WHEN STORYTELLING MEETS ACCESSIBILITY

case-study-845

How self-publishing became a case study in inclusive, reader-first design

PROJECT OVERVIEW

As both a UX designer and a self-published author, I’ve recently taken a fresh look at my books through the lens of accessibility. I realized that genre fiction—particularly horror and vampire stories like mine—often lacks large-print editions. Readers with vision impairments who prefer physical books are routinely excluded from these stories unless they rely on digital devices to resize text.

After keyword research revealed a clear but underserved demand for large-print horror fiction, I saw an opportunity to bridge a real gap: to design a second edition of my novels that serves both standard and large-print readers without compromising polish or creative integrity.

MY ROLE

As a self-published author and designer, I handled every aspect of the project, including:

Writing the novels
Hiring a professional editor
Designing and illustrating the covers
Formatting the interiors for both standard and large-print editions
Creating the visual identity and logo for my imprint, Sangsmyth Books
Preparing both print and digital files for self-publishing through Amazon KDP
Rebuilding my author website with accessibility best practices in mind

PROBLEM & OPPORTUNITY

While preparing for my re-launch, I used a keyword strategy service from Paper Raven Books to study Amazon search trends. What I found was surprising: readers were actively searching for large-print vampire and horror fiction, but the number of relevant results was low.

This revealed a clear UX problem: readers with mild-to-moderate vision impairments—especially those who avoid screens—had little access to genre fiction in a physical, accessible format. As a designer focused on inclusive experiences, I saw this as both a design challenge and a growth opportunity.

By offering a well-crafted large-print edition, I could both expand my audience and bring my publishing practice in line with the accessibility values I apply in my professional work.

TARGET AUDIENCE

A 2023 industry report revealed that large-print editions account for over a third of print sales for some self-published authors, particularly in genre fiction. Joanna Penn, for example, reported that large-print books made up 36% of her print revenue within the first year of offering them. This suggests that demand is not only present, but significantly under-addressed—especially in horror and other adult genre fiction.

The large-print format is designed for adult readers with mild-to-moderate vision impairments—particularly those who prefer physical books over digital alternatives.

I also drew insight from a close friend with severe vision impairment who reads using a strong prescription and a handheld magnifier, often needing to position his face just inches from the page. A large-print format would ease that strain—helping make reading less physically taxing and more enjoyable.

While anecdotal, this personal perspective reinforced a broader trend I discovered during keyword research: many readers are searching for large-print vampire fiction, yet Amazon returns few meaningful results. These users are motivated readers—but underserved by genre publishers.

LARGE-PRINT FORMATTING

To ensure my books were accessible and comfortable to read for individuals with visual impairments, I redesigned the print layout based on recommendations from accessibility organizations such as the American Council for the Blind. Key formatting decisions included:

Typeface

I replaced the original decorative serif with Tahoma, a clean sans-serif font chosen for its consistent stroke weight and proven legibility at larger sizes.

Font Size

The body text was increased from 12pt to 18pt to ease eye strain and provide better readability without magnification tools.

Text Emphasis

All italicized text—including inner thoughts and emphasis—was converted to bold to retain distinction while remaining legible for readers with visual processing challenges.

Paragraph Structure

I removed paragraph indents and added extra spacing between paragraphs to improve scannability and introduce more white space for ease of reading.

Margins & Layout

Following accessibility guidelines, I implemented 1-inch margins on the top, left, and right sides to create a balanced, uncluttered page.

Paper & Ink

I opted for off-white/cream paper, which provides softer visual contrast than bright white, and maintained black ink for maximum clarity and familiarity.

These choices were made not just for compliance, but to create an elegant, frustration-free reading experience that mirrors the care and polish of traditional publishing—while addressing real barriers to access.

Tools & Creative Process

I approached every element of the book—from prose to final print files—as both an author and a designer.

Every component was crafted to feel both intentional and immersive, with particular attention to readability and visual storytelling.

