White Paper Design Tips that Sell

ROGER C. PARK ER’S

design
to sell White paper design that sells
16 easy-to-implement best practices

The design of your white papers play a major role in their success. White paper
readership is never guaranteed—no matter how well they are written. Design can
easily get between your words and your prospects.

Design pre-sells the importance of your words and sets your white paper apart
from others. Design also determines readability—the measure of how easy it is
to read your white paper.

White paper writers must use design to convert a prospect’s initial curiosity into
extended reading.

Readers in a hurry
Prospects are always in a hurry. If your white paper doesn’t present a pleasurable
reading experience, puts up obstacles to easy reading, your prospects—and your
client’s prospects—are likely to put your white paper down or press Acrobat’s
“close” button.

About the author
The Magic of Reading
Roger C. Parker has The design techniques described below are based on extensive research into the
introduced millions of psychology of reading, as described in The Magic of Reading, by Bill Hill.
readers to graphic
Bill studied over 12,000 pages of books, articles and research papers. His research
design since 1985.
indicates there are no “readers;” there are only “recognizers.”
His books,
Reading is based on serial pattern recognition. Rather than “sounding out” indi-
newsletters,
vidual letters, readers scan groups of words and their brains translate word shapes
and training
into meaning. This happens instantaneously, over and over again.
resources
include Serial pattern recognition has major implications for white paper design.
Looking
Good in Print
and Design
to Sell.
1999, Microsoft Corporation.

Copyright © 2012 Roger C. Parker www.designtosellonline.com

White Paper Design that Sells design to sell

Margins and columns
Layout
The difference that a 2-column
layout adds to white papers is The layout, or placement of text and graphics on each page, of your white paper,
shown by the illustrations below. plays a major role in its image and readability. Here are some layout tips that pre-
pare the foundation for the success of your white paper.

Layout
The layout, or placement of text and graphics on each page, of your white paper, plays a major role in its image and read-
ability. Here are some layout tips that prepare the foundation for the success of your white paper.
1. Provide generous margins
White space along the top, bottom, and sides of each page helps create “open,” attractive pages. Generous margins project
an inviting, easy-to-read image that invites readership.

Margins also provide space for reader to hold your white paper while reading it, without hiding any of the text or graph-
White space along the top, bottom, and sides of each page helps create “open,”
attractive pages. Generous margins project an inviting, easy-to-read image that
ics.

The “default,” or “automatic,” margins created by most software programs when you open new documents are often too
narrow. To address this problem, use your program’s “page setup,” or “document set-up,” commands to increase the mar-
gins, adding extra white space along the edges of each page.

. Choose a -column layout
invites readership.
Long lines of type extending from the left-hand to the right-hand margins create white papers that project a dull, hard to
read, image.

A better alternative is to base your white papers on a 2-column design. Use a narrow column to the left and a wider col-
umn to the right. This adds visual interest to each page and focuses your prospect’s eyes on the text to the right. A 2-col-
umn layout also reduces the line length of your body copy, so your readers’ eyes don’t have to make as many left-to-right
Margins also provide space for readers to hold your white paper while reading it,
“jumps” across each line of text.

Shorter lines also means that there will be less chance that readers will get lost making the transition from the end of one
line to the beginning of the next. “Doubling” occurs when prospects inadvertently reread the same line.
without hiding any of the text or graphics.
Place graphics, short text elements, and quotations, in the narrow, left-hand column, as I’ve done in the publication you’re
reading.

Type
Type plays a major role in determining the image your white paper projects to prospects. The typefaces you choose, and
The “default,” or “automatic,” margins created by most software programs when
you open new documents are often too narrow. To address this problem, use your
the way you format them, plays a crucial role in determining your white paper’s readability.

3. Choose an easy-to-read typeface

Start by choosing a serif typeface, like Times New Roman or Garamond, for the body copy your white paper. Serif type-
faces are significantly easier to read than sans-serif designs like Arial or Helvetica. program’s “page setup,” or “document set-up,” commands to increase the margins,
Copyright © 2007 Roger C. Parker –– www.designtosellonline.com
adding extra white space along the edges of each page.
A single column of type extend-
ing the full width of each page 2. Choose a 2-column layout
creates a boring, hard-to-read
Long lines of type extending from the left-hand to the right-hand margins create
white paper.
white papers that project a dull, hard to read, image.

A better alternative is to base your white papers on a 2-column design. Use a nar-
row column to the left and a wider column to the right. This adds visual interest

to each page and focuses your prospect’s eyes on the text to the right. A 2-column
Layout
The layout, or placement of text and graphics on each page, of your white paper,
plays a major role in its image and readability. Here are some layout tips that

layout also reduces the line length of your body copy, so your readers’ eyes don’t
prepare the foundation for the success of your white paper.


have to make as many left-to-right “jumps” across each line of text.
White space along the top, bottom, and sides of each page helps create “open,”
attractive pages. Generous margins project an inviting, easy-to-read image that
invites readership.

