Updated May 2026. First published March 2018. This has been one of our most-read production articles for years (and for good reason, it's the stuff that makes your book feel polished and professional the moment a reader opens it). We've given it a full refresh to reflect the tools, platforms, and best practices indie authors are actually using now.
Your book's interior matters more than most authors realise. Readers can't always name what's off about a poorly typeset book, but they can feel it, and it affects whether they keep reading. The good news? Getting it right is easier than ever. These ten rules will help you nail it, whether you're formatting in Vellum, Atticus, or working with a professional typesetter.
The Tools Have Changed. The Rules Haven't.
When this article was first published in 2018, Atticus and Affinity Publisher didn't exist, Vellum was still relatively niche, and most indie authors were choosing between expensive professional software or fiddly Word templates. That's changed a lot.
Vellum (Mac only) has become the go-to for many authors. It handles justified text, margins, widows/orphans, and special characters out of the box, and exports clean files for both print and ebook. Atticus works on all platforms and offers similar automation with more flexibility for non-fiction layouts. The Reedsy Book Editor is free and browser-based, good for straightforward novels. And for heavily designed interiors (cookbooks, children's books, photography), some authors or their designers use Adobe InDesign or Affinity Publisher for the extra layout control those tools offer.
These tools are genuinely excellent, and whichever one fits your workflow is worth exploring. Atticus calculates gutter margins based on your page count. Both Vellum and Atticus manage widows and orphans automatically. For most fiction authors, they'll get you to a professional result without needing to think about half the rules on this list.
That said, it's worth understanding what's happening under the hood. Knowing these rules helps you spot the things that still benefit from a human eye (word widows, word stacks, baseline alignment on complex layouts), and it means you can make confident decisions when something doesn't look quite right on the page.
The 10 Rules
1. Justified Alignment
Open almost any professionally published book and you'll see the left and right edges of the text running parallel to the sides of the page. That's justified alignment, and it's the standard for print books. It creates a clean, formal look and is easier to read over long stretches.
Ragged right (left-aligned) works for short blocks of text, captions, and some non-fiction formats, but for a novel or any book over 100 pages, justified is what readers expect.
Most formatting tools set this by default. If yours doesn't, change it before you do anything else.
One exception: if you're formatting specifically for dyslexic readers, left-aligned text with a sans-serif font and generous line spacing is recommended. More on accessibility below.
2. Margins and Gutters
Leave generous margins on all sides. Most print-on-demand printers (KDP, IngramSpark) require at least half an inch all round, but that's a minimum, not a recommendation. Slightly wider margins look more professional and give the reader's eyes somewhere to rest.
The gutter (the extra space on the inside edge where the pages meet the spine) is the one authors most often get wrong. Longer books need a wider gutter because more of the page gets swallowed by the binding. A 120-page novella needs less gutter than a 400-page epic fantasy.
Check your printer's specifications for the exact gutter requirements at your page count. Both KDP and IngramSpark publish detailed margin and gutter tables on their websites.
Also remember: an additional 1/16″ (about 1.5mm) gets shaved off the top, bottom, and outside edge during binding. Margins that look fine on screen can feel tight in the finished book. Always order a print proof.
3. Serif Fonts for Body Text
For your body text (the paragraphs your reader spends hours looking at), use a serif font. Serifs are the small strokes at the ends of letters in fonts like Garamond, Palatino, and Caslon. They guide the eye from one letter to the next and give words a recognisable shape, which makes long passages easier to read.
Sans-serif fonts (Helvetica, Arial, Open Sans) work well for headings, subheadings, and short blocks of text, but they're tiring to read at length.
Popular choices for book interiors in 2026: Garamond, Minion Pro, Palatino, Baskerville, and Bembo. If you're using Vellum or Atticus, the built-in font options are all solid. Avoid anything that draws attention to itself. The best body font is one the reader never notices.
4. Line Alignment (Baseline Grid)
Open a well-typeset book and lay it flat. Place a ruler across the two facing pages. You'll notice that any line of text on the left page lines up exactly with the corresponding line on the right. This is called baseline alignment, and it should hold true across every spread in the book, regardless of headings, section breaks, or illustrations on the page.
Getting this right means calculating the space above and below headings, block quotes, and images so that the total always equals an exact multiple of your standard line spacing.
Vellum handles this automatically for simple layouts. For complex non-fiction with lots of headings and images, you may need to check manually or use InDesign's baseline grid feature.
