a book a more substantial feel, while lighter stock can help keep the book thinner and easier to handle. Lighter pages are common with novels and other books well served by portability. Heavier weights do well for reference books or visual books that are often displayed in one place.

Opacity matters most when selecting paper for books with substantial amounts of text or imagery. More opaque paper reduces the likelihood that those words and images show through from the opposite side of the page.

Request samples whenever possible, looking at both the paper stock and a finished example using your desired paper. This is especially important for photography and other image-heavy books, where the paper and printing techniques can impact the quality of your photographs.

Image Printing for Photo-Heavy Books

If your book features a number of images, choose your paper and printing processes with them in mind. Photographs generally benefit from full-color printing and paper stock that reproduces detail, contrast, and color accurately.

Luster or semi-gloss paper is a popular choice for photography books. Also prepare your images at the resolution your printer recommends. 300 PPI is a common target for photographs and other raster images, but always follow your specific printer’s file requirements.

You should also request a physical proof, allowing you to examine some or all of your printed pages before finalizing your book. A digital image can look substantially different when printed on paper, making it essential to see a representation of the final book in person.

Binding Style and Binding Styles Explained

A book’s binding is how its pages are assembled into the finished book. The appropriate binding method depends on the book’s format, page count, intended use, and production budget.

Perfect binding is a common paperback binding method in which individual pages are gathered together and attached directly to the cover with a flexible adhesive. It produces a clean, smooth spine and is the industry standard for novels, memoirs, and other paperback books as well as many magazines, catalogs, and manuals. The minimum page count for perfect-bound books is often around 24 pages, though requirements may vary by printer.

Smyth sewn binding stitches sections of pages together before assembling the book. This traditional book construction method often offers better durability and flexibility than adhesive-only methods. It can also allow a book to open more comfortably. Sewn binding is often recommended for books that will be used frequently or for long periods.

The binding method you choose can impact the width of your book’s spine. Spine width also depends on factors such as page count and paper thickness. Calculate the final spine measurement using the printer’s specifications, not trim size alone.

When choosing your binding style, consider how the reader will use your book. A perfect-bound paperback may be perfect for a novel intended for casual reading, while a durable sewn binding may be better for a reference book, journal, or other text that will be handled often.

Custom Book Binding Options

Additional binding and cover options, such as a dust jacket or custom end sheets, can transform a hardcover book’s appearance.

A dust jacket adds a separate printed cover around the hard cover. It not only protects the bound book, but also adds additional space for the book’s title, author information, description, and artwork.

End sheets are the sheets of paper that connect the book’s interior pages to its cover. End sheets can be available in different paper weights and colors, allowing authors one more design choice that complements the book’s overall presentation.

It’s important to note that not all printers offer the same customization options. Print-on-demand options, for example, may be limited. If you want a particular end sheet color, paper weight, dust jacket, or other feature, confirm that it is available for your selected binding and distribution method before you design your book around it. 

Custom Book Cover Finishes and Cover Finish Choices

Your book’s cover is the first thing most readers encounter, so its finish can noticeably affect the book’s appearance and feel. 

Gloss film lamination creates a smooth, shiny surface that can make colors and images appear bright and saturated. It can also help to protect the book’s cover and contents from moisture and repeated handling.

Matte finish has a less reflective surface, producing a softer, more understated appearance. Matte covers can be easier to view under bright lighting because they produce less glare. 

Soft-touch finish adds a smooth, velvety feel to a book’s cover. It can create a distinctive experience for the reader, though availability and cost vary by printer.

When choosing your cover finish, consider your book’s genre, artwork, intended audience, and budget, as well as the available options from your printer. Request samples whenever possible so that you can evaluate the actual finished effect rather than solely relying on a digital proof.

Preparing Files for Printing: Book Trim Size and Formats

Once you’ve decided on your book’s physical specifications, you can prepare your interior and cover files for production. Requirements vary by printer, so always consult your chosen printer’s requirements before you start.