Interior Formatting

I wrote and structured each book in Scrivener, which allowed for fine-grained control over formatting. For both standard and large-print editions, I customized layouts, font settings, and exported press-ready PDFs directly. In addition to professional editing, I also used tools like Grammarly and Hemingway App to refine sentence structure, catch overlooked errors, and improve overall clarity and flow.

Cover Design

I used a Wacom tablet and Photoshop to create hand-illustrated typography and layered digital compositions. My process combined:
- Custom illustrations and painted textures
- Edited stock photography and original photos I took myself
- Final layout and refinement in Adobe Illustrator to ensure print-ready alignment and clarity

Brand Identity

The name for my Sangsmyth Books brand was inspired by a unique vampire class in my novels. The top portion of the logo was based on a small sculpture I inherited from my grandparents—a chimpanzee contemplating a human skull. It unsettled me as a child, but later struck me as the perfect symbol for the evolutionary themes in my work. I designed and vectorized the final logo in Illustrator to ensure consistency across print and digital formats.

WRITING AS USER RESEARCH

As part of my writing process, I created user personas for each of my primary characters to better understand their motivations, goals, and emotional responses. Just like in UX design, this allowed me to anticipate how a character would react in specific situations—ensuring continuity, believability, and cohesion throughout the narrative.

This practice helped me stay grounded in each character’s perspective and make smarter choices when outlining or revising major plot points. In many ways, it mirrored the role of user personas in design: guiding decision-making based on real, consistent attributes rather than guesswork.

These profiles reflect how understanding the user within the story helped me design better scenes and a more immersive narrative arc.

Protagonist

Ayden Bauer

Ayden is the lens through which the story unfolds—curious, restless, and often in over his head. His search for truth drives the plot, but it’s his internal conflict—between reason and instinct, fear and transformation—that shapes the heart of the narrative. He doesn’t just witness change; he becomes it.

Catalyst

Ella Bauer

Ella is a grounding presence—clever, perceptive, and emotionally attuned. She picks up on what others miss, subtly shaping Ayden’s path through quiet influence. Her steady intuition drives emotional pivots and deepens the story’s undercurrent in ways that only become clear with time.

Contagonist

Det. Kalista Rassam

Kali approaches every case with logic, precision, and a firm grasp of the law—but she’s no purist. She knows where the rules bend, and she’s not afraid to test their limits when the stakes are high. Focused, assertive, and rarely thrown off course, her presence complicates the story in necessary ways, forcing other characters to justify their choices—or change course entirely.

Enigma

Hendrik Krueger

Hendrik is a figure of immense presence and uncertain allegiance. His origins are unclear, his motives concealed, his power unquestionable. He moves through the story like a shadowed constant—pulling strings, testing boundaries, and revealing just enough to keep others guessing. Everything shifts when he enters a scene, but no one ever knows what game he’s playing—or how long he’s been playing it.

EARLY VISUAL TESTING

In 2014, before publishing my first edition, I experimented with informal A/B-style testing on four potential cover designs. I promoted the covers through a poll on my personal website and social media. While the red-cover design (shown below) received the most votes, it later proved ineffective—particularly in thumbnail form, where the text became unreadable.

Although the process wasn’t properly structured or statistically reliable, it was an early effort to engage with visual feedback. The testing taught me some valuable UX lessons:

Offering too many options can lead to decision fatigue—a concept reinforced by the Paradox of Choice and Hick’s Law, which warn that more choices often make decision-making harder, not easier.
Context of use (like thumbnail visibility on digital storefronts vs. full-size print) matters—a reminder that evaluating design in real-world settings is key, aligning with the principle of contextual inquiry.
What people say they like isn’t always what works in practice—an example of the gap between user preference and actual usability, a core insight in user-centered design.

BETA READERS & ITERATION

Before publishing the first edition of my novels, I recruited a small group of beta readers—around 15 individuals who were genuinely interested in horror and vampire fiction. The group represented a range of adult readers, both men and women, and was chosen to reflect the audience I hoped to reach.

Each beta reader received early drafts of my first two novels and provided in-depth feedback on pacing, tone, clarity, and character development. This feedback, particularly from the women in the group, was instrumental in shaping my approach to dialogue, emotional nuance, and relatability.

