A “To God” List


Yesterday in our Sunday school class we were talking about the true meaning of the Sabbath. Some people believe the Sabbath is obsolete because it was part of the law. But Jesus kept the Sabbath, and never said we shouldn’t. He often said, however, that the Sabbath was made for man, and not man for the Sabbath. He also said the Jewish leaders burdened people with wrong ideas about the Sabbath. They condemned Jesus for healing on the Sabbath, but He quite rightly pointed out that they would not hesitate to water and feed their livestock or pull them out of pits on the Sabbath. To these Jewish leaders, their Sabbath rules were a means to control people.


Sometimes we think God is trying to control us. Many people say that is why they reject Jesus Christ and salvation, because they see it as a loss of freedom. They will be burdened with a heavy list of rules to follow, a life filled with “don’ts” that will make them miserable.

I want to share the whole 58th chapter of Isaiah because it is so fantastic on the subject of real reasons to do real things for God. But I’ll just share verses 13 and 14 and stick with the Sabbath discussion. God had a very different view of the Sabbath from the Pharisees and Sadducees, I think.


“If because of the Sabbath, you turn your foot from doing your own pleasure on My holy day, and call the Sabbath a delight, the holy day of the Lord honorable, and honor it, desisting from your own ways, from seeking your own pleasure and speaking your own word, then you will take delight in the Lord, and I will make you ride on the heights of the earth; and I will feed you with the heritage of Jacob your father, for the mouth of the Lord has spoken.” (NASB)


Yes, we have to turn away from our own pleasure. But look! We can call the Sabbath a delight. People are fond of “name it, claim it” theology and visualization. This is a place where it works. Call the Sabbath a delight and it will be. You will also get to take delight in the Lord. Imagine how it would feel to “ride on the heights!”


What is the heritage of Jacob? Maybe he’s not our father, if we are not literal children of Israel, but God gave Jacob, who was a most imperfect man, as are we all, huge blessings. Salvation is by grace, and was even for Jacob, and salvation puts us into God’s family. In Christ we can claim God’s blessings. God wants to feed us, and send us soaring like that daddy who swings his little one up in the air and makes him scream with joy.


So instead of grumbling about all God is going to make us do, why don’t we make a change in our thinking? That’s all God really wanted us to do, with all the laws and regulations and commandments. Love God, love your neighbor. Jesus said these fulfill the commandments. It’s not a burden. It’s a delight.

Some people make “To Do” lists. What if we made a “To God” list, committing our day to God and seeking just to delight in Him, to honor Him, and see if we can’t get that ride to the height, and that feeding from His bounty?


What would your “To God” list look like? We’d love to have you share it with us.

All images Public Domain from Pixabay


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The Basics of EBook Cover Design — post by Mary C. Findley

talisman cover

(Pictured above is one example of an ebook cover I made as a sample of my work. It incorporates many of the elements covered in this post. Can you spot the layering, use of vectors, and making the font complement the genre-specifics of the cover?)

This post may get a little involved and technical, but I hope it will help struggling authors who are trying to make their own ebook covers. I posted about print book covers in the previous post, and you can refer to that too. This post will help you even if you are making a print cover first, from scratch. Some authors pay a designer to make the ebook version and then create the print book cover themselves. Either way you do it, these two posts together will hopefully give you some help.

I will say that there are many photo manipulation programs, from costly to free in price and from relatively simple to difficult in use. I won’t say any are easy, and I will say that there can be a big learning curve because of all the features and variations some programs have. The different interfaces can be easier or harder to cope with.

I use PhotoImpact, formerly made by Ulead, now sold by Corel, and have for many years. It is comparatively inexpensive and can be purchased here: http://www.paintshoppro.com/en/products/photoimpact/  I had a Photoshop Lite version before that, and I think the features are in many ways similar. Both are feature-rich, meaning they have many tools and many options for designing, tweaking, and creating. I also know that even experienced professional designers mostly only use a fraction of the features a program has available. Familiar tools that do the job become old friends. Trying new things can be time-consuming and difficult. The last thing a designer wants to do is spend tons of time on a single cover, particularly if he is also a writer responsible for producing the story that fits that cover.