Start by setting the document’s page size to the final trim size of the book. Do not simply format your manuscript on standard letter-size pages and expect your printer to resize it automatically.

If artwork or other elements extend to the edge of the finished page, you’ll need to add bleed according to your printer’s specifications. Bleed creates extra image or background area beyond the trim line so small shifts during cutting don’t leave unwanted white edges.

Always finalize your interior before starting on your cover, as your final page count and paper selection will impact your spine width and cover size. Use your printer’s specifications to calculate the final cover size, including the back cover, spine, and front cover.

Before exporting your final PDF, make sure fonts are embedded and that all images meet the printer’s required resolution and color specifications. Some printing workflows require or recommend CMYK color for images, while others handle color conversion as part of the production process. Follow the specific requirements of the printer or platform you are using rather than applying a universal color setting. 

Choosing Specs for Nonfiction

Nonfiction includes many types of books, so the ideal physical specifications depend on the content and use.

Narrative nonfiction, such as memoirs, biographies, essays, and other primarily text-based books, often works well in compact, traditional book sizes like those for novels. A smaller format can create a comfortable reading experience while keeping the book relatively portable.

Illustrative nonfiction may benefit from a larger trim size. Books containing artwork, photographs, diagrams, charts, maps, or other visual material need enough page space for those elements to be visually effective and, in many cases, legible.

For books that combine elements of narrative and illustrative nonfiction, you’ll want to consider the relationship between the two. A larger page may allow more room for an important image, but it will also change how the text sits on the page. 

The best nonfiction specifications balance presenting the content well with supporting how readers are expected to use the book.

Testing, Proofing, and Quality Checks

When possible, always order a physical proof copy of a book before approving a final print run. A physical book can look and feel very different from an image on a screen, so evaluate the actual book rather than relying on a digital PDF proof.

Once you have your book in hand, thoroughly examine it to make sure that it meets your expectations and quality standards:

• Check the interior. Read and review multiple interior pages. Look for issues with the margins, page breaks, image quality, color reproduction, text alignment, and any elements that appear too close to the trim edge.
• Examine the binding. Make sure that the pages are securely attached, that the cover and spine are aligned correctly, and that the book opens as expected for its binding style.
• Inspect the cover. Consider the cover finish and lamination. Look for scratches, bubbles, uneven application, unexpected glare, or other production issues.

A proof is more than a box to check before you send your book to print. It’s an opportunity to ensure your book’s quality, catching and correcting problems before they reach your readers.

Final Checklist Before Upload

Before submitting your files for printing or distribution, take the time to review your specifications one more time.

Below is a final checklist before uploading your files:

• Confirm that the book trim size matches the requirements of your chosen printer or distribution platform.
• Verify that your selected binding style is available and compatible with your intended format.
• Finalize your paper choices, including weight, color, and any relevant opacity or finish considerations.
• Finalize your cover finish decision, such as gloss, matte, or soft-touch lamination.
• Confirm the final page count and use it to verify the spine width.
• Check that the interior and cover files include the required bleed and margins.
• Confirm that fonts are embedded and images meet the printer’s resolution and color requirements.
• Order and review a physical proof copy before approving a larger print run.
• Estimate the final printing cost per copy and make sure it works with your planned retail price and margins.

Choosing the physical specifications of your book early makes the rest of the production process much easier. When you select trim size, paper, binding, and cover treatments with the book’s content and intended use in mind, the final product is more likely to look intentional, feel appropriate in the reader’s hands, and fit the realities of your publishing budget.

Typically placed directly after the title page, a copyright page may include:

• Copyright notice
• Publisher or imprint information
• ISBN for published formats
• Legal notices, permissions, and credits
• Cataloging information
• Author information
• Edition and printing details

Traditionally published books often contain all of these details and more. Independent authors may include some or all of them, depending on how their book is published and the information they want to provide.