Margins also provide space for reader to hold your white paper while reading
it, without hiding any of the text or graphics.

Shorter lines also mean that there will be less chance that readers will get lost mak-
The “default,” or “automatic,” margins created by most software programs when
you open new documents are often too narrow. To address this problem, use
your program’s “page setup,” or “document set-up,” commands to increase the
margins, adding extra white space along the edges of each page.

. Choose a -column layout
Long lines of type extending from the left-hand to the right-hand margins cre-
ing the transition from the end of one line to the beginning of the next. “Doubling”
occurs when prospects inadvertently reread the same line.
ate white papers that project a dull, hard to read, image.

A better alternative is to base your white papers on a 2-column design. Use a
narrow column to the left and a wider column to the right. This adds visual in-
terest to each page and focuses your prospect’s eyes on the text to the right. A
2-column layout also reduces the line length of your body copy, so your readers’

Place graphics, short text elements, and quotations, in the narrow, left-hand col-
eyes don’t have to make as many left-to-right “jumps” across each line of text.

Shorter lines also means that there will be less chance that readers will get lost
making the transition from the end of one line to the beginning of the next.
“Doubling” occurs when prospects inadvertently reread the same line.

Place graphics, short text elements, and quotations, in the narrow, left-hand
column, as I’ve done in the publication you’re reading. umn, as I’ve done in the publication you’re reading.
Type
Type plays a major role in determining the image your white paper projects
to prospects. The typefaces you choose, and the way you format them, plays a
crucial role in determining your white paper’s readability.

Type
A 2-column layout is more attrac-
Type plays a major role in determining the image your white paper projects to
tive, makes reading easier, and
prospects. The typefaces you choose, and the way you format them, plays a crucial
creates space for placing addi-
role in determining your white paper’s readability.
tional text or graphics.



Serif vs. sans serif type
3. Choose an easy-to-read typeface

and
Start by choosing a serif typeface, like Times New Roman or Garamond, for the
body copy of your white paper. Serif typefaces are significantly easier to read than
sans-serif designs like Arial or Helvetica.

Serifs are the tiny decorative strokes added to the characters. (Sans-serif designs
lack these strokes). Serifs contribute to easy reading by helping prospects recog-
Serif typefaces, like Adobe nize the distinct shapes of the characters that make up each word. Serifs also lead
Minion, above, used in this your prospects’ eyes from character to character and word-to-word.
report have tiny strokes which Research has proven that serif typeface designs are easier to read than sans serif
help readers recognize each designs, even though many feel that sans serif designs project a more “contem-
character and which lead the porary” or “high tech” image.
reader’s eyes from left to right.

4. Use type to visually “brand” your white paper

and
There’s a world of type beyond familiar serif typefaces like Times New Roman.
Different designs help you set your white papers apart from the competition.

Explore alternative serif typeface designs like Garamond, Century Schoolbook,
Palatino, or Minion (used for the body copy you’re reading). There are numerous
online sources where you can purchase different typeface designs.
Sans serif typefaces, like Frutiger,
above, also used in this report When choosing type, however, avoid typefaces with exaggerated characteristics.
lack these distinguishing strokes What may look “interesting” to you in a short sample may prove to be difficult
and have simpler shapes. for your prospects to read in extended doses.

Stick to the designs which have been successfully used for years. These include
Garamond, Century Schoolbook, Minion, Palatino, and Utopia.

Choosing the right 5. Choose the right type size
type size
Avoid setting body copy type too large or too small. Either extreme slows readers
Two similar typefaces, Adobe down and can cause them to put your white paper down.
Garamond and Adobe Utopia,
Type set too large slows down readers because it interferes with their rhythmic,
set the same size can appear
left-to-right, eye scans. Type set too small causes squinting and eye strain.
dramatically different, as shown
below. Begin by examining your software program’s default, or automatic, “normal” or

ageage
“body text” type size. Type is measured in points. There are about 72 points per
inch. The default type size is often wrong for the line length you’re using.

Choose type size based on the typeface you’re using and the column width (or
line length).



Determine the right type size for your white paper’s body copy by trial and error.
Set a typical paragraph in several different type sizes. See which combination is
easiest to read. Experiment with half-point differences in type size. Sometimes,
11 point type is too small, 12 points is too large, but 11.5 points is perfect!

TYPE
6. Choose the right type case and style
Never set headlines or sentences entirely in upper case type, i.e., “capital letters.”
Words set entirely in upper case type are significantly harder to read than words
The above example, set entirely set in lower case type. Words set in upper case also occupy more space.
in upper case type, is hard
Readers recognize words by their distinct shapes, created by the different
to read because it lacks a
characters used in each word. Some words contain characters with elements
distinguishing shape.
that extend upwards. Other words contain characters with elements that extend
downward.

type
Words set entirely in upper case type, however lack distinguishing shapes. Their
shapes are rectangles with do not provide clues for serial pattern recognition.

