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Something odd has happened to WP today: my composing font is now Times New Roman, or something similar (one I don’t like, anyhow) but I trust that when I publish this, the default theme will override this layout and appearance I see now. I certainly hope so!

And because I am working on a high resolution MacBook Air screen, I needed to increase the font size 3 times to make it easily legible for me (in the standard, yesterday’s composing font, one size increase was sufficient.

Revising Stretching, mindfully as the title of the new vbook, I have changed the emphasis: Stretching is now bold, and I added a comma in between—my hope is to shift the emphasis more onto the Stretching aspect, which is the core of the work, after all.

I have been working on the layout with my colleague in Arizona (Cory) and we are deciding what authoring platform to use, how the video will be embedded, where the images will be on the page and what the text will look like; it’s all coming along. The new book has access to over 2,000 photographs that I intend to cull for more manageable thousand or so and each of the major exercises will have their own videos in a follow-along format for ease of learning. The idea is that people are want to get stuck into the material immediately simply follow the video. Once you’ve have learned an exercise by following the video, the photographs on the next page will remind you of variations and the Cues will remind you of the important form points as you practice. And if you really want to dig down into the whys and wherefores of the material, there will be about 100,000 words to keep you occupied.

I have been learning the new program Scrivener for the last few days and it is immensely powerful from an author’s perspective. If any of you are interested I would be delighted to write a short review of it, but from a technical writer’s point of view, what is beautiful about the program is that is completely free form in the draft stage. By this, I mean it is completely unnecessary to number chapters and sections and subsections, as whatever arrangement you end up with will be output with the correct and desired numbering system when using the Compile function. And you can choose the way in which the chapters, sections and subsection will be numbered as well. The same freedom applies to any annotations in-text: you can choose to have them print (for reviewers) or not (for output) and the same applies to footnotes and the more general Project notes.

Until Compile time, you can move, or remove (or hide) any text or any section or subsection around to your heart’s content; sections or chapters can be promoted, moved up or down a level, made a sibling or a parent: literally any changes you want. The program tracks these perfectly. It backs up automatically after two seconds in activity and I am holding my working copy on DropBox, which means that I can use the MacBook Pro or the MacBook Air as I wish depending on the writing or image making requirements at the time. Occasionally I will save a copy elsewhere for additional security.

That is all for today as I need to get back to the user’s manual. This new program is wide and deep, and I want to learn how to use all of its functionality. Let’s see how this looks when published.