No matter what you include or leave out, the key is to keep your copyright page compact, clear, and professional. In this article, we explore the common elements of a book’s copyright page to help you decide what to include in your self-published book.

Copyright Page Basics

The primary purpose of a copyright page is to communicate ownership over a book’s contents. It also provides a convenient location for key publication and bibliographic information.

At a minimum, most copyright pages include a copyright notice, edition information (if applicable), and a list of ISBNs (International Standard Book Numbers) for each published format. 

Copyright Notice

A copyright notice identifies the book’s copyright holder and its original publication year. A standard copyright notice contains three elements:. 

1. The word “Copyright” or the copyright symbol (©). The abbreviation “Copr.” may also be used.
2. The original year of publication. If your book has gone through multiple revisions or editions, you may wish to include multiple years.
3. The name of the copyright holder. Depending on your publishing arrangement, this may be you, your publisher, or another entity.

For example: © 2026 Anna B. Author

Although a copyright notice is not required for protection in the United States, including one explicitly asserts those rights and identifies the person or entity to whom they belong.

Many authors also include a rights statement following the copyright notice. This may be as simple as “All rights reserved.” Others use a longer statement that outlines restrictions and provides a way to request permission.

For example: No portion of this book may be reproduced or transmitted in any form without prior written permission of the publisher, except as allowed by U.S. copyright law and fair use. For permission requests, contact the publisher.

If you use a similar statement, it is recommended that you also provide contact information for yourself or your publisher.

Copyright Symbol

The copyright symbol is generally represented by a small letter C enclosed in a circle. Many word processing programs allow you to insert this symbol through a symbol or special characters menu.

If the official copyright symbol is not available, you can also substitute a capital letter C encapsulated in parentheses: (C). Many word processing programs will also automatically convert this combination into the standard copyright symbol.

Pen Name

If you choose to write under a pen name, your copyright page may list your chosen author name. 

However,  if you need to legally register the copyright for your book, it is often recommended that you do so under your legal name. Authors should follow the US Copyright Office’s requirements for a book published under a pseudonym.

In any case, your copyright page should represent your author name as required by your publishing arrangement and how you want to identify yourself as an author.

Legal Notices, Permissions, and Credits

Depending on the type of book and its contents, the copyright page may include legal disclaimers, permissions information, contributor credits, and trademark notices.

For many books, a disclaimer can help clarify the nature and intended use of the book and its contents. The type of disclaimer you use will largely depend on the type of book you have written.

In fiction, it is common for authors to note that characters, places, and events are a result of the author’s imagination and that any resemblance to real people, places, and situations is purely coincidental. Historical fiction may require additional clarification, especially when it includes real historical figures, places, and events. Authors may explain that, while real people or situations may appear in the book, their portrayal has been fictionalized.

For nonfiction, many authors note that a book’s content is based on the author’s own experiences or research and is intended for informational or entertainment purposes only. Memoirs and other personal works may also explain that names, identifying details, and timelines may have been compressed or changed for privacy, clarity, or storytelling purposes.

The copyright page can also be a key place to acknowledge additional authors, copyright holders, and contributors to the publication.

If your book includes quotes, passages, or characters trademarked by another entity, you may need permission to use that material. Many authors also note those permissions on the copyright page to indicate that those elements were used with permission and to credit the copyright holders appropriately.

It’s also common to credit contributors such as designers and illustrators on the copyright page, as well as to add trademark notices where applicable. Trademark notices should identify all registered and pending trademarks, including both those belonging to the author and those registered to someone else. 

Library Of Congress Control Number (Congress Control Number)

A Library of Congress Control Number (LCCN) is a unique identifier assigned to a publication when a catalog record is created by the Library of Congress. Unlike an ISBN, an LCCN does not vary by book format; instead, a single number references the work as a whole. 

An LCCN isn’t required to publish a book, so many indie authors choose not to obtain one. However, an LCCN is free, and eligible authors can apply for it through the Pre-Assigned Control Number program. 