I don’t know what program people will choose to use so I am going to try to make my references to tools, menus, etc., within the program as generic as I can. As I said, my reference is PhotoImpact so bear with me if not everything specifically applies to, or is easy to find an equivalent of, in your program. My purpose is not to teach photo manipulation. That takes a long time to learn to do well. I just hope to be able to make it possible for some people to expand their do-it-your-selfer skills.

Determine the size of your final book. We make ours 5.5 x 8.5, a standard size for paperback books. Many people prefer 6 x 9. If you say, this will only be an ebook, why does it matter what size it is? I reply that you may wind up making a paperback someday. Formatting your manuscript for a print size is not a waste of time. There are details of print formatting that don’t apply to ebooks but if you set your ebook up with appropriate margins, page breaks, and proper beginning and ending chapter formatting you will have an easier time if you later want to make a print book. It will also look more professional to readers who grew up with “real” books.

russell asv bible system

This is a 5.5 x 8.5 cover, or, 1650 x 2550. If it is not showing full size in the post you should be able to click on this or any other image to get a full-size version. The image at the top of the post is a 6 x 9 or 1800 x 2700

If your cover is for a 5.5 x 8.5 book, create a blank file that is 1650 x 2550 pixels, 300 DPI. If it is 6 x 9, make it 1800 x 2700. Always make the image resolution 300 DPI. That’s a required resolution for print. Again, think of the future, and the possibility that it might be used for print someday. 72 DPI is all you need for screen resolution, and it will make a smaller file size, but your image will appear clearer and sharper, even in smaller sizes, if it’s 300 DPI, and therefore be more attractive to potential readers. What is DPI, you ask? It means dots per inch and refers, simply put, to the level of realistic detail in an image, which in digital form is just a bunch of dots, or pixels. The more pixels crammed into an inch of space in an image, the clearer and sharper and better it looks.

The image size is in part determined by the requirements of the ebook upload sites. Last time I checked, iTunes, or, in this case, iBooks, sets the standard for minimum dimensions of a book cover. It doesn’t have to be either of the sizes I suggested above, but it has to be at least 1400 on the smallest size and 2500 on the longest size. Dimensions are typically given with the width first and the height second. (1400 x 2500, in this case) And they are given in pixels, not in inches. The dimensions I gave above are larger than those minimums, which will keep you in good shape on major ebook retailers for upload.

[Now for the bad news. PhotoImpact was designed many years ago and seems to have become an orphan as far as updates are concerned. There have been a few but it is a bit slow and clunky with these large file sizes, especially when doing the much larger print layouts. You will have to be patient through the slow wait times for it to catch up with your process, especially if you place a large amount of text and then try to change and move it around.]

You now have a blank image of the correct size and resolution. Time to fill it with a wonderful book cover. First you must determine the genre of your book. The most important thing a cover does is attract readers. But it must attract the readers that really want the book you wrote. If you put a kissy-face couple on there, or a rose and a string of pearls, or a heart, or anything that looks romantic, it had better be a romance. If you put a sailing ship on a stormy sea with a crew struggling to keep from wrecking, it had better be some type of historical adventure. I can’t tell you the exact cover that’s right for your book. I can say it needs to send a clear signal about the subject, immediately, to people who might see it 1/16th of full size (or smaller) for one second. It must at least say STOP AND LOOK CLOSER! before the potential reader just says “Meh …” and moves on. I can give detailed instructions all day long about how to put an attractive cover together but I cannot make the point too strongly that you have got to nail your genre or few people will give it a glance. Genre is a category or subject into which your book fits. Maybe you will say, “My book is nonfiction. That’s not a clear genre.” But it still has a subject. Bible Study. Cooking. Home Repairs. Overcoming Depression. Whatever it is, keep looking until you find the perfect image that stands up and screams, “THIS BOOK IS ABOUT WHAT YOU WANT TO READ ABOUT!”

philip two struck imagea

Try to guess the genre of this cover in the comments below.

So you may ask, “Where do I look for images?” That depends in part on what you want to pay. There are stock photo sites that charge a lot of money for what are sometimes excellent images. Two examples are iStock and Getty. You can pay $20 or more just for one image. Some sites charge $5 or at least under $10 per image. CanStock is a good one, and so is Fotolia. There are many others, and, if you plan to make a number of covers, you can get a subscription or a package, paying so much for a certain number of images at discounted prices versus single images. You may not want to pay for images. That is your choice. Many photographers and even “photoshoppers” offer free images on sites like Pixabay. That is one of my favorite free image sites. But remember the quality of images, especially free ones, varies considerably. You will probably have to look at hundreds before you find an excellent one, paid or free. In the next section I’ll give some suggestions on why you want to keep looking.

