Electronic Publishing

Carl Shank • October 25, 2023

Electronic Publishing (E-Publishing). Having come of age in the early 2000s, electronic publishing provides the writer a means to publish their work online without having to go through the task of print design. First appearing in the 1980s in the form of plain text emails sent to a subscriber via a mailing list, the first e-journal appeared in 1994. In the years 1985–1995, a revolution took place in the printing world from analog to digital printing with CD-ROMs and PDFs. E-Publishing has become faster, cheaper and allows many people across the world to have instant access to books and articles, as well as multimedia presentations. While many people still prefer the feel and look of a printed book, electronic books are growing in popularity.


Common Electronic Publishing formats are EPUB, PDF, HTML and TXT. (See Chart Below) The Kindle Reader for Amazon also has its own proprietary format, called KPF. Kindle Package Format (KPF) is the successor to their old MOBI format. Both are proprietary formats created by KDP and specifically meant for displaying ebooks on Kindle devices. The KPF file is built when you use Kindle Create, another proprietary tool for formatting ebooks specifically for sale in Kindles stores. More broad distribution of electronic publishing materials need EPUB or PDF formatting.


EPUB is the open standard format developed by the International Digital Publishing Forum (IDPF). It is specifically designed for e-books and is widely supported by e-readers, tablets and smartphones. It is a responsive format, meaning that the text adjusts itself to fit the screen of the device being used.  EPUB supports interactive features such as videos, animations and hyperlinks. It is an ideal format for e-books that contain multimedia content. Also, the content can be updated in real time, allowing users to have an up-to-date document without having to download a new book. EPUB, however, has certain inflexible strictures for font use, cover design, and table of contents (TOC) that need to be obeyed for EPUB publication. The formatting can be challenging and requires a significant investment of time and resources.


The PDF format is a file format system developed by Adobe Systems in the 1990s. It is a very popular format that preserves the formatting of the original document, including images, fonts and layout. PDF files can be read on almost any device, including desktop computers, laptops, tablets and smartphones. It has the advantage next to printed materials of being WYSWYG, or what you see is what you get, in terms of visual compatibility with the original text. PDF is popularly used for textbooks, business reports and where a lot of specialty fonts and images are employed. EPUB is the better format if the content is primarily distributed through e-readers. If the content, however, is on various platforms, including desktop computers and mobile devices, PDF is the better choice.


The HTML format is a markup language used to create web pages. HTML files can be used to create e-books that can be read on a variety of devices using a web browser. It is the format offered by Adobe InDesign on their Digital Publishing menu, giving a web address to the file created through InDesign. I have created calendars using this format that I have offered online to anyone interested. (See the BLOG on Calendars for 2024)


The TXT format is a simple text file format that can be used for e-books. TXT files do not support formatting or multimedia content and are often used for public domain books that have been digitized. TXT files can be read on almost any device using a text editor or e-reader app.


EPUB Design Basics (using Lulu.com) — Lulu suggests using a word processor, like Microsoft Word or Google Docs, for creating e-books. Just like designing a printed book, the first step is to finish writing and editing the book. Here, don’t forget to proofread, or better, have someone else, proofread the final book. Don’t worry about formatting, metadata, or the cover design until you have finalized the book’s contents.


Give emphasis to the typography of your book, blowing up the title to an exaggerated size, and setting the text in a highly contrasting color to the background. Make sure the typeface is clear and easy to read, and conveys the genre of your book instantly. When you’re creating a fixed layout EPUB be sure to choose a highly legible font and make the font size and leading (space between baselines) generous. (See the type samples below for some help)


Thanks to Microsoft Word’s style-based formatting, you can let Word do most of the work for you for an EPUB approved file. Using the standardized headings in Word, Heading 1 style is for the book title, Heading 2 style is for the chapter titles, and the content is the body or Normal style in Microsoft Word.


Never use the “Enter” key to create extra white space. Reflowable books, like EPUBs, do not have a page size. They show content based on your reader’s screen size. Multiple line breaks may make your text appear not as intended on different devices.


Images need to be appropriately sized in JPEG or PNG format. No single image can be greater than 3.2 million pixels (total pixels = length in pixels x width in pixels). Indeed, Apple will not accept EPUB files that contain individual images greater than 5.6 million pixels. They need to be clear, high-quality and complete. They must be clearly readable and saved in RGB color format. (See BLOG on “All About Color.”)


Table of Contents (TOC) is required for EPUBs, but not your usual printed contents with page numbers. Get rid of those. Use Microsoft’s heading styles to define what appears in your table of contents.


Hyperlinks need to be checked to make sure they work properly.


Front & Back Matter. The Front matter to the book includes a title page, copyright page, dedication and preface. Back matter can include an about the author page, glossary, and bibliography. Use an ISBN either your own or free from Lulu without any spaces between the numbers. These are to be added to the main text of the book before formatting for EPUB. The copyright page comes after the title page in an EPUB. It must have accurate metadata and look something like this:

Copyright © 2023 YOUR NAME. All rights reserved.