Most of the time, you must request an LCCN before publication. After publication, a book may only receive an LCCN if it is independently selected by the Library of Congress for acquisition and inclusion in its collection.

Cataloging Data Block (CIP / Data Block)

A cataloging data block, also known as a “Cataloging-in-Publication” or CIP data block, is a standardized set of information to help librarians, booksellers, and wholesalers classify and catalog the book. A CIP data block is typically issued by the Library of Congress or another national library.

If you receive an official CIP data block, it should be entered into the copyright page exactly as it is issued.

A standard CIP data block includes:

• Author information: The primary author’s name (formatted as last name, first name), often followed by their birth year.
• Title and publisher: The book’s full primary title, subtitle, and publisher information.
• Identifiers: ISBN, LCCN, and other unique identifiers if applicable.
• Subjects: A standardized subject heading to describe the book’s topic.
• Classification numbers: Dewey decimal and other library classification information.

These details may not be critical to most readers, but librarians, wholesalers, and book retailers use them to quickly assess and categorize books within their collections. Including this information can also help authors get their books onto shelves faster, as booksellers and librarians don’t have to spend hours gathering those details.

P-CIP data blocks mimic the data blocks issued by the Library of Congress but come from independent vendors rather than a national library.

Archives Canada

Library and Archives Canada (LAC) is the national library of Canada. It collects and catalogs materials created and made publicly available in Canada.

Publishers, including self-published authors publishing in Canada, may be legally required to deposit any new works to the Archives Canada collection. That includes a copy of any physical books, serials (such as magazines and journals), audiobooks, and ebooks.

Self-published authors and publishers outside of Canada may also submit their work for the collection, but are not generally subject to Canada’s legal deposit requirements.

Because submission to LAC typically happens after publication, LAC information is not generally a standard element of the copyright page. If you wish to note that your book was or will be deposited to LAC, you can use the ISBN as the identifier.

Edition Information and Printing Details

Many books, especially nonfiction books, are periodically updated and re-released as new editions. Including edition information on the copyright page helps readers, booksellers, and libraries distinguish one version of the book from the other.

Many authors do not include detailed edition information for a book’s first printing. However, you may want to include that information in subsequent printings. Simply state the edition number and the publication year.

For example: Second edition, 2027.

Some authors also choose to include the month, especially if two or more editions are released in the same year. 

A printer’s key, or number line, may also identify a particular printing. If your publisher uses one, include it on the copyright page as appropriate.

It’s also helpful to note the country where the book was printed. 

For example: Printed in the United States of America.

ISBNs and Ordering Information

An ISBN, or International Standard Book Number, is a unique identifier that lets librarians and booksellers purchase, organize, and manage books by title and format. 

An ISBN is assigned at the product level, so different formats and editions of a book typically have separate ISBNs.

Many authors choose to list each ISBN on the copyright page. Each ISBN should be noted alongside its format, such as:

ISBN: 978-00-00000-00-0 (Hardcover)

ISBN: 978-00-00000-00-0 (Paperback)

ISBN: 978-00-00000-00-0 (2nd Edition Hardcover)

Listing ISBNs in this way lets readers, booksellers, and librarians know that the book is available in other formats. 

If you expect to sell your book in bulk or to classrooms, you may want to also consider including ordering information or a contact method on the copyright page.

Publisher, Imprint, and Noble Press Example

The publisher or imprint identifies the entity responsible for producing and distributing a book. Displaying this information on the copyright page also gives readers and booksellers a clear point of reference for the publication.

The publisher’s name should be clearly displayed along with a contact address or other relevant information when available. For example:

Noble Press

320 Water St., Box 700

Conneaut Lake, Pennsylvania 16316

www.noble-press-publishing.com

Author Website and Contact

As authors become increasingly connected to their audiences through multiple channels, it is common to include the author’s website and contact information on a book’s copyright page.