Depositphotos_76032491_original  winter-1145732

(First imageis from Depositphotos. Second is Public Domain from Pixabay.)

Why use a paid versus free image? It depends on what you need, want, and can afford. The first image above is a free one. It’s very nice as pictures of horses go, but the second on, which is paid, shows the exact two horses I needed as a promo for two young adult historical books I had written. That’s why I paid for it, to get just what I wanted, and also because of the surrounding finishing touches — the lighting and cloudy shapes. I also have been able to twice purchase a highly-discounted image pack from Depositphotos. Look hard for deals if you want a lot of great images.

You need an image, whatever it is, to have certain qualities. These include clarity, simplicity, lighting, and composition. There are other things, but these are the basics. If you are tempted to use a homegrown images, such as your son’s picture of your dog, it had better be professional quality in size and resolution. Don’t use grainy or blurry or too small pictures unless you are going for a specific artistic effect and can truly pull it off and convince people you didn’t just thoughtlessly put a crummy picture on your book cover. The same goes for handmade art. If your cover needs refrigerator art, okay, but don’t use unprofessional art just because it has some personal significance to you. It has to attract readers. Use the largest size you can get. Stretching it often makes it distorted.

I am more and more convinced that all book covers attract more readers if they make proper use of light. Thomas Kinkade attracted millions by being the “painter of light.” Find a way to incorporate light into your cover. Find an image that has excellent light to start with and you don’t have to manipulate anything. Even if it’s a creepy thriller, incorporate a haunting, eerie light. If it’s inspirational, use a candle or oil lamp or glow of sunlight or moonlight. Light attracts attention. Find a way to use that to your advantage. Learn the different light-enhancing techniques of your program. Don’t just stick in a spotlight or bolt of lightning. The idea is to make it glow invitingly.

  delicate and fragile 25 phoenix 25 gothic unwilling 25

Examples of the use of lighting to get your cover some attention, no matter the genre.

A note about using a single image as your cover: I discourage it for several reasons. Some stock sites include in their very lengthy and complicated terms that you should not re-use a complete single image in something you mean to sell. Some specify that you must substantially change an image to avoid copyright issues. Even if you “buy” an image from a stock site, you don’t really own it. There are restrictions on how you use it and how many times you can reproduce it and all sorts of limits. You are responsible to use that image in a responsible manner. It contains digital information that is kind of like a GPS. They can find and track it. So, what you need to do is follow their terms of use, and, also, incorporate two or three images in a cover to be on the safe side.

People, animals, genre-specific objects, and backgrounds are the usual image components of a cover. I don’t recommend putting more than about three images together into a cover. It becomes cluttered and you lose control of the ability to make them all appear to blend and belong.

     teen sleuths 25 dystopian end times disaster 25 historical chekov 25

Examples of using people on covers. The first includes a “free” image. use such images with caution. The second includes silhouettes, which can be free and there is no need to worry about model releases because no one is recognizable. You can also use free images that show the back or lower parts of individuals. Anything that does not show a face is fair game if the image itself is pubic domain. The third cover is a composite of two paintings. These are great options for historicals, and allows for including people without incurring the need for model releases. As long as the painting is more than 100 years old, and the photographer just took an unaltered image of it, his photo can’t be copyrighted and the image is public domain.

A few special notes about including people on a cover. Even if you use images labeled “Public Domain,” if they include people, you should try to ensure that there is a model release. That means the person or persons gave permission for commercial use. If there isn’t one, you could be sued by that person. Some images are labeled “editorial use only.” That means you can use them on a blog or for educational purposes but you can’t use such images on something you mean to sell. Some models also specify that they don’t want their images used in any way that they or other people might object to. That can be a broad objection that’s hard to answer, say, if they object to the image on a Christian book cover because they are atheists. It’s up to the cover artist to walk the fine line of compliance when using people. Rules are even stricter for copyrighted images, logos, or things that are very famous. Be careful about images you use. Get permission, when in doubt.