5. Widows and Orphans
A widow is the first line of a paragraph stranded at the bottom of a page. An orphan is the last line of a paragraph sitting alone at the top of the next page. Both interrupt the reader's flow and signal amateur formatting.
Most formatting tools have built-in widow/orphan control, and it's usually enabled by default. But the automatic fix (adding or removing a line from the page) can create uneven page lengths, which brings us back to rule 4. The best solution is often manual: tighten or loosen the tracking on a paragraph slightly, or rewrite a sentence to gain or lose a line.
6. Word Widows (Runts)
A word widow (sometimes called a “runt”) is the last word of a paragraph sitting on a line by itself. Especially noticeable when it's a short word: “the”, “it”, “a”.
No formatting tool catches these automatically. You need to scan your typeset pages visually. The fix is the same as for regular widows: subtle tracking adjustments or a small rewrite.
Some typesetters accept word widows longer than five characters. Others eliminate all of them. At minimum, get rid of any that are three characters or fewer.
Want a checklist to work through before you publish?
Our free Self-Editing Checklist covers formatting, prose, structure, and consistency in one place, so you can catch problems before your book goes live.
7. Special Characters
Three things to check every time:
Quotation marks. Make sure your file uses proper curly quotes (” “) not straight quotes (” “). Most formatting tools convert these automatically, but they sometimes get confused at the start of dialogue or after an em dash. Do a visual scan.
Ellipses. Use a proper ellipsis character (…) or, if following the Chicago Manual of Style, three periods separated by non-breaking spaces (. . .). Not just three dots in a row.
Em dashes. A proper em dash (—) is a single long character, not two hyphens (–). Check that your software has converted these correctly.
Also check that copyright (©), trademark (™), and registered trademark (®) symbols are sized correctly. They often appear too large in some fonts and need to be reduced by around 50%.
8. Paragraph Spacing and Indentation
The convention for print books: the first paragraph of a chapter or a new section is not indented. All subsequent paragraphs are indented (typically 0.3 to 0.5 inches, depending on your trim size and font).
When you're using indents to signal new paragraphs, don't also add a blank line between them. That's double-signalling and it wastes space. A blank line between paragraphs should only be used to indicate a scene break or section change.
Never use the tab key or multiple spaces to create indents. Set paragraph indentation in your style settings so it's consistent throughout.
9. Even Word Spacing
When text is justified, the software adjusts the space between words to make each line reach the right margin. If the justification settings aren't right, you'll get lines that look too loose (big gaps between words, sometimes called “rivers” of white space) or too tight (words crammed together).
The test: squint at a page of your typeset book. It should look like an even shade of grey. If some lines look noticeably lighter or darker than others, your word spacing needs adjusting.
Vellum and Atticus handle this well for standard layouts. If you're using InDesign or Word, you'll need to fine-tune the justification settings (word spacing, letter spacing, and glyph scaling) for your chosen font.
10. Word Stacks
A word stack is when the same word appears at the beginning or end of consecutive lines, three or more times in a row. Your eye catches the pattern and it pulls you out of the text.
Like word widows, no software catches these. You need to visually scan your typeset pages. The fix is the same: tracking adjustments or a small rewrite.
These checks are easier with a list in front of you.
Our free Self-Editing Checklist walks through formatting, prose, structure, and final polish step by step, so nothing gets missed before you upload.
Don't Forget Your Ebook
The original version of this article focused entirely on print. But most indie authors publish in both formats, and ebook formatting has its own set of problems.
The good news: ebooks are reflowable, which means the reader's device handles line breaks, page breaks, and justification. You don't need to worry about widows, orphans, baseline grids, or word spacing.
The bad news: that flexibility means you have less control, and different things can go wrong.
Table of contents. Every ebook needs a working, linked table of contents. Both Amazon and the major ebook retailers require it, and readers use it constantly. Test every link.
Chapter breaks. Make sure each chapter starts on a new screen. A missing page break in your ebook file means chapter 7 starts halfway down the page after chapter 6 ends, which looks sloppy.
Images. If your book contains images, check they display correctly at different screen sizes. Add alt text for accessibility. Keep file sizes reasonable (under 50MB total for KDP).
Hyperlinks. If your backmatter contains links to your website, other books, or a mailing list signup, test them. Broken links in your published ebook are invisible until a reader complains.
Look Inside. After publishing on Amazon, check the Look Inside preview. This is what potential buyers see, and formatting errors in the first few pages are the fastest way to lose a sale.