Many authors will list their website URL, allowing readers, librarians, and booksellers to easily learn more about them and their work. 

Authors should only include a professional email address if they personally accept inquiries related to the book’s copyright.

Copyright Page Templates

Copyright pages vary widely in complexity. Traditionally-published or multi-contributor works may fill an entire page with relevant information, while some self-published works contain little more than a copyright notice and basic publication details.

There is no single format that works for every book. The following examples show how commonly used copyright page elements can be arranged. Your copyright page may require different information depending on your book, publisher, and distribution strategies.

Simple Self-Published Copyright Page Template

© 2026 Anna B. Author. All rights reserved.

Printed in the United States of America.

ISBN: 978-00-00000-00-0 (Hardcover)

ISBN: 978-00-00000-00-0 (Paperback)

First printing, 2026.

Noble Press

Conneaut Lake, PA 16316

Traditionally-Published Copyright Page Template

© 2026 Anna B. Author. 

All rights reserved. No portion of this book may be reproduced or transmitted in any form without prior written permission of the publisher, except as allowed by U.S. copyright law and fair use. For permission requests, contact the publisher at the address below.

Printed in the United States of America.

ISBN: 978-00-00000-00-0 (Hardcover)

ISBN: 978-00-00000-00-0 (Paperback)

Library of Congress Control Number: 000000000000

This book is a work of fiction. All characters, places, and events are the product of the author’s imagination. Any resemblance to actual people (living or dead), events, or places is purely coincidental.

Book design by Book D. Signer

Front cover art by Patty J. Artist

First printing, 2026.

Noble Press

320 Water St., Box 700

Conneaut Lake, Pennsylvania 16316

www.noble-press-publishing.com

Final Checks Before Printing

Before printing your book, make sure that you do a final check of your copyright page to make sure all information is included and accurate.

Carefully review all names, ISBNs, edition information, publishing details, cataloging numbers, and dates. Confirm that all permissions and credits have been documented, and verify that all information matches the details on your registration records.

Taking the time to verify these details not only helps librarians and booksellers locate and categorize your work, but also builds confidence in your self-published book by presenting a professional image that elevates your author profile.

While BISAC codes may not mean much to the average reader, they do play an important role in helping those readers discover your book. The right BISAC codes can help retailers and booksellers understand where your book belongs, position it among similar titles, and help interested readers find it.

BISAC codes are only one part of your book’s metadata, however. Your subject categories, keywords, and other details work together to describe your book and help it reach its intended audience.

In this guide, we’ll break down what BISAC codes are, how they impact your book’s discoverability, and how to make sure your metadata accurately represents your book and reaches your intended readers.

Quick Overview of BISAC Codes and Subject Matter

A BISAC code is a nine-character alphanumeric identifier that publishers, librarians, and booksellers use to categorize and organize books by subject. The codes are developed and managed by the Book Industry Study Group (BISG).

Having the right BISAC codes attached to your book is important for placing your book in the right category on a retailer’s shelves or website. Because BISAC codes describe a book’s subject matter, they give librarians and booksellers a standardized way to understand what a book is about and, in some cases, who the intended audience may be.

Some books covering multiple subjects have more than one BISAC code. However, BISG best practices suggest using no more than three codes per book. Many books can be accurately represented with a single, highly specific subject code.

BISAC codes are updated annually. The BISG reviews the existing codes each fall, updating existing subjects and adding new ones as needed. Authors should periodically review current BISAC guidelines and their book’s metadata to ensure that their book is still correctly categorized for new readers and booksellers.

Start Here: Use the BISAC Subject Heading List on the BISG Website

BISAC codes are not automatically assigned to a book. Instead, the author or publisher selects the subjects that best represent the book. There is no fee to use BISAC codes, and no special permissions are required. The current BISAC subject heading list is available through the BISG website.

To find the right BISAC codes for your book, start by reviewing the BISAC subject heading list. Subjects are organized by broad categories and then divided into increasingly specific topics. This structure allows you to move from a general subject to a more precise description of your book.