If you choose to make a cover with no people, you can make a very striking cover just out of text, which I’ll deal with momentarily. You can use inanimate objects like fruit, weathered wood, or seashells. Doing this makes clarity, lighting, and simplicity all the more critical. You can use animals, landscapes, or interesting room settings. The possibilities are almost endless. Just choose the best of the best and remember the keys of clarity, simplicity, and lighting.

 sherry chamblee flaire 25 funny little love drops 25 tea time troubles 25

Some examples of covers with no people. Can you guess the genres in the comments?

Don’t crowd or clutter the cover with all the elements or subjects in your book, unless your book is about crowding and clutter. One author wanted me to put a host of characters from his book on the cover. At least seven, I think. Can you imagine how impractical that would be? If it’s an ensemble cast, you still should focus on the leader, or maybe the two or three most important characters. Remember the first impression people get of the cover is probably going to be tiny on a search page. If a reader sees nothing but blobs of color he may not stop to figure out what it is. I’m going to expose myself to some extent here, and show you a very early cover I made for my first Benny and the Bank Robber book (the most recent version is pictured below the next section of text.) This is an example of how NOT to do a cover more than anything.


Quickly going through some of the no-nos I have learned since doing this cover: “Floating heads” are mostly bad. I have a whopping FIVE of them, which makes it five times as bad. I painted a fake hat on one character and boy does it look fake. The Bible and the cougar (oops — SIX floating heads) makes seven images, plus the forest background … and the attempt at painting texture looks … amateurish. The only good thing about it is that the text is fairly readable. Don’t let this happen to you.

So, whatever elements you have chosen, it’s time to see if they work together on your cover. This is called compositing. Each object you add to a cover goes on its own layer. You can move them up and down the “stack” and around on the “page” at will with tools like “send backward” or “bring to front” or “center horizontally.” You can also resize, flip, or rotate. (Just watch out for any lettering, such as on a T-shirt) that might end up displaying backwards.)

This is not an art or design course, so I can’t go into a lot more dos and don’ts. But here are a few. Do match up shadows and lighting. Imagine where the main light source is in the composition and make sure all the elements fit with that lighting. If they don’t, find something that does. There are people irritated enough by shadows falling the wrong way to reject your book. However great the story is, you’ve got to convince them to pick it up. Your cover’s got to impress them, not make them say, “Hey, the guy has a shadow on the left side of his face but the girl’s is on the right. that looks weird.” or “That woman is so faded she looks like a ghost next to that bright, colorful guy.” Somehow you have to make the elements match. This is where learning to use your brightness and contrast settings can help. Play with them and if you can’t get them right, consider another image. Match quality, intensity, light and shadow, and everything you can.

Use the tools you have, such as erasers, faders, feathering, and other types of edge-softeners, to get rid of unwanted backgrounds in the images you put together. Be especially careful with hair and spaces between fingers, elbows and waists, and other spots that could stand out and make the final image look amateurish. Match the edges of the images to the background if at all possible — dark on dark, light on light.

Watch tutorials on techniques. Strive to improve. Magnify until you can see tiny details. Add shadows and directional lighting if you can. Play with the direction objects are facing and something might just click into place in your mind to improve the overall look. My best advice when it comes to placing objects for a cover is that you may not be able to realistically match, say, people to a scenery background, without some tricks. You’ve no doubt seen people that look pasted onto a background. You might not be sure what’s wrong, but it’s just clear they don’t belong in that scene. Sometimes a light mist or smoke or fog can really help blend a scene.

  i just don't see it good bad angel painted benny ebook 3 12 2017

Do the elements “match” among these images? Why or why not?

The three images above represent different phases of my cover design career. The first, entitled “I Just Don’t See It,” was made quite a few years ago and includes so-called “free” people images. In fact, the man has two different images composited. His head did not come with his body. That’s why I included it, to see if I hid it well enough. I probably wouldn’t use it at this phase of my career, both due to the permission issues with the people, and the fact that I am not convinced my compositing skills are that good. The middle image is an attempt at a “painted” fantasy cover requested by an author friend. He didn’t think it was what he wanted but I did sell it to another author who thought it was perfect for her. I composited a whole bunch of photographic components in this image, especially on the demon figure. Again, it was made a few years ago, and my skills and image choices have improved, I think, since then, so I would do it differently now. Still, I was pleased with the results of my experiments on the whole. The third image was made very recently and consists of three images — the sunlit forest background. the boy with the suitcase, and a cloudy mist layered over the top. Simple but effective, I believe.

