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How EASY it is to self-publish your CI novel

Let me walk you through the process step by step

I just self-published my fourth book, a translation of my popular novel Superhamburgers into Brazilian Portuguese (I also have translations of Superhamburgers in French & Spanish as well as a collection of essays about teaching Spanish to heritage learners). A fifth book, a graphic novel prequel to Superhamburgers, is on the way and will be published in December. Once you have written a book, formatting it, getting it printed professionally and offering it on Amazon is a pretty simple process. As I was completing this last book I took a lot of screen shots so that I could walk you through the process.

This post is not about the creative process of writing a CI novel– I will write about that in a later post. The post is simply about the technical side of getting your work published and then offering it to the world without having to market, organize inventory, shipping, returns or any of that business stuff. Being a teacher is enough hassle. Once you have written a text, all you need is a word processing program.

I print my books through a service called Createspace, which is a subsidiary of and therefore makes it very easy to offer published work online. You can set up a free account by following that link– in fact, you can do this whole process for free. I will also show you how to offer your book on Kindle, which is a good deal for both you and your readers.

Step One: Correct the Page Size

Starting from the document in Word: Change the size of the page to 9 x 6 to reflect the size of the page in your published book. Once you do this, then you will not have to worry too much about printing errors because the document on your computer will really mirror exactly what will be printed. A word document normally has a default size of a normal letter-sized piece of paper. In order to change the page size you must first click on “Page Layout”, then “Size” and finally click on the last option, “More Paper Sizes”. A new box will pop up where you can manually change the size of the paper to Width: 6 (inches) and Height: 9 (inches).

Step Two: Get an ISBN Number & create a Copyright page
Logged into the Createspace page you need to fill in the first two pages so that you can get an ISBN number, which you will then copy onto one of the first pages on your book. This is what it looked like for my latest book:

Once you have the ISBN number, you need to create the Copyright page. I usually leave the first printed page blank and then place the Copyright page on the second page of the book. Book Design Made Simple has a good explanation of exactly what you want to include on a Copyright page.

Step Three: Thank those who have reviewed your manuscript

Do not forget this part! I have a native speaker read and comment on everything that I write. Even if you are a native speaker, have someone from a different region read your manuscript. It is easy to find collaborators; just ask on one of the CI Facebook groups. It is always appreciated to send that person free copies of your book once published.

Step Four: Upload the interior manuscript

I recommend that you save your word doc as a .PDF before uploading it. Images and fonts sometimes jump around when it is uploaded as a .docx but in any case you will have the opportunity to preview your files.

Here is an screen shot of what the manuscript preview looks like. As you can see, it automatically flagged one of my images that was slightly placed outside of one of the margins. The previewer is pretty cool; you can flip through your book and get a sense of what it will really look like.

Step Five: A few things to consider adding to your manuscript

As you can see, I like to embed cartoons into my books to help scaffold the reading. Since I do not know the students who will be reading the book, I also like to provide footnotes on any vocabulary or expressions that are not high-frequency. I also like to include a word cloud of the words that appear in each chapter that teachers can use either as an aid in class discussions or to scaffold student retells.

I am also particular about the glossary. Most students are not going to use the glossary (especially if you have footnotes), but those that do use it want to quickly find the word and return to the story. For that reason I go out of my way to add EVERY word, conjugated verbs and obvious cognates included, and also include idiomatic phrases that may be hard for some students to put together. The glossary is without doubt the most annoying part of the book to put together, but if done well it will help readers enjoy the book. I always assume that a student glancing back at the glossary is a struggling reader, so I try to include as much support as possible.

Step Six: Create a cover

The front and back cover is one simple image that wraps around:

You can create the image using a program as simple as Windows Paint (which is what I do). The exact size of the binding (and therefore the image) depends upon the number of pages. Createspace has instructions so that you create the perfect sized cover.

Step Seven: Order a proof copy and approve for printing

I strongly recommend that you order a physical print copy before placing your book on Amazon. It will cost around $2.15. The Amazon page for your book will normally be created within hours of your approval.

Step Eight: Tell us that you have published a book!

I will happily advertise your book on CI-Reading, a blog for indie authors of CI novels. Just contact me with your book information. This is a free service.

I also recommend that you get a blog and post information about your book. It is most effective to post the first two chapters of your novel so that readers can preview your writing style. Here are the first two chapters of my latest novel, in Portuguese.

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How to add 15 new beginner level texts to your classroom library EVERY WEEK

“Recreational reading is the most powerful tool we have in language education”
-Stephen Krashen, presentation at CCFLT, February 2017

These are the readings we need most for our classes, the easy easy readings that low level readers can read independently. Almost impossible to find. This is how you do it:

Like the idea? Click here to download the template for the pamphlet cartoon stories.

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Practical Advice for Teachers of Heritage Learners

Last June I gathered a group of educators to reflect on their classes for heritage learners of Spanish. Today I am releasing to the world the first fruits of our collaboration. We have produced a fine book of essays that I think will be very useful for teachers new to teaching heritage speakers. Below I have copied the introduction that describes each essay:

This collection of personal essays addresses an urgent problem in language education: how to teach heritage learners of Spanish.

cover-face-2 Perhaps it is the Californian in me, but I believe that reaching heritage learners is the pressing but often ignored challenge facing our profession. Every year I am contacted by teachers who, willingly or unwillingly, are thrust into a new teaching challenge for which they are deeply unprepared. I was unprepared when I started teaching heritage learners. My impression is that there are departments who are farming out their heritage learners’ classes to the newest, least prepared teachers because these classes tend to be hard to teach. I have read about departments that urge heritage learners to simply abandon their home language in favor of a foreign one. My hope is to collaborate and gather so much classroom wisdom in one book that my colleagues will confidently approach their courses with joy.