In addition, use restraint with style options like bold, italics, and bold-italics.
These styles are appropriate for occasional use, but lose their impact when over-
This example, set the same size,
used. Because the characters are less familiar than regular, or Roman, type, these
is easier to read, because the
options also slow down your readers’ scanning rate.
t, y, and p create a shape your
eye and brain recognize because
they’ve encountered it before. 7. Adjust line and paragraph spacing
Although often neglected, line spacing is as important to white paper image and
readability as type size.

Your software program’s default line spacing is a compromise measurement based
on the “average” line length and an “average” typeface. Explore different settings
using your software program’s line spacing, or “leading,” command.

As you increase line spacing, notice how readability increases. The additional line
spacing frames each line with white space, isolating each line, making it easier to
recognize word shapes. The additional line spacing also helps guide your pros-
pects’ eyes from left to right.

In this document, for example, I have used significantly more line spacing than
the software program’s default spacing. But, notice that I did not use double line
spacing. Too much line spacing interferes with easy reading by making it harder
to transition from the end of one line to the beginning of the next.



Typical white paper Paragraph spacing is equally important. Never press the Enter key twice at the
information hierarchy end of a paragraph, in order to insert extra space between paragraphs. This cre-
ates too much space between paragraphs.
 Title
 Section heads Instead, use your software program’s “space after” command to add paragraph
 Subheads spacing equal in height to approximately 1 1/2 lines of text.
 Body copy
 Captions 8. Create an obvious visual hierarchy
 Headers and footers
Most prospects will quickly scan your white paper before committing to read it.
 Footnotes
If nothing catches their eye, they’ll find something else to read.

To attract their attention, your white paper must communicate at a glance. Im-
portant text, like headlines and subheads, should be larger and more noticeable
Bold versus Black than supporting information, like body copy and captions.
Compare the Bold version of
Likewise, information in headers and footers—titles, copyright information, and
Frutiger, top, with the Black
page numbers placed at the tops and bottoms of each page—should not compete
version on the next line.
with the body copy. Headlines and subheads should be distinctly larger than
body copy.

Subhead Create a visual hierarchy by using contrasting typeface designs. Try combining
sans serif typefaces for headlines and body copy with serif typefaces for body

Subhead
copy. The noticeable differences in typeface design will help your prospects im-
mediately recognize each element of white paper architecture.

You can emphasize headlines and subheads by using the black, heavy, or ultra black
versions that come with many sans serif designs. These have more of a presence
on the page. You can also set subheads in color.

Draw attention to subheads by adding extra space above the subheads. The extra
space creates a visual barrier that emphasizes the introduction of a new topic.

Graphics
Graphics— illustrations, photographs, and tables—enhance the appearance and
communicating power of your white paper. Words, alone, may fail to keep your
prospect’s attention and fully communicate your white paper’s story.

9. Use graphics to communicate at a glance
A cycle graphic communicates
Whenever possible, communicate with graphics instead of words in sentences
information in a simpler and
and paragraphs. Graphics communicate at a glance. Graphics can both commu-
more memorable way than
nicate and dramatize.
words in a paragraph.



Text wrap example Choose the type of information graphics based on the interpretation you want
Before after to provide. Options include:

Write Your Way to Success Published Profitable  Pie charts communicate part/whole relationships
ute audio, video, and printed files around the world at virtually no cost.

The power of
commitment
Equally important, the Internet makes it feasible for individuals to pro-
mote their book online to readers and reviewers around the world.

Digital print-on-demand. Until recently, book publishing was limited
 Bar graphs display comparisons
…the moment one by economies of scale. The cost of printing books rapidly declined as
definitely commitments the number of books printed increased. Authors had to print thousands

 Line charts show changes over time
oneself, then of copies before they sold their first copy. Now, however, books can be
providence moves, printed as they are sold! This eliminates the need for major up-front
too. A whole stream investment and the possibility of garages filled with unsold books.
of events issues from
the decision, raising in
one’s favor all manner Getting started
of unforeseen incidents,
meetings, and material
assistance, which no
The secret to becoming profitably published is to follow a system, or process,
that breaks what should be done into a series of tasks, each of which—by it-
self— is easily accomplished.
 Organization charts display hierarchy and responsibility
man could have dreamt
would have come his
Step 1: Planning

 Tables help readers compare details
way. 1
Planning is crucial. Without careful planning, even the ideas and best-writ-
ten books are unlikely to succeed. Planning involves answering questions like
the following before you move
forward.