The more specific and accurate your BISAC codes are, the more clearly they communicate your book’s subject to potential readers and booksellers. For example, a book about nature could potentially fall into a broad “nature” category, while a book about desert ecosystems could use the BISAC code NAT045010 (Nature / Ecosystems & Habitats / Deserts). The book is still about nature, but that more specific code distinguishes it from books about fossils, caves, or wildlife. 

As you review the list, look for the subject headings that most closely match your book. Pay attention to new BISAC codes, which may be marked with an asterisk or other indicator. New codes may not yet be fully integrated into the wider publishing network, so authors may want to pair a newer, highly specific code with a more established subject when appropriate.

Identify Your Book’s Core Subject Matter and Target Audience

Before looking through BISAC codes, take some time to identify exactly what your book is about. 

Make a list of your book’s primary topics, themes, genres, and subjects. Then consider who is most likely to read the book and what those readers are looking for.

Setting, genre, content, and intended audience all matter in choosing a BISAC code. For example, a mystery novel set in a restaurant kitchen could potentially be categorized in different ways depending on its focus and writing style. A matter-of-fact police procedural (FIC022020) will fall under a different subject than a cozy culinary mystery (FIC022130) or a fun detective story written for juvenile audiences (JUV028000).

Once you’veidentified your book’s major themes and audience, you can compare those characteristics with the BISAC subject heading list. This gives you a starting point to identify the codes that best describe your book.

Two-Step Selection Process for Subject Codes

To choose your subject codes, start with the highest-level category that applies to your book, such as Fiction or Travel. Keep in mind that fiction is divided into categories by audience age level, including general fiction, juvenile fiction, and young adult fiction. 

After you select a category, look through the specific subject codes available within it. Most BISAC codes feature multiple levels of specificity, allowing you to easily move from a broad subject to a more precise one.

Create a short list of three to five potential subject codes. Rank your list by how well each option represents your book and your target audience.

BISG recommends having no more than three codes per book. In many cases, one well-chosen code is enough.

Drill Deeper: Choose the Most Specific BISAC Codes

When selecting BISAC codes for your book, it’s important to be as specific as possible. If a general category and a more precise subject both apply to your book, the specific category will usually provide a clearer description of the book’s subject.

Specificity can also help you reach niche audiences. A reader searching for a particular subject is more likely to benefit from a specific subject code than a general category that encompasses many unrelated books.

Fiction books should always begin with the BISAC fiction categories, while nonfiction books should use the relevant nonfiction subject categories. While books can have more than one BISAC code, do not mix fiction and non-fiction codes for the same book. Keeping the codes consistent with the book’s format and content helps prevent confusion about where the book belongs.

Picking the Primary BISAC Code and Ordering Subject Codes

If your book has more than one BISAC code, you’ll need to designate one as the primary subject code. 

Your primary BISAC code should be the one that most represents your book’s central subject or genre and is most relevant to your intended audience. This is particularly important as some retailers use only the first BISAC code to determine a book’s placement.

Any remaining codes should be ordered by secondary importance. The goal is to give retailers, booksellers, and readers a clear picture of what your book is about rather than attempting to capture every possible topic mentioned in its pages.

When to Use Non-Classifiable or General Subjects

While most books can be assigned to a specific BISAC subject code, there are some instances in which a title may require a non-classifiable or general subject code. 

Blank books, for example, may use the code NON000000: NON-CLASSIFIABLE.

For books that contain substantive content, however, a specific subject should generally be used when available. A non-fiction book about all kinds of pets, for example, may be classified as PET000000 (PETS / General) if none of the specific subcategories, such as dogs, cats, horses, or amphibians, accurately capture the broad scope of the book.

The key is accuracy. Don’t use a general code just because a specific subject requires more research.

Keywords, Amazon Categories, and Metadata Interaction

BISAC codes and keywords both help with the discoverability of your book, but they serve different purposes.