I could go on for pages about compositing but this is supposed to be a brief explanation. So, to help blend images, try the light screen overtop idea. I have used that with success more than once. It can be as simple as a picture of mist or sunlit rays made transparent and laid over the image. One thing you can do is just set the images on a textured background like a collage, as in the “Tea Time Trouble” cover above. Don’t try to make them fit together. Just include them, perhaps fading or shadowing, and present it as a sort of shadowbox or scrapbook page. Those can turn out quite well. Divide the cover into sections and include separating elements or make them framed by the title to aid the composition.

 civil war 25 middleastern military romance 25 unlikely romance 25

As you go along creating your final cover image, don’t forget that you need text. Author and title at a minimum, and possibly a tagline or subtitle. Those should, if possible, not cover your images, or, at least, not important parts of them.  Text placement can be great fun and should harmonize with the rest of your design.

armor inside out

This example of a cartoon-style cover uses multiple images, which were relatively easy to composite because these art-style images are usually vectors or .png files, which means they often don’t have a fixed background and can be resized any way you like. They look a bit like Colorforms and can be set in place without worrying as much about blending in. As long as you choose artwork of similar styles, hopefully by the same artist, you can do exciting things.

The capitals text on this cover is a free font, in a series called Kingsthings. This font designer makes charming, detailed fonts and offers them for free. I made the capitals larger, aligned them within the chain of the heart locket, and tucked everything together in a technique called “nesting.” Try not to get too many different fonts going on a single cover. Remember, we are concentrating on simple. I used the same font on the subtitle and the author name.

Mix up ornate fonts with simpler ones, straight with curly. Try different sizes, such as tall at the beginning and end of a title to create a sort of mirror effect. By the way, be very careful about getting free fonts. Font sites are common sources of viruses. Stick with a few reputable sites, like 1001 Free Fonts, Dafont, and FontSquirrel. Check carefully because not all the fonts on these sites are free. Some are pay, some are donation, some are other arrangements with the creator. One font creator asked that if I use his font I send him a copy of what I did with it.

I have hundreds of fonts, including a package from MyFonts that I downloaded for $20 with many classic fonts. If you can use 10 fonts out of a package like that it is worth buying, because fonts often cost $20 or more just for one set of one good design. Beware of free fonts that are missing punctuation or other elements. You can sometimes substitute from a complementary font and still get a good result. Some font packages also include “dings,” which are shapes that can be very useful. You can pretty up a title treatment with dings, vector objects, and even small images, as on the series covers below, the second cover being for a book I am currently working on. In the first, the Baron’s Ring is incorporated into the B in the title, and in the second, the “T” is formed by the sword. Swirly vectors add some flourish to the text. The similarity of the placement of the images and text styles and ornaments tie the series together. People can see at a glance that these two books go together.

     baron ebook 10 22 2015 25     the captain's blade 10 21 2015 25

When your cover is completed, (and please, save and make backups all along the way) save it as a project (In PhotoImpact that is a UFO format. In Photoshop it is a PSD. There are many options to save but those are two to help you keep projects straight.) This is critical if you need to come back and make changes later. The other file format, the one you will later upload to ebook publishers, is either a jpg or a png. The png format is a larger file size, but better quality. Also insert your ebook cover into your text file at the front. Many sites require this and remember, if you ever change your cover, you have to upload a new version of the text with the updated cover included, too.

Just for fun, I will close with a book I have yet to write, but I had a lot of fun designing the cover. It’s inspired by a character in Treasure Island. Look for the ideas I’ve discussed in this post: making the genre clear (hint: remember that humor is also a genre), making the images fit together or at least complement each other, text treatments, and anything else you notice. Please comment with your observations. Also, let me know what I missed in this post. Remember, I want to help.

blind pew not so 25

Though making excellent covers is not easy, it can be enjoyable. Don’t try to get too complicated as you learn. Remember clarity, simplicity, and lighting.

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Filed under cover design, Education, Humor, Publishing, Uncategorized, Writing, Reviewing, Publishing, and about Blogging

How to Make a Print Cover for Your Book — Post by Mary C. Findley

7 31 2015 chasing print cover

I recently helped an author friend make a print version of an ebook cover at CreateSpace.  He asked me to give some instructions for the next time. This post assumes you have an image manipulation program and know how to use it fairly well. I won’t be explaining details about tools and techniques. I assume you know them, or else, not to be unkind, you can’t do this.