Published by YOUR NAME/COMPANY NAME

ISBN 1234567891012


Cover Design — The file must contain front cover image only (spine and back cover images will be rejected). The color must be RGB. Cover image must be a flat, 2D image and sized correctly: 612 x 792 pixels and 72–300 pixels per inch resolution. Any references to pricing cannot be included. No advertisements or hyperlinks or mention on possible included elements, like CDs. The cover text must be English, using a standard Latin character set. The cover content cannot infringe upon another publisher’s or artist’s copyright on the same cover.


Some other notes from Lulu.com include — No truncated text and no overlapping of text and images. EPUB files with interactive elements are not accepted by Lulu. EPUB files with fillable areas (like fill-in-the-blanks) are not accepted. Illegal content is not accepted, including public domain content or repurposed Project Gutenberg content. Advertisements or prices are not allowed in EPUB content. Links to online retailers or booksellers are not allowed.


My takeaways — While the cost of a book as an EPUB instead of a print paperback or hardback is certainly low, the disadvantages for me as a specialty typographer, with articles and books that illustrate many different fonts, special characters, and settings are enormous. I definitely  choose the PDF route, even with Lulu.com, and the print book options. Moreover, they distribute the book over a wide swath of booksellers and commercial sites, like Amazon and Barnes & Noble. 