 Photographs communicate literally
What are your goals and ex-
pectations? Why are you in-
terested in writing a book? How
will your book contribute to your
success?

Is there a market for your
book? Who will buy it? Why
should they buy it? What are the
characteristics of your market?
 Illustrations allow you to be selective in what you display
What’s your book about? What problems will your book help readers solve?
What will set it apart from the competition?

1
William Hutchison Murray’s, The
Scottish Himalayan Expedition
Which publishing alternative makes the most sense? What are the pros
and cons of the alternatives available? What’s required?  Timelines display events in context
What can you expect from literary agents and publishers? What do agents
As quoted in Sarah Susanka’s The
and publishers want from you? How do you locate and approach them?
Not So Big Life: Making Room

 Cycles display sequence
for What Really Matters, 2007.

Copyright © 2007 Roger C. Parker –7– www.publishedandprofitable.com

Lists provide you with an opportunity to add visual interest to your pages while
The text wrap created when a
communicating more effectively. Use bullets to indicate random information or-
graphic is placed in a column of
der. Use numbers to emphasize importance or sequence.
text creates disorganized pages
and interrupts the readers’ rhyth- Add titles explaining the relevance of your graphics. Use additional captions for
mic left to right scans. details and to reinforce the graphic’s message or intended interpretation.

10. Avoid text wraps
Write Your Way to Success Published Profitable

The power of
ute audio, video, and printed files around the world at virtually no cost.
Equally important, the Internet makes it feasible for individuals to pro-
Text wraps occur when graphics are placed within text columns, where they re-
mote their book online to readers and reviewers around the world.

duce the line length of adjacent text. Text wraps interfere with rhythmic reading,
commitment
Digital print-on-demand. Until recently, book publishing was limited
…the moment one by economies of scale. The cost of printing books rapidly declined as
definitely commitments the number of books printed increased. Authors had to print thousands

because readers have to adjust their left-to-right eye rhythmic movements.
oneself, then of copies before they sold their first copy. Now, however, books can be
providence moves, printed as they are sold! This eliminates the need for major up-front
too. A whole stream investment and the possibility of garages filled with unsold books.
of events issues from
the decision, raising in
one’s favor all manner Getting started

Place graphics so they align with adjacent text columns. Two-column page layouts
of unforeseen incidents,
The secret to becoming profitably published is to follow a system, or process,
meetings, and material
that breaks what should be done into a series of tasks, each of which—by it-
assistance, which no
self— is easily accomplished.
man could have dreamt

can accommodate a variety of large and small graphics. Place small horizontal
would have come his
way. 1 Step 1: Planning
Planning is crucial. Without careful planning, even the ideas and best-written
books are unlikely to succeed. Planning involves answering questions like the
following before you move forward.

What are your goals and expectations? Why are you interested in writing
a book? How will your book contribute to your success?
graphics, and narrow vertical graphics in the narrow column to the left of your
Is there a market for your book? Who will buy it? Why should they buy it?
What are the characteristics of your market?

What’s your book about? What problems will your book help readers solve?
main text column.
What will set it apart from the competition?

Which publishing alternative makes the most sense? What are the pros
and cons of the alternatives available? What’s required?

What can you expect from literary agents and publishers? What do agents
Larger and wider graphics, however, can be placed within the text columns.
and publishers want from you? How do you locate and approach them?

More books fail to achieve their goals because of a lack of planning than a lack
of writing ability.
1
William Hutchison Murray’s, The
The biggest mistake first-time authors often make is to write a book before they
Scottish Himalayan Expedition
have done the proper planning. Writing without planning is like driving from
As quoted in Sarah Susanka’s The
Atlanta to Los Angeles without a map. You may arrive at the right location,

Color
Not So Big Life: Making Room
but—chances are—you won’t!
for What Really Matters, 2007.

Copyright © 2007 Roger C. Parker –7– www.publishedandprofitable.com

Slightly reducing the graphic and Color is one of the most visual aspects of a white paper. Color is most powerful
placing it in the narrow column when it is subtly and consistently employed.
restores rhythmic reading to the
text column.



11. Use color with restraint
Use color to communicate rather than decorate. Only add color when it enhances
your message and reinforces your firm’s corporate identity—or, your client’s cor-
porate identity.

Consistency is the key. The colors used in white papers should be the same as
the colors used in a firm’s other online and offline marketing. These colors should
relate, in some way, to the colors used in the firm’s logo.

The overuse of color prevents branding—creating a unique, consistent image that
multiplies the effectiveness of a firm’s marketing. When multiple colors are used,
none of the colors contribute to an image.