I also post this caution. I am a cover designer and people pay me to do this for them because it is not easy.  Print covers are especially difficult. I am not saying I don’t like to help do-it-yourselfers, but I am giving you fair warning that it is hard.

So here it is, as simple as I can make it. Anyone who has any questions, please feel free to email me mjmcfindley@gmail.com This post is only about making a print cover, and from a finished ebook cover, and nothing about the book’s interior. If anyone would like to know my process for that, please let me know at the email address above.

When making a print cover, CreateSpace  gives three options. Most of us choose not to take the professional design services option because of cost. That leaves two more choices: 1. use the cover designer or 2. upload your own print-ready pdf.

The first option is one that many of my author friends have used with success. CreateSpace offers different background designs and layouts. Authors can use their own images if they fit correctly into the spaces. This is where some authors have not been so successful. This was the case with the friend I mentioned at the beginning of this post.

I made his ebook cover so I took a personal interest in trying to help him make it work. He relayed to me the error messages he got as his cover was rejected by the cover designer program. I changed the size of the front cover, created a back cover panel — nothing seemed to work, including re-making the size to their specifications.

I didn’t deal directly with CreateSpace so I’m not sure of everything that happened. I just know my author friend’s  frustration level was rising.  I wanted to help.

  1. I told him I would download a CreateSpace template of my own. This is step one, by the way, of my how-to instructions. Go to this link:   https://www.createspace.com/Help/Book/Artwork.do Choose your color (black & white is most common. If you have a color interior, chose that. Plug in the trim size (his was 6 x 9) and the page count.  They create a zipped file containing two items: a pdf and a png file. You download that file, open it, and upload the png file into your image program. Photoshop, Corel, or whatever one you use. You will see a blank template marked with some of the instructions needed to create the cover with trim edges and spine marked.
  2. Unfortunately, in my program, PhotoImpact, it doesn’t handle that file as a png. For those with the same problem, this is an extra step if the template doesn’t have that layer with the pink lines separate from the white background. All you need to do is create a blank image the same size as (or slightly larger than) the template, copy and paste the template into it, center it, and use the magic erase tool or whatever it is called in your program to wipe out the white areas inside and around the pink template.
  3. Create a background that complements your ebook cover. That could be a simple solid color, but I like to use at least a textured background, like stone or fabric. You can get free textures at this link: http://webtreats.mysitemyway.com/ These are tileable, meaning you can fill the background with a smooth, even image. Choose a photo background instead if you wish. Make sure, again, that the background complements and doesn’t distract from your main front cover image.
  4. Lay out your ebook cover centered in the front cover area of the template. Getting an exact fit may require resizing. Don’t expect a perfect fit against the spine. When the book is completed it’s rare that the printers make an exact fold in the same place every time. I soften and fade the edges so that there’s no need to worry about an exact fit. The alternative is to try to exactly match whatever your ebook background is. That’s difficult if you didn’t make it yourself. If you did, that makes it easier.
  5. The hardest part for me is the back cover text. I suggest you lay it out a paragraph at a time. Small amounts of text are easier to manage. Pick an easily-readable contrasting text color and font. If necessary, use a screen behind the text to add contrast, and/or a thin outline, and/or a drop shadow.  Choose whether you will center it, block it, or just make normal paragraphs. This text, by the way, is your book blurb. It can be exactly what you made for your ebook upload page, or different. Up to you. Just make sure it is a comfortable fit. You can also have an author bio and image if you like. Just be aware of the space you must leave open for the barcode CreateSpace will add. It’s part of the template.
  6. The spine text is pretty simple. Type or copy and paste it in — I put the author (last name only) first and then the title and any publisher name if you use it. Then just rotate the  text 90 degrees so the head of the test faces toward the front cover. Make as sure as you can that the text fits within the pink borders. CreateSpace often says this is where you have a problem but often they just fix it and it works out fine. Make sure you delete the template, flatten or merge all parts, and save as a pdf.
  7. Remember, all images are required to be 300 DPI. Everything has to fit well within the pink lines.  Err on the side of caution. CreateSpace may still say the dimensions are off, but in every case I have let them adjust and had good results.
  8. Go through the review process, make adjustments if it doesn’t pass, and just keep at it until it does pass. “Your files are printable” is the message you are looking for.
  9. Please, please, please order a proof. Look for text too close to the spine or edge, readability, and good image quality.  Different printers produce different quality. If you can’t live with what you get, CreateSpace is good about fixing what they can. Contact them, but remember that they have what they call, paraphrasing because I don’t remember the exact wording, “acceptable variations” and there’s only so much you can do.

