The excitement builds. The whisky is poured. Draft two is complete. It is a relief. The first run, you see, doesn’t feel real, it doesn’t feel like the end product. It’s almost as if the first copy is a grainy image of what is to come. It can be lax. It can be unstructured. Things don’t necessarily need to follow or make sense. Great slabs of story are missing. Other flabby bits are hanging off the sides, waiting to be cut out.
What a mess! What a disaster! How can we clean this thing up and get it into something readable? Well that’s where the second draft comes in. Still on the machine, I read through it all, start to finish, and cut out what needs to be cut out and put in what needs to be put in. I correct obvious errors or grammar and spelling and correctness. I think whether the timing makes sense, the locations, the people and the settings.
Is that what this character would do? Is that really the best way to describe that? Bit by bit I massage the story out from its amorphous shape and, with a pinch here and a cut there, it becomes a story with a purpose. Great. That’s the point I’m at now. That’s the moment of ‘woot’ where I can take a breather and fix up the garage or fly a kite with Joey.
That’s not the end of it, though. For now comes the nasty part – the Red Pen.
The Red Pen is ruthless. The Red Pen cares not for fancy constructs, nor for passive tense. The Red Pen spots that naughty comma and herds it into the right spot. It scrawls its thoughts down in haste, it draws arrows and brackets and, when it gets really steamed, it draws thick lines through words, sentences, even whole paragraphs!
That’s what happens when you leave a Red Pen in a cup for half a year. It gives it time to plot and scheme. I only hope there’s something left after it has had its fill.
Me? Sleeping? Anything but. I understand where you’re coming from, though. I mean, it was yonks ago when I said I was cracking on with a sequel to Borobo Reef, right? That’s true, that’s true.
I’m still running with that, sitting somewhere around halfway done with the first based on a desired word count. Halfway. I’d love for it to be further along but stuff just gets in the way. Urgent stuff. Stuff that can’t wait.
For starters, I’ve designed, re-designed and then re-re-designed an electronic solution. I confess I had to grab my old books off the shelf and do some scrambling to remember the differences between my PNPs and my NPNs and figure out how to do high-side switching. There have been many nights in the cold garage, hunched over a soldering iron, burning my fingers and breathing pungent fumes of flux, and even more nights drawing up schematics and placing components on a circuit board.
That’s not all. The Amazon AWS Summit was on up in Sydney. We like to keep our finger on the pulse of technology at OrderMate so up I went to see what I could see. It was a real eye opener, to say the least. The rate AI is progressing is nothing short of astounding and the demos and presentations given were inspiring. Almost as inspiring as the city of Sydney.
Along with all the travel and fiddling with resistors, I finally got to sink my teeth into custom graphical images on thermal dockets.
Hey, it’s a big deal, alright? Devs get excited by these things. Well, there’s that and a handful of larger enterprise developments that need development.
And craft. And videos. And learning how to box. And teaching Joey how to box, and play basketball, and draw, count, spell and read. Then there’s heading to the local school fetes and various birthday parties and helping out with homework and making scarecrows (I’ll post that soon, don’t worry), so there has been very little time left over to sit in front of a keyboard with a cup of tea and type.
That said, I’m working at getting myself back into a rhythm. Watch this space, I’m still moving, just spread too thin.
After doing all the setup and tweaking and uploading and tweaking again, I got to the point where I could actually submit the book for publishing.
As I’ve already explained, while CreateSpace does allow Author copies, Amazon does not. No big deal, let’s just order the damn book already and make sure it looks as it should.
Postage to Australia is a bit on the hefty side so I ordered a couple of copies, clicked on the PayPal button, forked over the cash and sat back.
Not that long, it turns out. The estimate was about three to four weeks, but the book arrived in two. I’m guessing they err on the side of caution, and it’s a bit of a bonus when you get that big, fat package in the mail and you know what it is, even though it’s early. Oh, the excitement!
So how did it go? Did it work out? See for yourself:
Ta-da! Not bad, not bad. I quite like the matte texture of the cover. That’s a nice option. I’m used to a glossy one, but I think the feel comes out alright although the darks are very dark indeed. It’s always the way – how things appear on the screen is not a true indication of how they’ll come out when printed, and that’s true of every book I’ve printed.