But, when a few colors are consistently used throughout a firm’s marketing, the
colors—like the yellow of McDonald’s arches or JetBlue’s blue logo—creates a
synergy that prospects will remember.
Recolor chart and
graphic elements Less is always more. A single color highlight on a page will attract more attention
than the same color used in several locations on a page—especially if the high-
They should match your white
light emphasizes a key point.
paper’s color palette

12. Specify color palettes
A color palette is a selection of a limited number of colors chosen because they
work well together in print and online. Colors should be identified using specific
values, or numbers, rather than visually. Once selected, the color palettes should
be available to all employees on all computers.

Rather than introduce too many colors in a palette, consider adding design flex-
Pie chart, above, as originally ibility by using tints and shades of your firm’s key colors:
created in a spreadsheet
 Tints. Adding white lightens the colors, making it useful for backgrounds
program.
and fills.

 Screens. Adding black makes them suitable for small type set or bor-
ders.

13. Recolor graphics
Avoid the default colors used by software programs when adding bullets to lists
or charts and graphs. Instead, recolor bullets and chart elements to match the
color palette associated with your firm’s corporate identity.
Pie chart elements after recolor-
This greatly enhances the professional image projected by the white paper. Recol-
ing to match color palette.



R O G E R C . PA R K E R ’ S “ D E S I G N T O S E L L ” oring imported graphics also integrates the visuals with your white paper’s text.
Proofing Checklist It communicates professionalism and attention to detail. It shows that someone
.95
cared—and is likely to care when prospects sign on the dotted line and become
No job is complete until you proofread it one more time!
$7 ue
l
Va E! Keep this checklist next to your computer. Refer to it
E
FR before you print and distribute each of your publications.

Did you read your publication out loud?
clients.
Reading out loud helps you identify errors like repeated words, omitted
words, long sentences, and awkward sentence construction.
Is text easy to read?
Is there a pleasing relationship between type size, line length, and line spac- Pay particular attention to the appropriateness and consistency of colors used
ing? Can your eyes quickly scan several words at a time on each line?
Are there any distracting text wraps, widows, or orphans?
Avoid text and subheads isolated at the top or bottom of columns and pages.
to format:
Paragraphs at the top or bottom of pages must contain at least two lines.

 Bullets in a list
Has extra spacing slipped in between words and sentences?
Never press the space bar twice after periods at the end of sentences. Also,
check for extra word spacing inadvertently added during editing.
Are there headlines or subheads set in upper case type?
Headlines and subheads set entirely in upper case type, i.e. capital letters, take
up more space and are harder to read.
Are there any cluttered or crowded pages?
 Borders and fills in tables
Are there any unnecessary design elements? Is there sufficient white space
at the tops and bottoms of columns, and between text elements?
Did you limit headlines and subhead length?
Limit headlines to 3 lines; subheads to a single line. No exceptions!
 Slices of a pie chart
Did you check phone numbers, e-mail addresses, and URLs?

 Bars in a graph
Always confirm all phone numbers and addresses before distributing your
message to check for transposed or missing numbers or words.
Did you run the spell checker one last time?
Spelling errors are often unintentionally added at the last minute, when a
“final touch” is made to a headline or caption.
Are any words missing?
Check the last paragraphs of every article or story, to make sure that no lines
are missing and the “Text in Overflow” icon is not visible.

©2006 Roger C. Parker www.designtosellonline.com
Proofing
Proofing checklist The real work begins just when you think you’ve finished your white paper! What
Plastic laminated review of last- happens after you finished writing and formatting your white paper is as impor-
minute design elements to check. tant as what happened while you were writing and formatting.

14. Start by printing and sharing
Always print your work before proofing it. It is much harder to locate problems
reading on screen than it is when reading a printed copy.

When proofing, start on the last page and work your way forward! This slows you
down, and helps you focus on each sentence and paragraph. Otherwise, you might
get caught up in the moment of your ideas and overlook problems like omitted
words or overused phrases.

Homonyms Whenever possible, invite co-workers, or—even better—professional editors, to
review your white papers before you distribute them. It’s very difficult to edit your
Mistakes your spell-
own work. Your brain “knows” what you meant, and will automatically insert
checker won’t catch!
correct or omitted words.
design ≠ deign

family ≠ familiar
15. Avoid spell-check mishaps
me at ≠ meat
Always run your software program’s spell-checker one last time before distribut-
to ≠ two ≠ too
ing your white paper. Mistakes often show up during last minute changes.
threw ≠ through
Avoid over-dependence on your software program’s spell-checker. These are great
tot he ≠ to the
time-savers, but can lead to trouble.