I wish you all the best. And I’m ready to help anyone who needs it.

Image Credit: Print cover for one of my books, made using the ebook version as described in this post. Design by Mary C. Findley. Texture from Webtreats, Images from Depositphotos.com

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Working With Your Own Hands — Post by Michael J. Findley


The Law and the teachings of Jesus allowed for 3 classes: business owner (such as shepherds), hireling, and slave. In reality, there were other classes such as politicians, professional soldiers, and destitute poor people who were not slaves. Though not an exhaustive list, the Law, Proverbs, the apostles, and Jesus recognized that financial freedom offered greater opportunity for righteousness. Certainly we cannot serve God and mammon, and the love money is root of all sorts of evil. But as Solomon said, “Keep well informed of the condition of your flocks and pay attention to your herds, because riches don’t endure forever, and crowns don’t last from one generation to the next.” Proverbs 27:23,24 ISV.

An owner of a small business is glorifying God, if he is obedient to God’s Word. This blog is more of a reminder of principles most believers already know. These points are along the line of water is wet and the sun is shining. But we tend to forget.

First, God is more important than our businesses. This is more important than just reserving time to worship. It means spending time alone with Him, studying His Word, and sharing the Gospel. It also means a proper attitude in whatever we are doing. Therefore, whether you eat or drink, or whatever you do, do everything for the glory of God. 1 Corinthians 10:31 ISV It matters to God how we spend our time, how we respond to people, and how we think.

The expression “time is money” is not found in the Word of God because God values our time more than our money. So wasting money is wasting time, which is more valuable in the sight of God. Do not spend more money on equipment than is necessary. At the same time, do not waste money on poor quality equipment.

People are more important than things. Numerous businessmen say that you do not have a real business until you have at least one employee, someone you are responsible for.

Your family is more important than your business, so as quickly as possible, move your business away from your home. It might be just around the corner. But when you are home you are not working.

Do these goals seem like a faraway dream? If they truly glorify God, then they are goals we can pray to meet some day.

Image Credit: Tom Roberts Shearing the Rams wikidata:Q7492201 Photographer lQEDjT-_MXaMJQ at Google Cultural Institute Wikimedia Commons

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How God Preserved His Word History 1


A dozen times the New Testament refers to the Old Testament as the Law and the Prophets. In Luke 24:44 Jesus said “the law of Moses, and in the prophets, and in the psalms.” Yet most of the Hebrew Old Testament, Joshua through Esther in the English arrangement, are primarily historical. They are quoted in the New Testament as Scripture. For example Paul in Romans 11:4 quotes 1 Kings 19:18.

It is easier for us to think of Judges through Esther as history. There is some poetry, a few prophecies, a few proverbs and a few random commandments. But over 90% is narrative prose, written as history. It even includes genealogical records which are pure history.

Ezra is credited by tradition with preserving the entire Old Testament. He collected, arranged, and wrote it in the form we have it today. But there were many authors, from the time of Joshua around 1450 BC to Ezra around 400 BC. Some of the known authors of this history are Joshua, or people writing for Joshua, Samuel, the sons of the prophets, set up by Samuel, royal scribes, paid for by the northern kings as well as the southern kings, Elijah, Elisha, Isaiah, Baruch, Jeremiah, and Ezekiel. It is not possible to know how much any of these men contributed, though Baruch under Jeremiah might have gathered together all of the Scriptures available at that time.

It is also known that under King Manasseh, the son of Hezekiah, every known copy of the Scriptures was destroyed and a single copy was preserved in the temple. So all existing copies from that point come from the single text found in the temple by Hilkiah the priest around 735 BC, 2 Kings 23:24.