You can see this more clearly on the rear, where there’s a lot of dark:
And the positioning of the ISBN comes out trumps as well. Chuffed with that. The spine looks like this:
It doesn’t come up too clearly in the shot, but the front bleeds about a millimeter or two onto the spine. Nothing drastic, but it does demonstrate that you cannot have absolutes in your printing – always assume that the cover might shift a little this way or that, and don’t stick anything sensitive onto the edges.
Yup, that’s cool. I like the choice of cream over blanch white, it feels better and the print isn’t so hard on the eyeballs. I’m glad I fiddled with the margins so much. You can see that the distance fro the spine to the text is comfortable, not squished into the binding, and the distance from the outer to the edge is also comfortable.
The ISBN and front matter is all good. I don’t mind the table of contents, that’s fine. There is an extra page or two at the back (not shown here) with “Made in the USA, San Bernadino, CA.” Which is interesting. I think Lulu out-sources its printing to be closer to the point of delivery, whereas – guessing here and please correct me if I’m wrong – Amazon would have its own presses.
In future, I might consider putting page numbers at the bottom, leaving the chapter heading at the top. We’ll see.
So that’s that! The process is similar in many ways to how Lulu does things, with certain differences involved, mostly around the uploading and proofing side of things. KDP is not heavily restrictive in the way it does things and there are some smarts that help you out along the way.
Last post I uploaded the front cover to the KDP creator. I had blundered in that the DPI or dots per inch setting was at a default of 72, rather than the required 300. Changing the DPI to 300, re-exporting to PDF and then uploading resulted in the following:
Check through the list on the right. The markup within the table of contents was removed, without affecting the table, so that’s fine. Also, it asks you double check the Author, ISBN and Title. Good idea. Do that. Character for character.
Hey, there’s even a 3D view:
Woohoo! Looks pretty good. The automatic whatsit that Amazon has going stopped complaining about the size of the PDF since it now closely matched the dimensions of the book itself.
You can look through the pages, and I would strongly encourage you to. Why? Because the PDF you uploaded will not be what gets used. Observe:
If you look closely, the border closer to the spine is greater than the border against the edge. I used a 1cm border in the PDF, Amazon has automatically added in an extra padding on the spine. This is a good thing, since it will mean the words aren’t squished into the paper-fold.
I can’t guarantee it, but after playing with it for a bit (doing a few uploads to get it ‘just right’), I think that the engine is smart enough to recognise page changes and update the table of contents accordingly. Even so, check that each chapter in the TOC matches the actual page for the Chapter. It’s a small task that will save you having to apologise to your readers for a dodgy TOC.
Once I was happy with it, I hit the ‘Approve’ button. Click
So life is grand, right? I’ve uploaded the manuscript, I’ve uploaded the front cover as a PDF, it’s looking pretty much how I want it, all I need to do now is order a proof.
What’s a Proof?
Electronic eBooks are cool because, hey, what you see is what you get. You can pop your ePub or PDF or mobi file onto your favourite reader and have a look-see to make sure it’s all fine and dandy like cotton candy. Of course, different readers with different dimensions will display things differently, but you can rest easily knowing that the software does a best effort to make stuff look and read properly.
Not so with printed books. Paper ain’t that advanced.
And while PDFs are fantastic for viewing something as a bunch of pages, the conversion to a hardcopy means extra padding on the inside of each page, a few extra pages added for the actual printing house and physical constraints applied because of the thickness of paper, the stock used, etc.
In other words, once you’ve done all the work uploading your masterpiece, you need to order a proof to make sure that it – it being the actual book what gets pumped out by the presses and will land into the laps of your audience – looks and feels and even smells like you want it.
Yes, smells. There actually is a difference in smells between books. I’m not sure if it’s the cover or the paper or a combination or just something in the manufacturing process, but there certainly is a smell associated with a new book.
Lulu strongly encourages ordering a proof. They will not allow you to use Global Reach without you having ordered and actually looked at a copy of your book. For this, they will let you order it at cost price.
I personally make a habit of buying at least two so I can keep one and give one away as a present.
What about Amazon? No. You cannot purchase a proof, even though you own the book.
Let me clarify: There is no facility for ordering a proof at cost price. You will pay the full price of your book.
But… but I made the damn thing!
I know, I know. Believe me, I know. It’s yours. You did it. You made it. Why do you have to sell it to yourself?
It turns out Create Space, by itself, does allow author copies. And while Amazon uses Create Space to manage your hardcopies, it does not allow you to purchase author copies.