 Homonyms. Watch out for correctly spelled but misused words. As
Recommended long as the words are spelled correctly, your spell-checker may not care
design resources whether you meant “threw,” “through,” “thorough,” or “trough”. Missing
spaces between words can also cause problems.
From the thousands of
 Proper nouns. Pay particular attention to the proper spelling of client
books available, here
and prospect names, firm names, and products. Add important names
are a few personal
to your spell-check dictionary, so they will be accurately and consistently
favorites
spelled.
The elements of  Jargon. Monitor the spelling of terms unique to your field. Don’t as-
typographic style sume that your software program has flagged a term because it’s strange:
by Robert Bringhurst
it could also be misspelled!
Editing by Design
 Numbers. Pay particular attention to transposed numbers in street ad-
Jan V. White
dresses and phone numbers. Call all telephone numbers to be sure they’re
The Making of a Brand accurate. Double-check all links and e-mail addresses.
A case study in
publication makeover
Maria G. Nozza 16. Fine-tune text formatting
www.mygraphicsnotebook.com

There’s more to proofing than running the spell-checker. Here are some typograph-
Before After ic mishaps that can undermine the credibility that white paper success requires.
Magazine
John McWade  Hyphenation. Monitor your software program’s hyphenation. Know
www.bamag.com when to turn hyphenation on, and when to turn it off. Always hyphen-
ate body copy, for example, but never hyphenate headlines, subheads, or
The Official Adobe
Print Publishing Guide pull-quotes. Limit the number of hyphenated lines in a row. Avoid typo-
www.adobe.com graphic disasters, like “therapist” being hyphenated as “the rapist.”

Type and Layout  Line-breaks. Do not allow phrases containing dates and proper nouns
Colin Wheildon to split over two lines. Use non-breaking spaces to keep first and last
names, cities and states, and month/date/year together on one line. (You
may have to occasionally rewrite an earlier line in a paragraph.)

 Sentence spacing. Avoid two spaces following periods. This creates
distracting “holes” in your text—especially if you are using justified text,
i.e., lines of equal length. Use your software program’s “find and replace”
feature to locate and replace double spaces with single spaces.

 Widows and orphans. Avoid subheads isolated by themselves at the
end of a column or page. Make sure paragraphs contain at least 2 lines
at the top or bottom of columns or pages. Use your software program’s
“keep together” feature to prevent isolated subheads or paragraph frag-
ments.



Steps to success
There are four steps involved in improving your white paper design skills. These
involve making choices, including:

 Acknowledge the challenge of design

 Assemble the right tools

 Invest in the right training

 Choose the right people

1. Acknowledge the challenge of design
Hardware and software cannot guarantee design success. Design literacy has been
a challenge since the earliest days of publishing, in the mid-1980’s.
The first widely distributed Prior to that time, graphic design and production was a craft practiced by trained,
design book for non-designers full-time, typesetters and graphic designers.
was my Aldus Guide to Basic
Design was “democratized” by the popularity of the Apple Macintosh computer
Design. Over 300,000 copies
and Aldus PageMaker. (The Aldus Corporation was later acquired by Adobe.)
were distributed.
Suddenly, everyone was a designer!

It soon became obvious that the capability to create pages was not synonymous
with the ability to “design” attractive, easy-to-read pages.

“Ransom note design” became common, characterized by crowded pages contain-
ing too many different typefaces.

One of the first solutions offered to “non-professional” designers was my book,
The Aldus Guide to Basic Design, which Aldus sent to all registered Page-
Maker users for many years. (Over 300,000 copies were distributed!)

My Aldus Guide to Basic Design was followed by my first book, Looking
Good In Print: A Guide to Basic Design for desktop publishing which
is still in print. This American best-seller was translated into dozens of languages
including Russian, Serbian, Israeli, and Chinese.

My Looking Good in Print, the 2. Assemble the right tools
world’s first best-selling design
Today, you can create white papers using both dedicated page layout programs
book, was quickly translated into
like AdobeInDesign and Quark XPress, as well as word processing programs,
dozens of foreign languages,
like Microsoft Word.
including Hebrew.

Copyright © 2012 Roger C. Parker – 10 – www.designtosellonline.com


Font buying tips Dedicated page layout software programs—even relatively low-priced programs
like Microsoft Publisher—offer significant advantages over word processing pro-
Purchasing fonts online as sets
grams.
can save you money, for example.
Ascender Corporation’s Creativity Microsoft Publisher, which runs on the Windows operating system, has already
Font Pack, above and below, con- been installed on hundreds of thousands of computers because it has been in-
tains a Design Guide I wrote to cluded with many versions of Microsoft Office.
accompany the project.
Fonts play a major role in white paper success. The right fonts go a long way to-
wards making your white papers distinct and easy-to-read.

Templates are crucial to white paper success. Templates save time and money by
making it possible to “design once, produce often.” Templates are based on repeat-
able page layouts that jumpstart your white papers. Templates include text styles
which ensure that type will be accurately and consistently formatted.

The best templates offer content guidance as well as formatting assistance. Tem-
plates should be customized to reflect your firm’s existing corporate identity stan-
dards, i.e., colors, layout, typeface, type size, etc.