Image Credit: Henry Ossawa Tanner Christ and His Mother Studying the Scriptures circa 1909 Dallas Museum of Art Wikimedia Commons


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Actual Dates and 14C Dates — Michael J. Findley

creationscience graph
Please forgive the oversimplification. But radiocarbon dating, like all radiometric dating, begins with assumptions (beliefs, paradigm) and uses those beliefs as proofs of dates. Science is the accurate examination of the evidence. The evidence of radiocarbon in the remains of organism which were once alive does not produce a date. It produces a 14C:12C ratio. Then assumptions (beliefs, a paradigm) are applied to that ratio. The result is a date. But the science is only the ratio.

Regular 14N in the upper atmosphere is bombarded by cosmic rays and produces 14C, which is unstable and breaks down over time. All living organisms absorb 14C throughout their lifetime through eating and breathing. At death, the organism no longer absorbs 14C. Since 14C is unstable, it begins to break down at a steady rate. This allows us to measure the 14C:12C ratio. By applying assumptions, the end result is a date.

The group of assumptions used by Secular Humanism have a paradigm that assumes the present to be the key to the past. It assumes that formation of 14C:12C was roughly the same as 14C:12C today. Allowing for anomalies, it assumes a constant rate for 60,000 BP (Before Present) years, the maximum accurate date for 14C dating.
The flood model assumptions have a paradigm where the past is vastly different from the present. The flood changed the paradigm dramatically.

Since there are no samples to test before the flood, it is a waste of time to discuss the antediluvian condition. But we accept the standard geologic position that earlier time periods, such as what they called the Cambrian through the Jurassic, had much higher carbon levels than we have today. All of these strata were formed during the flood and represent antediluvian carbon levels.

With higher levels of 12C and 14C formed at a constant rate, the 14C:12C therefor had highly diluted levels of 14C. Therefore, any sample from this time would cause a 14C date to be much older than its actual date because of the increase in 12C, not a reduction in 14C formation.

The flood altered the 14C:12C ratio by saturating the atmosphere with volcanic aerosols laden with vast quantities of 12C. At the same time, the sluice-gates of heaven were opened. 40 days of worldwide torrential rains flushed the atmosphere of any element besides water. This included 14C. Finally, all air-breathing organisms died. The last stage of the carbon cycle, converting 14C back to 14N, did not exist.

It is important to understand that the flood paradigm assumes, just like Secular Humanism does, that 14C formation from 14N was constant throughout earth’s history. What changed, and changed greatly, was the addition of many times the regular 12C in the atmosphere compared to what we measure today. That changed the 14C:12C ratio. As the chart says, the 14C was diluted by many times the amount of 12C we measure today.
So immediately after the flood, 14C was so diluted that a sample from that time measured today would, without correcting for the additional 12C, would date to be 40,000 BP or older.

Following the blue line on the chart, the amount of 12C in the atmosphere decreased to the amount we have measured for centuries since around 600 BC.
Assuming the eruption of Thera coincided with the Exodus, then we can use it to correct 14C dates. Ussher dates the Exodus 1491 BC. 14C dates the eruption of Thera to be 1640 BC for an error of 150 years.

So 14C dates for Nebuchadnezzar’s Babylonian empire are approximately the same as Ussher’s dates. 14C dates for the Exodus, 1491 BC, are approximately 150 too old. And 14C dates for the flood are tens of thousands of years older than actual dates.

Image Credit included at the bottom of the chart


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How God Preserved His Word For Us: Torah — post by Michael J. Findley


The Torah for modern readers is Genesis, Exodus, Leviticus, Numbers and Deuteronomy. Some arrangements in the past have included Joshua, but that has not been the case for centuries for English readers.

We believe that the Law itself was given by the LORD God on Sinai. God could have added to and edited information Moses already had. Moses was trained in all the learning of the Egyptians and he left Egypt with records of creation, the flood, and the tower of Babel. He also had the records of his own people. He kept records of their wilderness wanderings. And after his death, Joshua added several verses to include his death.

It is possible that Joshua and his assistants made extensive changes to the book of Deuteronomy. It is also possible that the sons of the prophets, the school for formal education in the Law during the monarchy period, edited the Torah. The final edit for the entire Old Testament was made by Ezra after returning from the exile, though these were likely only minor changes.

Reading of the Torah, Aish Synagogue, Tel Aviv, Israel. Photographer Roy Lindman Wikimedia Commons

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