So what happens if you wanted to print off, say, 1,000 copies and distribute them yourself in a vanity-publishing style venture? You’re up for either ordering the 1,000 copies at full price or temporarily discounting the book to cost, ordering, then raising the price back up. Either way, it’s ugly.
This is a two-sided story. Personally I believe that author copies should be allowed, and encouraged, and even enforced like Lulu does. I can see, though, that purchasing your own book at full price does affect the ranking of the book, and rightly so. A purchase is a purchase, regardless of who made the original purchase.
And before you ask, no, I’m not an expert on how Amazon does the rankings. I’m sure it’s time based and it’s also categorically based – that is, you have different rankings for different categories – but as for how the numbers get calcumalated, I can only say that more sales -> better rank.
Also, depending on the royalty rate, you’ll get some of the money you spent back. Icky, I know, but maybe it’s Amazon’s way of avoiding rank-diddling by someone with a hefty cashroll. Eh. Dunno.
So, after all of that, I picked up my credit card, and ordered my own book. You won’t believe what happened next!
In the previous post I told you how I decided to try out KDP’s Create Space for the paperback version of Tedrick Gritswell.
In this episode, I’ll walk you through the uploading of the manuscript because it needs some examination, then start on the cover.
Once I had the physical output determined:
I formatted my table of contents and added in the ISBN as per Lulu’s instructions – it’s a simple enough template to follow, and I’m not about to deviate. Then I uploaded it.
Well, wasn’t that fun? I will argue that Lulu’s uploading mechanism is much cleaner and easier – you feel ‘safe’ as you go along. I will also argue that Amazon’s engine is quite advanced and did a lot of processing to make sure that my manuscript fit into its guidelines.
We can see some different approaches here: To be approved for GlobalReach, the onus is on you to make sure your book is in the right format, has the right dimensions, has the right ISBN and author and copyright, has the right pagination and table of contents. There are good resources of how to go about that, including my previous posts, so it’s not such a bad thing. It also means that you, as the publisher, are responsible for getting it right and they make sure you purchase a proof for you to check over before you can set your book free to the world.
KDP, on the other hand, takes a different approach. You upload your manuscript and it gets processed by a bunch of verifiers and validators, custom engines that grab your PDF by their dog-eared corners and shake them about, making sure its up to standard. Not that you’ll see what’s going on, but it does give prompts.
When mine came out the other end, there were many errors that were picked up, including the size of the document. The cool thing was, the engine did its best to modify my manuscript to conform to the required dimensions because, yup, I’d forgotten to set the dimensions of my page before exporting to PDF!
Why does this matter? Because by changing the size, I change the layout and flow, and the pages will, as a result, not be the same. And it seemed to get that. I’d like to try it again just to be sure, but I’m pretty sure it actually updated the page numbers and the table of contents for me. So a big tick here for Amazon on that front.
It makes sense, if you think about it. If they had to manually review all of the manuscripts coming up for quality and design issues, it would take about a day before someone hit the ‘F-It’ key and got a programmer to knock up an engine to weed out the most obvious issues before they reached a human. Nice.
Where it falls a little flat, though, is when I revised my manuscript, changed the dimensions to 6″ by 9″ and re-exported. The Auto-whatsit decided to over compensate and the inside margins of the book were too big. It took many iterations of trial and error to get it ‘just right’, which I did in the end. I think.
And that’s the other killer – currently KDP doesn’t offer the ability to purchase a proof at publishing prices. Lulu insists upon ordering one to make sure the end product is exactly what it needs to be, but there is no such facility on KDP. So I had to order my proofs as a normal purchase.
But I’m getting ahead of myself. First, the cover.
Similar to Lulu, KDP gives you the option to DIY or to use their templates. I’ve found the templates fairly straight forward, but this time around I wanted to try the DIY approach.
To do this you can download a PDF or PNG with the dimensions of the front, spine and rear cover. Depending on the size of your book, you’ll get a different file, but the idea is that you have the width and height, along with a spine whose size depends on the number of pages and the paper weight. Mine looks like this (PDF): 6x9_Cream_270
As you can see, it’s broken into parts. You’ve got the front cover on the right, the rear on the left – which includes space for the ISBN barcode – and the spine itself.
Do you have to make your own barcode or include it as part of the rear-image? No, not at all. It will be auto-generated when you upload it. More on that later.