Successful Layout & Design

By Carl Shank April 7, 2026
The King James Bible (KJV), commissioned by King James 1 in 1604 and published in 1611, has been a profound Bible translation and masterpiece of beauty through the ages. It has been one of the most influential English translations of the Bible. Its history combines politics, religion, and literary achievement in early modern England. It has an elevated, poetic style that influenced many later writers. It has been prized for its literary beauty, historical continuity and memorability in public reading and worship (ChatGPT).
By Carl Shank April 6, 2026
Responding to AI and Digital Babylon H. Carl Shank April 4, 2026 Austin Gravley, a former Social Media Manager of The Gospel Coalition, and now the Director of Youth Ministry at Redeemer Christian Church in Amarillo, TX, is writing a book on AI and the digital revolution taking place. He compares this Digital Babylon and its captivity and its exiles to Christians living under the overwhelming influence of an active anti-Christian developing AI. Piecing together his comments with those of many others on the advancing scene of AI on our lives, several themes come to mind. First, AI is not God. While there are some in the Silicon Valley who might wish or see AI as a unifying, ontological force that can shape or rule our lives — the Super Machine —others remind us that this is only technology. And as advanced as AI is and becomes, God is still sovereignly in control of it and our lives. Jason Thacker, professor of philosophy and ethics at Southern Seminary and Boyce College, writes — “We must engage these issues, rather than respond after their effects are widely felt. But we don’t have to face today or tomorrow with fear. God is sovereign and his Word is sufficient for every good work, so we are able to walk with confidence as we apply his Word to these challenges with wisdom and guided by his Spirit.” ( The Age of AI: Artificial Intelligence and the Future of Humanity , Zondervan, 2020) A recent storm that darkened my community and scuttled Internet services reminded me of that. Even AI data centers, growing to over 3,000 in 2025 nationwide, are not immune to power disruptions and total blackouts. AI pundits may claim to have control procedures to keep the Internet and AI running cannot promise it to be so. We need to keep this in mind in the Digital Babylon age, as was needed to be kept in mind by Israel in the Babylonian Empire age in biblical times. Babylon went through many iterations, but will be defeated by God at the end of the day, as noted in Revelation. Digital Babylon will experience the same demise. This is not prediction, just Bible truth. We as believers need to hold on to such truth. Second, AI is still technology. Indeed, advanced and advancing technology, but not human. Matthew Schultz in a recent mereorthodoxy.com article notes— “Technology has existed since the Garden and is an integral component of our cultural mandate. We should also remember that one of the core distinctions between the Creator and his creatures is that we never create matter but merely (!) rearrange it. This becomes clear whether we consider an ancient farmer in Mesopotamia irrigating a plot of soil, a medieval peasant in Northumbria weaving a basket from flax, or a young musician in London taking the raw outputs of machine sound, adjusting its pitch, volume, and length, and incorporating it into a DAW loop. While there are all sorts of important distinctions and qualifications between pre- and post-industrial craft, there is no metaphysical distance between the two.” ( Artificial Intelligence Is A Technology , Feb. 26, 2026). AI may be the harbinger of a new Industrial Age, but though changes will be major and sometimes severe, the human side of the equation cannot be discounted or counted out. Part of my retired status as a pastor and theologian is that of a typographer restoring old type faces and doing a deep dive into the history of type. Two historical typographical truths stand out. Although the Renaissance age brought movable type from Gutenberg and others into the machine age, the typographical flair of those ancient scribes with pen-drawn exquisite type remained a stylistic standard. The second note is that with the Industrial Age, while affecting the quantity and speed of type development and printing, master type craftsmen rebelled against machine driven type for more organic typefaces. This was seen, for instance, in the type movement spawned by William Morris (1834–1896). William Morris was an Arts & Crafts designer who founded the Kelmscott Press (1891), reviving hand craftsmanship in printing. His work influenced the twentieth century private press and type revival movements. Lettering became a vehicle for breaking convention. Led by figures such as Morris, there was a decided reaction against industrialization, seeing machine-made goods as dehumanizing and ugly. Handcraftmanship, honesty in materials and utility fused with beauty made up much of what was called the Arts & Crafts Movement. That movement was rooted in medieval guild ideals and morality in design. (For an expanded history of type development, see “Advances in Typography: A Historical Sketch — Three Parts” in the blogs by CARE Typography, www.caretypography.com , Nov. 8, 2025, Nov. 18, 2025 and Nov. 20, 2025) Third, AI affects everyone everywhere. Austin Gravely, a former Social Media Manager of The Gospel Coalition, raises and answers the query — “’So what?’, you may think. ‘I’m not an Internet technician. I’m not a fan of AI. I’m not planning to change how I use the Internet. Why does any of this matter to me?’ To put it bluntly: you are naive if you think these disruptions won’t directly affect you, or indirectly affect you through the effect they will have on others. If the iPhone, social media, and AI have taught us anything, it is that you are impacted by these events regardless of whether you participate in them or not.” ( The State of the Internet: 2026 , mereorthodoxy.com, March 30, 2026) He goes on to say — “A changing Internet will change you. It will change you in ways you can see and in ways you can’t. It will change those you live with, work with, play with, build with, and fight with. It will change what is possible, probable, permissible, and prohibited in your life, your vocation, your church, your neighborhood, and any other physical space the Internet touches.” I recall my 99 year old mother who passed away a couple of years ago in a nursing facility. She was one of those survivors of the Great Depression and World War Two who dismissed the first moon landing and had her flat screen TV removed from her room for fear the government was watching. She lasted for nine years in the same private room in a modern nursing center. She was attended by doctors and nurses and staff who used AI on their computers and other care devices. She even had a modern digital phone removed from her room and refused to learn it. While she personally rebelled against her AI driven machine age, she could not escape those who used such technology for her care. We cannot isolate ourselves from AI and its advancing development, no matter how isolated we try to be. Fourth, AI can be either a blessing or a curse. Again, Matthew Schultz notes — “Our task is not to develop a unique theology of AI but to catechize our members into a people who can wield this technology without becoming captive to its internal logic. Like alcohol, artificial intelligence will become a test of character, a dangerous good that divides the foolish from the wise.” He says “Yet the greatest danger is both more pervasive and less obvious: AI is much more likely to be deployed as a multiplicative layer that allows ever more efficient micro-targeting of digital services and physical products by industries that already profit from compulsive behavior. The advent of hyper-personalized, real-time engagement strategies will require legislative safeguards, especially if AI leads to video advertisements generated in real time for an exhaustively mapped individual profile.” We must seek to “humanize” AI and employ it “humanly.” We must resist the phenomenological bent toward unbelief in AI development and pressures. We must once again learn to think critically and pervasively and biblically about AI. Our young people must be taught prescriptive critical thinking practices, rather than unwittingly and ignorantly giving in to what their phones and computers spit out. Church and ministry pastors must pastor rather than let AI bots plan, prepare and even give their sermons. We must learn to smartly negotiate with the “Magnificent Seven”— Apple, Microsoft, Alphabet, Amazon, Meta, Nvidia and Tesla — rather than blindly following their lead. Convenience and speed must not be allowed to overtake and overcome careful, sustained and critical thinking and acting. “To give language to this change, we must take the best of Christian thinking regarding the social and political imaginary and apply it to the economic imaginary of life under the glowing shores of Digital Babylon, and that kind of work cannot be done with quick hot takes. It will take slow, deep, and thoughtful meditation to apply the riches of Christian thought to making sense of the companies that got us here and where they are taking us.” (Austin Gravley, The State of The Internet: 2026 ) I am both excited and wary of AI. I have learned to be much more cautious about social media and the videos and photos and information they give. Much of it has been and is being AI produced and tweaked. Spammers use AI technology to wrest thousands of dollars from unsuspecting senior citizens. Schools are requiring students to turn off their cell phones or “bag” them until after school hours because of the insidious nature of AI generated stuff. I value more and more of a face-to-face approach in teaching and learning and mentoring others. And we must adopt a state of “believing is seeing” rather than a non-Christian scientifically sanctioned “seeing is believing” approach to truth and justice.
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