These essays were written by practicing classroom teachers. We recognize that the teaching situation that each educator faces is unique. Far from describing an ideal approach to teaching heritage learners, many of these essays depart from the very imperfect reality that teachers actually confront. The most dysfunctional element of the program at my school happens before classes begin with the placement decisions that determine whether students are even placed in the heritage learners’ track. The opening essay of this collection describes the evolution of my approach to student placement. I was tempted to bury this essay because it describes one of my most embarrassing failures as a teacher; I hope that others learn from my mistakes.

In the second essay Carol Gaab sets the tone for the remainder of the book by reminding us that compelling, highly comprehensible reading materials provide the best paths to literacy. I am always surprised when teachers downplay the role of easy reading in their classes. It is through easy reading that non-readers become readers. Dragging students through difficult, classic works of literature or less-than-compelling thematic units may expose students to unknown vocabulary, but they utterly fail in leading students to love reading. Our courses must nurture our students to become lifelong readers so that they continue to develop their literacy long after the course has ended.

This idea of creating a compelling experience is the subject of Sean Lawler´s essay. Using a television program as an anchor text, Sean describes how he made use of the interest generated by the program to provide reading experiences appropriate to multiple levels. The reality of at least some of our students is that the school culture alienates them long before they reach our classes. Those of us who are not obligated to follow a particular textbook should look to popular culture in order to attract otherwise disaffected students.

I have come to the conclusion that easy pleasure reading should be the major element of any program designed for heritage learners. In the fourth essay of the collection I provide a description of my easy reading program, “An Easy Approach to Teaching Highly Differentiated Classes”. The essay is followed by a list of the most student-appreciated titles that are currently included in my classroom library.
Adrienne Brandenburg describes how she developed her metaphorical sea legs while teaching classes for heritage learners. The key realization for Adrienne was recognizing that very few of us were trained to teach these courses. Our instincts as second language teachers often lead us to adopt approaches that are incompatible with the task at hand. In her essay “Adopting a Language Arts Approach” Adrienne advocates that we work much closer with colleagues in the English department. One of the things that appeals to me about Adrienne’s essay is the underlying recognition that, even among well-trained CI teachers, the instincts to return to discredited legacy methods of language teaching resurface quickly when under duress. Spelling lists, direct grammar instruction, vocabulary lists: these have all largely disappeared from English language arts classes in favor of planning highly-contextualized teaching moments.

When I consider the main goals that I have developed for my heritage learners classes, I distinguish three objectives: to develop students’ identities as readers, to develop their interest in their heritage and the Spanish-speaking world and, the subject of the fifth essay, to broaden their language community to include many dialects and variations of Spanish.

Broadening their language community does not mean that I want to fundamentally change the way that they speak Spanish (i.e. trying to develop an Argentine accent among Mexican-American students), but rather make them more aware and accepting of the beautiful diversity within the Spanish language. I have grown to believe that this is not just a casual flourish to adorn the “real” curriculum; some students come to class with such a strong desire to exclude what does not sound right to them that it becomes a barrier to developing their own language. My Mexican-American students whose exposure to Spanish is limited to their family and friends will often resist expressions common even in Mexican popular culture if they are not familiar with them. The teaching solution to the persistent student reaction that “we do not say it like that” is simply to articulate the broadening of language community as a fundamental goal of the course.

Wendy Gómez Campos writes about structuring her program with the end goal being that students successfully pass the AP Spanish language exam. Being successful in an AP course can be enormously empowering for heritage speakers whose families have a limited experience with college. AP Spanish can form the cornerstone to a concerted, school-wide push to attract more heritage speakers to sign up for more highly-academic college track courses.

The essay introducing Krashen´s concept of language shyness is really a short presentation to push educators to read Krashen´s original paper, which is available for free on his website. In my opinion, language shyness is the key concept that all educators of heritage speakers need to understand.

Katherine Thornburgh´s essay on goal setting describes the confusion and struggle that teachers new to heritage learners’ classes may experience. This is an essay about process rather than outcomes; it is an important read for educators who demand so much of themselves that they feel like constant failures in heritage speakers classes. While Katherine´s essay is about her plans to include students in the goal-setting process, just as valuable is the way that she uncovers the reflective process behind effective teaching that I had hoped to nurture when I gathered this community of educator-writers. It is through the writing process, Krashen notes, that our thinking is developed. I hope that more teachers write more about their difficult classes as a path towards imaging a new reality.

In the final essay, Beyond the Classroom, Barbara A. Davis reflects on the unexpected challenges of educating heritage learners in a culture that does not always appreciate the task at hand. An observant teacher of heritage learners quickly gets an insight into how our institutions and cultural practices can come together to present unnecessary obstacles for heritage speakers.

It is my hope that this first edition is quickly followed by an expanded second edition. There are so many facets to this uniquely difficult class that we have not covered and, honestly, I believe that the format of the essay lends itself better to deep introspection than the online forums that have emerged. Or rather, it is a question of tactics versus strategy; the online forums address problems as they arise while the essay encourages a more thoughtful approach. I welcome original essays as well as thoughtfully developed lesson plans which demonstrate a useful approach to classes for heritage learners. The profits from sales of this collection of essays are reinvested into the classroom libraries of the contributors.

Mike Peto
San Diego,
October 2016

For the next two weeks there will be a discount of $2 if you order the book directly from the publisher: Use the code YEGVMSNR to get the discount.