The important thing to notice here is the whole loosey-goosey nature of the cover. You have red areas, black dotted lines and broad white areas. Why not just a rectangle? Because books are imprecise. The stock is not the same from place to place. They are produced on whopping great big machines with whirling parts and clampy bits and things that go brrrrrrp! and each of those processes has tolerances.
When ordering proofs of my other books, I’ve noticed that, depending on where they are printed, the colour, cut, folding and finish is different. As such, you will need to allow for the guidelines they’ve given you. Yes, there is a good chance that anything in the red-zone before the black line will be visible, but don’t count on it. If it’s important, keep it in the white zone.
Also worth noting: If you’re a stickler for having things dead-centre, then prepare to pull your hair out. That buffer and trim at the right means that you will need to compensate your centreline on the front cover to be a squigion to the left. The same rule applies for the vertical direction. Don’t assume that you can grab your eBook version and slap it on the top.
Be prepared to fiddle, is all I’m saying. After you upload, examine the finished product carefully because it won’t be exactly as you had it.
Is that all? No, not really. There’s a fair bit more to go, actually. More in the next post.
After you’ve made your project, pushed up your manuscript and made up your cover, your book is pretty much ready to distribute. If you’ve selected the option to have Lulu push your book for you, then there’s just two things left to do.
Like Smashwords, Lulu can be an aggregator, taking the pain out of submitting your work through the various channels. Smashwords has a bazillion (last count, anyway) eBook distributors (minus Google Play and Amazon). Lulu has fewer, but, as far as print books go, there are two important ones: Amazon and Barnes & Noble.
It’s one of those trade-off situations: They take a cut of the price of the book and, in return they take the hard work out of submitting, pricing, updating, etc. Personally, I want to spend more time writing, and less time chasing up the various distributors, so this option is for me.
Opting into the GlobalREACH program is as easy as pressing the button that says, “Activate GlobalREACH”. Well, it’s not that easy.
Sure, any old shmuck can join up, but because we’re no longer dealing with just you, Lulu and Mr. Magoo, the third parties have certain requirements that need to be met. Remember how we needed the table of contents to be correct, and the page numbers in the right spots, and Copyright and ISBN to be valid, and the cover to be up to scratch?
This is why we went through all of that, because, if you follow Lulu’s rules, there won’t be any issues with the third parties. Still, you need to do one last thing:
Order a copy of your own book.
Not only is this a good idea in general, it lets Lulu know that you’ve received the book as if you were a customer and, therefore, are viewing the final product AS THE CUSTOMER. Think about it: If you bought a book online and, when you received it, things were out of whack, you’d be kinda miffed, right? Who would you blame? The author? The publisher? The printer? The Distributor? Well, let’s not get the audience off-side, eh, and instead make sure that everything is tickety-boo before pushing it out.
This is your last chance to make sure that your book is EXACTLY how you want it.
OK, so there’s money involved, because you’ve got time on the press, but, from another viewpoint, you’re not handing over $10k for a first run of a thousand books, you’re spending $20 to make sure your book is ready. It’s a worthwhile investment.
You can wait until Lulu has free shipping offers, or 30% books, or whatever, if that helps. A little thing that annoys me about having it printed and sent is that the printers are just down the road in Port Melbourne. They send it, via Toll, in Port Melbourne to my office in, you guessed it, Port Melbourne. Can’t I just go and, you know, pick it up from the press when it’s done? Nope.
Once you’ve received your book, check it over, each page, double check the table of contents, the ISBN (must match inside and out), the spelling of the titles, the colours and position of the cover, etc.
If you’re not happy, don’t approve it.
After any changes, you make a ‘revision’ in Lulu. Once you’re convinced you’ve nailed it, you’ll need to order a copy of that revision, and verify that it’s correct.
If you are happy, go back to Lulu and click ‘Approve’. It’s that easy. If you skipped to this bit, I’m going to print the last sentence again, just for good measure.
If you’re not happy, don’t approve.
If you need to make changes after you’ve approved it, that’s still ok, but you’ll need to understand that the third parties won’t be too happy if they’ve cranked out a run of a thousand for their hungry audiences, only to be told that the run was a dud.
Lulu allows you to make revisions at any time, so pump the brakes, make yourself a cup of tea and take the opportunity to get it right. It’s exciting, because you’re *this* close to having your book sitting on a physical shelf.
Left you hanging on the uploading of the manuscript. My apologies. Had to get foreign character printing fixed on Epson printers. Long story, don’t ask.