Upload as EPUB, not DOCX. Amazon accepts both, but EPUB is now the recommended format for Kindle. Uploading a DOCX relies on Amazon's automated conversion, which can introduce spacing errors, broken navigation, and unpredictable layout shifts. A clean EPUB from Vellum or Atticus avoids these problems entirely. In 2026, Amazon has also placed renewed emphasis on its Enhanced Typesetting standards, which ensure your ebook adapts smoothly across Kindle devices, phones, tablets, and apps. Books that meet these standards display better and are less likely to generate formatting complaints. The simplest way to qualify: use reflowable EPUB, proper heading styles, and don't hard-code fonts or spacing.
A Note on Accessibility
Not all readers process text the same way. If you're publishing for a broad audience, it's worth knowing that some readers (including those with dyslexia, visual impairments, or reading difficulties) may struggle with standard typesetting conventions.
For print: left-aligned (ragged right) text, a sans-serif font like Open Dyslexic or Verdana, larger font sizes (14pt+), and generous line spacing all improve readability for these readers. Some authors publish a separate “accessible edition” alongside their standard edition.
For ebooks: the reflowable format is inherently more accessible because readers can adjust font size, spacing, and typeface on their device. But make sure your file doesn't override the reader's settings with hard-coded formatting. Use proper heading styles, alt text on images, and a logical reading order.
When to DIY and When to Hire
For a straightforward novel with no images, Vellum or Atticus will produce a professional result. You don't need a typesetter.
For non-fiction with complex layouts (tables, sidebars, illustrations, footnotes), children's books, poetry, cookbooks, or anything with heavy design elements, a professional typesetter is worth the investment. The tools can handle it in theory, but the time you'd spend wrestling with workarounds is usually worth more than the cost of hiring someone who does this daily.
For a middle ground, consider using Vellum or Atticus for your ebook (where the layout is simple) and hiring a typesetter for the print edition only. This gets you professional print quality without paying for ebook formatting you could do yourself.
ALLi's Best Self-Publishing Services directory includes rated and reviewed typesetters and book designers. For more on the production process, see our Production 101 guide.
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It emphasizes that justified text is the standard for longer books. The article also advises leaving extra space in the margins for the binding process. Serif fonts are recommended for body text, while sans serif fonts are best used sparingly. Other important points include avoiding widows and orphans, using proper quotation marks, and making sure lines on facing pages align.
Utterly useless: where it’s accurate one can find that information anywhere, but mostly it’s inaccurate and includes a lot of transparently bad advice.
Thank you so much for this practical, helpful article!
What are some of the popular serif used for self help help book. And the blurb, can o e use Arial?
What are some of the popular serif used for self help book. And the blurb, can one use Arial?
Unathi
Thank you for the tips, followed most of the guidance except for the font. I’m using century gothic pro. I tried changing the font but the change was too drastic that it changed the whole layout and look of the book, and the current font seems to be easy to read. Readers have said they like it and it is easy to read for them.
I also added a little spacing before the paragraphs, tried without it and it looked overwhelming, so I kept the spacing. However, that really gave me a problem which is the bottom of the text box does not match across the spread.
So I have a question: would it be wrong to adjust the spacing between paragraphs in each page and if needed cut a line short in order to adjust to that the letters match on the bottom. I did that and the result looks good to me, but am uneasy because cannot find info on this if this approach is appropriate.
I’ll add one more. You only need one space after a period. That’s it.
I would have to disagree.
Two spaces after a period makes for easier flow of the eye. That’s why we have one space after a comma.
Depends on your font. If you’re using proportional fonts (as most fonts in use today are), it’s one space. If you’re using non-proportional fonts (like Courier) the “two spaces after a period” rule stands.
Wow, your article is SO helpful. Thank you very much, Michele.
In my picture book, I usually insert a blank line between passages, but when the new passage happens to begin in a new column, and there is no a blank line after the last passage ends in the 1st column. Shall I start with a blank line before the new passage in the 2nd column?
Thanks a lot.
Thank you for this. Some good tips I didn’t think about.
As, i Need font types and most using font size
because i have a new company so i need this question
Hi, recently I have a request from an agency to adjust individual alphabets word by word because the fonts chosen don’t looks good when certain words are formed. I was told this is the publishing industry standard for best practise (which I am not convinced). I have been doing layout for quite some time, and this is the first time I am hearing this. I was imagining if a construction worker need to measure every single bricks in order to build a house is ridiculous (which is a similar case here).