3. Invest in the right training
Today, only a relative handful of those creating white papers have had formal de-
sign training. Most white paper creators are “self-taught,” using books and online
resources, instead of formal training.

Resources for learning more about white paper design:

 Online. Sites like www.designtosellonline.com contain numerous free
resources, such as two sample chapters from my latest book, Design to
Sell: Plan, Write, and Design Great Looking Marketing with
Microsoft Publisher. You’ll also find worksheets and templates.

 Newsletters. At www.designtosellonline.com, there are copies of a help-
ful newsletters you can read and download or subscribe to for free.

 E-books. E-books offer tips and expertise in topics too specialized for
trade publishing, i.e., books sold in bookstores, are often available direct
from the author. Examples include a Content Catalyst containing
over 400 topic ideas for articles blogs, newsletters, presentations, speeches,
and website incentives.

 Teleconferences and webinars. Choose from a variety of free and low
cost teleseminars and webinars. Webinars are similar to teleseminars, ex-
cept you can view visuals on the screen of your computer, while listening
and participating.



4. Choose the right people

RRO G E R
O C. PARKER’S NEWSLETTER Vol 2, #5
Choosing the right individuals to prepare your white paper is critical. This in-
volves addressing 3 serious issues:
design to sell Resources for making design
your strategic marketing partner
 Keeping projects on schedule. Time is your firm’s most important
Newsletters and since you can format your newsletter with

website success
typefaces, type sizes, colors, and graphics.

HTML files take longer than text files to
resource. There usually isn’t enough of it to go around. Your white paper
Post each issue on your website

must appear in a timely manner, yet its creation must not interfere with
open, and recipients usually have to resize
to attract new traffic and repeat the window before reading. Some recipi-
visitors each month ents may also be concerned about open-
Offer your One of the easiest ways to build website ing HTML files.

the ability of your employees to fulfill their normal, day-to-day, responsi-
traffic is to use each issue of your newslet-
clients and ter as an incentive to access your site. The biggest disadvantage of both formats,
however, is that both alternatives can be
prospects a The best way to do this is to create a difficult to print, save, and share.

bilities. Assigning white papers to a qualified outsider avoids scheduling
“Resource” page on your website contain-
choice of ing descriptions of each issue plus links to E-mail attachments
individual pages where visitors can read Others distribute newsletters as e-mail at-
e-mail formats or download each issue. see example tachments formatted using Adobe Acro-

difficulties.
bat. Acrobat PDF files, too, suffer from
E-mail newsletters several disadvantages.
Many associations and firms distribute
their newsletters as e-mail messages. Al- Failure to build website traffic. Distribut-
though relatively easy to implement, there ing your newsletter as e-mail attachments
are disadvantages to this approach: does not offer clients and prospects rea-

 Avoiding the “curse of knowledge.” Those associated with developing
sons to revisit your website each month.
Newsletters sent as text files are easy to
prepare and create small files which can Obstacles to delivery. Many e-mails con-
be immediately read. Text newsletters, taining attachments are not delivered be-

and selling breakthrough products may not be able to write about them
however, fail to project a distinct and cause they trigger Spam filters or are fil-
memorable image that differentiates your tered out by corporate firewalls.
Roger C. Parker has message from your competitor’s.
been helping firms Lack of tracking. When you distribute

from the prospect’s point of view. A better solution is to have someone
and individuals Newsletters sent as HTML newsletters do newsletters as e-mail attachments, you
profit from design a better job of branding your message, can’t easily find out if the newsletter was
since 1985

©2006 Roger C. Parker Learn more at www.designtosellonline.com outside the firm interview those involved in creating the new product.

Free design newsletter  Seek a balanced perspective. Avoid those who approach white pa-
Sign up and receive monthly pers from a “strictly design” or “strictly copy” perspective. “Over-design”
design and marketing ideas, must be avoided. It can increase costs and delays and project the image
suggestions, and tips. of a sales brochure, rather than a credible exchange of helpful informa-
tion. White paper message and design must complement each other.

Questions to ask

Tips from Roger C. Parker, best-selling $32 million dollar* author

Vol.
1 Published
No.
3 Profitable
Because writing is everyone’s business…
Selecting the right individual to work on your white paper involves asking the
right questions, such as:
How to avoid the first-time authors’
12 Biggest Mistakes
“If you want to change your life,” Harry isn’t accepted is not a good use of your time.
1. Track record. Does the individual have a proven ability to prepare per-
It’s up to Beckwith wrote in The Invisible Touch, “write

suasive documents that educate and inform readers?
a book.” But, writing a book can also be 3. No agent
you to tremendously frustrating and unrewarding.
You must be represented by a literary
Following are the 11 biggest reasons most first- agent. Publishers rarely accept unsolicited
promote time authors fail to receive the rewards they book proposals. Unsolicited proposals are
are due. frequently returned unread or are simply
your book
. Time. Will the individual be able to meet project deadlines without in-
discarded.
1. Unrealistic expectations
The right agent will know exactly which
Don’t expect to get rich off your book,
publishers might be interested in your
even if it’s a success by publishing standards.
book. Agents can also negotiate terms more

terfering with other responsibilities and tasks that must be completed?
The vast majority of books fail to earn out
effectively than you.
their advance.
Instead, develop a personal marketing plan to
4. Weak titles
leverage your career off your book. Instead
Spend time on the title; titles sell books.
of trying to make money on the book itself,
The title of your book is like the headline of