This is where your hard work shaping the cover will pay off. You’ve made the front and the back cover, in the correct dimensions, so all that’s left to do is upload those two images.
Here, you’ll find Lulu’s cover creator. It’s fairly intuitive, although a tad clunky. Hey, it does the job. You’ll see that there are a few features, like Background and Themes. Ignore them if you have your title and author in the cover image. They’re good if you haven’t included these, and are just uploading a background image in the cover.
But you have, right? Cool. So, on the right pane, there’s the “Add Images” button in orange? Click it. Find your pictures and upload.
If your network connection is anything like mine, go and have a coffee while you wait. The maximum file size is 10MB, so if you’ve trimmed your pics to the right size, they’ll be good to go. Once they’ve uploaded, click Done and they’ll appear on the sidebar. This is a picture of a rather cool bird in the Melbourne Zoo.
And this is where the prefill gets ugly. If you’ve put your title as part of the image, click on the text box with your title and author and delete the text in the fields.
I don’t think you can delete the fields entirely, unless you go to Themes and pick ‘image only’, but I don’t bother. Clearing the text suffices.
Notice, too, that the barcode of the ISBN is already overlaid (The one in the picture is not a real ISBN). That’s where it’s going to live, so if your back cover ain’t right, fix it and re-upload.
Tidy up and Blurb it up!
Clearing the text in the front page text boxes is fine, but you’ll still have those camera images hanging around. Don’t worry about them. They are there if you’ve picked a theme that has multiple picture areas. Anyway, they won’t show up in the final cut. If they really bug you, click on the Theme tab and choose a front page theme with no picture inserts.
On the back cover (on the left), you’ve got a ready made text box. Use this for your blurb if you haven’t included it in the image, otherwise leave the field blank.
Click on the ‘Preview’ button on the bottom right, and you’ll be taken to the preview screen.
Not bad, not bad. The little dashed lines are the ‘trim‘ lines, so anything outside of them will be lost. Remember that. Note that this still isn’t the finished product. If you’re happy with the overall job, hit “Make Print-Ready Cover”. This will transfer all of the information into one big PDF, and you’ll get to review that in the next step.
Which reminds me: If you’re not satisfied with the manuscript or the cover at any stage, even AFTER you’ve published, you can go back and change it. Just know that Lulu insists that you check your book carefully to make any necessary changes BEFORE you publish.
Pushing the digital version of your book to hardcopy requires a revision of your front cover. You’ve knocked your cover up. You are pretty chuffed with it because, hey, everything is just as it should be.
Pixels are, after all, pixels.
Printing out a cover throws a couple of curve-balls. Two notables are colour and cut.
Cut is the easiest to explain. When a book get made up from a printing press, there are a number of processes and physical factors that need to be accounted for. Pick up a book off your shelf, go on. See how the cover stock is different to what’s used inside the book? See how it’s glossy, whereas the pages are not? See how the pages perfectly line up with each other?
It’s not an accident. The machines that make up a book have various tolerances when assembling, and then the whole thing gets trimmed to perfection. Aah!
The trimming bit is where you need to be concerned. Your cover will have bits cut off. I’ll repeat that because it’s important:
Your cover will have bits cut off.
The top and bottom edges, and the edge opposite the spine, are ear marked for a bit of slice-and-dice action. Lulu gives you templates you can use:
This one is for the PocketBook size, and as you can see, it has three distinct regions. The ‘Trim Area’, the ‘Safety Margin’ and the ‘Live Area’. If you use Gimp or Photoshop, add the template as a top-level layer so that you can see how your cover will end up:
Notice that all words are within the safety margin – no one wants to have their title sliced off! And, before you ask, yes, I found this out the hard way. The margin of safety is there for a reason. Use it.
What’s not so obvious is that the centre of your image is now a wee bit to the left. Doesn’t sound bad, until you get your book and that ‘wee bit’ has turned into a ‘Hella lot’! Realign your words, shadows, etc to align to the ‘new’ centre, and save yourself a headache.
If something looks good one your screen, great, it will probably look good on someone else’s screen, too, unless they’ve got their colours all up the wazoo. You can’t help that. In contrast (pun somewhat intended), if I look at a book, and then hand it to you, the colours on the front page haven’t changed.
So it is important to get it right.
I can’t really show you the difference as it gets printed out here, because my camera isn’t really picking up the details, but I’ll show you what I did for Adaptation:
On the left is the digital edit, and on the right is the Lulu hardcopy edit. You’ll notice the words spacing and alignment has been adjusted for the margins of safety.