I am genuinely thankful to the owner of this site who
has shared this great piece of writing at at this time.
Thanks for mentioning word widows! People rarely do so sometimes I think I’m wrong — I get rid of as many as I can without things looking forced.
I’ve heard them called “runts.”
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What about hyphens at the end of lines as you don’t mention them? Should they be avoided?
I’d include Body Copy advice, such as min/max number of words or characters per line. I learned pre-computer, so prefer basing on words. This would also be easier for laymen lacking ready-access tools for character count. The maximum length seems wider nowadays, but I may be thinking of print advertising, not publishing.
you got the definition of orphan and widow switched, it should be:
A widow is the last line of a paragraph at the top of a page or column. An orphan is the first line of a paragraph at bottom of a page or column.
There is nothing wrong with an orphan and trying to avoid them is an exercise in wishful thinking!
The concept of a word widow (never heard of that phrase before, but at least it is consistent with the correct definition of a widow) is really when the end of a word or a very very short word, takes up less space the the first line indent. A term that has been coined by David Blatner and I quite like is a “runt.”
Letterspacing should never be permitted in text blocks. If you need to make adjustments, adjust the word spacing instead. Character spacing should remain consistent, whereas word spacing can vary slightly from line to line.
Even if an author writes in block paragraphs with no first-line indent (but, say, double spaces between paragraphs), the book designer will still be able to work with the manuscript when doing the layout. However, once the layout is done and a PDF proof copy is generated for the author’s review, THIS is the stage in which it’s helpful to know what types of layout errors to watch out for, because book designers are only human and some of these layout errors may not be noticed. So an author should first examine (eyeball) the PDF layout and make a note of any layout errors, and THEN read the proof (thus, the term “proofread”) to flag any lingering content errors. Michele has done a fine job of outlining the most common of these errors; there are many more. (I wrote a handbook describing 80 layout errors; I know.) Your best bet? Hire a professional book designer, and Michele is among the best!
Thank you, Lynette. Your book is an excellent resource!
I had to stop and take notes. This article was a treasure trove of information, especially for someone so uninitiated in the ways of formatting as myself. Thank you so very much for sharing these tips…this is one of the most helpful articles I’ve ever read.
Thank you, Kari. We’d like to typeset every book in the world, but since that’s not possible we’re happy to pass along the information others shared with us long ago.
So difficult! I have to pay someone to do all of this for me. Thankfully, I have excellent people in place. I just want to write and not have to think about lines on a page. LOL
But, truly good to know all of this and be aware of it. Thank you for your post.
My pleasure, Wanda. I’m glad you have good people in place. Books are (or should be) a work of art and it would be tragic if that were forgotten.
Number 11 – watch for ouch-making Grocer’s Apostrophes ‘In the 1920’s . . .
Indeed, David. I’ve never heard the term Grocer’s Apostrophe. I wonder where or how it originated?
I have typed my manuscript using New Roman Times font, with font size 14.(Bold) I have justified the
columns on the left, but not on the right. I have tried to stay away from hyphens as much as possible.
I am assuming that the Editors will use a font and size of their choice. Is that correct?
Hello, Bryce. Some publishers have strict requirements for manuscript formatting. In most cases, authors can format the manuscript however they like. 12 pt. double spaced text with one-inch margins is typical. The key is to be consistent so the editor and eventual typesetter can discern your intent, particularly regarding subhead levels.
There’s no need to struggle with Word. Over-formatting the manuscript, by adding floating text boxes for example, just creates headaches for the typesetter. Simple instructions such as —begin sidebar— and —end sidebar— in red will suffice.
There’s no need to insert images in the manuscript either. Just add the file name of the image, again in red, and the typesetter will place it where it looks best in the layout.
All great advice unless you’re creating a book to be dyslexic friendly (as mine are). Then do NOT justify, left justify is best. Do NOT use sans-serif and make font size at least 14. Just saying 🙂
I mean do NOT use serif font – Sans-serif is easier to read for dyslexics
Thanks for the information, Christopher. The goal of all typesetting is to help readers, not cause frustration and distress. We use different techniques and fonts for Young Adult books, Large Print Editions, and books for beginning readers. We recently created a book with a new style called Noah Text, which formatted syllables in different fonts to assist struggling readers. Typesetting is a fascinating field that hopefully will never be taken over by robots. 🙂
Interesting information. Thanks Christopher.