. Perspective. Can the individual approach the project from an outsider’s
use your book to open doors, promote your
an advertisement. The title represents your
credibility, and build relationships with
one and only chance to attract the attention of
readers.
acquisition editors or bookstore readers.

perspective, like prospects will?
2. Writing without a contract Successful titles stress the benefits readers will
Never write a book without a signed
gain from your book. Successful titles arouse
contract. Instead, prepare a polished proposal
curiosity and offer solutions. They often
and two sample chapters. include consonants and alliteration (repeated
*Roger C. Parker‘s “hard” sounds like G, K, P or T).
31 books have sold Publishers are increasingly selective the titles

4. Design background. Does the individual understand the principles of
1.6 million copies they accept. Often, less than 1 in 20 titles
in 37 languages proposed are published. Writing a book that

visual design, avoiding the costs and delays incurred when others must
©2006 Roger C. Parker Learn more at www.publishedandprofitable.com

Free writing newsletter format the white paper?
Sign up for free monthly ideas
5. Track record. Can they prove their expertise? Do you recognize any of
about planning, writing, and
their clients? Do they have credible references?
promoting a book to build your
business. 6. Samples. Have you read any of the white papers they have prepared?
Do you like the style?



How I can help
For over 20 years, I’ve been helping firms like Adobe, Apple Computer, Amaz-
ingMail, Hewlett-Packard, Microsoft, Mindjet, Paper Direct, Yamaha, and others,
educate their market.

Since the earliest days of the desktop publishing revolution, I have been helping
clients clarify, educate, and simplify. My assistance includes:

 Message development, including topic selection and organization.

 Copywriting, including sales and marketing materials, training, etc.

 Critiques, a fresh perspective on your project’s copy and design.

 Templates and training to jumpstart future projects.

 Design training and workshops, delivered online and in person.

Let me help you and your firm profit from the power of white papers used as
marketing and sales tools. My “dual major” as a copywriter and designer gives
me an uncommon ability to help you with your white papers.

Looking Good in Print is the
one to buy when you’re
buying only one!
NY Times
L.R. Shannon PO Box 697
Dover, NH 0382

Phone: 603-866-6046

Email: rogercparker@aol.com

Websites: www.publishedandprofitable.com
www.designtosellonline.com

Roger C. Parker is the “great simplifier!”

Cathy Colletto,
Marketing Manager,
Mindjet Corporation


Announcing…

The End of Paralyzing
Writer’s Block Forever!
Nothing can turn off the flow of ideas faster and with more
chilling precision than writers block.

But, there is a cure! 400+ ideas to spark
Introducing Roger C. Parker’s Content Catalyst, the cure for writers block.
your creativity
 Ideas for articles, blogs, and
Just imagine always having something relevant and captivating to say to your
newsletters
readers, web visitors and marketing prospects.
 Definitions, descriptions, and
You probably already know the message, all you need is a “hook” — an idea, examples
concept, or title — to speed you on your way.
 Create website content to at-
tract search engine traffic and
The Content Catalyst reduces writing to a “paint by numbers” exercise. Once
increase e-mail sign-ups
you have your topic in place and the keywords where you want them, you’ll be
on an unstoppable path to success as your project seems to fall into place.  Never be at a loss for words if
asked to speak or present

Create content like a machine
Users give 2 Thumbs Up!
The input is the sum of your business-related knowledge; the output is a steady
stream of winning customer-oriented communications. The Content Catalyst is, by far,
the most useful book I’ve ever
purchased to help me create
Make a difference in your business right now. content. I’ll never have to worry
about topics for articles, e-books,
Take the dramatic step forward by ordering the Content Catalyst risk free.
newsletters or membership sites
Just click here to begin.
again.
Ryan Lee
Fitness Entrepreneur
Click here to banish writer’s block from your vocabulary! http://www.ryanlee.com

There is nothing like your Con-
Your Content Catalyst is a constant fountain of ideas and projects. You
tent Catalyst anywhere.
are good at showing people easier ways to do things and saving them
Catherine Morley
time. Your Content Catalyst is an example of something each of us www.designers-who-blog.com
needs. Kip Gienau Indonesia

Copyright © 2012 Roger C. Parker www.designtosellonline.com

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