The colours are muted on the left, just the way I wanted them to be but, when it was printed, they appear especially dull. No good. So with the Lulu edit I upped the contrast, increased the saturation and use the auto ‘white balance’. The result is a more vivid cover, unsuitable for digital (I think) but comes out just right in hardcopy.
We’ve been converting our digital eBook to hardcopy. From the get go, there have been changes, mostly around the front matter and the formatting. We’ve added a copyright page, a table of contents, added numbering, and it’s looking good.
Not a lot. You’re close to the end. But something is nagging at you, right? It can’t be that easy, can it?
It can. But, you’re right, something is nagging.
At this point, you’ll want to export your document to PDF. This is what’s used at Lulu to make the content. Groovy. Click on “File -> Export as PDF…” and you’ll get a dialog.
See that little check box marked “PDF/A-1a”? Make sure it’s checked. Lulu’s engine will not appreciate it if it’s not checked. Then hit the Export button.
Almost. Keep it cool. Because, even though you’ve exported it, you still need to check off all the things that need checking. This isn’t an exhaustive list, Lulu can give you details about the finer points, but here you go:
Title page has the title, subtitle (if applicable), series (if applicable) and author(s), all with correct spelling (raises hand – guilty).
For a series, be sure you’ve used the same format for numbers: If your other books are in roman numerals, continue that way.
If you have a table of contents, one of requirements is that the numbers of the chapters must match perfectly. However, there isn’t much point having a table of contents with page numbers if you don’t have page numbers.
Introducing: Page Numbers
This has got to be the fiddliest part of the whole exercise. Why? Because it involves headers and magical fields. There may be many ways to skin a cat, but this is how I do it. If you’ve got a better / easier / alternate way, feel free to let me know. Anything that makes life easier, right?
I put my page numbers in the header, top-left for left-hand pages and top-right for right-hand pages. You can put your page numbers at the bottom, in the footer, with pretty much the same process.
First, show the view as ‘Print Layout’. This will give you a clear idea of what is a left page, and what is a right. You should see, for example, that your first page, your Title page, is a right hand page.
Select “Insert -> Header -> Default”
This will put a magical header at the top of every ‘default’ page. Because the Title page is a ‘First Page’, it doesn’t get this, which is a good thing because your Title Page must only have the title, the subtitle and author (no page numbers).
Numbering should start from your Copyright and ISBN page, and be consistent all the way through.
Get on with it…
Alright! Sheesh, I’m laying down the what and why and stuff. OK, so when you add your header, go to the page settings in ‘Format -> Page…’:
In the dialog. You’ll note that you can also adjust your headers and footer from here. You can also uncheck ‘same header left and right’.
Why? Because you won’t be having the same header left and right, that’s why.
Hit OK, close the dialog and, at the top of every page, you’ll have a grey rectangle. This is your header. If there’s a big, gangly space underneath, you can adjust the header size and spacing from the page formatting dialog. At this point, if you want ONLY your page number, then ignore the next bit about tables and skip down to the next bit.
Click inside the header, and insert a table 3 columns x 1 row. You may need to format the table to remove borders. Right click -> Table Properties -> Border – and set to blank border.
Now, click in the middle cell, and go to the menu “Insert -> Field -> Other”, or hit Ctrl + F2, and select the Chapter Name from the list. This will insert the current chapter for each page. Then click ‘centre align’ to make the chapter label centred. Do this for the right header as well.
Page Numbers, finally
Now click on the left header’s left cell (or just the left header if you aren’t using a table) and make sure it’s left aligned.
Go to “Insert” -> Field and choose the “Page Number” from here.
Boom. All left pages are now numbered!
On the right header, click the right-most cell, and right align it. Insert the page number there and, boom! all right pages are numbered!
It’s as easy as that. Now, because you’ve introduced a header, this can push out the contents of your pages, so the Table of Contents you created previously will no longer match. Right click on it and press ‘Update’ to realign the TOC with the pages.
If you want, you can stick your page numbers up the top, and your chapter title down the bottom, or both at the bottom. (Almost) Anything goes. Just be sure to align left page numbers to the left, and right page numbers to the right.
At this point, check that your Title page has no page numbering, that your TOC is correctly picking up the chapters and their respective pages. If it’s all good, you’re nearly there!