While BISAC codes help retailers and librarians understand where to place your book, keywords help to ensure that readers can find it through online searches. Your BISAC subjects do not necessarily need to appear verbatim in your keyword list, although they can be useful keyword terms. 

For example, an appropriate BISAC code for a young adult fantasy novel might be YAF019020 (YOUNG ADULT FICTION / Fantasy / Dark Fantasy). “Dark fantasy” could also be an important keyword to include in your book’s metadata, as it describes the type of story a reader might actively search for.

The most important thing is that your metadata is cohesive, with each element working as a separate signal pointing to the same place. When your keywords and BISAC subjects accurately reflect the same book, they reinforce the overall presentation and placement of your title. 

When preparing a book listing for Amazon and other online retailers, enter the primary BISAC code first in the appropriate metadata fields, followed by secondary subject codes and any relevant keywords as required by the platform.

New Codes and Requesting Changes Via the BISG Website

BISG reviews current and requested codes each fall, issuing an updated list of BISAC codes for ongoing use.

If your book covers a subject that does not appear in the current BISAC list, you can review BISG’s process for requesting a new subject. BISG does not typically create a new code for a single title. It is more likely to add a code when there is enough evidence to represent a broader need. 

If you request a new code, it’s helpful to provide broad examples that clearly demonstrate the need across multiple books or publishing contexts. Because the codes are updated annually, it’s also helpful to check the BISG periodically for updates rather than relying indefinitely on an older list.

Consistency Across Formats and Distribution

Because BISAC codes reflect the subject matter of your book rather than a specific format or edition, it’s important to use consistent subject codes across all retailers, formats, and editions. 

Before publishing, verify that the BISAC information in your distributor and retailer listings matches the metadata you selected. If you decide to change your subject codes later, make sure you update all listings, including distributor records.

Consistent metadata makes it easier for retailers and distributors to accurately represent your book across different formats.

Monitor Performance and Test Adjustments

BISAC codes are an important part of a book’s discoverability, but they’re not necessarily permanent.

As you monitor your book’s sales and discoverability, you may find that one subject description more accurately reflects how readers are finding and engaging with your book than another. New BISAC codes may also provide a more specific way to describe your book and connect with its target audience. Reviewing your metadata periodically can help you identify opportunities for improvement. 

Authors should review their sales and discoverability data on a regular basis, such as quarterly. If a book appears to be underperforming in its current subject area, consider whether an alternate BISAC code better represents its contents and audience.

You’ll want to make changes carefully, however. Metadata should change only when necessary, not in response to short-term fluctuations. If you test a different subject code, give the change enough time to produce meaningful information before you make any other adjustments. 

Common Mistakes to Avoid with Subject Codes

Some of the most common mistakes authors make with subject codes include:

• Choosing a general category when a more appropriate specific category exists.
• Mixing adult and juvenile age brackets, which confuses the intended audience.
• Including conflicting fiction and nonfiction codes on the same book. 
• Choosing subject codes based on a minor element of the book rather than its primary subject or genre.
• Overloading keywords with repeated BISAC labels instead of using related terms.
• Using different BISAC information across distributors and retailer listings.

The key is to keep your BISAC codes simple, accurate, and consistent. Your metadata does not need to describe every detail of your book. It simply needs to give readers and the publishing ecosystem an accurate picture of what the book is and who it’s for.

Practical Examples and Mini Case Studies

The best way to understand BISAC codes is to see how they work in practice. Consider these examples:

Example 1: A Biography

Imagine you have written a biography of a well-known American jazz musician. The book covers the musician’s childhood, career, recordings, major performances, and influence on American music.

For a book focused primarily on the musician’s life and career, BIO004000 (Biography & Autobiography / Music) could be an appropriate primary BISAC code. BISG also provides other biography subjects, such as BIO005000 (Biography & Autobiography / Entertainment & Performing Arts) that may be appropriate depending on the person and the focus of the book.