Their insights led me to rewrite several scenes and adjust character arcs, resulting in a noticeable improvement in narrative cohesion and reader connection. After making those changes, I received follow-up responses that praised the characters as more believable, more grounded—and ultimately, more likable.

This process mirrored core UX principles: recruit real users, gather qualitative insights, identify friction points, and iterate based on what you learn. I closed the loop by asking beta readers to leave honest reviews on Amazon and Goodreads, supporting discoverability and validating the value of user testing in a creative workflow.

“The most transformative feedback came from the women in the group—their insight helped me push past surface-level archetypes I’d unknowingly carried into my work. They challenged me to write with more emotional clarity and realism, and to see my characters as people, not patterns.”

Amazon Customer

A fascinating, quick moving read.

I purchased “Midnight at the North Shore” to read before diving into “The Well of Gilgamesh: A Wampyr Novel”. The novella is a well written story that makes for a quick, suspense building read that practically dares you to try and put it down. I look forward to reading the next novel in the series!

M Odendaal

Read this first

I’m really glad I read Midnight at the North Shore before reading The Well of Gilgamesh. It serves as a great little primer to the central story. Well balanced mix of humor and suspense, thoroughly enjoyable read.

Amazon Customer

Great, great book

If you’re a fan of Anne Rice Vampire Chronicles you need to read this novel. If you’re not a fan of vampire stories this novel will convert you, it’s that good. Such a riveting tale from start to finish – I felt like I was actually right there with these interesting characters. This will definitely make for a great movie someday. Read it now.

I.W. Stansbery

Refreshingly original!

I seriously couldn't put this book down. Great stories start with great characters and this one is full of them. What a fun read!

Kendra Willis

Keeps you guessing in the best way!

Brilliant. Absolutely brilliant. This story creates so many mixed emotions- I find myself empathetic and understanding towards Oliver, very much admiring Ella, amused by Ayden and his combination of genius and naïveté, proud of Taven yet concerned for him at the same time- and still very unsure what exactly to think of Hendrick.

THE RELAUNCH: INFORMED BY UX

The new edition of my novels reflects everything I’ve learned since entering the UX field. Gone is the “publish fast, fix later” mindset. In its place: intentional planning, accessible formatting, and a deeper respect for iteration—alongside content designed to engage readers across formats.

Highlights of the second-edition relaunch:

Polished interior formatting with clean margins and consistent type hierarchy
Covers optimized for contrast and legibility on both shelves and screens
Backmatter redesigned to guide readers to other works, request reviews, and build continuity
A revamped, accessibility-first author website
(currently in development)

This is more than a reissue—it’s a reboot, one guided by user needs, thoughtful design, and long-term growth.

The second editions of Midnight at the North Shore and The Well of Gilgamesh, along with the official release of The Origin of Species: A Wampyr Novel, are all scheduled for Summer 2025—marking the launch of my first full-scale marketing campaign.

MY DEFINITION OF SUCCESS

I won't pretend I don’t want good reviews—or that it wouldn’t be incredible to land on a bestseller list. But those have never been the driving forces behind my writing. From the beginning, it’s been about telling the story the way I wanted to tell it—and making that story available to more readers, without compromise.

So my real success metrics look like this:

Reach

Expanding access to readers who are often excluded from the genre

Inclusivity

Designing books that invite, rather than restrict

Discoverability

Using large-print visibility to increase exposure on platforms like Amazon

If a visually impaired reader picks up my book—one they might’ve otherwise missed—that’s a win. If they return for the next one, that’s the real success. That’s how sustainable design works.

REFLECTIONS & LEARNINGS

Test with purpose. Rushing to launch or relying on instinct alone leads to missed insights. Good testing starts with humility and a willingness to learn.
Accessibility is reach. From font choices to color contrast, accessibility is a multiplier—not a constraint. In self-publishing, it can even help you find new audiences.
Clarity over cleverness. A cover’s visual impact means nothing if the title isn’t legible. Accessibility and design go hand in hand—and visual UX extends far beyond the screen.

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