The important consideration is the book’s primary focus. If the book is fundamentally a biography of the musician, a biography subject should take priority over a general music category. If the book instead examines the development of jazz as a genre and uses the musician primarily as a case study, a music subject may be more appropriate.

The BISAC code should describe what the book fundamentally is, not simply one topic that appears in it.

Example 2: A Mystery Novel

Now imagine a mystery novel about a pastry chef who discovers a body in the kitchen of a small-town bakery.

The book’s setting includes food and cooking, but its primary genre is mystery. If the novel has the characteristics of a cozy culinary mystery, FIC022130 (Fiction / Mystery & Detective / Cozy / Culinary) could be an appropriate subject code. If the story is instead a more traditional mystery, police procedural, or another type of mystery, a different code within the Mystery & Detective category may be more accurate.

The protagonist being a pastry chef does not automatically make the book a cooking title. Its primary BISAC code should reflect the book’s actual genre and subject, while details such as the bakery setting or culinary themes can be reinforced through keywords and other metadata.

This is a good example of why choosing a BISAC code requires looking at the whole book rather than simply choosing the most frequent subject.

Example 3: How Keywords Can Change Discoverability

Consider a young adult novel about a teenager who discovers that the abandoned amusement park in her town is haunted.

The book’s BISAC subject might identify it as young adult supernatural fiction using code YAF045000 (Young Adult Fiction / Paranormal, Occult & Supernatural). While this code accurately groups the title with other YA paranormal books, it doesn’t give any more insight into its contents.

Keywords can capture a book’s more distinctive elements, helping to distinguish it from others in the same category. They also give readers additional ways to find your book through online searches. “Haunted amusement park,” “teen ghost story,” or “abandoned amusement park” give your book a better chance of appearing when readers search for those specific topics.

The goal isn’t to fill the metadata with every possible search term, but to provide additional language that connects the book with the ways its intended readers might describe or search for it.

Metadata Entry Checklist Before Publishing

When you’re ready to publish your book, make BISAC codes part of your publishing checklist. Take the time not only to choose the metadata that best represents your title, but also to review it before publication. You’ll want to catch any errors and inconsistencies before your book reaches retailers and distributors.

Before submitting your metadata, make sure that:

• Your primary subject code is listed first in where required.
• Secondary codes are listed in order of importance.
• Your subject codes accurately reflect your book’s subject or genre.
• You’ve chosen the most specific subject codes available rather than a general category.
• Your codes are correctly classified as fiction or nonfiction.
• Your codes reflect the intended audience by age.
• Your keywords complement your BISAC subjects rather than repeating them.
• All metadata is consistent across retailers, platforms, and formats.

After publication, take a moment to check your book’s retailer listings as well. Confirm that the information appears as expected and that the categories assigned by individual retailers accurately reflect your chosen metadata.

It’s also important to also note that metadata isn’t something to set and forget about. As your book moves through the publishing process, check your listings regularly to help prevent small metadata issues from becoming bigger discoverability problems.

Final Resources and Next Steps

Choosing BISAC codes doesn’t have to be complicated. Start with the official BISAC heading list published by the Book Industry Study Group (BISG) and use it to identify the subjects that most accurately describe your book.

Once you’ve selected your codes, keep a record of them along with your other publishing metadata. Documenting your primary and secondary BISAC subjects can make future updates much easier, especially if you publish your book in multiple formats and editions. It can also help you compare your original data with the updated subject codes released by BISG each year.

It’s also worth making metadata review part of your regular publishing routine. Schedule an annual check-in to review the current BISAC subject list, confirm that your selected codes and keywords still accurately describe your book, and make sure your metadata remains consistent across your distribution channels.

Your BISAC codes and keywords may not be something readers notice when they pick up your book, but they are an important part of the information that helps the publishing industry understand where your book belongs. Taking the time to choose them thoughtfully can help connect your book with readers looking for it.